This week, the team nod their heads to The Chainsmokers’ catchy dance hit “Don’t Let Me Down” from 2016. While Mark shows off some shifty rhythms, Nichole is let down by all-or-nothing thinking… and some therapists. And who’s more motivated to be at school, psych majors or music majors?
Other Music heard in this episode: The Chainsmokers - “Closer”, The Chainsmokers - “Something Just Like This”, Marshmello - “Summer”, Daya - “Hide Away”, Christina Aguilera - “What a Girl Wants”, The Eagles - “Life in the Fast Lane”, Charli XCX - “Talk Talk”, HAIM - “Walking Away”, Taylor Swift - “Karma”
Send us your thoughts at NeverMusicPod@gmail.com
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00:00 --> 00:18 [SPEAKER_09]: Well, yeah, your bass line is like lady with acoustic guitar singing right or or jam band or something like that maybe, but yeah, definitely like lyrics really stripped down really like emotionally raw and vulnerable like that's the type of music I like and this is the opposite of that
00:29 --> 00:29 [SPEAKER_00]: Hi, I'm Mark.
00:30 --> 00:30 [SPEAKER_09]: And I'm Nicole.
00:31 --> 00:32 [SPEAKER_00]: And this is Nevermind the Music.
00:33 --> 00:35 [SPEAKER_09]: What are we going to talk about today, Mark?
00:35 --> 00:38 [SPEAKER_00]: Some electronic dance music, some future bass.
00:39 --> 00:40 [SPEAKER_09]: EDM, they call it.
00:40 --> 00:41 [SPEAKER_00]: EDM, that's what the kids say.
00:42 --> 00:45 [SPEAKER_00]: Remember the term Electronica when that was what was used in the nineties?
00:45 --> 00:46 [SPEAKER_09]: Yeah, was it there like an out?
00:47 --> 00:51 [SPEAKER_09]: There was like an album called Electronica by some man.
00:51 --> 00:58 [SPEAKER_00]: I don't know, but that was like the term of art, at least in in the like categories at the record store or whatever in the nineties.
00:58 --> 00:59 [SPEAKER_00]: And then that terms is disappeared.
01:00 --> 01:02 [SPEAKER_09]: Yeah, there's a big community around EDM.
01:02 --> 01:03 [SPEAKER_00]: Sure.
01:03 --> 01:07 [SPEAKER_09]: You ever go to any of there like raves or you don't seem like a rave type of guy.
01:07 --> 01:12 [SPEAKER_00]: No, I can remember like being in high school when people started going to raves and just
01:13 --> 01:22 [SPEAKER_00]: feeling like sort of FOMO, more fear of being left out, but not at all really feeling like that scene was for me.
01:22 --> 01:24 [SPEAKER_00]: Like I was a rock a guy at the time.
01:24 --> 01:29 [SPEAKER_00]: And so there was a little bit of the like, ooh, synthesizers that I've talked about before, which is
01:30 --> 01:33 [SPEAKER_00]: funny considering how much I like since stuff now.
01:33 --> 01:39 [SPEAKER_00]: But yeah, like the rave culture that, you know, I know it goes way further back than that.
01:39 --> 01:43 [SPEAKER_00]: But kind of hit the suburbs of San Diego in the mid-Nineties.
01:44 --> 01:45 [SPEAKER_00]: Never once was that.
01:45 --> 01:47 [SPEAKER_00]: I bet you went to some raves, right?
01:47 --> 01:50 [SPEAKER_09]: I went to like precursors to raves.
01:50 --> 01:55 [SPEAKER_00]: So you were at the warehouse in Chicago where house music was born.
01:55 --> 02:04 [SPEAKER_09]: No, but like there was I used to go to festivals like I'll call them hippie festivals for sake of this podcast, but like camping music festivals.
02:04 --> 02:04 [SPEAKER_04]: Sure.
02:04 --> 02:15 [SPEAKER_09]: And there was one I think I mentioned in a previous episode in Rothbury, Michigan, that was really like the called Rothbury was the name of the festival I went to.
02:16 --> 02:22 [SPEAKER_09]: But that turned into the electric forest, which is now like a big EDM festival in the scene.
02:23 --> 02:27 [SPEAKER_09]: And at the Rothbury, music festival, they were like precursors to that.
02:28 --> 02:47 [SPEAKER_09]: it was a forest and they had all these like stages set up in the woods and like dance parties in the woods and we're lighting and we're like we're like um the atrical stuff happening on the ground so the festival that like kind of iterated into what is now EGM they realized the market was kind of flooded for
02:48 --> 02:56 [SPEAKER_09]: hippie concerts and can transition that site into a big EDM festival and now it's one of the most well-known or most popular.
02:56 --> 02:59 [SPEAKER_00]: But you were there for that was nineties when you were going to those.
02:59 --> 03:03 [SPEAKER_09]: No, the Rothburg probably was two thousand five, two thousand six.
03:03 --> 03:06 [SPEAKER_09]: It's the first Rothburg festival.
03:06 --> 03:08 [SPEAKER_00]: So yeah, the rave thing had been going on for a while.
03:08 --> 03:12 [SPEAKER_09]: And that was the last hippie camping festival I went to.
03:13 --> 03:14 [SPEAKER_09]: That's when I realized I'm done.
03:15 --> 03:25 [SPEAKER_09]: You know, the minute you start bringing like your own porta potty or like it was we were trying to go to sleep, but it was like a love night and there were like so much parting around our tent and we'd be like, guys, quiet down.
03:25 --> 03:28 [SPEAKER_00]: Because you were so old at that point, you're like, twenty two or whatever.
03:28 --> 03:29 [SPEAKER_00]: You're like, oh, come on.
03:29 --> 03:31 [SPEAKER_09]: Old for that same first one.
03:31 --> 03:31 [SPEAKER_00]: Yeah.
03:31 --> 03:34 [SPEAKER_09]: And I kept I was already working in higher at that point.
03:34 --> 03:38 [SPEAKER_09]: I just kept thinking, I hope all these kids are going to the college and the fall, like I hope they called their mom today.
03:38 --> 03:39 [SPEAKER_09]: Oh my gosh.
03:39 --> 03:39 [SPEAKER_00]: Yeah.
03:39 --> 03:40 [SPEAKER_09]: I think I'm done.
03:40 --> 03:42 [SPEAKER_00]: So this is a little later than that.
03:43 --> 03:43 [SPEAKER_00]: Okay.
03:43 --> 03:48 [SPEAKER_00]: We're talking about here, in the chain smokers don't let me down.
04:02 --> 04:04 [SPEAKER_09]: I feel like I still hear this on the radio.
04:04 --> 04:05 [SPEAKER_00]: Yeah, this was a pretty big hit.
04:05 --> 04:10 [SPEAKER_00]: So this is the Jane Smokers featuring Dia, right?
04:10 --> 04:12 [SPEAKER_00]: And this peaked at number three when it came out.
04:13 --> 04:17 [SPEAKER_00]: So from their EP collage, yeah, and you still hear this from time to time.
04:17 --> 04:21 [SPEAKER_00]: I chose this song because it's pretty, I was struck musically by a thing.
04:21 --> 04:28 [SPEAKER_00]: Obviously, then when it's talk about, but like it's still in the sort of ecosystem of pop music, I will say,
04:29 --> 04:34 [SPEAKER_00]: Certainly I hear closer and more, and that song was a number one, so that makes more sense.
04:34 --> 04:37 [SPEAKER_00]: It's the one they did with Halsey, twenty-sixteen also, from the same EP.
04:54 --> 04:56 [SPEAKER_09]: So they used a lot of collaborations with people.
04:56 --> 04:58 [SPEAKER_00]: I think that's what they do, like one of the guys
04:59 --> 05:02 [SPEAKER_00]: So it's two guys, Alex, Paul, and Andrew Taggart.
05:03 --> 05:04 [SPEAKER_00]: Alex is like the DJ.
05:05 --> 05:07 [SPEAKER_00]: Also seems to be kind of a manager.
05:07 --> 05:08 [SPEAKER_09]: Alex, Paul.
05:09 --> 05:09 [SPEAKER_00]: Paul.
05:09 --> 05:10 [SPEAKER_00]: Yeah, Paul.
05:10 --> 05:11 [SPEAKER_00]: I don't know how to pronounce it.
05:11 --> 05:12 [SPEAKER_00]: I don't know.
05:12 --> 05:12 [SPEAKER_00]: P.A.
05:12 --> 05:12 [SPEAKER_00]: Same.
05:12 --> 05:12 [SPEAKER_00]: So it throws me out.
05:12 --> 05:13 [SPEAKER_00]: Well, it's P.A.
05:13 --> 05:15 [SPEAKER_00]: L. L. Oh.
05:16 --> 05:20 [SPEAKER_00]: But Andrew Taggart is the primary songwriter, but also,
05:21 --> 05:21 [SPEAKER_00]: Sings.
05:22 --> 05:25 [SPEAKER_00]: I think as time goes on, sings even more and more.
05:25 --> 05:26 [SPEAKER_00]: Like he's singing in closer.
05:26 --> 05:28 [SPEAKER_00]: But yeah, they do a lot of collaborations.
05:29 --> 05:33 [SPEAKER_00]: The other one that would have been kind of one of their biggest hits was the one they did with Coldplay.
05:33 --> 05:36 [SPEAKER_00]: Something just like this, which is from their debut album.
05:36 --> 05:36 [SPEAKER_00]: Did you hear this one?
05:36 --> 05:38 [SPEAKER_09]: Yeah, it sounds just like the song you just played.
05:39 --> 05:42 [SPEAKER_09]: To me.
05:43 --> 05:43 [SPEAKER_09]: That's like so similar.
05:53 --> 05:55 [SPEAKER_09]: And in fact, it might have there the same song.
05:56 --> 05:57 [SPEAKER_00]: It's pretty similar.
05:57 --> 06:00 [SPEAKER_00]: The drops are pretty similar.
06:00 --> 06:03 [SPEAKER_00]: I do think don't let me down's drop is very different.
06:03 --> 06:08 [SPEAKER_00]: Don't let me down's drop is almost feels almost ten years earlier with the sort of squelchy sense.
06:08 --> 06:11 [SPEAKER_00]: It feels a bit of a different vibe.
06:11 --> 06:15 [SPEAKER_00]: The Coldplay thing, it doesn't say featuring Chris Martin.
06:15 --> 06:19 [SPEAKER_00]: It says featuring Coldplay, which is an interesting like part of me wonders
06:19 --> 06:22 [SPEAKER_00]: I don't know if we'll come back to, we probably should come back to cool play at some point.
06:22 --> 06:33 [SPEAKER_00]: There's a lot to say there, but I wonder if they have like a contract where, because I don't know, the music seems to be probably generated mostly by the chainspokers.
06:33 --> 06:36 [SPEAKER_00]: It's, you know, like EDM, what's the rest of the band doing?
06:36 --> 06:38 [SPEAKER_00]: Like is there a reason today for solidarity?
06:39 --> 06:40 [SPEAKER_00]: Go, no, we all must be featured in it.
06:40 --> 06:43 [SPEAKER_09]: They're clicking on keyboard on a cold play album.
06:44 --> 06:46 [SPEAKER_00]: because that's sometimes does happen where there's rest-prostity.
06:46 --> 06:48 [SPEAKER_00]: That's on the chain smokers album.
06:48 --> 06:48 [SPEAKER_00]: I'm pretty sure.
06:49 --> 06:49 [SPEAKER_00]: It's on there.
06:49 --> 06:51 [SPEAKER_09]: Yeah, I bet you were on track thing.
06:51 --> 06:55 [SPEAKER_00]: I didn't deep dive into that specific song, so I don't know.
06:56 --> 06:58 [SPEAKER_00]: Are the other guys in Coldplay too much?
06:58 --> 07:03 [SPEAKER_00]: Or is it kind of marketing of Coldplay is better than the lead singer being the feature?
07:03 --> 07:04 [SPEAKER_00]: Or is it...
07:04 --> 07:08 [SPEAKER_00]: No, I'm going to bring you all, and you all have to, we all get to split the money here, like, I don't know.
07:08 --> 07:12 [SPEAKER_09]: I think in marketing thing, like, I think the marketing Coldplay has more clothes than like Chris Martin.
07:12 --> 07:14 [SPEAKER_09]: I think it's especially when did this come out?
07:14 --> 07:15 [SPEAKER_09]: What year?
07:15 --> 07:15 [SPEAKER_00]: Twenty seventeen.
07:16 --> 07:17 [SPEAKER_09]: Okay, well, maybe not.
07:17 --> 07:18 [SPEAKER_00]: That's not really Coldplay.
07:18 --> 07:21 [SPEAKER_09]: Well, like, maybe the no one knew who Chris Martin was.
07:21 --> 07:24 [SPEAKER_09]: Like, featuring Chris Martin, like, who's that, but they know who Coldplay is.
07:24 --> 07:25 [SPEAKER_00]: I feel like people know who Chris Martin is.
07:25 --> 07:27 [SPEAKER_09]: Well, yeah, for sure, and definitely that, and so.
07:28 --> 07:36 [SPEAKER_00]: So I mentioned this term, I don't think either of us are big EDM heads, but this is sometimes called future base.
07:37 --> 07:38 [SPEAKER_00]: Is that a term you really know?
07:38 --> 07:39 [SPEAKER_09]: I love the idea of it.
07:39 --> 07:42 [SPEAKER_09]: I can like understand what it means.
07:42 --> 07:44 [SPEAKER_00]: Well, you apparently think the song is always on the same.
07:44 --> 07:45 [SPEAKER_00]: So I think you get the vibe.
07:45 --> 07:46 [SPEAKER_08]: Yeah, it's
07:47 --> 07:53 [SPEAKER_00]: So it's EDM that has hip hop influence and trap influence the slow tempo of a lot of these beats.
07:53 --> 08:04 [SPEAKER_00]: But with pop influence and sparkly it has dubstep influence but much less harsh than that style would have been here's an example of something that's a little more sort of main line.
08:04 --> 08:08 [SPEAKER_00]: This is Marshmello summer, twenty sixteen similar era.
08:22 --> 08:24 [SPEAKER_09]: I tell you, I don't love it.
08:24 --> 08:25 [SPEAKER_00]: You don't love it.
08:25 --> 08:26 [SPEAKER_00]: That song or the style?
08:26 --> 08:27 [SPEAKER_09]: The style.
08:27 --> 08:28 [SPEAKER_09]: I just feel like it's robots.
08:28 --> 08:31 [SPEAKER_09]: I feel like all I see my head is a bunch of robots making music.
08:32 --> 08:38 [SPEAKER_09]: I know it's not, but I just like, they might as well be saying like zero zero one zero one one one.
08:39 --> 08:44 [SPEAKER_00]: I think this is interesting because I think there's personality to these guys.
08:44 --> 08:46 [SPEAKER_00]: That's for better or for worse.
08:46 --> 08:49 [SPEAKER_00]: So whatever that we can talk about in a minute, but
08:50 --> 08:51 [SPEAKER_00]: I can see what you're saying.
08:51 --> 08:54 [SPEAKER_00]: It is all very like programmed, like the sort of there.
08:55 --> 08:55 [SPEAKER_00]: It's very digital.
08:55 --> 08:58 [SPEAKER_09]: Is it like music or is it just some guy press and buttons?
08:58 --> 09:00 [SPEAKER_00]: Well, I mean, what's the difference, right?
09:00 --> 09:13 [SPEAKER_00]: But it's not so like there's certain stuff, even certain types of electronic music, like drum and bass or whatever, might still be sampling from a record, either a record or it's a sample of some funk beat from the sixties sped up.
09:14 --> 09:18 [SPEAKER_00]: A lot of this feels, if not all of it, feels very digital, feels very created in a computer, right?
09:18 --> 09:27 [SPEAKER_00]: And that is a different kind of vibe to some other forms of electronic music that have a little more, you think of even like, daft punk.
09:27 --> 09:36 [SPEAKER_00]: Well, I have like obviously a vocalist sometimes, but they'll have a real bass player, or they'll have a lot of samples of other audio, and it feels a little more organic.
09:36 --> 09:37 [SPEAKER_00]: I think that's not that.
09:37 --> 09:40 [SPEAKER_09]: That's the fact that it feels inorganic to me.
09:40 --> 09:40 [SPEAKER_00]: Right.
09:41 --> 09:47 [SPEAKER_09]: And just my general music taste is I would say like overly organic.
09:47 --> 09:48 [SPEAKER_09]: I like folkies.
09:48 --> 09:56 [SPEAKER_00]: Yeah, your bass line is like lady with acoustic guitar singing right or or jam band or something like that.
09:57 --> 10:05 [SPEAKER_09]: But yeah, definitely like lyrics really stripped down really like emotionally raw and vulnerable like that's the type of music I like.
10:05 --> 10:06 [SPEAKER_09]: And this is the opposite of that.
10:07 --> 10:09 [SPEAKER_00]: So do you know much about the chain smokers as a band?
10:09 --> 10:11 [SPEAKER_00]: So it's one of these names that just sort of stuck.
10:11 --> 10:13 [SPEAKER_00]: It was a temporary name and it stuck.
10:13 --> 10:21 [SPEAKER_00]: We've probably talked about art of the other artists like that before, but I feel like I'm gonna make you hate them or do you like, do you like this song?
10:21 --> 10:22 [SPEAKER_08]: Yeah, I do.
10:22 --> 10:23 [SPEAKER_00]: All right, okay, cool.
10:23 --> 10:26 [SPEAKER_00]: Because I started this not knowing much about the guys at all, but I liked the song.
10:26 --> 10:27 [SPEAKER_00]: I like this too.
10:27 --> 10:29 [SPEAKER_00]: And it's kind of, we don't do dance music much.
10:30 --> 10:32 [SPEAKER_00]: These guys are apparently kind of tech-brows.
10:32 --> 10:32 [SPEAKER_09]: Okay.
10:33 --> 10:37 [SPEAKER_00]: So I was saying, like, there's humanity behind it, but it may not be the humanity that you're gonna like.
10:37 --> 10:38 [SPEAKER_09]: I'm just here to make money.
10:39 --> 10:40 [SPEAKER_09]: Well, like, make formulae kits to make money.
10:41 --> 10:42 [SPEAKER_00]: This is, I think, aren't we all?
10:43 --> 10:43 [SPEAKER_00]: No.
10:44 --> 10:45 [SPEAKER_00]: You're right, actually, you're right.
10:45 --> 10:45 [SPEAKER_00]: We're not.
10:46 --> 10:49 [SPEAKER_00]: But I'm not, this is not an original thing.
10:49 --> 10:51 [SPEAKER_00]: This is something people have been pointing out for years.
10:51 --> 11:08 [SPEAKER_00]: This sort of tech bro, there's a pitch fork review of this EP that mentions that these guys are talking about iterating and disrupting and getting a return on investment and like they talk like their app designers or something or like that they're, they haven't start up making an app.
11:09 --> 11:11 [SPEAKER_00]: They brag about their penis sizes.
11:12 --> 11:16 [SPEAKER_00]: They claim as their inspiration Jeremy Pivins character from entourage.
11:16 --> 11:17 [SPEAKER_00]: Are you gold?
11:17 --> 11:18 [SPEAKER_00]: Did you see it?
11:18 --> 11:18 [SPEAKER_09]: They're like.
11:18 --> 11:19 [SPEAKER_00]: Entourage?
11:19 --> 11:19 [SPEAKER_00]: Yeah.
11:19 --> 11:22 [SPEAKER_09]: It's like the Joe Rogan vibe.
11:22 --> 11:22 [SPEAKER_00]: Sort of.
11:23 --> 11:25 [SPEAKER_00]: I kind of picture TJ Miller's character from Silicon Valley.
11:25 --> 11:26 [SPEAKER_00]: Okay.
11:26 --> 11:27 [SPEAKER_00]: If you've seen that show.
11:27 --> 11:32 [SPEAKER_09]: Yeah, I'm seeing like frosted tips and vests and like chino pants.
11:32 --> 11:33 [SPEAKER_00]: I don't know about the tips.
11:33 --> 11:35 [SPEAKER_00]: I think that the decade might be well.
11:35 --> 11:36 [SPEAKER_09]: Like a visor is loved.
11:37 --> 11:42 [SPEAKER_00]: They're often collaborating with young cool indie pop vocalists, though.
11:43 --> 11:46 [SPEAKER_00]: Like, Daya, so Daya is a singer from Pennsylvania.
11:46 --> 11:48 [SPEAKER_00]: I hadn't heard her aside from the song.
11:48 --> 11:50 [SPEAKER_00]: She has some singles though.
11:50 --> 11:53 [SPEAKER_00]: Here's her doing a tune from twenty fifteen called Hide Away.
11:54 --> 11:55 [SPEAKER_00]: I hadn't heard this, but this hit number twenty three.
11:56 --> 11:56 [SPEAKER_09]: I already know the song.
11:56 --> 11:57 [SPEAKER_00]: Oh, you know it.
12:18 --> 12:22 [SPEAKER_09]: Here's a real distinct timbre to her voice.
12:22 --> 12:23 [SPEAKER_00]: Well done, timbre is right.
12:23 --> 12:27 [SPEAKER_00]: She seems cool too, and Halsey's cool, kind of a more punk energy there.
12:27 --> 12:28 [SPEAKER_00]: I wonder, like,
12:30 --> 12:39 [SPEAKER_00]: Alex, the one who's in charge of the co-labs, he does his job well, like they they find cool people to work with and maybe gives them a little.
12:40 --> 12:44 [SPEAKER_00]: So, yeah, but like, you know, makes the music have a little bit of a heartbeat.
12:44 --> 12:47 [SPEAKER_00]: I think like, Daya adds a lot to don't let me down.
12:47 --> 12:55 [SPEAKER_00]: Yeah, she's a very like human voice, which is great on top of running the process to all heck, like, you know, very digital manipulation, but
12:56 --> 13:04 [SPEAKER_00]: You know, not quite like a do a leap or a daft punk would be, but still fits the genre, but like she adds sort of life to it, I think.
13:04 --> 13:07 [SPEAKER_00]: So the thing that I want to talk about, we're going to talk about rhythm here.
13:07 --> 13:11 [SPEAKER_00]: And I'm going to start later in the song with the drop section.
13:12 --> 13:15 [SPEAKER_00]: And I wanted to highlight a cool rhythmic trick that's at work here.
13:15 --> 13:18 [SPEAKER_00]: That is part of what makes this chorus catchy.
13:18 --> 13:19 [SPEAKER_00]: Part of what makes it fun.
13:21 --> 13:23 [SPEAKER_00]: And remember a few weeks ago, we talked about
13:24 --> 13:29 [SPEAKER_09]: Octave Displacement.
13:29 --> 13:32 [SPEAKER_00]: Let's talk about rhythmic displacement.
13:32 --> 13:32 [SPEAKER_00]: Okay.
13:32 --> 13:35 [SPEAKER_00]: So take a listen to what's happening in this drop from don't let me down.
13:49 --> 13:49 [SPEAKER_00]: So she's repeating
13:51 --> 13:58 [SPEAKER_00]: The same words, and this is a trick in pop songs that tends to occur when someone's repeating a fragment, including the repeating a lyrics.
13:58 --> 14:00 [SPEAKER_00]: So the first that we'll listen to it again.
14:01 --> 14:05 [SPEAKER_00]: She first starts, don't let me down on the second beat of the measure.
14:05 --> 14:06 [SPEAKER_00]: So this is a nice slow.
14:06 --> 14:08 [SPEAKER_00]: I mentioned future base has trap influence.
14:08 --> 14:11 [SPEAKER_00]: These boom, two, three, four.
14:11 --> 14:17 [SPEAKER_00]: So you're going to hear one, don't let me down on beat two, which sort of emphasizes three, right?
14:17 --> 14:20 [SPEAKER_00]: Boom, don't let me down the downs on beat three.
14:21 --> 14:23 [SPEAKER_00]: But then it happens again, starting on beat four.
14:24 --> 14:33 [SPEAKER_00]: So it's the same little melody, first time starting on two, next time starting on four, and then starts again on two.
14:34 --> 14:39 [SPEAKER_00]: So we have the shift one melody shifting around different parts of the measure as it repeats.
14:42 --> 14:48 [SPEAKER_00]: Here we go, one, two, three, four.
14:51 --> 14:57 [SPEAKER_09]: Yeah, it's hard to track almost like you don't know where what's happening next.
14:57 --> 15:01 [SPEAKER_09]: It takes you by surprise in a way that feels kind of nice to me.
15:01 --> 15:03 [SPEAKER_00]: Well, and the beat is very predictable there.
15:04 --> 15:05 [SPEAKER_00]: It's this sort of slow boom.
15:09 --> 15:12 [SPEAKER_00]: her entrances are not predictable, right?
15:12 --> 15:18 [SPEAKER_00]: And it surprises you, like you said, when we talked about Mariah Carey, the octave displacement was out of nowhere.
15:19 --> 15:22 [SPEAKER_00]: She would jump way too high, or sometimes jump way too low.
15:22 --> 15:27 [SPEAKER_00]: This is similar where you have a thing that's starting or repeating an unpredictable place.
15:27 --> 15:29 [SPEAKER_00]: It's being displaced, rhythmically.
15:30 --> 15:30 [SPEAKER_08]: Interesting.
15:31 --> 15:36 [SPEAKER_00]: Yeah, not at least, but often usually going to happen when the words are repeated.
15:36 --> 15:36 [SPEAKER_00]: Right.
15:36 --> 15:40 [SPEAKER_00]: That's the easiest way to do it is just do the thing again, starting in a lopsided place.
15:40 --> 15:42 [SPEAKER_00]: And you'll see some other examples of that.
15:42 --> 15:54 [SPEAKER_09]: Is that because like where we get used to, we have a certain expectation when they sing at the first time where it should go the second time and it's just easier to trick us because we think we know what's coming because the lyrics.
15:54 --> 15:56 [SPEAKER_00]: Yeah, I think the easy thing to do would be one.
15:56 --> 16:18 [SPEAKER_00]: don't let me down and one don't let me down but instead it's gonna be boom don't let me down and one two three don't let me down it's just it's way more interesting like a million percent and this this example is actually a little understated compared to some of the examples I'm gonna play you later
16:18 --> 16:33 [SPEAKER_09]: It's kind of cool because the chain smokers, like I say like background music, like that's not the right word, but it is very regimented, like it's not changing so much, so the miracle displacement, the vocal displacement.
16:34 --> 16:40 [SPEAKER_09]: Whenever we're calling it, it stands out even more because it feels more organic to me than the background music.
16:40 --> 16:41 [SPEAKER_00]: It's definitely more organic.
16:41 --> 16:47 [SPEAKER_00]: I would also say though that the drop, the section, the section is where the synths and the production tends to be more featured.
16:48 --> 16:48 [SPEAKER_00]: Right?
16:49 --> 16:51 [SPEAKER_00]: We've got the Squelty Ramp Lab.
16:52 --> 16:58 [SPEAKER_00]: sort of two thousand nine slash nineteen eighties asset house kind of sound happening.
16:58 --> 17:01 [SPEAKER_00]: But the interesting vocal thing is happening.
17:01 --> 17:01 [SPEAKER_00]: Right.
17:02 --> 17:06 [SPEAKER_00]: So normally the drop is sort of let's let the DJs show off.
17:06 --> 17:09 [SPEAKER_00]: But here it's almost like the coolest die apart.
17:09 --> 17:14 [SPEAKER_00]: Which gives it sort of an or reinforces the idea that this is more organic that way.
17:34 --> 17:38 [SPEAKER_00]: But this moment is actually the middle of the song, and this is built up to.
17:38 --> 17:46 [SPEAKER_00]: So let's, I want to show you, just like in the Mariah Carey episode, she was gradually getting more disjointed until she does the massive too actively.
17:46 --> 17:46 [SPEAKER_00]: Right.
17:46 --> 17:49 [SPEAKER_00]: We're building up to the rhythmic, disjointedness here.
17:50 --> 17:51 [SPEAKER_00]: So let's go back to the intro of the song.
17:51 --> 17:53 [SPEAKER_00]: You're going to hear some dotted rhythms.
17:53 --> 17:57 [SPEAKER_00]: So want a dot, dot, dot kind of stuff.
17:57 --> 18:00 [SPEAKER_00]: And this is an undercurrent that goes below the whole song.
18:00 --> 18:04 [SPEAKER_00]: Remember, we call this when you're offbeat syncopation, syncopated music.
18:17 --> 18:17 [SPEAKER_00]: Cool.
18:17 --> 18:18 [SPEAKER_09]: I just cool.
18:18 --> 18:18 [SPEAKER_00]: Yeah.
18:19 --> 18:25 [SPEAKER_00]: So, Diana comes in at the beginning of the first verse, and she's primarily emphasizing on beats to and for.
18:38 --> 18:59 [SPEAKER_00]: So what's cool about that is she starts out just, da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da
18:59 --> 19:06 [SPEAKER_00]: So this is not nearly as disjointed as what happens later in the song, but it's sort of leading us to remember this happens before the stuff we just heard.
19:07 --> 19:07 [SPEAKER_00]: Yeah.
19:07 --> 19:07 [SPEAKER_00]: Yeah.
19:07 --> 19:08 [SPEAKER_00]: Cool.
19:08 --> 19:10 [SPEAKER_00]: So here we go with the first chorus.
19:11 --> 19:13 [SPEAKER_00]: And first off, the rhythms are a little strange here.
19:13 --> 19:15 [SPEAKER_00]: There's some dotted notes or eighth triplets.
19:15 --> 19:18 [SPEAKER_00]: It's kind of unclear to hear exactly what she's doing triplets.
19:19 --> 19:19 [SPEAKER_00]: So yeah.
19:19 --> 19:23 [SPEAKER_00]: It basically when she goes, don't let me down.
19:23 --> 19:28 [SPEAKER_00]: I'm not totally sure if she's doing trippa, trippa, or a dotted.
19:31 --> 19:31 [SPEAKER_00]: You tell me, I don't know.
19:31 --> 19:34 [SPEAKER_00]: I listen to this a bunch and I don't listen.
19:41 --> 19:44 [SPEAKER_07]: I think it's a dotted.
19:51 --> 19:52 [SPEAKER_00]: Yeah, I don't think they're triplets.
19:53 --> 19:55 [SPEAKER_00]: It's sort of like just in precise.
19:55 --> 19:58 [SPEAKER_09]: I think at the beginning of that phrase, she starts with a quick triplet.
19:59 --> 20:02 [SPEAKER_00]: A kneeja, a kneeja, but then there's kneeja right now.
20:02 --> 20:03 [SPEAKER_00]: The kneeja, right?
20:04 --> 20:04 [SPEAKER_00]: Yeah.
20:04 --> 20:06 [SPEAKER_00]: So we have to be a triplet and one needs to be the other one.
20:06 --> 20:10 [SPEAKER_00]: So I think it's triplet, triplet dot, dot, dot, dot.
20:10 --> 20:10 [SPEAKER_09]: Yeah.
20:10 --> 20:16 [SPEAKER_00]: And the emphasis there is on need, a kneeja, a kneeja, right?
20:17 --> 20:18 [SPEAKER_00]: Starting on beat one.
20:18 --> 20:20 [SPEAKER_09]: Am I like a musician?
20:21 --> 20:26 [SPEAKER_00]: Yeah, I mean, there's a video on YouTube of you playing the flute when you're like sixteen years old.
20:27 --> 20:32 [SPEAKER_00]: Everybody go listen to it go listen to wait what when did we talk about that?
20:32 --> 20:35 [SPEAKER_00]: You and God spell maybe it's in a male bag.
20:35 --> 20:35 [SPEAKER_00]: That's right.
20:35 --> 20:36 [SPEAKER_00]: One of your friends wrote in.
20:36 --> 20:37 [SPEAKER_00]: Oh, I love it.
20:37 --> 20:38 [SPEAKER_00]: Listen for a folks.
20:38 --> 20:39 [SPEAKER_09]: Thanks, palen.
20:39 --> 20:40 [SPEAKER_00]: And then yeah.
20:42 --> 20:43 [SPEAKER_00]: I need your right now.
20:43 --> 20:46 [SPEAKER_00]: It's like syncopated, like a lot of this is.
20:47 --> 20:50 [SPEAKER_00]: But then instead of emphasizing I need you, it's I need you right now.
20:51 --> 20:57 [SPEAKER_00]: So instead of the emphasis being on need, it's the emphasis on I, which is a displacement.
20:57 --> 20:57 [SPEAKER_00]: Listen again.
20:57 --> 21:00 [SPEAKER_07]: I need you.
21:00 --> 21:01 [SPEAKER_07]: I need you.
21:01 --> 21:02 [SPEAKER_00]: I need you right now.
21:02 --> 21:04 [SPEAKER_00]: I need you right now.
21:04 --> 21:05 [SPEAKER_07]: I need you right now.
21:05 --> 21:06 [SPEAKER_00]: I need you right now.
21:06 --> 21:07 [SPEAKER_07]: I need you right now.
21:07 --> 21:08 [SPEAKER_07]: I need you right now.
21:08 --> 21:10 [SPEAKER_07]: I need you right now.
21:12 --> 21:19 [SPEAKER_00]: So it's disrupting our expectation because it should be an idea, an idea, an idea right now, an idea right now.
21:20 --> 21:23 [SPEAKER_00]: But it's an idea, an idea, an idea right now.
21:23 --> 21:25 [SPEAKER_00]: I need your right now.
21:25 --> 21:29 [SPEAKER_09]: And she even changes the melody too.
21:30 --> 21:31 [SPEAKER_09]: It's not what you're just saying.
21:31 --> 21:32 [SPEAKER_09]: It's something different.
21:34 --> 21:35 [SPEAKER_00]: I need your right now.
21:36 --> 21:37 [SPEAKER_00]: Yep, yep, totally.
21:37 --> 21:44 [SPEAKER_00]: Not exactly just copy-pastey rhythmic displacement, but she is displacing disrupting the emphasis, right?
21:45 --> 21:47 [SPEAKER_00]: Let's see what happens in the second half of the chorus.
22:02 --> 22:04 [SPEAKER_09]: And that part's kind of fun too.
22:04 --> 22:06 [SPEAKER_00]: Yeah, leading us to the drop, right?
22:06 --> 22:12 [SPEAKER_00]: So triplets or something like them don't let me, don't let me down emphasis on beat four.
22:13 --> 22:14 [SPEAKER_00]: And then the next one starts on beat two.
22:15 --> 22:16 [SPEAKER_00]: One don't let me down.
22:17 --> 22:18 [SPEAKER_00]: Don't let me down.
22:18 --> 22:18 [SPEAKER_00]: Listen again.
22:18 --> 22:21 [SPEAKER_00]: So she starts at different places to emphasize different places.
22:34 --> 22:35 [SPEAKER_00]: to.
22:37 --> 22:42 [SPEAKER_00]: So this leads us back to the drop where we have the real rhythmic displacement in full.
22:56 --> 22:58 [SPEAKER_00]: we like built up to it and then it happened.
22:59 --> 23:04 [SPEAKER_00]: And then it happens again because this song is sort of structurally then repeats and we go to another verse.
23:05 --> 23:05 [SPEAKER_04]: Yeah.
23:05 --> 23:07 [SPEAKER_00]: And it kind of continues with that.
23:07 --> 23:08 [SPEAKER_00]: It's pretty cool, though, right?
23:09 --> 23:09 [SPEAKER_00]: It's really cool.
23:10 --> 23:14 [SPEAKER_09]: It has like a high level of like there's just enough distortion to make it interesting.
23:15 --> 23:20 [SPEAKER_09]: but not too much that you like lose, lose the plot as the kids say.
23:20 --> 23:20 [SPEAKER_00]: Totally.
23:20 --> 23:22 [SPEAKER_00]: It's interesting, you're saying distortion.
23:22 --> 23:28 [SPEAKER_00]: I think disruption, ooh, which I hate because that's the program or language, right?
23:28 --> 23:34 [SPEAKER_00]: But disrupting the beat like Uber disrupted the taxi industry twenty years ago.
23:34 --> 23:34 [SPEAKER_08]: Right.
23:35 --> 23:37 [SPEAKER_00]: Just like that, right?
23:37 --> 23:38 [SPEAKER_09]: It's the first thing I think of.
23:39 --> 23:43 [SPEAKER_09]: Now, I think about this idea of distortion quite a bit in terms of cognitive distortions.
23:43 --> 23:45 [SPEAKER_09]: You know what a cognitive distortion is?
23:45 --> 23:46 [SPEAKER_00]: No.
23:46 --> 23:48 [SPEAKER_00]: I mean, I could guess what it would be.
23:48 --> 23:49 [SPEAKER_09]: It's pretty easy.
23:49 --> 23:56 [SPEAKER_00]: You know, like a misperception or warping something in your mind, maybe to suit your own biases, whatever.
23:56 --> 23:59 [SPEAKER_09]: You're ready to teach counseling skills in the fall, crushing it.
23:59 --> 24:02 [SPEAKER_00]: We should switch classes in the fall.
24:02 --> 24:03 [SPEAKER_00]: You're good at it.
24:03 --> 24:05 [SPEAKER_00]: At least you can come in and sub for the rhythmic parts.
24:05 --> 24:08 [SPEAKER_09]: I know what a triplet is, and I know a couple meter.
24:09 --> 24:09 [SPEAKER_09]: Yeah.
24:09 --> 24:10 [SPEAKER_09]: Love a compound meter.
24:10 --> 24:10 [SPEAKER_00]: Yeah.
24:11 --> 24:15 [SPEAKER_09]: There are several different cognitive distortions, especially in cognitive behavioral therapy.
24:16 --> 24:17 [SPEAKER_09]: We use this language a lot.
24:17 --> 24:25 [SPEAKER_09]: So cognitive behavioral therapy or what we call CBT is probably the most widely practiced type of therapy.
24:26 --> 24:32 [SPEAKER_09]: If you go to a therapist today in America, probably their practice in some level of CBT.
24:33 --> 24:33 [SPEAKER_09]: So it's
24:34 --> 24:59 [SPEAKER_09]: other forms of therapy like Freudian therapy or more person centered therapy are really looking to like deep dive into what makes you tick and what your motivations are especially with Freud but in cognitive behavioral therapy they're not this is so cavalier to say but they don't really care they don't really care like why you're doing this behavior they just want you to change the behavior strategies for you know like if you're
25:03 --> 25:06 [SPEAKER_09]: Like, okay, so for me, I'm really scared of driving over bridges.
25:06 --> 25:08 [SPEAKER_09]: Like, I don't like bridges.
25:08 --> 25:09 [SPEAKER_09]: I'll go out of my way.
25:09 --> 25:10 [SPEAKER_09]: I'll like change my route.
25:11 --> 25:14 [SPEAKER_09]: So I don't have to drive over big bridges because I panic.
25:14 --> 25:14 [SPEAKER_09]: I don't like it.
25:15 --> 25:16 [SPEAKER_09]: Like it's the height or something.
25:16 --> 25:16 [SPEAKER_00]: It's the height.
25:16 --> 25:19 [SPEAKER_00]: It would you forward a river in Oregon Trail?
25:19 --> 25:20 [SPEAKER_09]: I was.
25:20 --> 25:21 [SPEAKER_00]: It's not the river.
25:21 --> 25:22 [SPEAKER_00]: It's the height above the river.
25:22 --> 25:25 [SPEAKER_00]: It's honestly, you put the wagons and float them across the.
25:25 --> 25:26 [SPEAKER_09]: I don't mind that.
25:26 --> 25:27 [SPEAKER_09]: It's the stuff over my head.
25:28 --> 25:31 [SPEAKER_09]: Like if it's a bridge that doesn't have like the stuff suspension,
25:33 --> 25:33 [SPEAKER_09]: I'm okay with it.
25:34 --> 25:35 [SPEAKER_09]: It's not the height of the light.
25:35 --> 25:35 [SPEAKER_00]: It's open.
25:36 --> 25:37 [SPEAKER_09]: I don't like it.
25:37 --> 25:38 [SPEAKER_09]: Oh, and that's where it all started.
25:38 --> 25:39 [SPEAKER_00]: Well, I sense this go baby bridge.
25:39 --> 25:42 [SPEAKER_00]: We all are quick in the middle of that space.
25:42 --> 25:44 [SPEAKER_09]: Yeah, like we went to Newport, Rhode Island.
25:44 --> 25:48 [SPEAKER_09]: We're a couple of years ago for like a family trip and I was like paralyzed.
25:48 --> 25:50 [SPEAKER_09]: Like I couldn't I can't hang.
25:50 --> 25:51 [SPEAKER_00]: your kid had to drive.
25:51 --> 25:56 [SPEAKER_09]: I just like, shooting out of anime husband drove, it worked out really well for me.
25:56 --> 26:05 [SPEAKER_09]: But I just, so either way, for cognitive behavioral therapy, they're not wondering why I'm scared of driving over bridges.
26:05 --> 26:07 [SPEAKER_09]: There's a reason, but they're not concerned about that.
26:08 --> 26:13 [SPEAKER_09]: They just want to get me to drive over the bridge and they'll do like interventions to help me.
26:13 --> 26:15 [SPEAKER_09]: Like, okay, let's look at a bunch of pictures of bridges or
26:16 --> 26:22 [SPEAKER_09]: Now let's practice urine a car with someone while they're driving over a bridge and you don't chew the ad van and you keep your eyes open the whole time, right?
26:23 --> 26:26 [SPEAKER_09]: And then eventually you get to the point that you can drive across the bridge.
26:26 --> 26:28 [SPEAKER_09]: And then they can say, we fixed you.
26:29 --> 26:36 [SPEAKER_09]: We fixed your cognitive distortion around bridges that now you're we can build your insurance because we solved the problem.
26:36 --> 26:37 [SPEAKER_09]: It's very practical.
26:37 --> 26:39 [SPEAKER_09]: It's very like a practical.
26:39 --> 26:40 [SPEAKER_00]: I'm sorry.
26:40 --> 26:51 [SPEAKER_00]: Detecting a lot of sort of negativity about this guy and you're saying it's the most common kind of therapy feels a really like
26:53 --> 26:53 [SPEAKER_09]: I don't know.
26:53 --> 26:55 [SPEAKER_09]: It's definitely works.
26:55 --> 26:56 [SPEAKER_09]: It definitely works.
26:56 --> 27:01 [SPEAKER_09]: And it works well for people that are solution focused, which a lot of people are solution focused.
27:01 --> 27:03 [SPEAKER_09]: But a lot of people are emotion focused.
27:03 --> 27:08 [SPEAKER_09]: Like for me, I want to fix, I don't want to just put a cast on the broken wire.
27:08 --> 27:09 [SPEAKER_00]: Are you afraid of bridges?
27:09 --> 27:10 [SPEAKER_09]: Yeah, I want to like fix.
27:11 --> 27:13 [SPEAKER_09]: I want to like set the bow and first before I put the cast on it.
27:13 --> 27:14 [SPEAKER_00]: Right.
27:14 --> 27:15 [SPEAKER_09]: I don't want to just put the bandit on.
27:15 --> 27:17 [SPEAKER_09]: I want to like figure out why, but that's just my nature.
27:18 --> 27:27 [SPEAKER_00]: Can I predict that the therapist in our audience, which, you know, we have some musicians in our audience, so I assume we have some therapists in our audience.
27:28 --> 27:33 [SPEAKER_00]: And some of them are right now readying their phones to send us an email.
27:33 --> 27:35 [SPEAKER_00]: Never musicpot at gmail.com.
27:35 --> 27:38 [SPEAKER_00]: Saying, I totally talk about the fact that
27:39 --> 28:03 [SPEAKER_09]: you have toxic relationship with your mother when what while we're talking about bridges your your your your fear of spiders is actually because of you know a rakanophobia in the eighties probably people are unpacking that stuff in therapy yeah it's not ignored it's not and the big thing that I teach in my counseling classes is you can't just pick one thing like there are some skills based like there's dialectical behavioral therapy or dbt that is very
28:04 --> 28:07 [SPEAKER_09]: There is a formula to it.
28:08 --> 28:10 [SPEAKER_09]: There is like a set of standards around it.
28:10 --> 28:12 [SPEAKER_09]: It is kind of more rigid.
28:12 --> 28:17 [SPEAKER_09]: But like cognitive behavioral therapy, any good therapist is incorporating all of it in session.
28:17 --> 28:17 [SPEAKER_00]: Got it.
28:17 --> 28:21 [SPEAKER_00]: So it's not, it's not just, oh, I am a Freudian psychotherapist.
28:21 --> 28:21 [SPEAKER_00]: Let's do this.
28:21 --> 28:23 [SPEAKER_00]: It's like you're going to therapy and they'll do
28:24 --> 28:32 [SPEAKER_00]: CBT, CBT for a while, but they're also being informed by, you know, it's like this music is influenced by dubstep, but also influenced by trap and influenced by pop.
28:32 --> 28:33 [SPEAKER_00]: Exactly.
28:33 --> 28:34 [SPEAKER_00]: It's all a little bit.
28:34 --> 28:34 [SPEAKER_00]: Okay.
28:34 --> 28:36 [SPEAKER_09]: And you kind of like suit your client.
28:36 --> 28:42 [SPEAKER_09]: Like for you, you'd respond really well to CBT because it's solution focused near a solution focused type of human.
28:42 --> 28:45 [SPEAKER_09]: You might want like a worksheet to help you solve a problem.
28:46 --> 28:55 [SPEAKER_00]: I'm not like a, you know, like, if this happens to your strategies to cope with it or your strategies to come crazy.
28:55 --> 28:57 [SPEAKER_09]: And for me, that's fine.
28:57 --> 28:59 [SPEAKER_09]: I'm happy to learn the strategies, but I want to deep dive.
28:59 --> 29:02 [SPEAKER_09]: I want to like pick all the cobwebs out and see what's up.
29:02 --> 29:02 [SPEAKER_03]: Sure.
29:04 --> 29:06 [SPEAKER_09]: in cognitive behavioral therapy.
29:06 --> 29:08 [SPEAKER_09]: We focus a lot on cognitive distortions.
29:08 --> 29:10 [SPEAKER_09]: There's several different types.
29:10 --> 29:12 [SPEAKER_09]: They're like coded types of cognitive distortions.
29:13 --> 29:19 [SPEAKER_00]: And we're going to get another list with like numbers and letters that people in our discord can like to have like a time to know.
29:19 --> 29:25 [SPEAKER_09]: There are like, I can like, or show me PDF on the discord, but there are like set cognitive distortions.
29:25 --> 29:27 [SPEAKER_09]: And one of them is catastrophizing.
29:27 --> 29:30 [SPEAKER_09]: And the song, the lyrics of the song,
29:30 --> 29:32 [SPEAKER_09]: It catastrophizes a lot.
29:32 --> 29:35 [SPEAKER_09]: Can you guess what catastrophizing means?
29:35 --> 29:42 [SPEAKER_00]: If I have a fight with my significant other and then I have a therapy session or whatever, I would just be like, oh my god, they're going to leave me.
29:42 --> 29:42 [SPEAKER_00]: This is the worst.
29:43 --> 29:48 [SPEAKER_00]: Oh my god, I can't believe or like, I was late to work once and they're going to fire me and then what's going to happen.
29:48 --> 29:50 [SPEAKER_00]: I'm going to lose my house like all that kind of thing.
29:50 --> 29:52 [SPEAKER_09]: It likes you as the kids say you crash out.
29:52 --> 29:53 [SPEAKER_00]: Oh, crash out.
29:53 --> 29:53 [SPEAKER_00]: Okay.
29:53 --> 29:53 [SPEAKER_00]: Yeah.
29:55 --> 30:09 [SPEAKER_09]: And it is like, I forgot to change the laundry and my husband's gonna get so mad because he needs his work clothes and then he's gonna not have clean work clothes and then he's gonna lose his job and then we're gonna lose our house and then we're gonna have to move back it with my mom and I can't stand my mom.
30:09 --> 30:11 [SPEAKER_09]: I actually love my mom if she's listening.
30:11 --> 30:21 [SPEAKER_09]: But it becomes like all of a sudden I went from not changing the laundry as the problem to like, now I have to put my mom in a nursing home because she's gone crazy because she's living with us.
30:22 --> 30:22 [SPEAKER_04]: Yeah.
30:22 --> 30:25 [SPEAKER_09]: It like spirals out and you can't get hold of it.
30:25 --> 30:31 [SPEAKER_09]: And that's what the lyrics of this song is doing, it's capturing the sense of all or nothing thinking.
30:31 --> 30:32 [SPEAKER_00]: Can you give me some examples?
30:32 --> 30:33 [SPEAKER_00]: I need you.
30:33 --> 30:34 [SPEAKER_09]: I need you.
30:34 --> 30:35 [SPEAKER_09]: I need you right now.
30:35 --> 30:36 [SPEAKER_09]: Okay.
30:36 --> 30:38 [SPEAKER_09]: I mean, that's really the only lyric of this song.
30:38 --> 30:39 [SPEAKER_09]: I think don't let me down.
30:39 --> 30:42 [SPEAKER_09]: It's just kind of the cyclical thought.
30:42 --> 30:45 [SPEAKER_09]: It's like cyclical spiral that she's in.
30:45 --> 30:45 [SPEAKER_00]: Yeah.
30:45 --> 30:47 [SPEAKER_09]: Kind of made me think of this.
30:47 --> 30:49 [SPEAKER_00]: It's almost like when we talked about
30:50 --> 30:51 [SPEAKER_00]: Can't get you out of my head.
30:52 --> 30:53 [SPEAKER_00]: Persistent, what have they called?
30:53 --> 30:54 [SPEAKER_09]: Intrusive thoughts.
30:54 --> 30:55 [SPEAKER_00]: Intrusive thoughts.
30:55 --> 30:56 [SPEAKER_00]: It's a little bit like that, right?
30:56 --> 31:01 [SPEAKER_09]: Yeah, and it's the same like kind of family for just storytelling.
31:01 --> 31:03 [SPEAKER_00]: Oh my god, will you say crash out?
31:03 --> 31:03 [SPEAKER_09]: Yeah.
31:03 --> 31:04 [SPEAKER_09]: I started in the lyrics.
31:04 --> 31:05 [SPEAKER_00]: Crash in.
31:05 --> 31:06 [SPEAKER_09]: Yeah.
31:06 --> 31:06 [SPEAKER_00]: Hit a wall.
31:07 --> 31:08 [SPEAKER_00]: Right now, I need a miracle.
31:08 --> 31:10 [SPEAKER_00]: Hurry up now, I need a miracle.
31:10 --> 31:11 [SPEAKER_00]: Stranded, reaching out.
31:12 --> 31:13 [SPEAKER_00]: I call your name, but you're not around.
31:13 --> 31:15 [SPEAKER_00]: I say your name, but you're not around.
31:15 --> 31:17 [SPEAKER_00]: And then we get the stuff you were talking about.
31:18 --> 31:21 [SPEAKER_00]: The next verse running out of time.
31:21 --> 31:25 [SPEAKER_00]: I really thought you were on my side, but now there's nobody by my side.
31:26 --> 31:27 [SPEAKER_00]: That one's possible.
31:28 --> 31:29 [SPEAKER_00]: Yeah, I can kind of see what you mean.
31:30 --> 31:32 [SPEAKER_00]: Like, is it catastrophizing?
31:32 --> 31:33 [SPEAKER_00]: It's certainly like,
31:34 --> 31:35 [SPEAKER_00]: There's a desperation to it.
31:36 --> 31:39 [SPEAKER_00]: That's a little maybe extreme for the scenario.
31:40 --> 31:52 [SPEAKER_09]: Yeah, like this all or the type of all or nothing thinking is like what we kind of think of when we think of catastrophizing that like either you're here and you love me or you're not right next to me and you hate me and you're dead to me, right?
31:53 --> 31:53 [SPEAKER_02]: Yeah.
31:53 --> 31:55 [SPEAKER_09]: And that's why it happens that in between.
31:55 --> 32:01 [SPEAKER_09]: And the way that the song feels to me with like the electronic background and her like
32:03 --> 32:08 [SPEAKER_09]: vocal distortion in the way that she's coming in in a really fragmented way.
32:08 --> 32:12 [SPEAKER_09]: It just reminded me of that feeling when you are kind of spiraling out in your own head.
32:13 --> 32:15 [SPEAKER_09]: So it made that connection for me when I was listening to the song.
32:15 --> 32:23 [SPEAKER_00]: The rhythms coming at erratic times has a little intrusive thoughtness to it, a little stream of consciousness to it.
32:38 --> 32:41 [SPEAKER_00]: I think can I really go stretch here?
32:41 --> 32:42 [SPEAKER_00]: Yeah.
32:42 --> 32:43 [SPEAKER_00]: You're hearing distortion.
32:44 --> 32:46 [SPEAKER_00]: I'm hearing very digital and digital.
32:47 --> 32:54 [SPEAKER_00]: Everything in the digital realm as opposed to the analog realm of data is encoded as zeros and ones, which is yes or no.
32:55 --> 33:02 [SPEAKER_00]: And if you're talking about catastrophizing being essentially all or nothing, thinking, it's either happening or it's not.
33:03 --> 33:08 [SPEAKER_00]: That is what a zero and a one in a Boolean expression are like binary code of a computer, right?
33:09 --> 33:17 [SPEAKER_00]: Which is what the song is that digital sound is that way because nothing is there's no in-between's, right?
33:17 --> 33:17 [SPEAKER_00]: We have
33:18 --> 33:41 [SPEAKER_00]: digital music obviously we have so many millions of of data points we can use now with modern technology but it's still at its core is an expression of yes or no which is kind of black or white robotic as opposed to the shades of in between which is a much more human and as you said organic a million percent more nuanced right by definition so
33:42 --> 33:56 [SPEAKER_09]: this the rigid perception here of this all or nothing thinking because it is so subhuman like it's not how we're programmed as creatures can lead to like an emotional collapse or like an emotional spiral because it
33:57 --> 33:58 [SPEAKER_09]: There's nothing that's that Richard.
33:59 --> 34:00 [SPEAKER_09]: Everything has one, right?
34:00 --> 34:00 [SPEAKER_09]: There aren't.
34:01 --> 34:01 [SPEAKER_00]: Yes, sure.
34:01 --> 34:02 [SPEAKER_00]: Sure.
34:02 --> 34:02 [SPEAKER_00]: Sure.
34:02 --> 34:02 [SPEAKER_00]: Sure.
34:02 --> 34:02 [SPEAKER_00]: Problems.
34:02 --> 34:03 [SPEAKER_00]: Yeah.
34:03 --> 34:04 [SPEAKER_09]: A emotional problem.
34:04 --> 34:05 [SPEAKER_09]: So it's always something.
34:05 --> 34:08 [SPEAKER_00]: You're not going to put your mother in the nursing home, but your husband might lose their job.
34:09 --> 34:09 [SPEAKER_00]: There is.
34:09 --> 34:12 [SPEAKER_00]: There is something that could be bad there, but it's not as bad.
34:12 --> 34:13 [SPEAKER_00]: And that's why it's good.
34:13 --> 34:17 [SPEAKER_09]: Maybe he is tricky for me because it's not just about can you cross that bridge.
34:18 --> 34:21 [SPEAKER_09]: It's about what's stopping you from trying in the first place.
34:21 --> 34:27 [SPEAKER_09]: For me, as a pseudo-clinician, there's nuance, right?
34:28 --> 34:31 [SPEAKER_00]: I think then you would, yeah, you see BET as well as.
34:31 --> 34:35 [SPEAKER_09]: As well as, okay, let's unpack it and see what your fear comes from.
34:37 --> 34:40 [SPEAKER_09]: And then see how we can find a path to move forward.
34:40 --> 34:41 [SPEAKER_09]: And it really talks about
34:43 --> 34:56 [SPEAKER_09]: locus of control, like either you have an internal or an external locus of control, like what's driving, what's driving your mental bus essentially, like are you more intrinsically or extrinsically motivated?
34:57 --> 35:03 [SPEAKER_09]: And I think that in CBT it is focusing on more of an external locus of control, which is getting you to execute the task.
35:04 --> 35:13 [SPEAKER_09]: for some external reward and an internal locus of control or intrinsic motivation is about like you really wanting to do it.
35:13 --> 35:15 [SPEAKER_09]: Like you want to really solve the problem.
35:16 --> 35:20 [SPEAKER_09]: So how I teach this, I say to my students, I think about why you're at college.
35:21 --> 35:24 [SPEAKER_09]: you at college to get a degree so you can get a good job so you can make money.
35:25 --> 35:28 [SPEAKER_09]: Those are external, that's extrinsic motivation.
35:29 --> 35:30 [SPEAKER_09]: You're motivated by things outside yourself.
35:31 --> 35:33 [SPEAKER_09]: Are you here because your mom and dad said you have to come?
35:33 --> 35:36 [SPEAKER_09]: That's an external extrinsic motivation.
35:37 --> 35:43 [SPEAKER_09]: And some people, especially our older students, are more intrinsically motivated.
35:43 --> 35:44 [SPEAKER_09]: They just want to learn.
35:45 --> 35:48 [SPEAKER_09]: They really want to learn the knowledge and learn the information.
35:49 --> 35:51 [SPEAKER_09]: And that's why they're there.
35:51 --> 35:53 [SPEAKER_09]: When you think of your students, where do you put them?
35:53 --> 35:57 [SPEAKER_09]: Because I've taught students at your school and I've taught students at my school.
35:58 --> 36:01 [SPEAKER_09]: And I know that there's a difference between our two cohorts.
36:01 --> 36:04 [SPEAKER_00]: I think there's also the music major thing.
36:04 --> 36:08 [SPEAKER_00]: There's not a lot of music majors that are in it because Mom and Dad told them they have to.
36:08 --> 36:08 [SPEAKER_00]: Right.
36:09 --> 36:13 [SPEAKER_00]: And there's not a lot of music majors that are in it because it'll give them a great job when they're done because
36:13 --> 36:15 [SPEAKER_00]: Guess what, it's hard out there.
36:15 --> 36:24 [SPEAKER_00]: You're still, I'm providing them with skills that will make them more likely to be successful in their musical exploits, but the degree, the paper doesn't give you crap.
36:24 --> 36:26 [SPEAKER_00]: I have a doctorate, and it doesn't entitle me.
36:26 --> 36:35 [SPEAKER_00]: I love how the doctorate, the degrees say, confers upon you, the degree of doctorate musical arts, and all the what is it, and all the rights and privileges is conferred upon that.
36:36 --> 36:37 [SPEAKER_00]: And I'm like, you mean nothing?
36:38 --> 36:41 [SPEAKER_09]: Well, when you, when you book a room in a hotel, you get to say,
36:41 --> 36:43 [SPEAKER_00]: get to say, Dr. I guess if I want, right?
36:43 --> 36:47 [SPEAKER_00]: But I think I'm already if you compare them to business majors.
36:47 --> 36:47 [SPEAKER_00]: Yeah.
36:48 --> 36:51 [SPEAKER_00]: I'm already dealing with more intrinsic motivation.
36:51 --> 37:03 [SPEAKER_00]: But on the other hand, and this is why I was kind of like when you were saying what you were saying about intrinsic versus intrinsic intrinsic intrinsic versus extrinsic, even that needs to be more analog because
37:05 --> 37:10 [SPEAKER_00]: All my yay internally motivated students, what do they want?
37:11 --> 37:12 [SPEAKER_00]: The admiration of fans.
37:13 --> 37:14 [SPEAKER_00]: They want to be successful.
37:14 --> 37:17 [SPEAKER_00]: They want to have a gainful employment doing something they love.
37:18 --> 37:24 [SPEAKER_00]: I was inexplicably drawn to make music and art, but to do so in a way that could sustain myself.
37:25 --> 37:35 [SPEAKER_00]: So if I was only intrinsically motivated, what I'd be doing all the things that I have done, am I doing this podcast for me or because people would listen to it?
37:35 --> 37:43 [SPEAKER_00]: And like it, like so it's, I think artists in general have the intrinsic and extrinsic values balanced at all times.
37:43 --> 37:45 [SPEAKER_00]: Anyways, like who am I doing this for?
37:46 --> 37:48 [SPEAKER_00]: And the answer is yourself and other people.
37:48 --> 37:48 [SPEAKER_00]: Right.
37:48 --> 37:51 [SPEAKER_00]: And that's, and that's just by doing it.
37:52 --> 37:52 [SPEAKER_09]: It can.
37:54 --> 37:56 [SPEAKER_09]: And most often times is a little bit of both.
37:57 --> 37:57 [SPEAKER_09]: Right.
37:57 --> 38:07 [SPEAKER_09]: Like you can be in college because you want to learn the content and you want to better yourself as a creator or learn more about what makes you and the people around you tick.
38:08 --> 38:09 [SPEAKER_09]: And you know that.
38:10 --> 38:13 [SPEAKER_09]: In some fields, the degree counts.
38:14 --> 38:15 [SPEAKER_09]: The piece of paper counts.
38:15 --> 38:18 [SPEAKER_09]: Making your parents happy counts, so they keep paying your rent for you.
38:19 --> 38:19 [SPEAKER_04]: Right.
38:19 --> 38:19 [SPEAKER_09]: Yes.
38:20 --> 38:20 [SPEAKER_04]: Yeah.
38:21 --> 38:30 [SPEAKER_09]: So it can be both in this goes back to what we were just discussing seal about major and minor that you need both.
38:30 --> 38:32 [SPEAKER_09]: You can't be just driven by money.
38:33 --> 38:37 [SPEAKER_09]: Right, maybe these tech bros are just driven by money.
38:37 --> 38:41 [SPEAKER_09]: And they're just like, you know, this is formulas for how we're going to make hits and make money.
38:41 --> 38:44 [SPEAKER_09]: Like, that's a drag.
38:45 --> 38:54 [SPEAKER_09]: You know, I have no evidence that that's true, but I don't know, but all right, it's interesting.
38:54 --> 38:55 [SPEAKER_09]: It's all very interesting.
38:55 --> 38:57 [SPEAKER_00]: Let me come back to this musical idea real quick.
38:57 --> 38:58 [SPEAKER_00]: And then we'll wrap up on this.
38:58 --> 39:00 [SPEAKER_00]: This is super fascinating, though.
39:00 --> 39:02 [SPEAKER_00]: Can I give some more examples?
39:02 --> 39:03 [SPEAKER_00]: I have a bunch of examples, actually.
39:03 --> 39:05 [SPEAKER_00]: Other examples of rhythmic displacement.
39:06 --> 39:10 [SPEAKER_00]: This is a very simple one and it makes all the difference though.
39:10 --> 39:15 [SPEAKER_00]: Starts on beat four and then the whole thing repeats, but starting this time on beat one.
39:15 --> 39:16 [SPEAKER_00]: See what the effect is.
39:21 --> 39:35 [SPEAKER_02]: Christina Aguilera, a.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.t.
39:50 --> 39:52 [SPEAKER_00]: I think now I'm drawing more to Brittany.
39:52 --> 39:53 [SPEAKER_09]: Yeah.
39:53 --> 39:54 [SPEAKER_00]: But weirdness of Brittany.
39:54 --> 39:55 [SPEAKER_00]: What's happening?
39:55 --> 39:56 [SPEAKER_00]: Not Brittany, the person, but some of the music.
39:57 --> 40:01 [SPEAKER_00]: That was, I had, I had one and nothing to do with this kind of music.
40:01 --> 40:03 [SPEAKER_00]: I like, I mean, I think this is a cool song.
40:03 --> 40:06 [SPEAKER_00]: To the point, though, one, two, three.
40:07 --> 40:08 [SPEAKER_00]: What a girl wants.
40:08 --> 40:10 [SPEAKER_00]: And then later, we get three, four.
40:11 --> 40:12 [SPEAKER_00]: What a girl wants.
40:12 --> 40:13 [SPEAKER_00]: Right on beat one.
40:13 --> 40:13 [SPEAKER_09]: Right.
40:13 --> 40:15 [SPEAKER_09]: And like, is anticipatory.
40:16 --> 40:18 [SPEAKER_00]: The first time is, and then it happens late.
40:18 --> 40:19 [SPEAKER_09]: Yes.
40:19 --> 40:19 [SPEAKER_00]: All right.
40:19 --> 40:20 [SPEAKER_00]: So here's another example.
40:21 --> 40:27 [SPEAKER_00]: This thing starts on beat one, and then when it repeats, it starts on the end of four, meaning a half beat to early.
40:37 --> 40:41 [SPEAKER_00]: The Eagles, of course, in nineteen seventy six, life in the fast lane.
40:41 --> 40:42 [SPEAKER_09]: A great one.
40:42 --> 40:43 [SPEAKER_00]: Yeah, starts on beat one.
40:44 --> 40:45 [SPEAKER_00]: Da da da da da da da da.
40:45 --> 40:48 [SPEAKER_00]: But the last time one, two, three, four.
40:48 --> 41:07 [SPEAKER_00]: Da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da
41:11 --> 41:17 [SPEAKER_00]: She says, you know, wish you talk, wish comes in on beat four, then beat three, then beat two, then beat one.
41:17 --> 41:18 [SPEAKER_00]: She's almost counting down.
41:19 --> 41:20 [SPEAKER_00]: It's different every time she does it.
41:20 --> 41:20 [SPEAKER_00]: Check it out.
41:37 --> 41:39 [SPEAKER_09]: It's really like that whole album is very good.
41:39 --> 41:42 [SPEAKER_09]: And I like this miracle displacement in this song.
41:42 --> 41:43 [SPEAKER_09]: I think it adds a lot of value.
41:44 --> 41:54 [SPEAKER_09]: And it reminds me of how she has so much staying power and will be around for so long and no one's people are paying attention to her.
41:54 --> 41:59 [SPEAKER_09]: But she's not getting like the critical acclaim or she's not winning the award.
41:59 --> 42:01 [SPEAKER_00]: That album was Grammy nominee.
42:01 --> 42:04 [SPEAKER_09]: It was Grammy nominated for sure, but like, was it better than cowboy Carter?
42:05 --> 42:08 [SPEAKER_00]: I think Robert Carter is better, but you and I disagreed on Calplicard.
42:08 --> 42:19 [SPEAKER_00]: Well, I, you know, actually, since we've, everybody listen to our now no, our guesses are irrelevant, but we have some good album deep dives in our Grammys, twenty twenty four episodes.
42:19 --> 42:23 [SPEAKER_09]: And like ever since that episode, I was like, you know, Ed Mark, I'd really value your opinion on music.
42:24 --> 42:28 [SPEAKER_09]: I do, and sometimes like most of the time, if you really like something, there's a reason for it.
42:29 --> 42:29 [SPEAKER_09]: So after that,
42:30 --> 42:36 [SPEAKER_09]: I didn't tell you this then, but I went back and like listened to cowboy Carter and like then got really hooked on it.
42:36 --> 42:38 [SPEAKER_09]: So you like it.
42:38 --> 42:38 [SPEAKER_09]: So you were right.
42:38 --> 42:41 [SPEAKER_00]: I didn't like Brad as much as some of the other records we did.
42:41 --> 42:43 [SPEAKER_00]: I liked it, but I didn't like it.
42:43 --> 42:47 [SPEAKER_00]: I had other that their horses I was betting on.
42:47 --> 42:48 [SPEAKER_09]: Like the Andre through thousand.
42:48 --> 42:50 [SPEAKER_00]: It's not, I appreciate it that no.
42:50 --> 42:52 [SPEAKER_00]: I mean, the one that kind of blew me away.
42:52 --> 42:58 [SPEAKER_00]: I thought Kabakarta was great, but the one that blew me away was the shappled round in particular.
42:58 --> 42:59 [SPEAKER_00]: But okay.
42:59 --> 43:01 [SPEAKER_00]: We're gonna do, we're probably doing Grammys again this year.
43:01 --> 43:02 [SPEAKER_09]: I do too.
43:02 --> 43:02 [SPEAKER_09]: Yeah.
43:03 --> 43:03 [SPEAKER_00]: Okay.
43:03 --> 43:04 [SPEAKER_00]: It's almost a promise.
43:04 --> 43:04 [SPEAKER_00]: Okay.
43:04 --> 43:05 [SPEAKER_00]: Two more examples.
43:05 --> 43:07 [SPEAKER_09]: I'm really into that Benson Boone.
43:07 --> 43:07 [SPEAKER_00]: All right.
43:07 --> 43:14 [SPEAKER_00]: Some of you are getting, some of you guys are getting sick listeners of the same examples, but you have to understand.
43:15 --> 43:20 [SPEAKER_00]: I have been deep diving in certain artists to try to choose what song I want to actually do an episode on.
43:21 --> 43:26 [SPEAKER_00]: And what that, what that creates is a bunch of moments where I'm like, holy crap, that's really cool.
43:26 --> 43:29 [SPEAKER_00]: Write it down, write it down, and then I end up using it in other episodes.
43:29 --> 43:31 [SPEAKER_09]: Is it, are we in the Taylor Swift Fortex right now?
43:31 --> 43:32 [SPEAKER_00]: We're talking about Hime again.
43:33 --> 43:41 [SPEAKER_00]: Because I want to do a Hime episode, and we're probably going to do one, but I keep, I almost did it on this song, but this is not a super famous song of it.
43:41 --> 43:42 [SPEAKER_09]: This is the wire.
43:43 --> 43:44 [SPEAKER_00]: No, I love that song so much.
43:45 --> 43:47 [SPEAKER_00]: That's gonna come up as a musical example.
43:48 --> 43:50 [SPEAKER_00]: So this is walking away from twenty seventeen.
43:51 --> 43:56 [SPEAKER_00]: This is a bunch of different repetitions of the same words all happening on different beats.
44:17 --> 44:18 [SPEAKER_09]: Do you think they'll play that song live?
44:19 --> 44:20 [SPEAKER_00]: At the concert that we might go to.
44:20 --> 44:27 [SPEAKER_00]: That air is probably two weeks, or that happens two weeks before this episode.
44:27 --> 44:29 [SPEAKER_00]: We're still, we're still a few weeks out of y'all.
44:30 --> 44:30 [SPEAKER_00]: I don't know.
44:31 --> 44:32 [SPEAKER_09]: It's so good with headphones on.
44:32 --> 44:35 [SPEAKER_00]: Well, because there's all the left-and-right pan stuff.
44:35 --> 44:36 [SPEAKER_00]: One more example.
44:36 --> 44:36 [SPEAKER_00]: Okay.
44:37 --> 44:37 [SPEAKER_00]: Any, yes.
44:38 --> 44:39 [SPEAKER_08]: Is it a hand we get a tail of stuff?
44:39 --> 44:41 [SPEAKER_00]: Tail of sweat just back again.
44:41 --> 44:42 [SPEAKER_08]: Still on folklore, are we stuck?
44:42 --> 44:43 [SPEAKER_00]: No, we're not.
44:43 --> 44:44 [SPEAKER_00]: We're not on folklore, we're on midnight.
44:45 --> 44:47 [SPEAKER_08]: I mean, these are so karma.
44:48 --> 45:12 [SPEAKER_00]: Also, if I hadn't decided to do card again, and if I hadn't decided to do this song for rhythmic displacement, I would have maybe done karma for rhythmic displacement, just without getting into the detail, she keeps basically saying the same figure with slightly different words, starting on different beats, but also shortening and lengthening, and it creates a very chaotic and awesome hook.
45:16 --> 45:34 [SPEAKER_01]: I want you to go I want you to breathe in my hair on the weekend I want you to be a step for you it's not sweet like honey I want you to be a step for you it's not sweet like honey I want you to be a step for you it's not sweet like honey I want you to be a step for you it's not sweet like honey I want you to be a step for you it's not sweet like honey I want you to be a step for you it's not sweet like honey I want you to be a step for you
45:35 --> 45:40 [SPEAKER_09]: And it's even more pronounced in this example, because the two and four beat are so prominent.
45:40 --> 45:41 [SPEAKER_00]: Yeah, the back beat.
45:41 --> 45:52 [SPEAKER_09]: The back beat is so like regimented in a very lovely and organic way that it really, it makes her vocal displacement really stand out.
45:53 --> 45:53 [SPEAKER_09]: Did you write that?
45:53 --> 46:00 [SPEAKER_00]: And I think that's similar to this song to change smell corresponds by the steadiness of the drums amplifies the not steadiness of the vocal.
46:02 --> 46:22 [SPEAKER_00]: Okay, so my question for you, in my head, like if you told me a bunch of bro grammars or tech bros had started a musical group, the style of music that makes sense for me is like super digital EDM with like, with like an attractive woman singing people, just like this.
46:22 --> 46:25 [SPEAKER_00]: This fits if you told me that a tech startup guy
46:26 --> 46:29 [SPEAKER_00]: started up a band with his chief information officer.
46:30 --> 46:30 [SPEAKER_00]: It would sound like this.
46:30 --> 46:31 [SPEAKER_09]: Okay.
46:31 --> 46:31 [SPEAKER_09]: Got it.
46:32 --> 46:34 [SPEAKER_00]: So let's play with this a little bit.
46:34 --> 46:39 [SPEAKER_00]: Want me to stereo typical or like what in your head for better or worse?
46:40 --> 46:43 [SPEAKER_00]: Do you imagine the kind of music a profession would make?
46:43 --> 46:50 [SPEAKER_00]: So a psychologist or psychiatrist or therapist, start a band or a musical group.
46:50 --> 46:51 [SPEAKER_00]: What is it?
46:51 --> 46:52 [SPEAKER_00]: What kind of music is it?
46:52 --> 46:55 [SPEAKER_09]: Like if we are a side gig.
46:56 --> 47:01 [SPEAKER_00]: Yes, you and your colleagues in your department started or even just you go to a conference.
47:01 --> 47:02 [SPEAKER_00]: Yeah.
47:02 --> 47:04 [SPEAKER_09]: And they're like, yes, special guest tonight.
47:05 --> 47:06 [SPEAKER_09]: And it's like the psych professor band.
47:06 --> 47:07 [SPEAKER_00]: Yes, what would that be?
47:07 --> 47:08 [SPEAKER_00]: What kind of music?
47:10 --> 47:11 [SPEAKER_00]: Probably not like this.
47:12 --> 47:13 [SPEAKER_09]: Probably not like this.
47:13 --> 47:15 [SPEAKER_09]: And it's, you know what?
47:15 --> 47:16 [SPEAKER_09]: I think that
47:18 --> 47:20 [SPEAKER_09]: Psych professors are kind of full of surprises.
47:21 --> 47:21 [SPEAKER_00]: Okay.
47:22 --> 47:23 [SPEAKER_09]: And we love catharsis.
47:23 --> 47:25 [SPEAKER_09]: I think it would be like a metal band.
47:25 --> 47:27 [SPEAKER_09]: Like a new metal band.
47:27 --> 47:28 [SPEAKER_09]: I really do metal band.
47:28 --> 47:29 [SPEAKER_00]: I think it would be.
47:30 --> 47:31 [SPEAKER_09]: I think it would be like something.
47:31 --> 47:33 [SPEAKER_00]: Like rap, shouting stuff.
47:33 --> 47:34 [SPEAKER_09]: Yeah.
47:34 --> 47:34 [SPEAKER_00]: Okay.
47:36 --> 47:44 [SPEAKER_09]: agro and violent almost because we like you have to get it out somehow and that would be good catharsis.
47:44 --> 47:52 [SPEAKER_09]: The stereotypical answer would be like singer songwriter really like in your feelings type of music but we do that enough in our day jobs.
47:52 --> 47:53 [SPEAKER_09]: We need like an outlet.
47:54 --> 47:55 [SPEAKER_09]: I think it would be like thrash metal.
47:56 --> 48:01 [SPEAKER_00]: So that's where, like, if I go music professors, that's why there's kind of also two answers to.
48:01 --> 48:06 [SPEAKER_00]: Because the stereotypical answer is it's going to be jazz or it's going to be like Prague, rock or something fancy.
48:07 --> 48:07 [SPEAKER_04]: Right.
48:07 --> 48:12 [SPEAKER_00]: But I think the actual answer is like my band where we're like, just having fun.
48:12 --> 48:14 [SPEAKER_00]: Let's make pop music that's done at a really high level.
48:15 --> 48:19 [SPEAKER_00]: Right, which is because we're sick of having to be fancy, right, out of all our other gigs.
48:20 --> 48:23 [SPEAKER_00]: Any other careers or should we just limit it to ours and not insult anybody?
48:23 --> 48:25 [SPEAKER_08]: I think that that's fine.
48:25 --> 48:25 [SPEAKER_00]: We'll leave it at that.
48:25 --> 48:27 [SPEAKER_00]: The bro grammars are insulted.
48:27 --> 48:30 [SPEAKER_00]: The psych professors and the music professors.
48:30 --> 48:32 [SPEAKER_00]: We can continue to let what we use to it.
48:36 --> 48:39 [SPEAKER_00]: Never mind the music is hosted by Nicole Batcher and me, Mark Popney.
48:40 --> 48:41 [SPEAKER_00]: I also produce.
48:42 --> 48:45 [SPEAKER_00]: Please leave us a rating and a review and don't forget to follow.
48:46 --> 48:48 [SPEAKER_00]: We're never music pot on social media.
48:48 --> 48:51 [SPEAKER_00]: And you can also send us an email at nevermusicpot at gmail.com.
48:53 --> 48:56 [SPEAKER_00]: Never mind the music is part of the lorehounds network.
48:56 --> 49:01 [SPEAKER_00]: Join the conversation by going to the lorehounds.com and hop on our Discord server.
49:02 --> 49:03 [SPEAKER_00]: Thanks for listening.