Have you ever actually tried to sleep with one eye open? In this week’s episode, we rock out to Metallica’s 1991 metal powerhouse “Enter Sandman.” Mark shows us some key changes that he finds dreamy. Meanwhile, Nichole makes a dark song event darker, looking at its meaning through the lens of childhood trauma. Off to Never-Neverland, indeed.
Other Music heard in this episode: Boyz II Men - “Under Pressure”, Metallica - “Dirty Window”, Metallica - “Master of Puppets”, Metallica - “Nothing Else Matters”, Metallica - “One”, Excel - “Tapping Into the Emotional Void”, Whitney Houston - “I Will Always Love You”, Bon Jovi - “Livin’ on a Prayer”, Boyz II Men - “On Bended Knee”, Michael Jackson - “Baby Be Mine”, The Beatles - “Lucy in the Sky With Diamonds”, Weezer - “Undone (The Sweater Song)”, Jessica Darrow - “Surface Pressure”
Send us your thoughts at NeverMusicPod@gmail.com
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00:00 --> 00:10 [SPEAKER_01]: This kid's going to sleep allegedly in kind of in my eyes, like a really toxic stressful environment that may not be great for their development.
00:12 --> 00:17 [SPEAKER_00]: And I'm toxic as James said that field's going, yeah, right in front of him basically trying to fall asleep.
00:17 --> 00:18 [SPEAKER_00]: Yeah, that's stressful.
00:19 --> 00:20 [SPEAKER_01]: It's just stressful.
00:20 --> 00:24 [SPEAKER_01]: I just imagine like Kirk Hammett like stroking my forehead so I can fall.
00:24 --> 00:25 [SPEAKER_00]: Well, that's comforting in a different year.
00:25 --> 00:27 [SPEAKER_00]: I don't really like Kirk Hammett.
00:27 --> 00:27 [SPEAKER_01]: I do.
00:28 --> 00:29 [SPEAKER_01]: It's the eyeliner for me.
00:40 --> 00:41 [SPEAKER_01]: Hey, I'm Nicole.
00:41 --> 00:42 [SPEAKER_00]: And I'm Mark.
00:42 --> 00:43 [SPEAKER_01]: And this is never mind the music.
00:44 --> 00:46 [SPEAKER_01]: What are we going to talk about today, Mark?
00:47 --> 00:48 [SPEAKER_00]: My question to you, Nicole.
00:49 --> 00:50 [SPEAKER_01]: Okay.
00:51 --> 00:57 [SPEAKER_00]: Before I answer the question, did you have anybody named Zach or Matt in your fourth grade class?
00:58 --> 00:59 [SPEAKER_01]: I bet I did.
00:59 --> 01:01 [SPEAKER_01]: I don't know about Zach.
01:02 --> 01:04 [SPEAKER_00]: Yeah, definitely not exactly it fourth grade.
01:04 --> 01:13 [SPEAKER_00]: They've evolved into a Zach and Reinvention and Elder Millennial Matthew would for sure be a Matthew.
01:14 --> 01:17 [SPEAKER_01]: Oh, I know it's a cool Matthew because we probably had like a Matthew G. But not Matthew's Matt.
01:18 --> 01:20 [SPEAKER_00]: Matt or embossed in sometimes Maddie.
01:20 --> 01:21 [SPEAKER_01]: Maddie.
01:21 --> 01:22 [SPEAKER_00]: Never Maddie.
01:22 --> 01:23 [SPEAKER_00]: No Maddie.
01:23 --> 01:23 [SPEAKER_00]: Maddie.
01:23 --> 01:24 [SPEAKER_00]: Maddie.
01:25 --> 01:25 [SPEAKER_00]: So Zach.
01:26 --> 01:28 [SPEAKER_00]: Zach and do not remember his last name.
01:29 --> 01:32 [SPEAKER_00]: He was in my class from time to time elementary school up through middle school.
01:32 --> 01:33 [SPEAKER_00]: He was cool.
01:34 --> 01:51 [SPEAKER_00]: Yeah, cool hair like he would always eventually he had a mohawk and high school right around like later by the time we were in middle school, he he was the kid who saw show girls and told everybody about it, which was like NC, seventeen and so many like they won't save by the bell references in the story that I'm not going to allow.
01:51 --> 01:51 [SPEAKER_00]: Never seen it.
01:52 --> 01:54 [SPEAKER_01]: What you've never seen saved by the bell?
01:54 --> 01:56 [SPEAKER_00]: No, I've never seen showgirls.
01:56 --> 01:56 [SPEAKER_01]: Oh, gosh.
01:56 --> 01:58 [SPEAKER_01]: I was just a storm out.
01:59 --> 02:01 [SPEAKER_00]: We just talked about saved by the bell.
02:01 --> 02:01 [SPEAKER_01]: Well, I do it.
02:02 --> 02:03 [SPEAKER_01]: I live and talking about saved by the bell.
02:03 --> 02:04 [SPEAKER_00]: That's right.
02:04 --> 02:04 [SPEAKER_00]: Really.
02:04 --> 02:05 [SPEAKER_00]: It's an amazing thing.
02:05 --> 02:06 [SPEAKER_00]: I've never seen showgirls.
02:06 --> 02:07 [SPEAKER_00]: Okay.
02:07 --> 02:09 [SPEAKER_00]: I have not seen the expanded universe.
02:10 --> 02:16 [SPEAKER_01]: There's actually a real now like a cult following about showgirls and Jesse Spano, who's in it.
02:16 --> 02:17 [SPEAKER_01]: That's not her real name.
02:17 --> 02:22 [SPEAKER_01]: She said like at the time, she was kind of embarrassed because there was not like a hit.
02:22 --> 02:27 [SPEAKER_01]: But in hindsight, there's so many people that love it and like, that's one of her more prized roles.
02:27 --> 02:29 [SPEAKER_01]: I'm getting, I'm side tracking.
02:29 --> 02:34 [SPEAKER_00]: I think, twelve-year-old Zach from middle school and a notary school saw it for the boobs.
02:34 --> 02:39 [SPEAKER_00]: Yeah, more periant, as they would say, reasons for framing things different.
02:39 --> 02:40 [SPEAKER_00]: Oh, we all know.
02:40 --> 02:41 [SPEAKER_00]: So this is the kind of guy.
02:42 --> 02:42 [SPEAKER_00]: Why is this relevant?
02:42 --> 02:47 [SPEAKER_00]: This is the kind of guy who knew about all the cool rock bands way before everybody else.
02:47 --> 02:51 [SPEAKER_00]: Like, he was talking about the Red Hot Chili peppers or Nirvana or Metallica.
02:51 --> 02:53 [SPEAKER_00]: He probably had an older sibling, right?
02:53 --> 02:54 [SPEAKER_00]: That kind of thing.
02:54 --> 02:55 [SPEAKER_00]: He would talk about the bands.
02:55 --> 02:56 [SPEAKER_00]: He'd wear their t-shirts.
02:57 --> 02:57 [SPEAKER_00]: He was in my class.
02:58 --> 03:01 [SPEAKER_00]: He was definitely not in my Cub Scout troop.
03:01 --> 03:01 [SPEAKER_01]: No.
03:01 --> 03:01 [SPEAKER_00]: Right.
03:02 --> 03:04 [SPEAKER_01]: Was Zachary would have been not Zach.
03:04 --> 03:04 [SPEAKER_00]: That's right.
03:04 --> 03:06 [SPEAKER_00]: Zach leaves our story now.
03:07 --> 03:07 [SPEAKER_01]: Oh, what happened?
03:07 --> 03:09 [SPEAKER_00]: Zach is a, I do not know.
03:09 --> 03:11 [SPEAKER_00]: I mean, he had a cool Mohawk in high school.
03:11 --> 03:12 [SPEAKER_00]: He was still that guy all through high school.
03:13 --> 03:14 [SPEAKER_00]: I haven't seen him in twenty, whatever.
03:14 --> 03:18 [SPEAKER_00]: You're a, Zach, if you're listening, you're definitely too cool to listen.
03:19 --> 03:24 [SPEAKER_00]: He exists, however, in our stories, a signpost is a marker of a kid that can exist in fourth grade, right?
03:24 --> 03:24 [SPEAKER_00]: Right.
03:24 --> 03:26 [SPEAKER_00]: Now, Matt, Matt was a little bit different.
03:27 --> 03:29 [SPEAKER_00]: That was more like a midpoint between me and Zach.
03:30 --> 03:30 [SPEAKER_01]: Okay.
03:30 --> 03:32 [SPEAKER_00]: It was cool, but a little less cool, right?
03:32 --> 03:34 [SPEAKER_01]: But still listen to Weird Al sometimes.
03:34 --> 03:35 [SPEAKER_00]: Well, so here's the thing.
03:36 --> 03:43 [SPEAKER_00]: Matt Mark, similar names, also his last name was so, he was permanently right before me in the alphabet.
03:43 --> 03:44 [SPEAKER_00]: I'll just say that.
03:44 --> 03:45 [SPEAKER_04]: That's kind of fun.
03:45 --> 03:49 [SPEAKER_00]: Without saying what his name was, it was not popping me with no y at the end.
03:49 --> 03:51 [SPEAKER_00]: It was, however, as close as you could possibly get.
03:51 --> 03:52 [SPEAKER_01]: I'm getting following.
03:53 --> 03:55 [SPEAKER_00]: He was in my cup scout troop.
03:55 --> 03:57 [SPEAKER_00]: I don't remember this is bear or we below, sleville.
03:57 --> 03:58 [SPEAKER_00]: Are you familiar?
03:59 --> 04:00 [SPEAKER_00]: No, I barely remember.
04:01 --> 04:02 [SPEAKER_01]: I like the name, we below.
04:02 --> 04:02 [SPEAKER_01]: We below's.
04:03 --> 04:03 [SPEAKER_00]: We below's.
04:03 --> 04:03 [SPEAKER_01]: We below's.
04:03 --> 04:04 [SPEAKER_01]: We below's.
04:04 --> 04:05 [SPEAKER_01]: We below's.
04:05 --> 04:05 [SPEAKER_00]: We below's.
04:05 --> 04:05 [SPEAKER_00]: We below's.
04:05 --> 04:05 [SPEAKER_01]: We below.
04:05 --> 04:06 [SPEAKER_01]: We below you.
04:07 --> 04:09 [SPEAKER_00]: It's Ruby Loyal Scouts, I think.
04:09 --> 04:12 [SPEAKER_00]: It's like right before you become a Boy Scout.
04:12 --> 04:15 [SPEAKER_00]: It's like the, the grooming stage.
04:15 --> 04:17 [SPEAKER_00]: Before Arrow of Light, I've got Jesus.
04:18 --> 04:19 [SPEAKER_00]: Oh, you made it.
04:19 --> 04:24 [SPEAKER_00]: We're gonna have a, a tricky, now we're gonna have a tricky Cubs Scout side track.
04:24 --> 04:25 [SPEAKER_00]: All right.
04:26 --> 04:27 [SPEAKER_00]: Yeah, your daughter's a Scout, though, right?
04:27 --> 04:28 [SPEAKER_01]: She was a Girl Scout.
04:28 --> 04:31 [SPEAKER_00]: Girl Scout, not a Unisex Scout.
04:31 --> 04:32 [SPEAKER_01]: Not a Unisex Scout.
04:32 --> 04:34 [SPEAKER_01]: They call them Scouts, I think that.
04:34 --> 04:34 [SPEAKER_00]: Okay.
04:34 --> 04:36 [SPEAKER_01]: So after all the problems,
04:37 --> 04:41 [SPEAKER_00]: So the reason Matt comes into the story and the reason Zack is a signpost.
04:41 --> 04:42 [SPEAKER_00]: Sure.
04:42 --> 04:44 [SPEAKER_00]: Matt mentioned liking boys to men.
04:45 --> 04:45 [SPEAKER_00]: Wow.
04:46 --> 04:50 [SPEAKER_00]: Well, we were like, probably at a cup scout den meeting or whatever, right?
04:50 --> 04:50 [SPEAKER_00]: Yeah.
04:51 --> 04:52 [SPEAKER_00]: Probably the beginning of fourth grade.
04:52 --> 04:56 [SPEAKER_00]: This would have been Kulei Harmony era, not boys to men to era.
04:56 --> 04:57 [SPEAKER_01]: Okay.
04:57 --> 05:00 [SPEAKER_00]: So early boys to men, I've mentioned it.
05:00 --> 05:01 [SPEAKER_00]: Huge fan of boys to men.
05:01 --> 05:02 [SPEAKER_01]: Likewise.
05:02 --> 05:02 [SPEAKER_00]: Yes.
05:03 --> 05:08 [SPEAKER_00]: But then, around that time, guys like Zack started mentioning Metallica, Nirvana.
05:08 --> 05:11 [SPEAKER_00]: This is, you know, think early nineties, nineteen ninety one or whatever.
05:12 --> 05:18 [SPEAKER_00]: I really wanted to talk to Matt about voice to men because I could geek out with somebody else about how cool voice to men was.
05:19 --> 05:21 [SPEAKER_00]: I like talking music, but never kind of had the guts because I didn't really know.
05:21 --> 05:22 [SPEAKER_00]: I'm not really good friend.
05:23 --> 05:24 [SPEAKER_00]: Is this turning into a therapy session?
05:24 --> 05:27 [SPEAKER_00]: Anyways, finally I got the guts during a car pool once.
05:28 --> 05:31 [SPEAKER_00]: I asked him, there were other kids around, let's like four kids all going to some function.
05:32 --> 05:33 [SPEAKER_00]: What's your favorite voice dementia?
05:34 --> 05:34 [SPEAKER_01]: Oh.
05:34 --> 05:36 [SPEAKER_00]: And here's why I'm bringing this up.
05:37 --> 05:40 [SPEAKER_00]: Silence, awkward pause.
05:40 --> 05:42 [SPEAKER_01]: He didn't want to admit it around other people.
05:43 --> 05:43 [SPEAKER_00]: And that's the thing.
05:43 --> 05:48 [SPEAKER_00]: And he finally answered under his breath, under pressure.
05:58 --> 06:03 [SPEAKER_01]: Maybe he was trying to give you like a little nod to stop talking about like, I'm under pressure right now, man.
06:03 --> 06:05 [SPEAKER_01]: This is like social pressure to conform.
06:05 --> 06:09 [SPEAKER_00]: Well, maybe at the time of this moment terrified me, right?
06:09 --> 06:11 [SPEAKER_00]: Because I'd found a connection.
06:11 --> 06:26 [SPEAKER_00]: I thought with this kid that was like a kid that was cool enough that I kind of wanted to be friends with him didn't know him well, but only to find out that in that moment, at least among northern part of San Diego, the sort of suburbs within the city, boys to men weren't very cool among the fourth graders.
06:26 --> 06:27 [SPEAKER_01]: You came on too strong.
06:28 --> 06:31 [SPEAKER_00]: And I fell in that moment, the gulf between us widened, right?
06:31 --> 06:33 [SPEAKER_01]: He was like, I got to get away from this Mark Pete.
06:33 --> 06:36 [SPEAKER_00]: Now I look back with more empathy because he was terrified in that moment.
06:36 --> 06:36 [SPEAKER_00]: Yeah.
06:36 --> 06:38 [SPEAKER_00]: Because he had a favorite voice to men song.
06:38 --> 06:40 [SPEAKER_00]: Oh, and he probably wanted to talk about it.
06:40 --> 06:43 [SPEAKER_00]: But is that I don't think that was a single.
06:43 --> 06:45 [SPEAKER_00]: It was like, you know, first song of side B or whatever, something like that.
06:45 --> 06:46 [SPEAKER_00]: I don't remember.
06:47 --> 06:53 [SPEAKER_01]: Like it's a song that like, if you like that voice and men's song, you like voice to men, it's not just good song to surface level.
06:53 --> 06:58 [SPEAKER_00]: And so in fact, we were actually closer than we ever could have been because we really couldn't like talk about it.
06:58 --> 07:02 [SPEAKER_00]: I found out why it was so awkward shortly after because we were
07:03 --> 07:10 [SPEAKER_00]: I, in my memory, it's around a campfire, but I feel like it was the daytime, so I'm like, whoa, what the hell are we doing?
07:10 --> 07:11 [SPEAKER_00]: Okay.
07:11 --> 07:19 [SPEAKER_00]: And he started reciting lyrics, reciting, like telling us a story of a song in the middle of this, like, cubs out activity.
07:20 --> 07:24 [SPEAKER_00]: lyrics I had not yet heard and this was not boys to men and the lyrics in question.
07:46 --> 07:48 [SPEAKER_01]: So, let me get this straight.
07:50 --> 07:53 [SPEAKER_01]: Matt P. Matt P. Yep.
07:53 --> 07:58 [SPEAKER_01]: Was around a daytime campfire with the wee below's, right?
07:59 --> 08:00 [SPEAKER_00]: According to my memory.
08:01 --> 08:02 [SPEAKER_01]: And as part of like,
08:03 --> 08:07 [SPEAKER_01]: Scary stories we tell around the campfire.
08:07 --> 08:13 [SPEAKER_01]: He made the choice to like sleep with one night open something like that.
08:14 --> 08:15 [SPEAKER_00]: I don't think he went night.
08:16 --> 08:19 [SPEAKER_01]: Quite in the way that in like a spoken word moment.
08:19 --> 08:19 [SPEAKER_00]: Yeah.
08:19 --> 08:22 [SPEAKER_01]: He was reciting the lyrics to Metallica's Anderson man.
08:22 --> 08:22 [SPEAKER_00]: That's right.
08:23 --> 08:23 [SPEAKER_00]: And
08:24 --> 08:30 [SPEAKER_01]: And you feel like it was a way to like buck against your awkward car ride moment of voice to man.
08:30 --> 08:32 [SPEAKER_01]: Like you was trying to save social face.
08:32 --> 08:44 [SPEAKER_00]: What I think it was a broadcasting of his coolness because the reason I tell all this story is that this, everybody, we're talking about Metallica's enter, Sam Ed from nineteen ninety one, the black album, self titled, right?
08:45 --> 08:54 [SPEAKER_00]: This song was cool enough to put boys to men in their place as very uncool amongst the white suburbanites.
08:54 --> 08:57 [SPEAKER_00]: But lay them enough that fourth graders knew it.
08:58 --> 08:58 [SPEAKER_01]: Right.
08:58 --> 09:02 [SPEAKER_00]: And that's the awesome nexus, like even Zach, cool Zach.
09:02 --> 09:05 [SPEAKER_00]: He wasn't listening to Sonic Youth, right?
09:05 --> 09:06 [SPEAKER_01]: Which would have been cool.
09:06 --> 09:08 [SPEAKER_00]: Which would have been actually cool.
09:08 --> 09:09 [SPEAKER_00]: Like if he were sixteen,
09:10 --> 09:16 [SPEAKER_00]: Knowing about the chili peppers would not have been that cool, but as a fourth grader, it was quite cool.
09:17 --> 09:23 [SPEAKER_00]: And so this song is this perfect nexus and this album, to me, sorry, not sorry about the long story.
09:23 --> 09:35 [SPEAKER_00]: It's this beautiful nexus in nineteen ninety one of cool, not cool, because fourth grader started reciting it at the campfire in the day.
09:36 --> 09:36 [SPEAKER_01]: Like the jamber days.
09:36 --> 09:38 [SPEAKER_00]: The mom's and dads around.
09:40 --> 09:59 [SPEAKER_00]: But also it was cooler than the like pop at the time right what would be the pop at the time of like ninety ninety one like what would that have been like Whitney Houston I think of like but also like there was dancey stuff like is I'm too sexy right now groove is in the heart right now
10:00 --> 10:01 [SPEAKER_00]: Right, said Fred.
10:01 --> 10:01 [SPEAKER_00]: That's right.
10:01 --> 10:02 [SPEAKER_01]: Wow.
10:02 --> 10:03 [SPEAKER_01]: I'm lost.
10:03 --> 10:04 [SPEAKER_00]: That's what I associate.
10:04 --> 10:07 [SPEAKER_00]: Like you're unbelievable stuff like that probably I might be off by a year.
10:08 --> 10:10 [SPEAKER_00]: That's that's more rock even then.
10:10 --> 10:13 [SPEAKER_00]: I mean, it's like dance rock or like you've from Boston.
10:13 --> 10:15 [SPEAKER_00]: Isn't Marky Mark and the funky bunch around.
10:15 --> 10:16 [SPEAKER_00]: I think it might have been that's later.
10:18 --> 10:19 [SPEAKER_00]: Oh, new kids definitely, right?
10:19 --> 10:21 [SPEAKER_01]: So, that's Joey McIntyre.
10:21 --> 10:23 [SPEAKER_01]: I've talked about the big buttons before.
10:23 --> 10:28 [SPEAKER_00]: I didn't know anything about it, so probably I was like, if I don't know it must be deleted.
10:29 --> 10:29 [SPEAKER_00]: I don't remember.
10:29 --> 10:31 [SPEAKER_00]: We talked about NKO TV a long time ago.
10:31 --> 10:32 [SPEAKER_01]: NKO TV.
10:32 --> 10:32 [SPEAKER_00]: That's right.
10:33 --> 10:34 [SPEAKER_00]: So, where you at with Metallica?
10:35 --> 10:35 [SPEAKER_01]: I like Metallica.
10:36 --> 10:38 [SPEAKER_01]: For sure, Metallica, I listen to still a lot.
10:38 --> 10:40 [SPEAKER_01]: It's very unconventional.
10:40 --> 10:45 [SPEAKER_01]: People would be surprised to hear that, but I don't like new Metallica.
10:46 --> 10:52 [SPEAKER_01]: My friend Andy, he's probably not listening, but if he is, thank you, you finally taking my advice and listen to my podcast.
10:52 --> 10:58 [SPEAKER_01]: But when Donald Trump was coming up and he had the, make America great again, red hats.
10:59 --> 11:02 [SPEAKER_01]: Andy had a hat that said make Metallica great again.
11:02 --> 11:02 [SPEAKER_01]: Oh.
11:03 --> 11:06 [SPEAKER_01]: And I think that that's where I land on it now.
11:07 --> 11:10 [SPEAKER_00]: Is it kind of like a weasor thing or more extreme than that?
11:10 --> 11:13 [SPEAKER_00]: Because we talked about in our weasor episode, everybody listening to that.
11:13 --> 11:14 [SPEAKER_00]: It was a fun one.
11:15 --> 11:18 [SPEAKER_00]: We both like everybody else and not everybody else.
11:18 --> 11:21 [SPEAKER_00]: Matt Kelly from GeekScape can be so mad that I'm saying it.
11:21 --> 11:22 [SPEAKER_00]: A lot of people fell off.
11:22 --> 11:24 [SPEAKER_00]: Wezer in the two thousands, right?
11:24 --> 11:24 [SPEAKER_00]: Right.
11:24 --> 11:27 [SPEAKER_00]: But that's not the same as the St.
11:27 --> 11:28 [SPEAKER_00]: Anger.
11:28 --> 11:29 [SPEAKER_00]: Hey, where?
11:30 --> 11:34 [SPEAKER_00]: So like, my Falica has all this drama and all the recording processes and one of them is that album, St.
11:34 --> 11:34 [SPEAKER_00]: Anger.
11:35 --> 11:36 [SPEAKER_00]: Do you, what year is that?
11:36 --> 11:36 [SPEAKER_00]: No way.
11:37 --> 11:37 [SPEAKER_00]: St.
11:37 --> 11:39 [SPEAKER_00]: Anger is a, uh, two thousand three.
11:39 --> 11:41 [SPEAKER_00]: And it's the one, there's like no guitar solo's.
11:42 --> 11:44 [SPEAKER_00]: Because they were like, oh, guitar solo's don't sell or something.
11:44 --> 11:47 [SPEAKER_00]: And so, Hammett can't play guitar solo's place.
11:47 --> 11:49 [SPEAKER_00]: But more to the point.
11:51 --> 11:56 [SPEAKER_00]: Lars decides he doesn't want to pull the snare on the drum set on the snare drum.
11:56 --> 11:59 [SPEAKER_00]: So the snare drum is the one that goes, right?
11:59 --> 12:01 [SPEAKER_00]: And the reason it goes instead of, boom!
12:01 --> 12:03 [SPEAKER_01]: Because it has the little white things on the bottom of it.
12:03 --> 12:05 [SPEAKER_00]: The snare, yeah, wire is on the bottom.
12:05 --> 12:08 [SPEAKER_01]: And so this is why it's a snare, called the snare drum.
12:08 --> 12:09 [SPEAKER_01]: It's a snare.
12:09 --> 12:11 [SPEAKER_00]: And the snare and it creates this like noisy sound.
12:11 --> 12:13 [SPEAKER_00]: Like a snare for that record.
12:14 --> 12:15 [SPEAKER_00]: And this is what it sounds like.
12:15 --> 12:16 [SPEAKER_00]: This is the tune, dirty window.
12:35 --> 12:38 [SPEAKER_01]: He is like, breaking news.
12:38 --> 12:39 [SPEAKER_01]: He's a great drummer.
12:39 --> 12:41 [SPEAKER_00]: But it's so- That's pretty annoying sounding.
12:41 --> 12:42 [SPEAKER_01]: That's like really calm.
12:42 --> 12:45 [SPEAKER_01]: It just is very dissonant to me.
12:45 --> 12:47 [SPEAKER_01]: Because I know what it's supposed to sound like.
12:48 --> 12:51 [SPEAKER_01]: I appreciate him trying to be a little bit avant-garde and trying something new.
12:51 --> 12:55 [SPEAKER_01]: But it sounds like he did it as like a dig to be fresh.
12:56 --> 12:57 [SPEAKER_00]: I think he did it to be fresh.
12:57 --> 12:58 [SPEAKER_00]: Yeah.
12:58 --> 13:00 [SPEAKER_00]: And it didn't go over very well with the fan base.
13:00 --> 13:07 [SPEAKER_00]: So I play that as an example of like, this isn't people falling off of weasers and going, oh, I miss Pinkerton.
13:07 --> 13:09 [SPEAKER_00]: This is people who were like, I hate the new metallic album.
13:10 --> 13:10 [SPEAKER_01]: Yeah.
13:11 --> 13:12 [SPEAKER_01]: It's a spider.
13:12 --> 13:14 [SPEAKER_01]: There's a spider descending.
13:14 --> 13:16 [SPEAKER_01]: Dingling between the Talica.
13:16 --> 13:22 [SPEAKER_00]: It's, it's a beautiful single thread web descending from the fan.
13:22 --> 13:25 [SPEAKER_00]: Should we send it on a thrill ride and turn the fan on?
13:25 --> 13:27 [SPEAKER_01]: No, because it's going to fly in your face.
13:27 --> 13:29 [SPEAKER_00]: Are we going to be okay?
13:29 --> 13:30 [SPEAKER_01]: I'm going to be fine.
13:30 --> 13:31 [SPEAKER_01]: I'm not scared of spiders.
13:32 --> 13:34 [SPEAKER_00]: It's hunting things you would rather not have in my basement.
13:35 --> 13:37 [SPEAKER_01]: I wanted to like get on to the mic and like crawl up.
13:38 --> 13:38 [SPEAKER_00]: Oh, yeah.
13:38 --> 13:40 [SPEAKER_01]: Because it's a very like on brand of their episode.
13:40 --> 13:43 [SPEAKER_01]: Like will will it or won't it a technical?
13:43 --> 13:43 [SPEAKER_00]: Wow.
13:43 --> 13:44 [SPEAKER_00]: Okay.
13:44 --> 13:47 [SPEAKER_01]: Well, maybe this is my villain origin story.
13:48 --> 13:49 [SPEAKER_00]: Did we have a turkey walk by and one of our other episodes?
13:49 --> 13:51 [SPEAKER_01]: There were so many turkey.
13:51 --> 13:51 [SPEAKER_01]: Yeah.
13:51 --> 13:54 [SPEAKER_01]: There were like twelve turkeys in your neighbor's yard and I put that.
13:54 --> 13:55 [SPEAKER_00]: They feed them.
13:56 --> 13:57 [SPEAKER_01]: That's so stupid.
13:57 --> 13:59 [SPEAKER_01]: And really stupid turkeys are like
14:00 --> 14:01 [SPEAKER_01]: really dominant.
14:01 --> 14:03 [SPEAKER_00]: Shout out to my two two doors down neighbors.
14:03 --> 14:05 [SPEAKER_01]: I hope they're the one being the wildlife.
14:05 --> 14:07 [SPEAKER_00]: Don't feed the turkeys.
14:07 --> 14:09 [SPEAKER_00]: We have turkeys here, which is still weird.
14:09 --> 14:11 [SPEAKER_00]: It's clearly happening here from from the West Coast.
14:12 --> 14:12 [SPEAKER_00]: So, okay.
14:13 --> 14:14 [SPEAKER_01]: Sorry, I got distracted really.
14:14 --> 14:18 [SPEAKER_00]: So you don't like New Metallica, but you like old Metallica.
14:18 --> 14:23 [SPEAKER_01]: I was like, no, enough about New Metallica to have a stronger opinion, but I do like old Metallica.
14:23 --> 14:25 [SPEAKER_01]: And what you just played, like, there's merit there.
14:25 --> 14:26 [SPEAKER_01]: I didn't hate it.
14:26 --> 14:26 [SPEAKER_00]: It's cool.
14:26 --> 14:27 [SPEAKER_00]: It's intense.
14:27 --> 14:28 [SPEAKER_00]: It's just climbing and rolling drum sound.
14:28 --> 14:30 [SPEAKER_01]: I like Kirk Hammett.
14:30 --> 14:31 [SPEAKER_01]: I think he's handsome.
14:32 --> 14:32 [SPEAKER_00]: Yeah.
14:32 --> 14:33 [SPEAKER_01]: Always did.
14:33 --> 14:33 [SPEAKER_01]: Okay.
14:34 --> 14:35 [SPEAKER_01]: That was the draw for me.
14:35 --> 14:35 [SPEAKER_01]: Right.
14:35 --> 14:37 [SPEAKER_01]: And I think he probably still holds up, right?
14:37 --> 14:38 [SPEAKER_00]: I don't know.
14:38 --> 14:39 [SPEAKER_00]: I haven't, I'm not saying I'm sure.
14:39 --> 14:40 [SPEAKER_00]: Well, once handsome, I always handsome, right?
14:40 --> 14:41 [SPEAKER_01]: I don't know.
14:41 --> 14:42 [SPEAKER_01]: Okay.
14:43 --> 14:48 [SPEAKER_00]: So, I mean, it's hard to argue with like the run of ride the lightning master of puppets and injustice for all.
14:48 --> 14:51 [SPEAKER_00]: And then this album is much as this is a turn away from the thrash metal.
14:51 --> 14:51 [SPEAKER_00]: Yeah.
14:51 --> 14:52 [SPEAKER_00]: It's still a good album.
14:53 --> 14:54 [SPEAKER_01]: Would you comment tell us about the thrash metal?
14:54 --> 14:57 [SPEAKER_00]: Metallica were like at that time.
14:57 --> 14:58 [SPEAKER_00]: I mean, it's a big four.
14:59 --> 15:08 [SPEAKER_00]: You know, they really wanted to be able to do like the unholy Trinity of Thrash, like, you know, unholy Trinity of early having that only, you know, Zeppelin, Sabbath, and Deep Purple.
15:08 --> 15:17 [SPEAKER_00]: But there are four, the big four of Thrash is Metallica, Mega Death, which, you know, former Metallica guy starts, Mustang, Slayer, and Anthrax.
15:18 --> 15:18 [SPEAKER_01]: Okay.
15:18 --> 15:24 [SPEAKER_00]: So they're definitely, when you listen to like, especially a lot of that master of puppet stuff, they're really fast.
15:25 --> 15:26 [SPEAKER_00]: almost punky.
15:26 --> 15:27 [SPEAKER_00]: It's so fast.
15:27 --> 15:28 [SPEAKER_00]: That's the fresh metal.
15:28 --> 15:29 [SPEAKER_00]: Yeah, totally.
15:29 --> 15:30 [SPEAKER_00]: It's foundational for astronaut.
15:30 --> 15:31 [SPEAKER_00]: It's good.
15:52 --> 15:55 [SPEAKER_00]: So I mean, even this album, so this album is a turn away from that.
15:55 --> 15:59 [SPEAKER_00]: But like, this album is not a thrash album, but some of them still cook.
15:59 --> 16:04 [SPEAKER_00]: You know, like, wherever I'm my room, the struggle within those songs are fast.
16:04 --> 16:06 [SPEAKER_00]: They're, they've got intensity to them.
16:06 --> 16:08 [SPEAKER_00]: But then they have these slow, like heavy ones, right?
16:08 --> 16:09 [SPEAKER_00]: Like sad but true.
16:09 --> 16:10 [SPEAKER_00]: Do you know this album?
16:10 --> 16:13 [SPEAKER_00]: I'm just saying random album tracks to show off or have you heard what I'm talking about?
16:14 --> 16:16 [SPEAKER_01]: Look, recall these tracks.
16:16 --> 16:19 [SPEAKER_01]: This isn't my favorite metallic album, but I know it for sure.
16:20 --> 16:26 [SPEAKER_00]: But I guess one thing that this has like, just as for all has some slower moments, but a lot of those songs pick up the pace.
16:26 --> 16:26 [SPEAKER_01]: Yeah.
16:26 --> 16:35 [SPEAKER_00]: This has like the unforgiven, which you could, sorry, the basis in my band, what would it would say unforgiven?
16:36 --> 16:36 [SPEAKER_00]: Right.
16:37 --> 16:38 [SPEAKER_00]: It has power balance basically.
16:38 --> 16:38 [SPEAKER_00]: Right.
16:38 --> 16:39 [SPEAKER_00]: Nothing else matters.
16:39 --> 16:40 [SPEAKER_00]: And they're good, right?
16:40 --> 16:41 [SPEAKER_01]: Nothing else matters.
16:41 --> 16:42 [SPEAKER_01]: It's a great song.
16:42 --> 16:43 [SPEAKER_01]: It's the only song I can play on guitar.
16:44 --> 16:44 [SPEAKER_00]: the opening.
16:45 --> 16:46 [SPEAKER_01]: Yeah, just wait a minute.
16:46 --> 16:48 [SPEAKER_00]: Because it has this boom, boom, boom, boom.
16:48 --> 16:48 [SPEAKER_00]: Yeah.
16:48 --> 16:50 [SPEAKER_00]: But then it has that really, really, really.
16:50 --> 16:51 [SPEAKER_01]: No, I can't do that.
16:51 --> 16:52 [SPEAKER_01]: I can just do the first couple of hours.
16:53 --> 16:54 [SPEAKER_00]: So you make it through this.
16:54 --> 16:56 [SPEAKER_00]: There's about fourteen seconds of beauty there.
16:56 --> 16:56 [SPEAKER_00]: Yeah.
16:57 --> 16:58 [SPEAKER_00]: And for the hard, all the hammer on and pull off.
17:23 --> 17:26 [SPEAKER_00]: So this is produced by Bob Rock, not Bob Ross, Bob Rock.
17:26 --> 17:26 [SPEAKER_01]: Okay.
17:27 --> 17:31 [SPEAKER_00]: Motley crew, David Lee Roth, but also Michael Pubeley, stuff.
17:31 --> 17:32 [SPEAKER_01]: Oh, how interesting.
17:32 --> 17:34 [SPEAKER_00]: But apparently a lot of conflict in the recording.
17:35 --> 17:37 [SPEAKER_00]: I mean, this band, I think, is just a tracks complex.
17:37 --> 17:39 [SPEAKER_01]: But they've been together for so long.
17:39 --> 17:40 [SPEAKER_01]: Maybe that's part of it.
17:40 --> 17:41 [SPEAKER_00]: I think so.
17:41 --> 17:44 [SPEAKER_00]: I mean, you talked about weird recording choices.
17:44 --> 17:44 [SPEAKER_01]: Yeah.
17:45 --> 17:51 [SPEAKER_00]: If you listen to injustice for all, which is everybody the album before this, you can't hear the bass at all.
17:52 --> 17:57 [SPEAKER_00]: When we were listening to the bass line and I will survive the other episode, you just like I can't hear the bass.
17:57 --> 18:01 [SPEAKER_00]: How about listening to the bass in one off of injustice for all?
18:17 --> 18:18 [SPEAKER_01]: I don't even hear a bass.
18:18 --> 18:18 [SPEAKER_00]: You can.
18:18 --> 18:21 [SPEAKER_00]: I mean, I found you can find on YouTube.
18:21 --> 18:23 [SPEAKER_00]: People are officially boosting it so you can actually hear it.
18:39 --> 18:45 [SPEAKER_01]: I wonder how sub-conscious those choices are because their original base player died.
18:45 --> 18:51 [SPEAKER_00]: Yeah, so Cliff Burton dies in this terrible accident in the bus accident in like Sweden or something on tour.
18:51 --> 18:52 [SPEAKER_01]: Then they replaced him.
18:52 --> 18:53 [SPEAKER_00]: Jason News did.
18:53 --> 18:57 [SPEAKER_01]: Great, but like young, he was like a young fan, right, that they pulled up almost.
18:57 --> 19:04 [SPEAKER_00]: I don't know if he was a young, I'm sure he was a fan, but I don't know how much younger or whatever, but he feels like they were hazing him because he wasn't Cliff.
19:05 --> 19:10 [SPEAKER_01]: Or it feels like they didn't want like honor the base part so much because it would have done it in justice.
19:10 --> 19:16 [SPEAKER_00]: Yeah, because they talk about if you look into that record once again, I'm bringing this up because it conflict in metallic records.
19:17 --> 19:18 [SPEAKER_00]: Spiders going up, climbing up.
19:19 --> 19:19 [SPEAKER_00]: Oh, it's fast.
19:21 --> 19:26 [SPEAKER_00]: They talk about being having a really like hot mix and then telling the producer or the recording engineer or whatever.
19:26 --> 19:27 [SPEAKER_00]: No, turn down the base.
19:27 --> 19:30 [SPEAKER_01]: Because they're motivating for them.
19:30 --> 19:31 [SPEAKER_00]: And they're just like, what do you mean?
19:31 --> 19:32 [SPEAKER_00]: It sounds great.
19:32 --> 19:32 [SPEAKER_00]: No, turn down the base.
19:32 --> 19:33 [SPEAKER_00]: Quite or quite.
19:33 --> 19:35 [SPEAKER_00]: Like, so there's something hostile in there.
19:35 --> 19:37 [SPEAKER_01]: It's really, I think he wasn't in the band forever.
19:37 --> 19:39 [SPEAKER_00]: So he was in the band a few albums though.
19:40 --> 19:40 [SPEAKER_01]: Jason, Newstead.
19:40 --> 19:41 [SPEAKER_00]: Yeah.
19:41 --> 19:41 [SPEAKER_01]: Yeah.
19:41 --> 19:43 [SPEAKER_01]: So it was just, they're like, base player now.
19:43 --> 19:44 [SPEAKER_00]: True heo.
19:44 --> 19:45 [SPEAKER_00]: What's his first name?
19:46 --> 19:47 [SPEAKER_01]: What happened to Jason Nusa?
19:47 --> 19:48 [SPEAKER_01]: He was so baby.
19:48 --> 19:49 [SPEAKER_00]: The new base is this is awesome.
19:50 --> 19:51 [SPEAKER_00]: Robert Trujillo.
19:51 --> 19:51 [SPEAKER_00]: Okay.
19:51 --> 19:58 [SPEAKER_00]: The new base is, um, who I think was like a guy who totally was in the mentality because he's younger at least by a decade than those guys.
19:59 --> 20:01 [SPEAKER_00]: Anyways, this song, Billboard watch.
20:02 --> 20:03 [SPEAKER_01]: And Billboard don't quite.
20:04 --> 20:05 [SPEAKER_00]: Billboard, did I say Billboard?
20:06 --> 20:07 [SPEAKER_01]: Billboard.
20:07 --> 20:08 [SPEAKER_00]: You're going to listen back in your like shit.
20:08 --> 20:09 [SPEAKER_00]: He didn't say Billboard.
20:09 --> 20:11 [SPEAKER_01]: No, I tried to say Billboard.
20:11 --> 20:12 [SPEAKER_00]: Billboard fucked it up.
20:13 --> 20:17 [SPEAKER_00]: Number sixteen, not that from metal song in nineteen ninety one this song.
20:18 --> 20:22 [SPEAKER_00]: This song this album was was a big hit to I don't have the chart on that.
20:23 --> 20:26 [SPEAKER_00]: nominated for Best Rock Song Grammy in nineteen ninety two.
20:26 --> 20:27 [SPEAKER_00]: All right.
20:27 --> 20:29 [SPEAKER_00]: Lost to stings the soul cages.
20:30 --> 20:30 [SPEAKER_00]: Very different.
20:30 --> 20:31 [SPEAKER_00]: Do you know the soul cages?
20:31 --> 20:31 [SPEAKER_01]: No.
20:32 --> 20:35 [SPEAKER_00]: Shout out to Mark S. League of Taurus of my old band Dream Hydra.
20:35 --> 20:36 [SPEAKER_00]: Such a fan.
20:36 --> 20:38 [SPEAKER_00]: He would be like, dude, you caught a listen to the soul cages.
20:38 --> 20:40 [SPEAKER_00]: It's this concept album and I have heard it.
20:40 --> 20:41 [SPEAKER_00]: It's good album.
20:41 --> 20:42 [SPEAKER_01]: Love a concept album.
20:42 --> 20:45 [SPEAKER_01]: Dream Hydra is famously loves a concept album.
20:45 --> 20:49 [SPEAKER_00]: definitely dream hydrant famously makes concept albums.
20:49 --> 20:55 [SPEAKER_00]: So it's about stings father's death and there's this sort of sailing story in any case.
20:55 --> 21:01 [SPEAKER_01]: Just to pause, there is a swell, a rising tide on the internet of fans that want a dream hydrant reunion.
21:02 --> 21:02 [SPEAKER_00]: Yeah.
21:03 --> 21:05 [SPEAKER_00]: Well, Jesus, we're going to have to give you a look at our apple.
21:06 --> 21:18 [SPEAKER_01]: Don't forget to rate and review us on iTunes, but on the ratings and reviews, there's quite a few mentions and call outs for Dream Hydro come back to or they should stream the hell out of that hell, but I'm over to ever and we'll be like, well, I guess we have no choice, right?
21:18 --> 21:20 [SPEAKER_01]: I think we can call to our fan base.
21:21 --> 21:22 [SPEAKER_00]: Right, for sure.
21:22 --> 21:27 [SPEAKER_00]: So this song, you know, we already talked about nightmares a lot with barrier friend.
21:28 --> 21:31 [SPEAKER_00]: I'm super curious what you're going to want to talk about.
21:31 --> 21:35 [SPEAKER_00]: I will be talking about cool key changes.
21:35 --> 21:37 [SPEAKER_01]: You love talking real key changes.
21:38 --> 21:39 [SPEAKER_00]: We haven't really though yet.
21:39 --> 21:40 [SPEAKER_01]: No, yeah.
21:40 --> 21:43 [SPEAKER_00]: We've got some key change action in this season season two.
21:43 --> 21:45 [SPEAKER_01]: We're ready for it all about that circle of fifths.
21:45 --> 21:47 [SPEAKER_00]: We're talking about notes, but this won't be.
21:47 --> 21:47 [SPEAKER_00]: That's right.
21:48 --> 21:50 [SPEAKER_00]: This won't be as complicated as the circle of fifths and tritones.
21:51 --> 21:53 [SPEAKER_00]: It also won't be as naughty as the Wonderwall one.
21:53 --> 21:55 [SPEAKER_00]: I'm like, and then it's reflected above notes.
21:55 --> 21:57 [SPEAKER_00]: I love a little more straightforward here.
21:58 --> 21:59 [SPEAKER_00]: Where do you want to talk?
21:59 --> 22:00 [SPEAKER_00]: You want me to start?
22:00 --> 22:01 [SPEAKER_00]: You want to start?
22:01 --> 22:04 [SPEAKER_01]: I have so much I could talk about for this song.
22:04 --> 22:06 [SPEAKER_01]: So these are my like potential things I want to talk about.
22:06 --> 22:07 [SPEAKER_00]: Okay.
22:07 --> 22:08 [SPEAKER_01]: I want to talk about sleep hygiene.
22:09 --> 22:10 [SPEAKER_00]: That sounds weird, but okay.
22:11 --> 22:13 [SPEAKER_01]: I want to talk about catharsis in music.
22:14 --> 22:23 [SPEAKER_01]: And then the song is really about like childhood anxiety and fears of the dark and like suppressed trauma, but I don't really know if I feel like talking about trauma today.
22:24 --> 22:24 [SPEAKER_01]: It's too much.
22:25 --> 22:25 [SPEAKER_01]: It's too heavy.
22:25 --> 22:27 [SPEAKER_00]: There's a spider like three in front of you.
22:27 --> 22:31 [SPEAKER_01]: Like a spider loom literally looming over me like the sort of damn agrees.
22:31 --> 22:35 [SPEAKER_01]: And I feel like if I start talking about trauma, I'm just gonna bite me.
22:35 --> 22:35 [SPEAKER_00]: Too much.
22:35 --> 22:37 [SPEAKER_01]: And I'll come this awesome villain.
22:37 --> 22:40 [SPEAKER_00]: You want me to start and then see where the spirit moves you once we do.
22:40 --> 22:42 [SPEAKER_00]: I love to see where the spirit moves me.
22:42 --> 22:43 [SPEAKER_00]: All right.
22:43 --> 22:47 [SPEAKER_00]: Sort of like, oh, it's Mark unfair because he often leads with the thing.
22:47 --> 22:51 [SPEAKER_00]: But on the other hand, I don't have the agility where I'm like, you know what, Nicole?
22:52 --> 22:58 [SPEAKER_00]: That what you just said inspires me to have already queued up all these musical samples the day before.
22:58 --> 22:59 [SPEAKER_01]: It's all in my head.
22:59 --> 23:03 [SPEAKER_01]: I'm just I like you going first because it helps me like make connections.
23:03 --> 23:04 [SPEAKER_00]: All at least start.
23:04 --> 23:04 [SPEAKER_00]: We'll see where we're going.
23:05 --> 23:05 [SPEAKER_01]: Sounds good.
23:20 --> 23:27 [SPEAKER_00]: Okay, first let's listen to the opening of this song and see what kind of notes we're dealing with here.
23:28 --> 23:29 [SPEAKER_00]: E minor is R key.
23:38 --> 23:40 [SPEAKER_01]: I bet you I could learn to play this on guitar.
23:40 --> 23:46 [SPEAKER_00]: It's rhythmically more complicated than nothing else matters, but not really technique-wise much harder.
23:46 --> 23:49 [SPEAKER_01]: It's hard for me to play guitar because of my flow-dist fingers.
23:50 --> 24:09 [SPEAKER_01]: What does that so like my muscle memory my hands can't like do good the guitar things because they're used to doing the flute things they can learn Yeah, which do both of your hands on the flute do keys Yeah, with the holes knockies right they do have open hold flutes that I have like a whole thing hold yeah, no, no, it's like a modern flute
24:09 --> 24:11 [SPEAKER_01]: but there's holes in the key.
24:11 --> 24:17 [SPEAKER_01]: So you have to like kind of like a saxophone, like you have to like cover the holes and press down at the same time.
24:17 --> 24:18 [SPEAKER_01]: They're very hard to play.
24:18 --> 24:19 [SPEAKER_00]: I can't believe I just asked you does it have holes or keys.
24:19 --> 24:25 [SPEAKER_00]: But literally I've written flute pieces of music that have key clicks, where I want the the clickies.
24:26 --> 24:26 [SPEAKER_00]: That's weird.
24:26 --> 24:27 [SPEAKER_00]: Clicky clickies.
24:27 --> 24:28 [SPEAKER_00]: Yeah, well, it's it's avant-garde.
24:28 --> 24:29 [SPEAKER_01]: Oh, sorry.
24:29 --> 24:30 [SPEAKER_01]: Sorry about that.
24:30 --> 24:31 [SPEAKER_01]: We're not saying weird anymore.
24:31 --> 24:32 [SPEAKER_00]: Thanks so much.
24:32 --> 24:33 [SPEAKER_00]: Once everybody
24:34 --> 24:36 [SPEAKER_00]: I had to give a doctoral composition recital.
24:36 --> 24:44 [SPEAKER_00]: So there's some some while I had a flute solo piece where the flute is looping themselves through electronic like that's cool.
24:44 --> 24:45 [SPEAKER_00]: I created like an electronic patch.
24:45 --> 24:51 [SPEAKER_00]: You call it a max patch that looped them and transpose it was it was fun it a lot of work.
24:52 --> 24:55 [SPEAKER_00]: I probably would not understand if I looked up the electronic programming I had done.
24:55 --> 24:57 [SPEAKER_00]: I probably wouldn't understand it anymore.
24:57 --> 25:00 [SPEAKER_00]: So something strange about this little riff easy as it might be to play.
25:00 --> 25:02 [SPEAKER_00]: This is E minor, but we have a B flat.
25:03 --> 25:08 [SPEAKER_00]: The do-do is a B flat, not a B natural.
25:08 --> 25:10 [SPEAKER_00]: We have two low of a note.
25:10 --> 25:12 [SPEAKER_00]: Take a listen first to the notes, and then I'll play the riff again.
25:14 --> 25:17 [SPEAKER_00]: So that note is out of key.
25:26 --> 25:30 [SPEAKER_00]: So we're setting up a duality here, a sort of comparison, a half step.
25:31 --> 25:34 [SPEAKER_00]: B-flat A instead of a whole step.
25:35 --> 25:37 [SPEAKER_00]: Do-do, do-do, right?
25:37 --> 25:38 [SPEAKER_00]: That comparison, right?
25:39 --> 25:40 [SPEAKER_00]: We go to on half-step versus whole step.
25:41 --> 25:43 [SPEAKER_01]: I'm totally get that, and I also want to be on the piano, right?
25:44 --> 25:47 [SPEAKER_01]: The reason it sounds kind of tricky is because B-flat is not natural.
25:47 --> 25:51 [SPEAKER_01]: It doesn't, isn't naturally occurring in E minor.
25:51 --> 25:52 [SPEAKER_00]: No, it's not a native species.
25:52 --> 25:54 [SPEAKER_01]: No, it is species C minor.
25:54 --> 25:56 [SPEAKER_00]: It should be a B. It should be a B natural.
25:56 --> 25:57 [SPEAKER_00]: That's right, yeah.
25:57 --> 25:58 [SPEAKER_00]: got it.
25:58 --> 26:00 [SPEAKER_00]: So be flat being too low.
26:01 --> 26:02 [SPEAKER_00]: You're flat.
26:02 --> 26:02 [SPEAKER_00]: Yeah.
26:02 --> 26:04 [SPEAKER_01]: That creates this like tension that we're here.
26:04 --> 26:05 [SPEAKER_00]: And we're going to see where that goes.
26:05 --> 26:06 [SPEAKER_00]: So
26:06 --> 26:11 [SPEAKER_00]: All right, real quick, plagiarism watch, twenty twenty five in two thousand three.
26:12 --> 26:13 [SPEAKER_00]: Don't worry, actually I have a sample this time.
26:13 --> 26:17 [SPEAKER_00]: It's not somebody find it members of the crossover thrash band.
26:17 --> 26:18 [SPEAKER_00]: Another style of music slightly different.
26:19 --> 26:22 [SPEAKER_00]: Excel considered suing for plagiarism, but apparently didn't.
26:23 --> 26:23 [SPEAKER_01]: Okay.
26:23 --> 26:28 [SPEAKER_00]: They're nineteen eighty nine songs two years before this tapping into the emotional void.
26:29 --> 26:30 [SPEAKER_00]: First, let me play understand, man.
26:36 --> 26:37 [SPEAKER_00]: tapping into the emotional void by Excel.
26:50 --> 26:52 [SPEAKER_01]: I mean, it's tough.
26:53 --> 27:00 [SPEAKER_01]: I like this, first of all, the title tapping into the emotional void is like, it's too much for me.
27:00 --> 27:01 [SPEAKER_01]: Like we get it.
27:01 --> 27:02 [SPEAKER_01]: You know, we get it.
27:02 --> 27:04 [SPEAKER_00]: It feels like it's in the cold date a little bit.
27:04 --> 27:06 [SPEAKER_01]: It's like, all right, guys, cool.
27:07 --> 27:11 [SPEAKER_01]: I think it sounds similar enough, but we know that that doesn't matter.
27:11 --> 27:16 [SPEAKER_01]: It doesn't matter because music, maybe Bach has a similar riff in one of his songs, like who even knows.
27:16 --> 27:23 [SPEAKER_00]: So I will say the rhythm is the sort of, if we could say the damning thing, dot, dot, dot, dot, that is the same.
27:23 --> 27:24 [SPEAKER_00]: The notes.
27:25 --> 27:28 [SPEAKER_00]: are interestingly off by a half step, and does that matter or not?
27:28 --> 27:32 [SPEAKER_00]: The gesture you could say in music, the gesture is the same though.
27:32 --> 27:34 [SPEAKER_00]: It's doing the same thing, but the actual notes are different.
27:34 --> 27:41 [SPEAKER_00]: So compare, not counting being, they're half step key, like that, I think it's the first thing they do at the end, they do a little like.
27:41 --> 27:48 [SPEAKER_00]: Well, yeah, that too, but even the do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do
27:55 --> 27:55 [SPEAKER_00]: Right?
27:56 --> 28:07 [SPEAKER_00]: So tapping into the emotional void goes be a sharp, pretend they're in the same key where as the Metallica tune goes B flat A. So they're off by a half step and it's kind of creates a different vibe.
28:07 --> 28:09 [SPEAKER_00]: Yeah, but it's kind of the same vibe.
28:09 --> 28:10 [SPEAKER_01]: It feels like the same.
28:11 --> 28:12 [SPEAKER_00]: Anyways, it is what it is.
28:12 --> 28:14 [SPEAKER_01]: They dropped.
28:14 --> 28:15 [SPEAKER_00]: I don't think they ever actually sued.
28:15 --> 28:16 [SPEAKER_01]: And like, that's it.
28:16 --> 28:19 [SPEAKER_01]: Do you think Metallica gave me a back full money?
28:19 --> 28:20 [SPEAKER_00]: I don't, I don't think so.
28:20 --> 28:21 [SPEAKER_01]: Just shut up.
28:21 --> 28:21 [SPEAKER_00]: I don't think so.
28:22 --> 28:23 [SPEAKER_00]: Maybe maybe they got some shut up money.
28:24 --> 28:26 [SPEAKER_01]: I'd take some shut up money any day.
28:26 --> 28:28 [SPEAKER_01]: Well, I guess that's not entirely true.
28:28 --> 28:28 [SPEAKER_01]: I redact.
28:28 --> 28:29 [SPEAKER_00]: I do.
28:29 --> 28:29 [SPEAKER_00]: Yeah.
28:29 --> 28:31 [SPEAKER_01]: And your friends are what I'm shutting up about.
28:31 --> 28:31 [SPEAKER_01]: I think.
28:31 --> 28:31 [SPEAKER_00]: Right.
28:32 --> 28:33 [SPEAKER_01]: Like you're like comes down to that.
28:33 --> 28:35 [SPEAKER_00]: You're pro, you're pro, NDA, you're pro.
28:36 --> 28:37 [SPEAKER_01]: No, I'm pro, bags of money.
28:37 --> 28:38 [SPEAKER_00]: Yeah, all right, fair enough.
28:39 --> 28:41 [SPEAKER_00]: Yeah, which is why you're podcasting about music and psychology.
28:41 --> 28:42 [SPEAKER_01]: Yes.
28:43 --> 28:49 [SPEAKER_00]: So any minute show shortly, our famous very famous riff will add more notes to it.
28:57 --> 29:01 [SPEAKER_00]: What I want to draw your attention to is that last note.
29:02 --> 29:05 [SPEAKER_00]: Which is supposed to be F sharp in this key.
29:06 --> 29:07 [SPEAKER_00]: Here's F sharp.
29:09 --> 29:10 [SPEAKER_00]: But it's F natural.
29:13 --> 29:15 [SPEAKER_00]: So that, too, is too flat.
29:15 --> 29:16 [SPEAKER_00]: We have a B that's too flat to be flat.
29:17 --> 29:22 [SPEAKER_00]: And an F sharp, which is E minor, that's too flat to be F natural, right?
29:22 --> 29:24 [SPEAKER_00]: So we have two lowered notes.
29:25 --> 29:27 [SPEAKER_00]: Remember when we were doing kiss from a rose and I played you like the major.
29:27 --> 29:29 [SPEAKER_01]: I'm trying to figure out if it was made here.
29:29 --> 29:32 [SPEAKER_01]: Am I in terms of both and nothing all at the same time?
29:32 --> 29:35 [SPEAKER_00]: Here's what this riff sounds like with the lowered notes.
29:39 --> 29:43 [SPEAKER_00]: And then here it is with the actual in key notes.
29:47 --> 29:48 [SPEAKER_01]: It sounds like a bad ring tone.
29:49 --> 29:50 [SPEAKER_00]: It's almost major sounding.
29:50 --> 29:56 [SPEAKER_00]: You know, there's no major notes, but it's those raised things feel raw, right?
29:56 --> 30:01 [SPEAKER_00]: So this song is setting up a preference towards lowered half steps.
30:01 --> 30:01 [SPEAKER_00]: Okay.
30:02 --> 30:02 [SPEAKER_00]: Not whole steps.
30:03 --> 30:11 [SPEAKER_00]: We don't have B going to A. We don't have F sharp going to E. These are whole steps that get smashed to be flat notes.
30:11 --> 30:14 [SPEAKER_00]: So let's see what happens when we hear the full riff and how that full riff ends.
30:24 --> 30:26 [SPEAKER_00]: So that ending there, we get our F-sharp.
30:27 --> 30:29 [SPEAKER_00]: Dude, dude, dude, dude, G to F-sharp.
30:29 --> 30:31 [SPEAKER_00]: We are definitely in E minor.
30:31 --> 30:32 [SPEAKER_00]: This isn't some weird mode.
30:32 --> 30:34 [SPEAKER_00]: We get the F-sharp finally at the end.
30:37 --> 30:41 [SPEAKER_00]: It's sort of filling the space between G and E with the F-sharp note.
30:41 --> 30:42 [SPEAKER_00]: Dude, dude, dude, dude.
30:43 --> 30:46 [SPEAKER_00]: So, once again, here's what it sounds like, the way they play it.
30:50 --> 30:53 [SPEAKER_00]: And here's if we kept the S and S natural, if we kept it lower.
30:57 --> 31:00 [SPEAKER_00]: That's almost the more metal one.
31:00 --> 31:03 [SPEAKER_00]: So dark, but they brighten it up a little bit at the end.
31:04 --> 31:08 [SPEAKER_00]: And so once again, we have like a contrast, the duality between half and whole step.
31:09 --> 31:11 [SPEAKER_00]: Sometimes it's half lowered.
31:11 --> 31:13 [SPEAKER_00]: Sometimes it's natural, and then we get the whole step.
31:13 --> 31:19 [SPEAKER_01]: And it's like priming us to because we're getting so used to the shift.
31:20 --> 31:25 [SPEAKER_01]: When it sounds like how it's supposed to sound, it doesn't sound right in the context of this song.
31:25 --> 31:30 [SPEAKER_00]: But it's weird because it starts out one way and then flips for one measure to be the other way.
31:30 --> 31:30 [SPEAKER_00]: Right?
31:30 --> 31:34 [SPEAKER_00]: So if we listen to the riff, the first three bars are going to be everything.
31:36 --> 31:38 [SPEAKER_00]: And then we'll get to the last bar.
31:39 --> 31:41 [SPEAKER_00]: Let me just play the full rift.
31:46 --> 31:47 [SPEAKER_00]: Flat, natural.
31:50 --> 31:53 [SPEAKER_00]: flat raised, I should say it's sharp, not natural.
31:54 --> 31:56 [SPEAKER_00]: So what about the melody?
31:56 --> 32:02 [SPEAKER_00]: Because we get this kind of stuff in the verse, we have the E moving to an F natural.
32:02 --> 32:06 [SPEAKER_00]: We have the flat flat flat half step going on in the instruments.
32:06 --> 32:09 [SPEAKER_00]: Does the melody give us a bunch of half steps or something else?
32:25 --> 32:26 [SPEAKER_01]: The lyrics are weird.
32:26 --> 32:27 [SPEAKER_01]: Is he like, God?
32:27 --> 32:30 [SPEAKER_00]: Well, he's saying for everyone, don't forget my son to include everyone.
32:30 --> 32:32 [SPEAKER_01]: Or you think it's a paternal thing talking to the kid, say your parents?
32:32 --> 32:34 [SPEAKER_01]: Or you think it's like, God taught.
32:34 --> 32:37 [SPEAKER_00]: Or you think it's a paternal thing, talking to the kid, say your parents?
32:37 --> 32:38 [SPEAKER_01]: Or you think it's like, God taught.
32:38 --> 32:39 [SPEAKER_00]: Or you think it's a paternal thing.
32:39 --> 32:41 [SPEAKER_00]: You could be the same man, right?
32:41 --> 32:43 [SPEAKER_00]: The God of a dream is sort of right.
32:43 --> 32:43 [SPEAKER_00]: You know.
32:45 --> 32:45 [SPEAKER_00]: Say again.
32:45 --> 32:46 [SPEAKER_01]: Oh, Nyrus.
32:46 --> 32:47 [SPEAKER_00]: Is that on Iris?
32:47 --> 32:48 [SPEAKER_01]: It's the Greek god of dreams.
32:48 --> 32:50 [SPEAKER_00]: I thought it was Orphia.
32:51 --> 32:52 [SPEAKER_00]: Orphia, sir.
32:52 --> 33:00 [SPEAKER_01]: He's probably the god of sleep maybe, but on Iris, because they call like people that explore dreams loosely on Nyronots.
33:01 --> 33:02 [SPEAKER_00]: Who calls them?
33:02 --> 33:02 [SPEAKER_00]: People.
33:02 --> 33:03 [SPEAKER_01]: People in the world.
33:04 --> 33:05 [SPEAKER_00]: Other owner nods like that.
33:05 --> 33:08 [SPEAKER_00]: Self-identification.
33:08 --> 33:17 [SPEAKER_00]: Okay, so Mark from the future, not that any of this matters, Morphius is indeed the god of dreams and Greek mythology.
33:17 --> 33:20 [SPEAKER_00]: He is the son of someness who is the god of sleep.
33:21 --> 33:35 [SPEAKER_00]: The O'Neiros were personifications of, I guess, specific dreams, like they appear as characters in the Iliad, for example, Zeus would send Agamemnon a bad dream in the form of an O'Neiros.
33:36 --> 33:36 [SPEAKER_00]: Let me isolate that.
33:37 --> 33:40 [SPEAKER_00]: Maybe we'll come back to the lyrics in a few minutes, but let me isolate the melody.
33:40 --> 33:41 [SPEAKER_00]: Mark's style.
33:42 --> 33:48 [SPEAKER_00]: His pentatonic.
33:49 --> 33:50 [SPEAKER_00]: No half steps.
33:50 --> 33:51 [SPEAKER_01]: No half steps.
33:51 --> 33:54 [SPEAKER_00]: There's only a couple half steps in the entire song and the melody.
33:54 --> 33:56 [SPEAKER_00]: It's all whole steps with a couple third leaps.
33:57 --> 34:03 [SPEAKER_00]: This is a kind of tension of the half steps in most of the instrumental part with no half steps at all.
34:03 --> 34:07 [SPEAKER_00]: So we're thinking like, okay, thematically, what are they leaning on?
34:07 --> 34:10 [SPEAKER_00]: We don't have consensus, but I will say the melody was added.
34:10 --> 34:15 [SPEAKER_00]: They had the full instrumental jam of this song apparently before they added the vocal parts.
34:16 --> 34:23 [SPEAKER_00]: So they have full knowledge of what's coming in the song before they wrote that melody, which is interesting, which maybe will be relevant in a minute.
34:23 --> 34:24 [SPEAKER_00]: I love that.
34:24 --> 34:25 [SPEAKER_00]: Thoughts right now.
34:25 --> 34:28 [SPEAKER_00]: Um, I'm thinking about what's the point of the episode?
34:28 --> 34:28 [SPEAKER_00]: I'm gonna go there.
34:28 --> 34:28 [SPEAKER_00]: Yeah.
34:28 --> 34:28 [SPEAKER_00]: Okay.
34:29 --> 34:29 [SPEAKER_01]: Cool.
34:29 --> 34:30 [SPEAKER_01]: I have thoughts.
34:30 --> 34:37 [SPEAKER_01]: One I've been thinking about, especially when you played on the piano, there was an album I used to listen to with my daughter as a lullabies.
34:37 --> 34:41 [SPEAKER_01]: It was Metallica lullabies, like where they just made all piano music.
34:42 --> 34:46 [SPEAKER_00]: Yeah, not like music boxy though, piano.
34:46 --> 34:48 [SPEAKER_01]: No, like beautiful like not annoying sounding.
34:48 --> 34:53 [SPEAKER_01]: No, no, I was like really lovely and there was like a whole series of all different types of piano music well.
34:53 --> 34:55 [SPEAKER_01]: So I was just thinking about that.
34:55 --> 35:01 [SPEAKER_01]: In the city of like tucking children into sleep, how it's really like cozy nurturing.
35:02 --> 35:10 [SPEAKER_01]: It could be a really lovely moment in early childhood development that you feel safe and warm and like protected.
35:10 --> 35:10 [SPEAKER_00]: Totally.
35:11 --> 35:14 [SPEAKER_01]: And that's not what the song is giving to me.
35:14 --> 35:19 [SPEAKER_01]: It's like feeling very jarred and feeling really traumatic and feeling really scary.
35:19 --> 35:25 [SPEAKER_00]: Yeah, I mean, it's like almost sins kind of refer like they're talking about like, there's that part where they're reading the prayer, right?
35:25 --> 35:30 [SPEAKER_00]: If I die before I wake, dying, the thought that you might die before you wake up.
35:30 --> 35:35 [SPEAKER_00]: I know that's kind of an odd part of that prayer, but that's very different from a comforting feeling when you're
35:36 --> 35:41 [SPEAKER_00]: Well, I don't know if you're religious though, then it's like, well, I pray to go to heaven should I die, right?
35:41 --> 35:44 [SPEAKER_01]: Before I just say go to heaven, so my soul to take.
35:44 --> 35:45 [SPEAKER_01]: I mean, anyone could take that soul.
35:46 --> 35:47 [SPEAKER_00]: Well, I pray the Lord.
35:47 --> 35:50 [SPEAKER_00]: Not the sandman or not a demon or something, right?
35:50 --> 35:53 [SPEAKER_01]: Yeah, it's like the Sid's piece is tricky, right?
35:53 --> 36:01 [SPEAKER_01]: It's just tricky to think about, but the idea that Sid's being sudden into death syndrome, right?
36:01 --> 36:11 [SPEAKER_01]: This kid's going to sleep allegedly in my eyes, like a really toxic stressful environment that may not be great for their development.
36:13 --> 36:19 [SPEAKER_00]: And I'm toxic, as James said, that field's going, yeah, right in front of him basically trying to fall asleep.
36:19 --> 36:20 [SPEAKER_00]: Yeah, that's stressful.
36:20 --> 36:21 [SPEAKER_01]: It's just stressful.
36:21 --> 36:25 [SPEAKER_01]: I just imagined like Kirk Hammett stroking my forehead so I can fall asleep.
36:25 --> 36:26 [SPEAKER_00]: Well, that's comforting in a different year.
36:26 --> 36:28 [SPEAKER_00]: You like Kirk Hammett, I guess.
36:28 --> 36:28 [SPEAKER_01]: I do.
36:29 --> 36:30 [SPEAKER_01]: It's the eyeliner for me.
36:31 --> 36:36 [SPEAKER_01]: But this idea that this poor kid is going to bed in such a stressful environment.
36:36 --> 36:40 [SPEAKER_01]: And he's saying, like, maybe I'll die when I'm asleep, and that'll be better than this.
36:41 --> 36:46 [SPEAKER_01]: That's how I interpret it, but I'm going weirdly, uh, not uncharacteristically darker here.
36:46 --> 36:51 [SPEAKER_00]: I get where you're saying, but also that's the part of the song that's not original lyrics, right?
36:52 --> 36:56 [SPEAKER_00]: reciting essentially a common traditional prayer.
36:56 --> 36:56 [SPEAKER_00]: Right.
36:57 --> 36:57 [SPEAKER_00]: Okay.
36:57 --> 37:01 [SPEAKER_00]: Let's listen to the pre-chorus to see where this all goes.
37:03 --> 37:03 [UNKNOWN]: So sad.
37:16 --> 37:18 [SPEAKER_01]: I'm really in my head about childhood trauma right now.
37:19 --> 37:19 [SPEAKER_00]: Right.
37:19 --> 37:26 [SPEAKER_00]: Well, there's also something about like everybody as a kid was scared of the dark or scared of something sometimes and put your head under the covers.
37:27 --> 37:31 [SPEAKER_00]: Sleep with one eye open, like, okay, it's the gripping the pillow tight.
37:31 --> 37:33 [SPEAKER_00]: That is like not a normal.
37:34 --> 37:36 [SPEAKER_00]: That's not a childhood fear response.
37:36 --> 37:37 [SPEAKER_00]: I think that's covering up.
37:38 --> 38:05 [SPEAKER_00]: but gripping the pillow tight is like you're afraid of something actually like bracing yourself almost right that is that is I've never thought of that is very disturbing that image and this is why Matt P was what he cooler this is the moment then before when he's reciting that around a daytime campfire imagine if he recited poetically the lyrics to wasn't under pressure by the women of their seminal album that album did not have
38:06 --> 38:08 [SPEAKER_00]: lyrics in the cassette booklet.
38:09 --> 38:14 [SPEAKER_00]: So I was left against, I didn't know all the Philly, nineteen ninety's Philly slang.
38:16 --> 38:17 [SPEAKER_00]: Some of the words I couldn't tell what they were saying.
38:17 --> 38:20 [SPEAKER_00]: How dare they not give you the lyrics?
38:20 --> 38:21 [SPEAKER_00]: I have the lyrics.
38:21 --> 38:22 [SPEAKER_01]: Because we didn't have the internet then.
38:23 --> 38:26 [SPEAKER_01]: Poor Matt P would have had to been transposing at all.
38:26 --> 38:27 [SPEAKER_00]: Right, this he just had to memorize.
38:28 --> 38:32 [SPEAKER_00]: But what happens in this moment is abruptly, it goes up a whole step.
38:33 --> 38:45 [SPEAKER_00]: We have what might be a key change from E up a whole step, not to F, but to F sharp with basically the same riff playing one whole step higher, meaning two half steps higher.
38:58 --> 39:01 [SPEAKER_00]: So compare the moves between an E chord to an F sharp chord.
39:04 --> 39:06 [SPEAKER_00]: It just sort of goes.
39:06 --> 39:07 [SPEAKER_01]: It's scary.
39:07 --> 39:09 [SPEAKER_01]: It's like it's coming together.
39:09 --> 39:12 [SPEAKER_00]: But it's not a half step.
39:13 --> 39:13 [SPEAKER_00]: No.
39:13 --> 39:14 [SPEAKER_00]: That's an interesting thing.
39:14 --> 39:17 [SPEAKER_00]: They could have gone do do do.
39:17 --> 39:17 [SPEAKER_00]: A half step.
39:17 --> 39:17 [SPEAKER_00]: They chose.
39:18 --> 39:23 [SPEAKER_00]: It's like the whole step one, even though so much of the song, especially the instruments has been dominated.
39:24 --> 39:29 [SPEAKER_01]: It's like that monster creeping and you want it to take slow steps towards you, but it's like charging you.
39:30 --> 39:30 [SPEAKER_00]: interesting.
39:31 --> 39:33 [SPEAKER_00]: That feels like a key change to your.
39:33 --> 39:39 [SPEAKER_00]: I mean, yeah, I'm trying to make some connections about the idea of whether this is a key change or just it could just be a chord.
39:40 --> 39:41 [SPEAKER_00]: Oh, it goes to an F sharp chord.
39:41 --> 39:43 [SPEAKER_01]: You haven't investigated this.
39:43 --> 39:44 [SPEAKER_01]: Well, so I'm characteristic.
39:44 --> 39:51 [SPEAKER_00]: Well, the idea between have we just shifted to a chord or have we changed key has to do with how it's used and where it goes.
39:51 --> 39:56 [SPEAKER_00]: So tell me, if it just goes back to E, we just went to an F sharp chord.
39:56 --> 39:56 [SPEAKER_01]: Whatever.
39:56 --> 39:59 [SPEAKER_00]: So what happens after the pre chorus into the chorus?
40:01 --> 40:17 [SPEAKER_08]: With me your pillow tight Excellite End of the night Take my hand What the never never lay down now
40:21 --> 40:22 [SPEAKER_01]: It stays there.
40:22 --> 40:23 [SPEAKER_00]: It stays in F-sharp.
40:23 --> 40:26 [SPEAKER_00]: So the pre-chorus abruptly goes to F-sharp minor.
40:27 --> 40:29 [SPEAKER_00]: And the chorus is just all in F-sharp.
40:30 --> 40:32 [SPEAKER_01]: And it goes up more as the song goes on, doesn't it?
40:33 --> 40:35 [SPEAKER_00]: Well, how did that end there at the end?
40:35 --> 40:36 [SPEAKER_00]: So here's what happens.
40:36 --> 40:37 [SPEAKER_00]: You want him to go up?
40:37 --> 40:40 [SPEAKER_00]: Here's what happens at the end of the chorus.
40:46 --> 40:47 [SPEAKER_00]: We're back.
40:47 --> 40:47 [SPEAKER_00]: Yeah.
40:48 --> 40:51 [SPEAKER_00]: It's just a properly goes to F sharp stays there for a bit.
40:51 --> 40:52 [SPEAKER_00]: So it is a key change.
40:52 --> 40:54 [SPEAKER_00]: It's not just, oh, we changed chords.
40:54 --> 40:58 [SPEAKER_00]: No, we have a new, a new dough, right?
40:58 --> 40:58 [SPEAKER_00]: A new one.
40:59 --> 41:02 [SPEAKER_00]: And then it's just a properly goes back to do do do do, right?
41:02 --> 41:03 [SPEAKER_00]: Just a properly goes back.
41:04 --> 41:07 [SPEAKER_00]: And so what we have is an abrupt modulation.
41:07 --> 41:11 [SPEAKER_00]: Modulation is the fancy pants way of saying a key change.
41:12 --> 41:15 [SPEAKER_00]: You say modulation to be fancy pants.
41:15 --> 41:18 [SPEAKER_00]: But essentially, you mean you have changed the key.
41:18 --> 41:22 [SPEAKER_00]: It's actually stupid, too, because modulation means other things in music, too, especially music technology.
41:23 --> 41:24 [SPEAKER_00]: So why not just call it a key change?
41:24 --> 41:25 [SPEAKER_01]: Oh, whoa, whoa, whoa.
41:25 --> 41:30 [SPEAKER_01]: You're telling me that in music theory, things can mean more than one thing.
41:31 --> 41:32 [SPEAKER_00]: definitely, unfortunately.
41:32 --> 41:33 [SPEAKER_01]: Yeah, no, I noticed.
41:33 --> 41:36 [SPEAKER_00]: Yeah, we had a issue with the circle of fifths about that last time, right?
41:38 --> 41:39 [SPEAKER_00]: Yeah, so okay.
41:40 --> 41:41 [SPEAKER_00]: So what do we have here?
41:41 --> 41:45 [SPEAKER_00]: This is a modulation, a key change that is not prepared.
41:45 --> 41:46 [SPEAKER_00]: It's not nuanced.
41:46 --> 41:47 [SPEAKER_00]: You just slam it.
41:48 --> 42:06 [SPEAKER_00]: Pajoratively called a truck driver modulation or a truck driver gear change because you just shift sometimes talk about technical terms direct modulation abrupt modulation phrase modulation because the phrase just immediately goes to a new key.
42:06 --> 42:07 [SPEAKER_00]: This is as opposed to
42:08 --> 42:13 [SPEAKER_00]: pivot chord modulations, sequential modulations, common tone modulations, and harmonic modulations.
42:13 --> 42:15 [SPEAKER_00]: These other types of modulations are set up.
42:16 --> 42:20 [SPEAKER_00]: This is just, we're any minor, and then we're an F sharp minor.
42:20 --> 42:21 [SPEAKER_00]: There is no transition.
42:22 --> 42:24 [SPEAKER_00]: There is no nuance to it.
42:24 --> 42:24 [SPEAKER_00]: It's just kind of
42:25 --> 42:25 [SPEAKER_00]: Boom.
42:25 --> 42:27 [SPEAKER_01]: It's an abrupt modulation.
42:27 --> 42:29 [SPEAKER_00]: Almost like you've shifted the gear in a trap.
42:29 --> 42:39 [SPEAKER_00]: And so the truck driver gear change is kind of used as a pejorative term because these are sometimes used for the forces of evil like what evil.
42:39 --> 42:40 [SPEAKER_00]: I'll play some later.
42:41 --> 42:44 [SPEAKER_00]: So this song, the pre-chorus in chorus is in a different key, and it just shifts back.
42:44 --> 42:45 [SPEAKER_01]: Okay.
42:45 --> 42:50 [SPEAKER_00]: The most common truck driver modulation is at the end of the song going up a half-step or a whole step.
42:50 --> 42:52 [SPEAKER_00]: So the singer can belt really high notes.
42:53 --> 42:58 [SPEAKER_00]: And there's a kind of cornyness obviousness to it.
42:58 --> 43:01 [SPEAKER_01]: It's like master-batory.
43:01 --> 43:03 [SPEAKER_00]: It's a little bit master-batory.
43:03 --> 43:05 [SPEAKER_00]: And sometimes that can lead to really awesome high notes.
43:05 --> 43:06 [SPEAKER_00]: I'll play some examples later.
43:07 --> 43:10 [SPEAKER_00]: This is almost, I think, in this song, this isn't.
43:10 --> 43:11 [SPEAKER_00]: So he gets high notes.
43:11 --> 43:14 [SPEAKER_00]: I mean, he does have high notes, but it's going to create vocal range.
43:15 --> 43:15 [SPEAKER_00]: Definitely.
43:15 --> 43:15 [SPEAKER_00]: Good.
43:16 --> 43:16 [SPEAKER_00]: Oh, no.
43:16 --> 43:16 [SPEAKER_00]: It's really good.
43:16 --> 43:16 [SPEAKER_00]: I know.
43:16 --> 43:18 [SPEAKER_00]: It's this good like a hi A or something.
43:18 --> 43:19 [SPEAKER_00]: Sounds great up there.
43:19 --> 43:25 [SPEAKER_00]: This is more almost like a change of how it like it's just like, ooh, refreshes your brain a little bit.
43:25 --> 43:27 [SPEAKER_00]: This is not a pejorative.
43:27 --> 43:29 [SPEAKER_00]: I would not make fun of this modulation.
43:29 --> 43:30 [SPEAKER_00]: Oh, it's lazy.
43:30 --> 43:31 [SPEAKER_00]: No, it's kind of awesome.
43:31 --> 43:38 [SPEAKER_00]: It feels like they just changed the chord, but no, they're staying a whole step up and just want a highlight.
43:38 --> 43:39 [SPEAKER_00]: It is a whole step.
43:39 --> 43:40 [SPEAKER_00]: It is not a half step.
43:40 --> 43:43 [SPEAKER_00]: And once again, our melody, not a lot of half steps in there.
43:46 --> 43:48 [SPEAKER_00]: whole step action between E and F sharp.
43:53 --> 43:54 [SPEAKER_00]: All whole steps.
43:55 --> 43:55 [SPEAKER_00]: Interesting.
43:56 --> 43:56 [SPEAKER_01]: Interesting.
43:57 --> 44:12 [SPEAKER_01]: It kind of feels like if you're in an abusive situation, how your abuser might start love bombing you halfway through, like an abuse cycle to make you feel comfortable again, to make you feel like attached again.
44:13 --> 44:14 [SPEAKER_00]: How is it like that?
44:14 --> 44:16 [SPEAKER_00]: Because it's just like that where we're going.
44:16 --> 44:17 [SPEAKER_00]: That's what I should think about.
44:17 --> 44:19 [SPEAKER_01]: It's just observation.
44:20 --> 44:21 [SPEAKER_01]: Because if you think like it's
44:22 --> 44:28 [SPEAKER_01]: When it had that abrupt modulation and the key raised up and it kind of heightened us a little bit.
44:28 --> 44:29 [SPEAKER_01]: And now it's going back to the beginning.
44:30 --> 44:34 [SPEAKER_01]: It's like helping, trying to regulate us, trying to bring us back to where we started.
44:35 --> 44:36 [SPEAKER_01]: And I know where the song's going.
44:36 --> 44:38 [SPEAKER_01]: I know it's going to go up again.
44:38 --> 44:39 [SPEAKER_01]: I know it's a cycle.
44:39 --> 44:40 [SPEAKER_01]: What in this moment?
44:40 --> 44:42 [SPEAKER_01]: I'm feeling rested.
44:42 --> 44:44 [SPEAKER_00]: I definitely want to talk.
44:44 --> 44:45 [SPEAKER_00]: Let's talk the brain piece of it.
44:45 --> 44:47 [SPEAKER_00]: But on that point, let me play one more thing.
44:47 --> 44:52 [SPEAKER_00]: And later I'll come back and I'll play other examples of good and bad truck driver gear changes.
44:52 --> 44:58 [SPEAKER_00]: But during the other parts of the song, where we're not guided by this melody, that's all whole steps.
44:58 --> 45:04 [SPEAKER_00]: It still happens and it's totally just abrupt, but it's not foreshadowed, it just boom happens.
45:05 --> 45:09 [SPEAKER_00]: But yet feels sort of grounded in this weird way.
45:09 --> 45:10 [SPEAKER_00]: So take a listen.
45:10 --> 45:11 [SPEAKER_00]: Here's the solo.
45:25 --> 45:26 [SPEAKER_00]: He still handsome, right?
45:27 --> 45:27 [SPEAKER_00]: Oh, my gosh.
45:28 --> 45:30 [SPEAKER_00]: And then the bridge happens again.
45:35 --> 45:37 [SPEAKER_00]: Just gonna roughly go back up and then shift back down.
45:38 --> 45:42 [SPEAKER_02]: And of course, the melody's all whole steps, right?
45:43 --> 45:44 [SPEAKER_02]: Who's the kid?
45:55 --> 45:55 [SPEAKER_00]: Who's the kid?
45:55 --> 45:56 [SPEAKER_00]: I don't know who the kid is.
45:58 --> 46:02 [SPEAKER_00]: It's producer Bob Rock's son.
46:02 --> 46:04 [SPEAKER_00]: The kid gripping his pillow tight in your closet.
46:04 --> 46:17 [SPEAKER_00]: It had one of those things like when you have a kid actor in like a horror movie or like is that kid actually freaked out by the guy or lady wearing mocap stuff that's supposed to be a monster chasing them around like that's kind of crazy.
46:17 --> 46:20 [SPEAKER_01]: Because then they see that lady like they get used to them and Turkey sandwiched.
46:20 --> 46:22 [SPEAKER_00]: Yeah, they have ice cream after the shoot.
46:22 --> 46:25 [SPEAKER_01]: Like that's just like getting in their pre-escent going home.
46:26 --> 46:27 [SPEAKER_00]: Those kids in their preuses.
46:45 --> 46:46 [SPEAKER_00]: All right, so let's unpack more.
46:46 --> 46:56 [SPEAKER_00]: So you, you listed a few things you could talk about the beginning and then you also mentioned like abuse and kind of the cyclical nature of that where you want to go with this.
46:56 --> 47:00 [SPEAKER_00]: We can't talk about all of it because you also got to save some of this other episodes of the people come back.
47:00 --> 47:00 [SPEAKER_01]: There's too much.
47:00 --> 47:03 [SPEAKER_01]: There's too many interesting things to talk about all the time.
47:03 --> 47:04 [SPEAKER_01]: I never know where to go.
47:05 --> 47:14 [SPEAKER_01]: The ease, the low hanging fruit here is to talk about like bedtime routines, but that seems like it doesn't do justice to the weight of the song to be like you should
47:15 --> 47:16 [SPEAKER_01]: Turn off your phone before bed.
47:16 --> 47:17 [SPEAKER_01]: Like, yeah, we're going to talk.
47:18 --> 47:19 [SPEAKER_00]: Is that sleep hygiene?
47:19 --> 47:23 [SPEAKER_01]: Yeah, like do the same thing at the same time every night for your body.
47:23 --> 47:24 [SPEAKER_00]: No, absolutely no.
47:24 --> 47:25 [SPEAKER_00]: Let's not talk about that.
47:25 --> 47:29 [SPEAKER_01]: I'm like, you can just look in very well-mined for that, which is a dumb website.
47:30 --> 47:32 [SPEAKER_01]: I think that the move will put.
47:32 --> 47:35 [SPEAKER_01]: Well, my heart is so much in class.
47:35 --> 47:35 [SPEAKER_01]: Okay.
47:36 --> 47:36 [SPEAKER_00]: Okay.
47:36 --> 47:36 [SPEAKER_00]: Where are we going?
47:38 --> 47:41 [SPEAKER_01]: I'd like to talk about like, yeah, trauma cycles.
47:41 --> 47:42 [SPEAKER_01]: I think that that doesn't like abuse cycles.
47:43 --> 47:47 [SPEAKER_01]: I think that that like is the best path to make some connections.
47:47 --> 47:49 [SPEAKER_00]: So you're thinking of this.
47:50 --> 47:51 [SPEAKER_00]: Look, I played one earlier.
47:52 --> 47:52 [SPEAKER_01]: Yes.
47:52 --> 47:57 [SPEAKER_00]: One is about, well, it's based on what's there's a lot of literary references.
47:57 --> 47:59 [SPEAKER_00]: What's the book that the lyrics of one are based on?
48:00 --> 48:05 [SPEAKER_00]: I don't remember one of the world war one novel, but it's like a guy who was.
48:05 --> 48:10 [SPEAKER_00]: He's had all of his limbs right taken from him and he's like trapped in this hospital like right.
48:10 --> 48:13 [SPEAKER_00]: They're not afraid to go to really dark places.
48:13 --> 48:18 [SPEAKER_00]: And so you're positing a scenario that's not just who don't let the boogie man get you at night, but
48:19 --> 48:22 [SPEAKER_00]: This kid is also afraid of his parents probably.
48:22 --> 48:26 [SPEAKER_01]: I'm posting that like, parents are the boogie man.
48:26 --> 48:26 [SPEAKER_00]: Yeah.
48:27 --> 48:31 [SPEAKER_00]: And the gripping your pillow tight is what makes me worried that you might be right.
48:32 --> 48:37 [SPEAKER_01]: And there's a lot of lyrical nods to this like, you know, harsh little baby don't say a word.
48:37 --> 48:40 [SPEAKER_01]: That to me feels.
48:40 --> 48:41 [SPEAKER_00]: Once again with the creepy lolobilerics.
48:42 --> 48:48 [SPEAKER_01]: It's a creepy lolobileric, but like when you put it in this context, it, it, you know, I always tell my kid like,
48:49 --> 48:57 [SPEAKER_01]: If another adult tells you to never tell your mom and dad about something, that's for sure something that you be telling your mom and dad about.
48:57 --> 48:57 [SPEAKER_01]: Right.
48:57 --> 49:04 [SPEAKER_01]: And I think that like the hush little baby don't say a word lyric to me makes me think of that parenting mantra I have.
49:04 --> 49:05 [SPEAKER_07]: Yeah.
49:05 --> 49:07 [SPEAKER_01]: Like this idea that this is our secret.
49:07 --> 49:08 [SPEAKER_07]: Yeah.
49:08 --> 49:11 [SPEAKER_01]: And that seems gross and like not appropriate.
49:12 --> 49:26 [SPEAKER_01]: All right, and I'll also in the song, it talks about the idea that the parenting figure is becoming unreliable and maybe damaging and maybe an abuser for the kid, and that's how I've always interpreted these lyrics.
49:27 --> 49:35 [SPEAKER_01]: And this idea, like end of childhood instance, it's like fall from safety, these like abuse cycles, all of that's bubbling up for me.
49:35 --> 49:46 [SPEAKER_01]: When you talk about this abrupt modulation and key and back and back, like forward and back between like being kind of a little bit sharper.
49:47 --> 50:07 [SPEAKER_01]: a little bit off key, but it like fits in the narrative of the song so much so that if you use the, I don't know what the right word would be, but like the natural key, like if you used E minor with no other interpolations, if it was just pure E minor, the song wouldn't sound right, like you need those shifts.
50:07 --> 50:09 [SPEAKER_00]: Wow, I, okay, I'm gonna pipe in.
50:09 --> 50:11 [SPEAKER_01]: Yeah, am I, do I, do I understand it?
50:12 --> 50:13 [SPEAKER_00]: Well, I'm gonna pipe in later.
50:13 --> 50:14 [SPEAKER_00]: I can't do this on the fly.
50:14 --> 50:14 [SPEAKER_01]: Okay.
50:16 --> 50:20 [SPEAKER_00]: I will pitch shift the chorus down a whole step.
50:20 --> 50:22 [SPEAKER_00]: So it just starts and stays in E minor.
50:22 --> 50:23 [SPEAKER_00]: Right.
50:23 --> 50:24 [SPEAKER_00]: It's going to sound listeners.
50:24 --> 50:26 [SPEAKER_00]: It'll sound like you'll hear artifacts.
50:26 --> 50:30 [SPEAKER_00]: It'll sound a little gross, but we're going to hear it if it never, I'll try.
50:30 --> 50:33 [SPEAKER_00]: If it never changed key because it's that.
50:34 --> 50:35 [SPEAKER_00]: It's that abrupt.
50:35 --> 50:38 [SPEAKER_00]: I could just sort of cut there, shift it down a whole step.
50:38 --> 50:41 [SPEAKER_00]: Okay, everybody on that note, this is the pre-chorus.
50:42 --> 50:46 [SPEAKER_00]: In other words, it's going to stay in E minor instead of jumping to F sharp.
50:46 --> 50:52 [SPEAKER_00]: So what I've done is just pitch shifted the second half of what you're about to hear down.
50:52 --> 50:55 [SPEAKER_00]: Again, I didn't use any particular fancy software for this.
50:56 --> 50:58 [SPEAKER_00]: So you're going to hear some audio artifacts.
50:58 --> 50:59 [SPEAKER_00]: It's just going to sound a little weird.
51:12 --> 51:13 [SPEAKER_00]: Okay, now here's the full chorus.
51:14 --> 51:19 [SPEAKER_00]: So I've pitched shifted the whole front part down from F sharp minor back down to regular old E minor.
51:20 --> 51:22 [SPEAKER_00]: And then it just stays an E minor.
51:45 --> 51:47 [SPEAKER_00]: Yeah, the psychological effect that's going to have.
51:47 --> 52:00 [SPEAKER_01]: The thing that's interesting is because if you were raised in a place without trauma, you're accustomed to having a adult life without trauma.
52:00 --> 52:06 [SPEAKER_01]: But if you're raised in a really intense moment in childhood that your quarrels, all levels are high,
52:08 --> 52:10 [SPEAKER_01]: which is a trauma response, like you're, you're a classical.
52:10 --> 52:10 [SPEAKER_00]: You're a classical.
52:10 --> 52:11 [SPEAKER_00]: You need to stress this.
52:12 --> 52:12 [SPEAKER_00]: Yes.
52:12 --> 52:15 [SPEAKER_01]: And you kind of need, that becomes your baseline, right?
52:16 --> 52:25 [SPEAKER_01]: So in this song, we're, we're acclimating to these iterations of this key to be a slightly sharp or slightly flat in areas that they wouldn't naturally be.
52:26 --> 52:31 [SPEAKER_01]: So much so that if it was the natural e-minor, it wouldn't sound right to us.
52:32 --> 52:32 [SPEAKER_00]: Right.
52:33 --> 52:35 [SPEAKER_01]: Our baseline is becoming skewed because of the song.
52:36 --> 52:37 [SPEAKER_01]: Is that making sense?
52:37 --> 52:41 [SPEAKER_00]: Well, it's interesting because if you're talking about like, what is it acclimating us to?
52:42 --> 52:46 [SPEAKER_00]: The instrumental part mostly is acclimating us to everything being flat by half step.
52:47 --> 52:48 [SPEAKER_00]: The vocal line is not.
52:49 --> 52:52 [SPEAKER_00]: And then the shift is all whole step motions.
52:52 --> 53:01 [SPEAKER_00]: So it's kind of like you acclimating to one thing and then what you get is not what you've acclimated to because it doesn't go to F. It's not like the payoff like
53:02 --> 53:04 [SPEAKER_00]: way back when we did our Lizzo episode.
53:04 --> 53:07 [SPEAKER_00]: I was talking about what's this weird F chord in the key of A flat?
53:07 --> 53:14 [SPEAKER_00]: Why is it F major and then like way in the middle of the song it pays off while the F leads to B flat or cool?
53:14 --> 53:20 [SPEAKER_00]: This is almost paint off something that isn't for sure the vocal melody kind of foreshadows the whole set move, but
53:21 --> 53:27 [SPEAKER_00]: The instrumental group would be foreshadowing something different and we don't get it and that is disruptive maybe.
53:27 --> 53:31 [SPEAKER_00]: But it works really well and part of why it works is it goes right back.
53:32 --> 53:32 [SPEAKER_00]: It's abrupt.
53:32 --> 53:34 [SPEAKER_00]: It is disturbing and shocking.
53:34 --> 53:35 [SPEAKER_00]: It's cool in that way.
53:35 --> 53:37 [SPEAKER_01]: It's cool and it's cyclical.
53:37 --> 53:40 [SPEAKER_01]: Like in some ways for me when I listen to it.
53:40 --> 53:42 [SPEAKER_01]: Like there's resolution, right?
53:43 --> 53:46 [SPEAKER_01]: It just is not a natural resolution.
53:46 --> 53:55 [SPEAKER_01]: And I don't know, I've been thinking a lot as you're talking about how trauma wires you in a way towards like a heightened response.
53:56 --> 53:56 [SPEAKER_01]: Right.
53:57 --> 54:01 [SPEAKER_01]: And then I think about adverse childhood experiences, have I mentioned to have I talked to
54:02 --> 54:03 [SPEAKER_00]: With that term, I don't think so now.
54:03 --> 54:08 [SPEAKER_01]: Or we would call it ACEs, adverse childhood experiences.
54:08 --> 54:12 [SPEAKER_01]: Well, there's a ten item questionnaire.
54:12 --> 54:16 [SPEAKER_01]: It's called the ACE inventory, or you can get an ACE score from it.
54:17 --> 54:19 [SPEAKER_01]: And anyone can look it up.
54:19 --> 54:23 [SPEAKER_01]: It's a really easy questionnaire to administer because it's meant to be administered to kids.
54:24 --> 54:29 [SPEAKER_01]: And from this, it's like, and we say inventory, it's like a test.
54:29 --> 54:30 [SPEAKER_01]: Like questions you answer.
54:30 --> 54:30 [SPEAKER_07]: Sure.
54:31 --> 54:36 [SPEAKER_01]: Like when you go to the doctor, they give you a depression screen and it's like a series of ten questions that will screen against depression.
54:37 --> 54:42 [SPEAKER_01]: And this ace questionnaire is meant to help determine level of childhood trauma.
54:42 --> 54:48 [SPEAKER_01]: And from your ace score, we can determine like long-term health outcomes.
54:48 --> 54:52 [SPEAKER_01]: Like we know if you have a high ace score as a ten year old,
54:53 --> 55:02 [SPEAKER_01]: you're going to have a greater chance for depression, growing up, a greater chance for obesity, diabetes, heart disease, growing up, your space on your ACE score.
55:02 --> 55:15 [SPEAKER_01]: So incorporating adverse childhood experiences into holistic medical practice is like a really great path forward for like the mind body connection and the mental health and like all purpose, I guess health industry.
55:16 --> 55:16 [SPEAKER_01]: So
55:17 --> 55:20 [SPEAKER_01]: The thing about ACE scores is everyone's got one.
55:20 --> 55:24 [SPEAKER_01]: No one's getting out without some score on the ACE inventory.
55:24 --> 55:24 [SPEAKER_01]: Right.
55:24 --> 55:31 [SPEAKER_01]: Now you could easily look it up and see like if you grew up in a household that parents yelled, no, right?
55:31 --> 55:35 [SPEAKER_01]: If your parents were divorced, if one of the most incarcerated, if your parents abuse drugs or alcohol,
55:36 --> 55:39 [SPEAKER_00]: or there was a war in your town and like you were being bombed, right?
55:39 --> 55:40 [SPEAKER_00]: Like things would contribute.
55:40 --> 55:44 [SPEAKER_01]: Yeah, a lot of it is like interpersonal, family stuff.
55:44 --> 55:48 [SPEAKER_00]: Not situation, not you had food insecurity for your early childhood.
55:48 --> 55:53 [SPEAKER_01]: No, I had to look and see, but a lot of them have the flavor of like what's happening in the household.
55:53 --> 55:54 [SPEAKER_05]: Okay, I understand.
55:54 --> 55:58 [SPEAKER_01]: Which is really interesting because all that stuff outside of the household too.
55:58 --> 56:03 [SPEAKER_01]: But a really great analogy I heard about like trauma responses.
56:04 --> 56:13 [SPEAKER_01]: You know, that outside trauma exists, like the world around you exists, you know, and sometimes kids do feel like there's a monster chasing them and they have to run from it.
56:13 --> 56:24 [SPEAKER_01]: And maybe that monster is a bully at school or maybe that monsters, depending on the kid, like the government or outside agencies coming to take their family apart.
56:24 --> 56:28 [SPEAKER_01]: But that maybe that monster, maybe that like bear chasing you is your dad.
56:28 --> 56:35 [SPEAKER_01]: In every time you walk in your front door, you have that heightened cortisol response, that heightened feeling of the fight or flight moment.
56:36 --> 56:45 [SPEAKER_01]: But that fight or flight moment happens at bedtime, or happens around the dinner table, and how you get kind of accustomed to that as you move through your life.
56:45 --> 56:49 [SPEAKER_01]: Even if the bear goes away, you still have that heightened trauma response.
56:49 --> 56:51 [SPEAKER_01]: So you can have heightened anxiety, heightened depression.
56:51 --> 56:52 [SPEAKER_00]: You get used to the key change.
56:53 --> 56:54 [SPEAKER_01]: You get used to the key change.
56:54 --> 56:57 [SPEAKER_00]: So can I throw a little cold water on this interpretation?
56:57 --> 56:58 [SPEAKER_00]: Yeah.
56:58 --> 57:00 [SPEAKER_00]: The hustle little baby don't say word.
57:01 --> 57:02 [SPEAKER_00]: Never mind the voice you heard.
57:02 --> 57:03 [SPEAKER_00]: I think or the noise you heard.
57:04 --> 57:08 [SPEAKER_00]: It's just the beast under the bed in your closet in your head.
57:08 --> 57:08 [SPEAKER_01]: Right.
57:10 --> 57:18 [SPEAKER_00]: You know, there's historic drug abuse in Metallica and probably mental illnesses in that band.
57:18 --> 57:21 [SPEAKER_00]: Is this actually about just the demon as you?
57:21 --> 57:26 [SPEAKER_00]: Your own thing is that kid is this is he talking to himself, right?
57:26 --> 57:27 [SPEAKER_00]: In the past, maybe?
57:27 --> 57:30 [SPEAKER_01]: Or maybe it's just the abuser gaslighting him.
57:30 --> 57:31 [SPEAKER_00]: Okay.
57:31 --> 57:32 [SPEAKER_01]: thing.
57:32 --> 57:34 [SPEAKER_00]: Oh, the lightning or victim blaming and stuff.
57:34 --> 57:35 [SPEAKER_01]: That's all the same.
57:35 --> 57:36 [SPEAKER_01]: Well, that's the same.
57:36 --> 57:38 [SPEAKER_01]: But yeah, this idea that now it's there's nothing to worry about.
57:38 --> 57:39 [SPEAKER_01]: This is normal.
57:39 --> 57:41 [SPEAKER_01]: This is what the normal dead does at that time.
57:42 --> 57:42 [SPEAKER_07]: Yeah.
57:42 --> 57:43 [SPEAKER_01]: This is like a normal situation.
57:44 --> 57:44 [SPEAKER_01]: Your crazy.
57:44 --> 57:45 [SPEAKER_01]: I'm not crazy.
57:46 --> 57:47 [SPEAKER_01]: How dare you and say I'm crazy.
57:48 --> 57:48 [SPEAKER_07]: Yeah.
57:48 --> 57:50 [SPEAKER_01]: It's your or the problem.
57:50 --> 57:54 [SPEAKER_01]: So that's why I read it is like an impeller gaslighting as victim, but wow.
57:54 --> 57:55 [SPEAKER_01]: I tend to go darker.
57:56 --> 57:58 [SPEAKER_00]: Yeah, I guess so darker than E minor.
57:58 --> 57:59 [SPEAKER_00]: It's hard to go dark.
57:59 --> 58:05 [SPEAKER_00]: That thing doesn't give any minor flat minor for tapping into the emotional void.
58:10 --> 58:13 [SPEAKER_01]: Like it's so much better when you like the excel song.
58:13 --> 58:15 [SPEAKER_01]: Yeah, like the bad for spreadsheet.
58:16 --> 58:17 [SPEAKER_01]: Little chill at the end.
58:17 --> 58:18 [SPEAKER_00]: It's above better.
58:18 --> 58:20 [SPEAKER_01]: Yeah, like that's cool.
58:20 --> 58:20 [SPEAKER_00]: All right.
58:20 --> 58:25 [SPEAKER_00]: So was that stupid enough transition to go back to me playing some examples.
58:25 --> 58:26 [SPEAKER_00]: Yeah, get me in my mind.
58:27 --> 58:29 [SPEAKER_01]: In my closet in my bed or whatever.
58:29 --> 58:29 [SPEAKER_00]: In your head.
58:29 --> 58:30 [SPEAKER_00]: Okay.
58:30 --> 58:31 [SPEAKER_00]: So Whitney Houston.
58:32 --> 58:33 [SPEAKER_01]: Oh great.
58:34 --> 58:37 [SPEAKER_00]: probably done to show off vocals, right?
58:38 --> 58:38 [SPEAKER_00]: Great.
58:38 --> 58:40 [SPEAKER_00]: I will always love you, ninety-nine-two.
58:40 --> 58:47 [SPEAKER_00]: Notably, the original version, Dolly Parton, does not do the truck driver modulation at the end.
58:47 --> 58:49 [SPEAKER_00]: This just goes up a step, no prep, abrupt.
58:50 --> 58:58 [SPEAKER_00]: To show off some high notes, Dolly is diva enough, but apparently we needed to amplify the diviness and the show offiness with Whitney.
59:22 --> 59:23 [SPEAKER_01]: From the Bodyguards soundtrack.
59:24 --> 59:24 [SPEAKER_00]: Yeah, that's right.
59:25 --> 59:25 [SPEAKER_00]: Did you ever see the movie?
59:26 --> 59:30 [SPEAKER_01]: No, I have like images in my head for my, but I think it's from this music video.
59:30 --> 59:31 [SPEAKER_01]: Like Kevin Costner.
59:31 --> 59:33 [SPEAKER_01]: Holy crap.
59:33 --> 59:33 [SPEAKER_00]: Holding her?
59:33 --> 59:34 [SPEAKER_00]: Yeah, I think you're right.
59:35 --> 59:35 [SPEAKER_00]: Yeah, never saw that.
59:36 --> 59:36 [SPEAKER_01]: And no, I'm right.
59:36 --> 59:37 [SPEAKER_00]: Definitely heard the song.
59:38 --> 59:40 [SPEAKER_00]: All right, living on a prayer in nineteen eighty six.
59:40 --> 59:41 [SPEAKER_00]: Bon Jovi.
59:41 --> 59:43 [SPEAKER_00]: There is one transitional chord, but
59:44 --> 59:49 [SPEAKER_00]: It's not a chord that would lead you to the key, so it sort of doesn't help.
59:50 --> 59:55 [SPEAKER_00]: It sounds like, ooh, key change, but the chord they play doesn't actually lead to the the new key.
59:55 --> 59:58 [SPEAKER_00]: This is G going up a whole third to be flat.
59:58 --> 01:00:00 [SPEAKER_00]: I think it's to show off the really high vocals.
01:00:20 --> 01:00:21 [SPEAKER_01]: very fun singing along song.
01:00:22 --> 01:00:22 [SPEAKER_00]: It's hard.
01:00:22 --> 01:00:27 [SPEAKER_01]: When there's a GB band playing that song, you're like, this is this is the moment.
01:00:27 --> 01:00:28 [SPEAKER_00]: Are they going to do the key change?
01:00:28 --> 01:00:29 [SPEAKER_01]: Are they going to do it?
01:00:29 --> 01:00:30 [SPEAKER_01]: Are they going to do it?
01:00:30 --> 01:00:31 [SPEAKER_01]: And they do.
01:00:31 --> 01:00:35 [SPEAKER_00]: Full disclosure, that one I will with full condescension call a truck driver modulation.
01:00:35 --> 01:00:38 [SPEAKER_00]: It's kind of a little too much for me.
01:00:38 --> 01:00:43 [SPEAKER_01]: feel like you're very pejorative about the term, but it's okay to be a truck driver.
01:00:43 --> 01:00:44 [SPEAKER_01]: It's so bad about it.
01:00:45 --> 01:00:46 [SPEAKER_00]: It's not about it.
01:00:46 --> 01:00:50 [SPEAKER_00]: It's not the, it's not, oh, this is what the truck drivers do.
01:00:51 --> 01:00:52 [SPEAKER_00]: It's the idea of shifting the camera.
01:00:52 --> 01:00:54 [SPEAKER_01]: You get it, but what's wrong with that?
01:00:54 --> 01:00:55 [SPEAKER_00]: First gear to second gear.
01:00:55 --> 01:00:55 [SPEAKER_01]: You're just jealous.
01:00:56 --> 01:00:56 [SPEAKER_00]: It's because
01:00:57 --> 01:01:02 [SPEAKER_00]: The term comes from the idea that you want to have nuance to your moves, right?
01:01:02 --> 01:01:03 [SPEAKER_00]: It's blatant.
01:01:03 --> 01:01:05 [SPEAKER_00]: And I think, and I will always love you.
01:01:05 --> 01:01:06 [SPEAKER_00]: It works.
01:01:06 --> 01:01:08 [SPEAKER_00]: I think in Inter Samman it works.
01:01:08 --> 01:01:10 [SPEAKER_00]: It might be a bit much and live it on a prayer.
01:01:11 --> 01:01:12 [SPEAKER_01]: I think it's showmanship.
01:01:13 --> 01:01:13 [SPEAKER_00]: Yeah, okay.
01:01:13 --> 01:01:19 [SPEAKER_00]: Hey, look, if you got it, flaunted and Johnny B, he can sing the really high notes.
01:01:20 --> 01:01:28 [SPEAKER_00]: So speaking of people who who can sing who already came up this episode, let's circle back to our boys two men's on Bendonine, nineteen ninety four.
01:01:28 --> 01:01:31 [SPEAKER_00]: This is not from the album with under pressure.
01:01:31 --> 01:01:32 [SPEAKER_01]: This voice to men, too.
01:01:32 --> 01:01:33 [SPEAKER_00]: Boys to men, too.
01:01:34 --> 01:01:34 [SPEAKER_00]: The sequel.
01:01:34 --> 01:01:35 [SPEAKER_01]: Boys where they become the guy.
01:01:35 --> 01:01:38 [SPEAKER_00]: Boys, I meant I. I. Yeah, eventually.
01:01:39 --> 01:01:41 [SPEAKER_01]: Still not though, they're still touring as boys to men.
01:01:41 --> 01:01:41 [SPEAKER_00]: That's right.
01:01:42 --> 01:01:43 [SPEAKER_00]: This one starts any flat.
01:01:44 --> 01:01:51 [SPEAKER_11]: And then goes up a half step to E. But then it happens again, another half step.
01:01:51 --> 01:01:52 [SPEAKER_11]: It's half.
01:02:13 --> 01:02:15 [SPEAKER_11]: Yeah, no kidding me.
01:02:25 --> 01:02:29 [SPEAKER_00]: And that chord, there's a prep chord in there to set it up, but it's just boom, prep chord go.
01:02:29 --> 01:02:30 [SPEAKER_00]: Right?
01:02:30 --> 01:02:30 [SPEAKER_00]: Good.
01:02:31 --> 01:02:31 [SPEAKER_00]: Good.
01:02:31 --> 01:02:36 [SPEAKER_00]: And you can imagine a world like a parody version that just keeps going and going.
01:02:36 --> 01:02:36 [SPEAKER_01]: Is there one?
01:02:37 --> 01:02:37 [SPEAKER_00]: Probably.
01:02:37 --> 01:02:39 [SPEAKER_00]: It'd be really, really hard to say.
01:02:39 --> 01:02:40 [SPEAKER_01]: What's weird, I'll do it.
01:02:40 --> 01:02:41 [SPEAKER_00]: What's weird, I'll do it.
01:02:41 --> 01:02:41 [SPEAKER_00]: Yeah.
01:02:41 --> 01:02:42 [SPEAKER_01]: Do an original scenario, right?
01:02:42 --> 01:02:43 [SPEAKER_00]: He does it all, man.
01:02:44 --> 01:02:45 [SPEAKER_00]: Did you see where it out?
01:02:45 --> 01:02:46 [SPEAKER_00]: He just played here a couple months ago.
01:02:46 --> 01:02:47 [SPEAKER_00]: I didn't go.
01:02:47 --> 01:02:48 [SPEAKER_01]: I didn't go.
01:02:48 --> 01:02:49 [SPEAKER_00]: I didn't go.
01:02:49 --> 01:02:50 [SPEAKER_00]: One more example.
01:02:50 --> 01:02:51 [SPEAKER_00]: All right.
01:02:51 --> 01:02:55 [SPEAKER_00]: This is what I actually don't like, even though I love this song.
01:02:55 --> 01:02:58 [SPEAKER_00]: The listeners heard me talk a lot about Michael Jackson.
01:02:59 --> 01:03:01 [SPEAKER_00]: We have mixed feelings about Michael Jackson.
01:03:01 --> 01:03:10 [SPEAKER_00]: To say the least, listen to that episode, one of the last episodes of season one, this song, Baby Be Mine, from Thriller, in my defense of using it.
01:03:10 --> 01:03:13 [SPEAKER_00]: Hey, this was written by Rod Temperton.
01:03:13 --> 01:03:18 [SPEAKER_00]: Grot Temperton was a lot of his good songs too.
01:03:19 --> 01:03:20 [SPEAKER_00]: I'm kind of being negative and good enough.
01:03:21 --> 01:03:22 [SPEAKER_00]: I'm kind of discing them.
01:03:22 --> 01:03:26 [SPEAKER_00]: So there's all these fancy chords written in the key of C sharp minor.
01:03:26 --> 01:03:28 [SPEAKER_00]: And then we just go up a half step to D minor.
01:03:29 --> 01:03:33 [SPEAKER_00]: And there's something about it that just doesn't I love this song.
01:03:33 --> 01:03:34 [SPEAKER_00]: Maybe my favorite song on thriller.
01:03:35 --> 01:03:36 [SPEAKER_00]: Just sounds weird.
01:03:36 --> 01:03:38 [SPEAKER_00]: Listen to this gear shift modulation.
01:04:02 --> 01:04:03 [SPEAKER_00]: Does that sound good to you?
01:04:03 --> 01:04:04 [SPEAKER_00]: No.
01:04:04 --> 01:04:11 [SPEAKER_00]: The key change, there's something about, and I think I know what it is, I think it's from the production reality of the synth having vibrato.
01:04:11 --> 01:04:17 [SPEAKER_00]: The synth has wobbly pitch, and the moment when the shift, when the chord shifts, it sounds like out of tune to me.
01:04:23 --> 01:04:24 [SPEAKER_00]: I don't like it.
01:04:24 --> 01:04:25 [SPEAKER_00]: Something about it that feels weird, isn't it?
01:04:25 --> 01:04:28 [SPEAKER_01]: Yeah, I think it's shifting down and not up.
01:04:28 --> 01:04:29 [SPEAKER_00]: Going up a half step.
01:04:29 --> 01:04:30 [SPEAKER_00]: Is it?
01:04:30 --> 01:04:31 [SPEAKER_00]: It's not clear.
01:04:31 --> 01:04:31 [SPEAKER_00]: But it's going up.
01:04:31 --> 01:04:32 [SPEAKER_00]: I think I have step.
01:04:33 --> 01:04:34 [SPEAKER_01]: It needs to be.
01:04:34 --> 01:04:39 [SPEAKER_01]: That doesn't seem as truck-dryvery as me.
01:04:40 --> 01:04:41 [SPEAKER_01]: I need to like go more.
01:04:42 --> 01:04:44 [SPEAKER_01]: Well, there's definitely a half step.
01:04:45 --> 01:04:46 [SPEAKER_01]: or they more.
01:04:46 --> 01:04:49 [SPEAKER_00]: They were a, I will always love you as a whole step.
01:04:49 --> 01:04:53 [SPEAKER_00]: Living on a prayer is a minor third on Ben and he was half step.
01:04:53 --> 01:04:53 [SPEAKER_01]: Yeah.
01:04:53 --> 01:04:56 [SPEAKER_00]: It's all about how it's all, it's about that execution, right?
01:04:56 --> 01:04:57 [SPEAKER_00]: And this one just is something about it.
01:04:57 --> 01:05:01 [SPEAKER_01]: There was that like lifting moment and like felt like gross.
01:05:01 --> 01:05:06 [SPEAKER_00]: Again, problems with Michael Jackson definitely, this is my favorite song on thriller and that moment just doesn't work for me.
01:05:07 --> 01:05:14 [SPEAKER_00]: So all of this, where they do it at the end as a climax is by far more common than what we have in this song.
01:05:14 --> 01:05:15 [SPEAKER_00]: Where it's going back and forth.
01:05:16 --> 01:05:20 [SPEAKER_00]: Two examples, and then I'm done, of songs where it goes back and forth.
01:05:20 --> 01:05:26 [SPEAKER_00]: So two little clips to establish each key, nineteen sixty seven, Lucy in the sky with diamonds.
01:05:28 --> 01:05:30 [SPEAKER_00]: Also known as sounds just like Oasis, right?
01:05:30 --> 01:05:34 [SPEAKER_01]: I think they heard Oasis and were like, let's get in the time machine and go back.
01:05:34 --> 01:05:41 [SPEAKER_00]: Starts in the key of A and just randomly goes to G.
01:06:00 --> 01:06:00 [SPEAKER_00]: Weird, right?
01:06:00 --> 01:06:01 [SPEAKER_00]: And what happens at the end?
01:06:01 --> 01:06:19 [SPEAKER_07]: Just goes back from G to A. It doesn't have that like gear shift feeling as much for me.
01:06:23 --> 01:06:26 [SPEAKER_00]: even though there's a Tom going boom boom.
01:06:26 --> 01:06:32 [SPEAKER_01]: But it's not like you think of Whitney, I think that's the best example because it is all of a sudden like you're buckle up.
01:06:32 --> 01:06:32 [SPEAKER_00]: Hi, gear.
01:06:32 --> 01:06:33 [SPEAKER_01]: Yeah.
01:06:33 --> 01:06:35 [SPEAKER_00]: This is going down a key.
01:06:35 --> 01:06:35 [SPEAKER_01]: Yeah.
01:06:35 --> 01:06:37 [SPEAKER_00]: Though the vocals are really high there.
01:06:38 --> 01:06:39 [SPEAKER_00]: Where were you at with that song?
01:06:40 --> 01:06:40 [SPEAKER_00]: Lucy, this guy.
01:06:40 --> 01:06:48 [SPEAKER_01]: I mean, I think it's, if you've been listening to the podcast, you have to know that like I've got into that song as an analysis.
01:06:50 --> 01:07:03 [SPEAKER_01]: All right, if you're paying attention, hot take big fan context clues here, not my yeah, not my no, it's my big reveal song, but like he kind of had if you grew up in my my specific cohort like you had to like experience.
01:07:03 --> 01:07:04 [SPEAKER_00]: Yeah, it's got a time.
01:07:05 --> 01:07:06 [SPEAKER_00]: Yeah, all right.
01:07:06 --> 01:07:07 [SPEAKER_01]: Yes, he did that.
01:07:08 --> 01:07:11 [SPEAKER_01]: Um, you know else is towering over my heads probably that spider.
01:07:11 --> 01:07:13 [SPEAKER_00]: Oh, I lost track of it everybody.
01:07:13 --> 01:07:14 [SPEAKER_00]: That's a problem.
01:07:15 --> 01:07:16 [SPEAKER_01]: So gosh.
01:07:17 --> 01:07:18 [SPEAKER_00]: Last example.
01:07:18 --> 01:07:18 [SPEAKER_00]: Okay.
01:07:18 --> 01:07:24 [SPEAKER_00]: Somebody we already covered, alumnus song, not just artists, alumnus song from the podcast.
01:07:25 --> 01:07:25 [SPEAKER_00]: Undone by Weezer.
01:07:29 --> 01:07:32 [SPEAKER_00]: The sweaters song, thank you close parentheses outwards too.
01:07:32 --> 01:07:35 [SPEAKER_00]: If you don't close the parentheses, there's still going.
01:07:35 --> 01:07:35 [SPEAKER_01]: Madness.
01:07:35 --> 01:07:36 [SPEAKER_00]: Through all of these.
01:07:37 --> 01:07:41 [SPEAKER_00]: And then if they have another song with parentheses, the parentheses are next to us.
01:07:41 --> 01:07:42 [SPEAKER_01]: What are we doing?
01:07:42 --> 01:07:48 [SPEAKER_00]: So the first section of the song, I think I don't remember we're in like G or G flat or something like that.
01:07:49 --> 01:07:51 [SPEAKER_00]: I mentioned this briefly in the episode, but we start on one key.
01:08:04 --> 01:08:07 [SPEAKER_00]: We just pop up to a new key out of nowhere.
01:08:07 --> 01:08:10 [SPEAKER_00]: Same chord progression, new key, and then it just goes back.
01:08:23 --> 01:08:25 [SPEAKER_01]: All these songs are so fun to sing.
01:08:25 --> 01:08:26 [SPEAKER_00]: That's it.
01:08:26 --> 01:08:30 [SPEAKER_00]: Well, I think there's something about, especially the ones where it's at the end, where it makes it high.
01:08:30 --> 01:08:32 [SPEAKER_00]: It's like anthemic, right?
01:08:32 --> 01:08:32 [SPEAKER_00]: Right.
01:08:32 --> 01:08:41 [SPEAKER_00]: It's very raw raw to do this kind of key change as opposed to like a pivot chord modulation, which I plan on bringing back later.
01:08:41 --> 01:08:41 [SPEAKER_00]: Oh my gosh, this isn't.
01:08:42 --> 01:08:42 [SPEAKER_00]: Season.
01:08:43 --> 01:08:43 [SPEAKER_00]: Can't wait.
01:08:44 --> 01:08:45 [SPEAKER_00]: Is a little more of like
01:08:47 --> 01:08:50 [SPEAKER_00]: you don't notice it's happening and then it happened and you're like whoa.
01:08:50 --> 01:08:53 [SPEAKER_00]: But you're either whoa or you actually don't know what happened.
01:08:53 --> 01:08:56 [SPEAKER_00]: Like, there are some times you'll hear a song or I'm learning a song in the guitar.
01:08:56 --> 01:08:57 [SPEAKER_00]: I'm like,
01:08:57 --> 01:09:04 [SPEAKER_00]: Well, I didn't even know there was a key change in this, and it's only when I'm looking at the keys on the piano or the guitar, and I'm realizing, I am in a different key.
01:09:04 --> 01:09:05 [SPEAKER_00]: That's not what this is.
01:09:05 --> 01:09:09 [SPEAKER_00]: There's like a explosion happening in the song that is key change, everybody.
01:09:10 --> 01:09:14 [SPEAKER_00]: Like you want to high five the person doing karaoke as they do the key change, right?
01:09:14 --> 01:09:21 [SPEAKER_00]: And it tends to match well with a song that is an anthem or a song that's really brought raw or, you know,
01:09:21 --> 01:09:23 [SPEAKER_00]: a dramatic moment like in.
01:09:23 --> 01:09:24 [SPEAKER_00]: Interesting.
01:09:24 --> 01:09:26 [SPEAKER_00]: That's not triumphant like this one is.
01:09:26 --> 01:09:26 [SPEAKER_01]: Yeah.
01:09:26 --> 01:09:29 [SPEAKER_01]: Like sometimes it's explicit and sometimes it's not.
01:09:30 --> 01:09:30 [SPEAKER_00]: Right.
01:09:30 --> 01:09:31 [SPEAKER_00]: Totally.
01:09:31 --> 01:09:32 [SPEAKER_01]: Just like trauma.
01:09:32 --> 01:09:33 [SPEAKER_00]: Oh, boy.
01:09:34 --> 01:09:43 [SPEAKER_01]: Like I said, at the beginning of this episode, I like Metallica quite a bit, and if you looked at me, you wouldn't be like, that's a Metallica fan, but especially this album, especially in Justice for All.
01:09:44 --> 01:09:48 [SPEAKER_01]: I listen to quite often because it's a catharsis for me.
01:09:48 --> 01:09:56 [SPEAKER_01]: Like if I'm feeling cranky, I'll play this in my car as loud as possible and just sing along as loud as I can, and it feels like such an emotional release.
01:09:57 --> 01:10:09 [SPEAKER_01]: So my question for you is, do you have music that you listen to as an emotional release that's uncharacteristic of the stereotypical music that Mark P. listens to?
01:10:09 --> 01:10:10 [SPEAKER_00]: Whoa.
01:10:10 --> 01:10:13 [SPEAKER_01]: It's a hard question for you because you listen to a lot of different music.
01:10:13 --> 01:10:15 [SPEAKER_00]: What stereotypical Mark P, right?
01:10:15 --> 01:10:21 [SPEAKER_01]: Well, like cool vocal harmony is going to drum pop, you know, or like just pop music or like classical.
01:10:22 --> 01:10:25 [SPEAKER_00]: I would never really listen to classical music, cathartically.
01:10:26 --> 01:10:26 [SPEAKER_01]: Right.
01:10:27 --> 01:10:28 [SPEAKER_00]: Unless I was listening to like.
01:10:28 --> 01:10:29 [SPEAKER_01]: Like right.
01:10:29 --> 01:10:30 [SPEAKER_00]: It's a really heavy.
01:10:30 --> 01:10:34 [SPEAKER_00]: No like like contours in memory of Benjamin Britain by our vote pair.
01:10:34 --> 01:10:35 [SPEAKER_00]: That's like heavy and sad.
01:10:35 --> 01:10:36 [SPEAKER_00]: That's low.
01:10:37 --> 01:10:37 [SPEAKER_01]: Famously.
01:10:38 --> 01:10:38 [SPEAKER_00]: Right.
01:10:38 --> 01:10:42 [SPEAKER_00]: I think that actually was got I mentioned that played a sample in the minimalism.
01:10:43 --> 01:10:44 [SPEAKER_00]: That's like everybody.
01:10:44 --> 01:10:44 [SPEAKER_00]: Check it out.
01:10:46 --> 01:10:48 [SPEAKER_00]: It's a great question.
01:10:50 --> 01:10:52 [SPEAKER_00]: I'll give an answer, cathartic.
01:10:52 --> 01:10:54 [SPEAKER_00]: I don't have like, oh, I'm angry.
01:10:54 --> 01:10:54 [SPEAKER_00]: I want to listen.
01:10:54 --> 01:10:56 [SPEAKER_00]: I want to be all like wild up.
01:10:56 --> 01:10:58 [SPEAKER_00]: Listen to some rage against the machine.
01:10:58 --> 01:11:00 [SPEAKER_00]: It's something that's extremely nostalgic.
01:11:01 --> 01:11:09 [SPEAKER_00]: Like, I will once every couple of years put on like the another bad creation album, like with Aisha or whatever.
01:11:09 --> 01:11:13 [SPEAKER_00]: And I will listen to something that I listen to when I was a kid, like a kid kid or
01:11:14 --> 01:11:20 [SPEAKER_00]: or weird album or something, and it's more like to pull myself out of my adulthood on some level.
01:11:20 --> 01:11:31 [SPEAKER_00]: Not that weird album isn't, I don't still like it in an adult, but especially something stupid like like the Ninja Turtles album that we talked about in the sidetrack that I had when I was a first grader.
01:11:32 --> 01:11:35 [SPEAKER_00]: That is not the first time I've heard that song as an adult.
01:11:35 --> 01:11:42 [SPEAKER_00]: I've listened to that album once through probably in the last twenty years, which is pretty wild since it's totally kid music.
01:11:43 --> 01:11:44 [SPEAKER_00]: Something that
01:11:45 --> 01:11:47 [SPEAKER_00]: doesn't fit within my ABC.
01:11:47 --> 01:11:50 [SPEAKER_00]: I mean, I use Sheffers as well as actually a pretty damn good song.
01:11:50 --> 01:11:54 [SPEAKER_00]: And boys and then coming up a third time, they sound amazing seeing the chorus.
01:11:54 --> 01:11:59 [SPEAKER_00]: But it's not within my normal wheelhouse, like the sort of
01:12:00 --> 01:12:10 [SPEAKER_00]: little kids making new jacks wing is not the time music kind of musical normally listen to, but I'll put it on sometimes as a way to kind of connect me to my, like, my roots.
01:12:10 --> 01:12:11 [SPEAKER_01]: You're in her child.
01:12:11 --> 01:12:12 [SPEAKER_00]: Kind of, yeah.
01:12:13 --> 01:12:13 [SPEAKER_00]: Right.
01:12:13 --> 01:12:14 [SPEAKER_00]: Is that a good answer?
01:12:14 --> 01:12:15 [SPEAKER_01]: I think it's like surprise.
01:12:15 --> 01:12:18 [SPEAKER_01]: Like things that it's surprising.
01:12:18 --> 01:12:19 [SPEAKER_01]: Like I'd be surprised.
01:12:20 --> 01:12:21 [SPEAKER_01]: I know you like pop music.
01:12:22 --> 01:12:28 [SPEAKER_01]: And maybe I wouldn't be surprised if you told me like when you go running, you listen to Sabrina Carpenter that actually would like make sense to me.
01:12:28 --> 01:12:32 [SPEAKER_00]: I mean, when we were prepping for the last years, Grammy episode, I was definitely listening to her while running.
01:12:32 --> 01:12:46 [SPEAKER_01]: I think though, I listen to, I mean, sometimes I am listening to pot music, sometimes I'm listening to metal or punk on a run, but I'd be surprised to hear you listen to like, Keras one or tribe cult quest or that type of like, I like that kind of stuff.
01:12:46 --> 01:12:47 [SPEAKER_01]: Yeah, me too.
01:12:47 --> 01:12:49 [SPEAKER_01]: So you need to talk about that one.
01:12:49 --> 01:12:51 [SPEAKER_00]: How is that like, Keras one is
01:12:52 --> 01:13:04 [SPEAKER_00]: like when you're ahead hip hop, not at all as a negative, but like super wordy and sharp, and size of lyrics hip hop shouldn't be that surprising for some like academic to be listening to.
01:13:04 --> 01:13:09 [SPEAKER_01]: And then you can make connections between that and like Hamilton.
01:13:09 --> 01:13:13 [SPEAKER_01]: You could easily make those connections because Hamilton's hip hop.
01:13:13 --> 01:13:16 [SPEAKER_01]: Sure, but like language and it's meter.
01:13:17 --> 01:13:18 [SPEAKER_00]: What does that have to do, Kara?
01:13:18 --> 01:13:18 [SPEAKER_00]: I feel like we're up.
01:13:18 --> 01:13:20 [SPEAKER_00]: We're up to back.
01:13:20 --> 01:13:21 [SPEAKER_01]: I'm just, yeah, it's fine.
01:13:22 --> 01:13:25 [SPEAKER_00]: I'll say this one, I'll say this one last thing about that though.
01:13:25 --> 01:13:42 [SPEAKER_00]: I wonder if ten years from now, instead of listening to ABC once every few years, I'm gonna like put on the wiggles or something like that to like reconnect me to what it was like back when I have the like like when I'm an empty nest or one day, am I gonna be like, you know what?
01:13:43 --> 01:13:44 [SPEAKER_00]: Let's listen to a raffie album.
01:13:44 --> 01:13:45 [SPEAKER_00]: I was like, then so long, you know.
01:13:45 --> 01:13:47 [SPEAKER_01]: Let's get frozen too back in the middle.
01:13:47 --> 01:13:47 [SPEAKER_00]: That's right.
01:13:47 --> 01:13:53 [SPEAKER_00]: That's actually a good example because there's some of the music and like these Disney, like there's that's there's was a song from.
01:13:53 --> 01:13:55 [SPEAKER_01]: Okay, pop demon hunters.
01:13:55 --> 01:13:55 [SPEAKER_00]: I don't know.
01:13:55 --> 01:13:57 [SPEAKER_00]: That's all the colonists talk about these days.
01:13:57 --> 01:13:58 [SPEAKER_00]: What's the song?
01:13:59 --> 01:14:03 [SPEAKER_00]: Not we don't talk about Bruno, not front, but there's another song from inconto, the reggaeton tune.
01:14:04 --> 01:14:05 [SPEAKER_00]: Sure.
01:14:05 --> 01:14:06 [SPEAKER_00]: Pressure or something.
01:14:06 --> 01:14:07 [SPEAKER_00]: That's like really illegitimate.
01:14:07 --> 01:14:08 [SPEAKER_00]: Good song.
01:14:08 --> 01:14:10 [SPEAKER_00]: But I never listen to it.
01:14:14 --> 01:14:32 [SPEAKER_04]: I should make a trip trip trip, that'll never stop Whoa, I should add a tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip, tip,
01:14:35 --> 01:14:37 [SPEAKER_01]: Like, man, while we're into, wrote all the music from here.
01:14:37 --> 01:14:38 [SPEAKER_00]: Right, that one.
01:14:38 --> 01:14:38 [SPEAKER_00]: Yeah.
01:14:38 --> 01:14:40 [SPEAKER_00]: I don't listen to that song.
01:14:40 --> 01:14:41 [SPEAKER_00]: It's actually awesome.
01:14:42 --> 01:14:44 [SPEAKER_00]: It's probably the best like Disney.
01:14:44 --> 01:14:45 [SPEAKER_00]: This is music, character song ever.
01:14:46 --> 01:14:47 [SPEAKER_00]: I never listen to it.
01:14:47 --> 01:14:50 [SPEAKER_00]: There's going to come a time when I'm going to get nostalgic and I'm going to listen to it again.
01:14:50 --> 01:14:52 [SPEAKER_00]: Oh, let's put on something contour and then I'll be reminded.
01:14:53 --> 01:14:55 [SPEAKER_00]: Actually, I should just listen to the song as it could song.
01:14:55 --> 01:14:56 [SPEAKER_01]: It's a really good song.
01:14:56 --> 01:14:58 [SPEAKER_00]: Shout out, Lynn Manuel Miranda.
01:14:58 --> 01:14:59 [SPEAKER_00]: Come on, ma'am.
01:14:59 --> 01:15:01 [SPEAKER_00]: It's a prize appearance in a metallic episode.
01:15:09 --> 01:15:13 [SPEAKER_01]: Never mind the music is hosted by Nicole Batcher and hosted and produced by Mark Poppony.
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01:15:31 --> 01:15:32 [SPEAKER_01]: Thanks for listening.