What would it take for you to join a cult? What if the leader looked like Lenny Kravitz? This week, we break down the 1993 retro rocker, “Are You Gonna Go My Way” by Lenny Kravitz. Nichole takes the messiah-energy of the song’s lyrics and describes the methods cults use to control their followers. Mark focuses on the more technical side of the song, observing the cool way the song’s bluesy riffs and melodies shift around by key. Listen if you got to, GOT TO KNOW!
Other music heard in this episode: Live - “Lightning Crashes”, Heart - “Barracuda”, Rage Against the Machine - “Killing in the Name”, Steely Dan - “Peg”, Tears for Fears - “Head Over Heels”, The Eagles - “Life in the Fast Lane”, Queen - “Killer Queen”, Lenny Kravitz - “It Ain’t Over ‘til it’s Over”, Lenny Kravitz - “If You Can’t Say No”, Lenny Kravitz - “Always On the Run”, Otis Rush - “All Your Love (I Miss Loving)”, The Beatles - “I Want You (She’s So Heavy”, Lenny Kravitz - “Mr. Cab Driver”, Lenny Kravitz - “American Woman”, Toto - “Rosanna”, Goldfinger - “Here in Your Bedroom”,
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00:00 --> 00:02 [SPEAKER_00]: You think of why people join cults, right?
00:02 --> 00:05 [SPEAKER_00]: Like we know, cults are, quote, bad.
00:05 --> 00:10 [SPEAKER_00]: We know what you don't want to be when you grow up as a member of a cult.
00:10 --> 00:10 [SPEAKER_00]: Right.
00:11 --> 00:13 [SPEAKER_01]: Thank you, Negar, and Nate, that's what everybody does.
00:13 --> 00:14 [SPEAKER_01]: That presentation.
00:14 --> 00:18 [SPEAKER_01]: What you don't want to be when you don't want to be a cult member.
00:18 --> 00:20 [SPEAKER_01]: Some people now want to be a cult leader.
00:32 --> 00:35 [SPEAKER_00]: Hey, I'm Nicole, and I'm Mark, and this is never mind the music.
00:36 --> 00:37 [SPEAKER_00]: Why do we end the talk about today, Mark?
00:38 --> 00:40 [SPEAKER_01]: We're talking about Lenny Cravitz's tune.
00:40 --> 00:42 [SPEAKER_01]: Are you gonna go my way from 1993?
01:05 --> 01:07 [SPEAKER_00]: Oh, Lenny Kravitz right.
01:07 --> 01:07 [SPEAKER_00]: Yeah.
01:07 --> 01:09 [SPEAKER_00]: Him and Lisa Bonay.
01:09 --> 01:11 [SPEAKER_00]: Like imagine that.
01:12 --> 01:13 [SPEAKER_01]: You mean the younger Huxtable.
01:13 --> 01:14 [SPEAKER_01]: What's her?
01:14 --> 01:15 [SPEAKER_00]: No, she was the oldest.
01:16 --> 01:21 [SPEAKER_00]: Denise was it she the oldest she was a son Joe was the oldest in real nerd.
01:21 --> 01:34 [SPEAKER_00]: I don't remember Sony's was like free spirited and she had like braids and like didn't want to go to Howard or she went to Howard and wanted to study poetry or something like I don't know but she was hot
01:35 --> 01:38 [SPEAKER_00]: And then she married Lenny Kravitz and then had Zoe Kravitz.
01:38 --> 01:39 [SPEAKER_01]: Actress, yeah.
01:39 --> 01:44 [SPEAKER_00]: And they're like the most attractive people that ever made another very attractive human in their eyes.
01:45 --> 01:49 [SPEAKER_01]: They were assigned to each other, like just to create more attractive people.
01:49 --> 01:49 [SPEAKER_00]: Yes.
01:49 --> 01:50 [SPEAKER_00]: And it worked.
01:51 --> 01:53 [SPEAKER_01]: So yeah, we're going to talk about this tune.
01:53 --> 01:54 [SPEAKER_01]: I really like this song.
01:54 --> 01:55 [SPEAKER_01]: Oh, it's so good.
01:55 --> 01:58 [SPEAKER_01]: And I just want to get it out of the way.
01:58 --> 02:02 [SPEAKER_01]: We are not talking about the part that everybody thinks is the coolest part.
02:22 --> 02:35 [SPEAKER_01]: Yeah, I mean right does everyone think that's the coolest part of it's it's the okay we're going to do a brief homage to the Flanger the whole next not just the guitar but the flanger is the effect that wishing effect okay It's like the Hendrix effect
02:36 --> 02:37 [SPEAKER_01]: It's definitely going to be in hand.
02:37 --> 02:40 [SPEAKER_01]: And I think Hendrix is all over this song.
02:40 --> 02:44 [SPEAKER_00]: There's so much that you get that, like, letting Cravids and Jimmy Hendrix are not the same person.
02:44 --> 02:46 [SPEAKER_00]: That, I mean, well, not like you forgot.
02:46 --> 02:53 [SPEAKER_01]: The video sort of was the vibe of this particular era because his music doesn't all have that sound.
02:53 --> 02:55 [SPEAKER_01]: But they were definitely doing that on purpose.
02:55 --> 03:02 [SPEAKER_01]: And this was a part of the kind of like 60s retro that was becoming cool in the 90s, you know, the Beatles anthology and all that like.
03:03 --> 03:03 [SPEAKER_01]: So.
03:04 --> 03:08 [SPEAKER_01]: The flanger is similar to, but not the same as a phaser or a chorus effect, which you might find.
03:08 --> 03:10 [SPEAKER_00]: Not like a Star Trek phaser.
03:10 --> 03:11 [SPEAKER_01]: Different.
03:11 --> 03:12 [SPEAKER_00]: So noted.
03:12 --> 03:13 [SPEAKER_01]: Maybe.
03:13 --> 03:13 [SPEAKER_01]: I don't know.
03:13 --> 03:16 [SPEAKER_01]: I've never used a phaser effect as a weapon.
03:16 --> 03:20 [SPEAKER_01]: So flanger is a delayed signal that is then modulated.
03:20 --> 03:24 [SPEAKER_01]: So like you make a copy of the signal delay it in time a little bit.
03:25 --> 03:28 [SPEAKER_01]: And then make that time change.
03:28 --> 03:31 [SPEAKER_01]: And so parts of that signal will cancel out at the parts of the signal.
03:31 --> 03:35 [SPEAKER_01]: And it creates this sort of wishing effect over time.
03:35 --> 03:37 [SPEAKER_01]: It's called comb filtering.
03:37 --> 03:41 [SPEAKER_01]: So what that effect, like the effect it generates is technically called.
03:42 --> 03:46 [SPEAKER_01]: And this is different from a phaser, which uses a certain type of filter, et cetera.
03:46 --> 03:51 [SPEAKER_01]: But I just want to pay homage to a few other before we talk about the song for real,
03:55 --> 03:56 [SPEAKER_00]: I'm here for it.
03:56 --> 03:59 [SPEAKER_01]: 1994, Lightning crashes by life.
04:00 --> 04:05 [SPEAKER_01]: I think one guitar has the effect and the other doesn't and it creates a nice subtle kind of warmth.
04:31 --> 04:35 [SPEAKER_01]: Do we need to talk about placenta's more on this podcast?
04:36 --> 04:38 [SPEAKER_01]: Is that the only song that calls out that word?
04:38 --> 04:40 [SPEAKER_00]: I think placenta's are wild.
04:40 --> 04:42 [SPEAKER_00]: I would love to be talking about placenta's more.
04:42 --> 04:43 [SPEAKER_00]: You know people eat them?
04:44 --> 04:45 [SPEAKER_01]: Yes, I do know that.
04:45 --> 04:48 [SPEAKER_01]: They make it turn into like a pill that you eat.
04:48 --> 04:50 [SPEAKER_00]: Some people try it up.
04:50 --> 04:52 [SPEAKER_00]: Like a steak and eat it up.
04:52 --> 04:54 [SPEAKER_00]: Just listeners, just Google.
04:56 --> 04:57 [SPEAKER_01]: Not awful.
04:57 --> 04:59 [SPEAKER_01]: Not awful like gross because yes, but awful.
04:59 --> 05:02 [SPEAKER_01]: Oh F-F-A-L like like people who eat gizzard.
05:02 --> 05:11 [SPEAKER_01]: Oh, yeah, I guess barracuda by heart 1977 pretty subtle on the guitar But a very cool effect We're talking about flangers.
05:11 --> 05:12 [SPEAKER_01]: Not just placenta.
05:12 --> 05:13 [SPEAKER_00]: I'm now talking about barracujas.
05:13 --> 05:15 [SPEAKER_00]: I'm like, would they eat the placenta?
05:15 --> 05:17 [SPEAKER_00]: Like Is there flushing
05:41 --> 05:42 [SPEAKER_00]: I think I love flangers.
05:42 --> 05:43 [SPEAKER_01]: Yeah.
05:43 --> 05:46 [SPEAKER_01]: Killing in the name 1994, Rage Against Them Shame.
05:58 --> 06:05 [SPEAKER_01]: So in retrospect, that senior year of high school talent show, we played that, I think I had the flanger turned up too high.
06:05 --> 06:10 [SPEAKER_00]: On my guitar because I hadn't really, like, and this person year rage against the machine cover bands that you were in.
06:10 --> 06:11 [SPEAKER_01]: That was the seed of it.
06:11 --> 06:12 [SPEAKER_00]: With the female lead singer.
06:13 --> 06:21 [SPEAKER_01]: No, that was the weasel covered by the same group of people actually was their remix we did the rage we did the talent show that went well.
06:21 --> 06:21 [SPEAKER_01]: We were well received.
06:21 --> 06:24 [SPEAKER_01]: So then we prepped to play the last day of school on the quad.
06:24 --> 06:37 [SPEAKER_00]: That was over and we went what should we do now before everybody was college and it was weasel and that's more like they're so much space being taken up in my brain of like mark, trivia, there's not going to be a jeopardy.
06:37 --> 06:39 [SPEAKER_01]: At least you know the listeners
06:41 --> 06:43 [SPEAKER_01]: Okay, so getting a little less subtle here.
06:43 --> 06:44 [SPEAKER_01]: This is Steely Dan Pegg 1977.
07:08 --> 07:08 [SPEAKER_00]: You think?
07:09 --> 07:09 [SPEAKER_00]: Steal it down somewhere.
07:09 --> 07:10 [SPEAKER_00]: That's a good vibe.
07:11 --> 07:12 [SPEAKER_01]: Yeah, that's a good idea.
07:12 --> 07:13 [SPEAKER_00]: That's a good idea.
07:13 --> 07:13 [SPEAKER_01]: It's good.
07:13 --> 07:14 [SPEAKER_00]: Yeah.
07:14 --> 07:14 [SPEAKER_00]: We need more in that.
07:15 --> 07:15 [SPEAKER_01]: All right.
07:16 --> 07:16 [SPEAKER_01]: Head over heels.
07:17 --> 07:18 [SPEAKER_01]: Cheers for fears.
07:18 --> 07:18 [SPEAKER_01]: 1985.
07:18 --> 07:21 [SPEAKER_01]: I've got two uses in the same song.
07:21 --> 07:22 [SPEAKER_02]: What?
07:22 --> 07:22 [SPEAKER_01]: Here we go.
07:39 --> 07:54 [SPEAKER_01]: on the drums, the one that stuck out in the backseat of my mom's Nissan Maxima when I was like, three or whatever, was this one, when they say time flies, it may be think of flies buzzing, like I thought they were talking about flies.
07:54 --> 07:55 [SPEAKER_00]: It was a done one.
07:55 --> 07:55 [SPEAKER_00]: Oh, it was a done one.
07:56 --> 07:56 [UNKNOWN]: Oh, it was a done one.
07:56 --> 07:57 [UNKNOWN]: Oh, it was a done one.
07:57 --> 07:58 [UNKNOWN]: Oh, it was a done one.
07:58 --> 07:59 [UNKNOWN]: Oh, it was a done one.
07:59 --> 08:00 [UNKNOWN]: Oh, it was a done one.
08:00 --> 08:02 [SPEAKER_02]: Oh, it was a done one.
08:03 --> 08:03 [UNKNOWN]: Oh, it was a done one.
08:06 --> 08:07 [UNKNOWN]: Oh, it was a done one.
08:12 --> 08:13 [SPEAKER_01]: And then it transitions into broken, just also cool.
08:13 --> 08:17 [SPEAKER_00]: I think that has some like unresolved trauma around tears for fears.
08:17 --> 08:20 [SPEAKER_00]: Every time I hear them like my heart beats fast, I feel uncomfortable.
08:20 --> 08:21 [SPEAKER_01]: It's just good.
08:22 --> 08:23 [SPEAKER_01]: I don't think it does a feel good.
08:23 --> 08:24 [SPEAKER_01]: Oh, it's not good.
08:24 --> 08:26 [SPEAKER_00]: I think it's on the magic story I worked out.
08:26 --> 08:30 [SPEAKER_01]: Okay, we already talked about tears for fears, so we're going to have to save that for us.
08:30 --> 08:33 [SPEAKER_01]: Listeners, if you want to hear more about that, right in.
08:33 --> 08:33 [SPEAKER_01]: Okay.
08:34 --> 08:36 [SPEAKER_01]: I think I have too many examples.
08:36 --> 08:38 [SPEAKER_01]: This is a lot not subtle at all.
08:38 --> 08:40 [SPEAKER_01]: Life in the Fast Lane, the Eagles.
08:40 --> 08:43 [SPEAKER_01]: I've been listening to some Eagles to prep for a future episode, 976.
09:05 --> 09:17 [SPEAKER_01]: And I'm ending on one that we're honoring because I'm pretty sure this was done manually Meaning they had a copy of the tape and they slowed down the tape very cool Perfect kill a queen 1974 by queen
09:30 --> 09:31 [SPEAKER_00]: That's really cool.
09:31 --> 09:33 [SPEAKER_00]: That was probably so I'm in guard for that time.
09:34 --> 09:36 [SPEAKER_01]: Probably why it costs a ton of money to make their records.
09:37 --> 09:38 [SPEAKER_01]: And I'm done.
09:38 --> 09:38 [SPEAKER_01]: Okay.
09:38 --> 09:39 [SPEAKER_01]: That's all I got for this episode.
09:39 --> 09:39 [SPEAKER_01]: Oh wait.
09:40 --> 09:40 [SPEAKER_00]: Oh, I know.
09:40 --> 09:40 [SPEAKER_00]: Okay.
09:40 --> 09:41 [SPEAKER_00]: Can we move on?
09:41 --> 09:41 [SPEAKER_01]: All right.
09:41 --> 09:45 [SPEAKER_01]: So this song, are you going to go my ways from Cravitz's third album?
09:46 --> 09:46 [SPEAKER_01]: Are you going to go my way?
09:47 --> 09:47 [SPEAKER_01]: Cool.
09:47 --> 09:47 [SPEAKER_01]: From 1993.
09:49 --> 09:55 [SPEAKER_01]: This feels like it fits very much into the 90s, but we've already said it's super retro like there's Hendrix.
09:55 --> 09:58 [SPEAKER_01]: I feel like there's prints in there, Beatles references.
09:59 --> 10:11 [SPEAKER_01]: This is another one imeligible for the top 40, technically, just like you ought to know and something a few weeks kill was at fast car and something a few weeks ago when I was a single, which is stupid.
10:11 --> 10:12 [SPEAKER_00]: That's a dumb rule.
10:12 --> 10:12 [SPEAKER_00]: Sorry.
10:12 --> 10:13 [SPEAKER_01]: They changed that rule.
10:13 --> 10:15 [SPEAKER_01]: That rule doesn't exist anymore.
10:15 --> 10:21 [SPEAKER_01]: So number two on the modern rock charts though, but his biggest hit actually, what do you think?
10:21 --> 10:26 [SPEAKER_01]: His Lenny Kravitz is super different style 1991 hit number two.
10:27 --> 10:28 [SPEAKER_01]: It ain't over till it's over.
10:41 --> 10:45 [SPEAKER_02]: Soon it gives you the heart to keep it in love
10:53 --> 11:05 [SPEAKER_00]: You know what's interesting when we're talking about like copyright and how you kept saying over and over again that like if we have too many copyright laws like new music won't be good or can't exist because you can't like pay homage.
11:06 --> 11:12 [SPEAKER_00]: That's this because you could make a case that that's ripping up that songs ripping off like a motown song or something.
11:12 --> 11:15 [SPEAKER_00]: You could make the case that are going to go my way is ripping off Henry Victor.
11:16 --> 11:16 [SPEAKER_01]: Yeah.
11:17 --> 11:18 [SPEAKER_01]: So do we would rather it not exist?
11:19 --> 11:20 [SPEAKER_00]: No, I want it to exist.
11:20 --> 11:28 [SPEAKER_01]: Or it could exist, but all the money goes to Barry Gordy on's motel or whatever, because then how is Lenny Krab is going to write horses on his coffee bean farm?
11:28 --> 11:29 [SPEAKER_01]: Have a hot family.
11:30 --> 11:31 [SPEAKER_01]: Coffee bean farm is that for you?
11:31 --> 11:32 [SPEAKER_01]: Yes.
11:32 --> 11:33 [SPEAKER_01]: Okay, well, you've done some research.
11:33 --> 11:36 [SPEAKER_00]: I did not do it just more like a cultural attachment.
11:36 --> 11:38 [SPEAKER_00]: I have, I'm just attracted to him.
11:39 --> 11:39 [SPEAKER_01]: Fair enough.
11:40 --> 12:03 [SPEAKER_01]: Uh, okay, to elevate it, but that's the, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little, it's a little,
12:05 --> 12:06 [SPEAKER_01]: whole circle.
12:06 --> 12:09 [SPEAKER_01]: So, I actually would have thought fly away.
12:09 --> 12:10 [SPEAKER_00]: Oh, right.
12:10 --> 12:11 [SPEAKER_00]: That's it.
12:11 --> 12:12 [SPEAKER_01]: From Facebook.
12:13 --> 12:13 [SPEAKER_00]: Is that from?
12:14 --> 12:15 [SPEAKER_01]: I don't know.
12:15 --> 12:16 [SPEAKER_01]: No, that's I believe they can fly.
12:18 --> 12:19 [SPEAKER_01]: Or they can.
12:19 --> 12:20 [SPEAKER_01]: That's on.
12:20 --> 12:21 [SPEAKER_01]: And are you going to go my way?
12:21 --> 12:22 [SPEAKER_01]: I kind of think of.
12:24 --> 12:29 [SPEAKER_01]: Think of as his signature songs, but I'm going to just shout out to that I like that I feel like are kind of underappreciated.
12:30 --> 12:33 [SPEAKER_01]: Sort of a trip hoppy vibe in 1998.
12:33 --> 12:35 [SPEAKER_01]: If you can't say no, remember this one.
13:01 --> 13:02 [SPEAKER_00]: I've never heard that song before.
13:02 --> 13:03 [SPEAKER_01]: Yeah, I never appreciated it.
13:03 --> 13:04 [SPEAKER_01]: It was a single.
13:04 --> 13:06 [SPEAKER_00]: The beeping is distracting me.
13:06 --> 13:06 [SPEAKER_00]: You don't like the beeping.
13:06 --> 13:11 [SPEAKER_00]: You don't like the, it's just in one ear beeping, but I just don't generally don't like beeps.
13:12 --> 13:14 [SPEAKER_01]: Another one that I really dig is very princy.
13:14 --> 13:15 [SPEAKER_01]: I really like the song.
13:15 --> 13:16 [SPEAKER_01]: The song is really fun to sing.
13:16 --> 13:22 [SPEAKER_01]: Like this is one, even though it's high, like we talked about karaoke, like some songs are in my range, but I can't do them.
13:22 --> 13:24 [SPEAKER_01]: This one's really satisfying for some reason.
13:24 --> 13:25 [SPEAKER_01]: Lady, 2004.
13:39 --> 13:43 [SPEAKER_00]: And that's another one like it feels derivative of something, but I'm not sure what.
13:44 --> 13:46 [SPEAKER_01]: Yeah, I mean, it feels kind of, I think there's prints in there.
13:47 --> 13:54 [SPEAKER_01]: But I think part of what makes Lenny Kravitz memorable, which also I think caused him some trouble early in his career, is that it's such a blend of styles, right?
13:54 --> 14:00 [SPEAKER_01]: There was like blues, rock, R&B, who sort of disco-y stuff in the, it ain't over till it's over.
14:00 --> 14:03 [SPEAKER_01]: And I think some of that comes from his upbringing.
14:03 --> 14:06 [SPEAKER_01]: So his mom was an actress, Roxy Roker, who was on the Jefferson's.
14:07 --> 14:23 [SPEAKER_01]: That was a TV producer who was like apparently friends with a bunch of jazz guys, and so he was just around musicians all the time, but apparently like the record execs said of his music like it wasn't wide enough and not black enough, because like he didn't choose a lane really.
14:23 --> 14:28 [SPEAKER_00]: Right, he comes from a mixed family, so he doesn't have to choose a lane because he can be in both lanes.
14:28 --> 14:30 [SPEAKER_01]: Right, but that's difficult for the record.
14:30 --> 14:33 [SPEAKER_00]: For short, I can understand that, especially in that time.
14:33 --> 14:40 [SPEAKER_01]: So, I actually really associate Lenny Kravich with playing the guitar, and I think that's because of some of that Jimmy Hendrix iconography.
14:40 --> 14:41 [SPEAKER_00]: I think so too.
14:41 --> 14:43 [SPEAKER_01]: But on this song, he's the drummer.
14:43 --> 14:43 [SPEAKER_00]: What?
14:44 --> 14:46 [SPEAKER_01]: Craig Ross, who co-wrote the song with him, is the guitarist.
14:47 --> 14:51 [SPEAKER_01]: And apparently this song is like a one-take instrumental jam that they did.
14:52 --> 14:54 [SPEAKER_01]: Like Craig come up with that cool man when he made it, man.
14:54 --> 14:55 [SPEAKER_00]: And they just jammed it out.
14:55 --> 14:56 [SPEAKER_00]: Awesome.
14:56 --> 14:59 [SPEAKER_01]: And then recorded vocals in good extra guitars later.
14:59 --> 15:00 [SPEAKER_01]: But I...
15:00 --> 15:14 [SPEAKER_01]: think maybe we're going to talk about this, but it seems like the song is about like a messiah figure or something, which he's apparently a practicing Christian, but he's identifies as half Jewish through his father, which I know according to the rules makes you zero Jewish.
15:14 --> 15:16 [SPEAKER_00]: I don't know, I'm recording too.
15:16 --> 15:22 [SPEAKER_00]: I'm pretty much the same as Lenin Kravitz, but like, yeah, my dad's Jewish and my mom's Catholic, and I consider myself Jewish.
15:22 --> 15:22 [SPEAKER_01]: Okay.
15:22 --> 15:23 [SPEAKER_01]: Yeah.
15:23 --> 15:24 [SPEAKER_00]: We can make our own rules.
15:24 --> 15:24 [SPEAKER_01]: Sure.
15:24 --> 15:24 [SPEAKER_01]: Yeah.
15:25 --> 15:25 [SPEAKER_01]: So.
15:26 --> 15:28 [SPEAKER_01]: Follow him and let love rain.
15:28 --> 15:29 [SPEAKER_01]: That's when the lines, right?
15:29 --> 15:31 [SPEAKER_01]: So we're going to come back and talk about that, right?
15:31 --> 15:32 [SPEAKER_00]: I'm going to talk so much about cults.
15:32 --> 15:34 [SPEAKER_01]: But this, okay, awesome.
15:34 --> 15:34 [SPEAKER_01]: We can't wait.
15:49 --> 16:09 [SPEAKER_01]: So this I just putting the song in context, this is one of several of his that has like a really iconic catchy guitar riff right that's very bluesy and funky so 1991 the song actually features a solo by slash who we went to high school with this is always on the run that's cool.
16:29 --> 16:44 [SPEAKER_01]: All right, so what I plan to talk about is how the melody and the riffs shift, not in key change, not even in chord progression, but there are sudden transpositions where one melody or one guitar riff is just suddenly up or down a few steps.
16:45 --> 16:50 [SPEAKER_01]: You wanna talk about cults, I guess, which does fit if you look at the lyrics, does make sense here.
16:51 --> 16:52 [SPEAKER_01]: You want to go first.
16:52 --> 16:53 [SPEAKER_01]: Yes, okay.
16:53 --> 16:54 [SPEAKER_01]: You're going to go first.
16:54 --> 16:57 [SPEAKER_00]: I've been waiting in waiting for years for going to be an opportunity.
16:58 --> 17:00 [SPEAKER_01]: So you actually go first pretty often.
17:01 --> 17:03 [SPEAKER_01]: I that's not sure every time I never go first.
17:03 --> 17:05 [SPEAKER_00]: That's not true because you always say, do you want to go first?
17:05 --> 17:06 [SPEAKER_00]: You're like, I'll just go first.
17:06 --> 17:14 [SPEAKER_01]: Yeah, I bet I bet a third or more of the time you go first and 90% of those moments, you say, I never go first, right?
17:15 --> 17:18 [SPEAKER_00]: Well, maybe one of us has a God-complex, I don't know.
17:18 --> 17:19 [SPEAKER_00]: Yeah, I don't know.
17:19 --> 17:20 [SPEAKER_00]: What do you call it?
17:20 --> 17:34 [SPEAKER_00]: So, in an earlier episode, it was talking about why psychology is so cool because it just focuses on the individual human and how it's different than sociology, which focuses on like the systems that we live in.
17:34 --> 17:34 [SPEAKER_00]: Sure.
17:35 --> 17:43 [SPEAKER_00]: And cult is cool because it deals in a space called social psychology, which is both.
17:43 --> 17:58 [SPEAKER_00]: And it's, I think, the coolest spot in the soft sciences to examine and practice, because it talks about the intersectionality of what's going on in the individual and how their social systems can be impacted by what's happening internally.
17:58 --> 17:59 [SPEAKER_01]: Right.
17:59 --> 18:06 [SPEAKER_01]: And so context here is this song seems to be him recruiting followers as a type of savior.
18:06 --> 18:06 [SPEAKER_01]: Yes.
18:06 --> 18:07 [SPEAKER_01]: Okay.
18:07 --> 18:12 [SPEAKER_00]: And letting crap, it's like as a vibe has kind of that like you could see him as a cult leader.
18:13 --> 18:14 [SPEAKER_00]: Don't you think?
18:14 --> 18:16 [SPEAKER_01]: charismatic.
18:16 --> 18:18 [SPEAKER_00]: Handsome makes you feel special.
18:18 --> 18:21 [SPEAKER_00]: Like I feel like letting Crovots thinks that I'm special and different.
18:21 --> 18:24 [SPEAKER_00]: Like I feel that when I see him saying like he's seen to me.
18:24 --> 18:24 [SPEAKER_00]: Yeah.
18:25 --> 18:26 [SPEAKER_00]: All right.
18:26 --> 18:29 [SPEAKER_00]: I made me way off base, but I'm sure other people feel that way, too.
18:29 --> 18:31 [SPEAKER_00]: or maybe I'm projecting.
18:31 --> 18:34 [SPEAKER_00]: So you think of why people join cults, right?
18:34 --> 18:37 [SPEAKER_00]: Like we know cults are, quote, bad.
18:37 --> 18:41 [SPEAKER_00]: We know what you don't want to be when you grow up as a member of a cult.
18:42 --> 18:42 [SPEAKER_00]: Right.
18:43 --> 18:44 [SPEAKER_01]: Thank you, New Garden.
18:44 --> 18:46 [SPEAKER_01]: That's where everybody does that presentation.
18:46 --> 18:47 [SPEAKER_01]: What you don't want to be when you play.
18:47 --> 18:47 [SPEAKER_01]: Right.
18:47 --> 18:48 [SPEAKER_01]: Don't you?
18:48 --> 18:52 [SPEAKER_01]: I want to be a cult member, some people may want to be a cult leader, right?
18:52 --> 18:55 [SPEAKER_01]: But a cult member, nobody wants to be a follower of the doomsday.
18:55 --> 19:05 [SPEAKER_00]: No one, and even people that say that that are, you would objectively say that like, that's a cult, they're going to subjectively say, no, it's not a cult, it's not a cult, it's not.
19:05 --> 19:09 [SPEAKER_00]: This is just a social club or a church or a company I work for, right?
19:10 --> 19:10 [SPEAKER_01]: Yeah.
19:10 --> 19:12 [SPEAKER_00]: So why in your eyes, you know,
19:16 --> 19:27 [SPEAKER_00]: We're kind of conditioned and inoculated to not join counts, they call it additudinalannoculation, that the more you know about something the less likely you are to fall victim to it.
19:28 --> 19:35 [SPEAKER_00]: So for me, having taught social psychology, having taught cult psychology for a while, I know what to look out for.
19:35 --> 19:36 [SPEAKER_01]: You can't con a con man.
19:36 --> 19:37 [SPEAKER_01]: That kind of thing.
19:37 --> 19:38 [SPEAKER_01]: I can't con a con man because you know.
19:38 --> 19:39 [SPEAKER_01]: Because I know.
19:39 --> 19:41 [SPEAKER_00]: So you might not know those things.
19:42 --> 19:44 [SPEAKER_00]: So in your eyes, what would it?
19:45 --> 19:49 [SPEAKER_00]: take for you to fall into a cult or anyone.
19:50 --> 20:00 [SPEAKER_01]: So I think it would be like, if I'm just spitballing like what are the things that would be required for me to join a cult, I would have to have some kind of a hole in my life.
20:00 --> 20:01 [SPEAKER_01]: I'm missing a need I have, right?
20:02 --> 20:05 [SPEAKER_01]: Social need need for love need for guidance.
20:05 --> 20:08 [SPEAKER_01]: I just hit rock bottom with a problem in my life or whatever.
20:08 --> 20:09 [SPEAKER_01]: So that's one thing.
20:10 --> 20:26 [SPEAKER_01]: I feel like there's some amount of kind of love bombing that has to happen where they make me feel really special, like Lenny Kravich makes you feel, and I think there's some amount of cutting me off from my other social sources of comfort or or sustenance.
20:27 --> 20:29 [SPEAKER_01]: And then that's kind of...
20:29 --> 20:32 [SPEAKER_00]: That's really the formula you got most of them, right?
20:33 --> 20:47 [SPEAKER_00]: So, usually folks that fall into culture at a low moment in their life that they just had a trauma or some event happen or something that they feel like they're very alone and they really are thirsty and need community.
20:48 --> 20:51 [SPEAKER_00]: and the tactics you described just love bombing are very common.
20:51 --> 21:01 [SPEAKER_00]: That's very prototypical for cults that you walk in and now you are, it becomes like a thank goodness you're here, Mark.
21:01 --> 21:03 [SPEAKER_00]: Like we couldn't do this without you.
21:04 --> 21:08 [SPEAKER_00]: We couldn't, like we have this big problem we're trying to solve and we needed you.
21:09 --> 21:12 [SPEAKER_00]: Like now that you're here, we can move forward with this project.
21:12 --> 21:17 [SPEAKER_00]: We can solve from this need for community cults to excel at this love bombing, making people feel
21:19 --> 21:25 [SPEAKER_00]: overwhelmed with affection, validation, and a false sense of instant family.
21:25 --> 21:30 [SPEAKER_00]: A false sense of like, okay, you're part of us now and now we're complete because of you.
21:30 --> 21:37 [SPEAKER_00]: Simultaneously, what they often do is cut you off from your family of origin.
21:37 --> 21:38 [SPEAKER_00]: In several ways.
21:39 --> 21:51 [SPEAKER_00]: some people just, you know, they put you through these therapy sessions where you talk about how your family, like maybe even, like even if you think of like a multi-level marketing as a cult, like, you know, your family's not going to support you in this.
21:52 --> 21:57 [SPEAKER_00]: So if you have problems come to us as a community because your family's not going to understand the system that you're in.
21:58 --> 22:16 [SPEAKER_00]: But then even more severely, we know through our study on memory and trauma that you can implant false memories, you can elicit false trauma in individuals, and a lot of really charismatic cult leaders are positioned to rewrite your narrative of your lived experience to create trauma.
22:16 --> 22:22 [SPEAKER_01]: So it's like a love bomb from a simultaneously to helping you, helping you.
22:22 --> 22:29 [SPEAKER_01]: Or causing you to reinterpret loving relationships you have as negative or bad for you or whatever.
22:29 --> 22:36 [SPEAKER_00]: And in some, and some clubs go so far to say like, we know that they're gonna tell you this is a cult.
22:36 --> 22:36 [SPEAKER_00]: It's not.
22:37 --> 22:44 [SPEAKER_00]: We know that they're gonna say like they're taking you from us and those people are not supportive and you need to cut them out of your life
22:46 --> 22:47 [SPEAKER_00]: that you're on now.
22:47 --> 22:49 [SPEAKER_00]: And this is the better mission for you.
22:49 --> 22:56 [SPEAKER_00]: So what happens is you lose your external support structure and all your support structure is within the institution.
22:57 --> 23:02 [SPEAKER_00]: So if we ever decide to leave, you have no one to go to because you've alienated everyone and that keeps you in that cult.
23:03 --> 23:06 [SPEAKER_00]: And then we're craving the certainty cults offer community.
23:07 --> 23:09 [SPEAKER_00]: They offer simplistic lack and white
23:14 --> 23:41 [SPEAKER_00]: that people are something that's amazing yeah absolutely order in a moment when your life probably you lack that right and like that order comforts us like we want rituals yeah and then you you add um we're not going to talk too much about like charismatic leadership because i feel like we can cover that explicitly in another episode but you add a very likeable charismatic leader that makes you feel special that maybe you're attracted to
23:42 --> 23:44 [SPEAKER_00]: And that's going to keep you even more in doctrine into this cult.
23:45 --> 23:46 [SPEAKER_01]: We should touch on that a little bit, right?
23:46 --> 23:48 [SPEAKER_01]: Because that's kind of what we're looking at here.
23:48 --> 23:49 [SPEAKER_01]: It's a leader.
23:49 --> 23:53 [SPEAKER_01]: Because it's not, the song isn't being framed as this is a cult.
23:53 --> 24:00 [SPEAKER_01]: It's like we're the protagonist, but the singer of this song is that person, right?
24:00 --> 24:01 [SPEAKER_01]: Yeah.
24:01 --> 24:02 [SPEAKER_01]: And so how much is that required?
24:03 --> 24:09 [SPEAKER_01]: Like are there cults without like a, what do you call the term like a, not a figure head like a,
24:10 --> 24:39 [SPEAKER_00]: Like without a cult of personality kind of element where there is a person that kind of embodies something not often you can't just be an organization no most cults or organizations like this do have a figure head leader do have a person that becomes a false idol right for sure and mostly their men there aren't a lot of female cult leaders that's not often like in all in the history of cults maybe like 5% less have a female leader
24:40 --> 24:44 [SPEAKER_01]: I would say in the history of cults, enough of them have sex element.
24:44 --> 24:45 [SPEAKER_00]: Yeah.
24:45 --> 24:54 [SPEAKER_01]: That, that checks out whether it's well now I have 20 wives or whatever kind of because then you're like especially chosen.
24:55 --> 25:02 [SPEAKER_00]: If you're a woman that's, if you're a vulnerable woman that fell into this cult situation and now that's the ultimate love bomb.
25:03 --> 25:06 [SPEAKER_00]: There's like a crash joke in there, but I'm not going to make it, but it is.
25:06 --> 25:18 [SPEAKER_00]: Like now, you're so special that not only are you part of our community, but you're like on the very inner circle, because you're like one of the six that are chosen to be with the leader, right?
25:18 --> 25:18 [SPEAKER_02]: Yeah.
25:19 --> 25:26 [SPEAKER_00]: And a lot of times two, the leader isn't like hugely self-actualized that they're a cult leader.
25:26 --> 25:27 [SPEAKER_00]: Like, let me
25:31 --> 25:32 [SPEAKER_01]: Yeah.
25:32 --> 25:33 [SPEAKER_00]: Sometimes they do.
25:33 --> 25:34 [SPEAKER_01]: Most people don't think they're back.
25:34 --> 25:45 [SPEAKER_00]: No, most people are, you hear not often that a cult leader who's probably macabellian and narcissistic and other elements of this, what we call a dark triad, they haven't been in that.
25:45 --> 25:46 [SPEAKER_01]: We got to find a song to talk about.
25:46 --> 25:47 [SPEAKER_01]: For sure.
25:47 --> 25:53 [SPEAKER_00]: That's why I'm not going to last 18, but if you're a narcissist, you're not like thinking it's bad.
25:53 --> 25:54 [SPEAKER_00]: You're thinking you're the best.
25:54 --> 25:55 [SPEAKER_01]: You know, the
25:56 --> 25:57 [SPEAKER_01]: think you're wrong.
25:57 --> 26:00 [SPEAKER_00]: No, that's why it's hard to get in our system to therapy.
26:00 --> 26:01 [SPEAKER_01]: Because they're nice.
26:01 --> 26:02 [SPEAKER_01]: Because they need that.
26:02 --> 26:02 [SPEAKER_01]: That's right.
26:02 --> 26:03 [SPEAKER_00]: Great.
26:03 --> 26:04 [SPEAKER_00]: And that's so hyperbolic.
26:04 --> 26:05 [SPEAKER_00]: Like, there's so much more to it.
26:05 --> 26:07 [SPEAKER_00]: And I don't want to minimize that.
26:07 --> 26:10 [SPEAKER_00]: Like, there are plenty of self-actualized narcissists for for sure.
26:11 --> 26:20 [SPEAKER_00]: But I think stereotypically in our culture, we think of this dynamic cult leader as someone that they do have a god complex or a massage complex.
26:20 --> 26:20 [SPEAKER_00]: They do.
26:21 --> 26:24 [SPEAKER_00]: So when Lenny Kravitz and the song are saying, are you gonna go my way?
26:24 --> 26:26 [SPEAKER_00]: He doesn't sound like a villain or a bad guy.
26:27 --> 26:31 [SPEAKER_00]: But you can still sound like a nice guy and believe that your intentions are pure.
26:32 --> 26:37 [SPEAKER_00]: And also lead to awful results like Jim Jones, right?
26:37 --> 26:37 [SPEAKER_00]: Right.
26:38 --> 26:41 [SPEAKER_00]: Thousands of people died at his hands, essentially.
26:41 --> 26:43 [SPEAKER_01]: Can we look at the lyrics for a second?
26:43 --> 26:43 [SPEAKER_01]: Yeah.
26:44 --> 26:46 [SPEAKER_01]: Some of it's vague and some of it hits at the theme stronger.
26:47 --> 26:48 [SPEAKER_01]: I was born long ago.
26:49 --> 26:50 [SPEAKER_01]: I'm the chosen on the one.
26:50 --> 26:53 [SPEAKER_01]: I have come to save the day and I won't leave until I'm done.
26:53 --> 26:56 [SPEAKER_01]: So that's why you've got to try, you've got to breathe and have some fun.
26:57 --> 27:00 [SPEAKER_01]: Though I'm not paid, I play this game and I won't stop until I'm done.
27:01 --> 27:10 [SPEAKER_01]: So it's like it kind of ends up kind of affirming and positive there, but like starting from the place of like this savior chosen one kind of thing.
27:10 --> 27:15 [SPEAKER_01]: But then there's the, but what I really want to know is, are you going to go my way and I got to got to know?
27:15 --> 27:15 [SPEAKER_00]: Yeah.
27:15 --> 27:16 [SPEAKER_01]: Right.
27:16 --> 27:16 [SPEAKER_01]: And that's like...
27:17 --> 27:18 [SPEAKER_00]: It's adding the urgency to salesmen.
27:19 --> 27:24 [SPEAKER_01]: But that that chorus lyric could almost be in any song, it almost doesn't matter, right?
27:24 --> 27:25 [SPEAKER_01]: That could be a love song, right?
27:25 --> 27:25 [SPEAKER_00]: It could be.
27:25 --> 27:28 [SPEAKER_01]: Well, should I stay or should I go came up in a previous episode, right?
27:28 --> 27:31 [SPEAKER_01]: Like, first two, I don't know why we always cry.
27:31 --> 27:33 [SPEAKER_01]: This we must leave and get undone.
27:34 --> 27:38 [SPEAKER_01]: We must engage in rearrange and turn this planet back to one.
27:38 --> 27:41 [SPEAKER_01]: So tell me why we got to die and kill each other one by one.
27:42 --> 27:43 [SPEAKER_01]: We've got to hug and rub a dove.
27:43 --> 27:45 [SPEAKER_01]: We've got to dance and be in love.
27:46 --> 27:49 [SPEAKER_01]: Like that's all positive stuff, but he set it up that this is all.
27:50 --> 28:14 [SPEAKER_01]: part of kind of recruiting, attracting somebody to a cause or two, maybe it's not a cult, maybe it's a cult, but it could just be kind of like, I don't know, a political cause, or maybe you're just like, if you think of this song as a call back to like, 60s culture and Jimmy Hendrix, maybe it's a call back to like, peace and love of the 60s and like the woodstock generation.
28:14 --> 28:16 [SPEAKER_01]: But, you know, maybe there was some.
28:16 --> 28:18 [SPEAKER_00]: But maybe that was kind of culty too.
28:18 --> 28:25 [SPEAKER_01]: Culty aspects to that and, you know, charismatic men taking advantage of situations in some of those communes and stuff like that.
28:25 --> 28:26 [SPEAKER_01]: Absolutely.
28:26 --> 28:27 [SPEAKER_00]: Absolutely.
28:27 --> 28:27 [SPEAKER_00]: Yeah.
28:27 --> 28:38 [SPEAKER_00]: So another thing that happens in terms of, like, how control is maintained in these spaces is this isolation that you are on a commune, you're, in now with your chosen family.
28:38 --> 28:50 [SPEAKER_00]: You're probably sexually involved with people in this circuit too, which adds a level of physiological and psychological attachment beyond like their relationships would.
28:51 --> 28:53 [SPEAKER_00]: There's also probably a lot of control of information.
28:54 --> 29:02 [SPEAKER_00]: You're probably not allowed to watch the news or read or your main thing or have a phone because that's all noise that's going to distract you from the cause and the mission.
29:02 --> 29:03 [SPEAKER_00]: So that's control.
29:04 --> 29:10 [SPEAKER_00]: There's also a lot of fear, guilt, and shame that if you do the wrong thing or if you disrupt the leader,
29:11 --> 29:39 [SPEAKER_00]: you'll be ostracized right and sometimes that's emotional ostracization or sometimes physical like there are some cults that would put you in like a confine masala to her confinement put you in a different location to like separate you from the group and then another piece in some of these areas especially when you think of communes or even like I know Scientology's legally a religion but there's cult aspects I'm being very careful with my
29:40 --> 29:52 [SPEAKER_00]: that they indoctrinate young kids to what they call the seawork, which is, um, they put you on a boat, and you're, you're parents sign away their parental rights for your life to signology.
29:53 --> 30:00 [SPEAKER_00]: They take you as a minor and put you on a ship and you work on that ship, you're scrubbing decks, you're scrubbing toilets, you're doing physical labor.
30:01 --> 30:11 [SPEAKER_00]: That is a way to control people because when their bodies are physiologically tired, they don't have the psychological resilience to overcome, right?
30:11 --> 30:19 [SPEAKER_00]: When we're working so hard at the end of the day, you just have to sleep because you've been working for 12 hours straight in a higher labor, you're not going to think about like overthrowing the leader.
30:19 --> 30:20 [SPEAKER_00]: Right.
30:20 --> 30:24 [SPEAKER_00]: You're just going to fill your belly and go to bed and wake up and do it the next day, right?
30:25 --> 30:32 [SPEAKER_00]: a way to control called members by keeping them busy, keeping them working, giving them jobs to do.
30:32 --> 30:37 [SPEAKER_00]: So they're so wrapped up in the job that they don't think of anything else.
30:37 --> 30:52 [SPEAKER_00]: And that's something we see in sociology quite a bit and the side you have conflict theory that this society keeps going because if we're too busy fighting each other, we won't fight the people that are really making decisions and that's fed to us all the time.
30:52 --> 30:55 [SPEAKER_00]: And if you're not related against that, you can see it.
30:56 --> 30:57 [SPEAKER_00]: All right, that is a fabrication.
30:57 --> 30:59 [SPEAKER_01]: So come back to that.
30:59 --> 31:00 [SPEAKER_00]: There's so much.
31:00 --> 31:04 [SPEAKER_00]: I mean, so we haven't even in this in these hot two seasons of this podcast.
31:04 --> 31:07 [SPEAKER_00]: We're talking so much about like psychology.
31:07 --> 31:12 [SPEAKER_00]: We haven't even touched on like sociological stuff as much as we could be.
31:12 --> 31:13 [SPEAKER_00]: Let's get there.
31:13 --> 31:13 [SPEAKER_00]: Yeah.
31:13 --> 31:14 [SPEAKER_00]: Absolutely.
31:14 --> 31:17 [SPEAKER_00]: That's a whole like well of knowledge that we haven't even explored.
31:17 --> 31:17 [SPEAKER_01]: So I just want to one.
31:17 --> 31:18 [SPEAKER_01]: Let's do it.
31:18 --> 31:19 [SPEAKER_00]: I've taught it.
31:19 --> 31:19 [SPEAKER_00]: Yeah.
31:21 --> 31:25 [SPEAKER_00]: Mainly, another thing to touch on is how we extract people from cults and leaving them.
31:26 --> 31:30 [SPEAKER_00]: There are people in my field that that is their main their job is in like
31:31 --> 31:38 [SPEAKER_00]: reaclimating people after cult exposure and bringing them back into the world because they're so psychologically harmed.
31:38 --> 31:48 [SPEAKER_00]: We see so much psychological control happen in these spaces that is very, very hard for folks to rejoin society and unpack all the time.
31:48 --> 31:50 [SPEAKER_01]: Kind of like somebody being institutionalized.
31:50 --> 31:52 [SPEAKER_00]: And they're absolutely institutionalized and you think of like,
31:53 --> 31:56 [SPEAKER_00]: It's so easy for us to say, why didn't you just leave, right?
31:56 --> 32:01 [SPEAKER_00]: Think of even our Kelly and all the girls that he exploited for so long.
32:02 --> 32:04 [SPEAKER_00]: You think like, why didn't you just leave?
32:04 --> 32:07 [SPEAKER_00]: They couldn't because they were in so much psychological control.
32:07 --> 32:09 [SPEAKER_00]: They were like, well, I don't have permission to leave.
32:09 --> 32:11 [SPEAKER_01]: Didn't we talk about learned help this miss?
32:11 --> 32:14 [SPEAKER_00]: Kind of, yeah, like the doors open just leave the cage.
32:14 --> 32:16 [SPEAKER_01]: But it's not that simple.
32:17 --> 32:31 [SPEAKER_00]: And that's why psychology and sociology and specifically social psych is so interesting because it's that intersection of like now you're you can see outside of your own individuality and look at the system you're a part of and see how one impacts the other.
32:31 --> 32:31 [SPEAKER_00]: So...
32:32 --> 32:52 [SPEAKER_00]: I'm like very passionate about these ideas and I'm talking a lot and I don't I all stop, but there's this is just like the surface of a very, very broad and intriguing topic of social psychology, called indoctrination and why we decide if we are indeed going to go my way of
33:00 --> 33:03 [SPEAKER_01]: This has nothing to do with music stuff.
33:03 --> 33:04 [SPEAKER_00]: Perfect.
33:04 --> 33:05 [SPEAKER_01]: Super interesting.
33:05 --> 33:07 [SPEAKER_01]: I think so much of that is stuff that's worth coming back to.
33:07 --> 33:07 [SPEAKER_01]: Yeah.
33:08 --> 33:08 [SPEAKER_01]: Yeah.
33:08 --> 33:08 [SPEAKER_01]: Wow.
33:09 --> 33:09 [SPEAKER_01]: Crazy.
33:09 --> 33:10 [SPEAKER_01]: I don't know.
33:10 --> 33:11 [SPEAKER_00]: I don't know.
33:11 --> 33:12 [SPEAKER_00]: I don't know how to transition.
33:34 --> 33:39 [SPEAKER_01]: Like I said before, we're talking about riffs and things like that that are getting moved around.
33:39 --> 33:41 [SPEAKER_01]: That's my hard transition.
33:41 --> 33:45 [SPEAKER_01]: Probably we just had an ad break or something to have the cleanse the pound, right?
33:46 --> 33:50 [SPEAKER_01]: So if we play this opening intro, this is the cool Craig Ross riff.
33:50 --> 33:51 [SPEAKER_01]: That's very, very bluesy.
34:09 --> 34:10 [SPEAKER_01]: Cool huh?
34:10 --> 34:10 [SPEAKER_01]: Super cool.
34:11 --> 34:12 [SPEAKER_01]: So remember back to our weasel episode.
34:13 --> 34:14 [SPEAKER_01]: I used the term blue note.
34:15 --> 34:16 [SPEAKER_01]: What a blue note is.
34:16 --> 34:17 [SPEAKER_00]: I did not remember.
34:17 --> 34:18 [SPEAKER_00]: I remember talking about it.
34:19 --> 34:19 [SPEAKER_01]: Yeah.
34:19 --> 34:22 [SPEAKER_01]: So a blue note inspired by the blue album.
34:22 --> 34:22 [SPEAKER_00]: Yes.
34:22 --> 34:24 [SPEAKER_01]: Is a flat note.
34:24 --> 34:26 [SPEAKER_01]: So it's flat on purpose.
34:26 --> 34:26 [SPEAKER_01]: Is it sad?
34:26 --> 34:28 [SPEAKER_01]: And that's yeah, it's sad.
34:29 --> 34:29 [SPEAKER_01]: And
34:30 --> 34:36 [SPEAKER_01]: A blue note sort of in the original blues sense is not quite a half step flat.
34:36 --> 34:37 [SPEAKER_01]: It would be like a quarter step.
34:37 --> 34:48 [SPEAKER_01]: So like if the third note in the scale for example is this is a B the B flat would be the like actual lower third, but a blue note might actually be between the
34:48 --> 34:51 [SPEAKER_00]: is kind of like a sad beast, it's just a sad beast.
34:51 --> 34:57 [SPEAKER_01]: You could probably if you were rounding to the closest note, you would play the B-flat, but oftentimes they'll be kind of in the middle.
34:57 --> 35:05 [SPEAKER_01]: And in that song, it was, I said B-flat because we were in the key of G and we had this, although they might have been down tuned out anyways, it was a B-flat.
35:06 --> 35:15 [SPEAKER_01]: In this song, which is in the key of E, not only do we have the flat third blue note, which is the G. But we also, that rammed about that vent string,
35:17 --> 35:18 [SPEAKER_01]: fifth in the scale.
35:19 --> 35:21 [SPEAKER_01]: So we've got both of those.
35:21 --> 35:24 [SPEAKER_01]: And so we've got the Babada Babada Babada Babada Babada.
35:25 --> 35:34 [SPEAKER_01]: So the flat five and the Nabada is the flat third, but not only that, but the little cord he plays is the flat seven and the flat three.
35:34 --> 35:39 [SPEAKER_01]: So two kinds of blue notes, really three that are in like taking over this whole riff.
35:39 --> 35:40 [SPEAKER_01]: Listen just about little cord.
35:42 --> 35:43 [SPEAKER_01]: just that little chord there.
35:43 --> 35:46 [SPEAKER_01]: So very, very bluesy.
35:46 --> 36:02 [SPEAKER_01]: When we get to the verse, that riff keeps happening, but we get this Lenny Cravitz vocal melody, while he's apparently banging away on the drums, which uses a lot of our tonic note, which is our E, but we get the lowered seven and the lowered third.
36:02 --> 36:09 [SPEAKER_01]: So we get two of the types of blue notes, the seven and the three, which are common in blues, nothing that surprising here.
36:25 --> 36:29 [SPEAKER_01]: So in the context of this key, the hours, that's our E, right?
36:29 --> 36:30 [SPEAKER_02]: I was born.
36:30 --> 36:39 [SPEAKER_01]: That's the blue note, the G and the other day, or whatever it is, that's the D. The lowered, the money notes are essentially the lowered seven and the lowered third.
36:40 --> 36:42 [SPEAKER_01]: And then we also have the guitar playing that lowered fifth.
36:43 --> 36:44 [SPEAKER_01]: But what happens next?
36:59 --> 37:03 [SPEAKER_00]: So you hear what happened there, and that, now that's why it kind of went up a little bit.
37:04 --> 37:04 [SPEAKER_01]: I mean, yeah.
37:04 --> 37:06 [SPEAKER_01]: It's the same melody.
37:06 --> 37:06 [SPEAKER_00]: Yeah.
37:06 --> 37:10 [SPEAKER_00]: But instead of I was born, it's, now that's why.
37:10 --> 37:10 [SPEAKER_00]: Yeah.
37:10 --> 37:12 [SPEAKER_01]: Oh, let me try it.
37:12 --> 37:13 [SPEAKER_00]: Now that's why.
37:13 --> 37:14 [SPEAKER_00]: That's what you need, you need more grit.
37:14 --> 37:15 [SPEAKER_01]: Yeah, I got it.
37:15 --> 37:16 [SPEAKER_01]: I can't do it without the grit.
37:16 --> 37:19 [SPEAKER_01]: If you're a false set of wear, I can kind of grid it like that.
37:19 --> 37:19 [SPEAKER_01]: So.
37:20 --> 37:24 [SPEAKER_01]: They do the exact same riff moving it up on the guitar, three frets.
37:24 --> 37:34 [SPEAKER_01]: They go from E to a G and so now our money note goes from D and G in his vocal to B flat and F. The whole thing just shifts, right?
37:34 --> 37:35 [SPEAKER_01]: It's not a key change.
37:36 --> 37:38 [SPEAKER_01]: It's not even really a chord progression.
37:38 --> 37:41 [SPEAKER_01]: It's just a momentary transposition.
37:41 --> 37:44 [SPEAKER_01]: You've I've used the word transpose, right?
37:44 --> 37:45 [SPEAKER_00]: You talk about a lot.
37:45 --> 37:46 [SPEAKER_00]: I think I know what it means.
37:48 --> 37:51 [SPEAKER_01]: What do you feel like it means to transpose a melody?
37:52 --> 37:57 [SPEAKER_00]: Transpose a melody means like kind of to like write it out and pitch shift it.
37:58 --> 38:00 [SPEAKER_01]: You don't have to write it out or pitch shift it.
38:00 --> 38:02 [SPEAKER_01]: But yeah, you're changing the key, you're changing.
38:03 --> 38:03 [SPEAKER_00]: Right.
38:04 --> 38:04 [SPEAKER_01]: Every note.
38:04 --> 38:10 [SPEAKER_01]: So if you have CDE, if you transpose that by one, half step it would be C sharp, D sharp, D sharp.
38:10 --> 38:14 [SPEAKER_00]: Like if you have a song that's in like E, you have to transpose it to like,
38:18 --> 38:20 [SPEAKER_01]: So flu doesn't have to transpose.
38:20 --> 38:21 [SPEAKER_01]: Well, you're hitting that something interesting.
38:21 --> 38:24 [SPEAKER_01]: And this is going to like mess with people's heads.
38:25 --> 38:34 [SPEAKER_01]: If you play like I clarinet, and the song is in the key of C, the clarinet player is going to be playing in the key of D. Because like it's just different.
38:34 --> 38:37 [SPEAKER_01]: Because the exact size of that instrument is such that.
38:37 --> 38:37 [SPEAKER_00]: Yeah.
38:38 --> 38:39 [SPEAKER_01]: And we can talk about that.
38:39 --> 38:40 [SPEAKER_01]: Absolutely.
38:40 --> 38:40 [SPEAKER_01]: Definitely.
38:41 --> 38:42 [SPEAKER_01]: Maybe we've got to talk about that now.
38:43 --> 38:47 [SPEAKER_01]: Imagine someone invents some instrument.
38:47 --> 38:49 [SPEAKER_01]: Let's say the saxophone, the saxophone was invented in the 1800s.
38:50 --> 38:56 [SPEAKER_01]: The first version of the saxophone was probably in the key of C, which means you play a C. It sounds like C, right?
38:57 --> 38:59 [SPEAKER_01]: But then they go, well, let's make a bigger saxophone.
38:59 --> 39:00 [SPEAKER_01]: Play's a little lower.
39:01 --> 39:04 [SPEAKER_01]: You don't want the player to have to relearn every single fingering.
39:05 --> 39:07 [SPEAKER_01]: You want them to just be able to play the same old thing.
39:08 --> 39:10 [SPEAKER_01]: But because it's bigger, it will now be pitch lower.
39:11 --> 39:12 [SPEAKER_01]: Oh, let's make a little saxophone.
39:12 --> 39:17 [SPEAKER_01]: I don't want the person to have to relearn fingerings, but when they play that C, it's actually going to sound hired.
39:18 --> 39:18 [SPEAKER_01]: So we...
39:19 --> 39:21 [SPEAKER_01]: transpose what they're reading.
39:21 --> 39:24 [SPEAKER_01]: So like a clarinetist plays C, it sounds like B flat.
39:24 --> 39:26 [SPEAKER_01]: So we say clarinet is in the key of B flat.
39:27 --> 39:31 [SPEAKER_01]: If you play the E flat clarinet, which is high, you play C, it sounds like E flat.
39:31 --> 39:34 [SPEAKER_00]: What's the only instrument that there's one for every key?
39:34 --> 39:36 [SPEAKER_01]: There is no instrument that there's one for you.
39:36 --> 39:36 [SPEAKER_00]: What about the harmonica?
39:38 --> 39:41 [SPEAKER_01]: Oh, douchey, Nicole, douchey, you're right.
39:41 --> 39:42 [SPEAKER_01]: So, right.
39:42 --> 39:43 [SPEAKER_01]: So, the iconic harmonica.
39:44 --> 39:44 [SPEAKER_01]: No, I don't think there are.
39:44 --> 39:50 [SPEAKER_00]: Oh, the guy talking where you should the little, or a slide harmonica, but like our harmonica, you have like an e-flat harmonica.
39:50 --> 39:51 [SPEAKER_00]: Gee, our harmonica.
39:51 --> 39:53 [SPEAKER_01]: But I actually don't even know that they have them for every key.
39:53 --> 39:53 [SPEAKER_01]: Maybe not every key.
39:54 --> 39:55 [SPEAKER_01]: But they probably have them for all the names.
39:55 --> 39:59 [SPEAKER_01]: More than a CDFG, but is there a D-flat harmonica?
39:59 --> 39:59 [SPEAKER_01]: You can buy maybe not.
40:00 --> 40:01 [SPEAKER_00]: I bet you that it exists in the world.
40:01 --> 40:10 [SPEAKER_01]: But like, so there what there still is a rarely a C saxophone, but what happens is eventually the ones that aren't in C, some of them were just more popular because they worked better.
40:11 --> 40:13 [SPEAKER_01]: So like, saxes are all in B-flat or E-flat now.
40:14 --> 40:14 [SPEAKER_00]: Okay.
40:14 --> 40:17 [SPEAKER_01]: Clarenets are in B-flat or A or E-flat.
40:17 --> 40:20 [SPEAKER_01]: There's no like G-charp clarinet though.
40:21 --> 40:23 [SPEAKER_01]: It just never was invented and if they did invented it never survived.
40:23 --> 40:27 [SPEAKER_01]: Anyways, transposing just means shifting something by a certain pitch.
40:28 --> 40:32 [SPEAKER_01]: The transposing ban instruments thing is really just kind of a different thing.
40:32 --> 40:33 [SPEAKER_00]: Well, I'm so glad I asked.
40:33 --> 40:34 [SPEAKER_01]: Yes, so glad you asked.
40:35 --> 40:38 [SPEAKER_01]: I'm not going to cut it out what I'm actually going to do is loop it.
40:39 --> 40:44 [SPEAKER_01]: So after the sentence, I'm going to for the audio of the actual episode, I'm going to restart the whole segment.
40:44 --> 40:45 [SPEAKER_00]: Nice.
40:45 --> 40:47 [SPEAKER_01]: And how many times am I going to loop it listeners?
40:47 --> 40:49 [SPEAKER_01]: Is this episode three hours long?
40:49 --> 40:50 [SPEAKER_01]: That means I'm doing it like ten times.
40:50 --> 40:53 [SPEAKER_00]: And I think that we could really stick on the spot that I was right.
40:53 --> 40:54 [SPEAKER_00]: And I proved my cry.
40:54 --> 40:55 [SPEAKER_01]: I don't know what you're talking about.
40:55 --> 40:56 [SPEAKER_01]: But they're harmonic.
40:56 --> 40:57 [SPEAKER_00]: So it was about how they're harmonica.
40:57 --> 40:57 [SPEAKER_00]: Oh, yeah.
40:58 --> 40:58 [SPEAKER_01]: No, no.
40:58 --> 41:00 [SPEAKER_01]: And you can only do shit.
41:01 --> 41:02 [SPEAKER_01]: So let's just listen to that again.
41:02 --> 41:05 [SPEAKER_01]: We have the same melody up into this new key.
41:05 --> 41:06 [SPEAKER_01]: And then it shifts right back.
41:06 --> 41:07 [SPEAKER_01]: But it's not a key change.
41:08 --> 41:09 [SPEAKER_01]: It's not even really a change of chord.
41:09 --> 41:10 [SPEAKER_01]: Just sort of shifts.
41:25 --> 41:28 [SPEAKER_01]: And it's not like enter a sandman where that immediately shifted.
41:29 --> 41:31 [SPEAKER_01]: We have the gear change modulation, but then it's in a new key.
41:31 --> 41:32 [SPEAKER_01]: Nope, just goes right back.
41:33 --> 41:41 [SPEAKER_01]: Nor is this a sequence, like in, I don't know, like, hello, how to sequence, barrier friend, how to sequence, where there's a pattern.
41:41 --> 41:44 [SPEAKER_01]: There's no logic, it just goes, comes right back, right?
41:44 --> 41:48 [SPEAKER_01]: And remember, this song did start apparently as like a jam.
41:48 --> 41:52 [SPEAKER_01]: So if a guitar player is like, let's go to G, everybody, and the bass player just followed him, right?
41:53 --> 41:59 [SPEAKER_01]: So, let me prove through the magic of digital transposition that these are the same.
42:00 --> 42:07 [SPEAKER_01]: So, I'm going to play the first part of the verse, but play it as if it were in that hierarchy.
42:15 --> 42:15 [SPEAKER_01]: That's gross.
42:15 --> 42:18 [SPEAKER_01]: So that sounds that started like this.
42:22 --> 42:24 [SPEAKER_01]: but I've shifted it, so it sounds like this.
42:25 --> 42:26 [SPEAKER_02]: Go that far, you've got the time.
42:26 --> 42:26 [UNKNOWN]: Huh.
42:26 --> 42:42 [SPEAKER_01]: Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
43:12 --> 43:23 [SPEAKER_01]: So that's obviously gross, but how much of the grossness is because of the digital manipulation, if you actually played it that way, it kind of almost works because it's just this shift.
43:23 --> 43:29 [SPEAKER_01]: This is actually related to a term sometimes used that's planning where you just take the same voicing and shift it up or down.
43:29 --> 43:31 [SPEAKER_01]: It kind of could work if the song was composed that way.
43:32 --> 43:35 [SPEAKER_01]: It just sounds bad because of the pitch shift plug and I'm using.
43:35 --> 43:36 [SPEAKER_00]: Yeah, it's interesting.
43:36 --> 43:49 [SPEAKER_00]: I'm thinking, you know, trying to make some connections back to this cult psychology bit, and I'm thinking, you know, that guy that I just heard, I'm not, I'm not going to follow him anyway.
43:49 --> 43:52 [SPEAKER_00]: But then I like checked myself because I, there are some cults that.
43:53 --> 44:05 [SPEAKER_00]: Like, like, Lenny Kravitz is a cult leader, like, all right, like, I can see that, but there's some, like, the guy that run that ran the next DM cult, not cute, beautiful women, smart, beautiful, vulnerable women.
44:05 --> 44:07 [SPEAKER_00]: We're like, he chose me.
44:07 --> 44:08 [SPEAKER_00]: I'm in love with them.
44:08 --> 44:09 [SPEAKER_00]: And you look at this guy.
44:09 --> 44:10 [SPEAKER_00]: You're like, you're not Lenny Kravitz.
44:11 --> 44:34 [SPEAKER_01]: and maybe he was just like hit maybe she was it was just digitally there's a post post there's something there there's something there maybe tease it out so yeah this kind of transposition is probably like a direct line from the blues and really so here's all your love i miss loving by Otis rush this is chicago blues nineteen fifty eight
44:35 --> 44:41 [SPEAKER_01]: And the melody doesn't shift, but the guitar and sax are going to hear them shifting around in a similar manner.
45:03 --> 45:13 [SPEAKER_01]: Melodies staying rooted where it is, but the chord progression is being realized by these riffs in the background that are just moving up and down either the fretboard or the scale.
45:14 --> 45:18 [SPEAKER_01]: So bluesy later, 1969, the Beatles, I want you.
45:19 --> 45:19 [SPEAKER_01]: She's so heavy.
45:20 --> 45:23 [SPEAKER_01]: The whole thing just transposes up a fourth.
45:43 --> 45:57 [SPEAKER_02]: I love that song obviously you do too, but like the side here, well,
46:10 --> 46:23 [SPEAKER_00]: It's using that same convention to complete a completely different message here than it is in the Lenny Crowley song, which I think is really interesting and I find it more successful here than in the Lenny Crowley song for here it's reading is like
46:24 --> 46:27 [SPEAKER_00]: and hands desperation and hands longing.
46:27 --> 46:34 [SPEAKER_00]: And then letting Kravitz, it's reading is like, he's unhinged enough to just be sexy.
46:35 --> 46:40 [SPEAKER_00]: And like, you know, and like, I could follow you in a cult leader sort of way.
46:40 --> 46:44 [SPEAKER_00]: And from the Beatles song, it's definitely reading is more like, novel and ability.
46:44 --> 46:45 [SPEAKER_01]: Yeah.
46:45 --> 46:46 [SPEAKER_00]: And I'm getting the opposite.
46:46 --> 46:47 [SPEAKER_00]: It's so cool.
46:47 --> 46:51 [SPEAKER_00]: And like longing in a way that like is desperate.
46:51 --> 46:52 [SPEAKER_01]: Interesting.
46:52 --> 46:53 [SPEAKER_00]: And yeah.
46:53 --> 46:54 [SPEAKER_00]: I like I like that.
46:54 --> 46:58 [SPEAKER_00]: I just think that that's like a little bit more true to a human experience.
46:58 --> 47:00 [SPEAKER_00]: Yeah, my reading too much into it.
47:00 --> 47:02 [SPEAKER_01]: Is that like that's exactly what we're here for.
47:02 --> 47:03 [SPEAKER_00]: I think that's what we're doing.
47:03 --> 47:06 [SPEAKER_01]: So Lenny's got there's happening in other songs as well.
47:06 --> 47:07 [SPEAKER_01]: So this is Mr. cab driver.
47:07 --> 47:09 [SPEAKER_01]: I think this is his first album in 1989.
47:10 --> 47:18 [SPEAKER_01]: So the base riff is transposing around and this has like a kind of a punky energy that even more stylistic variants here.
47:40 --> 47:45 [SPEAKER_01]: So it really common in riffs, instrumental riffs in particular guitars and basses.
47:45 --> 47:51 [SPEAKER_01]: One more example, this is his cover of the Guess Who's Tune from 1970, 1999, American Woman.
47:52 --> 47:56 [SPEAKER_01]: So here's sort of the main riff you hear throughout the song, which is in C.
48:07 --> 48:15 [SPEAKER_01]: But then later in the song, right as the solo starts, it just randomly shifts to be for a few bars before it goes back.
48:16 --> 48:18 [SPEAKER_01]: And this does not happen in the guess who version.
48:18 --> 48:20 [SPEAKER_01]: This only happens in the Lenny version.
48:38 --> 48:38 [SPEAKER_00]: That's great.
48:39 --> 48:49 [SPEAKER_00]: And it's interesting to any layer Lenny Kravitz's personal style onto this motif, because he always is like a little bit amped up in interesting ways and like kind of tweaked in different ways that are unexpected.
48:49 --> 48:57 [SPEAKER_00]: And I think his vocal treatment lends itself to this type of convention as well, like just the way his voice sounds.
48:57 --> 48:58 [SPEAKER_01]: the raspiness.
48:58 --> 49:02 [SPEAKER_00]: The raspiness, there's something about it that seems like it's very natural to him.
49:02 --> 49:07 [SPEAKER_00]: And it feels very organic here in a way that like the Beatles example didn't feel organic.
49:07 --> 49:07 [SPEAKER_00]: It felt sure.
49:07 --> 49:09 [SPEAKER_00]: I should have been for four years.
49:09 --> 49:16 [SPEAKER_00]: Which I think is a really interesting layer to add, especially thinking of what the social psychology elements that we're kind of unpacking in this song.
49:17 --> 49:17 [SPEAKER_01]: Right.
49:17 --> 49:19 [SPEAKER_01]: Like what would make him alluring.
49:19 --> 49:20 [SPEAKER_00]: Right.
49:20 --> 49:22 [SPEAKER_00]: It's just like that little bit of unexpected difference.
49:22 --> 49:26 [SPEAKER_00]: There's someone so unique and so different can feel like I'm special.
49:26 --> 49:28 [SPEAKER_00]: Then I must be unique and different, too.
49:29 --> 49:32 [SPEAKER_01]: If you can go up a minor third, could you go up a major?
49:32 --> 49:33 [SPEAKER_00]: What else can he do?
49:33 --> 49:34 [SPEAKER_01]: That's right.
49:34 --> 49:36 [SPEAKER_01]: So a couple non-bluesy examples.
49:36 --> 49:39 [SPEAKER_01]: This is alumnus from a couple weeks ago.
49:39 --> 49:40 [SPEAKER_00]: Mm-hmm.
49:40 --> 49:42 [SPEAKER_01]: Rosanna by Toto 1982.
49:42 --> 49:45 [SPEAKER_01]: There's a reason I didn't play that in the episode because I knew I'd play it today.
49:45 --> 49:46 [SPEAKER_00]: Oh, tricky, tricky.
49:46 --> 49:46 [SPEAKER_01]: Darts and G.
49:47 --> 49:58 [SPEAKER_01]: We have this d-v-lu-kithir verse vocal and then it goes to the Bobby Kimball, higher vocal, which is starting, it's a whole step off but really it's like starting up a seventh above.
49:58 --> 50:06 [SPEAKER_01]: So from G and then the same melody essentially instruments playing sort of different stuff but the same melody happening then in F. So G and then F.
50:12 --> 50:21 [SPEAKER_02]: Rozener, bozener You've got that girl like you could ever care for me Rozener
50:35 --> 50:36 [SPEAKER_00]: Totally awesome.
50:36 --> 50:37 [SPEAKER_01]: Yeah, we proved it.
50:37 --> 50:38 [SPEAKER_01]: We proved more evidence.
50:39 --> 50:43 [SPEAKER_01]: Speaking of Toto, let's hear some Scott Punk from the 90's.
50:43 --> 50:46 [SPEAKER_01]: So 1996, this is gold finger here in your book.
50:46 --> 50:47 [SPEAKER_00]: Really awesome.
50:47 --> 50:53 [SPEAKER_01]: Yeah, starts in E and then goes to C and it just sort of does the same thing.
50:53 --> 51:01 [SPEAKER_01]: I guess this technically is a key change unlike this song, but it still feels just like something is just immediately transposed.
51:25 --> 51:26 [SPEAKER_00]: You love gold finger.
51:26 --> 51:28 [SPEAKER_00]: There's no way that March like gold finger stinks.
51:29 --> 51:29 [SPEAKER_01]: Oh, yeah, definitely.
51:31 --> 51:32 [SPEAKER_01]: Okay, back to the song.
51:32 --> 51:37 [SPEAKER_01]: So let's hear the full verse just to hear this whole scope.
51:37 --> 51:44 [SPEAKER_01]: Remember our key notes are the D and the G, the blue notes, but they shift depending on which of the transposition levels were at.
52:14 --> 52:17 [SPEAKER_01]: Settle, you know, just this, I mean, not subtle.
52:17 --> 52:18 [SPEAKER_01]: I say subtle, but simple.
52:18 --> 52:19 [SPEAKER_01]: It's not subtle, yeah.
52:19 --> 52:20 [SPEAKER_01]: It's not subtle at all, it's writing your face.
52:21 --> 52:27 [SPEAKER_01]: And it creates a cool little A-A-B-A form where it's E-E-G-E in terms of where the notes start.
52:28 --> 52:29 [SPEAKER_01]: So what about the chorus?
52:29 --> 52:30 [SPEAKER_01]: What happens in the chorus?
52:42 --> 52:58 [SPEAKER_01]: So we don't have any transposition really, but it's interesting because with that barat, barat, barat, it's emphasizing those blue notes, you know, E-D-E-E-G-E, and then when he sings, the G-T-N-O!
53:00 --> 53:02 [SPEAKER_00]: Yeah, I'm breaking her face got it.
53:02 --> 53:03 [SPEAKER_01]: Can I get that note?
53:03 --> 53:06 [SPEAKER_01]: Cause I got it got to know.
53:06 --> 53:09 [SPEAKER_01]: That's hard, um, that's that other blue note.
53:09 --> 53:12 [SPEAKER_01]: That's the, that's the good, but that's the good tar one.
53:12 --> 53:19 [SPEAKER_01]: So we leave though, it's on an F-sharp minor seven chord, which does not is like one of the least bluesy sounds that I would expect.
53:19 --> 53:23 [SPEAKER_01]: So it doesn't really fit in here, but, but then we get a really cool guitar solo and what happens there?
53:42 --> 54:09 [SPEAKER_00]: Oh, that don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don't, don
54:11 --> 54:23 [SPEAKER_00]: What would you be you have multi level marketing written all over you're just like two bad decisions away from like sending everyone under your feet pyramid scheme kind of an exciting opportunity.
54:23 --> 54:24 [SPEAKER_01]: Yeah, okay.
54:24 --> 54:24 [SPEAKER_01]: Yeah
54:25 --> 54:30 [SPEAKER_01]: I am looking for an easy way to make passive income at the expense of my friends in college.
54:30 --> 54:32 [SPEAKER_00]: I had to get in pretty early for those things.
54:32 --> 54:34 [SPEAKER_00]: Do you have a good deadline?
54:34 --> 54:34 [SPEAKER_00]: Yeah.
54:35 --> 54:38 [SPEAKER_01]: I can't help but associate you kind of with the hippie vibe that you would have been like that.
54:39 --> 54:39 [SPEAKER_01]: Sure.
54:39 --> 54:41 [SPEAKER_01]: I'm not going to say that's cool.
54:41 --> 54:45 [SPEAKER_01]: But I'm going to say like commune where you may or may not be cohabitating with 20 people in one week.
54:45 --> 54:46 [SPEAKER_01]: No.
54:46 --> 54:53 [SPEAKER_00]: It's like I'm like a mother figure with like young entrepreneurs that I'm conditioning towards like a greater good.
54:54 --> 55:00 [SPEAKER_00]: I don't think I'd be in like a intergalactic suicide cult, you know, like the hellbops.
55:01 --> 55:04 [SPEAKER_01]: Maybe just a interplanetary suicide cult.
55:05 --> 55:06 [SPEAKER_00]: Maybe just in the end.
55:06 --> 55:07 [SPEAKER_00]: I don't know.
55:07 --> 55:07 [SPEAKER_01]: I don't know.
55:07 --> 55:13 [SPEAKER_01]: It should folks write in and tell us what kind of cult we have to have some key types of cults, too.
55:13 --> 55:14 [SPEAKER_01]: Yeah.
55:14 --> 55:16 [SPEAKER_01]: Yeah.
55:16 --> 55:16 [SPEAKER_01]: Yeah.
55:16 --> 55:17 [SPEAKER_01]: Interpretation.
55:17 --> 55:18 [SPEAKER_01]: The alien cult.
55:18 --> 55:19 [SPEAKER_01]: That's exactly the same.
55:19 --> 55:20 [SPEAKER_00]: The savior cult.
55:20 --> 55:26 [SPEAKER_00]: Like though we're going to catch the comet as a fliesby, like we need to go kill ourselves together.
55:26 --> 55:29 [SPEAKER_00]: Like the group suicide cult is a sad one.
55:30 --> 55:32 [SPEAKER_01]: I'll stay with my multi-marketing.
55:32 --> 55:37 [SPEAKER_00]: I mean, you have promise of making money, but people actually go bankrupt, try and those things.
55:37 --> 55:40 [SPEAKER_00]: It's actually really sad, like whatever.
55:40 --> 55:42 [SPEAKER_01]: On that note, theme music.
55:42 --> 55:44 [SPEAKER_00]: Mark has some leggings you want to do, bye.
55:49 --> 55:52 [SPEAKER_01]: Nevermind the music is hosted by Nicole Batcher and me, Mark Poppinny.
55:52 --> 55:53 [SPEAKER_01]: I also produce.
55:54 --> 55:57 [SPEAKER_01]: Please leave us a rating and a review, and don't forget to follow.
55:58 --> 56:00 [SPEAKER_01]: We're never music pot on social media.
56:00 --> 56:04 [SPEAKER_01]: And you can also send us an email at nevermusicpot at gmail.com.
56:06 --> 56:08 [SPEAKER_01]: Never mind the music is part of the lorehounds network.
56:08 --> 56:13 [SPEAKER_01]: Join the conversation by going to the lorehounds.com and hop on our Discord server.
56:14 --> 56:15 [SPEAKER_01]: Thanks for listening.