Is it true that what is meant to be will be? This week, the hosts nod their heads to Lauryn Hill’s 1998 anthem of empowerment “Everything is Everything.” Nichole explains how this song is a great representation of Acceptance and Commitment Therapy’s Hexaflex model and… that’s a lot of fancy words, you’ll just need to listen! Mark shows how this song’s catchy chorus keeps changing, never quite settling on its own identity. After winter must come spring… but it’s August now, so slow your roll.
Other music heard in this episode: Lauryn Hill - “Joyful, Joyful”, Lauryn Hill - “Who Got the Flo”, Fugees - “Ready or Not”, Lin Manuel Miranda - “Helpless”, Lauryn Hill - “To Zion (feat. Carlos Santana)”, Lauryn Hill - “Can’t Take My Eyes Off of You”, Lauryn Hill - “Tell Him”,
Lauryn Hill - “Freedom Time”, Lauryn Hill - “Mystery of Iniquity”, The Bruce Lee Band - “Gerry is Strong”, U2 - “Where the Streets Have No Name”, Lauryn Hill - “Consumerism”
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00:00 --> 00:08 [SPEAKER_02]: You had sparked me on the lyrics specifically, and then I was thinking of how you can overlay as one thinks of these things.
00:08 --> 00:13 [SPEAKER_02]: You can overlay exceptions and commitment that are bees hexaflex tenants.
00:14 --> 00:14 [SPEAKER_01]: What?
00:14 --> 00:14 [SPEAKER_01]: Okay.
00:15 --> 00:15 [SPEAKER_02]: Right.
00:15 --> 00:17 [SPEAKER_02]: Two like specific lyrics of this song.
00:18 --> 00:25 [SPEAKER_02]: So acceptance is a commitment that there be as a form of therapy that teaches us to like, can you like tell me what the hell you're saying?
01:00 --> 01:06 [SPEAKER_01]: Okay, I actually don't know which part of the song is more iconic and recognized, which of these is, that's what I want to talk about.
01:07 --> 01:11 [SPEAKER_01]: Variation in this song, different versions of the same section.
01:11 --> 01:11 [SPEAKER_01]: So,
01:12 --> 01:14 [SPEAKER_01]: One of the best rappers of all time, right?
01:14 --> 01:15 [SPEAKER_02]: Probably.
01:16 --> 01:25 [SPEAKER_01]: This is the first, just my own journey with regards to hip-hop was like this is the first hip-hop album I love, I think.
01:25 --> 01:29 [SPEAKER_01]: I felt like kind of an outsider to hip-hop in the 90s.
01:29 --> 01:30 [SPEAKER_01]: Like people I knew that
01:31 --> 01:37 [SPEAKER_01]: were into hip hop, you know, in suburban San Diego, it felt performative because that was younger.
01:37 --> 01:49 [SPEAKER_01]: Like the middle school, when people were, I mean, I had the same Chris Cross albums, everybody else in vanilla ice and all that, but it was, I didn't have much to do with the East Coast hip-ups.
01:49 --> 01:52 [SPEAKER_01]: It felt so far away, literally 3 miles away.
01:52 --> 01:56 [SPEAKER_01]: It wasn't until the kind of West Coast rap of the 90s that it started to feel.
01:59 --> 02:02 [SPEAKER_01]: silly for white children in San Diego.
02:03 --> 02:09 [SPEAKER_01]: But for me, this one, I would see this record is the first hip-hop album, the miseducation of Lauren Hill.
02:09 --> 02:12 [SPEAKER_01]: That was like a no-skip like, love the album.
02:13 --> 02:16 [SPEAKER_01]: We talked with Rob Harville a month or so ago and yeah.
02:17 --> 02:23 [SPEAKER_01]: I was sort of performatively on certain sides of the fence stylistically back when I was a high schooler.
02:24 --> 02:25 [SPEAKER_01]: I was one of those.
02:25 --> 02:30 [SPEAKER_01]: Oh, I listened to everything but country and rap, not a good thing, but that was what I was for a bit.
02:30 --> 02:30 [SPEAKER_02]: Yes.
02:31 --> 02:33 [SPEAKER_02]: I like the food cheese too, and I think that we can't like.
02:33 --> 02:34 [SPEAKER_01]: Interesting.
02:34 --> 02:34 [SPEAKER_01]: Yeah.
02:34 --> 02:35 [SPEAKER_01]: Talk about it.
02:35 --> 02:37 [SPEAKER_01]: We can't not talk about the food cheese.
02:37 --> 02:38 [SPEAKER_01]: I think.
02:39 --> 02:41 [SPEAKER_01]: We also can't not talk about Sister Act 2.
02:42 --> 02:42 [SPEAKER_02]: Oh, right.
02:43 --> 02:44 [SPEAKER_02]: She was so good.
02:44 --> 02:50 [SPEAKER_01]: I kind of feel like Lauren Hill as a rapper, not a singer, kind of snuck up on mainstream culture.
02:50 --> 02:56 [SPEAKER_01]: Because we first saw her in, at least I certainly first saw her, 1993 Sister Act 2.
02:57 --> 02:58 [SPEAKER_01]: This is joyful, joyful.
03:08 --> 03:19 [SPEAKER_05]: Fill us with a light Fill us with a light Fill us with light
03:24 --> 03:29 [SPEAKER_02]: And there was that like little boy that like he was so shy but then he like saying and he was like well you're so good.
03:29 --> 03:33 [SPEAKER_01]: I don't even remember kind of anything about it, but I did see it in the theaters.
03:33 --> 03:36 [SPEAKER_01]: But then even in that movie, I'm pretty sure in the theaters.
03:36 --> 03:38 [SPEAKER_01]: I definitely saw sister act one in the theaters.
03:38 --> 03:43 [SPEAKER_01]: But she even has what seems to be an improvised rap somewhere in that movie.
03:51 --> 04:00 [SPEAKER_05]: We're gonna be mad at the kids We're gonna be stupid We're gonna be stupid We're gonna be stupid We're gonna be stupid We're gonna be stupid We're gonna be stupid We're gonna be stupid
04:00 --> 04:02 [SPEAKER_02]: They thought a female MC couldn't do it.
04:03 --> 04:24 [SPEAKER_01]: Yeah, but like so even so the foodies come out of course and she wrapped all over the place and in the foodies, but even then I feel like if you think of the songs that first popped from the foodies from the score in 96, like I think like killing me softly, which is her singing
04:28 --> 04:57 [SPEAKER_01]: Don't isn't there like one time, one time with white class in the background and so yeah, food use, of course, she started playing with, I guess they went to high school together, across Michelle and then his cousin, white class John, they were freshman in high school and they started playing together and she at that time we started acting all that, but like ready or not, she obviously has awesome like hook vocals, but then there's this wrap.
04:58 --> 05:03 [SPEAKER_01]: And you're like, okay, she's not just like the female vocalist who sings the Roberta Flack cover.
05:15 --> 05:20 [SPEAKER_04]: I'm playing my enemies like your game of chess where I've rents no shreds No smoke sense less.
05:20 --> 05:32 [SPEAKER_04]: I must confess my destiny's man of vests and some four texts and sweats I make tracks like a whole less rap or cheese before key at best did that no stress come back around in Hamilton
05:33 --> 05:37 [SPEAKER_02]: There was the line in the hand to no stress, like, Potter, I mean, that's interesting.
05:37 --> 05:39 [SPEAKER_03]: I think, and Lin, he would do that.
05:39 --> 05:40 [SPEAKER_03]: Yeah, I'm sure he is a fan.
05:40 --> 05:41 [SPEAKER_03]: It's...
05:50 --> 05:55 [SPEAKER_01]: I'm saying this all very much from the perspective of someone who was not a hip-hop head in the 90s.
05:55 --> 05:59 [SPEAKER_01]: So obviously people who were in a hip-hop knew Nappy heads from 94.
05:59 --> 06:11 [SPEAKER_01]: Like people knew she was a good rapper, but I feel like mainstream culture, she was the person who at first at least was noticing the awesome chorus to the Fuji songs or, and of course, killing me softly is doing a lot of work there.
06:12 --> 06:16 [SPEAKER_01]: But then we get to her solo album, still to this date, only studio album.
06:17 --> 06:18 [SPEAKER_01]: She put out as a solo artist.
06:19 --> 06:21 [SPEAKER_01]: and lost ones right off the bat is hip-hop forward.
06:21 --> 06:27 [SPEAKER_01]: Like, rap forward, there are some singing that song, but it's like the outro or whatever, right?
06:27 --> 06:35 [SPEAKER_01]: So this song, everything has a lot of singing, but a lot of rapping in it too.
06:35 --> 06:37 [SPEAKER_01]: So where are you at with Lauren Hill?
06:37 --> 06:39 [SPEAKER_02]: I'm Pro Lauren Hill.
06:39 --> 06:42 [SPEAKER_02]: I think that she's talented and...
06:43 --> 06:46 [SPEAKER_01]: pro-lord hit like like this is a something we're voting on here.
06:46 --> 06:47 [SPEAKER_02]: Yeah, I'm pro-lord hell.
06:48 --> 06:51 [SPEAKER_02]: I like Simply I just like like her style.
06:51 --> 06:52 [SPEAKER_02]: I like her energy.
06:52 --> 06:54 [SPEAKER_02]: I like that she's strong-minded.
06:54 --> 06:59 [SPEAKER_02]: And I support her like and I think that this song is great.
07:00 --> 07:01 [SPEAKER_02]: This album's great.
07:01 --> 07:03 [SPEAKER_02]: I enjoyed it growing up and enjoyed now.
07:03 --> 07:03 [SPEAKER_02]: Like I really
07:04 --> 07:06 [SPEAKER_02]: I don't have anything to say about Lauren Hill.
07:06 --> 07:08 [SPEAKER_02]: That's my story.
07:08 --> 07:09 [SPEAKER_02]: I'm sticking with it.
07:09 --> 07:11 [SPEAKER_01]: Nothing to say about Lauren Hill.
07:11 --> 07:12 [SPEAKER_01]: Nothing bad to say.
07:12 --> 07:13 [SPEAKER_02]: Nothing bad to say.
07:13 --> 07:13 [SPEAKER_02]: Nope.
07:14 --> 07:15 [SPEAKER_02]: Nothing bad to say at all.
07:15 --> 07:21 [SPEAKER_01]: I do need to go back to why you said you're saying it like that because I think that there's like controversy on Twitter.
07:21 --> 07:25 [SPEAKER_02]: There is bad stuff over here, but I don't even want like honor that.
07:25 --> 07:26 [SPEAKER_02]: Yeah, I really don't.
07:26 --> 07:28 [SPEAKER_02]: Don't use people of
07:28 --> 07:29 [SPEAKER_02]: can be however they want.
07:29 --> 07:37 [SPEAKER_01]: The only thing that I'll say that was bummer is I had a ticket to see the Fuji's reunion in 2024.
07:37 --> 07:42 [SPEAKER_01]: And she was going to do with the miseducation and maybe the whole album and they canceled the tour.
07:42 --> 07:44 [SPEAKER_01]: I don't know why, but possibly suit her for it.
07:44 --> 07:52 [SPEAKER_01]: So I'll just say, I know there's a lot of stuff that people talk about and probably it's all bullshit, but it sucks that we didn't get to see that concert because that was there.
07:52 --> 07:53 [SPEAKER_01]: So good.
07:53 --> 07:54 [SPEAKER_02]: I'm sure it would have been awesome.
07:55 --> 07:56 [SPEAKER_01]: So you're a
07:58 --> 07:59 [SPEAKER_01]: And the food Jesus sounds like.
07:59 --> 08:00 [SPEAKER_02]: Yes, for sure.
08:00 --> 08:01 [SPEAKER_01]: And we'll have to.
08:01 --> 08:01 [SPEAKER_01]: And Wycliffe.
08:01 --> 08:04 [SPEAKER_01]: Yeah, it's his first solo album like, is that the carnival?
08:04 --> 08:05 [SPEAKER_01]: Like, there's some good.
08:06 --> 08:07 [SPEAKER_01]: Yeah, he's that group put out.
08:07 --> 08:12 [SPEAKER_01]: Sorry, I don't know, process solo stuff, but like both Wycliffe and her were doing good stuff.
08:12 --> 08:18 [SPEAKER_01]: So what I didn't know at all until recently was that she mostly produced to this album too.
08:18 --> 08:19 [SPEAKER_02]: That's cool.
08:19 --> 08:22 [SPEAKER_01]: We know she's the performer songwriter.
08:22 --> 08:28 [SPEAKER_01]: The fact that she was the producer so much of the song, specifically, but also other songs, just the sound of it.
08:28 --> 08:29 [SPEAKER_01]: And we can come back to that a little bit later.
08:29 --> 08:32 [SPEAKER_02]: It's impressive that she can act.
08:32 --> 08:33 [SPEAKER_02]: She can, she's very, very talented.
08:33 --> 08:35 [SPEAKER_02]: Quasitable thread or whatever, right?
08:35 --> 08:39 [SPEAKER_01]: Dancer, rapper, actor, producer, and producer, right?
08:40 --> 08:41 [SPEAKER_01]: And I think that's an underrated aspect.
08:41 --> 08:42 [SPEAKER_01]: Yeah.
08:42 --> 08:48 [SPEAKER_01]: So this record was recorded at Tuff Gong Studios, which is like a legendary Jamaican sort of ragged studio.
08:48 --> 08:54 [SPEAKER_01]: And what she said about it was she wanted to blend hip-hop with soul but with the integrity of reggae.
08:54 --> 08:54 [SPEAKER_01]: Okay.
08:54 --> 08:59 [SPEAKER_02]: I think that's a interesting way to put it up and like associate reggae with integrity.
08:59 --> 09:03 [SPEAKER_01]: I think there's like a naturalness to it that this album has.
09:03 --> 09:04 [SPEAKER_02]: It's true.
09:04 --> 09:14 [SPEAKER_01]: the Fuji's had live instrumentation on their songs to it wasn't all samples and that's true with this song like when we hear the strings samples later, I did it.
09:14 --> 09:15 [SPEAKER_01]: They're not string samples.
09:15 --> 09:22 [SPEAKER_01]: It's actually a string quartet, the Indigo quartet, and a young John legend playing piano.
09:22 --> 09:29 [SPEAKER_01]: But there's this fake record crackle on it, so it's like made to sound like it's a found sample, but actually it's recorded in this Jamaican studio.
09:29 --> 09:32 [SPEAKER_02]: It's like a very old must have been eight years old.
09:32 --> 09:36 [SPEAKER_01]: he might have been a teenager or 20 or something most because this is 98 when this came out.
09:37 --> 09:40 [SPEAKER_01]: So legal watch, 20, 26 copyright watch.
09:40 --> 09:50 [SPEAKER_01]: She collaborated with a group of producers and musicians called Newark from Tough Gong Studios and they sued her in 98 like right when this came out.
09:51 --> 09:56 [SPEAKER_01]: Claiming they weren't properly credited for like co-writing songs and this is one of the songs that they say they had a big hand in.
09:57 --> 10:00 [SPEAKER_01]: Never reach court that they settled out of court for $5 million.
10:00 --> 10:05 [SPEAKER_01]: So there might be a little bit of it's more than $1 million and even more than $4 million.
10:06 --> 10:08 [SPEAKER_01]: There might be a little bit of, okay, yeah, you guys might be right.
10:09 --> 10:12 [SPEAKER_02]: Is that why they canceled the tour, because they couldn't play the songs?
10:13 --> 10:14 [SPEAKER_01]: They can play whatever they want.
10:14 --> 10:15 [SPEAKER_02]: Who wants to say subtle, yeah.
10:16 --> 10:18 [SPEAKER_01]: No, but even if you don't, you can play whatever you want.
10:18 --> 10:21 [SPEAKER_01]: You just start paying royalties and residuals and play something.
10:22 --> 10:23 [SPEAKER_02]: But they pay the play.
10:23 --> 10:24 [SPEAKER_01]: The tour was a 2024.
10:24 --> 10:25 [SPEAKER_02]: Yeah.
10:25 --> 10:26 [SPEAKER_01]: This is the subtle then 98.
10:27 --> 10:30 [SPEAKER_01]: So in a lot of ways, this is a concept album, which never recorded it yet.
10:30 --> 10:32 [SPEAKER_01]: But we're supposed to very soon.
10:32 --> 10:33 [SPEAKER_01]: How about the idea?
10:33 --> 10:35 [SPEAKER_01]: Well, guests talk about concept album.
10:35 --> 10:36 [SPEAKER_02]: The idea of concepts.
10:37 --> 10:41 [SPEAKER_01]: about the education about love and self love and power.
10:42 --> 10:48 [SPEAKER_01]: And a few of the songs are about Wycliffe, shout out to our episode about angry ex-lovers for Alana Smorset.
10:48 --> 10:48 [SPEAKER_02]: So cool.
10:49 --> 10:52 [SPEAKER_01]: Apparently they were still together and he married somebody else.
10:53 --> 10:55 [SPEAKER_01]: And then she got involved with Rohan Marley.
10:55 --> 10:59 [SPEAKER_02]: So like there's a story that Marley, where did he come from?
10:59 --> 11:01 [SPEAKER_01]: For the post to Zikki Marley, who's the more woman.
11:01 --> 11:02 [SPEAKER_01]: Yeah, I don't know.
11:03 --> 11:05 [SPEAKER_01]: So you've got any deep cut favorites.
11:05 --> 11:07 [SPEAKER_01]: You want to play a clip of on this song?
11:07 --> 11:08 [SPEAKER_01]: I don't have a cell phone.
11:08 --> 11:09 [SPEAKER_02]: Deep cut favorites, no.
11:10 --> 11:10 [SPEAKER_01]: All right, can I play one?
11:11 --> 11:11 [SPEAKER_02]: Yes, please.
11:11 --> 11:12 [SPEAKER_01]: No, I'm going to.
11:12 --> 11:12 [SPEAKER_01]: Yeah.
11:13 --> 11:14 [SPEAKER_02]: I couldn't use it for that.
11:14 --> 11:20 [SPEAKER_01]: There's a tune she does with Santana on this record that is so pretty to Zion, which is about having her son.
11:44 --> 11:45 [SPEAKER_02]: It's a beautiful song.
11:45 --> 11:46 [SPEAKER_01]: More good use of choir.
11:47 --> 11:47 [SPEAKER_02]: Yeah.
11:47 --> 11:47 [SPEAKER_01]: Right.
11:48 --> 11:52 [SPEAKER_01]: And apparently becoming pregnant with Zion broke her writer's block.
11:53 --> 11:54 [SPEAKER_01]: She was having a writer's block.
11:54 --> 12:03 [SPEAKER_01]: And so this song's like a tribute to her son, but like maybe in some way she she talks about it in that song, like people said, like,
12:03 --> 12:04 [SPEAKER_01]: Think about your career.
12:04 --> 12:10 [SPEAKER_01]: You can't have a kid, but if that, having her son made her able to write again, it's safe her career.
12:10 --> 12:13 [SPEAKER_02]: Well, sir, I'm using inspiration, which is beautiful.
12:13 --> 12:15 [SPEAKER_01]: So, and, you know, nothing even matters.
12:15 --> 12:17 [SPEAKER_01]: X-factor, every getaway city.
12:17 --> 12:18 [SPEAKER_01]: There's so many great songs on this record.
12:18 --> 12:19 [SPEAKER_01]: So, okay.
12:20 --> 12:23 [SPEAKER_01]: This came up very briefly when we were talking about Jack a little pill.
12:24 --> 12:33 [SPEAKER_01]: And I think we have to talk about another time hidden tracks as a vestige of the 1900s really.
12:34 --> 12:38 [SPEAKER_01]: But does this album have the greatest hidden track of all time on it?
12:39 --> 12:39 [SPEAKER_02]: I'm not sure.
12:39 --> 12:40 [SPEAKER_02]: What is the hidden track?
12:51 --> 12:54 [SPEAKER_05]: Don't let I find you stay That's not you
13:08 --> 13:20 [SPEAKER_05]: You really thought hit it straight on the cone head soundtrack.
13:20 --> 13:21 [SPEAKER_01]: I don't remember.
13:21 --> 13:27 [SPEAKER_01]: So that actually though was on the soundtrack to 1997's Conspiracy Theory, which I did not see.
13:27 --> 13:32 [SPEAKER_01]: So it had already come out, but it was being re-released as a hidden track on this record.
13:32 --> 13:34 [SPEAKER_01]: And it's so good.
13:36 --> 13:44 [SPEAKER_01]: Frankie Valley's tune from 1967 can't take my eyes off of you, but then that ends and then there's another hidden track tell him
14:11 --> 14:16 [SPEAKER_02]: No, I'm going to send another appeal to our listeners to send us all your hidden tracks.
14:16 --> 14:19 [SPEAKER_02]: And I think in our next mail bag, we should just have like, maybe that's what we do.
14:19 --> 14:20 [SPEAKER_02]: I think that's the move.
14:20 --> 14:21 [SPEAKER_01]: Do a bunch of shoutouts.
14:21 --> 14:22 [SPEAKER_01]: Yeah.
14:22 --> 14:24 [SPEAKER_01]: We're the good or bad hidden tracks.
14:25 --> 14:27 [SPEAKER_01]: Find, find us the pre CD ones, right?
14:27 --> 14:28 [SPEAKER_01]: There's that message.
14:29 --> 14:35 [SPEAKER_01]: If you rewind in a negative lesson Jake, losing streak has like a rant by some guy they know.
14:35 --> 14:38 [SPEAKER_01]: Like, yeah, send us that's a great idea.
14:38 --> 14:39 [SPEAKER_01]: Let's what we'll do them on a mail bag.
14:39 --> 14:39 [SPEAKER_02]: Yeah.
14:39 --> 14:45 [SPEAKER_01]: But how do you get better than those two songs as the hidden tracks on your album that's already seminal?
14:45 --> 14:55 [SPEAKER_01]: So I mean, before we get into like the real topics today or whatever, just it's kind of crazy how big of a break from the public guy she took after this album, right?
14:55 --> 14:59 [SPEAKER_02]: Well, she had a kid and she's like dipped out multiple, I think, eventually.
14:59 --> 14:59 [SPEAKER_01]: Yeah.
14:59 --> 15:01 [SPEAKER_02]: Like she needs her money and like live your life.
15:02 --> 15:04 [SPEAKER_01]: And also I think that made people angry.
15:05 --> 15:07 [SPEAKER_01]: I think people felt, you know, I'll play a
15:09 --> 15:14 [SPEAKER_01]: from her unplugged performance, which kind of is her second album, because it's almost all new song she'd written.
15:14 --> 15:16 [SPEAKER_01]: And people like, why not a new album?
15:16 --> 15:17 [SPEAKER_01]: You know why not?
15:17 --> 15:19 [SPEAKER_02]: Well, it's totally her choice, you know?
15:19 --> 15:23 [SPEAKER_02]: A lot of people say that like, she's entitled, and she doesn't think of her fans.
15:23 --> 15:29 [SPEAKER_02]: But like, what does she, it this goes, but we have this conversation a lot, like, what does she owe us, you know?
15:30 --> 15:31 [SPEAKER_02]: Just she owe us, like,
15:31 --> 15:54 [SPEAKER_01]: it's like simultaneously nothing at all and some people could say a lot like it she inspired you to do whatever and she's like oh well I need to have more of that you have it I don't know she gave you one of the best great hip hop concept albums of all time maybe she should be able to move on and do whatever she wants to do yeah so the three-dimensional whole person right
15:54 --> 15:54 [SPEAKER_01]: to absolutely.
15:54 --> 16:00 [SPEAKER_01]: So this song is the third single from the record and I would say the third most successful.
16:00 --> 16:06 [SPEAKER_01]: So like if you think of X factor number 21, but do op that thing was a number one single.
16:06 --> 16:06 [SPEAKER_01]: Yeah.
16:06 --> 16:12 [SPEAKER_01]: This one was a meager number 35, but I wanted to talk about it because it's got some awesome aspects to it.
16:13 --> 16:16 [SPEAKER_01]: One, the Grammy for Best Female R&B Vocal Performance.
16:16 --> 16:17 [SPEAKER_01]: But that was revoked.
16:19 --> 16:22 [SPEAKER_01]: because it technically was released outside of the eligibility period.
16:23 --> 16:30 [SPEAKER_01]: And I'm like, okay, Grammy people, when you're sending out the nominees or whatever, you're not checking whether it's the right eligibility.
16:31 --> 16:31 [SPEAKER_01]: Right.
16:32 --> 16:33 [SPEAKER_01]: Like, it's too late for that, everybody.
16:34 --> 16:38 [SPEAKER_01]: They, she won it and after the fact that they're checking it.
16:38 --> 16:39 [SPEAKER_02]: I'd be mad if I was her.
16:40 --> 16:46 [SPEAKER_01]: Like, are you going to give her the Grammy for the year that she actually is elder than?
16:46 --> 16:49 [SPEAKER_01]: Like, that's, I feel like that's your bad in that case.
16:49 --> 16:50 [SPEAKER_02]: Absolutely.
16:50 --> 16:52 [SPEAKER_01]: Um, and let's time this understanding.
16:52 --> 16:54 [SPEAKER_02]: It seems like it was supposed to have happened.
16:55 --> 16:59 [SPEAKER_01]: Unless they lied about the year came out, but like, it came out in the year.
16:59 --> 17:00 [SPEAKER_01]: It came out.
17:01 --> 17:06 [SPEAKER_02]: I feel like mushrooms are aware of Grammy eligibility timelines for when they release albums.
17:06 --> 17:09 [SPEAKER_01]: So we're the people who are voting and nominating people for Grammy.
17:09 --> 17:11 [SPEAKER_02]: Right, like Mr. Grammy, what were she doing?
17:11 --> 17:13 [SPEAKER_01]: Bob Grammy, you'll come on then.
17:33 --> 17:45 [SPEAKER_01]: So the song, the struggles of inner city youth, finding your power, everything is everything, seems like a reference to kind of the universality of experience and cyclical life.
17:46 --> 17:49 [SPEAKER_01]: I wanna talk about variation as an aspect of the form.
17:50 --> 17:51 [SPEAKER_01]: What do you wanna talk about?
17:51 --> 18:00 [SPEAKER_02]: Well, it's tricky because when the easiest low hang fruit of topics for me to cover on this song, we've already talked about at length, which is like generational,
18:00 --> 18:01 [SPEAKER_01]: cycles of poverty.
18:01 --> 18:04 [SPEAKER_01]: Yeah, we talked about it.
18:04 --> 18:06 [SPEAKER_02]: In general, external locus of control.
18:06 --> 18:06 [SPEAKER_01]: Sure.
18:07 --> 18:11 [SPEAKER_02]: So you had sparked me on the lyrics specifically.
18:11 --> 18:16 [SPEAKER_02]: And then I was thinking of how you can overlay as one thinks of these things.
18:16 --> 18:19 [SPEAKER_02]: You can overlay exceptions and commitment.
18:19 --> 18:21 [SPEAKER_02]: There are these hexaflex tenants.
18:22 --> 18:22 [SPEAKER_01]: What?
18:22 --> 18:23 [SPEAKER_01]: Okay.
18:23 --> 18:23 [SPEAKER_02]: Right.
18:23 --> 18:26 [SPEAKER_02]: Two like specific lyrics of this song.
18:26 --> 18:33 [SPEAKER_02]: So acceptance is a commitment therapy is a form of therapy that teaches us to like, can you like tell me what the hell you're saying?
18:33 --> 18:35 [SPEAKER_02]: It's a flex of flex.
18:35 --> 18:37 [SPEAKER_02]: So it means like there's six things.
18:37 --> 18:38 [SPEAKER_02]: Oh, there's six things.
18:38 --> 18:39 [SPEAKER_01]: What's the flex then?
18:40 --> 18:42 [SPEAKER_02]: I don't know, it's like a framework that we just call it.
18:42 --> 18:44 [SPEAKER_01]: Like, is this like a acronym?
18:44 --> 18:48 [SPEAKER_02]: ACT therapy is called Acceptance and Commitment Therapy.
18:48 --> 18:53 [SPEAKER_02]: It is a framework designed to maximize their psychological flexibility.
18:53 --> 18:58 [SPEAKER_02]: So when we talk about like reframing things or like thinking of different perspectives or
18:59 --> 19:08 [SPEAKER_02]: seeing things outside of your own perspective and just like accepting them and moving on and like kind of a growth mindset moment kind of an internal external Ocus of control moment.
19:09 --> 19:22 [SPEAKER_02]: There's a therapeutic alignment that like speaks to those things and it's called ACT as was like CBT cognitive behavioral therapy or DBT, which is dialectical behavioral therapy, which stands for
19:24 --> 19:26 [SPEAKER_02]: Acceptance and commitment therapy.
19:26 --> 19:27 [SPEAKER_02]: Okay.
19:27 --> 19:30 [SPEAKER_02]: And within this for therapeutic framework, there are six tenants.
19:31 --> 19:32 [SPEAKER_02]: That's okay.
19:32 --> 19:34 [SPEAKER_01]: Tell me why you're telling me this and then tell me.
19:35 --> 19:35 [SPEAKER_02]: Okay.
19:35 --> 19:35 [SPEAKER_01]: Okay.
19:35 --> 19:41 [SPEAKER_01]: So ACT is acceptance and commitment therapy.
19:41 --> 19:44 [SPEAKER_01]: And you're going to explain the six hexaflex tenants.
19:45 --> 19:47 [SPEAKER_01]: But this relates to this song.
19:48 --> 19:49 [SPEAKER_01]: Because.
19:50 --> 19:55 [SPEAKER_02]: because it ACT encourages us moving away from...
19:57 --> 20:20 [SPEAKER_02]: the painful realities of like the minutia of our day-to-day life and accepting and embracing things willingly that there is a big picture that everything is everything okay and also seizing your power yes that an element because that to me feels like a kind of big touch point
20:27 --> 20:45 [SPEAKER_02]: you are as a human, a container to experience challenges in a motion and you can like, you as a self can sit above all of the behaviors and experiences and challenges and be like this, yeah, like a container for it all to live in instead of it happening to you.
20:46 --> 20:54 [SPEAKER_02]: It's happening like within you and outside of you, but your sense of self, your perception is like floating above all of that because that makes sense.
20:54 --> 21:02 [SPEAKER_02]: It's like an interesting flavor of therapy and really talks a lot about values and acceptance.
21:02 --> 21:07 [SPEAKER_01]: Everything is everything, after winter must come spring, okay?
21:07 --> 21:11 [SPEAKER_01]: So things happen in cycles, so even that is good.
21:11 --> 21:27 [SPEAKER_02]: That lyric speaks specifically to one of these six major mantras of acceptance and commitment therapy, which is the idea of cognitive diffusion that viewing the present suffering not is like an eternal that it will pass.
21:28 --> 21:29 [SPEAKER_02]: is.
21:29 --> 21:31 [SPEAKER_01]: So that's one of the six hexaplexes.
21:31 --> 21:32 [SPEAKER_01]: Okay, what's it called again?
21:33 --> 21:34 [SPEAKER_02]: It's called cognitive diffusion.
21:34 --> 21:35 [SPEAKER_01]: Cognitive diffusion.
21:35 --> 21:38 [SPEAKER_02]: Like even though it's bad right now, it won't be bad forever.
21:39 --> 21:40 [SPEAKER_01]: After winter must come spring.
21:40 --> 21:42 [SPEAKER_02]: After winter must come spring.
21:42 --> 21:42 [SPEAKER_01]: Yeah.
21:43 --> 21:46 [SPEAKER_02]: It actually maps right effectively onto the song.
21:46 --> 21:49 [SPEAKER_02]: Okay, well these, like age lyric, like maps to one of them.
21:49 --> 21:51 [SPEAKER_01]: Do you want to tell us the six and then we'll talk about the lyrics?
21:51 --> 21:52 [SPEAKER_01]: Sure.
21:52 --> 21:54 [SPEAKER_01]: There's a lot of words, we probably won't do it with all of it, but.
21:54 --> 21:59 [SPEAKER_02]: Well, yeah, the first is acceptance versus experiential avoidance.
21:59 --> 22:05 [SPEAKER_02]: And that's like the big thing about acceptance and commitment therapy is that, like, we have to accept that
22:06 --> 22:11 [SPEAKER_02]: bad stuff's gonna happen like we have to accept life will not march on with only good things happening.
22:11 --> 22:18 [SPEAKER_02]: So there's a great lyric in the song and some things we got to experience a few things we have to go through but everything is everything.
22:19 --> 22:21 [SPEAKER_02]: So we have to go through everything.
22:22 --> 22:23 [SPEAKER_02]: Everything is everything.
22:24 --> 22:26 [SPEAKER_02]: We have to have bad experience.
22:26 --> 22:28 [SPEAKER_02]: Like another way to think of it.
22:28 --> 22:32 [SPEAKER_02]: Bear with me is to think about like you know that movie finding Nemo.
22:33 --> 22:33 [SPEAKER_05]: Sure.
22:33 --> 22:33 [SPEAKER_02]: Right.
22:34 --> 22:43 [SPEAKER_02]: And the dad and finding Nemo is trying to protect Nemo from everything and Martin Nemo's dad says to Dory like, Oh, I have to protect him.
22:43 --> 22:45 [SPEAKER_02]: I don't want anything to happen to him.
22:45 --> 22:49 [SPEAKER_02]: And Dory says, Well, if nothing happens to him, then nothing will ever happen.
22:49 --> 22:50 [SPEAKER_01]: Yeah.
22:56 --> 23:01 [SPEAKER_02]: Not just bad or good things have to happen, things have to happen to make you who you are.
23:01 --> 23:27 [SPEAKER_02]: what is meant to be will be what is meant to be will be everything is everything sure right we're a collection of our experiences they're not good or bad they're just part of us you we accept it and we move on with it so we talked about cognitive diffusion after winter must come spring a big another core for you sorry i think the lines let's love ourselves and we can't fail to make a better situation tomorrow our seeds will grow and we need his dedication
23:27 --> 23:27 [SPEAKER_02]: Right.
23:28 --> 23:32 [SPEAKER_02]: And like that speaks to this idea that we just have to like he marching through.
23:32 --> 23:37 [SPEAKER_02]: Number three on this hexaflex model is to like be present in mindful.
23:37 --> 23:40 [SPEAKER_02]: I think couple of lower not at all.
23:40 --> 23:42 [SPEAKER_02]: Sometimes it seems we'll touch that dream.
23:42 --> 23:45 [SPEAKER_02]: These are lyrics of, you know, the song that relates to that.
23:46 --> 23:46 [SPEAKER_01]: Yeah.
23:47 --> 23:54 [SPEAKER_02]: grounding the listener and reality and recognizing that like, you know, we are right here right now and it might stink.
23:55 --> 23:57 [SPEAKER_02]: It might be really challenging, but it's okay.
23:57 --> 23:59 [SPEAKER_02]: It's part of it.
23:59 --> 24:06 [SPEAKER_02]: So another big thing that I mentioned before is like the observing cell for the self as a container is a big part of acety therapy that
24:07 --> 24:17 [SPEAKER_02]: You know, before previous episodes, we discussed like internal and external locus of control, like do good things happen to you or do good things happen because of you, like where's the line?
24:17 --> 24:22 [SPEAKER_02]: ACT kind of kind of takes a step further and just says things happen.
24:23 --> 24:31 [SPEAKER_02]: We're not willing to label them as good or bad, we just need to accept that they happened and find a way to live with them inside of our bodies.
24:31 --> 24:39 [SPEAKER_02]: To recognize that they're not happening because of us or to us, they are literally happening and we're in a world where those things are happening.
24:40 --> 24:42 [SPEAKER_02]: everything is everything what is meant to be will be.
24:42 --> 24:44 [SPEAKER_02]: This is like the core principle of the song.
24:45 --> 24:54 [SPEAKER_01]: So what's interesting though, I'm with you except that she actually very much points her finger, you know, the ones on top will make its stop.
24:54 --> 24:56 [SPEAKER_01]: So convince that they might fall, right?
24:57 --> 25:02 [SPEAKER_01]: So there's society is pushing us into this inevitable place, right?
25:02 --> 25:05 [SPEAKER_02]: And you also saying we should not fall into that trap.
25:06 --> 25:06 [SPEAKER_01]: Don't with that.
25:06 --> 25:07 [SPEAKER_02]: Don't wrap that happen.
25:08 --> 25:08 [SPEAKER_02]: Right.
25:08 --> 25:17 [SPEAKER_02]: So 10 and 5 and the next Flex model is values clarification that we need to be true to our own values and our understanding.
25:17 --> 25:19 [SPEAKER_02]: And that's what that lyric is like kind of got checking us on.
25:20 --> 25:26 [SPEAKER_02]: Like don't fall into these traps, like be true to yourself, let's love ourselves when we can't fail to make a situation better.
25:26 --> 25:28 [SPEAKER_02]: This is a real ACT connection.
25:28 --> 25:34 [SPEAKER_01]: I wrote these words for everyone who struggles in their youth who won't accept deception instead of what is truth.
25:34 --> 25:37 [SPEAKER_01]: It seems we lose the game before we even start to play.
25:37 --> 25:37 [SPEAKER_02]: Yeah.
25:38 --> 25:46 [SPEAKER_02]: And then she's ACTs really stresses like self-love, community feeling, and like truth, like your own personal truth.
25:46 --> 25:47 [SPEAKER_02]: And I think that,
25:48 --> 25:59 [SPEAKER_02]: is not just this song, but like a lot of Lauren holds work and her whole persona is dealing with like her individual truth and like living inside her own body as a container to the world around her.
25:59 --> 26:00 [SPEAKER_02]: And I think it's kind of admirable.
26:01 --> 26:03 [SPEAKER_02]: And the last of the six is like committed action.
26:03 --> 26:09 [SPEAKER_02]: Like you you've accepted these challenges, you've accepted the situations that you're in.
26:09 --> 26:14 [SPEAKER_02]: And now we're making a choice to like move forward in a positive direction.
26:14 --> 26:16 [SPEAKER_02]: So the alert that maps to that is
26:17 --> 26:20 [SPEAKER_01]: bomb graffiti on the tomb of never TD not that one.
26:20 --> 26:21 [SPEAKER_02]: I like that line.
26:21 --> 26:22 [SPEAKER_02]: No, it's pretty good.
26:22 --> 26:26 [SPEAKER_02]: It's very nice, but tomorrow our seeds will grow all in his dedication.
26:27 --> 26:30 [SPEAKER_02]: And that really lines up with this idea of committed action.
26:30 --> 26:36 [SPEAKER_02]: Like we just need to hold on in the words of infamous words of Wilson Phillips just hold on for one more day.
26:37 --> 26:40 [SPEAKER_02]: and tomorrow like we can keep moving forward.
26:40 --> 26:48 [SPEAKER_02]: We can be here now with mindfulness, holding true to our values, understanding that things are happening in the world.
26:49 --> 26:51 [SPEAKER_02]: And we can take that and we can move forward with it.
26:51 --> 26:55 [SPEAKER_02]: We can accept it and commit to moving forward in their generally better direction.
26:55 --> 26:55 [SPEAKER_02]: So,
26:56 --> 26:58 [SPEAKER_02]: ACT is a really cool application to therapy.
26:59 --> 27:01 [SPEAKER_02]: It's getting a lot of traction now with my students.
27:01 --> 27:04 [SPEAKER_02]: A lot more students in the past couple of years are very interested in exploring.
27:04 --> 27:10 [SPEAKER_02]: ATC is a therapeutic approach than some other approaches that are more concrete.
27:10 --> 27:10 [SPEAKER_01]: Sure.
27:10 --> 27:18 [SPEAKER_02]: I think the mindfulness and the fact that we are just existing in this world that might be a little, maybe a little bit broken.
27:18 --> 27:21 [SPEAKER_02]: And there's really not too much we can do to change the world.
27:22 --> 27:24 [SPEAKER_02]: But we can like change our perception of it.
27:24 --> 27:25 [SPEAKER_02]: I think that's powerful.
27:25 --> 27:31 [SPEAKER_01]: The last line of the rap verse, like sums that up, and it's also like I'm struck by the like double meaning.
27:32 --> 27:37 [SPEAKER_01]: Now here this mixture where hip hop meets scripture, develop a negative into a positive picture.
27:37 --> 27:38 [SPEAKER_02]: Yeah.
27:38 --> 27:45 [SPEAKER_01]: I mean, it really does like the play on words there of the negative and do a positive page is like, whoa, but yeah, that hits it.
27:45 --> 27:52 [SPEAKER_01]: It's like, it's why the perspective and make it positive make yourself powerful, despite these things that we have here.
27:52 --> 27:54 [SPEAKER_02]: When you pitch the song, I was like, kind of,
27:55 --> 27:59 [SPEAKER_02]: I didn't really know where to take it because, yeah, it's just, we've done growth mindset.
27:59 --> 28:02 [SPEAKER_02]: Like, we've done locusts of control, we've done like poverty cycles.
28:02 --> 28:06 [SPEAKER_02]: And that seems like so as seemed like that was the most successful piece.
28:06 --> 28:11 [SPEAKER_02]: But then I started thinking of ACT and these like these six principles of it.
28:11 --> 28:15 [SPEAKER_02]: And looking at the, because you had mentioned the lyrics of the song are really interesting to you.
28:15 --> 28:16 [SPEAKER_02]: So I started looking at the lyrics.
28:16 --> 28:21 [SPEAKER_02]: And I was like, oh, this is just repackaged ACT propaganda.
28:23 --> 28:31 [SPEAKER_01]: It's older, late 70 years in the world, in the air, like she could have been directly inspired by it.
28:31 --> 28:38 [SPEAKER_02]: I was hoping you'd say it's 1999 or something, and it's based on what's dating the guy that developed it.
28:38 --> 28:46 [SPEAKER_02]: No, but this was definitely in the air, and if she, these are like, as a therapeutic approach, but these are actually just great ways to live your life.
28:47 --> 28:47 [SPEAKER_02]: Like,
28:48 --> 28:59 [SPEAKER_02]: kind humanistic race to live, just being mindful and accepting that you can't solve the world's problems, you can just sit with them and maybe move forward in a generally positive direction for you.
29:00 --> 29:01 [SPEAKER_02]: And that like it's all connected.
29:02 --> 29:12 [SPEAKER_01]: As much as we might be worried that our listeners are getting sick of a list, I think our listeners love a good like labeling system to a plan.
29:18 --> 29:34 [SPEAKER_02]: One of the reasons I love the study of psychology is because I often have ideas in my own head that I feel like are maladaptive or broken or like outlier ideas and then I research them for the psychological lens and realize like no actually these ideas are qualified and studied and well researched that like
29:36 --> 29:42 [SPEAKER_02]: I really resonate with these ideas of acceptance and commitment therapy with just how I live my life, like that's just generally how I like to operate in the world.
29:43 --> 29:49 [SPEAKER_02]: So when I first learned that there was like a labeling system around it, it gave me a community to connect to.
29:49 --> 29:52 [SPEAKER_02]: That made me feel like I was part of something and we all want that.
29:52 --> 29:52 [SPEAKER_01]: Yeah.
29:53 --> 29:56 [SPEAKER_02]: And we want to be connected and labeling systems help us categorize our life.
29:57 --> 30:00 [SPEAKER_01]: Speaking of labeling systems, we're going to label some form.
30:00 --> 30:04 [SPEAKER_01]: We're actually not really going to label anything because this isn't that kind of thing.
30:04 --> 30:05 [SPEAKER_02]: Do I need to print the lyrics?
30:05 --> 30:06 [SPEAKER_01]: You don't need to.
30:06 --> 30:08 [SPEAKER_01]: I feel like you've got to go to handle on the lyrics.
30:08 --> 30:08 [SPEAKER_01]: All right.
30:09 --> 30:11 [SPEAKER_01]: So remember back when we talked about Motown, Philly?
30:12 --> 30:12 [SPEAKER_02]: I do.
30:12 --> 30:18 [SPEAKER_01]: A lot of what we were tracking when we were tracking the form of that song was contrast versus repetition.
30:18 --> 30:19 [SPEAKER_01]: OK.
30:19 --> 30:20 [SPEAKER_01]: So there would be
30:21 --> 30:37 [SPEAKER_01]: The chorus part would come in and then we would get the rap section and we would label that as a separate section with a separate letter like a D or an E. There's a lot because of contrast and then something would come back, the verse would happen again and we would go, oh, that gets to be the B again because it's repeating right.
30:38 --> 30:45 [SPEAKER_01]: But for essentially in a piece of music is made up of the interaction of three things, contrast repetition and also variation.
30:46 --> 30:49 [SPEAKER_01]: And that one didn't come up quite as much in Motown, Philly.
30:49 --> 30:57 [SPEAKER_01]: Variation is our, oh, it's an A this time, but the next time it's just different enough that we're going to label it a prime A with a little apostrophe.
30:57 --> 31:02 [SPEAKER_01]: And if it happens again, it's a double prime, which will be A with two apostrophes, or if you're a physicist,
31:06 --> 31:13 [SPEAKER_01]: So it just kind of notes that something has changed, but not change the enough that it is a distinct section, right?
31:14 --> 31:20 [SPEAKER_01]: So sometimes it could have different key, different, you know, later, you're chrono.
31:20 --> 31:25 [SPEAKER_01]: Yes, Motown Philly, the famous classical rondo that we, now that is not going to happen here.
31:25 --> 31:28 [SPEAKER_01]: So this song is very much about variations.
31:28 --> 31:31 [SPEAKER_01]: So those of you, you know who you are listeners who are like, oh,
31:35 --> 31:36 [SPEAKER_01]: I'm not doing that.
31:36 --> 31:37 [SPEAKER_01]: Save it.
31:37 --> 31:38 [SPEAKER_01]: Save it for another episode.
31:39 --> 31:41 [SPEAKER_01]: This is still a verse chorus song.
31:42 --> 31:43 [SPEAKER_01]: We have a chorus.
31:43 --> 31:46 [SPEAKER_01]: It's just the chorus has several variations.
31:47 --> 31:53 [SPEAKER_01]: So it's that we, you know, and I actually kind of want to come back to songs for next season that to my year have two choruses.
31:54 --> 31:56 [SPEAKER_01]: We kind of have that here where there's different choruses.
31:57 --> 31:57 [SPEAKER_01]: But
31:58 --> 32:19 [SPEAKER_01]: really they are just variations of the same idea that are more than just oh I improvise and I added a few notes or different rhythms right so we start with this very awesome loop I already mentioned the Indigo quartet and John Legend on piano and the fake record crackle makes it sound like it's a sampled record but it's actually being played by people.
32:30 --> 32:34 [SPEAKER_01]: We have that loop pretty much throughout the song, right?
32:35 --> 32:37 [SPEAKER_01]: So here is our first chorus, and
32:39 --> 32:40 [SPEAKER_01]: This also repeats.
32:40 --> 32:46 [SPEAKER_01]: So for the sake of our conversation, technically the beginning of the song's supposed to be A, right?
32:46 --> 32:49 [SPEAKER_01]: We have that little string part with the piano and the drums.
32:49 --> 32:50 [SPEAKER_02]: Mm-hmm.
32:50 --> 32:54 [SPEAKER_01]: Let's just call this first chorus A and the intro.
32:54 --> 32:55 [SPEAKER_01]: The intro can just be A.
32:55 --> 32:56 [SPEAKER_02]: It can mean intro.
32:56 --> 32:59 [SPEAKER_01]: Because we never get parts that are just that coming back.
32:59 --> 33:01 [SPEAKER_01]: So we're just going to kind of ignore it and say, that's an intro.
33:02 --> 33:05 [SPEAKER_01]: We get our real chorus, which sounds like this.
33:26 --> 33:31 [SPEAKER_01]: Beautiful vocals embodying the ACT principles of their right.
33:31 --> 33:32 [SPEAKER_02]: What do we call it?
33:33 --> 33:34 [SPEAKER_02]: Hexaflex.
33:34 --> 33:35 [SPEAKER_01]: Hexaflex.
33:35 --> 33:36 [SPEAKER_01]: Yeah, love it.
33:36 --> 33:36 [SPEAKER_01]: So it's fun.
33:36 --> 33:37 [SPEAKER_01]: It's fun.
33:37 --> 33:40 [SPEAKER_01]: So then comes the first verse.
33:40 --> 33:44 [SPEAKER_01]: The first part, I'll play the first part of the first verse.
34:06 --> 34:07 [SPEAKER_01]: little piano riff there.
34:07 --> 34:08 [SPEAKER_01]: That's got Johnny.
34:08 --> 34:11 [SPEAKER_01]: So that we could say like B, right?
34:11 --> 34:13 [SPEAKER_01]: Because that's the second section.
34:14 --> 34:22 [SPEAKER_01]: But the form of the verses in A, A, A, B, A, which is like a little song form that is really common in American specifically music.
34:22 --> 34:23 [SPEAKER_01]: We come back to maybe next season.
34:24 --> 34:29 [SPEAKER_01]: And the middle, that B, the middle section of the verse, we get this really awesome harmony part.
34:29 --> 34:30 [SPEAKER_05]: It seems like
34:42 --> 34:50 [SPEAKER_05]: And then it comes back, right?
34:50 --> 34:53 [SPEAKER_01]: And so then we get the second chorus.
34:57 --> 34:58 [SPEAKER_01]: No, that was the first chorus.
34:58 --> 35:00 [SPEAKER_01]: This is what the second chorus sounds like.
35:21 --> 35:24 [SPEAKER_01]: So, is that a different section completely?
35:24 --> 35:25 [SPEAKER_01]: Here's what the first one sounded like, the first line.
35:37 --> 35:38 [SPEAKER_01]: It's similar.
35:38 --> 35:41 [SPEAKER_01]: It's not the same melody, it even has some different words.
35:41 --> 35:42 [SPEAKER_02]: Yeah.
35:42 --> 35:44 [SPEAKER_01]: It has the same like it feels like it's the same.
35:44 --> 35:45 [SPEAKER_02]: It feels the same, of course, too.
35:46 --> 35:47 [SPEAKER_01]: But it's not the same, right?
35:48 --> 35:50 [SPEAKER_01]: So I guess we're going to label that a variation, right?
35:51 --> 35:53 [SPEAKER_02]: Everything isn't everything.
35:53 --> 35:54 [SPEAKER_01]: Yeah, everything is something with a prime.
35:55 --> 35:57 [SPEAKER_01]: So we'll call that a prime.
35:57 --> 35:59 [SPEAKER_01]: I guess it's not its own letter.
35:59 --> 36:00 [SPEAKER_01]: Right?
36:00 --> 36:07 [SPEAKER_01]: So this is this interesting bit where we hear the same thing and it's if you don't play them next to each other, you almost maybe wouldn't notice.
36:07 --> 36:08 [SPEAKER_01]: Yeah, right?
36:08 --> 36:13 [SPEAKER_01]: It's only when you're figuring out or like listening again that you go, that's actually different this time if you were trying to learn this.
36:14 --> 36:16 [SPEAKER_01]: So she does this on other songs.
36:17 --> 36:23 [SPEAKER_01]: So this is a song from her sort of second album, her MTV unplug concert from 2002.
36:24 --> 36:26 [SPEAKER_01]: which already mentioned has mostly new songs.
36:26 --> 36:30 [SPEAKER_01]: There's a lot of variation throughout a lot of those songs, but here's one example.
36:30 --> 36:32 [SPEAKER_01]: This is Freedom Time.
36:33 --> 36:35 [SPEAKER_01]: This is the first chorus of the song.
36:57 --> 37:02 [SPEAKER_01]: And then there's a really long wrap and then the chorus happens again but this time
37:23 --> 37:25 [SPEAKER_02]: She playing guitar too, or should I have a guitar?
37:25 --> 37:25 [SPEAKER_01]: Yeah, pretty sure.
37:25 --> 37:28 [SPEAKER_01]: She was pregnant with, I think, her second kid during the performance.
37:28 --> 37:29 [SPEAKER_01]: Unbelievable.
37:29 --> 37:30 [SPEAKER_02]: She's so good.
37:30 --> 37:32 [SPEAKER_02]: And like, you hear sizzle a lot.
37:33 --> 37:58 [SPEAKER_01]: And they are, are you here a lot of this is a lot of this is a lot of this is a for sure I would say and they're both and of course both just kind of alternative enough to right that like their mainstream pop stars but also there's this kind of like outside of the norms and like of course you do like sure of course of course if we were fans so is this is a I mean says it's only younger I think but still so same record.
37:59 --> 38:06 [SPEAKER_01]: Live record, Mystery of Iniquity, which I think was kind of the only single and the same thing where we get this chorus.
38:06 --> 38:08 [SPEAKER_01]: First, we hear it sounding like this.
38:27 --> 38:32 [SPEAKER_01]: But then shortly, it shifts sort of randomly into a different key almost.
38:53 --> 38:57 [SPEAKER_01]: I mean, maybe that needs to go with our Lenny Crab, it's episode is just a transposing section.
38:57 --> 38:59 [SPEAKER_02]: This is the new favorite, every album we listen to.
38:59 --> 39:01 [SPEAKER_02]: Like, is it this, is this the new favorite album?
39:02 --> 39:03 [SPEAKER_02]: Like, is such a vibe?
39:03 --> 39:05 [SPEAKER_01]: It's pretty, it's got a vibe.
39:05 --> 39:08 [SPEAKER_01]: I think it doesn't have all of what.
39:08 --> 39:10 [SPEAKER_01]: It's got the long, really impressive wraps.
39:10 --> 39:11 [SPEAKER_01]: It's got a lot of that, I think.
39:12 --> 39:17 [SPEAKER_01]: I think there was a production element that people missed on this album that they were, because it's not, it's a life, a acoustic album.
39:17 --> 39:19 [SPEAKER_01]: Right, it's not a whole pretty sound.
39:19 --> 39:22 [SPEAKER_02]: I mean, like, that's a, those are my two favorite words.
39:23 --> 39:24 [SPEAKER_01]: So, very different.
39:24 --> 39:30 [SPEAKER_01]: This is the Bruce Lee band, who at one point, I think, legally had to go by the B Lee band.
39:30 --> 39:36 [SPEAKER_01]: This is a side project of Mike Park who's sort of a luminary in the scopunk world.
39:36 --> 39:37 [SPEAKER_01]: This is on Jerry Strong.
39:38 --> 39:38 [SPEAKER_01]: Here's the chorus.
39:39 --> 39:40 [SPEAKER_01]: We'll verse then leaving it at the chorus.
39:41 --> 39:41 [SPEAKER_05]: Did you ever get up to my house?
39:41 --> 39:42 [SPEAKER_05]: Did you ever get up to my house?
39:42 --> 39:43 [SPEAKER_05]: Did you ever get up to my house?
39:43 --> 39:44 [SPEAKER_05]: Did you ever get up to my house?
39:44 --> 39:45 [SPEAKER_05]: Did you ever get up to my house?
39:45 --> 39:46 [SPEAKER_05]: Did you ever get up to my house?
39:46 --> 39:47 [SPEAKER_05]: Did you ever get up to my house?
39:47 --> 39:48 [SPEAKER_05]: Did you ever get up to my house?
39:48 --> 39:49 [SPEAKER_05]: Did you ever get up to my house?
39:49 --> 39:50 [SPEAKER_05]: Did you ever get up to my house?
39:50 --> 39:51 [SPEAKER_05]: Did you ever get up to my house?
39:51 --> 39:52 [SPEAKER_05]: Did you ever get up to my house?
39:52 --> 39:53 [SPEAKER_05]: Did you ever get up to my house?
39:53 --> 39:55 [SPEAKER_05]: Did you ever get up to my house?
39:55 --> 39:56 [SPEAKER_05]: Did you ever get up to my house?
39:57 --> 40:06 [SPEAKER_01]: So later on this on though, we get that verse lyrics pasted on top of the chorus chords, which are different chords, different vibe, everything.
40:06 --> 40:10 [SPEAKER_01]: So it's like a variation that is sort of a combination of the two things.
40:26 --> 40:31 [SPEAKER_02]: It's like they take the original and just elevate it to like add value later in the song.
40:32 --> 40:36 [SPEAKER_01]: Or it's like they accidentally play the wrong section and he's just saying it's like it's anyway.
40:36 --> 40:37 [SPEAKER_01]: Yeah, it's cool.
40:37 --> 40:40 [SPEAKER_01]: Okay, you two where the streets have no name 1987.
40:40 --> 40:41 [SPEAKER_01]: Here's the first chorus.
41:06 --> 41:07 [SPEAKER_01]: Yeah, you know that one, right?
41:07 --> 41:11 [SPEAKER_02]: Yeah, you know how I feel, but you know, ever since I've iPhone incident.
41:11 --> 41:14 [SPEAKER_01]: I think we might have to bring them up in the future.
41:14 --> 41:16 [SPEAKER_01]: So here's the third chorus.
41:16 --> 41:23 [SPEAKER_01]: It's got this extended passage that it's not quite its own section of it's just like a different variation of the chorus.
41:26 --> 41:38 [SPEAKER_05]: Don't see the rush, but be the last thing you've ever been Loving by the wind, oh, you're still there See the rush, don't feel it
41:53 --> 42:00 [SPEAKER_01]: All that emotion is voice, you don't want him to install songs under your phone without your pen, okay, absolutely not.
42:00 --> 42:05 [SPEAKER_01]: Last example, sorry about all the troubles, you know, but right, why don't I don't know.
42:05 --> 42:05 [SPEAKER_01]: Is that song?
42:05 --> 42:09 [SPEAKER_01]: I don't think that song is about the troubles, not all of their songs.
42:09 --> 42:12 [SPEAKER_01]: So this is Lascafathadas, you know them?
42:12 --> 42:14 [SPEAKER_02]: And you know, I made a few play it.
42:15 --> 42:21 [SPEAKER_01]: So the song is from 2012, sort of an example of son Harocho, the band is like a pretty sure
42:24 --> 42:31 [SPEAKER_01]: I think it's from like the Caribbean coast of Mexico, which is like where this style is from.
42:31 --> 42:31 [SPEAKER_02]: Sure.
42:32 --> 42:39 [SPEAKER_01]: And this band has Zapate auto and it, you know, that is dancing, the like, oh, no, it's sort of like Mexican tap dancing.
42:39 --> 42:42 [SPEAKER_02]: Well, it's like, zapos is shoes.
42:42 --> 42:43 [SPEAKER_01]: Zapatos.
42:43 --> 42:44 [SPEAKER_02]: Zapatos, yeah.
42:44 --> 42:46 [SPEAKER_01]: Zapatos, zapatos, zapatos.
42:46 --> 42:48 [SPEAKER_02]: That's part of it, that's part of whatever you're talking about.
42:48 --> 42:49 [SPEAKER_02]: So yeah, it's like,
42:49 --> 42:53 [SPEAKER_01]: tap dancing being used as a musical instrument, like they have one of the vocalists in the band.
42:53 --> 42:58 [SPEAKER_01]: If you see them like on stage or whatever, it's literally like taping away and they've got a mic so you can hear her go.
42:58 --> 43:00 [SPEAKER_02]: It's a vocal percussionist, but like with your feet.
43:00 --> 43:03 [SPEAKER_01]: But maybe a little cooler than a vocalist.
43:03 --> 43:03 [SPEAKER_01]: I don't know.
43:03 --> 43:05 [SPEAKER_01]: I love me a good vocal percussion.
43:05 --> 43:05 [SPEAKER_01]: I don't know.
43:06 --> 43:06 [SPEAKER_01]: I don't know.
43:06 --> 43:06 [SPEAKER_01]: Maybe less cool.
43:06 --> 43:07 [SPEAKER_01]: What's cooler?
43:08 --> 43:09 [SPEAKER_01]: Vocal progression is happening.
43:10 --> 43:11 [SPEAKER_01]: I think the vocal.
43:11 --> 43:12 [SPEAKER_01]: The vocal.
43:12 --> 43:12 [SPEAKER_02]: Yeah.
43:13 --> 43:15 [SPEAKER_01]: I always did some beatboxing back in the vocal.
43:15 --> 43:16 [SPEAKER_01]: Okay.
43:16 --> 43:16 [SPEAKER_01]: Here we go.
43:16 --> 43:17 [SPEAKER_01]: This is a song.
43:17 --> 43:17 [SPEAKER_01]: Yamevoi.
43:18 --> 43:20 [SPEAKER_01]: This is the first refrain of the song.
43:20 --> 43:21 [SPEAKER_00]: Yamevoi.
43:21 --> 43:22 [SPEAKER_00]: Yamevoi.
43:22 --> 43:22 [SPEAKER_00]: Yamevoi.
43:22 --> 43:23 [SPEAKER_00]: Yamevoi.
43:23 --> 43:24 [SPEAKER_00]: Yamevoi.
43:24 --> 43:26 [SPEAKER_00]: Yamevoi.
43:26 --> 43:27 [SPEAKER_00]: Yamevoi.
43:28 --> 43:29 [SPEAKER_00]: Yamevoi.
43:29 --> 43:30 [SPEAKER_00]: Yamevoi.
43:30 --> 43:30 [SPEAKER_00]: Yamevoi.
43:30 --> 43:31 [SPEAKER_00]: Yamevoi.
43:31 --> 43:32 [SPEAKER_00]: Yamevoi.
43:44 --> 43:56 [SPEAKER_02]: Oh, yeah, they're not like prop, they're not like I was thinking like tap shoes, but they're like wooden kind of I think they're wearing tap shoes on like or something like that on like a wooden plank or something I love it.
43:56 --> 43:57 [SPEAKER_02]: I like the sound.
43:57 --> 43:59 [SPEAKER_02]: I think it's iconic.
43:59 --> 44:00 [SPEAKER_02]: That sound.
44:00 --> 44:00 [SPEAKER_01]: It's cool.
44:01 --> 44:01 [SPEAKER_01]: So
44:02 --> 44:05 [SPEAKER_01]: It's cool like in an alternate, like a Latin alternative.
44:05 --> 44:06 [SPEAKER_01]: Yeah, sure.
44:06 --> 44:07 [SPEAKER_01]: Also to have that.
44:07 --> 44:08 [SPEAKER_01]: It's so random.
44:08 --> 44:10 [SPEAKER_02]: She's like the coolest one on stage.
44:10 --> 44:12 [SPEAKER_02]: If she comes out in the crowd goes wild, like that's her.
44:12 --> 44:14 [SPEAKER_01]: I think she sings in this next clip.
44:14 --> 44:18 [SPEAKER_01]: So we have a later refrain where it's the same sort of structure.
44:18 --> 44:22 [SPEAKER_01]: But instead of the kind of rap, there's more of a vocal thing with Colin Response.
44:22 --> 44:26 [SPEAKER_01]: It's just sort of building on a variation of the previous section.
44:27 --> 44:30 [SPEAKER_06]: There are really good, actually, there are a lot of stuff.
45:09 --> 45:10 [SPEAKER_01]: Alright, back to the song.
45:11 --> 45:12 [SPEAKER_01]: Almost done here.
45:12 --> 45:13 [SPEAKER_01]: We've got the rap.
45:13 --> 45:18 [SPEAKER_01]: And you could say this is a variation of the verse, sort of.
45:31 --> 45:38 [SPEAKER_04]: I've got a lot of actors, more powerful and too clear Patrick, bomb graffiti, on the tool and effort CD.
45:38 --> 45:40 [SPEAKER_04]: MC's ain't ready to take it.
45:41 --> 45:53 [SPEAKER_01]: I think she's about to say MCs ain't ready to take it to the Serengeti, which I have to say is a superior use of the word Serengeti and the wild dogs cry out in the night as they grow restless like we know what is it.
45:54 --> 46:02 [SPEAKER_01]: As soon as Kilimanjaro rises above the Serengeti, I don't know the total lyric, that's kind of the other Serengeti, but here we are twice and one season.
46:02 --> 46:03 [SPEAKER_01]: Twice and one season, that's right.
46:03 --> 46:08 [SPEAKER_01]: So we could, you know, we could say oh, it's a variation of the verse or just give it its own number, right?
46:08 --> 46:08 [SPEAKER_02]: Right.
46:09 --> 46:12 [SPEAKER_01]: Incidentally, have you heard anything newish from her?
46:12 --> 46:12 [SPEAKER_02]: No.
46:13 --> 46:20 [SPEAKER_01]: She got like, she's almost trying to one up early bone thugs, like fast.
46:20 --> 46:25 [SPEAKER_01]: She is so fast in some songs, her rapping, like her flow and that song is awesome.
46:25 --> 46:28 [SPEAKER_01]: But just listen to this as a tune, consumerism from 2013.
46:29 --> 46:32 [SPEAKER_01]: Doesn't have anything to do with any of this except just holy cow.
46:33 --> 46:39 [SPEAKER_03]: For miles commercial, it's important that you're working with them For electromagnetism, who goes first, first, first, first, second, second We ask for misinformation, you've been listening, right?
46:39 --> 46:42 [UNKNOWN]: And for stresses, it's a behavior, it's a false religion, Trade to risk, it's a broken system, you've been listening, right?
46:42 --> 46:59 [SPEAKER_03]: Individual prohibition, disconnection, broken wisdom, broken system, Okay, home, whistle, bit time, easing, exercise, And ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego, just an ego,
47:03 --> 47:03 [SPEAKER_01]: Wow.
47:04 --> 47:04 [SPEAKER_01]: Yeah.
47:04 --> 47:04 [SPEAKER_02]: It's good.
47:04 --> 47:12 [SPEAKER_02]: It reminds me in a weird way of the newest Fiona Apple album and some of the songs on there that it's so like that festival cutters.
47:12 --> 47:21 [SPEAKER_02]: Yes, which is like a great thrown through a great album, but it's very like esoteric and this seems to be that way too.
47:22 --> 47:24 [SPEAKER_01]: Yeah, maybe very different stylistically.
47:24 --> 47:25 [SPEAKER_02]: Yeah, for sure, for sure.
47:26 --> 47:26 [SPEAKER_02]: But it's interesting
47:33 --> 47:35 [SPEAKER_02]: And they both have like a similar
47:36 --> 47:41 [SPEAKER_02]: personal ethos of like my private life is my private life, and if you want to do it.
47:41 --> 47:42 [SPEAKER_01]: And it depends if that made people mad.
47:42 --> 47:42 [SPEAKER_02]: Right.
47:43 --> 47:43 [SPEAKER_02]: Yeah, like sucks.
47:43 --> 47:47 [SPEAKER_02]: I think that's really an interesting, weird connection.
47:47 --> 47:47 [SPEAKER_02]: Unexpected.
47:47 --> 47:48 [SPEAKER_01]: I wonder if I know each other.
47:48 --> 47:50 [SPEAKER_01]: I think they have to have like cross paths.
47:51 --> 47:51 [SPEAKER_02]: At cross paths.
47:52 --> 47:53 [SPEAKER_01]: At the same Grammys or Monae's.
47:53 --> 47:54 [SPEAKER_01]: Right.
47:54 --> 47:55 [SPEAKER_01]: It's a similar time.
47:55 --> 47:56 [SPEAKER_01]: I don't know if it's exactly the same year.
47:56 --> 47:58 [SPEAKER_02]: They probably were up for the same awards.
47:58 --> 47:59 [SPEAKER_01]: All right.
47:59 --> 48:01 [SPEAKER_01]: So here we get to the third course.
48:01 --> 48:02 [SPEAKER_01]: And what is this going to be like?
48:02 --> 48:04 [SPEAKER_01]: Is it going to be like this?
48:07 --> 48:08 [SPEAKER_01]: or like this.
48:11 --> 48:13 [SPEAKER_01]: So, drum roll, chorus three.
48:35 --> 48:36 [SPEAKER_01]: It's different again.
48:36 --> 48:37 [SPEAKER_01]: It's different again.
48:37 --> 48:39 [SPEAKER_01]: And back half on all three of them is pretty similar.
48:39 --> 48:44 [SPEAKER_02]: Yeah, but just that everything is everything piece different every time so far, right?
48:44 --> 48:45 [SPEAKER_02]: I kind of love it, though, because cool.
48:46 --> 48:47 [SPEAKER_02]: Let me see if I can do it.
48:48 --> 48:52 [SPEAKER_02]: I think that experience is keep changing and changing.
48:52 --> 48:53 [SPEAKER_02]: It's never the same experience twice.
48:53 --> 48:59 [SPEAKER_02]: And that's reflective in ACT therapy, mantras, and also the song.
48:59 --> 49:04 [SPEAKER_02]: That like even though things are consistent, variables always shift perspective.
49:05 --> 49:10 [SPEAKER_01]: And to the finding email thing, you have to experience those different courses to appreciate the breadth of the course.
49:10 --> 49:18 [SPEAKER_02]: You know, I was watching finding email recently and I was like, very sober and I was like, well, man, stories right.
49:19 --> 49:22 [SPEAKER_01]: Yeah, Dory has the poor memory, right?
49:22 --> 49:23 [SPEAKER_01]: I haven't seen that in a long time.
49:24 --> 49:25 [SPEAKER_02]: Yeah, but there's wisdom.
49:26 --> 49:29 [SPEAKER_02]: There's wisdom, which is always surprising memory.
49:29 --> 49:30 [SPEAKER_02]: You don't expect it.
49:30 --> 49:33 [SPEAKER_01]: All right, speaking of surprising, we have a first two.
49:33 --> 49:34 [SPEAKER_01]: No, that's not surprising.
49:34 --> 49:35 [SPEAKER_01]: This is actually pretty normal.
49:36 --> 49:39 [SPEAKER_01]: This is an evolution just of what we had earlier.
50:03 --> 50:08 [SPEAKER_01]: So I play that middle bit because I want to put that in our brain for something maybe later, right?
50:09 --> 50:12 [SPEAKER_01]: So, chorus 4, what's it going to be?
50:12 --> 50:13 [SPEAKER_01]: Is it going to be this?
50:15 --> 50:20 [SPEAKER_05]: Every thing, every thing, every thing, every thing.
50:20 --> 50:21 [SPEAKER_01]: Or this.
50:24 --> 50:25 [SPEAKER_01]: Drum roll, chorus 4.
50:46 --> 50:48 [SPEAKER_01]: So that one is basically just chorus two.
50:48 --> 50:49 [SPEAKER_01]: It's a straight repeat.
50:49 --> 50:53 [SPEAKER_01]: So if chorus one is A, chorus two is A prime.
50:53 --> 50:55 [SPEAKER_01]: Chorus three is A double prime.
50:56 --> 51:01 [SPEAKER_01]: So the chorus is go like A, A prime, A double prime, back to A prime.
51:01 --> 51:02 [SPEAKER_01]: And then immediately we get another chorus.
51:03 --> 51:03 [SPEAKER_01]: Is it a repeat?
51:04 --> 51:05 [SPEAKER_01]: Chorus five is this.
51:26 --> 51:30 [SPEAKER_02]: I think it's a different thing altogether, but it's a lot like this one.
51:35 --> 51:37 [SPEAKER_01]: kind of like three maybe different one.
51:37 --> 51:37 [SPEAKER_01]: I don't know.
51:38 --> 51:39 [SPEAKER_01]: It's like a variation of one of the variations.
51:39 --> 51:42 [SPEAKER_02]: So, of course, is in my head right now to even keep track of them.
51:42 --> 51:44 [SPEAKER_02]: I need them color coders.
51:44 --> 51:50 [SPEAKER_01]: But I think that's kind of the point is that it doesn't obviously this was planned out in the sense that like she sing vocal harmonies with herself.
51:50 --> 51:52 [SPEAKER_01]: She's not improvising all of it.
51:52 --> 51:55 [SPEAKER_01]: Maybe she came up with one and then went back and recorded over it.
51:55 --> 52:00 [SPEAKER_01]: Like, but it's not just someone doing the jazzy soulful improvisation.
52:00 --> 52:03 [SPEAKER_01]: It's like structured but it doesn't matter.
52:03 --> 52:03 [SPEAKER_01]: Yeah.
52:04 --> 52:15 [SPEAKER_01]: which one is the right chorus before we even get to that though the outro let's just if we're talking about variation the outro is based on that let's love ourselves those cool harmony arpeggios
52:36 --> 52:43 [SPEAKER_01]: So like I alluded to, I think there are some songs with legit two different things that are both vocalists.
52:43 --> 52:48 [SPEAKER_01]: I don't think we're quite there, but there's so many different versions of the chorus that are all valid.
52:48 --> 52:52 [SPEAKER_01]: Like if the recording of this song is playing in your head, which chorus are you hearing?
52:52 --> 52:52 [SPEAKER_02]: Right.
52:52 --> 52:54 [SPEAKER_01]: Or are you just hearing Thun?
52:55 --> 52:58 [SPEAKER_02]: Yeah, that's why I am, and I'm just like, maybe in her.
52:58 --> 52:58 [SPEAKER_02]: Yeah.
52:58 --> 53:04 [SPEAKER_02]: And I like the last one a lot, like where she's riffing a little bit more, like I think that that's,
53:05 --> 53:08 [SPEAKER_02]: iconic for the song for me, but I can't, you're right.
53:08 --> 53:11 [SPEAKER_02]: Like it's very, um, blurry.
53:11 --> 53:15 [SPEAKER_01]: Is it everything, is everything or is it everything?
53:15 --> 53:15 [SPEAKER_01]: Is everything?
53:16 --> 53:16 [SPEAKER_01]: I think that one.
53:16 --> 53:20 [SPEAKER_01]: I think that's the second chorus that feels like the chorus.
53:24 --> 53:25 [SPEAKER_01]: But that's not real.
53:25 --> 53:27 [SPEAKER_01]: Yeah, that's just what that is in my hand.
53:27 --> 53:28 [SPEAKER_02]: That stand out is like.
53:28 --> 53:29 [SPEAKER_01]: Yeah, lives.
53:29 --> 53:31 [SPEAKER_01]: Yeah, sure.
53:31 --> 53:32 [SPEAKER_02]: It's interesting.
53:32 --> 53:33 [SPEAKER_02]: It's a really great song.
53:34 --> 53:35 [SPEAKER_02]: And I think it's really inspiring.
53:35 --> 53:47 [SPEAKER_02]: And it's a good reminder for us that like we can have different iterations of our lived experience and it's still like part of a cohesive, it all sits in the container that's us, which I think is really neat.
53:47 --> 53:48 [SPEAKER_01]: Yeah.
53:48 --> 53:49 [SPEAKER_01]: Agreed.
53:49 --> 53:58 [SPEAKER_01]: So so so earlier when we were talking about how she kind of just pulled away from music and do people have the right to be mad about that or whatever.
53:59 --> 54:04 [SPEAKER_01]: Last full episode we talked about cults and how they like make you feel like essential.
54:05 --> 54:13 [SPEAKER_01]: What if you just like stopped doing what people expect you to do like yeah let's say forget about like feeding your
54:18 --> 54:25 [SPEAKER_01]: how much would grind to a halt and how much, because with me, it's like very real.
54:25 --> 54:27 [SPEAKER_01]: Like if I did not show up to my class, there was an empty glass.
54:28 --> 54:29 [SPEAKER_02]: Yeah, a glass.
54:29 --> 54:30 [SPEAKER_02]: And then it could pass through.
54:30 --> 54:31 [SPEAKER_02]: Yeah, yeah.
54:31 --> 54:33 [SPEAKER_01]: But some people have jobs where like,
54:33 --> 54:39 [SPEAKER_01]: Maybe it wouldn't be, like eventually someone's going upstairs and asking the Dean's office, where's our professor?
54:39 --> 54:46 [SPEAKER_01]: Some people I feel like have jobs where like, it's a while before the feedback realizes you aren't doing your job.
54:46 --> 54:53 [SPEAKER_02]: No, it's your why isn't there a second album from I think there's a lot and I know we don't like to talk about the pit too much because you haven't watched a lot.
54:54 --> 55:01 [SPEAKER_02]: But I've been referring to it as Dr. Robby syndrome that like if I'm not here to do the work like the whole system will collapse.
55:01 --> 55:05 [SPEAKER_02]: But, you know, when I get into that trap of my job, like, I'm not here, who will do it?
55:05 --> 55:14 [SPEAKER_01]: Watching the first season, like, someone's doing something and there's a life-saving thing happening and this show is about takes place in an emergency room for those that don't know.
55:15 --> 55:17 [SPEAKER_01]: And like, they go, go get Dr. Robby.
55:17 --> 55:17 [SPEAKER_01]: Great.
55:17 --> 55:20 [SPEAKER_01]: He has to be there for everything for some reason.
55:20 --> 55:22 [SPEAKER_01]: And he's all trained doctors, right?
55:22 --> 55:31 [SPEAKER_02]: Yeah, I think of like, what happens if, you know, in so morbid, but when I am getting too overwhelmed with work, I check myself with the statement.
55:32 --> 55:33 [SPEAKER_02]: Not an uplifting.
55:33 --> 55:42 [SPEAKER_02]: I find it uplifting, but you might not, is I think like if I died today, they'd have someone covering my classes next week.
55:43 --> 55:44 [SPEAKER_05]: Oh wow.
55:44 --> 55:44 [SPEAKER_02]: Right.
55:44 --> 55:47 [SPEAKER_02]: So like I think like why am I taking this so seriously?
55:47 --> 55:49 [SPEAKER_02]: Like why do I think that it can only be me?
55:49 --> 55:55 [SPEAKER_02]: Like if I just dropped off the face of the earth, they'd be like, oh, poor Nicole, I hope her family's okay.
55:55 --> 55:59 [SPEAKER_02]: And semi-colon Colton cover her clothes next, right?
55:59 --> 56:05 [SPEAKER_02]: So I remind myself of that often and it gives me a lot of acceptance in my life.
56:05 --> 56:08 [SPEAKER_02]: And like, okay, let me just not take this so seriously.
56:08 --> 56:09 [SPEAKER_01]: Yeah, I think that's healthy.
56:09 --> 56:12 [SPEAKER_02]: Yeah, it's like the tone of it feels unhealthy.
56:12 --> 56:14 [SPEAKER_02]: Yeah, no, no, it's like, it's just the reality.
56:15 --> 56:23 [SPEAKER_01]: I can feel pretty darn sure that if I died tomorrow, next week, you would not have a new co-host ready to go to do the podcast.
56:23 --> 56:27 [SPEAKER_02]: No, no, you're pretty much the brain's of the separation.
56:27 --> 56:28 [SPEAKER_02]: I'm just like, here to be cute.
56:28 --> 56:29 [SPEAKER_01]: That goes way both ways, though.
56:29 --> 56:32 [SPEAKER_01]: I don't think you dropped dead next week.
56:32 --> 56:35 [SPEAKER_01]: What are you am I going to find to put up with my nonsense?
56:35 --> 56:37 [SPEAKER_02]: No, probably not too many people.
56:46 --> 56:50 [SPEAKER_02]: Never mind the music is hosted by Nicole Vatter and hosted and produced by Mark Poppinney.
56:53 --> 57:00 [SPEAKER_02]: You can email us at nevermusicquaditchimal.com and give us a follow on social media.
57:00 --> 57:03 [SPEAKER_02]: Never mind the music is also part of the lorehounds network.
57:04 --> 57:06 [SPEAKER_02]: Please join the conversation on their discord server.
57:08 --> 57:08 [SPEAKER_02]: Thanks for listening.