Who doesn’t love a sick distorted bass line? Maybe Nichole… This week we get all worked up with Muse’s 2001 hard rock classic “Hysteria.” Nichole takes us through whether hysteria is a real thing or just some made up science of the patriarchy, then introduces some real modern disorders that relate to it. Mark emotes about a cool trick used by this song’s melody (or should we say melodies). Listeners, write in: should Nichole listen to the song before we record the episode?
Other music heard in this episode: Red Hot Chili Peppers - “Around the World”, Metal Molly - “Orange”, Beastie Boys - “Sabotage”, Ben Folds Five - “Fair”, Jimmy Eat World - “Your New Aesthetic”, Sugar Ray - “Every Morning”, Bad Religion - “Broken”, Saves the Day - “Nightingale”, Rage Against the Machine - “Testify”, Radiohead - “Exit Music (For a Film)”, Muse - “Hyper Music”, Muse - “Supermassive Black Hole”, Muse - “Starlight”, Muse - “Uprising”, Muse - “Time is Running Out”, Muse - “United States of Eurasia (+Collateral Damage)”, Muse - “Madness”, Dream Hydra - “Madness”, Johann Sebastian Bach - “II. Fuga (Allegro)” from Sonata No. 1 in G minor, BWV 1001 (Augustin Hadelich, violin), Muse - “Won’t Stand Down”, Muse - “Stockholm Syndrome”, Muse - “Mercy”, O-Zone - “Dragostei Din Tei”, Mêlée - “The War”, The Kid Laroi and Justin Bieber - “Stay”
Send us your thoughts at NeverMusicPod@gmail.com
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00:00 --> 00:06 [SPEAKER_00]: I'm a little disturbed because that's the song we're talking about this week you're like never heard it before.
00:07 --> 00:16 [SPEAKER_00]: This is how the sausage is being how I'm that in my notes I'm collecting I've got 33 music samples that I've prepped and Nicole.
00:17 --> 00:23 [SPEAKER_00]: What do you listen to the chorus of the song you don't just read the lyrics you didn't even listen to the song and like read the lyrics.
00:35 --> 00:37 [SPEAKER_02]: Hey, I'm Nicole and I'm Mark and this is never mind the music.
00:38 --> 00:40 [SPEAKER_02]: What are we going to talk about today, Mark?
00:40 --> 00:44 [SPEAKER_00]: Well, in our Dr. Jray episode, right?
00:44 --> 00:44 [SPEAKER_00]: Yeah.
00:45 --> 00:48 [SPEAKER_00]: Famous for me having to redo all the audio samples.
00:48 --> 00:49 [SPEAKER_00]: Oh, really?
00:49 --> 00:50 [SPEAKER_02]: Thanks for that.
00:50 --> 00:54 [SPEAKER_00]: Remember I talked about like the quirky synth quacking.
00:56 --> 00:59 [SPEAKER_00]: Since sounds in that episode right.
00:59 --> 01:00 [SPEAKER_00]: So today we're going to talk about muse.
01:01 --> 01:16 [SPEAKER_00]: We're talking about muse today everybody, but how can I not similarly to the quirky synth shout out how can I not before we get to it shout out Chris Wilson Holmes awesome distorted bass sound.
01:16 --> 01:19 [SPEAKER_02]: Oh, I don't know it's remarkable.
01:19 --> 01:20 [SPEAKER_02]: I don't, I have no clue what you're talking about.
01:20 --> 01:21 [SPEAKER_02]: Okay.
01:21 --> 01:21 [SPEAKER_02]: Okay.
01:21 --> 01:41 [SPEAKER_00]: So before we even do that just like pretending how can I not give marks five best turn of the millennium rock distorted baseline okay not the best baselines but they have to be super distorted they have to be defining in the song are you ready this is this is a good pre episode list.
01:41 --> 01:43 [SPEAKER_02]: I try to like guess what songs they're from.
01:44 --> 01:44 [SPEAKER_00]: What do you got?
01:45 --> 01:47 [SPEAKER_02]: Oh, I thought you were going to like play it and maybe you play it.
01:47 --> 01:49 [SPEAKER_00]: Oh, I mean, oh, I think you'll know, probably.
01:50 --> 01:51 [SPEAKER_00]: Oh, yeah, I think you'll know this first one.
01:51 --> 01:53 [SPEAKER_00]: I don't think this is going to be a question.
02:09 --> 02:10 [SPEAKER_00]: Yeah, 1999.
02:12 --> 02:14 [SPEAKER_02]: Yes, I know it.
02:14 --> 02:14 [SPEAKER_02]: Wait, you don't know that?
02:14 --> 02:15 [SPEAKER_02]: I know it.
02:15 --> 02:16 [SPEAKER_02]: Like, I know it.
02:16 --> 02:17 [SPEAKER_02]: You have a big red house for peppers.
02:17 --> 02:18 [SPEAKER_02]: Well, you're a husband.
02:18 --> 02:19 [SPEAKER_02]: But I don't want to be wrong.
02:19 --> 02:21 [SPEAKER_02]: So I want to surround the world.
02:21 --> 02:21 [SPEAKER_02]: Yeah.
02:22 --> 02:25 [SPEAKER_00]: I think is that from California, vacation, maybe, or anything like that?
02:25 --> 02:26 [SPEAKER_02]: I think no, I don't know.
02:26 --> 02:26 [SPEAKER_00]: OK.
02:27 --> 02:31 [SPEAKER_00]: Number two, this is maybe mid 90s, maybe not turned on the millennium enough, 1995.
02:48 --> 02:48 [SPEAKER_02]: I don't know.
02:48 --> 02:51 [SPEAKER_00]: Not no late night alternative radio in the school for you.
02:51 --> 02:59 [SPEAKER_00]: It's a really impressive orange by metal molly, which is this indie Belgian band that for some reason had a song that this is.
03:00 --> 03:09 [SPEAKER_00]: The guys on one hit thunder could do this if they were willing to do an episode about something that probably reached number 165 on the modern rock tracks in San Diego or something.
03:09 --> 03:10 [SPEAKER_00]: But it's cool song.
03:10 --> 03:11 [SPEAKER_00]: Good baseline, yeah?
03:11 --> 03:12 [SPEAKER_00]: Okay.
03:12 --> 03:14 [SPEAKER_00]: How about 1994?
03:14 --> 03:17 [SPEAKER_00]: Okay, maybe this isn't turned in the millennium.
03:17 --> 03:18 [SPEAKER_00]: Maybe I'm talking to 90s early 2000s only.
03:32 --> 03:33 [SPEAKER_02]: We know that.
03:36 --> 03:37 [SPEAKER_00]: Savitoise.
03:37 --> 03:38 [SPEAKER_00]: Yes, of course.
03:38 --> 03:40 [SPEAKER_00]: The boys themselves.
03:41 --> 03:42 [SPEAKER_00]: Okay, so what have I got?
03:42 --> 03:42 [SPEAKER_00]: I've done three.
03:43 --> 03:43 [SPEAKER_00]: Yeah.
03:43 --> 03:43 [SPEAKER_00]: All right.
03:43 --> 03:44 [SPEAKER_00]: Well, here's number four.
03:44 --> 03:45 [SPEAKER_00]: 1997.
03:45 --> 03:47 [SPEAKER_00]: See if you know this one.
04:12 --> 04:14 [SPEAKER_02]: Is it nickel creek nickel creek.
04:14 --> 04:14 [SPEAKER_00]: I don't know.
04:15 --> 04:15 [SPEAKER_00]: Wait, dude.
04:15 --> 04:16 [SPEAKER_00]: Does that sound like nickel creeps?
04:16 --> 04:17 [SPEAKER_00]: I don't know.
04:17 --> 04:18 [SPEAKER_00]: I don't know.
04:18 --> 04:18 [SPEAKER_00]: I don't know.
04:18 --> 04:19 [SPEAKER_00]: I don't know.
04:19 --> 04:23 [SPEAKER_02]: No, but it's something equally as niche.
04:23 --> 04:24 [SPEAKER_00]: That's been folds five.
04:25 --> 04:25 [SPEAKER_02]: Oh, yeah.
04:25 --> 04:26 [SPEAKER_02]: I don't know.
04:26 --> 04:27 [SPEAKER_02]: You don't know Ben folds five.
04:27 --> 04:27 [SPEAKER_02]: Really?
04:28 --> 04:30 [SPEAKER_00]: Shouldn't we listen to Ben Folds five more in this season?
04:30 --> 04:34 [SPEAKER_02]: I feel like I like Ben Folds as like a figure.
04:34 --> 04:35 [SPEAKER_00]: Public figure.
04:35 --> 04:35 [SPEAKER_00]: Public figure.
04:36 --> 04:36 [SPEAKER_00]: And I like it a fish.
04:36 --> 04:36 [SPEAKER_00]: Yeah.
04:37 --> 04:37 [SPEAKER_02]: And like a musician.
04:37 --> 04:40 [SPEAKER_02]: And like I respect him.
04:40 --> 04:41 [SPEAKER_02]: I'm not familiar with his character.
04:41 --> 04:42 [SPEAKER_00]: So that is fair, which is not a hit.
04:43 --> 04:51 [SPEAKER_00]: And what I love about that, those to the random conversation we're having about bass is the bass is like high and the short and just saying that, boom.
04:51 --> 04:52 [SPEAKER_00]: Listen to that again.
04:52 --> 04:56 [SPEAKER_00]: But then there's a double bass, like a acoustic bass under it doubling playing an actual bass line.
05:03 --> 05:06 [SPEAKER_00]: It's almost like a guitar sort of roll, right?
05:06 --> 05:08 [SPEAKER_00]: Gosh, Ben Fold's five is so good.
05:08 --> 05:09 [SPEAKER_00]: Good.
05:09 --> 05:10 [SPEAKER_00]: A record in particular.
05:10 --> 05:14 [SPEAKER_02]: I guess what I'm saying, like I think that Ben Fold's is a great musician.
05:14 --> 05:28 [SPEAKER_02]: And like you hear him talk about music and you're like, okay, you're like an academic musician, like capital M musician, but I just don't know the catalog, like I couldn't, like, maybe we'll come back to their name album.
05:28 --> 05:29 [SPEAKER_00]: We wink, everybody.
05:29 --> 05:29 [SPEAKER_02]: We wink, wink.
05:30 --> 05:35 [SPEAKER_00]: So while we're on the talk of that song, by the way, that's fair from whatever never, amen, 1997, awesome bass.
05:37 --> 05:42 [SPEAKER_00]: But damn, this song has like a hair-raising lead-in to the bridge.
05:42 --> 05:44 [SPEAKER_00]: Not the song we're talking about, non-muse.
05:44 --> 05:49 [SPEAKER_00]: Often, we talk about how the bridge of a song leads into the chorus.
05:49 --> 05:52 [SPEAKER_00]: And that's like the point of the bridge is to bring you somewhere else.
05:52 --> 05:57 [SPEAKER_00]: But some songs have like an amazing start to the bridge.
05:57 --> 06:03 [SPEAKER_00]: And I just got, I put chose this song for the bass line, and we're staying for the lead-in to the bridge.
06:03 --> 06:03 [SPEAKER_00]: Here we go.
06:04 --> 06:04 [SPEAKER_00]: Fair again.
06:33 --> 06:34 [SPEAKER_00]: I don't know, it's got a five or slap.
06:35 --> 06:39 [SPEAKER_00]: It's got a think of paid it, think of paid it, piano part.
06:39 --> 06:41 [SPEAKER_00]: It's just, oh, it's in the line notes for you.
06:41 --> 06:43 [SPEAKER_00]: You know what, we're in the middle of a list about bass lines.
06:43 --> 06:44 [SPEAKER_00]: Let's do a list.
06:45 --> 06:52 [SPEAKER_00]: Mark's top five, that's turn of the millennium, leadance to the bridge.
06:52 --> 06:53 [SPEAKER_00]: Okay, so one of them, we already did one of them.
06:53 --> 06:59 [SPEAKER_00]: Yes, so already 20% done, fair, by Ben Fold's five, oh shit.
07:00 --> 07:01 [SPEAKER_00]: You already got mad.
07:01 --> 07:05 [SPEAKER_00]: The last time I played something from this record, the greatest record of all time.
07:05 --> 07:06 [SPEAKER_02]: I got mad.
07:06 --> 07:06 [SPEAKER_00]: You got mad.
07:06 --> 07:11 [SPEAKER_00]: The listeners, one of our listeners, Nancy, I think, called it noise.
07:11 --> 07:12 [SPEAKER_00]: Okay.
07:12 --> 07:28 [SPEAKER_00]: Jimmy World, your new aesthetic from 1999's Clarity, home of one of the greatest songs of all time as dictated in our episode saying that for me this is heaven is a greatest song of all time from season one, this has such a cool
07:29 --> 07:34 [SPEAKER_00]: Beautiful and clashing and dissonant lead into the bridge number two.
08:03 --> 08:03 [SPEAKER_00]: Yeah.
08:03 --> 08:03 [SPEAKER_02]: Yeah.
08:04 --> 08:04 [SPEAKER_02]: No.
08:05 --> 08:11 [SPEAKER_02]: I mean, for me, it's just so it's, I don't want to say it's noisy because that seems pretty short of, but it's just there's so much noise.
08:12 --> 08:13 [SPEAKER_00]: Well, yeah, it's noisy.
08:13 --> 08:14 [SPEAKER_00]: It's, that's part of what's good.
08:14 --> 08:15 [SPEAKER_00]: Okay.
08:15 --> 08:15 [SPEAKER_02]: Yeah.
08:15 --> 08:15 [SPEAKER_00]: Cool.
08:16 --> 08:20 [SPEAKER_00]: Head of all for different reasons, but also a cool drop into the bridge every morning.
08:20 --> 08:22 [SPEAKER_00]: Oh, I'm like, I like this.
08:22 --> 08:23 [SPEAKER_00]: I like this.
08:23 --> 08:24 [SPEAKER_00]: I didn't write down the year of this.
08:24 --> 08:24 [SPEAKER_00]: What is this?
08:24 --> 08:26 [SPEAKER_00]: Probably like 98 or something like that.
08:26 --> 08:26 [SPEAKER_00]: That
08:37 --> 08:39 [SPEAKER_01]: She always writes the wrong
08:48 --> 08:49 [SPEAKER_02]: Yeah, that is a great baseline, too.
08:50 --> 08:51 [SPEAKER_00]: Four, five, one.
08:52 --> 08:52 [SPEAKER_00]: Yeah, it's satisfying.
08:52 --> 08:57 [SPEAKER_00]: I heard a large number four, 2002, bad religion.
08:58 --> 08:59 [SPEAKER_00]: I brought them up in a long time.
09:00 --> 09:01 [SPEAKER_00]: This is broken.
09:01 --> 09:06 [SPEAKER_00]: The chiming guitar comes in, the start of the bridge, the harmony vocals comes in.
09:06 --> 09:10 [SPEAKER_00]: Cool song, because sort of a return to form for this band in that record.
09:11 --> 09:25 [SPEAKER_01]: I'm little cracked, but still I'm not broken I wanna laugh, but I think that I'm joking on theality When the world is turning for you, don't turn on me
09:29 --> 09:32 [SPEAKER_02]: I wonder if Bad Religion ever did like acoustic stuff.
09:33 --> 09:34 [SPEAKER_02]: They're like an unplugged.
09:34 --> 09:37 [SPEAKER_00]: I've heard acoustic sets like bootleg recordings.
09:37 --> 09:38 [SPEAKER_02]: I bet you it's not really good.
09:38 --> 09:39 [SPEAKER_00]: I haven't.
09:39 --> 09:41 [SPEAKER_00]: Yeah, it's always tripped.
09:41 --> 09:42 [SPEAKER_00]: It's usually not all of them.
09:42 --> 09:44 [SPEAKER_00]: Like you'll hear like two of them or whatever.
09:44 --> 09:47 [SPEAKER_00]: And so you don't get the huge like four part harmonies or whatever they do.
09:47 --> 09:48 [SPEAKER_00]: But yeah, pretty good.
09:48 --> 09:48 [SPEAKER_00]: Yeah.
09:49 --> 09:51 [SPEAKER_00]: Great graph ended like country adjacent.
09:51 --> 09:51 [SPEAKER_00]: Oh, I like that.
09:51 --> 09:53 [SPEAKER_02]: So they're sort of great.
09:53 --> 09:56 [SPEAKER_02]: Like if you read those lyrics as poetry, like they're pretty satisfying to me.
09:57 --> 09:57 [SPEAKER_00]: Big word punk.
09:58 --> 09:58 [SPEAKER_00]: Yeah.
09:58 --> 09:59 [SPEAKER_02]: Big word punk.
09:59 --> 09:59 [SPEAKER_02]: Okay.
09:59 --> 10:00 [SPEAKER_00]: Number five.
10:00 --> 10:01 [SPEAKER_02]: It's like a real thing.
10:01 --> 10:02 [SPEAKER_02]: Big word punk.
10:02 --> 10:06 [SPEAKER_00]: It's sort of a thing that's like, oh, bands like that.
10:06 --> 10:07 [SPEAKER_02]: I think I can get into that.
10:07 --> 10:10 [SPEAKER_00]: You could say sort of like the rise against might fall into that.
10:10 --> 10:20 [SPEAKER_00]: So he's like political, you have to like, if you're an eighth grader like me, you're like literally looking up like the brown and orange sky holds its breath as the sun retreats to the distant horizon.
10:20 --> 10:21 [SPEAKER_00]: Okay.
10:21 --> 10:23 [SPEAKER_00]: Our hearts palpitate anxiously
10:25 --> 10:26 [SPEAKER_00]: It's a pine.
10:26 --> 10:28 [SPEAKER_00]: Okay, I better look that out and like literally looking up.
10:28 --> 10:29 [SPEAKER_00]: I still remember it.
10:29 --> 10:30 [SPEAKER_02]: It's a poetry punk.
10:31 --> 10:33 [SPEAKER_00]: Yeah, punk is poetry too.
10:33 --> 10:39 [SPEAKER_00]: Okay, number five cool leadance to the bridge and then you'll have to help me remember what the hell we were talking about.
10:39 --> 10:44 [SPEAKER_00]: This is 2001 one of my favorite songs actually night and gale by saves the day.
10:45 --> 10:46 [SPEAKER_00]: Also punk adjacent.
10:47 --> 11:15 [SPEAKER_01]: Don't let the darkness find us, I can't go Just kiss me for I go But I can't get out, I'll sing you down Yeah, they're calling, oh, now it's still one Sunday
11:17 --> 11:19 [SPEAKER_00]: crap, that also has a distorted base.
11:19 --> 11:20 [SPEAKER_00]: So we should probably get back on track.
11:20 --> 11:21 [SPEAKER_00]: I'm not counting that.
11:21 --> 11:21 [SPEAKER_00]: There's one of them.
11:21 --> 11:22 [SPEAKER_00]: Okay.
11:22 --> 11:33 [SPEAKER_00]: Number five, awesome turn to the millennium or 90s, early 2000s, distorted rock baseline, 1999's testified by raids against the machine.
11:59 --> 12:04 [SPEAKER_00]: No comment, you're not vibing on the distorted bass lines of all of the bridges.
12:04 --> 12:04 [SPEAKER_00]: What's going on?
12:05 --> 12:06 [SPEAKER_02]: I'm not sure.
12:06 --> 12:17 [SPEAKER_02]: I think that this is so outside of my preferred genre of music, this 90s political swemo vibe.
12:18 --> 12:21 [SPEAKER_02]: And I'm just like, I like, I appreciate it, but I'm not like-
12:25 --> 12:26 [SPEAKER_00]: Like the past lyrman.
12:27 --> 12:27 [SPEAKER_00]: Yes.
12:27 --> 12:28 [SPEAKER_02]: Yes.
12:28 --> 12:28 [SPEAKER_02]: Okay.
12:28 --> 12:29 [SPEAKER_02]: I did.
12:29 --> 12:29 [SPEAKER_00]: All right.
12:29 --> 12:33 [SPEAKER_00]: Well, I'm going to give you a bonus to start a day.
12:33 --> 12:39 [SPEAKER_00]: Okay, because the song was written to be the end credits of that movie, but I don't know that actually made it into the movie.
12:39 --> 12:41 [SPEAKER_00]: Is it the cardigan song?
12:41 --> 12:42 [SPEAKER_00]: No, cardigans are good though.
12:42 --> 12:43 [SPEAKER_00]: Yeah.
12:43 --> 12:44 [SPEAKER_00]: We've talked about that.
12:44 --> 12:48 [SPEAKER_00]: We had some people writing in asking why we don't talk more radio ahead.
12:48 --> 12:50 [SPEAKER_00]: So here's some radio ahead.
12:50 --> 12:57 [SPEAKER_00]: 1997 Super heavy Colin Greenwood Fuzz base exit music for a film, which was supposed to be at the edge credits.
12:57 --> 12:58 [SPEAKER_00]: I think it's not actually.
12:59 --> 13:00 [SPEAKER_00]: And I don't remember the soundtrack of that.
13:00 --> 13:02 [SPEAKER_00]: Though there's good songs on that.
13:02 --> 13:02 [SPEAKER_02]: That's a movie.
13:02 --> 13:03 [SPEAKER_02]: I literally never saw it.
13:04 --> 13:05 [SPEAKER_00]: But I know the soundtrack.
13:05 --> 13:12 [SPEAKER_02]: You should watch it again, but like watch it with subtitles because you get like the Shakespeare piece in a real way and it's beautiful.
13:12 --> 13:14 [SPEAKER_02]: I mean, all the best moments, even, sorry.
13:14 --> 13:20 [SPEAKER_02]: I'm gonna go sidetracked, but like the great Gatsby did, Mulan Rouge, like he, it's pretty great, okay.
13:20 --> 13:20 [SPEAKER_02]: But please.
13:21 --> 13:28 [SPEAKER_00]: Never saw it, but I do know this song and it's a dope baseline and also a concession to our listeners that want more radio ahead.
14:01 --> 14:02 [SPEAKER_02]: That's very good.
14:02 --> 14:03 [SPEAKER_02]: Very satisfying.
14:03 --> 14:05 [SPEAKER_02]: I'm still tripping up.
14:06 --> 14:08 [SPEAKER_02]: over the fact that you've never seen that movie.
14:08 --> 14:12 [SPEAKER_02]: I'm sorry to go back to what I know you want to be pressing on like Leo and Claire Danes.
14:12 --> 14:13 [SPEAKER_00]: Yeah.
14:13 --> 14:19 [SPEAKER_02]: How does an late 90s mark not be obsessed with Claire Danes?
14:19 --> 14:22 [SPEAKER_00]: And like 90 I didn't watch so called life.
14:23 --> 14:24 [SPEAKER_00]: So called life comma my.
14:25 --> 14:26 [SPEAKER_00]: I haven't seen it before.
14:26 --> 14:26 [SPEAKER_00]: I didn't.
14:26 --> 14:27 [SPEAKER_00]: I wasn't anti.
14:27 --> 14:45 [SPEAKER_00]: I just happened to not watch whatever channel it was on or whatever So I wasn't like I wasn't like pulled into the gravity of Clared Ains though I I could see why I I don't like it's a very I I feel like it's very accessible I also remember like watching Hamlet ninth grade English class and like being like dude this Shakespeare stuff's pretty cool
14:45 --> 14:53 [SPEAKER_02]: Well, that's why I am in a bad environment treatment with like Claire Danes and a young age appropriately.
14:53 --> 14:56 [SPEAKER_00]: And I think the Romanian style is pretty over the top.
14:56 --> 15:00 [SPEAKER_00]: I don't know, ooh, would have, would like 10th grade mark have thought it was too over the top.
15:00 --> 15:04 [SPEAKER_02]: And like Benicio's little torros in it, John Legos, I'm all like the cast.
15:04 --> 15:06 [SPEAKER_02]: You watch it and you're like, oh my gosh.
15:06 --> 15:06 [SPEAKER_00]: Yeah.
15:06 --> 15:08 [SPEAKER_02]: They really went after it and it's funny.
15:09 --> 15:13 [SPEAKER_00]: Maybe we'll have to traumatize our kids and make them watch it and I'm like, this is what the 90s will say.
15:14 --> 15:21 [SPEAKER_02]: It came on our television, it was like, I don't know, we started watching, like, I'm sidetracked, I'm sorry.
15:21 --> 15:29 [SPEAKER_02]: We started watching all these movies with our kid, like, lab-rynth, and then that led into, like, the sandlot, and Ricky of the Year, and all these, like,
15:29 --> 15:39 [SPEAKER_02]: That was, yeah, that was heavy hitters and then like it auto played this Romeo and Juliet boss Lerman and I was like, oh, I'll keep it on while I like, I'm fiddling around.
15:40 --> 15:46 [SPEAKER_02]: It mean my husband ended up like sitting on the couch like eyes glued to this, we like couldn't look away.
15:46 --> 15:47 [SPEAKER_02]: It's beautiful.
15:48 --> 15:49 [SPEAKER_02]: I think you should get into it.
15:49 --> 16:13 [SPEAKER_00]: I love how I thought I was going to be so clever by I'm going to do a list and then distract myself by another list in the middle of that list and we had a talk about well I guess I mean I did put the radiohead song on but okay so okay distorted bass lines all in honor of Chris Wilson Holmes awesome distorted bass in muse and so this week never mind the musicians we are talking about
16:31 --> 16:36 [SPEAKER_00]: Dan, oh wait, that's hyper music from 2001's Muse Album Absolution.
16:36 --> 16:36 [SPEAKER_00]: That's not it.
16:37 --> 16:37 [SPEAKER_00]: How about?
16:47 --> 16:52 [SPEAKER_00]: No, that's super massive black hole from 2006 black holes and revelations.
16:52 --> 16:53 [SPEAKER_02]: I love that though.
16:53 --> 16:54 [SPEAKER_02]: Do I love you?
16:54 --> 16:55 [SPEAKER_00]: Do you not know that song?
16:55 --> 16:59 [SPEAKER_02]: I do know a big now where you're playing it like every time like oh, yeah I love that song.
16:59 --> 17:02 [SPEAKER_00]: Oh, it's got such good like vocals It's all falsetto.
17:02 --> 17:03 [SPEAKER_00]: We it's that's it.
17:03 --> 17:04 [SPEAKER_00]: I love that song.
17:04 --> 17:10 [SPEAKER_00]: I mean that these John tried to sell us on muse in our Concept album episode and he is right
17:12 --> 17:13 [SPEAKER_00]: You obviously haven't listened much.
17:14 --> 17:15 [SPEAKER_00]: Are we?
17:15 --> 17:17 [SPEAKER_01]: Is this one of the good bass lines?
17:29 --> 17:30 [SPEAKER_02]: This is Muse 2.
17:31 --> 17:46 [SPEAKER_00]: Yeah, apparently she did not listen to the Spotify Essentials playlist or whatever in prep for the episode I like to go and fresh so that is starlight from black holes and red loose revelations It's kind of it's got the whole play piano vibe.
17:47 --> 17:49 [SPEAKER_00]: Yeah, maybe how about this baseline is it this one?
18:05 --> 18:09 [SPEAKER_02]: I'm guessing it's not by the trend, but this is also a great song.
18:09 --> 18:11 [SPEAKER_00]: That's uprising from 2009's The Resistance.
18:12 --> 18:14 [SPEAKER_00]: Okay, are we getting bored?
18:14 --> 18:14 [SPEAKER_00]: No.
18:15 --> 18:15 [SPEAKER_02]: No, never.
18:32 --> 18:34 [SPEAKER_02]: that like tickles my brain in a funny way.
18:35 --> 18:37 [SPEAKER_00]: Well, it's like literally like fuzzy.
18:37 --> 18:39 [SPEAKER_00]: Yeah, it's just like a little bit mosquitoes.
18:39 --> 18:39 [SPEAKER_02]: Yeah.
18:39 --> 18:40 [SPEAKER_00]: No, that's not right.
18:40 --> 18:41 [SPEAKER_00]: That is time is running out.
18:42 --> 18:43 [SPEAKER_00]: We're getting closer though.
18:43 --> 18:44 [SPEAKER_00]: From 2001's App Solution.
18:44 --> 18:47 [SPEAKER_00]: I think that actually possibly is like a synth or at least doubled.
18:47 --> 18:50 [SPEAKER_02]: Something's happening in my brain space.
18:51 --> 18:51 [SPEAKER_00]: Maybe it's this one.
19:03 --> 19:04 [SPEAKER_00]: recognize it.
19:04 --> 19:05 [SPEAKER_02]: No, but it's amazing.
19:06 --> 19:07 [SPEAKER_02]: I'm adjusting them live.
19:07 --> 19:07 [SPEAKER_02]: Have you ever?
19:07 --> 19:09 [SPEAKER_00]: I have not their toy.
19:09 --> 19:12 [SPEAKER_00]: When I became a big fan, their tickets were already getting to expensive.
19:12 --> 19:18 [SPEAKER_00]: So I'm a little disturbed because that's the song we're talking about this week.
19:18 --> 19:20 [SPEAKER_00]: You're like never heard it before.
19:20 --> 19:22 [SPEAKER_00]: This is how the sausage is being.
19:22 --> 19:23 [SPEAKER_00]: How I'm that in my notes.
19:23 --> 19:24 [SPEAKER_00]: I'm collecting.
19:24 --> 19:29 [SPEAKER_00]: I've got 33 music samples that I've prepped and Nicole.
19:30 --> 19:50 [SPEAKER_00]: what do you listen to the chorus of the song you don't read the lyrics you didn't even listen to the song and like read the lyrics folks this is hysteria by muse from 2001's absolution this one is doubled with a synth but that is absolutely him playing bass live it's probably crazy this is the chorus to the song
20:10 --> 20:25 [SPEAKER_00]: Okay, so hysteria written by the trio right of news Matt Bellamy Chris Wilson and Dominic Howard you are apparently not a fan of the British alternative prog rock artsy medley electronic pop band me
20:26 --> 20:35 [SPEAKER_02]: I think I secretly am a fan of them after hearing all these great clips that you so mindfully and a stutley put together for us today.
20:35 --> 20:36 [SPEAKER_02]: Thank you.
20:37 --> 20:48 [SPEAKER_00]: I just want to say listeners write in, comment on distorted baselines, comment on bridge lead-ins, comment on whether you think Nicole should listen to the song that we talk about before the episode starts.
20:48 --> 20:53 [SPEAKER_02]: I think that it gives me this like young, ungenu vibe when I don't know too much.
20:54 --> 20:55 [SPEAKER_02]: I think you like me ignorant.
20:55 --> 20:59 [SPEAKER_02]: So you can teach me and it boosts your self-confidence.
20:59 --> 21:02 [SPEAKER_00]: It makes me feel real, real, or confident, I guess.
21:02 --> 21:03 [SPEAKER_00]: Yeah, it should.
21:03 --> 21:07 [SPEAKER_00]: Okay, so Muse is sort of post-radio-head queen.
21:07 --> 21:08 [SPEAKER_02]: Yeah.
21:08 --> 21:09 [SPEAKER_00]: That's like kind of how I think of him.
21:09 --> 21:13 [SPEAKER_00]: It's bombastic in arena rocky in a world that
21:13 --> 21:19 [SPEAKER_00]: exists after the sort of art rock of the 90s coming from Britain right cool.
21:20 --> 21:26 [SPEAKER_00]: Here's an example of like this feels very Queenie to me, but also more modern right.
21:26 --> 21:32 [SPEAKER_00]: So this is United States of Eurasia plus collateral damage, which is like the second part of it.
21:32 --> 21:50 [SPEAKER_01]: In the rain, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm, calm
22:01 --> 22:05 [SPEAKER_00]: Remember John talked about how they use like the sub-romantic sense-on.
22:05 --> 22:08 [SPEAKER_00]: I played a clip in our episode with him.
22:08 --> 22:09 [SPEAKER_02]: It's weird, my like it.
22:11 --> 22:12 [SPEAKER_00]: Sort of queenish, right?
22:12 --> 22:12 [SPEAKER_00]: Yeah.
22:12 --> 22:13 [SPEAKER_00]: With the jump.
22:16 --> 22:18 [SPEAKER_00]: All right, but you're not sold yet.
22:18 --> 22:20 [SPEAKER_00]: Maybe I'll sell you over this episode.
22:20 --> 22:21 [SPEAKER_02]: Maybe.
22:21 --> 22:23 [SPEAKER_00]: And that's the fourth track on the record.
22:23 --> 22:24 [SPEAKER_00]: It's show.
22:24 --> 22:26 [SPEAKER_02]: They're kind of weirdos.
22:26 --> 22:26 [SPEAKER_02]: Yeah.
22:26 --> 22:31 [SPEAKER_00]: And so they're also the queen comparison I like because they're a power trio.
22:32 --> 22:32 [SPEAKER_02]: Yeah.
22:32 --> 22:35 [SPEAKER_00]: But it's kind of queen obviously as four of them.
22:35 --> 22:38 [SPEAKER_00]: But this is three guys and it's kind of impossible.
22:38 --> 22:42 [SPEAKER_00]: Like you queen can't sound like queen does live because they record themselves.
22:42 --> 22:45 [SPEAKER_00]: There's three guitar solos at the same time in 14 vocals.
22:46 --> 22:47 [SPEAKER_00]: This is sort of the same, right?
22:47 --> 22:56 [SPEAKER_00]: The Nat Bellamy's playing the guitar and the piano at the same time, but he's obviously not in his voice and Chris's voice are overdobed a bunch of times, et cetera.
22:57 --> 23:02 [SPEAKER_00]: So yeah, you're not a fan, or like not, you don't dislike him because you are ignorant of him.
23:02 --> 23:03 [SPEAKER_02]: I'm ignorant.
23:03 --> 23:04 [SPEAKER_02]: Okay.
23:04 --> 23:06 [SPEAKER_00]: If you heard Starlight and you were like, Oh, okay.
23:06 --> 23:08 [SPEAKER_00]: Yeah, I'm into that.
23:08 --> 23:09 [SPEAKER_02]: I like you're not about queen, too.
23:09 --> 23:14 [SPEAKER_02]: It makes me think my kid won to sing somebody to love and voice lessons and her teacher said she couldn't.
23:15 --> 23:18 [SPEAKER_02]: Now that she couldn't perform it, but like you can't sing it alone.
23:18 --> 23:20 [SPEAKER_02]: You need other people.
23:20 --> 23:21 [SPEAKER_00]: I think it's tricky to do.
23:21 --> 23:22 [SPEAKER_00]: I don't know.
23:23 --> 23:25 [SPEAKER_00]: You would need like a loop pedal or something like that.
23:25 --> 23:27 [SPEAKER_02]: I think that we could do it to it.
23:27 --> 23:28 [SPEAKER_00]: She could make it happen.
23:28 --> 23:28 [SPEAKER_00]: When I wear it.
23:28 --> 23:31 [SPEAKER_00]: If anybody can do it, she's feisty.
23:31 --> 23:32 [SPEAKER_00]: She'll figure it out.
23:32 --> 23:33 [SPEAKER_02]: Whenever she moved on.
23:34 --> 23:37 [SPEAKER_00]: So this was actually a pretty major band for me in the 2000.
23:37 --> 23:38 [SPEAKER_00]: I believe that.
23:38 --> 23:40 [SPEAKER_00]: It was really a special sense dream hydra.
23:42 --> 23:42 [SPEAKER_00]: Shout out to my band.
23:43 --> 23:46 [SPEAKER_00]: Again, came up also on the mail bag episode.
23:47 --> 23:53 [SPEAKER_00]: We were a rock band, but remember, we were like choir boys, like I met those guys and like, aquapella stuff before.
23:53 --> 23:56 [SPEAKER_00]: And so we really into all the big vocals and stuff like that.
23:56 --> 24:00 [SPEAKER_00]: We actually, you know the madness, the tune madness, bye.
24:00 --> 24:01 [SPEAKER_02]: Dream by Dream Hydra.
24:01 --> 24:02 [SPEAKER_00]: Madness by Muse.
24:03 --> 24:03 [SPEAKER_02]: Play for me.
24:04 --> 24:05 [SPEAKER_02]: I bet you I will know it.
24:06 --> 24:06 [SPEAKER_02]: I'll show you.
24:07 --> 24:09 [SPEAKER_00]: I don't have it cut up because I assumed you to hurt it.
24:09 --> 24:10 [SPEAKER_00]: Hang on, let me cue it up.
24:23 --> 24:24 [SPEAKER_00]: Is that familiar?
24:24 --> 24:25 [SPEAKER_02]: No, but I love it.
24:25 --> 24:25 [SPEAKER_00]: Damn.
24:26 --> 24:32 [SPEAKER_00]: So we did Dream Hydra has a, it's on YouTube still, like an acoustic cover of Madness and I don't know.
24:32 --> 24:33 [SPEAKER_00]: I got to do another shout out.
24:33 --> 24:34 [SPEAKER_00]: You can play it.
24:34 --> 24:35 [SPEAKER_00]: I'm going to play a part of it.
24:46 --> 24:50 [SPEAKER_00]: But there's no way we do the five part harmony in the second verse.
25:11 --> 25:17 [SPEAKER_02]: And it also speaks to the historical infighting of dream hydrant and its ultimate demise of infighting within the band.
25:17 --> 25:23 [SPEAKER_00]: Dream hydrant did not die because it did not die because I moved to Boston for a faster job.
25:23 --> 25:24 [SPEAKER_02]: Yeah, my other mark told us.
25:25 --> 25:26 [SPEAKER_00]: Yeah, damn.
25:26 --> 25:26 [SPEAKER_00]: All right.
25:27 --> 25:28 [SPEAKER_00]: Enough suffocating.
25:28 --> 25:30 [SPEAKER_00]: Randomizing a band that from an over decade ago.
25:31 --> 25:36 [SPEAKER_00]: Okay, so this band mues only had three songs from the Billboard Hot 100.
25:36 --> 25:51 [SPEAKER_00]: Okay, and the one we're talking about is not one of them more of a rock radio band So neutron star from the twilight soundtrack was number 77 madness was 45 and upperizing was 37 That's the bad one that I played a minute ago
25:51 --> 25:58 [SPEAKER_00]: So more of a rock charts band because madness was number one up rising was one star light was two and hysteria.
25:58 --> 26:04 [SPEAKER_00]: The one we're talking about today was a number nine semi hit on the rock radio charts.
26:04 --> 26:10 [SPEAKER_00]: But this is more of a like a this band has a huge following, but it's more a little off mainstream.
26:10 --> 26:11 [SPEAKER_00]: I would say I don't know.
26:11 --> 26:12 [SPEAKER_00]: I don't know.
26:13 --> 26:13 [SPEAKER_00]: All right.
26:13 --> 26:21 [SPEAKER_00]: So I wanted to talk about this song's melodies, both vocal and instrumental, creating something called a compound melody.
26:22 --> 26:36 [SPEAKER_00]: I could go now, we could go, it's like last episode, I think it was last episode, you literally didn't get to go because I did, I got to trade first and you were like, hold up, I'm changing my topic.
26:37 --> 26:38 [SPEAKER_00]: Let's talk about this ship for now.
26:39 --> 26:41 [SPEAKER_00]: And I'm swearing to overcompensate for the lack of swearing this.
26:42 --> 26:42 [SPEAKER_02]: You saw.
26:43 --> 26:47 [SPEAKER_00]: Do you want to go first, so you, you didn't hear the song, but what you did, I think is
26:48 --> 26:54 [SPEAKER_02]: Saw the name hysteria and did I deep dive on that okay, I did some prep.
26:54 --> 26:58 [SPEAKER_02]: Oh, I did the different kind of one of prep, but it wasn't like music related.
26:59 --> 27:00 [SPEAKER_00]: My thing is not lyrics.
27:00 --> 27:02 [SPEAKER_00]: My thing is very music music music.
27:02 --> 27:03 [SPEAKER_00]: It's possible.
27:03 --> 27:05 [SPEAKER_00]: It could relate to yeah mind stuff.
27:05 --> 27:09 [SPEAKER_00]: So possibly I think this should be one of the you go first moments.
27:09 --> 27:10 [SPEAKER_02]: I love that for me.
27:11 --> 27:12 [SPEAKER_00]: Listeners keep track on the list.
27:12 --> 27:13 [SPEAKER_00]: Tally on the Nicole side.
27:14 --> 27:18 [SPEAKER_02]: I actually do think I can make some connections to Romeo and Juliet too, I think I can do it.
27:18 --> 27:21 [SPEAKER_00]: Is it Romeo and Juliet or is it Romeo plus Juliet?
27:21 --> 27:22 [SPEAKER_00]: It has a plus.
27:23 --> 27:27 [SPEAKER_00]: But is that just a stylized way of saying and or is it supposed to be plus?
27:27 --> 27:29 [SPEAKER_02]: I'm not sure.
27:29 --> 27:29 [SPEAKER_02]: I-
27:30 --> 27:32 [SPEAKER_02]: That's right, but let us know.
27:32 --> 27:34 [SPEAKER_00]: This is noable, too, but this is, I did not.
27:35 --> 27:39 [SPEAKER_00]: I did not sidetrack prep about Romeo plus Juliet.
27:39 --> 27:41 [SPEAKER_02]: No, me neither, but now it's all I can think about.
27:42 --> 27:44 [SPEAKER_02]: All the end Juliet is a great musical.
27:45 --> 27:45 [SPEAKER_02]: It's about what happened.
27:45 --> 27:47 [SPEAKER_00]: From her perspective or something.
27:47 --> 27:49 [SPEAKER_02]: This is a cute box musical which you famously hate.
27:49 --> 27:55 [SPEAKER_02]: But it's what happens, like if Juliet wakes up, sees Romeo dead, and it's like a,
27:59 --> 28:01 [SPEAKER_02]: It's like all like boy bands and like 90s.
28:01 --> 28:03 [SPEAKER_02]: Oh, it's not even a band in the artist.
28:03 --> 28:04 [SPEAKER_02]: It's like a bunch of artists.
28:05 --> 28:05 [SPEAKER_02]: Yeah.
28:05 --> 28:06 [SPEAKER_02]: Rock, I mean, it just dialed.
28:06 --> 28:06 [SPEAKER_02]: Okay.
28:06 --> 28:06 [SPEAKER_02]: That's cool.
28:07 --> 28:07 [SPEAKER_02]: Check it out.
28:08 --> 28:08 [SPEAKER_02]: Folks.
28:08 --> 28:16 [SPEAKER_02]: But no, I want to talk about hysteria as a diagnosis and like the ancient origin of it.
28:17 --> 28:22 [SPEAKER_02]: And like the modern iterations of hysteria like what it became in the DSM.
28:22 --> 28:24 [SPEAKER_02]: What even is the DSM?
28:24 --> 28:26 [SPEAKER_02]: Like I want to talk about psychopathology.
28:26 --> 28:30 [SPEAKER_02]: in terms of what hysteria is and like what we used to think caused it.
28:49 --> 28:54 [SPEAKER_00]: So this song seems to be about like a obsession or something like that.
28:54 --> 28:55 [SPEAKER_00]: Did you look through the lyrics?
28:56 --> 28:56 [SPEAKER_02]: Yep.
28:56 --> 29:03 [SPEAKER_00]: Does it seem to be about hysteria in a clinical sense or something more colloquial kind of like?
29:05 --> 29:12 [SPEAKER_02]: Well, yeah, you couldn't make some connections to like obsessive stuff with.
29:12 --> 29:13 [SPEAKER_00]: I want it now.
29:13 --> 29:21 [SPEAKER_02]: Yeah, with like histionic personality disorder, which is like a modern could be a thought of as a modern iteration of like ancient hysteria.
29:22 --> 29:30 [SPEAKER_00]: So it's hysteria not a thing actually in the in the DSM is the Duncan's Stevenson manual.
29:30 --> 29:31 [SPEAKER_00]: I don't know what it stands
29:34 --> 29:36 [SPEAKER_00]: like disorders and stuff.
29:36 --> 29:38 [SPEAKER_02]: Yeah, it's called the diagnostic and statistics manual.
29:39 --> 29:39 [SPEAKER_00]: Okay.
29:39 --> 29:41 [SPEAKER_02]: Ah, there's many versions of it.
29:41 --> 29:48 [SPEAKER_02]: So there was like the original DSM, but now we're on DSM 5TR, which so.
29:51 --> 30:02 [SPEAKER_02]: Every time there's a new DSM, which is a text revision, so they had DSM 5, and then they like noticed some typos in it, so they put out a text revision, essentially, very simplifying this topic.
30:02 --> 30:04 [SPEAKER_00]: You get it for free, or do you have to buy the whole thing?
30:04 --> 30:07 [SPEAKER_02]: You have to buy the whole thing, and it's like very, very expensive.
30:07 --> 30:09 [SPEAKER_00]: Is the DSM on a subscription model actually?
30:09 --> 30:09 [SPEAKER_00]: No, it's not.
30:10 --> 30:14 [SPEAKER_02]: They update like, it's a book, but you can get it online too, by the way.
30:15 --> 30:19 [SPEAKER_02]: They change, you know, like homosexuality used to be in the DSM, it's not anymore.
30:19 --> 30:23 [SPEAKER_02]: Like, hysteria probably used to be in the DSM, but it isn't now.
30:23 --> 30:32 [SPEAKER_02]: Now we would code hysteria as either histrionic personality disorder or borderline personality disorder.
30:33 --> 30:35 [SPEAKER_00]: Sneak peek for a couple episodes from now.
30:36 --> 30:36 [SPEAKER_00]: Okay, cool.
30:37 --> 30:43 [SPEAKER_02]: I'd love to talk you through like the, again, like the ancient origins of hysteria.
30:43 --> 30:53 [SPEAKER_02]: And like when a shift happened culturally that we started thinking like maybe hysteria isn't what we used to think and it is more like a biological disorder.
30:54 --> 31:01 [SPEAKER_02]: okay or something that happens like in our in our nervous system based on trauma like there's a lot of different iterations of this term hysteria.
31:02 --> 31:04 [SPEAKER_02]: So I'd love to give you like kind of a history lesson of that.
31:05 --> 31:12 [SPEAKER_00]: So colloquially though hysterical history it's like people use it to mean like freaking out.
31:13 --> 31:19 [SPEAKER_00]: That's kind of what colloquially if someone said why my person's hysterical they're like laughing hysterically or crying hysterically.
31:20 --> 31:22 [SPEAKER_00]: I have heard some some shit
31:24 --> 31:25 [SPEAKER_00]: about what this comes from.
31:25 --> 31:31 [SPEAKER_00]: Yeah, and I want you to fill in the details, but it's the root word for uterus or something.
31:31 --> 31:33 [SPEAKER_00]: Like, it's correct.
31:33 --> 31:34 [SPEAKER_00]: It's a lady.
31:34 --> 31:35 [SPEAKER_00]: It's a lady disorder.
31:35 --> 31:36 [SPEAKER_00]: It is a lady disorder.
31:36 --> 31:40 [SPEAKER_00]: When you say you don't mean 1800s, you mean like, like, Greeks or something.
31:40 --> 31:43 [SPEAKER_02]: Like, 1900 BCE, like Egypt's an ancient Greek.
31:43 --> 31:44 [SPEAKER_02]: Okay, go for it.
31:44 --> 31:44 [SPEAKER_02]: What do we got here?
31:45 --> 31:46 [SPEAKER_02]: They used to call it.
31:47 --> 31:49 [SPEAKER_02]: or think of it as like a wandering womb.
31:50 --> 31:53 [SPEAKER_02]: So a womb is we think of as a uterus, right?
31:53 --> 31:55 [SPEAKER_02]: Like where a baby grows inside them.
31:56 --> 31:57 [SPEAKER_02]: I have biological female body.
31:58 --> 32:00 [SPEAKER_02]: In ancient Egypt, so like 1900 BCE,
32:02 --> 32:23 [SPEAKER_02]: They attributed women's strange behaviors to the womb traveling around their bodies that it would like be floating around and that's what made women like she's got woman brain right now because she's brain that her just got wandering womb she's like essentially hysterical she's crazy woman with this wandering womb in her body later in ancient Greece.
32:24 --> 32:28 [SPEAKER_02]: Hippocrates, with the oath, right?
32:28 --> 32:37 [SPEAKER_02]: He coined the term, or came up with the phrase, hysteria, because he linked this wandering womb to this idyllic hysterectomy in like a female organs.
32:38 --> 32:44 [SPEAKER_02]: meaning that the uterus was an unankered organ that again traveled through the woman's body.
32:44 --> 32:48 [SPEAKER_02]: So this is, yeah, hypocrites and ancient Greece was like, this is what's happening.
32:48 --> 32:50 [SPEAKER_02]: This is why the ladies be crazy.
32:50 --> 32:52 [SPEAKER_00]: So he coined the term hysteria.
32:52 --> 32:54 [SPEAKER_00]: And he took a liar and he came up with a sick baseline.
32:58 --> 32:59 [SPEAKER_02]: Like hysteria.
33:00 --> 33:00 [SPEAKER_02]: Really much.
33:01 --> 33:07 [SPEAKER_02]: My pockety said that the womb was unankered in the woman's body when it lacked sex.
33:07 --> 33:11 [SPEAKER_02]: So the treatment for unankered womb.
33:12 --> 33:17 [SPEAKER_02]: or the rendering was marriage because that implies sex.
33:17 --> 33:18 [SPEAKER_02]: Okay, right?
33:18 --> 33:18 [SPEAKER_00]: Sure.
33:18 --> 33:26 [SPEAKER_02]: pregnancy because that meant that like you had had sex or what he said pelvic massage to fix the displaced organ.
33:27 --> 33:27 [SPEAKER_00]: Okay.
33:28 --> 33:29 [SPEAKER_02]: So it's just manual masturbation.
33:30 --> 33:40 [SPEAKER_00]: Okay, but that would be that would be a prescription biopocrates for the woman to do or that would be something that a licensed professional would
33:42 --> 33:44 [SPEAKER_02]: Oh boy, administer to the woman to fix her.
33:45 --> 33:45 [SPEAKER_00]: Wow.
33:45 --> 33:46 [SPEAKER_00]: Okay.
33:46 --> 33:48 [SPEAKER_02]: That's it's something.
33:48 --> 33:48 [SPEAKER_00]: But okay.
33:48 --> 33:50 [SPEAKER_00]: So that's that's ancient Greece.
33:50 --> 33:51 [SPEAKER_02]: That's ancient Greece.
33:52 --> 33:55 [SPEAKER_00]: What are they doing in like the Victorian era because we're weird about sex too.
33:55 --> 33:56 [SPEAKER_02]: Yes.
33:56 --> 33:59 [SPEAKER_02]: So Victorians not to fast for too much.
33:59 --> 34:00 [SPEAKER_02]: This is okay.
34:00 --> 34:07 [SPEAKER_02]: We can move on and it's very relevant because Victorians and you know super Christians were not that great about sex.
34:07 --> 34:10 [SPEAKER_02]: So they said that they all had wandering wool.
34:10 --> 34:12 [SPEAKER_02]: They all had wandering wool, but they were, if they did, they were witches.
34:13 --> 34:14 [SPEAKER_02]: They were just witches.
34:14 --> 34:15 [SPEAKER_02]: Yeah, right.
34:15 --> 34:16 [SPEAKER_00]: You just like literally died.
34:16 --> 34:17 [SPEAKER_00]: You were a witch.
34:17 --> 34:24 [SPEAKER_02]: If you were like a hysterical wandering wool woman, there was something religiously wrong with you and you were, uh...
34:24 --> 34:38 [SPEAKER_02]: They reframed hysteria as essentially witchcraft in the Middle Ages and then the Victorian era they diagnosed women with this wandering womb or hysteria if they showed independence and fatigue.
34:40 --> 34:44 [SPEAKER_00]: And they're prescription from taking care of 12 children or something like that.
34:44 --> 34:47 [SPEAKER_02]: But apparently dealing with the plague or whatever it is, they were corsets.
34:47 --> 34:49 [SPEAKER_02]: I don't know, whatever they were dealing with.
34:49 --> 34:50 [SPEAKER_00]: It seems awful.
34:50 --> 34:52 [SPEAKER_00]: 1830s is, yeah, tough time.
34:52 --> 34:54 [SPEAKER_00]: I think to be an English woman.
34:54 --> 34:54 [SPEAKER_02]: Right.
34:54 --> 34:59 [SPEAKER_02]: So their prescription wasn't pregnancy or sex.
34:59 --> 35:05 [SPEAKER_02]: Essentially, they prescribed isolation, bed rest, and lack of intellectual activity.
35:06 --> 35:08 [SPEAKER_02]: which honestly seems great.
35:08 --> 35:10 [SPEAKER_00]: That feels Victorian, though.
35:11 --> 35:11 [SPEAKER_02]: Sounds awesome.
35:11 --> 35:12 [SPEAKER_00]: Sit down, woman.
35:12 --> 35:14 [SPEAKER_02]: Be by yourself and you're better.
35:14 --> 35:14 [SPEAKER_02]: Don't do anything.
35:14 --> 35:14 [SPEAKER_02]: That's my dream.
35:14 --> 35:15 [SPEAKER_02]: Back of Intel it.
35:15 --> 35:27 [SPEAKER_00]: Yeah, you're weird, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're, you're
35:28 --> 35:28 [SPEAKER_02]: Okay.
35:28 --> 35:28 [SPEAKER_02]: Don't hide.
35:28 --> 35:31 [SPEAKER_00]: Don't mask your story and science had it right.
35:31 --> 35:32 [SPEAKER_00]: You're saying.
35:32 --> 35:36 [SPEAKER_02]: Well, I think that they were on to something that that's what a historical woman needs.
35:36 --> 35:39 [SPEAKER_02]: It's just like the time alone a brain break.
35:39 --> 35:40 [SPEAKER_02]: Give me give me a brain break.
35:41 --> 35:46 [SPEAKER_02]: So we're going to fast forward from the Victorian area to Freud Freud came up.
35:46 --> 35:52 [SPEAKER_02]: It was really the first one, even though he was a weirdo to go like, hey, wait a minute.
35:57 --> 36:05 [SPEAKER_02]: we should be talking about mental health in a way that isn't about which craft and the lack of orgasm.
36:05 --> 36:11 [SPEAKER_02]: Like we should talk about mental health is like actually rooted in our childhood experiences and rooted in trauma.
36:11 --> 36:14 [SPEAKER_02]: And I know I give Freud shit a lot for a bunch of reasons.
36:15 --> 36:21 [SPEAKER_02]: But a lot of his work on like how childhood matters makes a difference for how we currently think of psychology.
36:21 --> 36:26 [SPEAKER_02]: So, but the thing about hysteria with him, it was super gendered.
36:26 --> 36:30 [SPEAKER_02]: And it was hysteria's always been like a very gendered, quote, diagnosis.
36:30 --> 36:35 [SPEAKER_02]: Freud didn't do much to change that, but he did say that,
36:36 --> 36:41 [SPEAKER_02]: this female hysteria was related to trauma and its impact on the nervous system.
36:41 --> 36:51 [SPEAKER_02]: So that was what was making women, not only hysterical, but also have very severe physiological reactions to outside stimulus.
36:52 --> 36:59 [SPEAKER_02]: So there's a lot of like Freudian case studies about like a girl that hit her mother and then she'd lost feeling in her hand, right?
36:59 --> 37:04 [SPEAKER_02]: the trauma of that like reduced her nervous system reaction to be able to focus.
37:05 --> 37:08 [SPEAKER_02]: There's an interesting disorder in the DSM called conversion disorder.
37:09 --> 37:19 [SPEAKER_02]: It's very rare, but it's this idea that your body is having physical physiological reaction to mental illness that is unexplained by any other medical cause.
37:20 --> 37:27 [SPEAKER_02]: So I'll say I have a student a couple of years ago that had conversion disorder and if she felt very, very anxious,
37:28 --> 37:30 [SPEAKER_02]: Like very, very anxious, she would have seizures.
37:30 --> 37:32 [SPEAKER_02]: And they weren't fake seizures.
37:32 --> 37:34 [SPEAKER_02]: They were like real seizures.
37:34 --> 37:37 [SPEAKER_02]: Like you need and, you know, she could feel them coming.
37:38 --> 37:42 [SPEAKER_02]: She knew that they were happening, but it was rooted in her anxiety.
37:43 --> 37:45 [SPEAKER_02]: Like her mental health was so...
37:46 --> 37:49 [SPEAKER_02]: impacting to her nervous system that it just kind of frets down.
37:49 --> 37:52 [SPEAKER_00]: The seizures is just like her body's conversion.
37:52 --> 37:57 [SPEAKER_00]: Like somebody else could experience a different sort of manifestation of that.
37:57 --> 37:58 [SPEAKER_02]: Yeah, for sure.
37:58 --> 38:00 [SPEAKER_02]: It's a fictitious disorder.
38:00 --> 38:05 [SPEAKER_02]: Like a disorder that doesn't have any like medical basis, but you're having like a very, she, I,
38:06 --> 38:08 [SPEAKER_00]: She was having the seizures.
38:08 --> 38:09 [SPEAKER_02]: Yeah, absolutely.
38:09 --> 38:10 [SPEAKER_02]: She was having the seizures.
38:10 --> 38:12 [SPEAKER_00]: But is it always seizures, I guess, as well?
38:12 --> 38:13 [SPEAKER_02]: No, I don't think it's always seizures.
38:14 --> 38:15 [SPEAKER_02]: But that is a common presentation.
38:15 --> 38:19 [SPEAKER_00]: That must be so challenging for people when they're going to the doctor for something.
38:19 --> 38:20 [SPEAKER_02]: Well, yes.
38:20 --> 38:20 [SPEAKER_00]: You're running tests.
38:20 --> 38:24 [SPEAKER_02]: I mean, one day she came up to me in the hallway and she's like, is your office open?
38:24 --> 38:25 [SPEAKER_02]: I said, yeah, like, what's up?
38:25 --> 38:26 [SPEAKER_02]: She goes, I...
38:27 --> 38:35 [SPEAKER_02]: was exposed to a food on a allergic to I know I'm not going to have end of laxis, but I'm having like a really strong anxiety reaction to that exposure.
38:35 --> 38:36 [SPEAKER_02]: I have conversions disorder.
38:36 --> 38:39 [SPEAKER_02]: I know that I'm going to have a seizure in the next 10 minutes.
38:39 --> 38:40 [SPEAKER_02]: Wow.
38:40 --> 38:41 [SPEAKER_02]: I need to a soft plate.
38:41 --> 38:42 [SPEAKER_00]: Where can I be safe?
38:42 --> 38:43 [SPEAKER_02]: Where can I be safe?
38:44 --> 38:50 [SPEAKER_02]: And she said before she started fencing in my office, do not call an ambulance, which puts me in a really weird
38:51 --> 38:54 [SPEAKER_02]: ethical and legal situation in my institution.
38:56 --> 39:06 [SPEAKER_02]: What is fencing when like fencing means like when your body like has tremors or like you know when people with seizures they're like hands will like seize up tight and yeah that's called fencing.
39:06 --> 39:09 [SPEAKER_00]: Great position of privilege for me not to know that.
39:10 --> 39:15 [SPEAKER_00]: So my gosh, and yes, whatever whatever you do don't call the ambulance.
39:15 --> 39:15 [SPEAKER_00]: It's fine.
39:15 --> 39:19 [SPEAKER_02]: I was like get your mom on the phone right now It's what I said to I was like call your mom.
39:19 --> 39:25 [SPEAKER_02]: I need to I need someone to email me right now That I'm not to call an ambulance for you.
39:25 --> 39:29 [SPEAKER_02]: So I got her mom on the phone and her mom was like, oh She'll have a seizure.
39:29 --> 39:30 [SPEAKER_02]: It'll be fine.
39:30 --> 39:31 [SPEAKER_02]: Please don't call the ambulance.
39:31 --> 39:32 [SPEAKER_02]: We'll be in ER.
39:32 --> 39:36 [SPEAKER_02]: We'll be in children's hospital for days and we'll have to explain it.
39:36 --> 39:37 [SPEAKER_02]: Yeah, so
39:39 --> 39:41 [SPEAKER_02]: I was like, all right, was she under 18?
39:42 --> 39:44 [SPEAKER_02]: The student wasn't, she was over 18.
39:44 --> 39:45 [SPEAKER_00]: Okay.
39:45 --> 39:46 [SPEAKER_02]: So, which is something.
39:47 --> 39:47 [SPEAKER_02]: Yeah.
39:47 --> 39:52 [SPEAKER_02]: So, girl starts using the mom's like, she'll seize for a minute, she'll come out of it.
39:53 --> 40:02 [SPEAKER_02]: Then she'll start like talking gibberish and then she'll seize again and then come out of it and then she'll need, I'll call her roommate to come pick her up and take her home to sleep it off.
40:03 --> 40:04 [SPEAKER_02]: So, girl seized.
40:05 --> 40:06 [SPEAKER_02]: came out of it.
40:07 --> 40:24 [SPEAKER_02]: I ran down the hall to get my department chairs and I need another adult in the room with me right now like back here and he did she woke up and she started speaking like just saying names and I wrote the names down and then I still had her mom on the phone and she's like, Oh, those are all the names of her doctors.
40:24 --> 40:26 [SPEAKER_02]: that she's telling you the names of her doctors.
40:27 --> 40:27 [SPEAKER_01]: Wow.
40:27 --> 40:29 [SPEAKER_02]: Well, she's like kind of incoherent.
40:29 --> 40:30 [SPEAKER_02]: And then she sees, again.
40:30 --> 40:32 [SPEAKER_02]: And then yeah, her roommate came picked up.
40:32 --> 40:32 [SPEAKER_02]: She slept it off.
40:33 --> 40:36 [SPEAKER_02]: I emailed her later, filled out a ton of paperwork with my institution.
40:37 --> 40:40 [SPEAKER_02]: And my chair, awesome humanistic clinical psychologist.
40:41 --> 40:44 [SPEAKER_02]: As she's coming, Lucid, he's saying, we want to get you help.
40:45 --> 40:48 [SPEAKER_02]: Can you tell me that you're denying medical treatment right now?
40:48 --> 40:49 [SPEAKER_02]: You're denying us calling the ambulance.
40:50 --> 40:50 [SPEAKER_02]: Can you tell me that?
40:50 --> 40:52 [SPEAKER_02]: And he was really recording it on this phone.
40:52 --> 40:52 [SPEAKER_00]: Wow.
40:52 --> 40:53 [SPEAKER_02]: Oh, it was a while.
40:53 --> 40:53 [SPEAKER_00]: Art.
40:54 --> 40:54 [SPEAKER_00]: What a while.
40:54 --> 40:55 [SPEAKER_02]: Do you trust mine?
40:55 --> 40:57 [SPEAKER_02]: What do you do?
40:57 --> 40:57 [SPEAKER_00]: Situation.
40:57 --> 40:58 [SPEAKER_00]: Oh my gosh.
40:58 --> 41:02 [SPEAKER_02]: So, but that really gave me a great education about conversion disorder.
41:03 --> 41:06 [SPEAKER_02]: That is, you think of these things like, okay, yeah, sure.
41:06 --> 41:08 [SPEAKER_02]: Your anxiety is giving you seizures.
41:08 --> 41:11 [SPEAKER_02]: She's like, people don't understand it, but it's very real.
41:11 --> 41:12 [SPEAKER_00]: And I thought it was giving us, yeah.
41:13 --> 41:15 [SPEAKER_02]: Like, it was, she was having seizures.
41:15 --> 41:16 [SPEAKER_02]: Like, there's, she wasn't faking it.
41:16 --> 41:17 [SPEAKER_02]: Like, yeah.
41:17 --> 41:18 [SPEAKER_02]: Absolutely wasn't faking it.
41:19 --> 41:21 [SPEAKER_00]: So how does that relate to hysteria?
41:21 --> 41:27 [SPEAKER_00]: You're saying that that's like a modern thing that would back then, they would have said hysteria.
41:27 --> 41:30 [SPEAKER_00]: Now, it's a very, but then they would have said she's possessed.
41:31 --> 41:32 [SPEAKER_02]: Right.
41:32 --> 41:33 [SPEAKER_02]: It's witchcraft.
41:33 --> 41:33 [SPEAKER_02]: She's possessed.
41:33 --> 41:34 [SPEAKER_00]: Great.
41:35 --> 41:43 [SPEAKER_02]: And then Freud was like, Oh, no, this moment is based on her trauma or a kind of her anxiety, right?
41:43 --> 41:45 [SPEAKER_02]: And we can code that as hysteria.
41:45 --> 41:47 [SPEAKER_02]: Like, that's what hysteria really is.
41:47 --> 41:48 [SPEAKER_02]: It's not this womb wandering around.
41:48 --> 41:49 [SPEAKER_02]: That's stupid.
41:49 --> 41:50 [SPEAKER_01]: Right.
41:50 --> 41:57 [SPEAKER_02]: It's the fact that like your mental health is impacting your physical presentations so much that you're debilitated, right?
41:57 --> 41:57 [SPEAKER_02]: And you need rest.
41:58 --> 41:59 [SPEAKER_00]: Right.
42:00 --> 42:01 [SPEAKER_00]: hysteria stops being used.
42:01 --> 42:05 [SPEAKER_00]: It's not in the DSM, but stays on as colloquial.
42:05 --> 42:07 [SPEAKER_00]: Like, oh, that's hysterically, hysterically funny.
42:07 --> 42:08 [SPEAKER_00]: Or you are being hysterical.
42:08 --> 42:09 [SPEAKER_00]: Calm down.
42:09 --> 42:12 [SPEAKER_00]: Is it because it has the baggage?
42:13 --> 42:15 [SPEAKER_00]: So they get rid of it or is it because it
42:16 --> 42:31 [SPEAKER_00]: is imprecise like why didn't they just like for example conversion disorder could just be called his stereotype right like that seems like almost maybe what what Freud would have done did that or was that actually what it was for little while well what happened was a kind of split.
42:32 --> 42:36 [SPEAKER_02]: So this idea of hysteria kind of split into two directions.
42:37 --> 42:42 [SPEAKER_02]: One becomes this like factitious conversion disorder area, which is separate in the DSM, right?
42:42 --> 42:51 [SPEAKER_02]: That like things like munchausens or which is factitious disorder or factitious disorder by proxy, all of that like lives in one area of the same area.
42:51 --> 42:52 [SPEAKER_00]: We got to find some munchausen by pro.
42:52 --> 42:53 [SPEAKER_00]: I've seen sharp objects.
42:54 --> 42:54 [SPEAKER_00]: Sorry.
42:54 --> 42:57 [SPEAKER_00]: Is that a spoiler for that HBO miniseries?
42:57 --> 42:59 [SPEAKER_02]: There's, I mean, you got to be a song about it.
42:59 --> 43:00 [SPEAKER_00]: We can talk about that later.
43:00 --> 43:07 [SPEAKER_02]: But that like goes in one direction in the DSM of like body disorders, almost we can think of it for this podcast.
43:07 --> 43:07 [SPEAKER_02]: Okay.
43:07 --> 43:11 [SPEAKER_00]: And then that, you're saying though that was a split off of what was his territory.
43:11 --> 43:12 [SPEAKER_00]: Yes.
43:12 --> 43:17 [SPEAKER_02]: And then the other direction, what's the classification more towards personality?
43:17 --> 43:21 [SPEAKER_02]: That this idea of a hysterical female, right?
43:21 --> 43:24 [SPEAKER_02]: That essentially, that colloquial idea,
43:25 --> 43:32 [SPEAKER_02]: is coded in this DSM as histrionic personality disorder or borderline personality disorder.
43:32 --> 43:32 [SPEAKER_00]: Okay.
43:32 --> 43:36 [SPEAKER_02]: Now, we're going to talk about borderline personality disorder in another episode.
43:36 --> 43:36 [SPEAKER_00]: Okay.
43:36 --> 43:38 [SPEAKER_02]: So I'm not going to touch that right now.
43:38 --> 43:46 [SPEAKER_00]: I'm looking at the list of upcoming episodes in the next few weeks and I think I have an idea which one maybe we'll talk about that.
43:46 --> 43:49 [SPEAKER_02]: It's a reach, but I think we're going to take it again.
43:50 --> 43:51 [SPEAKER_00]: Okay.
43:51 --> 43:51 [SPEAKER_00]: Okay.
43:51 --> 44:00 [SPEAKER_02]: So, histrionic personality disorder in the DSM is coded as a, as it's named a personality disorder.
44:00 --> 44:01 [SPEAKER_02]: So that's something that's like,
44:02 --> 44:04 [SPEAKER_02]: deeply ingrained in a person.
44:04 --> 44:12 [SPEAKER_02]: Things like depression or anxiety or even like disdemeo, some disorders like can a sit on top of us, right?
44:12 --> 44:16 [SPEAKER_02]: Like depression like sits on top of a human or anxiety sits on top of a human.
44:16 --> 44:19 [SPEAKER_02]: OCD almost sits on top of a human.
44:20 --> 44:27 [SPEAKER_02]: But personality disorders are like deep rooted in us, which make them a little bit trickier to treat or through pharmaceuticals.
44:27 --> 44:36 [SPEAKER_00]: Are you saying it, and I, sorry if this is insensitive or something, but like some type of disorders are more about who you are.
44:36 --> 44:45 [SPEAKER_00]: They're baked into who you are as opposed to like, oh, I suffer from OCD, but like, oh, I am narcissistic, right.
44:45 --> 44:49 [SPEAKER_00]: I am that thing like it is who like is that one that would be a personality disorder.
44:49 --> 44:51 [SPEAKER_02]: Okay, and OCD is tricky to do.
44:51 --> 44:55 [SPEAKER_00]: I don't think I'm narcissistic.
44:55 --> 44:58 [SPEAKER_02]: If you were narcissistic, you wouldn't think you were narcissistic.
44:58 --> 44:59 [SPEAKER_02]: Okay, right.
44:59 --> 45:01 [SPEAKER_02]: That's why narcissists don't seek treatment because they're perfect.
45:02 --> 45:04 [SPEAKER_00]: Anyways, we're going to come back to the dark try at the end of time.
45:04 --> 45:05 [SPEAKER_00]: I'm trying to diminish cortex.
45:05 --> 45:10 [SPEAKER_02]: I mean, that's another thing that I need to say about OCD is OCD exists in two places in the DSM.
45:10 --> 45:17 [SPEAKER_02]: There's OCD, which is in like a mood disorder flavor, and then OCD, which is obsessive-compulsive personality disorder.
45:18 --> 45:18 [SPEAKER_02]: Okay.
45:18 --> 45:21 [SPEAKER_02]: Which like sits more in a person like Bob and what about Bob?
45:21 --> 45:22 [SPEAKER_00]: We, but that's a difference.
45:22 --> 45:24 [SPEAKER_00]: We can definitely talk about that in another episode.
45:24 --> 45:30 [SPEAKER_02]: I think so in order to diagnose things in this DSM, they give you like a long list of criteria.
45:31 --> 45:33 [SPEAKER_02]: And you don't need to meet every criterion.
45:34 --> 45:46 [SPEAKER_02]: So the core diagnostic for criteria for histionic personality disorder, there's eight items you only need to check off five boxes to be diagnosed with this.
45:47 --> 45:51 [SPEAKER_02]: So it's like a different combination of symptoms for everyone.
45:51 --> 45:52 [SPEAKER_02]: It looks different for a lot of people.
45:54 --> 45:54 [SPEAKER_00]: He's a histrionic.
45:55 --> 45:55 [SPEAKER_02]: histrionic.
45:55 --> 45:56 [SPEAKER_00]: OK.
45:56 --> 45:58 [SPEAKER_02]: So I'm going to read the eight diagnostic criteria.
45:58 --> 46:00 [SPEAKER_00]: And you've got five, you've got it.
46:00 --> 46:01 [SPEAKER_02]: If you've got five, you've got to get five.
46:01 --> 46:03 [SPEAKER_00]: And if you've got eight, you've got like a level 2.
46:03 --> 46:05 [SPEAKER_00]: If you've got three, you're like subclinical.
46:05 --> 46:06 [SPEAKER_02]: You're subclinical.
46:06 --> 46:06 [SPEAKER_02]: OK.
46:06 --> 46:07 [SPEAKER_00]: Cool.
46:07 --> 46:07 [SPEAKER_02]: I'm glad.
46:08 --> 46:09 [SPEAKER_02]: Wait.
46:09 --> 46:09 [SPEAKER_02]: Good language.
46:10 --> 46:10 [SPEAKER_02]: So...
46:11 --> 46:21 [SPEAKER_02]: As we're looking reading through this, we just need to be reminded of the gendered history of history, yeah, right.
46:22 --> 46:26 [SPEAKER_02]: Craterie one, center of attention feels uncomfortable in situations where they're not the center of attention.
46:26 --> 46:27 [SPEAKER_00]: Okay.
46:28 --> 46:34 [SPEAKER_02]: Number two, provocative behavior interacts with others often inappropriately sexually seductive or provocatively.
46:35 --> 46:46 [SPEAKER_00]: Number three shallow emotions display and sorry our all of these sorry we didn't get far our all of these assumed to be in a maladaptive way so like read that second one again
46:47 --> 46:50 [SPEAKER_02]: interactions with others are often inappropriately sexual, okay.
46:50 --> 46:51 [SPEAKER_02]: So in a program, we got it.
46:51 --> 46:51 [SPEAKER_00]: Okay.
46:51 --> 46:52 [SPEAKER_00]: Got it.
46:52 --> 46:54 [SPEAKER_02]: So also to pause.
46:55 --> 46:59 [SPEAKER_02]: This is like Barry 101 here, but for something to be clinically significant.
47:00 --> 47:03 [SPEAKER_02]: Any disorder, any mental health, any area of pathology.
47:04 --> 47:07 [SPEAKER_02]: It needs to negatively affect your life in multiple domains.
47:07 --> 47:23 [SPEAKER_02]: So it doesn't mean you're on the chart and it isn't like messing with your life at work or at school or at home like you're just This is just who you are and that's fine, but when it starts to like mess with stuff for you or impact you, that's when we say like you need support.
47:24 --> 47:27 [SPEAKER_00]: Okay, so center of attention, excessively flirty provocative behavior.
47:29 --> 47:45 [SPEAKER_02]: shallow emotions, displaying rapidly shifting or shallow expressions of emotion, the use of appearance constantly using physical appearance to draw our attention to themselves, vague speech, has a style of speech that is excessively impressionistic or lacks detail.
47:45 --> 47:47 [SPEAKER_00]: Can you give me an example of that?
47:47 --> 47:53 [SPEAKER_02]: Kind of like I think of it as like, this is not appropriate clinically, but like kind of like valley girl speech.
47:54 --> 47:55 [SPEAKER_00]: like you know whatever.
47:55 --> 47:56 [SPEAKER_02]: Like whatever.
47:56 --> 48:03 [SPEAKER_02]: It's or like really like just a different speech pattern that seems like it's talking and saying nothing.
48:03 --> 48:06 [SPEAKER_02]: Yeah, kind of with like a distinct tone.
48:06 --> 48:07 [SPEAKER_00]: That's really strange.
48:07 --> 48:08 [SPEAKER_00]: It's strange.
48:09 --> 48:15 [SPEAKER_02]: A lot of theatricality, self-dramatization, exaggerated expression of emotion.
48:15 --> 48:18 [SPEAKER_02]: Like they're acting, you know, they're performing all the time.
48:18 --> 48:19 [SPEAKER_02]: Someone that's very
48:24 --> 48:27 [SPEAKER_02]: And this is a big one for histrionic, is the misjudged intimacy.
48:28 --> 48:31 [SPEAKER_02]: Considerous relationships to be much more intimate than they actually are.
48:32 --> 48:33 [SPEAKER_00]: Interesting.
48:33 --> 48:38 [SPEAKER_00]: So we're seeing like a very, so people, people oversharing on a podcast, maybe would me?
48:39 --> 48:40 [SPEAKER_02]: No.
48:41 --> 48:48 [SPEAKER_02]: But like, I was trying to find some some examples of folks with history, I just sort of just share with you and to share with our listeners.
48:48 --> 48:51 [SPEAKER_02]: But I didn't like to use like real people, like, case studies and all that.
48:51 --> 49:00 [SPEAKER_02]: Right, like, so the example I have is Regina George from Mean Girls, you know, it's like another musical, not that you might not get.
49:00 --> 49:03 [SPEAKER_02]: That's, she's like the queen bee of all the Mean Girls.
49:03 --> 49:05 [SPEAKER_00]: Okay, and I was probably in college when I saw it.
49:05 --> 49:07 [SPEAKER_02]: Yeah, oh, like, I think our listeners would get that.
49:07 --> 49:08 [SPEAKER_02]: Yeah, I'm another.
49:09 --> 49:24 [SPEAKER_02]: People also say that Amber heard Johnny Depp's ex-wife during that trial came up that she was his strionic and that makes some people say that Michael Scott from the office display signs of his strionic personality disorder especially with thinking that the relationships are more important than they actually are.
49:24 --> 49:24 [SPEAKER_00]: Right.
49:26 --> 49:40 [SPEAKER_02]: So the most important thing to think about when we look at these criteria for his Australian personality disorder is it's very easy to when you're thinking of a character that displays these emotions to think of a woman for a lot of people.
49:41 --> 49:47 [SPEAKER_02]: It would be a tougher cell to diagnose a man with his journey personally, sort of based on how the criteria is precisely.
49:47 --> 49:51 [SPEAKER_00]: I think a lot of those the way they're written even if you had to choose
49:52 --> 49:55 [SPEAKER_00]: Is this a feminine trait or a masculine trait?
49:55 --> 50:00 [SPEAKER_00]: They're almost all ones that stereotypically are associated with feminine kind.
50:00 --> 50:03 [SPEAKER_00]: Like, maybe not all of them, but they're on any better, like...
50:04 --> 50:05 [SPEAKER_00]: calls to mine a dude.
50:05 --> 50:06 [SPEAKER_00]: And that's your point, right?
50:06 --> 50:14 [SPEAKER_02]: And not only that most of them kind of code more feminine, but they also code as like it's bad to be a woman like this.
50:14 --> 50:26 [SPEAKER_02]: If you're a man that like express a shallow affect, or uses theatrical speed, there are vague speech pathology for men, like we're just being a man in America, that you exhibit vague speech.
50:27 --> 50:35 [SPEAKER_02]: But it's different when it's a woman where there's like a gendered expectation and societal expectation to act a certain way or not act a certain way.
50:35 --> 50:45 [SPEAKER_02]: That to me roots histrionic personality is sort of as it currently stands to like Victoria and hysteria and she creates hysteria.
50:45 --> 50:52 [SPEAKER_00]: So obviously there are some things that are gendered right like postpartum depression is a female associated thing.
50:52 --> 50:56 [SPEAKER_00]: Testicular cancer is a male associated thing obviously.
50:57 --> 51:01 [SPEAKER_00]: Is this intended to be just something you would diagnose to women?
51:01 --> 51:04 [SPEAKER_00]: Or is it just a legacy has made it that way?
51:04 --> 51:08 [SPEAKER_00]: But it should be that you could, you could say Michael Scott from the office.
51:09 --> 51:09 [SPEAKER_00]: You could.
51:09 --> 51:10 [SPEAKER_02]: Yeah.
51:10 --> 51:13 [SPEAKER_02]: I think I'm not going to even speculate on that.
51:13 --> 51:14 [SPEAKER_02]: I'll just give you some statistics.
51:15 --> 51:20 [SPEAKER_02]: The percentage of the population that is coded is history-oriented sort of is a very small percentage of population.
51:20 --> 51:24 [SPEAKER_02]: But of that pile 82 percent are women.
51:24 --> 51:29 [SPEAKER_00]: Okay, so it's not supposed to be gendered and it totally is totally.
51:29 --> 51:30 [SPEAKER_00]: Yeah, that's really interesting.
51:30 --> 51:31 [SPEAKER_00]: Yeah, that's a massive.
51:31 --> 51:35 [SPEAKER_00]: That's not like 65, 352, you said.
51:35 --> 51:35 [SPEAKER_00]: Right.
51:36 --> 51:38 [SPEAKER_02]: They even tried to take it out of the DSM five.
51:39 --> 51:42 [SPEAKER_02]: They couldn't get peer review to agree that it should be removed.
51:43 --> 51:46 [SPEAKER_02]: They're trying to get removed for DSM six, which should come out.
51:47 --> 51:52 [SPEAKER_02]: around 2030, which isn't that far from today, like we think of 2030 as like the future.
51:52 --> 51:58 [SPEAKER_00]: So if you're listening to this podcast in four years, this might be totally out of date.
51:58 --> 52:07 [SPEAKER_02]: It might be, but it's very hard to get it removed because a lot of the folks that edit this, I mean it's not an even gender split.
52:07 --> 52:09 [SPEAKER_00]: their dudes maybe.
52:09 --> 52:10 [SPEAKER_02]: I don't know.
52:10 --> 52:11 [SPEAKER_02]: I'm also getting removed.
52:12 --> 52:12 [SPEAKER_02]: Yeah.
52:13 --> 52:25 [SPEAKER_00]: If you're under treatment for it and you have health insurance that's covering that treatment and it ceases to be a recognized condition would people.
52:25 --> 52:25 [SPEAKER_00]: You know what I mean?
52:25 --> 52:27 [SPEAKER_00]: Like, or would they rename it to something else?
52:27 --> 52:28 [SPEAKER_00]: And then you know, that's an interesting.
52:28 --> 52:33 [SPEAKER_02]: They would probably rename it to something else and just transfer
52:34 --> 52:49 [SPEAKER_02]: In fact, there's such a huge comorbidity, and I know we're not talking about BPD now, borderline personality disorder, but most of the people that are diagnosed with histionic personality disorder also hold a borderline personality disorder diagnosed.
52:49 --> 52:52 [SPEAKER_00]: So save our knowledge that we're moving for future conversations.
52:52 --> 52:54 [SPEAKER_02]: I'm huge amount of comorbidity between those two.
52:54 --> 52:54 [SPEAKER_02]: Wow.
52:55 --> 52:55 [SPEAKER_00]: Okay.
52:55 --> 52:57 [SPEAKER_00]: Which means having both?
52:57 --> 52:57 [SPEAKER_02]: Yes.
52:58 --> 53:02 [SPEAKER_00]: But you can't say, having both, just like I can't say, I can't say key change.
53:02 --> 53:03 [SPEAKER_00]: I need to say modulation.
53:03 --> 53:06 [SPEAKER_02]: Yeah, it just sounds, it sounds better.
53:06 --> 53:06 [SPEAKER_00]: Like I'm on the team.
53:08 --> 53:09 [SPEAKER_00]: Okay.
53:09 --> 53:09 [SPEAKER_02]: So that's what I got.
53:10 --> 53:13 [SPEAKER_02]: It's, yeah, like, usually we code someone with hysteria.
53:13 --> 53:31 [SPEAKER_02]: That's like hyperfeminine use a sexuality as a, as a manipulation and really seeks social control and uses like a sexuality and how they dress provocatively to like manipulate their social situations.
53:32 --> 53:34 [SPEAKER_02]: which we don't often see from a male presentation.
53:35 --> 53:36 [SPEAKER_00]: So how does that turn into?
53:36 --> 53:40 [SPEAKER_00]: So putting aside gender, I don't think this thing is gendered at all.
53:40 --> 53:46 [SPEAKER_00]: The most common parlance of using the word hysterical now is that is funny.
53:46 --> 53:47 [SPEAKER_00]: That is hysterical.
53:47 --> 53:49 [SPEAKER_00]: That movie is hysterical.
53:49 --> 53:50 [SPEAKER_00]: That person is hysterical.
53:51 --> 53:53 [SPEAKER_00]: And I do not think, I think...
53:54 --> 53:58 [SPEAKER_00]: You would hear somebody say she's being hysterical, meaning she's crying or freaking out.
53:58 --> 54:02 [SPEAKER_00]: That is gendered, but somebody saying something is funny, doesn't seem gendered.
54:02 --> 54:04 [SPEAKER_00]: And where does that come from?
54:04 --> 54:07 [SPEAKER_00]: Where does the funny movie this comic is hysterical?
54:08 --> 54:09 [SPEAKER_00]: Grow out of this at all?
54:09 --> 54:14 [SPEAKER_02]: I think it just kind of means like off-kilter and like kind of unexpected and out-of-pocket.
54:15 --> 54:15 [SPEAKER_00]: Yeah.
54:15 --> 54:17 [SPEAKER_02]: And that's what I see the connection.
54:17 --> 54:19 [SPEAKER_02]: It might not even be the same connection.
54:19 --> 54:20 [SPEAKER_02]: I don't know, but that's how I see it.
54:20 --> 54:23 [SPEAKER_02]: Like you think of a female acting out of pocket.
54:23 --> 54:23 [SPEAKER_00]: Yeah.
54:24 --> 54:30 [SPEAKER_02]: It's considered hysterical and something being so funny that like you're trying to control yourself.
54:30 --> 54:33 [SPEAKER_02]: You can't control yourself is hysterical.
54:33 --> 54:34 [SPEAKER_02]: So it's about that control.
54:34 --> 54:38 [SPEAKER_00]: And I would have never associated that more with women laughing hysterically.
54:39 --> 54:44 [SPEAKER_02]: Now a hysterical woman seems volatile and screaming and stuff.
54:44 --> 54:50 [SPEAKER_02]: Yeah, like as we think of it, or just like, you know, it's like female rage.
54:50 --> 54:52 [SPEAKER_00]: Are we going to have a moon song?
54:52 --> 54:53 [SPEAKER_00]: So we can talk about lunacy.
54:54 --> 54:55 [SPEAKER_00]: That's another one.
54:55 --> 54:57 [SPEAKER_00]: That's the same old crazy stuff.
54:57 --> 55:05 [SPEAKER_02]: I think so because you think of like moon cycles and the female cycle, females are in a 28 day home or a cycle and men are on a 24 hour home or a cycle.
55:05 --> 55:08 [SPEAKER_02]: Like in it's so clear, the patterns are so clear.
55:08 --> 55:11 [SPEAKER_00]: So they learn the text for solar, solar ticks solar.
55:11 --> 55:12 [SPEAKER_00]: Right.
55:12 --> 55:12 [SPEAKER_00]: Like our cycle.
55:12 --> 55:13 [SPEAKER_00]: Yeah.
55:13 --> 55:13 [SPEAKER_00]: Yeah.
55:13 --> 55:14 [SPEAKER_02]: You kind of are.
55:14 --> 55:24 [SPEAKER_02]: It's probably, you probably, you probably, the prototypical biological mail probably has a lot of energy and motivation until maybe around 2 in the afternoon.
55:25 --> 55:26 [SPEAKER_02]: And then it dips.
55:26 --> 55:29 [SPEAKER_02]: You've also probably, your prototypical biological mail.
55:30 --> 55:43 [SPEAKER_02]: a sexual cycle probably peaks early in the morning as your melatonin decreases your sexual cycle probably increases you probably want to have sex early in the morning then be super productive then have some food then take a nap and then like veg out.
55:43 --> 55:45 [SPEAKER_00]: All right, let's say it for the moon episode.
55:45 --> 55:48 [SPEAKER_00]: They can talk about monochrome by the Sundays or moon by turns.
55:49 --> 55:50 [SPEAKER_02]: That's something to talk about.
55:50 --> 55:51 [SPEAKER_02]: Cycle it.
55:51 --> 55:51 [SPEAKER_02]: Okay.
55:51 --> 55:51 [SPEAKER_02]: I don't know.
55:52 --> 55:53 [SPEAKER_00]: I don't know.
55:53 --> 55:56 [SPEAKER_00]: Before we talk about music, we can connect this crazy.
55:56 --> 56:00 [SPEAKER_00]: So they chose these three dudes chose to name this song.
56:00 --> 56:01 [SPEAKER_02]: Yeah, it's weird.
56:01 --> 56:08 [SPEAKER_00]: Let's read the lyrics and see if we can connect this idea to what I kind of think of as a song about obsession, right?
56:08 --> 56:08 [SPEAKER_00]: So.
56:09 --> 56:12 [SPEAKER_00]: It's bugging me, no, it's bugging me.
56:13 --> 56:15 [SPEAKER_00]: Graving me and twisting me around.
56:16 --> 56:19 [SPEAKER_00]: Yeah, I'm endlessly caving in and turning inside out.
56:20 --> 56:22 [SPEAKER_00]: Because I want it now, I want it now.
56:22 --> 56:24 [SPEAKER_00]: Give me your heart and your soul.
56:24 --> 56:25 [SPEAKER_00]: And I'm breaking out.
56:25 --> 56:28 [SPEAKER_00]: I'm breaking out last chance to lose control.
56:29 --> 56:36 [SPEAKER_00]: It's holding me more fing me and forcing me to strive to be endlessly cold within and dreaming I'm alive.
56:37 --> 56:39 [SPEAKER_00]: And then it's the I want it now again.
56:39 --> 56:41 [SPEAKER_00]: And then later, I want you now.
56:42 --> 56:43 [SPEAKER_00]: I want you now.
56:43 --> 56:44 [SPEAKER_00]: I feel my heart implode.
56:44 --> 56:48 [SPEAKER_00]: And I'm breaking out of escaping now, feeling my faith erode.
56:49 --> 56:49 [SPEAKER_00]: That's the least part.
56:50 --> 56:50 [SPEAKER_02]: Oh, which way, man?
56:50 --> 56:51 [SPEAKER_02]: It's beautiful.
56:52 --> 56:53 [SPEAKER_00]: But is it hysteria?
56:54 --> 56:59 [SPEAKER_00]: And which of the generations of the millennia of hysteria is being described by this song?
57:00 --> 57:05 [SPEAKER_02]: I mean, I think it's more like post-royed pre-now,
57:06 --> 57:30 [SPEAKER_02]: Okay, but also it's a really harsh me to say because when I think of hysteria, I only think of this like I only think well not only, but mostly think of his journey personality is sort of in like gendered interpretations of it is very hard for me to like separate that knowledge from this word hysteria, but when he says lose control or wanting you now like that
57:31 --> 57:35 [SPEAKER_02]: hangs to me towards like a histrionic presentation.
57:35 --> 57:36 [SPEAKER_00]: I have a hot take.
57:36 --> 57:37 [SPEAKER_02]: Okay, yes, please.
57:37 --> 57:40 [SPEAKER_00]: I don't think the guys in news knew any of that.
57:40 --> 57:42 [SPEAKER_00]: They wrote this on named it.
57:42 --> 57:53 [SPEAKER_00]: I think they wrote a song that's like about some kind of a relationship, maybe a toxic kind of a really ship and like a compulsion related to that.
57:54 --> 57:58 [SPEAKER_00]: and they reached for, I mean, these guys have a song called Stockholm Syndrome.
57:58 --> 58:01 [SPEAKER_00]: They reached for a term they'd kind of hurt.
58:01 --> 58:06 [SPEAKER_00]: I don't know that they were doing their ancient Egyptian wandering womb research.
58:06 --> 58:10 [SPEAKER_02]: I think the guys and users are actually clinical psychologists to mention.
58:10 --> 58:11 [SPEAKER_00]: It could be.
58:11 --> 58:16 [SPEAKER_00]: They have probably surprising depth I would think to their world experiences.
58:17 --> 58:17 [SPEAKER_00]: Are you looking up?
58:17 --> 58:17 [SPEAKER_02]: Yeah.
58:19 --> 58:34 [SPEAKER_00]: How many PhDs in the three guys in there like actually they they wrote the DSM and I mean they're queen adjacent right and Brian May famously was working as like a grad student or something in astrophysics All three members attended a community college in England.
58:34 --> 58:35 [SPEAKER_02]: That's where they met.
58:35 --> 58:40 [SPEAKER_02]: Yeah after winning a battle of the bands in 1994 they decided to quit their jobs.
58:40 --> 58:40 [SPEAKER_02]: Okay.
58:40 --> 58:41 [SPEAKER_02]: Get education.
58:41 --> 58:42 [SPEAKER_00]: So no.
58:42 --> 58:45 [SPEAKER_02]: No high-possessed.
58:45 --> 58:48 [SPEAKER_00]: They heard some podcasts or something in
58:48 --> 59:01 [SPEAKER_00]: To the, oh, wait, no, no podcast back then, they were listening to MPR on one of their trips to the United States and there was somebody Yeah, talking about on all things considered public areas Freud and there were like, let's name the song.
59:01 --> 59:01 [SPEAKER_00]: Okay.
59:01 --> 59:02 [SPEAKER_02]: Yeah.
59:02 --> 59:04 [SPEAKER_00]: So this is fascinating.
59:05 --> 59:07 [SPEAKER_00]: It may or may not relate directly to the song.
59:07 --> 59:07 [SPEAKER_02]: Whatever.
59:07 --> 59:08 [SPEAKER_00]: We'll figure it out.
59:08 --> 59:10 [SPEAKER_00]: But that was fascinating.
59:10 --> 59:12 [SPEAKER_00]: I think we should talk about the music now.
59:34 --> 59:42 [SPEAKER_00]: Okay, so like I said, I want to talk about melodies, and specifically something called a compound melody.
59:43 --> 59:46 [SPEAKER_00]: So what a compound melody is, is a single melody.
59:47 --> 59:59 [SPEAKER_00]: usually played by one instrument or a voice that sort of is built by two melodies being combined or is perceived as two melodies being combined.
01:00:00 --> 01:00:04 [SPEAKER_00]: So this is something where I'm going to do one of my way back machine things for a second.
01:00:05 --> 01:00:17 [SPEAKER_00]: used originally in a lot of violin music in particular in string music because if you want to make something challenging and impressive, string players can jump around from string to string.
01:00:18 --> 01:00:21 [SPEAKER_00]: And so you would have a lot of cello sweets or violin.
01:00:21 --> 01:00:25 [SPEAKER_00]: I'm going to play a violin partita by Bach that
01:00:26 --> 01:00:45 [SPEAKER_00]: you're trying to show off and so there's a lot of leaping around and so with all that leaping around it creates the effect of multiple parts happening at the same time even though we have a monophonic instrument which is to say an instrument that can only play one note at a time and you know violence can play multiple notes but generally you play one at a time unless you're a fiddle player than you play.
01:00:46 --> 01:01:01 [SPEAKER_00]: Okay, so this is violence and not a number one in G minor B w v 1 one the Fuga so this is around 1720 we're going to hear Augustine had a leaf a German American violinist playing
01:01:29 --> 01:01:31 [SPEAKER_00]: So, let me highlight what we're listening for.
01:01:31 --> 01:01:33 [SPEAKER_00]: There's lots of high notes and some low notes, right?
01:01:34 --> 01:01:35 [SPEAKER_00]: Try to listen to just the low notes.
01:01:36 --> 01:01:38 [SPEAKER_00]: They're going to make their own little melody.
01:01:51 --> 01:01:56 [SPEAKER_00]: Right, for example, I can't sing them, but for example, there's way out of my range, but the high notes, too.
01:02:04 --> 01:02:07 [SPEAKER_00]: It's the illusion of five-part harmony happening.
01:02:08 --> 01:02:10 [SPEAKER_00]: We clearly hear the bass, I think.
01:02:10 --> 01:02:11 [SPEAKER_00]: And we clearly hear the top voice.
01:02:11 --> 01:02:13 [SPEAKER_00]: And the other ones are maybe going by too fast.
01:02:13 --> 01:02:15 [SPEAKER_00]: It implies a full core progression.
01:02:15 --> 01:02:15 [SPEAKER_00]: Right.
01:02:15 --> 01:02:21 [SPEAKER_00]: But really what we're hearing is one melody that is almost built up of five different melodies that are, don't we?
01:02:21 --> 01:02:24 [SPEAKER_00]: We're not going to be diving in to five parts on the new stuff.
01:02:25 --> 01:02:29 [SPEAKER_00]: But it implies a core progression in shankarian analysis, which I mentioned.
01:02:29 --> 01:02:30 [SPEAKER_02]: Oh, you love that.
01:02:30 --> 01:02:30 [SPEAKER_00]: Very briefly.
01:02:30 --> 01:02:32 [SPEAKER_00]: I do I love that.
01:02:32 --> 01:02:32 [SPEAKER_00]: I don't know.
01:02:32 --> 01:02:38 [SPEAKER_00]: It's come up before they call this unfolding and another term that sometimes uses melodic vision.
01:02:38 --> 01:02:44 [SPEAKER_00]: Think about the vision, which is splitting the atom is nuclear vision, right?
01:02:44 --> 01:02:45 [SPEAKER_00]: Was splitting a melody.
01:02:46 --> 01:02:48 [SPEAKER_00]: in love two parts or in this case five parts.
01:02:48 --> 01:02:56 [SPEAKER_00]: So it's melodic vision and it makes sense in the muse context actually because we're a trio trying to make ourselves sound bigger than we are more instruments.
01:02:56 --> 01:03:03 [SPEAKER_00]: So this idea lends well to the sort of queen or muse where you've got a small band trying to make themselves sound like 12.
01:03:03 --> 01:03:05 [SPEAKER_02]: You know what Mark or Dream Hydra?
01:03:05 --> 01:03:26 [SPEAKER_00]: Would you even hide your a did it because we have a we did five part harmony by just jumping around and off that's good nice nice call back to like 40 minutes ago right okay so I really So it's hard to hear on the violin partita a little bit because it goes by so fast, but We've got one melody implying multiple lines.
01:03:26 --> 01:03:35 [SPEAKER_00]: So let's hear this in the context first of the riff we've already heard because there's so much jumping around maybe this is happening here too
01:03:47 --> 01:03:48 [SPEAKER_00]: It's hard because it goes by so fast.
01:03:49 --> 01:03:53 [SPEAKER_00]: But we have two alternate lines low, low, high, low, high, that kind of thing happening.
01:03:53 --> 01:03:55 [SPEAKER_00]: I'm going to see if I can follow the low part.
01:04:21 --> 01:04:21 [SPEAKER_00]: Right.
01:04:21 --> 01:04:22 [SPEAKER_00]: You can hear it's hard.
01:04:22 --> 01:04:22 [SPEAKER_00]: I can't.
01:04:22 --> 01:04:27 [SPEAKER_00]: It's hard to sing along because it's so crazy fast, but there are multiple melodies happening at the same time.
01:04:28 --> 01:04:30 [SPEAKER_02]: And there's like, oh, sorry.
01:04:30 --> 01:04:30 [SPEAKER_02]: There's like three.
01:04:31 --> 01:04:34 [SPEAKER_02]: There's like the low melody, the high melody and the melody, they create together.
01:04:35 --> 01:04:35 [SPEAKER_00]: Right.
01:04:35 --> 01:04:36 [SPEAKER_02]: Right.
01:04:36 --> 01:04:36 [SPEAKER_00]: Totally.
01:04:36 --> 01:04:38 [SPEAKER_00]: That's a good way to think about it.
01:04:38 --> 01:04:41 [SPEAKER_00]: I think and often I teach in your training class.
01:04:41 --> 01:04:41 [SPEAKER_00]: Right.
01:04:42 --> 01:05:06 [SPEAKER_00]: And with a complicated melody, we will often use the compound melody idea as a way to learn something hard because if a melody has tons of leaps like that baseline does or like the violin partita does, you're counting intervals all the time you like it's a six now it's a seven it's a fifth it's like hard, but if you just think of no it's too easy melodies and this music the bass line is not easy even and when you split it, but it can make things much easier to learn.
01:05:06 --> 01:05:13 [SPEAKER_00]: and also maybe more interesting, melodically, you can do something more complicated, melodically, and still make it make sense to the listener.
01:05:14 --> 01:05:21 [SPEAKER_00]: When we add the guitar riff, we can definitely sing this as two separate melodies also.
01:05:42 --> 01:05:54 [SPEAKER_02]: I just had like in a piffy moment, what I've been hearing previously as noise and too much clutter is really just compound melodies that I didn't understand.
01:05:55 --> 01:05:56 [SPEAKER_00]: They're often kind of complicated.
01:05:56 --> 01:05:57 [SPEAKER_00]: So can be a bit overwhelming.
01:05:57 --> 01:06:00 [SPEAKER_02]: I think you're like ear training me to appreciate.
01:06:01 --> 01:06:03 [SPEAKER_00]: music music.
01:06:03 --> 01:06:08 [SPEAKER_00]: So in this song, so the guitar riff, this is an easier to sing example.
01:06:08 --> 01:06:09 [SPEAKER_00]: We have two parts.
01:06:10 --> 01:06:16 [SPEAKER_00]: There's a bomb, bomb, bomb, bomb.
01:06:16 --> 01:06:17 [SPEAKER_00]: That's the low note and then above is.
01:06:22 --> 01:06:25 [SPEAKER_00]: There's that bendy note, and that note, that one never changes, but the low one changes.
01:06:26 --> 01:06:32 [SPEAKER_00]: And sure, we hear them as one melody, but you almost can also hear a low guitar, high guitar as if it's two parts.
01:06:44 --> 01:06:46 [SPEAKER_02]: It's also like, I do hear it.
01:06:47 --> 01:06:53 [SPEAKER_02]: It seems like a very respectful way to make music as a band because everyone gets to do something.
01:06:53 --> 01:06:57 [SPEAKER_02]: And the basis isn't just like thumbing around, like supporting the guitarist.
01:06:57 --> 01:07:00 [SPEAKER_00]: It's definitely a band where the bass player gets a lot of fun things to do.
01:07:00 --> 01:07:00 [SPEAKER_00]: Right.
01:07:00 --> 01:07:06 [SPEAKER_02]: Like everyone's kind of doing something and contributing and together, it is really collaborative.
01:07:07 --> 01:07:23 [SPEAKER_00]: Yeah, I don't know that compound melodies have to be a part of that, but you could it could be a way to fill space with fewer forces and that I think would have the knock on effect of maybe giving everybody a more complicated and more fun to play and maybe challenging parts.
01:07:24 --> 01:07:25 [SPEAKER_00]: I don't think that's always a good thing.
01:07:25 --> 01:07:27 [SPEAKER_02]: I think we should go see them live.
01:07:27 --> 01:07:29 [SPEAKER_02]: I think we should check and go talk to them.
01:07:29 --> 01:07:30 [SPEAKER_00]: I'm surprised I haven't.
01:07:31 --> 01:07:31 [SPEAKER_00]: Look.
01:07:32 --> 01:07:32 [SPEAKER_00]: I'm not surprised.
01:07:33 --> 01:07:51 [SPEAKER_00]: Look, I'm not surprised because I was into them when I lived in L.A. And as I've talked about, I was so over-concerted when I lived in L.A. Because of being a grad student and having to go to all this, like, I would, you know, be playing a show and then a guy I knew had a band that was in a show and I would go there and I had to go to the Obo recital of the grad student I was going to school with.
01:07:52 --> 01:07:53 [SPEAKER_00]: And my own recital, like, I-
01:07:53 --> 01:07:57 [SPEAKER_00]: when it came to like a concert I really wanted to do that would also cost me 80 bucks.
01:07:57 --> 01:07:59 [SPEAKER_00]: I'd be like no thanks.
01:07:59 --> 01:08:02 [SPEAKER_00]: I've got to go to a concert tomorrow and sucks.
01:08:02 --> 01:08:03 [SPEAKER_00]: I missed a lot of good music.
01:08:03 --> 01:08:08 [SPEAKER_00]: So this does happen in the vocal and this is going to be a possibility anytime we have
01:08:09 --> 01:08:11 [SPEAKER_00]: successive leaps in a melody.
01:08:11 --> 01:08:22 [SPEAKER_00]: So if you have one leap, it doesn't really happen, but anytime you've got like a low note, and then ba, and then another low note, and then ba, you're gonna perceive sometimes at least multiple melodies happening at once.
01:08:22 --> 01:08:25 [SPEAKER_00]: So here we have the verse vocal line.
01:08:45 --> 01:09:02 [SPEAKER_00]: Yeah, so there's a little ambiguity here because we clearly have a lower line and a higher line until the last phrase and maybe they join because it's bugging great and twist and so I don't know if that twisting counts because it's bugging and then maybe
01:09:08 --> 01:09:10 [SPEAKER_00]: So I don't know how to handle that twisting, right?
01:09:10 --> 01:09:13 [SPEAKER_00]: When you listen, is it buggin' and then me?
01:09:13 --> 01:09:14 [SPEAKER_00]: Separate melody.
01:09:14 --> 01:09:15 [SPEAKER_00]: Great and me.
01:09:16 --> 01:09:17 [SPEAKER_01]: Twistin'.
01:09:17 --> 01:09:18 [SPEAKER_00]: Is that the low part?
01:09:19 --> 01:09:20 [SPEAKER_00]: Probably, right?
01:09:20 --> 01:09:20 [SPEAKER_01]: Yeah.
01:09:20 --> 01:09:22 [SPEAKER_02]: But if you put that twistin' me.
01:09:22 --> 01:09:22 [SPEAKER_02]: The vision.
01:09:23 --> 01:09:24 [SPEAKER_00]: the vision.
01:09:24 --> 01:09:28 [SPEAKER_00]: I think it still sounds like melodic vision, right?
01:09:28 --> 01:09:32 [SPEAKER_00]: So yeah, it's happening in the base, even though it's really fast.
01:09:32 --> 01:09:37 [SPEAKER_00]: It's very much happening in the next hour, very much happening in the vocal line.
01:09:37 --> 01:09:48 [SPEAKER_00]: And if this song is about in obsession, there's something with all these jumps and stuff that feels very tense and it's very beautiful, but also very kind of stressful a little bit.
01:09:48 --> 01:09:50 [SPEAKER_00]: And I don't know if that has anything to do with it.
01:09:51 --> 01:09:53 [SPEAKER_00]: hysteria though, but maybe it's suitable.
01:09:53 --> 01:09:53 [SPEAKER_00]: I don't know.
01:09:53 --> 01:09:59 [SPEAKER_00]: Beautiful and stressful sounds like a woman with something is drawing personality.
01:09:59 --> 01:10:06 [SPEAKER_02]: So the people, yeah, sounds like the woman with histionic personality disorder, but I don't, the thing is, she doesn't have to be beautiful.
01:10:06 --> 01:10:08 [SPEAKER_02]: She just has to perceive herself as beautiful.
01:10:08 --> 01:10:09 [SPEAKER_00]: Which we all should.
01:10:09 --> 01:10:10 [SPEAKER_02]: We all should.
01:10:10 --> 01:10:11 [SPEAKER_02]: So why is it?
01:10:11 --> 01:10:11 [SPEAKER_02]: How is it?
01:10:12 --> 01:10:12 [SPEAKER_02]: Yeah, it's sad.
01:10:12 --> 01:10:13 [SPEAKER_00]: Okay.
01:10:13 --> 01:10:35 [SPEAKER_00]: How would it hurt your like if I'm I'm trying to take your definition or whatever before where it has to be maladaptive It has to hurt your life to have an overinflated sense of your own attractiveness does that have if you're a dick about it That would be bad, but it is yeah, you have to have one of the other things at all So no you just have to like you know put other people yeah put other people down
01:10:35 --> 01:10:46 [SPEAKER_02]: They're not as, quote, beautiful as you, or maybe like over prioritized your personality in the social group, or even thing like, you know, I don't know, not that this is just your honor by any stretch.
01:10:46 --> 01:10:50 [SPEAKER_02]: But like, you need to be front and center in every photo because you're the most beautiful person.
01:10:50 --> 01:10:53 [SPEAKER_02]: And like, and you put other people out of the way to get that.
01:10:53 --> 01:10:54 [SPEAKER_00]: It's how you deal with it.
01:10:54 --> 01:10:55 [SPEAKER_00]: It's how you deal with it.
01:10:55 --> 01:10:55 [SPEAKER_00]: It's how you deal with it.
01:10:55 --> 01:10:56 [SPEAKER_02]: It's how you deal with it.
01:10:58 --> 01:11:02 [SPEAKER_02]: and every single way, just like Pink said, words can't bring us down.
01:11:03 --> 01:11:04 [SPEAKER_02]: Or is that Christina Eguilaera?
01:11:05 --> 01:11:06 [SPEAKER_00]: Oh, I think that is Christina.
01:11:06 --> 01:11:07 [SPEAKER_00]: Yeah.
01:11:07 --> 01:11:09 [SPEAKER_00]: We should talk about Pink because I want it.
01:11:09 --> 01:11:10 [SPEAKER_00]: She's so good.
01:11:10 --> 01:11:17 [SPEAKER_00]: She has some really good songs and I really don't know how to pronounce a exclamation point when it's used instead of eye pink.
01:11:17 --> 01:11:18 [SPEAKER_00]: Is it pink?
01:11:18 --> 01:11:19 [SPEAKER_00]: But that's pink.
01:11:19 --> 01:11:22 [SPEAKER_00]: No, but the escalation point is where the eyes are.
01:11:22 --> 01:11:23 [SPEAKER_02]: She's like flying around.
01:11:23 --> 01:11:24 [SPEAKER_02]: It's come back to it.
01:11:24 --> 01:11:25 [SPEAKER_00]: Look at that.
01:11:25 --> 01:11:26 [SPEAKER_00]: It's flying around.
01:11:26 --> 01:11:27 [SPEAKER_02]: It's all over the place.
01:11:27 --> 01:11:27 [SPEAKER_02]: And stage.
01:11:28 --> 01:11:32 [SPEAKER_02]: She sings and like whatever, whatever, pink is very talented.
01:11:32 --> 01:11:33 [SPEAKER_00]: Pink is very talented.
01:11:34 --> 01:11:36 [SPEAKER_02]: And I think we'll... And famously not history on it.
01:11:37 --> 01:11:37 [SPEAKER_00]: Okay.
01:11:37 --> 01:11:38 [SPEAKER_00]: What about the rest of the song?
01:11:38 --> 01:11:39 [SPEAKER_00]: All right.
01:11:39 --> 01:11:41 [SPEAKER_00]: So here's the chorus of the song.
01:11:41 --> 01:11:43 [SPEAKER_00]: Does this fit with a compound melody?
01:12:06 --> 01:12:08 [SPEAKER_00]: Not really, because the notes are all close together.
01:12:09 --> 01:12:13 [SPEAKER_00]: I want it, now I want it, now they're all a step or a third or whatever.
01:12:13 --> 01:12:16 [SPEAKER_00]: So it doesn't really have that vibe, the guitar and bass under it kind of does.
01:12:17 --> 01:12:21 [SPEAKER_00]: So really it's just the verse in this section that does it for the vocals.
01:12:21 --> 01:12:26 [SPEAKER_00]: But all of the song instrumentally really does feature this.
01:12:26 --> 01:12:27 [SPEAKER_00]: So a few more examples.
01:12:28 --> 01:12:28 [SPEAKER_00]: And then we'll move on.
01:12:29 --> 01:12:30 [SPEAKER_00]: So this is the bridge.
01:12:30 --> 01:12:33 [SPEAKER_00]: So we're going to have once again a repeated bottom line.
01:12:34 --> 01:12:35 [SPEAKER_00]: But this time a lot of movement on the top.
01:12:36 --> 01:12:40 [SPEAKER_00]: So the guitar part before we had the movement happening on the bottom and the top line was repeating.
01:12:41 --> 01:12:41 [SPEAKER_00]: So let's see what they're doing here.
01:12:55 --> 01:12:57 [SPEAKER_00]: Not going to try to sing each part too fast.
01:12:57 --> 01:12:57 [SPEAKER_00]: It's cool though.
01:12:58 --> 01:13:01 [SPEAKER_00]: It's the same kind of deal as the baseline really right just a different different notes.
01:13:02 --> 01:13:05 [SPEAKER_00]: How about that guitar solo we got a good one in this song.
01:13:27 --> 01:13:29 [SPEAKER_00]: Trying to decide if I want to try to sing a lot.
01:13:30 --> 01:13:48 [SPEAKER_00]: It's deafened because everything is elite, budderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderderder
01:13:55 --> 01:14:03 [SPEAKER_02]: right here it it's really hard for me to hear it okay even like this whole time you're like singing along I'm like where is he finding those to sing along
01:14:05 --> 01:14:25 [SPEAKER_00]: It's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard, it's hard
01:14:27 --> 01:14:32 [SPEAKER_00]: I don't have to listen to it again, and I'm doing a lot of hand motions to try to help by the way.
01:14:32 --> 01:14:33 [SPEAKER_02]: It's not helping.
01:14:33 --> 01:14:34 [SPEAKER_00]: So interesting.
01:14:34 --> 01:14:34 [SPEAKER_00]: You can't.
01:14:34 --> 01:14:35 [SPEAKER_00]: You struggle to hear it.
01:14:35 --> 01:14:36 [SPEAKER_00]: I want to get things started.
01:14:36 --> 01:14:37 [SPEAKER_00]: What about in the?
01:14:37 --> 01:14:40 [SPEAKER_02]: Like if I start on sheet music or something.
01:14:40 --> 01:14:41 [SPEAKER_00]: What about when it was in the vocal line?
01:14:43 --> 01:14:50 [SPEAKER_02]: It's easier for me when it's a vocal line because I like attach to lyrics like I can isolate it more.
01:14:51 --> 01:14:59 [SPEAKER_02]: When it's music something that happens in my head it's just kind of it's organized but it's just like smushes together and like an organized way that's very hard for me.
01:14:59 --> 01:15:03 [SPEAKER_00]: You're perceiving the whole but not the separate parts maybe we need more ear training.
01:15:04 --> 01:15:12 [SPEAKER_00]: I wonder, this is hard for me to wrap my head around because this is not a thing I knew about before I had training in this musician.
01:15:12 --> 01:15:20 [SPEAKER_00]: So it's like, I'm wondering, listeners, is this like, what are you staring at one of those magic I think I can see it?
01:15:20 --> 01:15:23 [SPEAKER_00]: I'm just wondering, are the listeners going to write in and be like,
01:15:24 --> 01:15:28 [SPEAKER_00]: Yeah, I hear this and you're like, I'm just a casual music fan.
01:15:28 --> 01:15:29 [SPEAKER_00]: I don't know what the hell you're talking about.
01:15:29 --> 01:15:30 [SPEAKER_02]: Like, I like it.
01:15:30 --> 01:15:31 [SPEAKER_02]: It's or it makes sense.
01:15:31 --> 01:15:31 [SPEAKER_02]: It doesn't.
01:15:31 --> 01:15:32 [SPEAKER_00]: You understand.
01:15:32 --> 01:15:33 [SPEAKER_00]: I understand.
01:15:33 --> 01:15:36 [SPEAKER_02]: I understand theoretically very well what you're saying.
01:15:36 --> 01:15:38 [SPEAKER_02]: There's moments that I can hear it.
01:15:39 --> 01:15:42 [SPEAKER_02]: But when you sing along with a part, I'm like, where?
01:15:43 --> 01:15:45 [SPEAKER_02]: I was like, is he making it out?
01:15:45 --> 01:15:47 [SPEAKER_00]: I feel like I would need to use like an AI tool.
01:15:48 --> 01:15:54 [SPEAKER_00]: to make it louder or something like or like I sometimes do if I played along on the piano got it.
01:15:55 --> 01:15:57 [SPEAKER_00]: Yeah, I'm trying that with my voice and it's not helping.
01:15:58 --> 01:15:59 [SPEAKER_00]: That's interesting.
01:15:59 --> 01:16:04 [SPEAKER_02]: I don't know because the voice I just hear your voice differently than I hear the instruments is interesting.
01:16:04 --> 01:16:04 [SPEAKER_00]: Yeah.
01:16:05 --> 01:16:06 [SPEAKER_02]: And maybe it's me.
01:16:06 --> 01:16:12 [SPEAKER_00]: I don't think it's, I don't think it's, I don't think it's necessarily a, I mean, it's a bummer maybe.
01:16:13 --> 01:16:19 [SPEAKER_00]: You understand what, like, this win, this is what went into making these parts, so it's happening.
01:16:20 --> 01:16:22 [SPEAKER_02]: Yeah, I, I recognize it's happening.
01:16:22 --> 01:16:27 [SPEAKER_00]: If you could trust that it's happening and it's an interesting conversation, maybe that's okay, but I'm hoping that.
01:16:27 --> 01:16:31 [SPEAKER_00]: Every listener isn't like, this episode doesn't really work.
01:16:31 --> 01:16:32 [SPEAKER_00]: Let's go to three X speed.
01:16:32 --> 01:16:36 [SPEAKER_00]: I'm paying for premium now, so I can listen to YouTube at three.
01:16:36 --> 01:16:37 [SPEAKER_02]: It's a really interesting thing.
01:16:38 --> 01:16:41 [SPEAKER_02]: And let me see if I can make this connection.
01:16:42 --> 01:16:46 [SPEAKER_02]: We think about like diagnostic criteria and how we code mental illness, right?
01:16:46 --> 01:16:50 [SPEAKER_02]: It is more or as much an art as a science.
01:16:50 --> 01:16:53 [SPEAKER_02]: Like we can look at the diagnostic criteria on paper.
01:16:54 --> 01:17:10 [SPEAKER_02]: And you can say, oh yeah, like Michael Scott fits the criteria for history on like whatever, but you kind of just have to see it in someone and you just have to have clinical intuition and instinct and clinical knowledge and training to like be like that's what this is.
01:17:10 --> 01:17:11 [SPEAKER_02]: That's not BPD that's history.
01:17:11 --> 01:17:15 [SPEAKER_00]: But also you've got a bias to perceive it in women or whatever.
01:17:15 --> 01:17:21 [SPEAKER_00]: So I have maybe a bias to perceive this kind of melody because of what I my training is and whatever.
01:17:21 --> 01:17:21 [SPEAKER_00]: And like you
01:17:22 --> 01:17:47 [SPEAKER_02]: performed a muesong and you know what goes into melody making for them and you may be trained students with this and you know you've had more time to work in this motif so it makes it easier for you to recognize just like for me because I've had more time to work in the motif of mental health I know a student in front of me that's going through depression you can almost smell it on them right you just feel anxiety if I I can see someone across
01:17:51 --> 01:17:56 [SPEAKER_02]: You know what to look for, but I mean for this, you just know what to look for more than me.
01:17:56 --> 01:17:57 [SPEAKER_00]: I love that.
01:17:57 --> 01:18:02 [SPEAKER_00]: This is like the opposite of for all the drama in our doctor's drape episode.
01:18:02 --> 01:18:05 [SPEAKER_00]: I was like, so we're going to talk about internal rhyme.
01:18:05 --> 01:18:06 [SPEAKER_00]: You're like, yeah, I get it.
01:18:06 --> 01:18:08 [SPEAKER_00]: I was like, internal rhyme is when you're like, I get it.
01:18:08 --> 01:18:10 [SPEAKER_02]: Yeah, we don't need to listen to the song.
01:18:11 --> 01:18:12 [SPEAKER_00]: I get it episode over.
01:18:12 --> 01:18:14 [SPEAKER_00]: Whereas now you're like, we've been talking about this for how long you're like, how
01:18:16 --> 01:18:17 [SPEAKER_00]: I can't really tell.
01:18:18 --> 01:18:19 [SPEAKER_02]: I can't hear it.
01:18:20 --> 01:18:23 [SPEAKER_02]: I can't hear it in the in the level of detail that you can.
01:18:24 --> 01:18:27 [SPEAKER_00]: Yeah, and that's not that's not weird.
01:18:27 --> 01:18:27 [SPEAKER_02]: That's not weird.
01:18:28 --> 01:18:28 [SPEAKER_00]: Let's.
01:18:28 --> 01:18:29 [SPEAKER_00]: There's one more try.
01:18:29 --> 01:18:31 [SPEAKER_00]: This is the end of the guitar cell.
01:18:31 --> 01:18:31 [SPEAKER_00]: I'm not singing it.
01:18:32 --> 01:18:32 [SPEAKER_02]: Okay.
01:18:32 --> 01:18:33 [SPEAKER_00]: Try to listen.
01:18:33 --> 01:18:40 [SPEAKER_00]: I'm gonna say the top part of this guitar because it's gonna do like melody, dada, dada, dada, dada, dada, dada.
01:18:41 --> 01:18:46 [SPEAKER_00]: Try to ignore the bottom notes and just see if the top line makes a tune for you.
01:19:08 --> 01:19:21 [SPEAKER_00]: Yeah, absolutely does so you hear you hear that yeah, because it's actually when But you could kind of go boom That's what I was here.
01:19:21 --> 01:19:30 [SPEAKER_00]: I don't put but it's actually All of it now the notes are sustaining a bit, but it's all of it so that's interesting because of the altitude the range You're hearing that part sticking out
01:19:33 --> 01:19:36 [SPEAKER_00]: Whereas when it was jumping around more quickly, you're not perceiving it.
01:19:36 --> 01:19:45 [SPEAKER_02]: Yeah, and I also think to go back to what you said about the internal rhyme scheme and Dr. Dre, I think the reason I understood that so easily because it was about lyrics.
01:19:45 --> 01:19:49 [SPEAKER_00]: And I was looking at the direction 12th grade or whatever and they probably didn't.
01:19:49 --> 01:19:55 [SPEAKER_02]: And I read a lot of poetry and I like dissecting lyrics and poetry and sentences.
01:19:55 --> 01:19:58 [SPEAKER_02]: I just enjoy that work, not that I only enjoy this work.
01:19:58 --> 01:20:00 [SPEAKER_02]: It's just a different headspace.
01:20:01 --> 01:20:01 [SPEAKER_00]: All right.
01:20:01 --> 01:20:01 [SPEAKER_00]: So.
01:20:01 --> 01:20:02 [SPEAKER_02]: All right.
01:20:02 --> 01:20:03 [SPEAKER_02]: This is cool though.
01:20:03 --> 01:20:03 [SPEAKER_02]: That's the song.
01:20:03 --> 01:20:04 [SPEAKER_02]: Yeah.
01:20:04 --> 01:20:06 [SPEAKER_00]: Let's hear some examples of this.
01:20:06 --> 01:20:06 [SPEAKER_00]: Okay.
01:20:06 --> 01:20:07 [SPEAKER_00]: And now I'm fascinating.
01:20:07 --> 01:20:12 [SPEAKER_00]: We've got six examples of fascinating which ones and you know, some of these songs.
01:20:12 --> 01:20:13 [SPEAKER_00]: Maybe couple of songs.
01:20:15 --> 01:20:30 [SPEAKER_00]: Which one's can you perceive it so first some use this is won't stand down twenty twenty two This one's sort of simple I think because the lower note in the compound melody doesn't change So it's really a holding melody and then a changing melody on top
01:20:31 --> 01:20:34 [SPEAKER_01]: I can perceive that because it's much more interesting.
01:20:34 --> 01:20:35 [SPEAKER_01]: Very simple, too.
01:20:35 --> 01:20:49 [SPEAKER_01]: Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da
01:20:59 --> 01:21:01 [SPEAKER_00]: And he goes higher and higher and higher.
01:21:01 --> 01:21:05 [SPEAKER_02]: Yeah, for my, yeah, it's like you're starting to my little human, my teeny tiny human brain.
01:21:05 --> 01:21:06 [SPEAKER_00]: Great.
01:21:06 --> 01:21:06 [SPEAKER_00]: OK.
01:21:06 --> 01:21:07 [SPEAKER_02]: He's like a little puppet show.
01:21:08 --> 01:21:10 [SPEAKER_00]: This could have been an episode topic.
01:21:10 --> 01:21:11 [SPEAKER_00]: 2001's Stockholm Syndrome.
01:21:12 --> 01:21:14 [SPEAKER_00]: Again, the lower note doesn't change that much.
01:21:15 --> 01:21:19 [SPEAKER_00]: Also a very delightfully loud start to the core section.
01:21:20 --> 01:21:20 [SPEAKER_00]: Yeah.
01:21:20 --> 01:21:23 [SPEAKER_00]: Maybe I should pause and do a top five.
01:21:23 --> 01:21:23 [SPEAKER_00]: Nah.
01:21:23 --> 01:21:23 [SPEAKER_02]: No.
01:21:50 --> 01:21:51 [SPEAKER_00]: Could you hear it?
01:21:51 --> 01:21:51 [SPEAKER_02]: Not really.
01:21:51 --> 01:21:59 [SPEAKER_02]: I can hear like the lyric melody, I hear that, but not the other part.
01:22:00 --> 01:22:01 [SPEAKER_00]: That's it.
01:22:02 --> 01:22:03 [SPEAKER_00]: I mean, there's two lines lower and higher.
01:22:10 --> 01:22:14 [SPEAKER_00]: The bottom one is it's just that there's a leap and one of them is holding the other isn't.
01:22:14 --> 01:22:15 [SPEAKER_00]: It's not a melody on bottom really.
01:22:15 --> 01:22:16 [SPEAKER_00]: It's just a held note.
01:22:16 --> 01:22:17 [SPEAKER_02]: Yeah.
01:22:17 --> 01:22:17 [SPEAKER_00]: One more muse.
01:22:17 --> 01:22:19 [SPEAKER_00]: This is Mercy 2015.
01:22:20 --> 01:22:24 [SPEAKER_00]: The first half of the lower line doesn't move much and then gets much more active.
01:22:27 --> 01:22:49 [SPEAKER_01]: I fall in on the inside, I try to change the game I try to infiltrate, but now I'm busy Never come, so we seem to want to show Save me from the ghost's shell
01:22:54 --> 01:22:59 [SPEAKER_00]: Then it gets loud, but because then you've got the papada, the low and then the high.
01:22:59 --> 01:23:05 [SPEAKER_02]: He's really switching back here there, especially because the piano is kind of following the vocals a little bit and another kind of cold play.
01:23:05 --> 01:23:05 [SPEAKER_00]: It's a different one.
01:23:05 --> 01:23:06 [SPEAKER_02]: In fact, definitely cold play.
01:23:07 --> 01:23:12 [SPEAKER_02]: So moves like loves this shit, they do it all the time, this is like their whole thing.
01:23:12 --> 01:23:13 [SPEAKER_00]: They do it quite a bit.
01:23:14 --> 01:23:20 [SPEAKER_00]: A lot of malisma in Muse 2, which I think we can come back to where one word has a bunch of notes.
01:23:20 --> 01:23:22 [SPEAKER_00]: It's a fun word.
01:23:22 --> 01:23:23 [SPEAKER_00]: Yeah, complicated.
01:23:23 --> 01:23:27 [SPEAKER_02]: Do you have a singer songwriter or songs that have this for me?
01:23:29 --> 01:23:30 [SPEAKER_02]: Anything in my wheelhouse?
01:23:30 --> 01:23:31 [SPEAKER_00]: In your wheelhouse?
01:23:31 --> 01:23:34 [SPEAKER_02]: It would help me understand it more if I had samples I could relate to.
01:23:34 --> 01:23:34 [SPEAKER_00]: I think.
01:23:35 --> 01:23:38 [SPEAKER_00]: The Madolvin dance pop.
01:23:38 --> 01:23:39 [SPEAKER_00]: Oh, ozone.
01:23:39 --> 01:23:40 [SPEAKER_02]: Oh, I love them.
01:23:41 --> 01:23:42 [SPEAKER_00]: Dragon, stay, did you?
01:23:42 --> 01:23:43 [SPEAKER_00]: Yes.
01:23:43 --> 01:23:44 [SPEAKER_00]: 2003, does that count?
01:23:44 --> 01:23:45 [SPEAKER_00]: Is there a number one?
01:23:45 --> 01:23:46 [SPEAKER_00]: Number one.
01:23:46 --> 01:23:48 [SPEAKER_00]: This is essentially two melodies.
01:23:48 --> 01:23:48 [SPEAKER_00]: That's okay.
01:23:48 --> 01:23:49 [SPEAKER_00]: For Dragon's Day.
01:23:49 --> 01:23:50 [SPEAKER_02]: It should be three.
01:23:50 --> 01:23:51 [SPEAKER_02]: Three, three, one.
01:23:51 --> 01:23:54 [SPEAKER_00]: I feel like we've won any of these ever heard outside of Moldova, I think.
01:23:54 --> 01:23:56 [SPEAKER_00]: But this is very much a compound melody.
01:24:13 --> 01:24:14 [SPEAKER_00]: Clear singer songwriter there.
01:24:15 --> 01:24:17 [SPEAKER_00]: This is a band called Maylay.
01:24:17 --> 01:24:20 [SPEAKER_00]: This is 2004, song called The War.
01:24:20 --> 01:24:22 [SPEAKER_00]: All right, get to the melodies.
01:24:50 --> 01:24:54 [SPEAKER_02]: It's easier for me to hear that because I think because there's less distortion on it.
01:24:55 --> 01:24:58 [SPEAKER_02]: It just seems cleaner to me, even though it might not be.
01:24:58 --> 01:24:59 [SPEAKER_00]: That's really distorted.
01:24:59 --> 01:25:01 [SPEAKER_02]: I don't know, just it seems more crisp to me.
01:25:01 --> 01:25:03 [SPEAKER_02]: That's just used.
01:25:03 --> 01:25:03 [SPEAKER_00]: Yeah.
01:25:03 --> 01:25:04 [SPEAKER_02]: It's not examples.
01:25:04 --> 01:25:05 [SPEAKER_02]: And there is cluttered.
01:25:05 --> 01:25:10 [SPEAKER_00]: That there's one clear note because he's the high notes are more busy, but then the, yeah.
01:25:11 --> 01:25:18 [SPEAKER_00]: your world is one and then one one like he's moving that word one is always the same word two.
01:25:18 --> 01:25:23 [SPEAKER_02]: It's repetitive so I can let yeah it's repetitive so if I don't hear it the first time I can hear it at the second time.
01:25:23 --> 01:25:23 [SPEAKER_00]: All right.
01:25:23 --> 01:25:23 [SPEAKER_00]: All right.
01:25:23 --> 01:25:26 [SPEAKER_00]: Last example, this one maybe you do know.
01:25:26 --> 01:25:31 [SPEAKER_00]: This is the kid La Roy and Justin Bieber 2021.
01:25:31 --> 01:25:32 [SPEAKER_00]: Stay right.
01:25:33 --> 01:25:36 [SPEAKER_00]: So since the melody on bottom, much more
01:25:52 --> 01:25:53 [SPEAKER_02]: Oh yeah, thank you for that.
01:25:54 --> 01:25:54 [SPEAKER_02]: That's what I need him.
01:25:54 --> 01:26:04 [SPEAKER_02]: Yeah, I feel like a factory reset has happened inside my brain just listening to Justin Bieber's sweet sweet voice Plus a lot of other things.
01:26:04 --> 01:26:06 [SPEAKER_02]: Yeah, but he beaver does that a lot.
01:26:06 --> 01:26:09 [SPEAKER_00]: I feel like probably he's like a vocal acrobat
01:26:10 --> 01:26:12 [SPEAKER_02]: Baby, baby, baby, baby.
01:26:12 --> 01:26:13 [SPEAKER_02]: No, that's like, yeah, baby.
01:26:13 --> 01:26:15 [SPEAKER_00]: That's kind of, maybe there.
01:26:15 --> 01:26:16 [SPEAKER_00]: That's kind of that.
01:26:16 --> 01:26:16 [SPEAKER_00]: It's got a big leap.
01:26:16 --> 01:26:18 [SPEAKER_00]: That could be a compound of it.
01:26:18 --> 01:26:25 [SPEAKER_02]: But I think like, whenever he drops into a song, he'll do something like that, and you're like, oh, right, that's just gonna be where.
01:26:25 --> 01:26:26 [SPEAKER_00]: Yeah.
01:26:26 --> 01:26:27 [SPEAKER_02]: It just reminds us, all right.
01:26:28 --> 01:26:29 [SPEAKER_02]: That's his situation.
01:26:30 --> 01:26:32 [SPEAKER_02]: I have a Romeo and Juliet thing.
01:26:32 --> 01:26:32 [SPEAKER_00]: Okay.
01:26:33 --> 01:26:36 [SPEAKER_00]: So we're not done with this like a hundred minute long episode.
01:26:36 --> 01:26:38 [SPEAKER_02]: No, I just want more thing.
01:26:38 --> 01:26:48 [SPEAKER_02]: So I was thinking the whole time like, you know, we're coding his strionic and historias female, but in Romeo and Juliet, she wasn't even the most historical one.
01:26:49 --> 01:26:52 [SPEAKER_02]: She wasn't the most histionic character and it wasn't Romeo either.
01:26:52 --> 01:26:54 [SPEAKER_02]: It was Maccurio.
01:26:54 --> 01:26:55 [SPEAKER_00]: Mercuchio?
01:26:55 --> 01:26:57 [SPEAKER_00]: Mercuchio is he milk?
01:26:57 --> 01:26:58 [SPEAKER_00]: Mercurial?
01:26:58 --> 01:26:59 [SPEAKER_00]: Is that why?
01:26:59 --> 01:27:01 [SPEAKER_02]: Yes, that's where they get it from.
01:27:01 --> 01:27:02 [SPEAKER_00]: Slippery, right?
01:27:02 --> 01:27:07 [SPEAKER_02]: Slippery with this kind of devilish grin, I'm a curian smile.
01:27:07 --> 01:27:10 [SPEAKER_00]: I barely remember that play.
01:27:11 --> 01:27:11 [SPEAKER_02]: Ah, my girl.
01:27:11 --> 01:27:12 [SPEAKER_02]: My girl.
01:27:12 --> 01:27:17 [SPEAKER_02]: My cute show was like his when it was cousins or his buddies do, but he's like his second, right?
01:27:17 --> 01:27:19 [SPEAKER_02]: He's like his second and like kind of a wild card.
01:27:19 --> 01:27:25 [SPEAKER_00]: But they would never in Elizabethan times call him hysterical, because he's dude.
01:27:25 --> 01:27:27 [SPEAKER_00]: He was a dude in Italy.
01:27:28 --> 01:27:29 [SPEAKER_02]: When he dies, I'm the way.
01:27:30 --> 01:27:30 [SPEAKER_00]: They all die.
01:27:30 --> 01:27:31 [SPEAKER_02]: Yeah, no.
01:27:31 --> 01:27:32 [SPEAKER_02]: It's possible.
01:27:32 --> 01:27:33 [SPEAKER_02]: Yeah, I got a spoiler.
01:27:34 --> 01:27:35 [SPEAKER_02]: The nanny's just arrives.
01:27:35 --> 01:27:36 [SPEAKER_00]: Really?
01:27:36 --> 01:27:37 [SPEAKER_02]: I think she doesn't die.
01:27:37 --> 01:27:38 [SPEAKER_00]: The nanny's a bear, though.
01:27:39 --> 01:27:40 [SPEAKER_02]: Oh, that's what she had to do.
01:27:40 --> 01:27:49 [SPEAKER_02]: Get it straight.
01:27:50 --> 01:27:53 [SPEAKER_02]: Never mind when music is hosted by Nicole Batcher and hosted and produced by Mark Poppinny.
01:27:57 --> 01:28:04 [SPEAKER_02]: You can email us at nevermusicquaditchimal.com and give us a follow on social media.
01:28:04 --> 01:28:07 [SPEAKER_02]: Nevermind the music is also part of the lorehounds network.
01:28:07 --> 01:28:10 [SPEAKER_02]: Please join the conversation on their Discord server.
01:28:11 --> 01:28:12 [SPEAKER_02]: Thanks for listening.