Are the voices in your head auto-tuned? We start season 3 off with bang with Brtiney Spears’ 2007 electro-pop hit “Piece of Me.” Mark takes us through how the melodic outlines of this track’s robotic backing vocals help shape the song’s pacing. Nichole comes in hot with some fancy terms, looking at Britney’s challenges through the diathesis stress model. She also shares some unresolved anger over the 1991 coming-of-age drama “My Girl.”
Other music heard in this episode: Britney Spears - “Gimme More”, Britney Spears - “Toxic”, Britney Spears - “Alien”, Britney Spears - “I’m a Slave 4 U”
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00:00 --> 00:09 [SPEAKER_01]: After the sort of teen pop couple albums like everything I hear I like I wish I wasn't so full of myself earlier in my life So I could have listened to Britney Spears.
00:09 --> 00:11 [SPEAKER_00]: Yeah, I mean I still can I agree.
00:11 --> 00:12 [SPEAKER_01]: So I wish I got over it.
00:12 --> 00:25 [SPEAKER_00]: I wish you weren't Hey, I'm Mark.
00:25 --> 00:27 [SPEAKER_01]: Hey, I'm Nicole and this is
00:28 --> 00:30 [SPEAKER_00]: Oh my god, it's season three.
00:30 --> 00:31 [SPEAKER_00]: We don't know how it works.
00:32 --> 00:32 [SPEAKER_01]: Okay, let's try.
00:33 --> 00:34 [SPEAKER_01]: Let's do it.
00:34 --> 00:36 [SPEAKER_01]: And this is Nevermind.
00:36 --> 00:37 [SPEAKER_01]: The music.
00:37 --> 00:38 [SPEAKER_01]: Season three.
00:38 --> 00:39 [SPEAKER_01]: I'm excited.
00:39 --> 00:40 [SPEAKER_01]: Right here.
00:40 --> 00:43 [SPEAKER_00]: We are starting off with Nicole.
00:43 --> 00:45 [SPEAKER_00]: I would say a heavy hitter.
00:45 --> 00:47 [SPEAKER_01]: What are we going to talk about today, Mark?
00:49 --> 01:00 [SPEAKER_00]: Okay, not actually that song though when I'm talking about give me more though that will come up later We are talking about piece of me
01:19 --> 01:19 [SPEAKER_03]: Oh.
01:20 --> 01:26 [SPEAKER_00]: Does it feel weird just jumping in like, this is season three, should there be some big preamble?
01:26 --> 01:29 [SPEAKER_00]: I feel like we did that in our wrap-up episode.
01:29 --> 01:33 [SPEAKER_01]: Yeah, I feel like, you know, there's not like a break between our seasons.
01:33 --> 01:34 [SPEAKER_01]: They just kind of keep going.
01:34 --> 01:40 [SPEAKER_01]: So we're like putting this mile marker a season three, but listeners don't know they're just getting new updates every week.
01:40 --> 01:47 [SPEAKER_00]: So our seasons are more like the real life seasons than they are seasons of TV, where there's okay.
01:47 --> 01:48 [SPEAKER_00]: Periods, we don't like.
01:49 --> 01:52 [SPEAKER_00]: Like suddenly it feels like guests like spring.
01:52 --> 01:54 [SPEAKER_00]: It's late May, it finally feels like spring.
01:54 --> 01:58 [SPEAKER_01]: We're like in constant shoulder season and never mind the music.
01:58 --> 01:59 [SPEAKER_00]: What is shoulder season?
01:59 --> 02:03 [SPEAKER_01]: It's like those seasons in between like mud season and they're like, you know, it's not quite winter.
02:03 --> 02:05 [SPEAKER_01]: It's not quite spring.
02:05 --> 02:06 [SPEAKER_01]: It's like March.
02:06 --> 02:07 [SPEAKER_00]: I've never heard that term.
02:07 --> 02:08 [SPEAKER_01]: Yeah, it's a very New England.
02:08 --> 02:11 [SPEAKER_01]: They don't have seasons in California, so you probably don't know.
02:12 --> 02:12 [SPEAKER_00]: We do.
02:12 --> 02:16 [SPEAKER_00]: We have sunny and slightly cold at night, sunny.
02:16 --> 02:16 [SPEAKER_00]: We get a little breezy.
02:17 --> 02:21 [SPEAKER_00]: We have drought and fires, those are the two seasons.
02:21 --> 02:22 [SPEAKER_01]: Yeah.
02:22 --> 02:23 [SPEAKER_00]: Okay.
02:23 --> 02:27 [SPEAKER_00]: This topic, Brittany Spears, to me, it's almost too big.
02:28 --> 02:31 [SPEAKER_00]: So I kind of compare to sometimes what I do.
02:32 --> 02:33 [SPEAKER_00]: I'm not going to say I didn't prep.
02:33 --> 02:34 [SPEAKER_00]: Okay.
02:34 --> 02:38 [SPEAKER_00]: Because I always prep for these episodes, but I did not, I don't think we're going to do a
02:42 --> 02:56 [SPEAKER_00]: Yeah, I did listen through all of her singles and her no were these songs and all that of course I knew a lot of that beforehand, but to this day, I have never heard a actual Britney Spears album Like through to sort of like being sent.
02:57 --> 03:06 [SPEAKER_00]: I'm sure if you did the math There might be an album where I've heard most of the songs from it, but I have never listened to a Britney Spears album And that is rare for an episode we do yeah
03:06 --> 03:12 [SPEAKER_01]: I don't think I've ever listened to a Britney Spears album, I thought you were a fan of Britney Spears.
03:12 --> 03:21 [SPEAKER_01]: I'm a fan of Britney Spears, but maybe not her music more like her persona and her is like a case study.
03:21 --> 03:26 [SPEAKER_01]: Like I'm interested in Britney Spears, I like her music, I like that like sugary pop music.
03:27 --> 03:33 [SPEAKER_01]: But I'm interested in listening to her music overlaying on her lived experience and how it correlates.
03:33 --> 03:35 [SPEAKER_01]: Like that's enticing to me.
03:35 --> 03:40 [SPEAKER_01]: And I think that's the problem with Brittany is we are very voyeuristic around Britney Spears.
03:41 --> 03:41 [SPEAKER_00]: Yes, the culture.
03:42 --> 03:45 [SPEAKER_00]: I think that's probably going to be part of what we talked about today.
03:45 --> 03:46 [SPEAKER_01]: And that's what the song is about.
03:47 --> 03:48 [SPEAKER_00]: Yeah, exactly.
03:48 --> 03:51 [SPEAKER_00]: So I do recognize listeners some of you are probably fans.
03:51 --> 03:52 [SPEAKER_00]: I'm sure many of you are fans.
03:53 --> 04:00 [SPEAKER_00]: And I know probably albums Brittany and Blackout are probably the ones a musician like me showed experience.
04:00 --> 04:02 [SPEAKER_00]: Like those are where people were like,
04:04 --> 04:05 [SPEAKER_00]: sort of like Swedish teen pop.
04:05 --> 04:09 [SPEAKER_01]: She says that black out is her favorite album that she's made.
04:10 --> 04:15 [SPEAKER_00]: I think, or maybe I'm wrong, black out is the record that this song came from.
04:15 --> 04:24 [SPEAKER_00]: But you say sugary pop and I think that applies to the early phases less than the later or like even the era that this song comes from.
04:25 --> 04:29 [SPEAKER_00]: And I can say when Britney Spears first came out, it was definitely
04:30 --> 04:31 [SPEAKER_00]: No, me neither.
04:31 --> 04:32 [SPEAKER_00]: No surprise.
04:32 --> 04:38 [SPEAKER_00]: It was very much in my head kind of like the in sync back street boys, the team pop craze.
04:38 --> 04:38 [SPEAKER_00]: Yeah.
04:38 --> 04:42 [SPEAKER_01]: It was what I was like bucking against in terms of my identity.
04:42 --> 04:48 [SPEAKER_01]: Like I, I'm not a Britney Spears girl, like that's not what I was listening to at that time at all.
04:48 --> 04:56 [SPEAKER_01]: And in fact, I like looked down on her and Christina and all of that very like ultra feminine.
04:57 --> 05:05 [SPEAKER_01]: Like infantillization of girls in music like I was very not into that and even speaking like against it in my music in my listening
05:06 --> 05:06 [SPEAKER_01]: Yeah.
05:06 --> 05:10 [SPEAKER_00]: But in some ways, maybe call back to our guest Rob Harvella.
05:10 --> 05:13 [SPEAKER_00]: Like in some ways, this could be a, oh, we were being done.
05:13 --> 05:13 [SPEAKER_00]: Right.
05:13 --> 05:14 [SPEAKER_00]: There was good stuff there.
05:14 --> 05:15 [SPEAKER_00]: I think there was good stuff.
05:15 --> 05:18 [SPEAKER_00]: I don't, I don't exactly look back at oops, I did it again.
05:18 --> 05:20 [SPEAKER_00]: And go, gosh, it was a gem.
05:20 --> 05:20 [SPEAKER_00]: I missed it.
05:20 --> 05:20 [SPEAKER_00]: Right.
05:21 --> 05:24 [SPEAKER_00]: To me, it's really like, and I know maybe that's that's controversial.
05:24 --> 05:26 [SPEAKER_00]: But it's like the I'm a slave for you slash toxic.
05:26 --> 05:28 [SPEAKER_00]: That kind of vibe was my first went.
05:29 --> 05:30 [SPEAKER_00]: Well, this is actually pretty.
05:30 --> 05:30 [SPEAKER_00]: Yeah, for sure.
05:31 --> 05:32 [SPEAKER_00]: For me, I would say
05:35 --> 05:36 [SPEAKER_00]: I don't know why we're not doing that one.
05:36 --> 05:43 [SPEAKER_00]: There's something about this on that felt really good just because of the topic, it could be an intersection with some of, you know, and it's weird.
05:43 --> 05:51 [SPEAKER_00]: Like, I really have no idea what you're going to talk about and you only, I think, have a vague idea when I'm talking about because it's a little vague or than some of mine.
05:51 --> 05:56 [SPEAKER_00]: It doesn't have as obvious just like a one word that I can send you in a text message from my topic.
05:56 --> 06:01 [SPEAKER_00]: But the challenge, maybe part of why it take until the third season is like,
06:02 --> 06:11 [SPEAKER_00]: How do we talk about a song about the media's voyeurism and the paparazzi and all that without contributing to it?
06:11 --> 06:23 [SPEAKER_01]: Or without, with kind of having some sort of boundary about extrapolating this through the timeline of Britney Spears and think of the time in the place that she wrote this song and performed it.
06:23 --> 06:24 [SPEAKER_01]: She did not write this.
06:24 --> 06:25 [SPEAKER_01]: Well, whatever.
06:25 --> 06:26 [SPEAKER_01]: Well, you get it.
06:26 --> 06:26 [SPEAKER_01]: Like this.
06:26 --> 06:28 [SPEAKER_00]: No, I think that that's actually
06:29 --> 06:34 [SPEAKER_00]: I think important and I want to call that someone wrote it for her that or someone wrote it.
06:34 --> 06:37 [SPEAKER_00]: I'm pretty sure, I kind of want to come back to that, but that's cool.
06:37 --> 06:46 [SPEAKER_01]: But this idea that the notions expressed in this song directly correlate to where Brittany is today.
06:47 --> 06:53 [SPEAKER_01]: and it could read like a cautionary tale and we didn't help her.
06:54 --> 06:57 [SPEAKER_01]: Like she was kind of crying out being like, this isn't okay.
06:57 --> 06:58 [SPEAKER_01]: You're exploiting me.
06:58 --> 07:00 [SPEAKER_01]: And we were like, we're cool with it.
07:00 --> 07:04 [SPEAKER_01]: And now Brittany is where she is, which is depending on how you frame it.
07:05 --> 07:06 [SPEAKER_01]: may not be the healthiest space.
07:07 --> 07:22 [SPEAKER_01]: And I don't know how deep we're going to get into those topics today, about conservatorship and about mental illness and people needing protection from themselves because of their mental illness and what causes that illness in the first place.
07:23 --> 07:34 [SPEAKER_01]: That's what I plan to talk about today is something called the diathesis stress model in the things that kind of turn on or activate any mental illness that's kind of living inside of arguably all of us.
07:35 --> 07:36 [SPEAKER_01]: like what activates it.
07:36 --> 07:43 [SPEAKER_01]: So I think that there's a lot of correlation with just Britney Spears as a persona towards this diathesis stress model.
07:43 --> 07:49 [SPEAKER_01]: And if it was in her and what we did to activate it as a culture, that's where I'm going.
07:49 --> 07:50 [SPEAKER_01]: It's kind of a heavy.
07:50 --> 07:52 [SPEAKER_01]: Wow, I anything.
07:52 --> 07:54 [SPEAKER_00]: I think maybe this is one of those.
08:02 --> 08:03 [SPEAKER_00]: maybe I should go first.
08:03 --> 08:06 [SPEAKER_00]: I think you should just get it done kind of and it can kind of be.
08:07 --> 08:17 [SPEAKER_00]: I think the musical aspects touch on some of the extra musical and lyrical aspects of this and but it self-contained and we can keep it like with anything.
08:17 --> 08:19 [SPEAKER_00]: And then we'll see where the conversation goes out.
08:19 --> 08:26 [SPEAKER_01]: I love that because I have made a vow in season three to do more research and to do more prep.
08:26 --> 08:28 [SPEAKER_01]: So I actually know your topic and
08:31 --> 08:35 [SPEAKER_01]: Okay, just enough to make some connections to what I'm planning to talk about.
08:35 --> 08:36 [SPEAKER_01]: So that's amazing.
08:36 --> 08:43 [SPEAKER_00]: Yeah, no, I had already I've started out almost saying that I didn't do much research, but I felt bad about that.
08:43 --> 08:51 [SPEAKER_00]: And I had a feeling you were going to come armed with a new sense of, you know, we're at season three, you're halfway to getting 10 year on this podcast.
08:51 --> 08:51 [SPEAKER_00]: Right.
08:51 --> 08:54 [SPEAKER_00]: So you were like, I got three of you soon.
08:55 --> 08:57 [SPEAKER_00]: I have to do, I had a feeling you were going to do that.
08:57 --> 08:58 [SPEAKER_00]: So I had to do, I did some.
08:58 --> 08:58 [SPEAKER_00]: Okay.
08:59 --> 09:02 [SPEAKER_00]: auxiliary research just to make myself feel better.
09:02 --> 09:09 [SPEAKER_01]: And I also think Mark that you doing 50% last research and me doing 50% more research we will kind of meet in the middle.
09:09 --> 09:10 [SPEAKER_00]: So it's fun.
09:10 --> 09:11 [SPEAKER_00]: So I felt bad about that.
09:11 --> 09:13 [SPEAKER_00]: So I did an extra 10% so nice.
09:14 --> 09:15 [SPEAKER_00]: Here's what I got.
09:15 --> 09:15 [SPEAKER_00]: Okay.
09:16 --> 09:20 [SPEAKER_00]: This album came out blackout by Britney Spears on October 25th, 2007.
09:22 --> 09:28 [SPEAKER_00]: So, the research question was, what else happened on various October's 25th?
09:28 --> 09:30 [SPEAKER_01]: Yeah, important.
09:30 --> 09:38 [SPEAKER_00]: So, do you want to know, and you can tell me later how much this connects to what you wanted to talk about, 1415, October 25th.
09:38 --> 09:43 [SPEAKER_00]: Henry, the fifth beats France in the battle of Ashencore in the 100 years war.
09:43 --> 09:44 [SPEAKER_00]: That was a big one.
09:44 --> 09:46 [SPEAKER_00]: Yeah, lasted several years.
09:46 --> 09:48 [SPEAKER_00]: At least one year, rounding up to the years 100.
09:48 --> 09:48 [SPEAKER_00]: 1861.
09:51 --> 09:54 [SPEAKER_00]: 1861, the Toronto Stock Exchange is created.
09:55 --> 10:04 [SPEAKER_00]: Oh, 1875, Chikovsky's piano concerto number one in B-flat minor, Opus 23, premieres in Boston.
10:04 --> 10:08 [SPEAKER_01]: Oh, we live in Boston and that's your favorite Opus or something.
10:08 --> 10:08 [SPEAKER_00]: 23.
10:09 --> 10:11 [SPEAKER_00]: I guess in the top 50.
10:14 --> 10:20 [SPEAKER_00]: 1940, October 25th, Benjamin or Davis senior is named the first African American general of the U.S. Army.
10:20 --> 10:21 [SPEAKER_01]: Oh, that's cool.
10:22 --> 10:24 [SPEAKER_00]: Where'd it go?
10:24 --> 10:24 [SPEAKER_00]: 1968.
10:25 --> 10:27 [SPEAKER_00]: Soyuz II is launched by the Soviets.
10:28 --> 10:29 [SPEAKER_01]: I don't know what that is.
10:30 --> 10:31 [SPEAKER_00]: Probe.
10:32 --> 10:32 [SPEAKER_00]: Is it a pro?
10:33 --> 10:34 [SPEAKER_00]: No, there's people on Soyuz.
10:34 --> 10:37 [SPEAKER_00]: Yeah, it's a space thing.
10:37 --> 10:37 [SPEAKER_00]: Yes.
10:37 --> 10:38 [SPEAKER_00]: Space things.
10:38 --> 10:38 [SPEAKER_00]: Rocket.
10:39 --> 10:39 [SPEAKER_00]: Rocket with people.
10:44 --> 10:45 [SPEAKER_01]: Oh, okay.
10:45 --> 10:48 [SPEAKER_00]: 2001, Windows XP is released.
10:49 --> 10:49 [SPEAKER_01]: Game changer.
10:50 --> 10:51 [SPEAKER_00]: Everybody's still using Windows XP.
10:52 --> 10:53 [SPEAKER_01]: I think my university does.
10:54 --> 10:54 [SPEAKER_00]: I bet.
10:54 --> 10:55 [SPEAKER_00]: 2024.
10:55 --> 10:59 [SPEAKER_00]: Fill-ash, basis, and founding member of the Grateful Dead, passes.
10:59 --> 10:59 [SPEAKER_03]: Yeah.
11:00 --> 11:07 [SPEAKER_00]: So I wanted to extend the research in the joke and zoom in on October of 2007.
11:07 --> 11:16 [SPEAKER_00]: But I got as far as realizing that there were a bunch of actual deadly wildfires and so-called, that year, so I decided this didn't need to end, then we should get on with it.
11:16 --> 11:17 [SPEAKER_01]: Yeah, I appreciate that.
11:18 --> 11:19 [SPEAKER_00]: That's my research, so I at least,
11:20 --> 11:27 [SPEAKER_00]: If we're quantifying and not looking at the quality of a research, yeah, I am not dropping as much at the start of C3.
11:27 --> 11:32 [SPEAKER_00]: I was worried that my average, like the average of the season, it's like the batting average in the first day.
11:32 --> 11:34 [SPEAKER_00]: And if you missed your first three at bats, you have a zero.
11:34 --> 11:35 [SPEAKER_00]: I didn't want a zero.
11:35 --> 11:36 [SPEAKER_01]: Yes.
11:36 --> 11:37 [SPEAKER_00]: So I had to do some research.
11:37 --> 11:39 [SPEAKER_01]: Do you did research?
11:39 --> 11:40 [SPEAKER_01]: It is not.
11:40 --> 11:42 [SPEAKER_01]: It's reliable, but not.
11:43 --> 11:43 [SPEAKER_00]: Valid.
11:43 --> 11:43 [SPEAKER_00]: Not valid.
11:43 --> 11:44 [SPEAKER_00]: Yeah.
11:44 --> 11:45 [SPEAKER_00]: Because it doesn't like measure or it doesn't.
11:45 --> 11:45 [SPEAKER_00]: It doesn't.
11:45 --> 11:45 [SPEAKER_00]: It doesn't.
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11:54 --> 11:54 [SPEAKER_01]: It doesn't.
11:54 --> 11:54 [SPEAKER_01]: It doesn't.
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11:57 --> 11:57 [SPEAKER_01]: It doesn't.
11:57 --> 11:58 [SPEAKER_01]: It doesn't.
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11:58 --> 11:58 [SPEAKER_01]: It doesn't.
11:58 --> 11:58 [SPEAKER_01]: It doesn
11:59 --> 12:00 [SPEAKER_00]: Okay, so different conversation.
12:01 --> 12:18 [SPEAKER_00]: All right, so this song very much about her experiences with the paparazzi, the media general was though interestingly, and we'll see if this matters later, written by the Swedish producers, bloodshy and a Vaunt, okay, who that's their stage name, Christian Carlson and Pontus Windberg.
12:19 --> 12:24 [SPEAKER_00]: These guys also wrote Toxic, and other of her songs, so I guess because they long-time
12:28 --> 12:31 [SPEAKER_00]: Also on this song they worked with class all-in, who's also Swedish.
12:31 --> 12:33 [SPEAKER_00]: Do you remember the band that Teddy bears?
12:33 --> 12:33 [SPEAKER_00]: No.
12:34 --> 12:36 [SPEAKER_00]: So we did a side track with Alicia.
12:37 --> 12:37 [SPEAKER_00]: Okay.
12:37 --> 12:39 [SPEAKER_00]: Listen to a song called punk rap.
12:39 --> 12:40 [SPEAKER_01]: Oh, okay, right.
12:41 --> 12:43 [SPEAKER_00]: Iggy Pop on the Superman soundtrack.
12:43 --> 12:46 [SPEAKER_00]: He is one of the guys in Teddy bears.
12:47 --> 12:48 [SPEAKER_01]: Iggy Pop is?
12:48 --> 13:02 [SPEAKER_00]: Iggy Pop is the vocalist on that song but the band that did this original of version of the song and like the producers in the band playing in the song is the band called the teddy bears and class is one of the interesting dress like teddy bears was that it?
13:02 --> 13:03 [SPEAKER_00]: Yeah, totally.
13:04 --> 13:11 [SPEAKER_00]: So this song peaked at number 18, but I think of this as a pretty famous song, but obviously she has way more big hits.
13:12 --> 13:12 [SPEAKER_00]: Here are her number ones.
13:13 --> 13:14 [SPEAKER_00]: Tell me if there's any surprises here.
13:15 --> 13:20 [SPEAKER_00]: Baby one more time, womanizer, three, hold it against me and SNM.
13:20 --> 13:22 [SPEAKER_01]: Womanizer was a great song.
13:22 --> 13:23 [SPEAKER_00]: I know some of those more than others.
13:24 --> 13:25 [SPEAKER_00]: On this album, give me more.
13:25 --> 13:26 [SPEAKER_00]: Yeah.
13:26 --> 13:27 [SPEAKER_00]: Peak that number three.
13:27 --> 13:29 [SPEAKER_00]: So actually more, well known than this.
13:30 --> 13:32 [SPEAKER_00]: The album is interesting.
13:32 --> 13:45 [SPEAKER_00]: I think I don't want to get too far into this, but think of how big EDM got in the late 2000s and especially early 2010s, like dubstep bass in random pop songs and all that.
13:46 --> 13:47 [SPEAKER_00]: And think that this is 2007.
13:47 --> 13:47 [SPEAKER_00]: So.
13:48 --> 13:50 [SPEAKER_00]: And so the like electro pop,
13:51 --> 13:57 [SPEAKER_00]: kind of proto dubstep, very robotic sounding elements and a pop song.
13:57 --> 13:58 [SPEAKER_00]: This is very early for that.
13:58 --> 14:04 [SPEAKER_00]: And so this album is actually thought of as inspiring a lot of that and leaving the way.
14:04 --> 14:06 [SPEAKER_00]: I don't know how much of that is written.
14:06 --> 14:07 [SPEAKER_00]: He's aesthetic.
14:07 --> 14:10 [SPEAKER_00]: How much of that would be bloodshed and of aunt and the other collaborators.
14:10 --> 14:29 [SPEAKER_00]: But kind of an interesting piece of time because if you listen to this song now and you didn't know what year this album came at you might think of it almost is more like think even by like 2009 what have we got like party rock and all that stuff and like reanna songs but this game before all that before that by a couple of years.
14:29 --> 14:33 [SPEAKER_00]: And that that music all existed, but it wasn't really on the radio pop spectrum.
14:33 --> 14:40 [SPEAKER_01]: And maybe that's why the song was so popular because it was a new sound that people weren't that hadn't heard before.
14:40 --> 14:45 [SPEAKER_01]: But now we listen to it and we put it in a bin of other like auto tunes weish pop music.
14:46 --> 14:48 [SPEAKER_01]: But really this was ahead of its time and that.
14:48 --> 14:57 [SPEAKER_00]: Yeah, and there was obviously auto tune, which plays very heavily and the song was a big thing back then already, but just like the way it interacts with all the synths and stuff.
14:57 --> 15:05 [SPEAKER_01]: And Brittany's voice is really well suited for that type of treatment because it is like really, I don't know if you'd call it like have a vocal fry to it.
15:05 --> 15:05 [SPEAKER_01]: Totally.
15:05 --> 15:08 [SPEAKER_01]: But her voice is so distinct, like you.
15:08 --> 15:14 [SPEAKER_00]: Yeah, she doesn't do the vocal fry the like, that kind of thing is much in this song, I don't think.
15:15 --> 15:16 [SPEAKER_00]: It's kind of straightforward.
15:18 --> 15:47 [SPEAKER_00]: Dynamic humanity of the vocals a little bit because I think it's relevant So like okay, what I want to talk about this song is the melody and Specifically the interaction of the melody of Britney versus the melodies of the backing vocals and how they interact and That interaction and how it connects with the harmonies and the beat and how that may or may not reinforce the themes of the song of Okay, the paparazzi and
15:48 --> 16:00 [SPEAKER_00]: this kind of struggle to be independent versus your public persona and people intruding on it and the light and dark side of all of that public life.
16:01 --> 16:07 [SPEAKER_00]: So okay, let's start just by listening to Brittany sing the verse.
16:26 --> 16:27 [SPEAKER_00]: All right.
16:27 --> 16:28 [SPEAKER_00]: We've heard that verse.
16:29 --> 16:31 [SPEAKER_00]: We've heard musically and most of the verses.
16:31 --> 16:32 [SPEAKER_00]: Yeah, pretty much like that.
16:32 --> 16:38 [SPEAKER_00]: So this song is in the key of C sharp minor and she's basically just singing C sharp and B.
16:38 --> 16:40 [SPEAKER_00]: She's going back and forth very simple between
16:42 --> 16:51 [SPEAKER_00]: And pretty much, for honestly most of the song, you're either doing the one or the seven in the scale, that's it, right?
16:51 --> 17:01 [SPEAKER_00]: And I would say if feels like the verse is very first person, like her perspective, things are very descriptive of what she's experiencing, right?
17:02 --> 17:06 [SPEAKER_00]: And I would say that follows also into the second verse, yeah?
17:06 --> 17:07 [SPEAKER_01]: Yeah, for sure.
17:07 --> 17:19 [SPEAKER_01]: And it's like that I know jumping ahead of where we're getting at, but the background voice, it's almost like an inner monologue or like a second voice even though it's still her and it's really really interesting.
17:19 --> 17:28 [SPEAKER_00]: Yes, it's an interesting convention put it in that a little bit absolutely and also the background vocal is very distorted robotic in human.
17:28 --> 17:32 [SPEAKER_00]: And that is very much leading to what I want to talk about.
17:32 --> 17:32 [SPEAKER_00]: Cool.
17:32 --> 17:50 [SPEAKER_00]: And notice, though, her main vocal, if you just listen to the way she sings it, I mentioned it's not as vocal fry-ish at kind of raspy as previous Britney tunes, but also not mousey kind of like Janet Jacksony, like you would get in like toxic, just listen up just for a second to what she sounds like.
17:56 --> 18:02 [SPEAKER_00]: It's very heavily auto tuned, but still feels like Britney Spears or like humanity shows through that, right?
18:03 --> 18:12 [SPEAKER_00]: And I think that's not the case with that really low backing fold, right, which probably is her being pitch-shifted or maybe somebody else being pitch-shifted.
18:12 --> 18:14 [SPEAKER_00]: We'll talk about that in a second also.
18:14 --> 18:18 [SPEAKER_00]: So compare that to the sound we get in the chorus.
18:37 --> 18:44 [SPEAKER_00]: Compare compare their different how about her I think it's all her is that
18:45 --> 18:46 [SPEAKER_00]: It's not all her.
18:46 --> 18:51 [SPEAKER_00]: So we're supposed to put it, put it, put it, put a pin in that again, no, not put a pin in that.
18:51 --> 18:52 [SPEAKER_00]: They just came on a second.
18:53 --> 18:53 [SPEAKER_00]: Okay.
18:53 --> 18:54 [SPEAKER_00]: They could her lead vocal.
18:54 --> 18:55 [SPEAKER_00]: Okay.
18:55 --> 18:55 [SPEAKER_00]: Joy.
18:55 --> 18:57 [SPEAKER_00]: How is the lead vocal different from the verse?
18:57 --> 19:01 [SPEAKER_01]: Her lead vocal is just alternate between that C-sharp and B. Sam, right?
19:01 --> 19:02 [SPEAKER_01]: Right.
19:02 --> 19:03 [SPEAKER_00]: And the same tone, right?
19:03 --> 19:03 [SPEAKER_01]: Right.
19:03 --> 19:05 [SPEAKER_01]: It's very monotone.
19:05 --> 19:10 [SPEAKER_01]: It's very, it's not syncopated, it's very like staccato.
19:10 --> 19:15 [SPEAKER_01]: I always get them, they're trying to, they're so different, but I'm trying to do it right for season three.
19:16 --> 19:21 [SPEAKER_00]: So it is not syncopated, but it's just on the beat.
19:21 --> 19:22 [SPEAKER_00]: It's on the beat, right?
19:23 --> 19:23 [SPEAKER_00]: Totally.
19:23 --> 19:25 [SPEAKER_01]: And very monotone.
19:25 --> 19:26 [SPEAKER_00]: Yes.
19:26 --> 19:28 [SPEAKER_01]: And duo tone, right?
19:28 --> 19:28 [SPEAKER_01]: There's two notes.
19:28 --> 19:29 [SPEAKER_01]: She's doing it.
19:30 --> 19:34 [SPEAKER_00]: Not a lot of not very melodic right now, but she sounds still like her.
19:34 --> 19:35 [SPEAKER_00]: She sounds like her.
19:35 --> 19:35 [SPEAKER_00]: Yeah,
19:38 --> 19:38 [SPEAKER_01]: they don't.
19:38 --> 19:40 [SPEAKER_01]: Doesn't sound like her at all.
19:40 --> 19:41 [SPEAKER_00]: I don't sound like her.
19:41 --> 19:45 [SPEAKER_01]: And it's more like they have it has more of like an affect to it.
19:45 --> 19:47 [SPEAKER_01]: Like they're they don't.
19:47 --> 19:55 [SPEAKER_01]: In fact, she sounds more robotic in this duotone melody than the background vocal sound even though their their treatment is robotic.
19:55 --> 19:57 [SPEAKER_01]: But that's interesting.
19:57 --> 19:59 [SPEAKER_01]: But melodically, it's not being ghost.
19:59 --> 20:05 [SPEAKER_00]: So yeah, so first of all, those vocals, it's one of the producers, class, all-in.
20:05 --> 20:06 [SPEAKER_00]: Close is close.
20:06 --> 20:07 [SPEAKER_00]: Is that how we say that?
20:07 --> 20:08 [SPEAKER_01]: I guess the Swedish, I don't know.
20:08 --> 20:10 [SPEAKER_00]: I don't know how to close.
20:10 --> 20:11 [SPEAKER_00]: And it's also Robin.
20:12 --> 20:16 [SPEAKER_00]: So the female sounding one, the higher one, is the singer song writer.
20:16 --> 20:17 [SPEAKER_00]: So he's singer songwriter, Robin.
20:17 --> 20:18 [SPEAKER_01]: Oh, that's cool.
20:18 --> 20:20 [SPEAKER_00]: And then close does the key.
20:21 --> 20:26 [SPEAKER_00]: the male voice, and then in the verse, the second verse we're going to hear other voices that are actually bloodshye and a lot.
20:27 --> 20:28 [SPEAKER_00]: The other produces companies.
20:28 --> 20:31 [SPEAKER_00]: But that's really interesting and I didn't actually pick up on that myself.
20:32 --> 20:37 [SPEAKER_00]: Thank you that their voices sound way more robotic, but their lines.
20:38 --> 20:43 [SPEAKER_00]: Not their lines or now they're very auto tuned, but their lines are melodic.
20:43 --> 20:47 [SPEAKER_00]: They're seeing actual like if you ask me what's the melody of this song?
20:47 --> 20:48 [SPEAKER_00]: What's the hook?
20:48 --> 20:50 [SPEAKER_00]: It would be you want a piece of me?
20:51 --> 20:55 [SPEAKER_00]: You know and Brittany never sings that it's only close.
20:55 --> 20:57 [SPEAKER_00]: I guess you see that the mind robots
20:58 --> 20:59 [SPEAKER_00]: in a robo voice, right?
20:59 --> 21:11 [SPEAKER_00]: And so yeah, Brittany is basically just hitting on those two notes while they are very inhumanly processed, probably with Melodyne, which is a pitch correction software, not auto tune.
21:11 --> 21:12 [SPEAKER_00]: It's it's not auto.
21:13 --> 21:15 [SPEAKER_00]: You have to do it manually, right?
21:16 --> 21:17 [SPEAKER_01]: Brittany's such a puppet in the song.
21:17 --> 21:19 [SPEAKER_00]: Interesting, right?
21:19 --> 21:21 [SPEAKER_00]: Now, it almost sounds like
21:23 --> 21:32 [SPEAKER_00]: You want a piece of me, and then you want a piece of me, it almost sounds like they're directly melodically related to each other like, for example, one is the inversion of the other.
21:32 --> 21:33 [SPEAKER_00]: One is backwards or whatever.
21:33 --> 21:35 [SPEAKER_00]: It's not technically true.
21:35 --> 21:41 [SPEAKER_00]: None of them are directly related to each other like the same, but flipped or the same, but shifted up.
21:41 --> 21:47 [SPEAKER_00]: They're all slightly different, but they're all kind of similar broadly speaking, right?
21:47 --> 21:49 [SPEAKER_00]: Do any of these, listen again,
21:51 --> 21:55 [SPEAKER_00]: as being more weird, more striking.
21:55 --> 22:00 [SPEAKER_03]: I think they get increasingly more
22:19 --> 22:25 [SPEAKER_01]: not offkey, that's not the right word, but like increasingly more dissonant in some way as it progresses.
22:26 --> 22:35 [SPEAKER_01]: So the first is very conventional to me and really fits with what Brittany's saying, but slowly with like nobody knows they start to deviate as you work through that like four line progress.
22:35 --> 22:35 [SPEAKER_01]: Interesting.
22:36 --> 22:38 [SPEAKER_00]: And the last one is in fact offkey.
22:38 --> 22:39 [SPEAKER_01]: And it, like, feels it.
22:39 --> 22:40 [SPEAKER_00]: It doesn't have to.
22:40 --> 22:42 [SPEAKER_00]: And it's very in tune, but that.
22:42 --> 22:42 [SPEAKER_00]: No.
22:43 --> 22:43 [SPEAKER_00]: Yeah.
22:43 --> 22:44 [SPEAKER_01]: You want a piece.
22:44 --> 22:46 [SPEAKER_00]: That one note is weird.
22:46 --> 22:49 [SPEAKER_01]: And it like makes, it's, it's making me feel uncomfortable.
22:49 --> 22:50 [SPEAKER_01]: And I know it's meant to.
22:51 --> 22:51 [SPEAKER_01]: Yeah.
22:51 --> 22:52 [SPEAKER_01]: No, that's, that's John.
22:52 --> 22:53 [SPEAKER_00]: Definitely feels that way.
22:53 --> 22:54 [SPEAKER_01]: So it's very cool.
22:55 --> 22:58 [SPEAKER_00]: Interestingly, they're always an answer to Brittany, right?
22:58 --> 23:03 [SPEAKER_00]: She says, you know, like the eyes of the rich and famous or whatever it is, and then they come in.
23:03 --> 23:06 [SPEAKER_00]: So there, we have a four-cored loop essentially.
23:07 --> 23:10 [SPEAKER_00]: Go C sharp, E B F sharp.
23:10 --> 23:14 [SPEAKER_00]: They're all major, even though we're in a minor key here, including the C sharp chord, which is interesting.
23:14 --> 23:19 [SPEAKER_00]: But the little responses only happen on the second or fourth chord, right?
23:19 --> 23:23 [SPEAKER_00]: So Brittany's always on the first or the third chord.
23:23 --> 23:26 [SPEAKER_00]: This is the cycle that we're going to hear kind of underneath all of this.
23:35 --> 23:47 [SPEAKER_00]: And what I want to talk about, obviously this whole element of the robotic versus dehuman is a thread we're going to follow, but I also want to talk about how the dissonance evolves over those four and later in the song.
23:47 --> 23:52 [SPEAKER_00]: So you were hitting on it really well, that it feels almost like it's getting more out of key.
23:52 --> 23:58 [SPEAKER_00]: And I actually want to highlight another element that we've never talked about, which is the outline of a melody.
24:04 --> 24:10 [SPEAKER_00]: in the span of a melody or at least a part of a melody, you have the higher note, and you have the lowest note.
24:10 --> 24:21 [SPEAKER_00]: So you might have five notes, and Michael, bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop-bop
24:33 --> 24:40 [SPEAKER_00]: So oftentimes, songwriters and composers pay a lot of attention to what the outline is.
24:40 --> 24:44 [SPEAKER_00]: Like often in classical music, do you know what a tritone is?
24:45 --> 24:46 [SPEAKER_00]: It's a dissonant interval.
24:46 --> 24:46 [SPEAKER_00]: Like, yeah.
24:46 --> 24:50 [SPEAKER_00]: Bum, bum, bum, bum, bum, bum, bum, bum, bum.
24:50 --> 24:54 [SPEAKER_00]: That dissonant's augmented fourth or diminished fifth is called a tritone.
24:54 --> 24:54 [SPEAKER_00]: Okay.
24:54 --> 24:57 [SPEAKER_00]: People would say the devil's interval or whatever back in the day.
24:57 --> 24:59 [SPEAKER_00]: It's tri-tone because it's three whole steps.
25:00 --> 25:01 [SPEAKER_00]: It's very dissonant.
25:01 --> 25:07 [SPEAKER_00]: And so classical composers would often avoid the outline of their melody outlining a tri-tone.
25:07 --> 25:08 [SPEAKER_01]: I have a few questions.
25:08 --> 25:10 [SPEAKER_00]: Yeah, okay.
25:11 --> 25:17 [SPEAKER_01]: How is this outline of a melody different than the boundary of the key that you're writing in?
25:18 --> 25:18 [SPEAKER_00]: It's a great question.
25:19 --> 25:23 [SPEAKER_00]: So let's say you're in a major key, which this isn't, even though it has a bunch of major chords.
25:23 --> 25:24 [SPEAKER_00]: If you've got like,
25:25 --> 25:28 [SPEAKER_00]: One, two, three, four, five, six, seven, one.
25:29 --> 25:30 [SPEAKER_00]: You could write a melody.
25:31 --> 25:32 [SPEAKER_00]: That goes from one to five.
25:33 --> 25:36 [SPEAKER_00]: One, three, four, three, five, one.
25:37 --> 25:42 [SPEAKER_00]: And it outlines one, five, which is a perfect fifth, which is a nice, consonant, safe outline.
25:42 --> 25:48 [SPEAKER_00]: You could also stay completely within your key, and instead, your outline is between 4 and 7.
25:49 --> 25:57 [SPEAKER_00]: 4, 5, 6, 7, 4, 5, 6, 7, 4, 7, 4, 7, 4, what do I have?
25:57 --> 25:58 [SPEAKER_00]: I have a tritone.
25:58 --> 26:01 [SPEAKER_00]: And so you can have, you can be completely chilling on.
26:02 --> 26:11 [SPEAKER_00]: in your major key, super boring chords, but your melody, d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-
26:27 --> 26:28 [SPEAKER_00]: It's not like you've broken some rule.
26:29 --> 26:36 [SPEAKER_00]: It's that the outline, whether it's in the key or out of the key, could be a stable interval or an unstable interval.
26:37 --> 26:44 [SPEAKER_00]: You're way more often to see like fifths and sixths than octaves be in outline instead of ninths and sevenths.
26:45 --> 26:46 [SPEAKER_00]: Augmented fourths and things.
26:46 --> 26:49 [SPEAKER_01]: So an outline more applies to the melody.
26:49 --> 26:49 [SPEAKER_00]: 100%.
26:50 --> 26:51 [SPEAKER_01]: And the key is like the whole song.
26:52 --> 26:53 [SPEAKER_01]: Yeah, it'll live in this world.
26:53 --> 27:01 [SPEAKER_01]: And we just like put parentheses around a certain set of notes in that key to frame the melody.
27:01 --> 27:05 [SPEAKER_00]: You just literally look like if you were looking at the melody written out, you find the lowest note.
27:06 --> 27:06 [SPEAKER_01]: Mm-hmm.
27:06 --> 27:08 [SPEAKER_00]: You find the highest note within a phrase.
27:09 --> 27:11 [SPEAKER_00]: Is that interval pretty nice?
27:11 --> 27:12 [SPEAKER_01]: No, it's just like the lowest.
27:12 --> 27:13 [SPEAKER_01]: Or is it weird?
27:13 --> 27:13 [SPEAKER_01]: Yeah.
27:14 --> 27:19 [SPEAKER_00]: And it's way less common that the interval between the lowest and highest would be kind of weird.
27:19 --> 27:20 [SPEAKER_01]: I feel like in this song it's kind of weird.
27:21 --> 27:22 [SPEAKER_00]: Well, let's see, all right.
27:22 --> 27:23 [SPEAKER_00]: That's what we want to see.
27:23 --> 27:26 [SPEAKER_01]: So what's the like awesome music?
27:26 --> 27:30 [SPEAKER_00]: Maybe we're still still still an open question.
27:30 --> 27:32 [SPEAKER_00]: Sherry still here at the beginning of year three.
27:55 --> 28:01 [SPEAKER_00]: Brittany's outline, the outline of Brittany's melody for most of the song is two notes, which is a pretty straightforward.
28:01 --> 28:03 [SPEAKER_00]: There's not much to say there, nothing weird.
28:03 --> 28:13 [SPEAKER_00]: But let's examine each of our little riffs, each of these little melodic hooks, start with the first one, which I think is kind of the catchiest and the most singable.
28:15 --> 28:16 [SPEAKER_00]: So that's the first one.
28:17 --> 28:21 [SPEAKER_00]: And let's consider the outline of it, right?
28:21 --> 28:23 [SPEAKER_00]: The lowest and highest node.
28:23 --> 28:25 [SPEAKER_00]: So it's C sharp and a G sharp, which is a perfect fifth.
28:26 --> 28:28 [SPEAKER_00]: And this is happening in the second chord.
28:28 --> 28:35 [SPEAKER_00]: So it's happening in over an E. So that's a constant interval put on top of the E chord, which makes kind of a weird chord.
28:35 --> 28:42 [SPEAKER_00]: If you process the outline relative to C, but it's like a gentle dissonance we could say.
28:42 --> 28:44 [SPEAKER_00]: It's what we would call a sixth chord.
28:44 --> 28:46 [SPEAKER_00]: So what I'm going to play if you now is the melody.
28:47 --> 28:49 [SPEAKER_00]: Then I'm going to play the outline, the low note and the high note.
28:49 --> 28:51 [SPEAKER_00]: You're going to hear it's nice and stable.
28:51 --> 28:53 [SPEAKER_00]: And then I'm going to put the chord that it plays with.
28:53 --> 28:58 [SPEAKER_00]: And you'll hear it's kind of a gentle pulsing little jazzy dissonance.
29:01 --> 29:01 [SPEAKER_00]: Here's the outline.
29:06 --> 29:10 [SPEAKER_00]: And that's the harmony we hear with the outline happening.
29:10 --> 29:14 [SPEAKER_03]: Once again, this riff.
29:14 --> 29:16 [SPEAKER_00]: So overall, pretty stable.
29:16 --> 29:19 [SPEAKER_00]: Yeah, close is handling it.
29:19 --> 29:21 [SPEAKER_00]: Is it close or close?
29:21 --> 29:30 [SPEAKER_00]: No, I feel like K-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-L-A-
29:48 --> 29:51 [SPEAKER_01]: We, Lisa, fun fact.
29:51 --> 29:51 [SPEAKER_00]: Yeah, she.
29:51 --> 29:53 [SPEAKER_00]: She's a nice between.
29:53 --> 29:56 [SPEAKER_00]: She's in Germany and Sweden.
29:56 --> 29:58 [SPEAKER_00]: She's okay.
29:58 --> 29:58 [SPEAKER_00]: She does.
29:58 --> 29:59 [SPEAKER_00]: Yeah, no one's.
29:59 --> 30:03 [SPEAKER_00]: All right, Mark and the edit, first geography error of season three.
30:04 --> 30:07 [SPEAKER_00]: Netherlands isn't quite between Germany and Sweden.
30:07 --> 30:10 [SPEAKER_00]: I was close to what I was talking about Denmark, you know, those Nordic countries.
30:10 --> 30:16 [SPEAKER_00]: If you go from Germany and you pass through Netherlands, you're gonna end up in the North Sea or maybe, if you're lucky, Edinburgh.
30:17 --> 30:20 [SPEAKER_00]: Okay, okay, okay, what about the second one?
30:20 --> 30:25 [SPEAKER_00]: So here's the second riff, which is sort of like a reordering of the same melody.
30:28 --> 30:29 [SPEAKER_00]: Yeah.
30:29 --> 30:29 [SPEAKER_00]: Okay.
30:30 --> 30:31 [SPEAKER_00]: So what do we have here?
30:31 --> 30:33 [SPEAKER_00]: Well, the outline here is a minor sixth.
30:34 --> 30:45 [SPEAKER_00]: So a little bigger from a G sharp up to a higher E, but still a consonant interval still warm and let's listen to that and then we'll hear it against the chord.
30:49 --> 30:53 [SPEAKER_00]: There's that six, but it's happening over an F sharp chord.
30:53 --> 31:00 [SPEAKER_00]: So it actually creates a richer kind of weirder chord when you play it at the same time, a dominant nine, which is more intense than what we just heard.
31:03 --> 31:04 [SPEAKER_01]: Even the title dominant nine.
31:04 --> 31:07 [SPEAKER_00]: I mean, that's definitely not submissive nine.
31:07 --> 31:11 [SPEAKER_01]: No, it's a nine, it's such a strong number, too.
31:11 --> 31:12 [SPEAKER_00]: So this riff...
31:14 --> 31:17 [SPEAKER_00]: The outline is a little larger, but still like stable.
31:17 --> 31:19 [SPEAKER_00]: It's a six, not a fifth.
31:20 --> 31:25 [SPEAKER_00]: But it hits with the harmony in a way that suggests a little more tension, right?
31:25 --> 31:26 [SPEAKER_00]: Okay.
31:26 --> 31:27 [SPEAKER_00]: Third one.
31:27 --> 31:33 [SPEAKER_01]: Yeah, I think I'm going back to class.
31:33 --> 31:36 [SPEAKER_00]: Clouse, rift number three.
31:39 --> 31:40 [SPEAKER_00]: And now he's higher.
31:40 --> 31:47 [SPEAKER_00]: Now interestingly, or not, you tell me, this is against the e-court again, but he's outlining a perfect fifth again.
31:48 --> 31:51 [SPEAKER_00]: So it's stable just like the previous one, but shifted in a different place.
31:51 --> 31:56 [SPEAKER_00]: This time, not from C sharp to G sharp, but higher from G sharp up to D sharp.
31:56 --> 31:57 [SPEAKER_00]: It's against that e-court again.
31:58 --> 32:01 [SPEAKER_00]: It actually this time just creates a E major seven chord.
32:01 --> 32:04 [SPEAKER_00]: So a little mellower maybe then the previous chord we just heard.
32:10 --> 32:10 [SPEAKER_00]: And that's our harmony.
32:11 --> 32:13 [SPEAKER_01]: That last note trips me up though.
32:13 --> 32:15 [SPEAKER_01]: The last note of that phrase.
32:15 --> 32:17 [SPEAKER_01]: Do do do do do do.
32:17 --> 32:20 [SPEAKER_01]: Yes, something about that note, like tickles me in a way that's uncomfortable.
32:20 --> 32:24 [SPEAKER_00]: So that's interesting because it's the tonic of the key, but it's not in the chord.
32:24 --> 32:25 [SPEAKER_01]: Okay.
32:25 --> 32:32 [SPEAKER_00]: So trying to think the first, you want to piece of me, ends on, ends in the chord.
32:32 --> 32:36 [SPEAKER_00]: You want to piece of me, the second one ends in the chord.
32:36 --> 32:40 [SPEAKER_00]: Yeah, you want to piece of me or whatever he sings out of the cord.
32:41 --> 32:43 [SPEAKER_00]: Maybe that's hitting you funny
32:45 --> 32:46 [SPEAKER_00]: And he also falls.
32:46 --> 32:48 [SPEAKER_00]: I talked about both of them, right?
32:48 --> 32:48 [SPEAKER_00]: Yeah.
32:49 --> 32:51 [SPEAKER_01]: That part, it's like, it makes me nervous.
32:52 --> 32:53 [SPEAKER_00]: See, I love it because I love it.
32:53 --> 32:54 [SPEAKER_00]: It's very robotic.
32:54 --> 32:56 [SPEAKER_00]: And we're going to talk about the roboness.
32:56 --> 32:56 [SPEAKER_00]: I'm sure more.
32:57 --> 33:00 [SPEAKER_00]: But he does a fall, which is very human.
33:00 --> 33:04 [SPEAKER_00]: Like, I don't think that's programmed in with pitch correction.
33:04 --> 33:07 [SPEAKER_00]: I think they're pitch correcting a person who is doing like me.
33:11 --> 33:12 [SPEAKER_00]: Oh, but then they pitch correct it down.
33:12 --> 33:13 [SPEAKER_00]: So it sounds a little weird.
33:13 --> 33:15 [SPEAKER_00]: It sounds a little weird to me.
33:15 --> 33:15 [SPEAKER_00]: It's cool.
33:15 --> 33:18 [SPEAKER_00]: So we follow our outlines.
33:19 --> 33:20 [SPEAKER_00]: All three of the outlines are consonant.
33:20 --> 33:22 [SPEAKER_00]: So far, fifth, six.
33:22 --> 33:28 [SPEAKER_00]: Our chords go mildly dissonant, a little crunchier on that knife, back to mildly dissonant.
33:29 --> 33:31 [SPEAKER_00]: But you're noting the last note, doesn't quite fit.
33:32 --> 33:35 [SPEAKER_00]: So we have kind of a stable path
33:40 --> 33:40 [SPEAKER_00]: intensity.
33:40 --> 33:41 [SPEAKER_00]: So let's hear the last one.
33:42 --> 33:47 [SPEAKER_00]: And that's the kind of weirder one, right?
33:47 --> 33:49 [SPEAKER_00]: You want a piece of me.
33:49 --> 33:53 [SPEAKER_00]: So that one I know is definitely sticking out.
33:53 --> 33:55 [SPEAKER_00]: That is out of the key.
33:55 --> 33:59 [SPEAKER_00]: That is a gene-atural and we should have a G sharp in this key.
33:59 --> 34:02 [SPEAKER_00]: So if we look at the outline, here is that devil's interval.
34:02 --> 34:09 [SPEAKER_00]: The outline here is from C sharp to G. And so we have a tri-tone that is a diminished fifth.
34:09 --> 34:14 [SPEAKER_00]: Not only is it out of key, but the outline itself is dissonant.
34:14 --> 34:20 [SPEAKER_00]: And when we consider it with the F sharp chord, we get a flat nine chord, which is very rich and weird.
34:24 --> 34:25 [SPEAKER_00]: That's our outline.
34:25 --> 34:28 [SPEAKER_00]: Listen to that again, that outline is so different.
34:30 --> 34:31 [SPEAKER_00]: And that's the chord.
34:32 --> 34:34 [SPEAKER_01]: not looking good for Britney, so a little.
34:36 --> 34:37 [SPEAKER_00]: a little stressful.
34:38 --> 34:47 [SPEAKER_00]: And if we take this all to be slowly ratcheting up the tension, it keeps doing that until that fourth chord, and it's just way more tense.
34:47 --> 34:53 [SPEAKER_00]: The chord itself is dissonant because of the flat note, but also the outline of the melody is dissonant.
34:53 --> 34:55 [SPEAKER_00]: So I'm going to play the full chord progression.
34:55 --> 34:58 [SPEAKER_00]: So you'll hear also the chords that Brittany is singing along with.
34:58 --> 35:03 [SPEAKER_00]: So remember, it's the second and fourth are the chords that you have the the roba voices.
35:04 --> 35:05 [SPEAKER_00]: So that's Brittany here.
35:07 --> 35:07 [SPEAKER_00]: Clause.
35:12 --> 35:12 [SPEAKER_00]: Bobbin.
35:15 --> 35:15 [SPEAKER_00]: Clause again.
35:18 --> 35:20 [SPEAKER_00]: Final Robin here.
35:22 --> 35:23 [SPEAKER_01]: Oh no.
35:23 --> 35:24 [SPEAKER_00]: White's striking at the end.
35:24 --> 35:25 [SPEAKER_01]: It's really beautiful.
35:26 --> 35:27 [SPEAKER_01]: Played like that on piano.
35:27 --> 35:29 [SPEAKER_01]: It's really like cinematic and beautiful.
35:30 --> 35:32 [SPEAKER_00]: And we don't hear that, right?
35:33 --> 35:41 [SPEAKER_00]: What we're hearing, what I'm playing is the outline of the know, is what we're hearing a melodic replication of that interval span basically.
35:41 --> 35:46 [SPEAKER_01]: Like it should be like the background of a performance art piece or something.
35:46 --> 35:46 [SPEAKER_01]: Yeah.
35:46 --> 35:48 [SPEAKER_01]: Maybe it is, man.
35:48 --> 35:50 [SPEAKER_00]: Indie ballet or something.
35:50 --> 35:54 [SPEAKER_00]: So do you do you hear something like what I just
35:55 --> 36:00 [SPEAKER_00]: suggested that trajectory when you hear the actual section of the song.
36:18 --> 36:19 [SPEAKER_01]: You know what I'll say?
36:20 --> 36:25 [SPEAKER_01]: I used to be able to feel that trajectory when I just listened to the song I could feel.
36:27 --> 36:33 [SPEAKER_01]: Um, now what I understand is the these boundaries like becoming afraid and becoming just joint in kind of falling apart.
36:33 --> 36:34 [SPEAKER_01]: I could like feel.
36:34 --> 36:35 [SPEAKER_00]: I love that word boundary.
36:35 --> 36:35 [SPEAKER_00]: Right.
36:35 --> 36:40 [SPEAKER_01]: Like I could feel it like kind of becoming a dotted line and not a solid line.
36:40 --> 36:40 [SPEAKER_00]: Sure.
36:41 --> 36:50 [SPEAKER_01]: And now after your great lesson, I understand why I have that feeling evoked in me and it's because of these conventions.
36:50 --> 36:51 [SPEAKER_00]: So you can kind of hear it.
36:51 --> 36:54 [SPEAKER_01]: Now I hear it, but before I couldn't hear it, I just felt it now, I can hear it.
36:55 --> 36:55 [SPEAKER_00]: Got it.
36:55 --> 36:56 [SPEAKER_00]: So just cool.
36:56 --> 37:00 [SPEAKER_00]: So how does this really let's, I have some more music to talk about, but we've got it at the core of it.
37:00 --> 37:05 [SPEAKER_00]: So Brittany is a little more human sounding, very simple, very solid.
37:06 --> 37:07 [SPEAKER_00]: The voice is around her.
37:09 --> 37:11 [SPEAKER_00]: But maybe these voices are her too.
37:11 --> 37:13 [SPEAKER_00]: They're not literally her, but they're saying me, right?
37:13 --> 37:14 [SPEAKER_00]: You want to piece of me.
37:15 --> 37:18 [SPEAKER_00]: They're getting more, more tense as they go.
37:18 --> 37:25 [SPEAKER_00]: They sound more robotic, but they're more humanly melodious, but they're out of key and increase the overall tension.
37:25 --> 37:27 [SPEAKER_00]: Like are these voices antagonistic?
37:28 --> 37:29 [SPEAKER_00]: Are they her conscience?
37:29 --> 37:31 [SPEAKER_00]: Is it two selves, three selves?
37:31 --> 37:32 [SPEAKER_00]: Like what are you thinking?
37:32 --> 37:33 [SPEAKER_00]: How does this fit in?
37:34 --> 37:38 [SPEAKER_00]: with without completely jumping to the psych topic.
37:38 --> 37:39 [SPEAKER_01]: Sure.
37:39 --> 37:45 [SPEAKER_01]: Well, I need to just explain a little bit what the diathesis stress model is.
37:45 --> 37:46 [SPEAKER_01]: Okay.
37:46 --> 37:47 [SPEAKER_01]: Yeah.
37:47 --> 37:51 [SPEAKER_01]: So everyone has psychological difficulties.
37:51 --> 37:52 [SPEAKER_01]: I'll do it really simple terms.
37:52 --> 37:56 [SPEAKER_01]: Like we all have the seeds of mental illness in our brains.
37:57 --> 37:57 [SPEAKER_01]: Right?
37:57 --> 37:57 [SPEAKER_00]: Okay.
37:58 --> 37:58 [SPEAKER_00]: Yeah.
37:58 --> 38:02 [SPEAKER_01]: Because of genetic predisposition, we got some environmental situations, whatever.
38:02 --> 38:07 [SPEAKER_01]: Everyone has potential to become depressed, to become anxious, right?
38:08 --> 38:17 [SPEAKER_01]: And certain variables in our lived existence can almost like activate those seeds and like nurture them into growing
38:19 --> 38:30 [SPEAKER_01]: So this death is the stress model proposes that psychological difficulties emerge from the interaction between diathesis, which is vulnerability and stress, which is environmental pressures.
38:31 --> 38:42 [SPEAKER_01]: And what you're talking about here when we think about this diathesis and stress model is we can think of diathesis is Brittany, right, in her melodic voice.
38:43 --> 38:46 [SPEAKER_01]: and the stress are all those like secondary voices.
38:46 --> 38:53 [SPEAKER_00]: So is diathesis a synonym for your starting, well, you said vulnerability.
38:53 --> 39:00 [SPEAKER_01]: Yeah, that you have innate vulnerability towards mental illness, or psychological distress is a better way to put it than mental illness.
39:00 --> 39:06 [SPEAKER_00]: Okay, whether genetically or whatever, like you was a human have our vulnerable.
39:07 --> 39:09 [SPEAKER_01]: to psychological distress.
39:09 --> 39:11 [SPEAKER_01]: And that doesn't have to be clinical, that can be subclinical.
39:11 --> 39:14 [SPEAKER_01]: Sure, that means that just you get anxious from time to time.
39:15 --> 39:18 [SPEAKER_01]: But what's the difference between someone that gets anxious from time to time?
39:18 --> 39:26 [SPEAKER_01]: And someone that has a diagnosed anxiety panic disorder, like a chlorophobia or something that is like very debilitating to them.
39:26 --> 39:28 [SPEAKER_01]: Imagine you have a pair of twins.
39:28 --> 39:29 [SPEAKER_01]: Yeah.
39:29 --> 39:32 [SPEAKER_01]: And both have the same little seed of anxiety in them.
39:33 --> 39:41 [SPEAKER_01]: And one presents this like from time to time, public speaking might trip them up and they get anxious in loud crowded spaces.
39:41 --> 39:42 [SPEAKER_01]: Sorry, and they can manage it and it's fine.
39:43 --> 39:47 [SPEAKER_01]: But the other twin may be something happens in their life, like maybe
39:48 --> 39:54 [SPEAKER_01]: They go off to war and have or see a lot of or have something really traumatic happen to them as an individual.
39:55 --> 40:03 [SPEAKER_01]: And they overcome that, but are left with like a PTSD or a gorephobia or something much more clinical, much more disability.
40:03 --> 40:12 [SPEAKER_01]: And even though both people had the same potential, life events put one person on a path towards more clinical psychological distress.
40:12 --> 40:28 [SPEAKER_00]: So is the diathesis stress model by saying that a model of showing how external factors affect someone's mental sort of state or is it about the interaction between your priors and those?
40:28 --> 40:33 [SPEAKER_00]: Like, like does it show that, well, this person has diathesis that puts them into different situation?
40:33 --> 40:36 [SPEAKER_00]: This person has stress that puts them at a comparable situation.
40:36 --> 40:37 [SPEAKER_01]: Well, it's a spectrum.
40:37 --> 40:58 [SPEAKER_01]: Some people are born, more disposed towards certain illness and we know that certain psychological distress is heritable, like we know that borderline personality disorder is potentially passed down genetically, potentially, but we're not sure, like it's really comes down to this argument of nature versus nurture, and this is one of the major questions of psychology.
40:58 --> 41:02 [SPEAKER_01]: Is our reborn one way or do we become that way over time?
41:02 --> 41:18 [SPEAKER_01]: And the diathesis stress model speaks to the idea that we do become a certain way over time and certain variables influence that development and those variables are mostly things that happen outside of our genetics, mostly things that happen outside of our bodies.
41:18 --> 41:21 [SPEAKER_00]: So this model is more on the nurture side.
41:22 --> 41:27 [SPEAKER_01]: Yes, yeah, but with still a nod towards like you do have a genetic disposition.
41:27 --> 41:35 [SPEAKER_01]: And the reason I talk about this in terms of Brittany is because I think Brittany has clinical psychological challenges they're documented.
41:36 --> 41:48 [SPEAKER_01]: And I'm not sure if it would be so severe if she wasn't a child pop star that went through this pressure of society and influence of the media and all that judgment that
41:49 --> 41:58 [SPEAKER_01]: I think Brittany would be better psychologically if she hadn't had those lived experiences, even if she had a genetic predisposition to maybe a bipolar or maybe borderline.
41:59 --> 41:59 [SPEAKER_01]: I'm not sure what that means.
41:59 --> 42:01 [SPEAKER_00]: I don't think that's controversial, I would say.
42:01 --> 42:04 [SPEAKER_00]: Right.
42:04 --> 42:08 [SPEAKER_01]: And that's what Brittany has a case study to me.
42:08 --> 42:10 [SPEAKER_01]: It's more interesting than Brittany's music.
42:10 --> 42:12 [SPEAKER_01]: It speaks to this diathesis stress model.
42:13 --> 42:17 [SPEAKER_01]: So easily, you can't, it's not completed at all.
42:17 --> 42:19 [SPEAKER_01]: Like it's very clear that we did this to her.
42:19 --> 42:23 [SPEAKER_01]: And she's telling us in the song, just telling us.
42:24 --> 42:44 [SPEAKER_00]: Okay, so what's interesting though is we have these robot voices and there's more of when we haven't even heard yet and those voices sort of are her, but also are other people and are inhuman, but are melodic but dissonant out their contributing tension to the piece in a way that's hurt little to no melody is not, but also this song was written by
42:45 --> 42:46 [SPEAKER_00]: to of these people.
42:46 --> 42:50 [SPEAKER_00]: She that it was very much written for her inspired by what she was going through.
42:50 --> 42:55 [SPEAKER_00]: I'm sure she collaborated with them, but but the written authors, she is not one of them.
42:55 --> 42:58 [SPEAKER_00]: Now for this song is at least as far as I can tell.
42:58 --> 43:02 [SPEAKER_00]: And those people who wrote this song are presented in humanly.
43:02 --> 43:02 [SPEAKER_01]: Yeah.
43:03 --> 43:13 [SPEAKER_00]: happens to be also kind of not the birth of this new robotic sort of style of music, but but certainly one of its early offerings in the mainstream that would be with us for a few years.
43:14 --> 43:18 [SPEAKER_00]: And so it's this interesting kind of unsettling dynamic.
43:18 --> 43:18 [SPEAKER_00]: Yeah.
43:18 --> 43:25 [SPEAKER_00]: What extra meaning is there to the multi voice, calling response aspect to this.
43:25 --> 43:27 [SPEAKER_01]: Well, I see it as that represents in this
43:32 --> 43:43 [SPEAKER_01]: and all the tensions that one protagonist, Brittany, is who's reading very vulnerable in the song, very controlled and popated by all these stressors.
43:44 --> 43:58 [SPEAKER_01]: And that is why I immediately made connection to this death stress mode with a song because of that it does feel like the vulnerable tone, the vulnerable melody is being controlled and manipulated by other things.
43:58 --> 44:08 [SPEAKER_00]: So, like, those voices are all her, I know they're not, some of them are robot-assized, robbing, close, but like, they're all speaking from her point of view, you want a piece of me.
44:08 --> 44:11 [SPEAKER_00]: They're not saying, Robin isn't saying they want a piece of her.
44:11 --> 44:12 [SPEAKER_00]: We all want a piece of Brittany.
44:13 --> 44:26 [SPEAKER_00]: But it's like, Brittany is being pulled in different directions, while saying that, like, that's why it sounds, and they're coming on the left and the right, like, these voices are not central, and the same way she is, it's kind of one voice, but broken into three in some weird way,
44:28 --> 44:41 [SPEAKER_00]: And just tapping back to music, we can continue obviously in a minute, but the unsettling premise of other voices that are less than human sounding, this is a thing she does in some other song, so here's Gimmymore from the same album.
44:42 --> 44:45 [SPEAKER_00]: These aren't as much melodic, but it has a similar effect.
45:04 --> 45:05 [SPEAKER_01]: I had to take, I hate that song.
45:06 --> 45:06 [SPEAKER_00]: Do you?
45:06 --> 45:06 [SPEAKER_00]: Yeah.
45:07 --> 45:08 [SPEAKER_00]: This song, I like more.
45:08 --> 45:09 [SPEAKER_00]: I definitely like this song more.
45:10 --> 45:12 [SPEAKER_00]: It's more.
45:14 --> 45:14 [SPEAKER_00]: I don't know.
45:14 --> 45:15 [SPEAKER_00]: I don't have a song, baby.
45:15 --> 45:17 [SPEAKER_01]: The lyrics sheet for that song is just a noise, me.
45:18 --> 45:18 [SPEAKER_00]: It's too short.
45:19 --> 45:21 [SPEAKER_01]: It's just like giving more repeat.
45:21 --> 45:24 [SPEAKER_00]: So, in this song, do you wait, do you like this song?
45:25 --> 45:25 [SPEAKER_00]: Peace of me?
45:25 --> 45:26 [SPEAKER_01]: Yeah, I do.
45:26 --> 45:28 [SPEAKER_01]: It's probably one of my favorite pretty songs.
45:28 --> 45:30 [SPEAKER_01]: I feel like woman eyes are like peace of me for sure.
45:33 --> 45:35 [SPEAKER_00]: I don't know, like the like a really recent stuff.
45:35 --> 45:35 [SPEAKER_00]: I don't know much.
45:36 --> 45:38 [SPEAKER_01]: She hasn't been, she hasn't made new music for a while.
45:38 --> 45:39 [SPEAKER_01]: She's too busy late.
45:40 --> 45:41 [SPEAKER_01]: Dance and with swords on Instagram.
45:42 --> 45:43 [SPEAKER_00]: Wow, okay.
45:43 --> 45:43 [SPEAKER_01]: It's getting weird.
45:44 --> 45:46 [SPEAKER_01]: Okay, how are I standing weird on Instagram for Brittany?
46:08 --> 46:14 [SPEAKER_00]: So, the verse is though, I've heard a little bit of this last time, but let's hear all of it sort of.
46:14 --> 46:14 [SPEAKER_00]: Okay.
46:15 --> 46:22 [SPEAKER_00]: This is Bloodshine of Onk, the two main producers who interject robotically throughout the verses, especially the second verse.
46:23 --> 46:24 [SPEAKER_00]: So what I've done is actually just,
46:25 --> 46:29 [SPEAKER_00]: It's sporadic in the first verse, and then kind of all the time in the second verse, I'd edit them together.
46:30 --> 46:33 [SPEAKER_00]: This is the rubble voices in the verses, strung together.
46:33 --> 46:45 [SPEAKER_00]: You can hear a similar kind of overall interaction to what's happening in the chorus that grows more as the song progresses to add this sort of robot element to her perspective.
47:20 --> 47:21 [SPEAKER_00]: That's a lot of it.
47:21 --> 47:22 [SPEAKER_00]: Yeah.
47:22 --> 47:24 [SPEAKER_00]: It almost sounds like the song, but it's wrong, right?
47:24 --> 47:25 [SPEAKER_00]: Because things are just in the wrong order.
47:25 --> 47:26 [SPEAKER_00]: Yeah.
47:26 --> 47:26 [SPEAKER_00]: But there it is.
47:26 --> 47:27 [SPEAKER_00]: That's all of them.
47:27 --> 47:28 [SPEAKER_00]: I didn't want to have five files.
47:29 --> 47:30 [SPEAKER_00]: So naturally, I did it.
47:30 --> 47:31 [SPEAKER_00]: I'm naturally.
47:31 --> 47:32 [SPEAKER_00]: Of course, yeah.
47:32 --> 47:41 [SPEAKER_00]: So other Britney songs do have this element of the melodic outline, the frame of the melody, having a variable amount of tension.
47:41 --> 47:44 [SPEAKER_00]: Even if these songs don't all have robovoyce element.
47:44 --> 47:44 [SPEAKER_00]: Sure.
47:45 --> 47:53 [SPEAKER_00]: is a one-two punch of having the tension increase of the melodic outline and also the fact that there's this extreme tamper change.
47:53 --> 47:55 [SPEAKER_00]: So I mentioned this song already, this is toxic.
47:56 --> 48:00 [SPEAKER_00]: The first phrase, the outline of the melody is going to be perfect fifths.
48:00 --> 48:06 [SPEAKER_00]: So this is O the taste and on a ride, those melodies outline a perfect fifth.
48:06 --> 48:08 [SPEAKER_00]: And which together they combine to make a minor seventh,
48:11 --> 48:18 [SPEAKER_00]: And then it's just perfect fourths after that, but then when we get to the I'm addicted to you, we have the outline of a tri-tone.
48:18 --> 48:27 [SPEAKER_00]: So it starts more gently dissonant, consonant intervals that stack to create a seventh, and then the very crunchy tri-tone on the addicted line.
48:43 --> 48:48 [SPEAKER_00]: So when we get that addicted to here, it's a bluesy note and a very good song, no, huh?
48:48 --> 48:49 [SPEAKER_00]: Yeah, that's good.
48:49 --> 48:51 [SPEAKER_00]: That's probably my favorite Britney Spears song.
48:51 --> 48:54 [SPEAKER_01]: Because it like shows her, she's a great vocalist.
48:54 --> 48:55 [SPEAKER_01]: I mean, she is.
48:56 --> 48:57 [SPEAKER_01]: And she's so distinct.
48:57 --> 48:59 [SPEAKER_01]: And it, she shows it off in this song.
48:59 --> 49:00 [SPEAKER_00]: She's got a few different ways.
49:00 --> 49:01 [SPEAKER_00]: She's sick.
49:01 --> 49:02 [SPEAKER_01]: Yeah, which is cool.
49:02 --> 49:02 [SPEAKER_00]: It's cool.
49:03 --> 49:04 [SPEAKER_01]: So we're Britney.
49:06 --> 49:07 [SPEAKER_01]: Just so sad.
49:07 --> 49:07 [SPEAKER_01]: Like,
49:08 --> 49:09 [SPEAKER_01]: Yeah, it's just so sad.
49:09 --> 49:10 [SPEAKER_01]: It's a bummer, it sucks.
49:10 --> 49:20 [SPEAKER_01]: It's just like, imagine a world that Britney Spears was well-adapted today, present day and like still putting out music and it would be like, could it have happened probably?
49:20 --> 49:21 [SPEAKER_00]: It could have been a young Taylor Swift.
49:21 --> 49:22 [SPEAKER_00]: People screwed it up.
49:22 --> 49:23 [SPEAKER_00]: People screwed it up.
49:23 --> 49:27 [SPEAKER_01]: And older Taylor Swift and older Taylor Swift and why she screwed up, but other people aren't.
49:28 --> 49:30 [SPEAKER_00]: Well, that may be that diocese.
49:30 --> 49:31 [SPEAKER_01]: Well, that's just the point.
49:31 --> 49:31 [SPEAKER_01]: But I agree.
49:32 --> 49:41 [SPEAKER_00]: I, okay, was Britney Spears sexualized and scrutinized more than maybe other pop stars.
49:41 --> 49:43 [SPEAKER_00]: If we could maybe not.
49:43 --> 49:43 [SPEAKER_01]: Maybe not.
49:43 --> 49:46 [SPEAKER_01]: But the thing is, like, through a think about Taylor Swift, right?
49:47 --> 50:02 [SPEAKER_01]: Think about like Taylor Swift as a human being with a family and with a support system, she you could make the argument that Taylor Swift had a very strong family system and very strong friendships and very strong support systems and you could also make the argument that Britney Spears didn't.
50:03 --> 50:08 [SPEAKER_01]: And that Taylor Swift's supportive family system protected her from all the stress.
50:09 --> 50:10 [SPEAKER_01]: So it didn't kind of get in.
50:10 --> 50:14 [SPEAKER_01]: Those boundaries were strong with Taylor and maybe not so much with one.
50:14 --> 50:18 [SPEAKER_00]: And then you have other pop stars who maybe take a different path to create those boundaries.
50:18 --> 50:28 [SPEAKER_00]: Maybe regardless of their families, whether it's a few years later, Lady Gaga going, well, I'm going to create these sort of disguises and these persona-like
50:29 --> 50:34 [SPEAKER_00]: to shield my personal identity a little bit or even Billy Eilish has a little bit of that too.
50:34 --> 50:37 [SPEAKER_00]: I thought we was going to kind of dress in a way that doesn't attract this.
50:37 --> 50:37 [SPEAKER_00]: Right.
50:38 --> 50:55 [SPEAKER_00]: That is not at all trying to blame Brittany, but like other people, notably people who came a little later, maybe saw in some ways what had happened and said, whether it's Taylor Swift's family dynamic like you're saying, or these sort of adjustment of your persona to create a
50:57 --> 51:01 [SPEAKER_01]: with Brittany, her persona leaned in.
51:02 --> 51:14 [SPEAKER_01]: This is going to sound like I'm blaming her and I really don't mean to, but you look at baby one more time or breakout hit, she was very sexualized and very young age and there was no adult in the room saying this isn't okay.
51:15 --> 51:21 [SPEAKER_01]: And maybe for folks like Taylor and folks like Billie Eilish, she had, they had people around them being like, you know what, we're not going to do that.
51:22 --> 51:27 [SPEAKER_01]: And I know Taylor specifically is said like she's very purposely trying not to oversexualize herself.
51:28 --> 51:37 [SPEAKER_01]: for a variety of reasons and not to say that Brittany was purposely trying to, but she was marketed in a way that made you forget that she was, what, 16, 17?
51:37 --> 51:38 [SPEAKER_00]: Something like that.
51:38 --> 51:38 [SPEAKER_01]: Right.
51:38 --> 51:40 [SPEAKER_01]: Like, it's inappropriate.
51:40 --> 51:44 [SPEAKER_01]: And she was talked to by the media in a way that was inappropriate to talk to children.
51:44 --> 51:53 [SPEAKER_01]: And we see that in a lot of young pop stars, the folks that were marketed in a way and talked to in a way that were inappropriate for adults to talk to children have problems now.
51:54 --> 52:16 [SPEAKER_01]: see also Justin Bieber, right, with how he was treated in interviews and oversexualized at a very, very young age, despite having a strong family system, still had a lot of psychological challenges later in life, because they didn't have those boundaries in place to protect them from to protect their diathesis, their vulnerability from these external stressors.
52:16 --> 52:24 [SPEAKER_01]: when there probably also was some innate mental illness or psychological challenges that someone just had to turn the key on.
52:24 --> 52:25 [SPEAKER_00]: Yeah.
52:25 --> 52:25 [SPEAKER_01]: Does that make sense?
52:26 --> 52:26 [SPEAKER_00]: Totally.
52:26 --> 52:27 [SPEAKER_01]: It's sad.
52:27 --> 52:28 [SPEAKER_01]: Yeah.
52:28 --> 52:29 [SPEAKER_01]: And we should know better.
52:29 --> 52:30 [SPEAKER_01]: And it makes me angry.
52:30 --> 52:31 [SPEAKER_01]: Well, really.
52:32 --> 52:34 [SPEAKER_00]: Okay, do we know better, maybe now, though?
52:34 --> 52:36 [SPEAKER_00]: Like is this still happening?
52:36 --> 52:38 [SPEAKER_00]: Is the next Britney Spears happening right now?
52:38 --> 52:39 [SPEAKER_00]: Or is the culture?
52:40 --> 52:42 [SPEAKER_00]: Is that wishful thinking?
52:43 --> 52:47 [SPEAKER_00]: There was something about the 90s was still very late 90s, though, of course.
52:47 --> 52:52 [SPEAKER_00]: But was still very much laughably misogynistic?
52:52 --> 53:01 [SPEAKER_00]: Like, you know, whether it's this or how much blame, I mean, this about the same time is the Bill Clinton, Monica Lewinsky scandal, and who were the jokes about about Lewinsky, right?
53:02 --> 53:21 [SPEAKER_01]: It just, and that's like kind of crazy that it was so felt so natural back then for people for artists that are over-sexualized are, they're kind of in on the joke, like you look at Sabrina Carpenter, and it would be very easy for her to fall victim to those things, but she's in on the joke, because she's been inoculated against it.
53:22 --> 53:23 [SPEAKER_00]: And she's also not 16.
53:23 --> 53:24 [SPEAKER_01]: No.
53:24 --> 53:26 [SPEAKER_01]: And there's a phrase in social psychology.
53:26 --> 53:37 [SPEAKER_01]: It's um, add a two null inoculation that we can talk about in a different episode, but the really the the just of it is like because of Brittany artists are like, I'm not going to let that happen to me because we saw how bad it could get.
53:38 --> 53:38 [SPEAKER_03]: Yeah.
53:38 --> 53:38 [SPEAKER_01]: Right.
53:38 --> 53:40 [SPEAKER_01]: She was a cautionary tale and that.
53:41 --> 53:57 [SPEAKER_01]: things that such a great talent had to be sacrificed because you look at Britney present day conservatorship aside mental illness aside like she needs social supports for sure whatever I don't know Britney Spears obviously it doesn't take a clinical psychologist you know that this woman's not okay
53:58 --> 54:00 [SPEAKER_01]: and then she doesn't feel safe.
54:00 --> 54:03 [SPEAKER_01]: I'll direct our listeners to check out her Instagram if you haven't.
54:04 --> 54:11 [SPEAKER_01]: Maybe she's in on the joke like that's a theory that the internet's floating that like she knows what we're saying about her and she's speeding into it.
54:11 --> 54:17 [SPEAKER_01]: But her behavior that I perceive raises a lot of alarm bells for me with the training I have.
54:18 --> 54:20 [SPEAKER_01]: And it sucks because she has so much talent.
54:21 --> 54:24 [SPEAKER_01]: Not even a great singer, great dancer, a great performer, you know.
54:25 --> 54:26 [SPEAKER_00]: Um, you're saying not even just the greatest.
54:26 --> 54:27 [SPEAKER_01]: Not even just the right thing.
54:27 --> 54:29 [SPEAKER_01]: Yeah, but like real triple threat.
54:29 --> 54:30 [SPEAKER_00]: Sure.
54:30 --> 54:30 [SPEAKER_00]: And we blew it.
54:31 --> 54:32 [SPEAKER_00]: Triple threat.
54:32 --> 54:34 [SPEAKER_00]: I was like, is she a good actor didn't she have a movie?
54:34 --> 54:35 [SPEAKER_00]: What was it called?
54:35 --> 54:38 [SPEAKER_01]: What was it like pieces of me or no, that's just somewhere was something.
54:38 --> 54:40 [SPEAKER_01]: It was like very connected.
54:40 --> 54:41 [SPEAKER_00]: It was kind of a little bit nervous.
54:41 --> 54:43 [SPEAKER_00]: The spice world movie and also.
54:44 --> 54:45 [SPEAKER_00]: like crossroads or crossroads.
54:45 --> 54:47 [SPEAKER_01]: I never thought that's how pleased Mark.
54:47 --> 54:49 [SPEAKER_01]: You're like, that's your comfort show.
54:50 --> 54:51 [SPEAKER_01]: Mark's like watching crossroads later today.
54:52 --> 54:57 [SPEAKER_00]: I wish I had like that level of a guilty pressure from my childhood.
54:57 --> 55:00 [SPEAKER_00]: I was too like self-conscious about you.
55:00 --> 55:00 [SPEAKER_00]: Yeah.
55:00 --> 55:01 [SPEAKER_00]: Yeah.
55:01 --> 55:03 [SPEAKER_00]: That's a great like closing question.
55:04 --> 55:04 [SPEAKER_00]: Don't want to listen to this.
55:04 --> 55:07 [SPEAKER_00]: Because someone might found out I watched it or listened to it, right?
55:07 --> 55:09 [SPEAKER_01]: So like my girl.
55:09 --> 55:10 [SPEAKER_00]: Yeah, it's interesting because
55:14 --> 55:15 [SPEAKER_01]: Can I tell you what I laughed at her?
55:15 --> 55:16 [SPEAKER_00]: He dies.
55:16 --> 55:17 [SPEAKER_01]: I laughed.
55:17 --> 55:21 [SPEAKER_01]: I have bees You can't see what that is class is I laughed out loud in the movie theater.
55:21 --> 55:32 [SPEAKER_01]: I was like child with their mom and my mom looked at me like I that was one of the first like sad movies I saw well we are also You think about why people in our generation are kind of fucked.
55:33 --> 55:41 [SPEAKER_01]: Sorry for my language, but that came out after home alone So we all fell in love with McColley call again at home home alone
55:42 --> 55:44 [SPEAKER_00]: And then we watched him die.
55:44 --> 55:45 [SPEAKER_00]: And we watched him die.
55:45 --> 55:48 [SPEAKER_01]: In a way, that's very accessible to us in that demographic.
55:48 --> 55:51 [SPEAKER_01]: We're all outriding bikes, getting into trouble.
55:51 --> 56:04 [SPEAKER_01]: Like, any one of us could be McColle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-Kolle-
56:05 --> 56:10 [SPEAKER_00]: talk about death as the first world for emotional national emotional devastation.
56:10 --> 56:11 [SPEAKER_00]: What are we doing?
56:12 --> 56:13 [SPEAKER_01]: No one thought of that.
56:13 --> 56:14 [SPEAKER_01]: There were no adults in the room.
56:14 --> 56:18 [SPEAKER_01]: Like maybe we shouldn't have a whole generation with emotional vulnerability.
56:18 --> 56:20 [SPEAKER_00]: I see it's still unresolved.
56:20 --> 56:24 [SPEAKER_01]: I just have a lot of anger when parents, when adults don't protect children.
56:24 --> 56:28 [SPEAKER_01]: And I feel like as a generation, we had a great disservice.
56:28 --> 56:38 [SPEAKER_00]: About the, like, diocese of like Britney Spears or Justin Bieber maybe have also more of a predisposition, genetically or whatever, biologically, the thing is,
56:39 --> 56:51 [SPEAKER_00]: Having been a musician for years with a bunch of musicians, I feel like there might be an overrepresentation in the population of people with strong seeds of mental challenges and psychological distress.
56:52 --> 56:55 [SPEAKER_00]: Like a predisposition, predispositions in musicians.
56:55 --> 57:00 [SPEAKER_00]: So we can say, well, Brittany and Justin, maybe we're predisposed, but like, maybe so is Taylor.
57:00 --> 57:17 [SPEAKER_00]: Maybe so is Billie Eilish or these other people that maybe you're working more, you know, and not to weigh in to have a lay on the nature versus nurture, but that would suggest, maybe it's really those other factors that played the way we know that strong support systems, strong social supports.
57:18 --> 57:21 [SPEAKER_01]: our huge protective factor for people.
57:21 --> 57:34 [SPEAKER_01]: Especially, you think of these child stars that had challenges as adults, a lot of them, their families were very reliant on the success of the child for the success of the family, right?
57:34 --> 57:36 [SPEAKER_01]: Like Justin Bieber was financially supporting his family.
57:37 --> 57:39 [SPEAKER_01]: Brittany was for sure, financially supporting her family.
57:40 --> 57:40 [SPEAKER_00]: McCalli Colican.
57:41 --> 57:41 [SPEAKER_01]: McCalli Colican as
57:48 --> 58:01 [SPEAKER_01]: Any time you give adult responsibilities to a child, even if it's just like perpetually change babysitting your two-year-old brother when you're in middle school, like any time you make a kid Feel the responsibilities of adulthood.
58:01 --> 58:09 [SPEAKER_01]: They're not developmentally available for that It's not appropriate for them to take on that level of responsibility that causes stress in an individual.
58:09 --> 58:15 [SPEAKER_01]: So Imagine that times a million with some of these child stars, you know, it's just yeah
58:16 --> 58:23 [SPEAKER_01]: it's messed up and I think like is it just an American thing like do other countries have child stars that are broken?
58:23 --> 58:24 [SPEAKER_01]: Is it just us?
58:24 --> 58:28 [SPEAKER_00]: I don't know that other countries really have the same celebrity culture we have.
58:28 --> 58:32 [SPEAKER_01]: Right and I think that that's I just think that's an interesting point.
58:34 --> 58:40 [SPEAKER_00]: I'm not sure where I'm going with it, but I'm wondering if Dude, American culture has like beauty pageants for little girls and stuff like that.
58:40 --> 58:41 [SPEAKER_01]: No, they sure do.
58:41 --> 58:50 [SPEAKER_00]: We like the elevation of a prodigious young person kind of for entertainment purposes and then apparently like sort of discarding them.
58:50 --> 58:54 [SPEAKER_01]: anyone needs trusted adults that are looking out for her or them.
58:54 --> 58:57 [SPEAKER_01]: And I'm not sure Brittany had that.
58:57 --> 58:57 [SPEAKER_01]: Maybe she did.
58:57 --> 58:58 [SPEAKER_01]: I don't know.
58:58 --> 59:02 [SPEAKER_01]: But it would be easy to imagine her not having that.
59:02 --> 59:07 [SPEAKER_01]: Difference with folks like Sabrina Carverenter in that she's in on the joke is huge.
59:10 --> 59:20 [SPEAKER_01]: And is an adult is literally an adult and can make an informed decision that is kind of the price of admission into this world, as you know that you might have someone savory eyes looking on you.
59:21 --> 59:28 [SPEAKER_01]: And with folks like Brittany, I can't be sure that she had adults in her life's protecting her from those variables.
59:28 --> 59:33 [SPEAKER_01]: And as a 16 year old, she wasn't developmentally appropriate for her to protect herself.
59:33 --> 59:36 [SPEAKER_01]: She needed an adult to say, we're actually we need to
59:37 --> 59:38 [SPEAKER_01]: De-sexualize her a little bit.
59:38 --> 59:45 [SPEAKER_00]: I can imagine every incentive for a teenage girl or boy would be like, anything I can do to telegraph myself as more adults.
59:45 --> 59:47 [SPEAKER_00]: I will do sexual, let me sure.
59:47 --> 59:48 [SPEAKER_00]: Sounds good.
59:48 --> 59:53 [SPEAKER_00]: Like, whether just now I get to look and act like I'm 23 or whatever, and I get to be the star.
59:53 --> 59:54 [SPEAKER_00]: Like, sign me up.
59:54 --> 59:59 [SPEAKER_00]: Like, I would be shocked at a girl who was already wanting to be a star.
01:00:00 --> 01:00:01 [SPEAKER_00]: would find that almost irresistible.
01:00:01 --> 01:00:03 [SPEAKER_00]: Right, but you don't, would have to help.
01:00:03 --> 01:00:11 [SPEAKER_01]: And especially when, and I think adults would be eager to help, when their love of that child is conditional on that child's success.
01:00:12 --> 01:00:17 [SPEAKER_01]: So you think of folks like Taylor Swift, you have a sense that her parents were gonna love her no matter what.
01:00:17 --> 01:00:21 [SPEAKER_01]: Like you just have a sense if you follow that family that they're just, they're full of love in that family.
01:00:22 --> 01:00:26 [SPEAKER_01]: You look at Britney's dad and maybe you can't say that he would love his kid no matter what.
01:00:26 --> 01:00:28 [SPEAKER_00]: Yeah, I don't know really much about that.
01:00:28 --> 01:00:29 [SPEAKER_00]: There's a lot there.
01:00:29 --> 01:00:30 [SPEAKER_00]: There's a lot there.
01:00:31 --> 01:00:35 [SPEAKER_00]: his love might have been conditional on her making it big and pull them along.
01:00:35 --> 01:00:36 [SPEAKER_00]: Yeah, that's growing.
01:00:36 --> 01:00:37 [SPEAKER_00]: If that's true, that's gross.
01:00:37 --> 01:00:46 [SPEAKER_01]: Well, I think that that even cloud your job consciously, like that's what happens when we put adult responsibilities, especially financial responsibilities of a family on to a teenager.
01:00:47 --> 01:00:55 [SPEAKER_01]: that yeah, you love your kid, but also like you need your kids feeling down one day guess what like you need to go on stage like we have to pay our bills.
01:00:55 --> 01:00:56 [SPEAKER_00]: Yeah.
01:00:56 --> 01:00:58 [SPEAKER_01]: So I know you're feeling down, but go on.
01:00:58 --> 01:00:59 [SPEAKER_00]: Yeah, I need a brain break day.
01:00:59 --> 01:01:03 [SPEAKER_01]: It's like no, no, you can't do too many people rely on you.
01:01:03 --> 01:01:09 [SPEAKER_01]: And it's not appropriate to have a thousand people's paycheck rely on the performance of a 16 year old kid.
01:01:09 --> 01:01:09 [SPEAKER_03]: That's crazy.
01:01:09 --> 01:01:10 [SPEAKER_03]: That's crazy.
01:01:11 --> 01:01:12 [SPEAKER_01]: But that's the reality.
01:01:12 --> 01:01:14 [SPEAKER_01]: So no wonder these people are breaking.
01:01:15 --> 01:01:28 [SPEAKER_01]: Like it's no wonder they are because of this outside stress that is represented in this musical tension and modulation and dissonance in Britney Spears piece of me.
01:01:28 --> 01:01:30 [SPEAKER_00]: Well, we heard toxic.
01:01:30 --> 01:01:30 [SPEAKER_01]: Okay.
01:01:30 --> 01:01:31 [SPEAKER_00]: I've got two more examples.
01:01:32 --> 01:01:32 [SPEAKER_00]: Okay.
01:01:32 --> 01:01:32 [SPEAKER_00]: Great.
01:01:33 --> 01:01:36 [SPEAKER_00]: Have we basically talked through what you're talking about?
01:01:36 --> 01:01:36 [SPEAKER_00]: Yes.
01:01:36 --> 01:01:36 [SPEAKER_00]: So we did it.
01:01:36 --> 01:01:37 [SPEAKER_00]: We nested you.
01:01:38 --> 01:01:39 [SPEAKER_00]: I love it.
01:01:39 --> 01:01:40 [SPEAKER_01]: Really.
01:01:41 --> 01:01:41 [SPEAKER_01]: Really into it.
01:01:42 --> 01:01:44 [SPEAKER_00]: So alien from 2013.
01:01:45 --> 01:01:45 [SPEAKER_01]: Nick the movie.
01:01:46 --> 01:01:47 [SPEAKER_00]: The Britney song.
01:01:47 --> 01:01:48 [SPEAKER_01]: Okay.
01:01:48 --> 01:01:48 [SPEAKER_01]: Cool.
01:01:48 --> 01:01:48 [SPEAKER_01]: All right.
01:01:48 --> 01:01:49 [SPEAKER_00]: You've heard this one.
01:01:49 --> 01:01:50 [SPEAKER_00]: Now I got the second.
01:01:50 --> 01:01:56 [SPEAKER_00]: So remember, we're talking about the outline of the melody changing towards more or less dissonance.
01:01:56 --> 01:02:03 [SPEAKER_00]: So here we have a perfect fourth in the verse, which expands to be a sixth in the pre-chorus, and then the outline is a full octed in the chorus.
01:02:04 --> 01:02:11 [SPEAKER_00]: None of those are dissonant, but there's an expansion of the overall range and thus the melodic outline in each of the sections.
01:02:37 --> 01:02:38 [SPEAKER_01]: That sounds awesome.
01:02:38 --> 01:02:40 [SPEAKER_01]: I think we need that one more Brittany.
01:02:40 --> 01:02:49 [SPEAKER_00]: Yeah, she had some good like after the sort of teen pop couple of albums like every night here, I like I wish I wasn't so full of myself earlier in my life.
01:02:50 --> 01:02:51 [SPEAKER_01]: So I could have listened to Britney Spears.
01:02:52 --> 01:02:52 [SPEAKER_01]: I mean, I still can.
01:02:53 --> 01:02:53 [SPEAKER_00]: Yeah, I agree.
01:02:53 --> 01:02:54 [SPEAKER_01]: So I wish I got over it.
01:02:55 --> 01:02:55 [SPEAKER_00]: I wish she weren't.
01:02:56 --> 01:02:58 [SPEAKER_00]: So I think you found Brittany before I did.
01:02:58 --> 01:03:10 [SPEAKER_01]: It was very recently when I was like, yeah, okay Well, I'm very like I said I I don't know her music as much as I know her like family history and her persona Which I think is part of the problem to be honest.
01:03:10 --> 01:03:12 [SPEAKER_00]: You've read the peer reviewed journals.
01:03:12 --> 01:03:15 [SPEAKER_00]: Not yeah No literally we've written you alone YouTube video.
01:03:15 --> 01:03:15 [SPEAKER_01]: Yeah.
01:03:15 --> 01:03:16 [SPEAKER_01]: I'm into it.
01:03:16 --> 01:03:24 [SPEAKER_00]: All right one more Brittany example I'm a slave for you 2001 this one's produced by the Neptune's with the spell with the snake put
01:03:25 --> 01:03:29 [SPEAKER_00]: Yes, put a pin in the Neptune's we're going to come back to the Neptune's.
01:03:29 --> 01:03:29 [SPEAKER_01]: Okay.
01:03:29 --> 01:03:30 [SPEAKER_00]: Cool later in this season.
01:03:30 --> 01:03:32 [SPEAKER_00]: He's pinning a lot of stuff in a lot of things.
01:03:32 --> 01:03:34 [SPEAKER_00]: We're at the start of a season.
01:03:34 --> 01:03:36 [SPEAKER_00]: We've got a bunch of posts on the wall.
01:03:36 --> 01:03:37 [SPEAKER_01]: We're like plans.
01:03:38 --> 01:03:39 [SPEAKER_01]: They're connected by red string.
01:03:39 --> 01:03:39 [SPEAKER_01]: We're doing it.
01:03:39 --> 01:03:40 [SPEAKER_01]: Yes.
01:03:40 --> 01:03:46 [SPEAKER_00]: So the chorus full on outlines a tritone from high to the low note.
01:03:46 --> 01:03:50 [SPEAKER_00]: And there's this this of course has a really awesome glyconda, which is the slide.
01:03:50 --> 01:03:51 [SPEAKER_00]: I love that.
01:03:52 --> 01:03:52 [SPEAKER_01]: I love it.
01:03:53 --> 01:03:53 [SPEAKER_00]: I love it.
01:03:53 --> 01:03:54 [SPEAKER_00]: I do.
01:03:54 --> 01:04:00 [SPEAKER_00]: And it outlines a tritone again, but then the post chorus, it flips to a perfect fifth and then a perfect fourth.
01:04:00 --> 01:04:03 [SPEAKER_00]: So in the post chorus, it stabilizes that interval.
01:04:03 --> 01:04:06 [SPEAKER_00]: So here we have a move from tension to less tension.
01:04:25 --> 01:04:27 [SPEAKER_01]: And you had that like background.
01:04:28 --> 01:04:30 [SPEAKER_01]: There's lyrics in the background that you don't quite hear.
01:04:30 --> 01:04:31 [SPEAKER_01]: There are like whisperers kind of.
01:04:31 --> 01:04:33 [SPEAKER_00]: Yeah, the mouth sounds.
01:04:33 --> 01:04:38 [SPEAKER_00]: They know some of the Britney's like, that's going to be a thing and some other artists I think I'll cover this.
01:04:39 --> 01:04:41 [SPEAKER_01]: And we ever talked about the dark triad.
01:04:42 --> 01:05:07 [SPEAKER_00]: It's come up, and I'm desperate to find an episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the last episode of the
01:05:07 --> 01:05:08 [SPEAKER_00]: before we break.
01:05:09 --> 01:05:21 [SPEAKER_00]: In the same way that the chorus seemed to affect the verse by the robo voices and the chorus started leaking into the verse, which the second verse then you heard had a lot of the robotic backing vocals.
01:05:22 --> 01:05:29 [SPEAKER_00]: These backing vocals that are more melodic and have these weird frames and outlines finally affect Brittany in the bridge.
01:05:29 --> 01:05:35 [SPEAKER_00]: And so finally for the one part of the song, Brittany actually starts jumping around and singing
01:05:37 --> 01:05:42 [SPEAKER_00]: And more melodically, though, almost, it's so leapy that it starts to become less melodic.
01:05:43 --> 01:05:46 [SPEAKER_00]: It starts to almost become more instrumental sounding than vocal.
01:05:46 --> 01:05:51 [SPEAKER_01]: It's like all the stress that was around to finally, like, row-care boundaries and row-care barrier.
01:05:51 --> 01:05:52 [SPEAKER_00]: And it sounds like this.
01:06:09 --> 01:06:18 [SPEAKER_00]: Yeah, so I'm not so sure how much of that she's singing and it might just be pitch-shifting happening.
01:06:18 --> 01:06:24 [SPEAKER_00]: The inhuman, almost impossible vocal leaping put a pin in that for later episode two.
01:06:24 --> 01:06:29 [SPEAKER_00]: I want to talk about, but this calls back to our Mariah episode a little bit, right?
01:06:29 --> 01:06:31 [SPEAKER_00]: Because of the extreme leaps and rage and stuff.
01:06:32 --> 01:06:43 [SPEAKER_00]: And also again, foreshadows something coming soon, but each of these little bits within this has its own different melodic outline, right?
01:06:44 --> 01:06:49 [SPEAKER_00]: And you can hear her jump around and range and I'll play this with the chords in a little bit.
01:06:49 --> 01:06:52 [SPEAKER_00]: But let me just walk through without getting too bogged down in notes.
01:06:53 --> 01:07:04 [SPEAKER_00]: The first and the third chord seemed more dissonant than the second and the fourth, which is the opposite of what was happening in the chorus, where we were getting more dissonant on the second and fourth of each chord in the cycle, right?
01:07:04 --> 01:07:10 [SPEAKER_00]: So this one like what happened before is gradually getting more tense as we go.
01:07:10 --> 01:07:13 [SPEAKER_00]: So unlike the chorus where things were getting more dissonant,
01:07:14 --> 01:07:20 [SPEAKER_00]: What we have is these crazy leaps and each outline starts pretty dissonant and gets simpler and simpler until at the end.
01:07:21 --> 01:07:22 [SPEAKER_00]: And I won't bog you down in every note.
01:07:22 --> 01:07:24 [SPEAKER_00]: In the end, we're left with the whole step.
01:07:24 --> 01:07:31 [SPEAKER_00]: Dada-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da
01:07:31 --> 01:07:40 [SPEAKER_00]: then it goes to a perfect fifth, then another perfect fifth, but a dissonant one, and then a sixth, and finally a third, which is actually very simple.
01:07:41 --> 01:07:46 [SPEAKER_00]: And then it ends, the last outline is just two notes on top of a chord.
01:07:46 --> 01:07:51 [SPEAKER_00]: So it actually becomes kind of more human and more stable as it goes.
01:07:51 --> 01:07:58 [SPEAKER_00]: So listen to it again, and then I'll play the piano where you can hear the outlines interacting with the harmonies and becoming more stable.
01:08:14 --> 01:08:16 [SPEAKER_02]: You want a piece of piece of meat?
01:08:16 --> 01:08:17 [SPEAKER_00]: Yeah, here we go.
01:08:19 --> 01:08:19 [SPEAKER_00]: That's where we start.
01:08:25 --> 01:08:27 [SPEAKER_00]: Ooh, consonant.
01:08:34 --> 01:08:35 [SPEAKER_00]: She ends just on those two.
01:08:36 --> 01:08:37 [SPEAKER_00]: It ends a little more pretty.
01:08:38 --> 01:08:40 [SPEAKER_00]: We have some gnarly cords towards the beginning.
01:08:40 --> 01:08:43 [SPEAKER_00]: So it's kind of the opposite trajectory.
01:08:43 --> 01:08:44 [SPEAKER_01]: The rent cord was in there.
01:08:45 --> 01:08:53 [SPEAKER_00]: the ad-9, yeah, you heard it, I think it's a half step higher, but it's pretty or something inside of me, like, activates.
01:08:54 --> 01:08:56 [SPEAKER_01]: It's like a sleeper, sleeper code, it's embedded in me.
01:08:56 --> 01:08:56 [SPEAKER_01]: Right.
01:08:56 --> 01:09:00 [SPEAKER_01]: A musical theater and that's of me, that I'm just like, all the attention.
01:09:01 --> 01:09:03 [SPEAKER_00]: Shout out to our episode on Wicked from last.
01:09:03 --> 01:09:05 [SPEAKER_01]: Oh, first see you.
01:09:05 --> 01:09:06 [SPEAKER_01]: Holy cow.
01:09:06 --> 01:09:13 [SPEAKER_00]: So this also, we're not getting into the notes, but this tracks, then we have a synth sort of solo and an outro that have similar
01:09:31 --> 01:09:35 [SPEAKER_00]: And it becomes almost impossible to track what the notes you've had because there's a lot of buzzing up and down and sliding.
01:09:36 --> 01:09:38 [SPEAKER_00]: And I won't even play the outro, but it happens that again in the outro.
01:09:38 --> 01:09:56 [SPEAKER_01]: It really makes me connect to this idea that, you know, when we think about the things that change us over time, we try so hard to identify one or two variables that really, that's where the road forked for people, but it's really this collaboration of a lot of different variables that lead us where we're going.
01:09:56 --> 01:09:59 [SPEAKER_01]: And I think with Brittany, there was a lot that came into it.
01:10:01 --> 01:10:02 [SPEAKER_01]: media pressure.
01:10:02 --> 01:10:04 [SPEAKER_01]: It wasn't just family stress.
01:10:04 --> 01:10:08 [SPEAKER_01]: It wasn't just developmentally inappropriate responsibility placed on her.
01:10:08 --> 01:10:10 [SPEAKER_01]: It wasn't just over sexualization.
01:10:10 --> 01:10:13 [SPEAKER_01]: It wasn't just our eyes gazing on her all the time.
01:10:13 --> 01:10:18 [SPEAKER_01]: It was all of those things and combined with things that she was born with.
01:10:18 --> 01:10:20 [SPEAKER_01]: I mean that like put her on this path.
01:10:20 --> 01:10:25 [SPEAKER_01]: It was like a perfect storm and it's really reflected in the song and towards the end.
01:10:25 --> 01:10:29 [SPEAKER_01]: When you think, listen to the song now, knowing what happens
01:10:30 --> 01:10:31 [SPEAKER_01]: down the timeline.
01:10:32 --> 01:10:33 [SPEAKER_01]: It's really hard not to feel sad.
01:10:34 --> 01:10:36 [SPEAKER_01]: It just really is hard not to say like sad.
01:10:36 --> 01:10:53 [SPEAKER_01]: Especially towards the end when she's like assimilating all of this stress and it's changing her melody, thinking of all these other things and it's just jointed and just fragmented and it seems very frenetic and that's just sad because you know what the future holds for her.
01:10:54 --> 01:10:54 [SPEAKER_01]: So.
01:10:55 --> 01:11:06 [SPEAKER_01]: Looking back on Brittany's kettle like now with a modern or a more modern lens might be very interesting exercise don't you think I mean that's what this That's what we're doing right this looks like yeah
01:11:07 --> 01:11:07 [SPEAKER_00]: Okay.
01:11:07 --> 01:11:10 [SPEAKER_00]: So fun side track coming up next week.
01:11:10 --> 01:11:10 [SPEAKER_01]: I'm excited.
01:11:11 --> 01:11:19 [SPEAKER_00]: And maybe the next full episode won't have all of us contributing to the mental strife of the subject of our set.
01:11:19 --> 01:11:19 [SPEAKER_00]: Yeah.
01:11:20 --> 01:11:21 [SPEAKER_01]: I don't think it will.
01:11:21 --> 01:11:25 [SPEAKER_01]: I feel like our next episode isn't going to really go into these deeper topics.
01:11:25 --> 01:11:33 [SPEAKER_01]: But I think we had to start out season three strong and true to our roots of overthinking things and over processing.
01:11:33 --> 01:11:38 [SPEAKER_00]: So I got a, I got a sense early on that you wanted to talk about Britney Spears.
01:11:39 --> 01:11:44 [SPEAKER_00]: So I'm starting off season three was like, I went in going, I'm going to choose a good Britney Spears song.
01:11:44 --> 01:11:47 [SPEAKER_00]: This was not, oh, I heard piece of me and I'm like, that would be great.
01:11:47 --> 01:11:52 [SPEAKER_00]: I was like, I'm going to listen to a bunch of Britney and I'm going to find a song that gives me a cool topic.
01:11:52 --> 01:12:04 [SPEAKER_01]: Yeah, and you know what we didn't talk about it all here is this idea of conservatorship, which I have a lot of thoughts on conservatorship, but we didn't really want to like it's even scratching to that in this episode.
01:12:04 --> 01:12:09 [SPEAKER_00]: Why don't you and I talk about it while the listeners listen to the outro me?
01:12:09 --> 01:12:09 [SPEAKER_01]: That sounds great.
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01:12:40 --> 01:12:41 [SPEAKER_00]: Thanks for listening.