106 - Sidetrack - Season 2 Mailbag 4
Are Alanis Morissette and Lauryn Hill two sides of the same coin? This week, we have one more chance to open the mailbag for Season 2! This batch of inquires hits on such controversial topics as Nichole’s accent, whether we should talk about musicals, mono-cultural tragedies, the new record by The Strokes, and whether the Beatles stole from Batman. We’re always sticking to the hard-hitting journalism here at NTM…
Music heard in this episode: Jeremy Jordan - “She Used to be Mine”, Sara Bareilles - “Goodbye Yellow Brick Road”, Awaken A Cappella - “Gravity”, The Beatles - “Till There Was You”, Linkin Park - “The Little Things Give You Away”, My Bloody Valentine - “When You Sleep”, Coldplay - “Yes”, Club Nouveau - “Lean on Me”, Lauryn Hill - “Everything is Everything”, “Weird Al” Yankovic - “Such a Groovy Guy”, The Beatles - “Taxman”, Jimi Hendrix - “Foxy Lady”, Neal Hefti - “Batman Theme”, The Strokes - “Going Shopping”, fun. - “Some Nights”, The Strokes - “Hard to Explain”, Rage Against the Machine - “Bulls on Parade”, Rage Against the Machine - “Killing in the Name”, Daft Punk - “Instant Crush (feat. Julian Casablancas)”
Send us your thoughts at NeverMusicPod@gmail.com
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00:00 --> 00:01 [SPEAKER_04]: How about I saw a movie last week?
00:02 --> 00:03 [SPEAKER_00]: I saw a movie last week.
00:03 --> 00:06 [SPEAKER_04]: That's not probably how you would actually say it.
00:06 --> 00:07 [SPEAKER_00]: No, because I'm now, I'm in my head about it, man.
00:07 --> 00:12 [SPEAKER_04]: Now you're in your head, and you're speaking the Queens English, and then you often will do, I saw a picture.
00:12 --> 00:13 [SPEAKER_04]: I saw a picture.
00:13 --> 00:16 [SPEAKER_04]: And sometimes you really lean into it, and it's like practically got a role.
00:16 --> 00:19 [SPEAKER_04]: I saw a picture like you really enjoy that are.
00:31 --> 00:34 [SPEAKER_00]: Hey, I'm Nicole, and I'm Mark, and this is Nevermind the Music.
00:35 --> 00:40 [SPEAKER_04]: A male bag, male bag number four for season two this season.
00:41 --> 00:42 [SPEAKER_04]: We got so much feedback.
00:42 --> 00:46 [SPEAKER_04]: We actually decided to squeeze in one more male bag episode.
00:47 --> 00:53 [SPEAKER_04]: So yeah, this should wrap up most people's thoughts on season two though.
00:53 --> 00:58 [SPEAKER_04]: We do have one more regularly scheduled song
01:03 --> 01:06 [SPEAKER_04]: And that will be the end of season two.
01:06 --> 01:13 [SPEAKER_04]: And then in our first season three male bag episode, I assume we will take feedback on those episodes.
01:13 --> 01:14 [SPEAKER_00]: I love that.
01:14 --> 01:15 [SPEAKER_00]: I love feedback.
01:15 --> 01:16 [SPEAKER_00]: I'm reading ahead.
01:17 --> 01:22 [SPEAKER_00]: I'm skipping ahead in content because I've been reading some of the feedback before we went on to record.
01:22 --> 01:26 [SPEAKER_00]: And I'm feeling very validated by our listeners.
01:26 --> 01:27 [SPEAKER_00]: So I can't wait.
01:27 --> 01:57 [SPEAKER_04]: I've definitely got some affirming correspondence from our listeners, folks might remember on our conversation on our hundredth episode, Extravaganza with David, that one thing we talked about is part of how we have this kind of like sometimes intense emotional reveals in our episodes and this personal vibe we have, it's because we're in the same room, but a last because of scheduling issues, you have a work meeting right before and I have a work meeting right after
01:57 --> 02:00 [SPEAKER_04]: We are recording this remote.
02:00 --> 02:09 [SPEAKER_04]: So folks, we probably won't have tearful emotional interactions, but there will be validations of previously held opinions from Nicole.
02:10 --> 02:12 [SPEAKER_04]: We will get that in our feedback.
02:12 --> 02:17 [SPEAKER_00]: I will say, I hate being remote when it's just me and you mark I love being in the same room with you.
02:17 --> 02:18 [SPEAKER_00]: I really do.
02:18 --> 02:20 [SPEAKER_00]: I really enjoy your misrowriting.
02:20 --> 02:20 [SPEAKER_00]: We just started.
02:21 --> 02:21 [SPEAKER_00]: I'm a student.
02:21 --> 02:23 [SPEAKER_00]: I mean, already, I'm like sad.
02:23 --> 02:25 [SPEAKER_00]: Maybe I should just come to your house.
02:25 --> 02:25 [SPEAKER_00]: I won't.
02:26 --> 02:53 [SPEAKER_04]: not a time to say so of course thank you to everybody who sent in feedback if you have feedback for us we will get a mailbag recorded sometime in the fall and you can send us an email at nevermusic pod at gmail.com or hit us up on the nevermind the music discord channel on the lorhoun server and go to thelorhouns.com to hop on that.
02:54 --> 03:00 [SPEAKER_04]: Now, in our episode two weeks ago with John, we were talking about concept albums very fun episode.
03:00 --> 03:01 [SPEAKER_04]: I hope everybody enjoyed it.
03:01 --> 03:06 [SPEAKER_04]: We did say, hey, we're recording the week this comes out, get in the feedback that it will catch it.
03:06 --> 03:09 [SPEAKER_04]: That episode came out for hours ago.
03:09 --> 03:13 [SPEAKER_04]: So there is actually already chatter on the discord about the episode.
03:13 --> 03:14 [SPEAKER_04]: Thank you for folks.
03:15 --> 03:16 [SPEAKER_04]: But we don't really have any feedback about it.
03:16 --> 03:19 [SPEAKER_04]: So our bad, if you have burning questions on the concept albums,
03:23 --> 03:28 [SPEAKER_00]: And like, just keep on listening, you know, season three is coming up and we'll get to your feedback.
03:28 --> 03:29 [SPEAKER_00]: We love hearing from you guys.
03:29 --> 03:29 [SPEAKER_00]: Love it.
03:29 --> 03:30 [SPEAKER_00]: Keep it coming.
03:30 --> 03:31 [SPEAKER_04]: Want to start us off?
03:31 --> 03:31 [SPEAKER_00]: Yes.
03:32 --> 03:41 [SPEAKER_00]: So I'm reading a note from Steve C. Hey, guys, love your show, long time listener, and occasional lorehounds, male or inner.
03:42 --> 03:46 [SPEAKER_00]: Nicole loved your plurvis coverage, edited a hugely needed component to the pod.
03:46 --> 03:47 [SPEAKER_00]: Well, thanks for that, Steve.
03:48 --> 03:49 [SPEAKER_00]: I'm with Nicole.
03:50 --> 03:50 [SPEAKER_00]: Thanks again.
03:54 --> 03:59 [SPEAKER_00]: My wife got tickets from me and my daughter to see Hayes town at the Orphium in San Francisco a couple of years ago.
04:00 --> 04:04 [SPEAKER_00]: It instantly became my favorite musical and I'm a pretty big musical guy.
04:04 --> 04:08 [SPEAKER_00]: There's so much to dig into with this one, both musically and mythologically.
04:09 --> 04:12 [SPEAKER_00]: So rich and Steve says, hello, rad.
04:12 --> 04:14 [SPEAKER_04]: He goes on, but this is end of this topic.
04:14 --> 04:15 [SPEAKER_04]: Two things.
04:15 --> 04:17 [SPEAKER_04]: When do we talk about Haiti's town out?
04:17 --> 04:18 [SPEAKER_04]: It's familiar.
04:18 --> 04:22 [SPEAKER_04]: Second of all, tell me you're from San Francisco without telling you're from San Francisco.
04:22 --> 04:26 [SPEAKER_04]: You mentioned SF, but hella, hella, oh my god, that takes me back.
04:26 --> 04:30 [SPEAKER_04]: I'm not from San Francisco, but boy, when I was living in Northern California, did I get a lot of hella.
04:30 --> 04:35 [SPEAKER_00]: It was actually hard for me to read it and feel authentic because it's so abstract.
04:35 --> 04:37 [SPEAKER_04]: You were free in Northern California.
04:37 --> 04:38 [SPEAKER_00]: Stay felt like I felt it.
04:39 --> 05:06 [SPEAKER_00]: I'm not sure when we talked about Haiti's town but it must have been recent because I just saw the pro shot and I saw Haiti's town a little while back and it is one of my favorite musicals right now we've been listening to that a lot in our house so it's definitely front of mind for me so it must have been a more recent episode and I agree that the music is fantastic and the incorporation of mythology and storytelling is just so strong it's a great show check out the new pro shot that they just put out
05:08 --> 05:10 [SPEAKER_00]: Thanks for that shout-out, Hayes Towns the Best.
05:10 --> 05:15 [SPEAKER_00]: Steve goes on, so full disclosure, I'm not a huge sur-elton John fan.
05:16 --> 05:27 [SPEAKER_00]: As someone with a music degree and a music lover in general, I can certainly appreciate his genius, but outside of a couple of mega bangers, I've just not really ever been into his music.
05:27 --> 05:29 [SPEAKER_00]: I'm looking at you, Crocodile Rock.
05:30 --> 05:39 [SPEAKER_00]: Sometime during the late 2010s, I went down a weird pop rabbit hole and got super into Sarah Burrellis, as one who generally listens to a mix of Bach.
05:41 --> 05:41 [SPEAKER_04]: Jolskan.
05:41 --> 05:41 [SPEAKER_04]: Jolskan.
05:41 --> 05:42 [SPEAKER_04]: Jolskan.
05:42 --> 05:42 [SPEAKER_04]: Jolskan.
05:42 --> 05:42 [SPEAKER_04]: Jolskan.
05:42 --> 05:43 [SPEAKER_04]: Jolskan.
05:43 --> 05:43 [SPEAKER_04]: Jolskan.
05:43 --> 05:43 [SPEAKER_00]: Jolskan.
05:43 --> 05:43 [SPEAKER_00]: Jolskan.
05:43 --> 05:43 [SPEAKER_00]: Jolskan.
05:44 --> 05:44 [SPEAKER_00]: Jolskan.
05:44 --> 05:44 [SPEAKER_00]: Jolskan.
05:44 --> 05:44 [SPEAKER_00]: Jolskan.
05:44 --> 05:45 [SPEAKER_00]: Jolskan.
05:45 --> 05:45 [SPEAKER_00]: Jolskan.
05:45 --> 05:45 [SPEAKER_00]: Jolskan.
05:45 --> 05:46 [SPEAKER_00]: Jolskan.
05:46 --> 05:46 [SPEAKER_00]: Jolskan.
05:46 --> 05:47 [SPEAKER_00]: Jolskan.
05:47 --> 05:47 [SPEAKER_00]: Jolskan.
05:47 --> 05:47 [SPEAKER_00]: Jolskan.
05:47 --> 05:48 [SPEAKER_00]: Jolskan.
05:48 --> 05:49 [SPEAKER_00]: Jolskan.
05:49 --> 05:49 [SPEAKER_00]: Jolskan.
05:49 --> 05:49 [SPEAKER_00]: Jolskan.
05:49 --> 05:50 [SPEAKER_00]: Jolskan.
05:50 --> 05:50 [SPEAKER_00]: Jolskan.
05:50 --> 05:51 [SPEAKER_00]: Jolskan.
05:51 --> 05:51 [SPEAKER_00]: Jolskan.
06:03 --> 06:04 [SPEAKER_00]: She deferred all the music to that, or saying it.
06:05 --> 06:05 [SPEAKER_03]: Oh.
06:05 --> 06:10 [SPEAKER_00]: Like Nicole, she used to be mine as one of my go-to playlist.
06:10 --> 06:12 [SPEAKER_00]: It's a fantastic song.
06:12 --> 06:16 [SPEAKER_00]: Anyway, a couple of years ago, I ran across her cover of Good By Yellow Brick Road.
06:16 --> 06:24 [SPEAKER_00]: Not surprisingly, I was absolutely blown away by her rendition, and my opinion, it far surpassed the original.
06:24 --> 06:25 [SPEAKER_00]: pausing.
06:25 --> 06:26 [SPEAKER_00]: I'll have to check that out.
06:27 --> 06:32 [SPEAKER_00]: Steve, you should listen to if you're a musical theater fan, you know who Jeremy Jordan is.
06:32 --> 06:33 [SPEAKER_00]: You have to.
06:33 --> 06:36 [SPEAKER_00]: He has a, you're not going to bring him easy again.
06:36 --> 06:36 [SPEAKER_04]: Are you?
06:36 --> 06:50 [SPEAKER_00]: I'm not going to bring him easy again, but I just got into this YouTube rabbit hole of a benefit they do on Broadway called miscast that Broadway actor sings songs that they wish that they were cast in the role of that song.
06:50 --> 06:53 [SPEAKER_00]: So Jeremy Jordan performed in miscast
06:54 --> 07:03 [SPEAKER_00]: She used to be mine from the waitress and it is so effing powerful his rendition of it because he's like acting the story and it's so cathartic
07:36 --> 07:37 [SPEAKER_00]: You have to check that out.
07:38 --> 07:39 [SPEAKER_00]: It's so phenomenal.
07:40 --> 07:41 [SPEAKER_00]: And I'm just a Jeremy Jordan fan.
07:42 --> 07:44 [SPEAKER_00]: And you probably are too Steve, not Mark.
07:45 --> 07:46 [SPEAKER_00]: We've been over it.
07:46 --> 07:47 [SPEAKER_03]: Yeah, I don't know.
07:47 --> 07:48 [SPEAKER_00]: So you shouldn't.
07:48 --> 07:51 [SPEAKER_00]: You're missing a cultural moment not being in love with Jeremy Jordan.
07:51 --> 07:53 [SPEAKER_00]: But fair enough, I'll continue.
07:54 --> 08:02 [SPEAKER_00]: I don't know if you guys take show topic requests, but I would love to hear a musical psychological podcast covering this song.
08:02 --> 08:09 [SPEAKER_00]: I've watched a few reaction videos of the algorithm throws my way and they all just say, wow, that's beautiful.
08:09 --> 08:15 [SPEAKER_00]: She's amazing, but nothing ever get into her harmonic changes to the, sorry.
08:17 --> 08:23 [SPEAKER_00]: But nothing ever gets into her harmonic changes to the original that totally changes the song in the emotional staging.
08:23 --> 08:33 [SPEAKER_00]: On the psychological side, I would love to see an exploration of top-ends lyrics and how they might even better fit with barialces, barialces, harmonic choices.
08:34 --> 08:40 [SPEAKER_00]: The meaning of these lyrics in particular have been downplayed by both John and Toppin, but there's a lot to unwrap in these words.
08:42 --> 08:53 [SPEAKER_00]: So he's talking about doing like a little sidetrack exploration of the Cerberalist version of Goodbye Yellowbrook Road and maybe comparing it against the Elton John version, which I'm interested in.
08:54 --> 08:55 [SPEAKER_00]: So thanks for that great idea.
08:56 --> 08:59 [SPEAKER_04]: Yeah, I mean, should we pipe it?
08:59 --> 09:06 [SPEAKER_04]: Should we listen to minute of Goodbye Yellowbrook, the Cerberalist version, or is that just homework for everybody else to do?
09:06 --> 09:09 [SPEAKER_00]: I mean, I think we have nothing but time here.
09:09 --> 09:17 [SPEAKER_02]: We're all finally deciding my future lives beyond the other brick.
09:44 --> 10:11 [SPEAKER_02]: But by a rainbow, where the darkness is slightly out It can't play many paths, I'm going back to my cloud Back to the whole long down the woods, hunting the morning back to...
10:15 --> 10:20 [SPEAKER_02]: Who will find me decide in my future lies?
10:21 --> 10:39 [SPEAKER_02]: A firmly decide in my future lies A firmly decide in my future lies beyond
10:56 --> 10:57 [SPEAKER_04]: Damn, it's pretty good.
10:57 --> 10:58 [SPEAKER_00]: It's really good.
10:58 --> 11:05 [SPEAKER_00]: I mean, she has a power in her voice that I mean, Elton John's arguably, well, like an arguably, like he's a great musician, right?
11:06 --> 11:08 [SPEAKER_00]: But she's a great vocalist.
11:09 --> 11:14 [SPEAKER_00]: I think her vocal potential is just better than Elton John's.
11:14 --> 11:15 [SPEAKER_00]: Maybe that's a hot take.
11:15 --> 11:21 [SPEAKER_00]: But she brings like a power and a vocal treatment that I think Elton John just doesn't have within his range.
11:21 --> 11:33 [SPEAKER_04]: I mean, I think there's something different about this sort of pointy fall seto thing he's going for in that original version versus her like in the prime of her belting range, right?
11:33 --> 11:33 [SPEAKER_04]: Right.
11:33 --> 11:34 [SPEAKER_04]: It's just a different aesthetic.
11:34 --> 11:39 [SPEAKER_04]: He wouldn't be able to do that on that note because she just has a lower voice than she does.
11:39 --> 11:41 [SPEAKER_04]: And yeah, there's some cool substitutions of chords in there.
11:41 --> 11:45 [SPEAKER_04]: I'm not going to deep dive everything right this second, but that's a really good cover.
11:45 --> 11:47 [SPEAKER_04]: And it's funny to watch the video as we just did.
11:51 --> 12:12 [SPEAKER_00]: gobsmack staring at our cobsmack like some of them are like smalthing the words but some of them just look sad I'm like why are you sad like it's I think it's beautiful but it is her treatment is a little bit more nostalgic than his and it interesting that's my it was my take like when I listen to Elton John's version I know it's a set the lyrics are sad but there's like a joy in his presentation that's that it's like
12:13 --> 12:20 [SPEAKER_00]: that no matter what he's singing about, it's lifted by his theatrical performance aspects.
12:21 --> 12:29 [SPEAKER_00]: And Sarah Barrell's version is not that it's kind of more somber in her aesthetic and her approach to it.
12:30 --> 12:32 [SPEAKER_00]: It's not a showy and it's more humble.
12:33 --> 12:46 [SPEAKER_00]: And I think that that brings some sadness to the lyrics and the musicality of the song, that you're kind of overlooking Elgin's version because of the sequence and the sparkle in some cases.
12:46 --> 12:49 [SPEAKER_04]: So to the questions at hand, right?
12:49 --> 12:50 [SPEAKER_04]: Like,
12:50 --> 12:54 [SPEAKER_04]: would we do an episode about Elton John and Bernie top in?
12:54 --> 12:55 [SPEAKER_04]: Sure.
12:55 --> 12:55 [SPEAKER_04]: Yes.
12:56 --> 12:56 [SPEAKER_00]: Yeah.
12:56 --> 12:58 [SPEAKER_04]: One day that will probably happen.
12:58 --> 13:00 [SPEAKER_04]: Would it be yellow brick road?
13:00 --> 13:03 [SPEAKER_04]: Maybe, maybe it would be a different song, but it totally could be that song, right?
13:03 --> 13:06 [SPEAKER_04]: So like, is that a thing that would happen in the future?
13:07 --> 13:07 [SPEAKER_04]: I mean, that's what I would say.
13:08 --> 13:11 [SPEAKER_04]: I haven't asked you, but it's not planned, but one day we could do Elton, right?
13:12 --> 13:15 [SPEAKER_00]: I think we should do crocodile rock and see if we can get Steve to love it.
13:17 --> 13:20 [SPEAKER_04]: I think, yeah, that's not one of my favorite songs by him either, right?
13:20 --> 13:22 [SPEAKER_04]: So, okay.
13:22 --> 13:29 [SPEAKER_00]: So, now we should do the Lion King soundtrack because he did all the songs, but well, not all the songs, but the original animated Lion King.
13:29 --> 13:31 [SPEAKER_00]: Like can you feel the love tonight?
13:31 --> 13:36 [SPEAKER_04]: He's got the his version also at the end or whatever of the the credits.
13:37 --> 13:46 [SPEAKER_04]: So as far as when we do a Sarah Burrellas episode same I think totally yeah some of her she has some great music she's incidentally
13:47 --> 13:54 [SPEAKER_04]: She was at one of the three institutions I studied at, one of my first grad school experience.
13:54 --> 13:59 [SPEAKER_04]: I was a few years after she had been there singing in an Acapella group.
13:59 --> 14:03 [SPEAKER_04]: And I was also in an Acapella group at that same college like a few years later.
14:03 --> 14:05 [SPEAKER_04]: And so she was kind of legendary.
14:05 --> 14:14 [SPEAKER_04]: And if you look up the first version of her song, gravity, that's one, it's a big hit or whatever from her first, at least I think her first album.
14:15 --> 14:30 [SPEAKER_04]: And there is a college Occupella group version of that song from a few years before that that she wrote it while she was in that group and it's just such a crazy sort of weird the stages of a musician's career, you know.
14:40 --> 15:01 [SPEAKER_02]: Oh, gravity, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah
15:04 --> 15:12 [SPEAKER_00]: If only the universe was a little bit more dialed in or dialed in a different way, you would have known Sarah Morell as to the podcast.
15:12 --> 15:13 [SPEAKER_00]: I needed.
15:13 --> 15:16 [SPEAKER_04]: She's a couple years older than us and also she was there as an undergrad.
15:16 --> 15:18 [SPEAKER_04]: So I was there maybe five years after she was there.
15:18 --> 15:21 [SPEAKER_04]: But yeah, we could have been in the same acupilic group.
15:22 --> 15:32 [SPEAKER_04]: One of the classes I teach is an ensemble and I often will listen to a song and also watch a bunch of live videos of that song to learn how to replace it so I can transcribe the piano part or whatever for my students to play.
15:33 --> 15:58 [SPEAKER_04]: And we did a cerebrolla someone semester love song and I'm not going to lie like watching like 10 live versions of that song love song over and ever again total low key crushed by the end of it like there's something about her vibe on stage that is so Sort of infectious like I don't know that I would look all sad clown as some of her fans were in that video but I can empathize with with some kind of reaction at least yeah pretty sure your wife isn't threatened by cerebrolls
15:59 --> 16:03 [SPEAKER_04]: No, probably she that surprised, she was like, yeah, that fits Mark.
16:03 --> 16:04 [SPEAKER_00]: Of course.
16:04 --> 16:10 [SPEAKER_00]: Well, she's beautiful and talented, and it seems like a really smart businesswoman in a great role model for young women.
16:10 --> 16:11 [SPEAKER_00]: So, way to go.
16:11 --> 16:12 [SPEAKER_00]: There are worse.
16:12 --> 16:13 [SPEAKER_00]: Anyways, anyway.
16:14 --> 16:17 [SPEAKER_04]: Would we do an episode about her cover of that?
16:18 --> 16:19 [SPEAKER_04]: Probably not.
16:20 --> 16:21 [SPEAKER_04]: I mean, we talked about it in a few minutes.
16:21 --> 16:28 [SPEAKER_04]: Would we talk up if we did yellow brick road, would we talk about cerebralis for a bit if we did the Elton John version, maybe?
16:29 --> 16:34 [SPEAKER_04]: I don't see that as a likely episode, which kind of the broad question of, do we take show topic requests?
16:35 --> 16:38 [SPEAKER_04]: I think our answer is kind of mostly not when it's a main episode.
16:38 --> 16:43 [SPEAKER_04]: Like if someone's got a crazy idea for a sidetrack, you guys really need to talk about this, maybe we would.
16:43 --> 16:46 [SPEAKER_04]: Oh, there's there's this thing coming up, watch it and talk about it.
16:46 --> 16:52 [SPEAKER_04]: But if people send us, hey, you really have to talk about whatever song by this artist, I really love.
16:52 --> 16:54 [SPEAKER_04]: It's probably not going to happen.
16:54 --> 16:58 [SPEAKER_04]: Those kind of need to grow a little more organically.
16:58 --> 17:02 [SPEAKER_04]: One of us needs to sort of hit the inspiration, I think.
17:02 --> 17:08 [SPEAKER_00]: And the reality is, is, sorry, spoiler guys, we already have season three pretty much completely planned out.
17:08 --> 17:15 [SPEAKER_04]: So that does not at all mean recorded by the way, but just no, but just let's do this song that I'll come that will do in February.
17:15 --> 17:16 [SPEAKER_04]: This do this song in March, right?
17:16 --> 17:16 [SPEAKER_04]: Yeah.
17:17 --> 17:22 [SPEAKER_00]: But what I'm taking away from Steve's great comment is that I'm great.
17:23 --> 17:30 [SPEAKER_00]: We love musicals and we should be talking about musical theater and psychology more because it's fantastic.
17:35 --> 17:35 [SPEAKER_04]: Should I go on?
17:36 --> 17:37 [SPEAKER_00]: Yeah, please, let's go.
17:37 --> 17:37 [SPEAKER_00]: All right.
17:37 --> 17:44 [SPEAKER_04]: This one comes in from Rob V. Late to the pod, as I just discovered never mind the music, thanks to Rob Harvilla.
17:45 --> 17:45 [SPEAKER_04]: Awesome.
17:46 --> 17:50 [SPEAKER_04]: We have a text on that explains the 90s, the 2000s fan among us.
17:50 --> 17:50 [SPEAKER_04]: Great show.
17:51 --> 17:51 [SPEAKER_04]: I love it.
17:51 --> 17:54 [SPEAKER_04]: And I am voraciously listening to catch up.
17:54 --> 17:56 [SPEAKER_04]: To my surprise, I don't see a radio head episode.
17:57 --> 17:58 [SPEAKER_04]: Well, you do one.
17:58 --> 17:59 [SPEAKER_04]: And will you share some details?
18:00 --> 18:01 [SPEAKER_04]: If not, that's cool too.
18:01 --> 18:04 [SPEAKER_04]: But it would be equally interesting to hear why not.
18:04 --> 18:05 [SPEAKER_04]: Okay.
18:05 --> 18:06 [SPEAKER_04]: So there's a couple more things that Rob says.
18:06 --> 18:09 [SPEAKER_04]: So I will pause radiohead.
18:10 --> 18:10 [SPEAKER_00]: Yeah.
18:10 --> 18:11 [SPEAKER_00]: Radiohead.
18:11 --> 18:12 [SPEAKER_00]: Yeah.
18:12 --> 18:12 [SPEAKER_00]: Yeah.
18:13 --> 18:13 [SPEAKER_00]: Yeah.
18:14 --> 18:15 [SPEAKER_00]: I think there's a reason.
18:16 --> 18:18 [SPEAKER_00]: I'm not opposed or I'm not pro-work on.
18:18 --> 18:19 [SPEAKER_00]: I don't, there's not
18:20 --> 18:26 [SPEAKER_00]: I think that Rob is scratching for like this deep-seated angst against Radiohead.
18:26 --> 18:27 [SPEAKER_00]: I love Radiohead.
18:27 --> 18:28 [SPEAKER_00]: I think that they're great.
18:28 --> 18:30 [SPEAKER_00]: We just haven't gone to it.
18:30 --> 18:30 [SPEAKER_00]: I think.
18:31 --> 18:33 [SPEAKER_04]: Well, I think it is a reason that we haven't done Radiohead yet.
18:34 --> 18:35 [SPEAKER_04]: Oh, we'll we do Radiohead.
18:36 --> 18:39 [SPEAKER_04]: Again, probably yes, eventually we will do radiohead.
18:40 --> 18:56 [SPEAKER_04]: I mentioned in the episode with Rob that I not Rob V Rob Harvilla that I hated radiohead or like I Sorry, I remember like I briefly didn't like radiohead when I was like a late high school or whatever and obviously I go to over that radiohead's amazing.
18:56 --> 18:59 [SPEAKER_04]: I think the reason we haven't done radiohead yet
19:00 --> 19:15 [SPEAKER_04]: is the same reason we haven't done really I don't think any prog rock or like sort of fancy artsy music like I haven't even been doing like Beatles it's not like we have a Beatles episode I do think we might do Queen in the next season everybody
19:16 --> 19:21 [SPEAKER_04]: But there's something about, hey, I'm going to deep dive this.
19:21 --> 19:24 [SPEAKER_04]: Wezer song and get all artsy fartsy about it.
19:25 --> 19:32 [SPEAKER_04]: That's different than I'm going to deep dive this rush song that everybody already knows is really complicated and fancy and I'm going to show you the tricks they do.
19:32 --> 19:35 [SPEAKER_04]: I think we will get there eventually.
19:35 --> 19:39 [SPEAKER_04]: Radiohead of course, sort of like an experimental rock band, art rock band, progressive rock band.
19:40 --> 19:44 [SPEAKER_04]: There's so much to talk about, and some of the music obviously is so great.
19:44 --> 19:49 [SPEAKER_04]: But I feel like I started out in this podcast going for the, not
19:49 --> 20:10 [SPEAKER_04]: Not that analyzing radio ahead is a low-hanging fruit because actually it would be challenging for me as a musician more challenging to analyze than Cindy Lopper or whatever but Maybe it's see feels like a more obvious place to go and I didn't start going there and maybe that will gradually Unfold and change.
20:10 --> 20:11 [SPEAKER_04]: Is that feel right?
20:11 --> 20:12 [SPEAKER_04]: I don't know.
20:12 --> 20:13 [SPEAKER_00]: Yeah, that sounds great to me.
20:14 --> 20:15 [SPEAKER_00]: I'm just gonna simplify and say like I
20:16 --> 20:20 [SPEAKER_00]: think Radiohead's awesome and I'd love to explore.
20:20 --> 20:25 [SPEAKER_00]: I don't really know much about the inner band dynamics of Radiohead.
20:25 --> 20:27 [SPEAKER_00]: I'm familiar with their music.
20:27 --> 20:37 [SPEAKER_00]: I'd love to explore like the dynamics within the band because they've been together for so long and they make him stand suddenly like pretty good music and I think that that's hard to achieve in that space.
20:37 --> 20:37 [SPEAKER_00]: So
20:39 --> 20:42 [SPEAKER_04]: Maybe that's your song when we do talk about it, I'm like, how do they keep it together?
20:43 --> 20:50 [SPEAKER_00]: Like how, and like work well together, and you never hear of like radiohead infighting, a radiohead drama, like they're just making music.
20:50 --> 20:51 [SPEAKER_00]: And I kind of love that.
20:52 --> 20:56 [SPEAKER_00]: So I appreciate this suggestion, Rob D. Even though we don't take to offer Greek West.
20:57 --> 20:58 [SPEAKER_04]: Well, suggestions, I think it's one day.
20:59 --> 21:00 [SPEAKER_04]: Yeah, one day we'll do radiohead.
21:00 --> 21:01 [SPEAKER_04]: I'm almost certain of it.
21:16 --> 21:17 [SPEAKER_04]: Okay, he goes on though.
21:18 --> 21:20 [SPEAKER_04]: I have to get this burning question out of the way.
21:20 --> 21:28 [SPEAKER_04]: Nicole, you're accent on out about doubt, et cetera, has always made me think you were Canadian born, then moved to Boston.
21:29 --> 21:33 [SPEAKER_04]: When Canada came up in the Elanis Moriset pod, you didn't say anything about it.
21:33 --> 21:34 [SPEAKER_04]: Can you please explain?
21:34 --> 21:39 [SPEAKER_04]: Sorry if this is in any way offensive, or I simply missed it in another pod.
21:39 --> 21:43 [SPEAKER_04]: Okay, do you say those words like you're Canadian?
21:44 --> 21:47 [SPEAKER_00]: I don't think I do, but I respect Rob's point of view.
21:48 --> 21:52 [SPEAKER_00]: I always thought out about a boot, a boot, a boot, a boot, a boot.
21:52 --> 21:55 [SPEAKER_04]: I think you kind of maybe go like a boat.
21:56 --> 22:01 [SPEAKER_04]: About how do you say, just say like, say like, I'm thinking about a song.
22:01 --> 22:03 [SPEAKER_00]: Thinking about the way dressed the musical.
22:04 --> 22:06 [SPEAKER_00]: I'm thinking about Mrs. Doubtfire.
22:07 --> 22:08 [SPEAKER_04]: Yeah, maybe that sounds Canadian.
22:09 --> 22:12 [SPEAKER_04]: to some of our listeners, it doesn't sound Canadian to me.
22:12 --> 22:20 [SPEAKER_04]: Hey, everybody, mark here in the edit and just a couple minutes ago, she said one of these words.
22:20 --> 22:26 [SPEAKER_04]: So I'm going to play it back for you and you tell me, does this sound Canadian or not?
22:27 --> 22:31 [SPEAKER_00]: I don't really know much about this has been this
22:34 --> 22:37 [SPEAKER_04]: You've got a little Boston vernacular, obviously.
22:38 --> 22:52 [SPEAKER_04]: The thing that always takes out to me, and it's while editing, like I don't notice it when you say it, but you really lean heavily on, like, I saw a film that I had to direct.
22:52 --> 22:55 [SPEAKER_04]: Or I draw a picture, you don't...
22:56 --> 22:57 [SPEAKER_00]: I don't draw my arm.
22:57 --> 22:59 [SPEAKER_04]: You add a random R at the end, say.
23:00 --> 23:02 [SPEAKER_00]: Yeah, that's a Boston thing for sure.
23:02 --> 23:04 [SPEAKER_04]: How about I saw a movie last week?
23:04 --> 23:05 [SPEAKER_00]: I saw a movie last week.
23:06 --> 23:08 [SPEAKER_04]: That's not probably how you would actually say it.
23:08 --> 23:09 [SPEAKER_00]: No, because I'm now.
23:09 --> 23:10 [SPEAKER_00]: I'm in my head about it, man.
23:10 --> 23:12 [SPEAKER_04]: Now you're in your head and you're speaking the Queen's English.
23:12 --> 23:14 [SPEAKER_04]: You often will do, I star a picture.
23:14 --> 23:15 [SPEAKER_04]: I star a picture.
23:15 --> 23:18 [SPEAKER_04]: And sometimes you really lean into it and it's like practically got a role.
23:18 --> 23:22 [SPEAKER_04]: I star a picture like you really enjoy that are.
23:23 --> 23:33 [SPEAKER_00]: That is a Boston thing though, I will clear up this controversial topic, first of all, Rob, you're very kind with the sorry if this isn't any way offensive.
23:33 --> 23:36 [SPEAKER_00]: I don't know anyone that's ever been offended by being accused of being Canadian.
23:37 --> 23:41 [SPEAKER_04]: I think maybe it's, is it offensive to Canadians that you think you're one of them?
23:41 --> 23:43 [SPEAKER_04]: That might be a food matter.
23:43 --> 23:44 [SPEAKER_00]: No, I get that.
23:45 --> 23:46 [SPEAKER_00]: I'm definitely from Boston.
23:46 --> 23:47 [SPEAKER_00]: I'm not Canadian born.
23:48 --> 23:50 [SPEAKER_00]: Do I wish I had that dual-solution ship?
23:50 --> 23:51 [SPEAKER_00]: Yeah.
23:52 --> 24:02 [SPEAKER_00]: Maybe I do, but I'm a Boston girl through and through and a thing that Bostonians often do is we take ours out of where they should be and put them where they shouldn't be.
24:02 --> 24:06 [SPEAKER_00]: That's the very common thing in our dialect here in the Northeast.
24:06 --> 24:09 [SPEAKER_04]: I think it's you add it before a vowel only.
24:09 --> 24:15 [SPEAKER_04]: Like you you you you saw a movie you you would not star the movie you would just sort you saw the movie.
24:16 --> 24:18 [SPEAKER_04]: Yeah, I don't think you would ever say star the movie.
24:19 --> 24:23 [SPEAKER_04]: And there's certain British dialects of British English that do that, too.
24:24 --> 24:27 [SPEAKER_00]: You hear like famously contributed to Boston culture.
24:27 --> 24:30 [SPEAKER_00]: Like the British or they, they came, the British were coming, right?
24:30 --> 24:39 [SPEAKER_04]: I think they say that Boston is actually the Boston accent maybe closer to what English, the English accent back then was.
24:39 --> 24:40 [SPEAKER_00]: Oh, that's good.
24:40 --> 24:41 [SPEAKER_04]: But like you listen to like,
24:41 --> 24:42 [SPEAKER_04]: It always sticks out to me.
24:42 --> 24:46 [SPEAKER_04]: Usually when you hear sung English, it all kind of centers on the same thing.
24:46 --> 24:48 [SPEAKER_04]: It stops sounding as heavily, uh, accented.
24:48 --> 24:55 [SPEAKER_04]: But if you listen to the Beatles version of till there was you, Paul McCartney is like, what is it there with bells on the hand that I?
24:56 --> 25:02 [SPEAKER_04]: But I never saw the sorrow, winging or sorrow it, winging or whatever he says.
25:02 --> 25:04 [SPEAKER_04]: And it's like he's leaning in really heavy on the sorrow.
25:04 --> 25:07 [SPEAKER_01]: There were birds in the sky.
25:09 --> 25:17 [SPEAKER_01]: But I never saw the ringing No, I never saw them at all Till there was you
25:20 --> 25:20 [SPEAKER_03]: Oh.
25:20 --> 25:22 [SPEAKER_04]: Anyways, moving on now.
25:23 --> 25:24 [SPEAKER_04]: Can we move on?
25:24 --> 25:25 [SPEAKER_04]: Yeah.
25:25 --> 25:26 [SPEAKER_00]: No, this is fine.
25:27 --> 25:29 [SPEAKER_00]: And now I'm going to be very in my head about everything.
25:29 --> 25:42 [SPEAKER_04]: Folks, right in, aside from you saying like a lot, tell me what my southern California dialectic nuances are, which will lead some of you to think that I'm from like New Zealand or something.
25:42 --> 25:42 [SPEAKER_04]: accidentally.
25:42 --> 25:51 [SPEAKER_04]: So, by the way, some of these multi-part feedback entries where people are asking multiple questions, we are doing those because these are emails, folks.
25:51 --> 25:52 [SPEAKER_00]: Mark loves an email.
25:52 --> 25:52 [SPEAKER_04]: Discord comments?
25:53 --> 26:00 [SPEAKER_04]: No, we're we're choosing the greatest it's, but if you send an email and it's got three questions, we're probably going to read all those questions because we love we love the emails.
26:00 --> 26:00 [SPEAKER_04]: Okay.
26:00 --> 26:06 [SPEAKER_00]: These are, well, written, there's different type faces and thought like, we're great grammar here.
26:06 --> 26:10 [SPEAKER_00]: I mean, Rob took some times, he proofread things, like, we support this.
26:10 --> 26:13 [SPEAKER_04]: All right, Rob V says also yes to lists.
26:14 --> 26:15 [SPEAKER_04]: Oh, interesting.
26:16 --> 26:17 [SPEAKER_04]: No to musicals.
26:17 --> 26:18 [SPEAKER_00]: What, bro?
26:18 --> 26:20 [SPEAKER_00]: Also, it's just so lined up.
26:21 --> 26:23 [SPEAKER_00]: We're so on the same wavelength.
26:23 --> 26:28 [SPEAKER_04]: It's forever entertaining to hear Mark create a list topic and Nicole interpreted differently than he intended.
26:29 --> 26:31 [SPEAKER_04]: It's a feature not a bug, I guess.
26:31 --> 26:32 [SPEAKER_04]: Honestly, I'm using.
26:32 --> 26:38 [SPEAKER_04]: Again, though, I doubt I'm alone in thinking a greater musical focus would alienate many of your listeners.
26:39 --> 26:40 [SPEAKER_04]: That's what I was worried about.
26:41 --> 26:44 [SPEAKER_04]: I think there is a loyal few that love the talk.
26:45 --> 26:52 [SPEAKER_04]: I will say there is season three's plan does not have a dedicated musical focused episode at least not yet.
26:52 --> 26:55 [SPEAKER_04]: That does not mean musicals won't come up from time to time.
26:55 --> 27:00 [SPEAKER_04]: I'm sure newsies will come up like another time later in this episode.
27:00 --> 27:04 [SPEAKER_04]: It's already come up on a few recent episodes, but I don't, I don't think we're ever going to full musicals.
27:04 --> 27:05 [SPEAKER_04]: So, do we know it?
27:06 --> 27:08 [SPEAKER_04]: Also, the fans of musicals are duly noted too.
27:09 --> 27:17 [SPEAKER_04]: So, idea for a pod side track or male bad conversation, shared trauma or monocultural moment songs.
27:17 --> 27:21 [SPEAKER_04]: I find songs that address cultural moments events or experiences very interesting.
27:21 --> 27:25 [SPEAKER_04]: How do people perceive and accept a song about a story they already know?
27:25 --> 27:26 [SPEAKER_00]: I love that.
27:26 --> 27:27 [SPEAKER_04]: What motivates an artist to tell it?
27:28 --> 27:29 [SPEAKER_04]: How does one go about it?
27:30 --> 27:34 [SPEAKER_04]: The music seems to typically be written to pull a singular emotion from the listener.
27:35 --> 27:37 [SPEAKER_04]: Is this easier tough for the writer?
27:37 --> 27:41 [SPEAKER_04]: Is a monocultural or traumatic event emotion easy to tap into?
27:42 --> 27:46 [SPEAKER_04]: Or is there too much pressure to match that shared emotion correctly?
27:46 --> 27:49 [SPEAKER_04]: The lyrics need to ride the line between clear and opaque.
27:49 --> 27:53 [SPEAKER_04]: To clear and they lose the emotion becoming just an account of what happened.
27:54 --> 27:56 [SPEAKER_04]: To opaque and listeners don't know what it's about.
27:57 --> 27:58 [SPEAKER_04]: How does a writer attack this?
27:58 --> 28:00 [SPEAKER_04]: What does Nicole know about these shared events?
28:01 --> 28:05 [SPEAKER_04]: They're placed in our psyche, and what things tap into the shared experiences?
28:06 --> 28:09 [SPEAKER_04]: One of my favorite examples of such a song is by Lincoln Park.
28:09 --> 28:12 [SPEAKER_04]: The little things give you away from minutes to midnight.
28:12 --> 28:16 [SPEAKER_04]: Please listen to this great example about Hurricane Katrina and the government's response to it.
28:34 --> 28:48 [SPEAKER_03]: All you've ever wanted was someone to truly look up to you And say it's me, I don't want
28:54 --> 29:00 [SPEAKER_04]: The music is summer, builds with tremendous emotion, and even has a feeling of drowning at times, in my opinion.
29:00 --> 29:10 [SPEAKER_04]: The lyrical story is just vague enough, but there are clues within that point to Katrina, like underwater, the levees are breaking, water through the window, et cetera.
29:10 --> 29:10 [SPEAKER_04]: Okay.
29:10 --> 29:11 [SPEAKER_04]: Wow.
29:11 --> 29:13 [SPEAKER_04]: Thank you for the really interesting thoughts.
29:13 --> 29:15 [SPEAKER_04]: What do you got on that?
29:15 --> 29:15 [SPEAKER_04]: A call?
29:16 --> 29:17 [SPEAKER_00]: I love this.
29:17 --> 29:26 [SPEAKER_00]: I just also want to remind our listeners to go back and listen to the concept album episode where we talk about America two weeks ago.
29:26 --> 29:38 [SPEAKER_00]: when we talk about American idiot and how there was a song about personal trauma that the producers of the Broadway show wanted to reframe as talking about collective trauma about 9-11.
29:38 --> 29:48 [SPEAKER_00]: So that gives some insight into this idea of like personal trauma versus shared trauma and I added some content about that to that episode.
29:48 --> 29:51 [SPEAKER_00]: So you would have probably heard that by now, Rob.
29:51 --> 30:00 [SPEAKER_00]: Another thing that's interesting here, and I'm not going to talk too much about it now because I want to save it for later, is this idea of flash bulb memories.
30:01 --> 30:09 [SPEAKER_00]: We talk about memory a lot here, but episodic and semantic memories, but we haven't really dug into this idea of flash bulb memories.
30:10 --> 30:17 [SPEAKER_04]: We actually talked about flash bulb memories in our long-trained run in episode by the dooby brothers, because you were talking about how.
30:18 --> 30:22 [SPEAKER_04]: like memories are dependent on context in that episode.
30:23 --> 30:32 [SPEAKER_00]: So flash bulb memories are memories that are like really heightened, right, that like kind of like land different in your mind's eye that seem much more vivid.
30:32 --> 30:34 [SPEAKER_04]: Core memory unlocked that kind of vibe.
30:34 --> 30:35 [SPEAKER_00]: Right, exactly.
30:36 --> 30:39 [SPEAKER_00]: The thing about trauma memories is trauma memories
30:40 --> 30:47 [SPEAKER_00]: are famously not valid memories around trauma are reliable.
30:47 --> 30:56 [SPEAKER_00]: In fact, like I witnessed testimony isn't admissible in court really anymore because you can't count it as truth because it's so clouded by the emotion of the moment.
30:57 --> 30:59 [SPEAKER_00]: So that's something to dig into as well.
30:59 --> 31:06 [SPEAKER_00]: But as far as like collective or traumatic events and songs like why are we really drawn to that, it's because it helps us
31:10 --> 31:15 [SPEAKER_00]: It kind of reminds ourselves that we're all more alike than we are different, and we all have shared experience.
31:16 --> 31:26 [SPEAKER_00]: And listening to a song about Hurricane Katrina, as an example here, you're going to have a different point of view than I am because we have different memories attached to that trauma.
31:27 --> 31:30 [SPEAKER_00]: I don't live in New Orleans, I don't have a lot of trauma attached to it.
31:30 --> 31:37 [SPEAKER_00]: Honestly, the most trauma I have about Hurricane Katrina is my friend Katrina's birthday is on the day that Hurricane Katrina hit.
31:38 --> 31:44 [SPEAKER_00]: And when I hear think of Hurricane Katrina, I think of my friend Katrina and the challenges that she's had in her life.
31:45 --> 31:47 [SPEAKER_00]: So a song about that would make me think of her.
31:48 --> 31:53 [SPEAKER_00]: Well, if you lived in New Orleans, a song called Hurricane Katrina would have you think about something different.
31:53 --> 31:59 [SPEAKER_04]: My dad's birthday is 9-11, so it's like a weird, super weird kind of mixed thing, yeah.
31:59 --> 32:12 [SPEAKER_00]: But even when you're reminded of those events, it still gives you a venue to relive and try to assimilate whatever trauma you attach to it into your psyche.
32:13 --> 32:19 [SPEAKER_00]: So it doesn't matter that there are different traumatic experiences, it still gives you the opportunity to kind of assimilate that trauma
32:22 --> 32:26 [SPEAKER_00]: subclinically pretty healthy to process trauma.
32:26 --> 32:34 [SPEAKER_00]: When I say subclinically, if we enter a realm of PTSD, that becomes more clinical and maybe like it's a little bit more tender to process the trauma to say at least.
32:34 --> 32:39 [SPEAKER_00]: But that's a very long road to walk down right now in this male bag episode.
32:40 --> 32:46 [SPEAKER_00]: The point stands though, Rob's point that songs that are about shared moments
32:48 --> 32:53 [SPEAKER_00]: It makes it easier for us to individually connect to the song and also connect to each other.
32:53 --> 33:00 [SPEAKER_00]: And it reminds us that we all do live in the same world together and that's generally a good feeling for most of us.
33:01 --> 33:01 [SPEAKER_04]: Awesome.
33:01 --> 33:11 [SPEAKER_04]: From the songwriter perspective, I would have to say, you know, what motivates the artist and like this question is this hard to do, is it easy to tap into?
33:11 --> 33:14 [SPEAKER_04]: I think it really depends on the artist for me.
33:15 --> 33:17 [SPEAKER_04]: It is not easy to tap into.
33:17 --> 33:27 [SPEAKER_04]: It would feel very performative for me to have written a 9-11 song in 2002, or a Katrina song in 2008.
33:28 --> 33:31 [SPEAKER_04]: It's not even just the feeling of being performative.
33:31 --> 33:35 [SPEAKER_04]: It feels like I have, this is gonna be a really ridiculous.
33:36 --> 33:40 [SPEAKER_04]: statement, but it feels weird to like be performative in my song creation.
33:40 --> 33:45 [SPEAKER_04]: I know that sounds bizarre, but like people asked me when I got married, are you going to write a song for your wedding?
33:45 --> 33:46 [SPEAKER_04]: And I was like, no, I can't.
33:46 --> 33:52 [SPEAKER_04]: That feels like I'm tapping like that feels like I'm leaning to into it and the spotlight of it.
33:52 --> 33:59 [SPEAKER_04]: There's something about writing a song about something that just happened that everybody's feeling really hot about that's hard.
33:59 --> 34:01 [SPEAKER_04]: Like when we talked about
34:02 --> 34:25 [SPEAKER_04]: Concept albums I reminded folks of the episode from season one where I talked through the dream hide my first album that I my rock band from LA like we had a concept album and there is kind of a 911 song on that but what it is is 13 years later about my processing of that experience and being disappointed in my whatever 19 year old self at that time it is not about 911 like
34:30 --> 34:38 [SPEAKER_04]: big ideas from the side or from my little stream of consciousness kind of nuanced take that isn't very universal.
34:38 --> 34:43 [SPEAKER_04]: I think some people feel very connected to this like I'm Bruce brings thing.
34:43 --> 34:51 [SPEAKER_04]: I'm going to write this song about the firefighters climbing up the building to save people and he felt really connected and powerful enough to do that.
34:51 --> 34:52 [SPEAKER_04]: And I think some
34:52 --> 35:05 [SPEAKER_04]: Some writers that's just too much, like it's, you have to have like a layer of separation or it would, and I'm not saying Bruce Springsteen is being performative in a negative way, but for me to do that, it would feel fake.
35:06 --> 35:13 [SPEAKER_00]: Do you feel like fake and artificial and performative are just synonyms for exploiting trauma?
35:14 --> 35:16 [SPEAKER_04]: If I did it, it would be.
35:16 --> 35:17 [SPEAKER_04]: That's the thing that I'm not saying.
35:17 --> 35:26 [SPEAKER_04]: Like, some of my doctoral research was on analysis of musical responses to 911 specifically.
35:26 --> 35:40 [SPEAKER_04]: Like, what's the, like the New York Philharmonic Commission in our Kestrel piece called, on the Transmigration of Souls by the composer, John Adams, who is not a New Yorker, which was controversial, obviously, as you could expect.
35:40 --> 36:05 [SPEAKER_04]: to commemorate the event like a year later right and like so I did an analysis of different methods that that artist used to express emotion about that event very soon after it happened right and I'm not making any accusations that those composers or the rock bands or country groups that were doing 9-11 tribute right after were like being artificial or commercial.
36:05 --> 36:07 [SPEAKER_04]: some of them may have been though, right?
36:07 --> 36:24 [SPEAKER_04]: I think for certain people it would be a performative sort of cash grab like the 9-11 possible reference in American idiot that John was complaining about about concept albums like that was not a 9-11 song and the producers wanted to make it a 9-11 song and that possibly was gross, right?
36:24 --> 36:25 [SPEAKER_04]: So
36:26 --> 36:26 [SPEAKER_04]: I don't know.
36:26 --> 36:37 [SPEAKER_04]: I think it depends on your positionality to the event and just your style, what kind of story teller you are is not the same for everybody.
36:38 --> 36:39 [SPEAKER_00]: Oh, man.
36:39 --> 36:40 [SPEAKER_00]: I love grief trauma.
36:40 --> 36:42 [SPEAKER_00]: I like love it so much.
36:42 --> 36:43 [SPEAKER_04]: Yeah, we know you do.
36:43 --> 36:43 [SPEAKER_04]: It's really.
36:43 --> 36:45 [SPEAKER_00]: I'm writing a class about grief right now.
36:45 --> 36:47 [SPEAKER_00]: I just was doing that before we hopped on to record.
36:48 --> 36:51 [SPEAKER_00]: And now I'm thinking maybe you should come and be a guest speaker and talk about like
36:56 --> 37:04 [SPEAKER_00]: You're going to get me some of that private school funding from a number of by a cup of coffee and it's a Wednesday night, which we love to have in night class.
37:04 --> 37:07 [SPEAKER_04]: Oh yeah, I love Wednesday night.
37:07 --> 37:09 [SPEAKER_00]: You could do, you could just zoom in, it's fine.
37:09 --> 37:10 [SPEAKER_04]: We'll talk about it off my own talk.
37:11 --> 37:12 [SPEAKER_04]: All right, you got the next one.
37:12 --> 37:12 [SPEAKER_00]: Yes.
37:13 --> 37:18 [SPEAKER_00]: So this is from Ryan M. The hidden track at the end of Cole plays, yes.
37:19 --> 37:23 [SPEAKER_00]: from Viva La Vita has been my favorite of mine for many years.
37:24 --> 37:28 [SPEAKER_00]: This album is full of hidden tracks, but none of the other ones hit the same way.
37:29 --> 37:32 [SPEAKER_00]: Shoogase is also a genre of music.
37:32 --> 37:34 [SPEAKER_00]: The band has stated as an influence.
37:34 --> 37:37 [SPEAKER_00]: It's nice to see them go full Shoogase for a few minutes.
37:38 --> 37:40 [SPEAKER_00]: I don't know what that is.
37:40 --> 37:41 [SPEAKER_00]: Is it...
37:41 --> 37:43 [SPEAKER_04]: You don't know what the song or you don't know, shoot guys.
37:43 --> 37:44 [SPEAKER_00]: I don't know, shoot guys.
37:44 --> 37:45 [SPEAKER_04]: What is that?
37:45 --> 37:50 [SPEAKER_04]: Shoot guys is a type of alternative rock, British and origin from like 90s.
37:50 --> 37:58 [SPEAKER_04]: That's you'd probably like it because it's I don't want to say that it's jam band Jason, but it's kind of like a deliage.
37:58 --> 37:58 [SPEAKER_04]: Oh, I love that.
37:58 --> 38:04 [SPEAKER_04]: So like it's all about like noisy guitar effects and swirling textures
38:05 --> 38:05 [SPEAKER_04]: Okay.
38:06 --> 38:20 [SPEAKER_04]: There's Shoogays influenced still in a lot of music of the 21st century, even though the style itself never really became all that popular, like there's some artists, Jesus and Mary Chain, my bloody Valentine.
38:21 --> 38:35 [SPEAKER_04]: There's some groups that became well-known, but it never like hit mainstream, but you'll hear like, anytime you hear just like weird wall of sounds swirling echoing guitars that's probably or keyboards that's probably some amount of shoe-gaze influence.
38:59 --> 39:09 [SPEAKER_04]: So I love this first sentence of Ryan's message because it says the hidden track at the end of coal places, yes, from Vita Vila Vita has been a favorite of mine.
39:09 --> 39:13 [SPEAKER_04]: It's like, wait, the hidden track at the end of like, it's not a theme of the album and that's what's crazy.
39:13 --> 39:17 [SPEAKER_04]: So that album, Vita, what does it Viva Vita or death in all its friends, I think, is its name?
39:18 --> 39:20 [SPEAKER_04]: Has a hidden track in the middle, but it's weird.
39:20 --> 39:23 [SPEAKER_04]: Basically, basically, yes transitions into
39:24 --> 39:25 [SPEAKER_04]: I'll drop in a clip.
39:25 --> 39:38 [SPEAKER_04]: It transitions into this very like sound massy shoegaze influence thing before it goes on to the next song, but I think most artists would maybe call it like, yes, slash the second half.
39:38 --> 39:40 [SPEAKER_04]: They just sort of don't mention it.
40:08 --> 40:11 [SPEAKER_04]: And then the end of the album, there's also another, it happens again.
40:11 --> 40:17 [SPEAKER_04]: So it is kind of a cool, I would say, concept album, adjacent move of that.
40:17 --> 40:19 [SPEAKER_04]: Yeah, so just shouting that one out, I'll drop in a clip.
40:20 --> 40:20 [SPEAKER_04]: Cool.
40:20 --> 40:20 [SPEAKER_04]: Cool.
40:21 --> 40:22 [SPEAKER_00]: Yeah, that's cool.
40:22 --> 40:23 [SPEAKER_00]: In tracks, man.
40:23 --> 40:27 [SPEAKER_00]: We talked about that in the episode this season, and I want more.
40:27 --> 40:28 [SPEAKER_00]: I want more.
40:28 --> 40:29 [SPEAKER_00]: I want more.
40:30 --> 40:30 [SPEAKER_00]: All right.
40:31 --> 40:32 [SPEAKER_04]: Thanks Ryan from Danny.
40:33 --> 40:39 [SPEAKER_04]: This issue with saying that late note out sounds more like bush than sublime is she's meaning Gwen Stefani.
40:39 --> 40:40 [SPEAKER_04]: She's still with Gavin.
40:41 --> 40:49 [SPEAKER_04]: Gavin Rosdale when she's doing duets with Eve and talking about BA and a a a a a s that's from Hall of Bag girl and long after that.
40:50 --> 40:54 [SPEAKER_04]: So she at the very least has other big changes that don't coincide with having a new partner.
40:54 --> 40:59 [SPEAKER_04]: I feel like I kind of raised that when we talked about it because she's with Gavin Rosdale so long.
40:59 --> 41:03 [SPEAKER_04]: She'd already gone kind of like white girl hip hop.
41:03 --> 41:03 [SPEAKER_00]: Yeah.
41:03 --> 41:11 [SPEAKER_04]: Sorry, if that's a weird term, but like she went that while she was still with the post-grunge guy before she was with the country singer.
41:11 --> 41:14 [SPEAKER_04]: So there is kind of another change that happens there.
41:14 --> 41:15 [SPEAKER_00]: Sure.
41:15 --> 41:17 [SPEAKER_00]: What do you think?
41:17 --> 41:20 [SPEAKER_00]: I'll just concede that point because I do think that that
41:21 --> 41:26 [SPEAKER_00]: was a stretch to say in the listing back to the episode I was finding holes in my own argument too.
41:26 --> 41:33 [SPEAKER_00]: So I feel like I'm just going to humbly concede to Danny's point and say like you're you're correct.
41:33 --> 41:42 [SPEAKER_00]: And I think that I was more interested in that analysis and talking about whence to find he's like personal aesthetic than her musical styling.
41:43 --> 41:43 [SPEAKER_04]: Right.
41:44 --> 41:59 [SPEAKER_04]: And that's because like there's the bitty in the 90s and then there's the country look now or whatever like that that is real Like oh, you can see pictures from the various eras and you can see her change and it maybe overlaps a little bit with who she's dating Which is interesting.
42:00 --> 42:01 [SPEAKER_04]: Yeah, it's just not a perfect system
42:02 --> 42:03 [SPEAKER_00]: It's not a perfect system for sure.
42:03 --> 42:04 [SPEAKER_00]: So thanks for that feedback, Danny.
42:05 --> 42:08 [SPEAKER_00]: I hear you, this is such a therapist thing, but I hear you and I understand.
42:09 --> 42:10 [SPEAKER_00]: And I agree.
42:10 --> 42:16 [SPEAKER_00]: Our next bit of feedback is from Ben C. Ben says, I've been listening to your show since the beginning.
42:16 --> 42:16 [SPEAKER_00]: Thanks, bud.
42:17 --> 42:20 [SPEAKER_00]: I find your conversations interesting and insightful.
42:20 --> 42:26 [SPEAKER_00]: A component of your format that seems to come up with some regularity is the issue of sampling and plagiarism.
42:27 --> 42:37 [SPEAKER_00]: But some regularity indeed is impossible to avoid right, but I think you've missed an opportunity to bring it up in the most recent episode.
42:37 --> 42:40 [SPEAKER_00]: The episode was everything is everything by Lauren Hill.
42:40 --> 42:43 [SPEAKER_00]: Now I have to say I'm not a great Lauren Hill mind.
42:43 --> 42:49 [SPEAKER_00]: Although I do love the food, she's version of killing me softly, but that's about where my knowledge of her begins and ends.
42:50 --> 42:58 [SPEAKER_00]: Despite that, the bits of everything is everything you did play sounded like maybe I should go back and check out more of her limited catalog.
42:59 --> 42:59 [SPEAKER_03]: Yes.
42:59 --> 43:00 [SPEAKER_00]: But now, yes.
43:01 --> 43:03 [SPEAKER_00]: Now, back to the issue of sampling and plagiarism.
43:03 --> 43:12 [SPEAKER_00]: To my ear, the beat and riff behind her vocal sound very, very similar to the club nouveau cover of Bill Weather's Lean On Me.
43:12 --> 43:15 [SPEAKER_00]: So, my two questions are one.
43:15 --> 43:18 [SPEAKER_00]: Is my ear deceiving me or is there similarity?
43:19 --> 43:30 [SPEAKER_00]: And two, is there enough of a difference to claim that it's original or conversely with Lauren Hill and the other composers, being in as much trouble as vanilla ice.
43:31 --> 43:32 [SPEAKER_00]: This is a question for Mark.
43:32 --> 43:33 [SPEAKER_04]: Okay.
43:33 --> 43:35 [SPEAKER_04]: So we're going to listen to it.
43:35 --> 43:36 [SPEAKER_04]: Okay.
43:36 --> 43:41 [SPEAKER_04]: Looks like this would be Club Nouveau's 1986 cover of Lean On Me.
43:41 --> 43:43 [SPEAKER_04]: I'm going to just say, knowing Lean On Me,
43:44 --> 43:49 [SPEAKER_04]: This would have to be a striking, because I haven't listened, I did not listen ahead.
43:49 --> 43:51 [SPEAKER_04]: I haven't heard this, at least I don't think I've heard this.
43:52 --> 44:16 [SPEAKER_04]: This would have to be a striking reinterpretation to really feel like a sample, or to really feel like Lauren Hill is sampling it or anything because not that this is everything lean on me is very much in major, everything is everything is very much in minor, but lean on me does go bomb bomb bomb bomb bomb bomb bomb bomb, which is like one up to four and act at one
44:17 --> 44:20 [SPEAKER_04]: Everything is everything goes, bum, bum, bum, bum, bum.
44:21 --> 44:23 [SPEAKER_04]: It does that move, but it's all in minor.
44:24 --> 44:26 [SPEAKER_04]: And it's got a different kind of, I don't know.
44:26 --> 44:27 [SPEAKER_04]: I, this is fascinating.
44:28 --> 44:28 [SPEAKER_04]: I can't wait to listen.
44:29 --> 44:38 [SPEAKER_04]: But I will say, we did talk about plagiarism and all that in that episode because she was being sued by the folks at Tuff Gong Studios.
44:38 --> 44:41 [SPEAKER_04]: Her collaborators for not giving them co-writing credits.
44:41 --> 44:44 [SPEAKER_04]: So there may be there should have been two elements.
45:09 --> 45:10 [SPEAKER_04]: Do you want to listen to everything?
45:10 --> 45:11 [SPEAKER_04]: Is everything for a second?
45:11 --> 45:12 [SPEAKER_00]: Yes, fine.
45:33 --> 45:33 [SPEAKER_04]: What do you think?
45:34 --> 45:36 [SPEAKER_04]: What's your non-expert in some of the pages?
45:36 --> 45:38 [SPEAKER_00]: Non-expert is, it's in null hypothesis.
45:38 --> 45:40 [SPEAKER_00]: That's my expert opinion.
45:40 --> 45:45 [SPEAKER_00]: That, like, there's a correlation, but it's not, I don't think it's derivative.
45:46 --> 45:51 [SPEAKER_00]: I like, if it's derivative, everything's derivative, everything is derivative of everything.
45:51 --> 45:52 [SPEAKER_00]: And that's, I think, what Lauren Hill was getting at.
45:53 --> 45:53 [SPEAKER_04]: Ooh.
45:54 --> 45:54 [SPEAKER_00]: That's good.
45:54 --> 45:54 [SPEAKER_04]: Yeah.
45:55 --> 45:57 [SPEAKER_04]: It has a similar rhythmic gate.
45:57 --> 46:00 [SPEAKER_04]: That is to say the actual articulation of the base.
46:00 --> 46:02 [SPEAKER_04]: In particular, bomb, bomb, bomb, bomb.
46:03 --> 46:04 [SPEAKER_04]: that right there.
46:04 --> 46:04 [SPEAKER_04]: That's it.
46:05 --> 46:06 [SPEAKER_04]: That's very similar.
46:06 --> 46:08 [SPEAKER_04]: It goes up a scale from one to four.
46:09 --> 46:10 [SPEAKER_04]: One of them is major.
46:10 --> 46:11 [SPEAKER_04]: The other one is minor.
46:12 --> 46:14 [SPEAKER_04]: Even that I don't really hear any similarities, right?
46:15 --> 46:16 [SPEAKER_04]: The core progression is different.
46:17 --> 46:19 [SPEAKER_04]: It's not just a minor version of the core progression.
46:21 --> 46:23 [SPEAKER_04]: different tonal, yeah, it's really that rhythm.
46:23 --> 46:26 [SPEAKER_04]: And that goes to show rhythm matters, right?
46:27 --> 46:49 [SPEAKER_04]: Uh, like I could just, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but, but,
46:50 --> 46:58 [SPEAKER_04]: three and four and three and four and three and four one three.
46:59 --> 47:02 [SPEAKER_04]: That's like probably happened 20 million times in history, music.
47:02 --> 47:05 [SPEAKER_04]: So like it would be hard to, it's a cool.
47:05 --> 47:07 [SPEAKER_04]: I love that little push to beat.
47:08 --> 47:11 [SPEAKER_04]: Oh, Mark, which is a concept you haven't learned yet.
47:11 --> 47:15 [SPEAKER_04]: No, but I'm going to talk about him one of far season three episodes.
47:15 --> 47:16 [SPEAKER_00]: You're so far to go, music.
47:16 --> 47:21 [SPEAKER_00]: Sometimes you say things are like you'll count like that and be like, wow, you really know what you're doing.
47:22 --> 47:29 [SPEAKER_04]: You literally are going back to grad school just to get a degree that says you're really good at counting rhythm meter.
47:29 --> 47:34 [SPEAKER_04]: You're really good at county meter and you need that to be, you need that to be shown.
47:34 --> 47:39 [SPEAKER_04]: Like I know you're getting a doctor or a education, whatever, but you're gonna have it say at the bottom that you're really good at county meter.
47:40 --> 47:40 [SPEAKER_04]: Right.
47:40 --> 47:42 [SPEAKER_00]: Yeah, I just hope that's certificate.
47:42 --> 47:46 [SPEAKER_04]: Yeah, I think for whatever reason Ben, rhythm jumps out to you.
47:47 --> 47:53 [SPEAKER_04]: Maybe you're a particularly groovy guy, rhythm, the rhythm of those two excerpts is very, very similar, and that jumps out.
47:54 --> 48:02 [SPEAKER_04]: That's not enough to necessarily be plagiarism or sampling, and definitely wouldn't be enough in most courts of law to make some a libel.
48:02 --> 48:05 [SPEAKER_00]: You know, that's actually how Ben signed his email.
48:05 --> 48:09 [SPEAKER_00]: He says, Ben, C, comma groovy guy.
48:14 --> 48:15 [SPEAKER_00]: I think that's right.
48:15 --> 48:17 [SPEAKER_04]: I think he should throw off it.
48:17 --> 48:19 [SPEAKER_04]: Okay, from Doug or Leans.
48:20 --> 48:23 [SPEAKER_04]: Was the sharp knife cord when the Beatles shouted, Tucks, man!
48:24 --> 48:26 [SPEAKER_04]: Inspired by that identical move in.
48:26 --> 48:28 [SPEAKER_00]: But man, stop it.
48:28 --> 48:30 [SPEAKER_04]: To take it one step, okay, pause on that.
48:32 --> 48:35 [SPEAKER_04]: I looked into it and that's literally the same year.
48:35 --> 48:38 [SPEAKER_04]: The Batman show came out the same year.
48:38 --> 48:40 [SPEAKER_04]: They recorded, I think.
48:41 --> 48:46 [SPEAKER_04]: I think the same year that they recorded or at least released revolver.
48:46 --> 48:48 [SPEAKER_04]: So it's possible.
48:48 --> 48:49 [SPEAKER_04]: Unless I've got my dates wrong.
48:49 --> 48:50 [SPEAKER_04]: It's very possible.
48:51 --> 48:52 [SPEAKER_04]: I don't think that's what they're doing.
48:52 --> 48:58 [SPEAKER_04]: Like that's very weird if they're doing an homage to the Batman theme song from across the Atlantic.
48:58 --> 49:00 [SPEAKER_04]: But it's possible, what do you think?
49:01 --> 49:03 [SPEAKER_00]: I love like a hidden connection.
49:03 --> 49:07 [SPEAKER_00]: I'm going to say not only is it possible, I think it's plausible.
49:08 --> 49:09 [SPEAKER_00]: I don't know.
49:09 --> 49:15 [SPEAKER_04]: Doug says to take it one step further, did the Batman theme proceed Jimmy's recording of Purple Hayes?
49:16 --> 49:24 [SPEAKER_04]: I only asked because that is where many of us first became aware of that chord to the extent that it was nicknamed the Hendrix chord.
49:24 --> 49:25 [SPEAKER_04]: So, what?
49:25 --> 49:27 [SPEAKER_04]: Sorry to like kind of rain on your parade here.
49:27 --> 49:33 [SPEAKER_04]: So, the sharp nine chord is a particular kind of chord that has a root of third, sometimes a fifth.
49:34 --> 49:36 [SPEAKER_04]: a seventh and then a sharp nine.
49:36 --> 49:40 [SPEAKER_04]: So the juice of the sharp nine chord is it has two notes a half step apart.
49:40 --> 49:42 [SPEAKER_04]: The major third and the sharp nine.
49:42 --> 49:47 [SPEAKER_04]: So beautiful used as the main boom.
49:50 --> 49:51 [SPEAKER_04]: And also in purple hay.
49:51 --> 49:52 [SPEAKER_04]: Hmm.
49:52 --> 49:59 [SPEAKER_04]: Jane, Jane, Jane, that chord is called sometimes the Hendrix chord because it shows up in purple hay, shows up in Foxy, Lady.
50:02 --> 50:07 [SPEAKER_04]: It's a really cool chord that comes really from jazz and blues.
50:07 --> 50:08 [SPEAKER_04]: So we get that from jazz and blues.
50:09 --> 50:12 [SPEAKER_04]: However, I don't think it's in the Batman theme.
50:12 --> 50:17 [SPEAKER_04]: The Batman theme is really just kind of a 12-bar blues progression or something like that.
50:30 --> 50:31 [SPEAKER_04]: with dominant seventh chords.
50:31 --> 50:42 [SPEAKER_04]: So I think our connection can stop with the Beatles to Batman and maybe not Jimmy Hendrix to Batman and besides Purple Hayes and all that, that is after the Batman theme.
50:43 --> 50:48 [SPEAKER_04]: That was a couple years later in the late 60s, not the mid 60s.
50:48 --> 50:57 [SPEAKER_00]: I will say, Doug is like a super fan on Discord and post a lot of really interesting content that adds a lot of value to the conversation
50:59 --> 51:04 [SPEAKER_04]: Yeah, I think it's worth shouting out just something that Doug brought that I read through.
51:04 --> 51:05 [SPEAKER_04]: I don't know if you looked at this.
51:05 --> 51:11 [SPEAKER_04]: Somehow we were on because of one of our episodes, the discord topic was about the late 80s early 90s.
51:11 --> 51:21 [SPEAKER_04]: Kind of he pointed out I think the period between appetite for destruction by Guns and Rose is which is 87 to never mind 1991 by Nirvana.
51:21 --> 51:23 [SPEAKER_04]: And that's like a weird few years in music.
51:24 --> 51:26 [SPEAKER_04]: And he posted an article that I looked through
51:29 --> 51:47 [SPEAKER_04]: Intersone, which is just talking a little bit about like this period when the cure and the patch mode were like at the height of their powers, but also Madonna and Michael Jackson and Prince were still like going strong even though their heyday might have been five years ago, and then you get like Paula Abdul and Millie Vanillie and all this stuff.
51:47 --> 51:52 [SPEAKER_04]: So if people are interested look up this article, there's not much more, there's no question about it, but
51:53 --> 51:57 [SPEAKER_04]: Doug and others like him sometimes will just drop an interesting think piece in the discord.
51:57 --> 51:58 [SPEAKER_00]: Yeah, it's cool.
51:58 --> 52:01 [SPEAKER_04]: I wanted to call that one out because it was pretty interesting.
52:01 --> 52:08 [SPEAKER_04]: The poppy bush enters on this feels like a David Lohr hown thing related to the generational transition between.
52:08 --> 52:14 [SPEAKER_00]: That's what I'm getting to and also I'm just going to say poppy bush enters on would be a great band name.
52:14 --> 52:17 [SPEAKER_00]: If anyone's looking for a band name, I don't know if it's a baby.
52:18 --> 52:22 [SPEAKER_04]: I think, by the way, in case that wasn't clear, it's talking about George H.W.
52:22 --> 52:23 [SPEAKER_04]: Bush, right?
52:23 --> 52:28 [SPEAKER_04]: The music during his presidency was kind of weird, is the point of that.
52:28 --> 52:29 [SPEAKER_00]: Okay.
52:29 --> 52:30 [SPEAKER_00]: Yeah, that would not happen.
52:30 --> 52:32 [SPEAKER_04]: Not like a zombie bush, whatever that means.
52:33 --> 52:33 [SPEAKER_04]: Okay.
52:33 --> 52:34 [SPEAKER_04]: All right, you're going on.
52:50 --> 53:04 [SPEAKER_00]: Our next bit of feedback is from Marilyn, writing in, I am only now getting around listening to the latest episode and I thought I would offer some perspective on violinists and violists, violists.
53:04 --> 53:06 [SPEAKER_04]: The oldest, the oldest school.
53:07 --> 53:15 [SPEAKER_00]: Pretty much from the broke period on, the oldest were rarely ever given the upper most lines or the melody or the solo parts.
53:16 --> 53:21 [SPEAKER_00]: Indeed, one might almost think of them as tiny cellos rather than big violence.
53:21 --> 53:25 [SPEAKER_00]: if only because they are primarily used to provide harmonic color and interest.
53:26 --> 53:41 [SPEAKER_00]: I suppose an early classical musician would have described it differently, but you think of the earliest string quartet, two violins were in conversation much of the time, whereas viola and cello were providing rhythm in harmonic bases from which the violinist could soar.
53:42 --> 53:50 [SPEAKER_00]: So we know from previous experiences with Marilyn that she played violin, so has some insider knowledge.
53:50 --> 53:51 [SPEAKER_00]: Thanks for sharing that with us.
53:51 --> 53:58 [SPEAKER_04]: We'll remember and she got dumped by the Theolist in the middle of like a big concert song.
53:58 --> 53:58 [SPEAKER_00]: Something.
53:59 --> 54:06 [SPEAKER_04]: But yet, she is giving proper credit to the role of traditional role of the viola, instead of just slandering all violets.
54:06 --> 54:10 [SPEAKER_00]: Well, I mean, she's Maryland's awesome and always takes the high road, you know.
54:11 --> 54:15 [SPEAKER_00]: She goes on to add, I very much enjoyed your farm aid episode.
54:15 --> 54:25 [SPEAKER_00]: Having lived in central Maine for over 40 years, I'm familiar with the farming landscape and there are an awful lot of us here who know the farmers who grew the food that we eat or at least some of it.
54:26 --> 54:40 [SPEAKER_00]: When I hear from them time and again, it's how much harder it has become to find younger people to work with them on their farms, as well as younger people saying how much they want of farm, but how difficult it is to actually buy viable pieces of agricultural land.
54:41 --> 54:47 [SPEAKER_00]: I think this is another important aspect of supporting agricultural independence throughout our country, which is overlooked.
54:48 --> 54:49 [SPEAKER_00]: That's a pretty fair point.
54:49 --> 55:01 [SPEAKER_00]: I know personally, too, people in our generational cohort that are farmers, that are worked as apprentices and farmland, and it is a struggle for sure.
55:01 --> 55:03 [SPEAKER_00]: They're very much embedded in their communities.
55:04 --> 55:09 [SPEAKER_00]: And I think that there needs to be more pathways for folks to develop a farm if they want.
55:09 --> 55:16 [SPEAKER_00]: I think we're going to see that coming up soon for a variety of reasons, but that's a different podcast.
55:16 --> 55:17 [SPEAKER_00]: Marilyn goes on.
55:17 --> 55:29 [SPEAKER_00]: I'll also say that I've heard programs on which black farmers speak movingly of their struggles together own land and make a goal of it and push beyond the negative stereotypes that have accrued over the years of sharecropping and such.
55:30 --> 55:44 [SPEAKER_00]: And finally, while I grieve with those fourth and fifth and sixth generation farmers who fear they may be the last that also made me think of the indigenous peoples of those various lands who have been displaced after tens of thousands of years.
55:45 --> 55:46 [SPEAKER_00]: All very great points.
55:46 --> 55:50 [SPEAKER_00]: That far made episode was, I think, one of our more powerful episodes of this past season.
55:51 --> 56:06 [SPEAKER_00]: It really did shine a light on how music can make a positive influence in the community and also give some space to recognizing the struggle of local farmers and Maryland's adding a lot of value to that conversation with this bit of feedback.
56:07 --> 56:08 [SPEAKER_04]: Yeah, thank you, Marilyn.
56:08 --> 56:09 [SPEAKER_04]: Very good points.
56:09 --> 56:12 [SPEAKER_04]: I think this is also as good a time as any.
56:13 --> 56:19 [SPEAKER_04]: Remember, they could not tell us anything about the festival when we had Michael and Jessica on.
56:19 --> 56:20 [SPEAKER_04]: It was all still secret.
56:21 --> 56:22 [SPEAKER_04]: That stuff is all now announced.
56:22 --> 56:30 [SPEAKER_04]: So folks, if you want to support Farmed or if you want to go to Farmed, 2026, the website is now live with all the info.
56:30 --> 56:30 [SPEAKER_04]: It's September 26 in
56:37 --> 56:49 [SPEAKER_04]: So we got Willie Nelson, Nill Young, John Mellon Camp, Dave Matthews, and Tim Reynolds, Margo Price, Nathaniel Rate-Lif, I think that's all the board, so those folks go every year, right?
56:50 --> 57:04 [SPEAKER_04]: And then turnpike, troubadores, Lucas Nelson, Mike Campbell, and the dirty knobs, Jesse Wells, Sarah Farrell, Montrovia, I'm with her, Amethyst Kia, Lily Mailla, and Chris Pierce.
57:06 --> 57:09 [SPEAKER_00]: So check out folks, are we getting press passes for that?
57:09 --> 57:12 [SPEAKER_04]: Or, I do not think we're getting press passes for that.
57:12 --> 57:16 [SPEAKER_04]: I just, I, I, with that ticket to Virginia Beach.
57:16 --> 57:18 [SPEAKER_04]: And then like, that's a long train.
57:18 --> 57:21 [SPEAKER_04]: We could take the train and it would only cost us twice as much as flying.
57:22 --> 57:24 [SPEAKER_00]: No, I want like, I don't know what's with that.
57:24 --> 57:25 [SPEAKER_00]: I don't know.
57:25 --> 57:25 [SPEAKER_00]: Okay.
57:25 --> 57:30 [SPEAKER_00]: I'll just make a donation to fire me and watch the videos on YouTube, I think, as should you.
57:31 --> 57:34 [SPEAKER_04]: Say hi to our past guests if, if anybody ends up going.
57:36 --> 57:36 [SPEAKER_04]: Couple more here.
57:37 --> 57:37 [SPEAKER_04]: Okay.
57:37 --> 57:44 [SPEAKER_04]: From David Lorraine, friend of the pod, collaborator, guest slash host on our hunt of episode.
57:45 --> 57:55 [SPEAKER_04]: Yeah, driving home from Maine listening to the Lorraine Hill episode and my wife keeps pausing the episode because she keeps wanting to talk about all kinds of history that she knows about from this era.
57:56 --> 57:58 [SPEAKER_04]: Trying to get her to send some feedback, but I had a
58:06 --> 58:23 [SPEAKER_04]: In that, they are female artists who break molds and stereotypes and genre expectations, all the while holding to their values and sense of self in the face of an industry that wants to co-op them and when they don't capitulate, the industry turns against them.
58:24 --> 58:26 [SPEAKER_04]: Thank you, David, interesting question.
58:26 --> 58:32 [SPEAKER_04]: I hope you were not actually driving or if you were driving, you were using speech to text.
58:33 --> 58:34 [SPEAKER_04]: What do you think on that question?
58:34 --> 58:35 [SPEAKER_00]: I don't know.
58:36 --> 58:39 [SPEAKER_00]: I'm kind of tripping over the industry turning against them.
58:39 --> 58:43 [SPEAKER_00]: I can see that about Lauren Hill, but I can't really see the industry turning against the last more set.
58:43 --> 58:45 [SPEAKER_00]: Did that happen and I missed it?
58:45 --> 58:48 [SPEAKER_04]: I feel like Lannis Morrisett got.
58:49 --> 58:53 [SPEAKER_04]: Pigeon hold by the industry, like the angry girl, right?
58:53 --> 58:58 [SPEAKER_04]: I think that happened, and that maybe made it, you know, affected her career possibly in negative ways.
58:59 --> 59:07 [SPEAKER_04]: But I don't think it's on the level of what happened with Lauren Hill where people kind of grew to almost like resent Lauren Hill in some way.
59:07 --> 59:08 [SPEAKER_04]: Like, some people like some,
59:09 --> 59:12 [SPEAKER_04]: entitled folks in the industry or in the community.
59:12 --> 59:19 [SPEAKER_04]: I think getting stereotype, even though they were maybe trying to break stereotypes or in some ways, they do have uncommon.
59:19 --> 59:24 [SPEAKER_04]: And I would take issue of the question is Lauren Hill to hip hop as is Alanna's more said is to pop.
59:24 --> 59:26 [SPEAKER_04]: I'm not sure pop is really what I would.
59:27 --> 59:29 [SPEAKER_04]: Like, they're both in pop in some ways.
59:29 --> 59:31 [SPEAKER_04]: Like, Alanna's more said is kind of pop in some ways.
59:32 --> 59:34 [SPEAKER_04]: Lauren Hill has songs that I would sort of say are just pop songs.
59:34 --> 59:40 [SPEAKER_04]: But if we're saying it's Lauren Hill to hip hop, then it would be as Alanna's more set is to rock, right?
59:40 --> 59:40 [SPEAKER_04]: Yeah.
59:41 --> 59:45 [SPEAKER_04]: I would say at least, especially Jagger Little Pill is a alternative rock album.
59:46 --> 59:46 [SPEAKER_04]: I don't know.
59:47 --> 59:55 [SPEAKER_04]: It's, they both were cutting against the grain in certain regards, 100% trying to take that time.
59:55 --> 01:00:00 [SPEAKER_00]: That like time and music history when it was more sugary sweet stuff on the radio.
01:00:00 --> 01:00:03 [SPEAKER_00]: And they both were in tithesis of that.
01:00:04 --> 01:00:08 [SPEAKER_04]: So it's actually interesting because what's the year of jagged little pill?
01:00:08 --> 01:00:09 [SPEAKER_04]: 95.
01:00:09 --> 01:00:16 [SPEAKER_04]: So oh, jagged little pill is four years before the misdeciation of Lauren Hill, which is I think 1999.
01:00:17 --> 01:00:25 [SPEAKER_04]: And a lot did change in terms of the pop music landscape in the sense that like there was this boom of female singer songwriters that happened.
01:00:26 --> 01:00:29 [SPEAKER_04]: And some of that was, I don't know if you think like
01:00:34 --> 01:00:36 [SPEAKER_04]: Exciling guyville, which got a shout out in the concept album.
01:00:36 --> 01:00:38 [SPEAKER_04]: That's a couple years before that.
01:00:38 --> 01:00:39 [SPEAKER_04]: And she's still going in PJ Harvey.
01:00:39 --> 01:00:53 [SPEAKER_04]: There's rock, Toreame is these like rock musicians, but also in, of course, that grows out of stuff like right girl movement, which was earlier than that, that was much more punk and underground, but also with that comes like spice girls, right?
01:00:54 --> 01:00:59 [SPEAKER_04]: And boy bands, which have their kind of like teen pop analogs with like Britney Spears, et cetera.
01:01:00 --> 01:01:02 [SPEAKER_04]: hold your breath for Britney Spears, everybody.
01:01:02 --> 01:01:02 [SPEAKER_04]: Spoiler.
01:01:03 --> 01:01:03 [SPEAKER_04]: Kelly.
01:01:03 --> 01:01:08 [SPEAKER_04]: But so Lauren Hill is like entering into that landscape.
01:01:09 --> 01:01:21 [SPEAKER_04]: Whereas obviously she was a part of the Fugies before that, but her solo record as this magnum opus emerges from a industry that has already kind of,
01:01:21 --> 01:01:34 [SPEAKER_04]: gone through this transition and can't decide how it wants to integrate women into the business, whereas in some ways, from the mainstream culture perspective, Elana Smorset was more in the van card of that.
01:01:34 --> 01:01:42 [SPEAKER_04]: It was still early in there was no girl group resurgence yet when drag a little pill happened.
01:01:43 --> 01:01:46 [SPEAKER_04]: Yeah, and even in hip hop, there was no Aliya yet.
01:01:47 --> 01:01:52 [SPEAKER_04]: There was no, like, I don't really think we had even had Missy Elliott really, right?
01:01:52 --> 01:02:02 [SPEAKER_04]: Like, I feel like in 1995, if Lauren Hill had put out her solo album, it would have been a very different context.
01:02:02 --> 01:02:05 [SPEAKER_00]: Yeah, I mean, Disney's child wasn't really, right?
01:02:05 --> 01:02:11 [SPEAKER_00]: Well, they like performed before, but until 1986, they weren't named Disney's child.
01:02:11 --> 01:02:12 [SPEAKER_00]: They got their first contract in 1996.
01:02:13 --> 01:02:14 [SPEAKER_04]: They weren't big, right?
01:02:14 --> 01:02:15 [SPEAKER_04]: They certainly weren't big.
01:02:15 --> 01:02:18 [SPEAKER_04]: Maybe if you lived in Houston, you knew they were something on some internet of the name.
01:02:18 --> 01:02:19 [SPEAKER_04]: So it is interesting.
01:02:19 --> 01:02:33 [SPEAKER_04]: I think as cultural figures in their respective parts of the industry, I think they represent certain similar kind of stature and challenges that they presented to the image of the industry and stuff.
01:02:34 --> 01:02:35 [SPEAKER_04]: But there are differences.
01:02:35 --> 01:02:40 [SPEAKER_04]: I think slight, I hate to quibble about four years, but those four years may be different a bit.
01:02:43 --> 01:02:47 [SPEAKER_04]: I don't know that Oleana's was excluded, maybe, and hated on.
01:02:47 --> 01:02:49 [SPEAKER_04]: She's also not a black woman, right?
01:02:49 --> 01:02:52 [SPEAKER_04]: And so there's certain types of criticism.
01:02:53 --> 01:02:53 [SPEAKER_00]: Yeah.
01:02:53 --> 01:03:02 [SPEAKER_04]: Yeah, there's certain types of industry criticism that's going to be leveled at Lauren Hill, maybe because of 90s racism that would have been different.
01:03:02 --> 01:03:09 [SPEAKER_04]: I'm sure there was a lot of, we know, like, Oleana's more set suffered from sexist stuff and exploited practices and stuff from when she was a
01:03:11 --> 01:03:23 [SPEAKER_04]: Canada shout out to earlier Canada or topic from our I think our first or second right in so yeah it's it's fascinating question I wonder if the imagine a collaboration between the two of them you know a duet
01:03:24 --> 01:03:25 [SPEAKER_04]: It'd be pretty cool.
01:03:25 --> 01:03:29 [SPEAKER_04]: I don't know about it do at, but like a call lab, but like, correct things and come right somewhere.
01:03:29 --> 01:03:31 [SPEAKER_04]: You don't even have to sing together, just do stuff together.
01:03:31 --> 01:03:31 [SPEAKER_04]: Right.
01:03:32 --> 01:03:34 [SPEAKER_04]: And David's wife, thanks for listening.
01:03:34 --> 01:03:34 [SPEAKER_04]: Yeah.
01:03:35 --> 01:03:37 [SPEAKER_04]: Right in, if you've got a lot that you want to say.
01:03:37 --> 01:03:37 [SPEAKER_04]: Yeah.
01:03:38 --> 01:03:39 [SPEAKER_00]: We hear enough of David.
01:03:40 --> 01:03:40 [SPEAKER_04]: We hear a lot.
01:03:41 --> 01:03:44 [SPEAKER_00]: Yeah, we hear the other side of the coin here.
01:03:44 --> 01:03:47 [SPEAKER_00]: So I know you guys listen because he tells us that you listen together.
01:03:47 --> 01:03:48 [SPEAKER_00]: I think that's really sweet.
01:03:49 --> 01:03:52 [SPEAKER_04]: We've got one more piece of feedback Nicole, you want to take it.
01:03:53 --> 01:03:53 [SPEAKER_04]: I'd love to.
01:03:53 --> 01:03:58 [SPEAKER_00]: So this is from Mike W. Oh, speaking of auto-tune, this question is a two part of it.
01:03:58 --> 01:03:59 [SPEAKER_04]: Apparently.
01:03:59 --> 01:04:00 [SPEAKER_00]: Apparently.
01:04:00 --> 01:04:02 [SPEAKER_00]: Anyone here, remember the strokes?
01:04:03 --> 01:04:03 [SPEAKER_00]: Yes.
01:04:04 --> 01:04:07 [SPEAKER_00]: Those who do have you heard their new album, Reality awaits.
01:04:08 --> 01:04:10 [SPEAKER_00]: They went bananas with that effect and I'm torn about it.
01:04:11 --> 01:04:15 [SPEAKER_00]: After first hearing the single going shopping, I thought, okay, yeah, that's pretty fun.
01:04:27 --> 01:04:36 [SPEAKER_03]: We're held in castles from the low end of the trees We'll be from a strategist of the Dead Sea I'm not wet
01:04:42 --> 01:04:43 [SPEAKER_00]: But it's all over the album.
01:04:44 --> 01:04:52 [SPEAKER_00]: I liked Julian's voice as was, but I guess even on the past releases, we didn't hear much of it cleanly without that low-fi and radio effect.
01:04:53 --> 01:04:56 [SPEAKER_00]: Did they ruin it?
01:04:56 --> 01:04:59 [SPEAKER_00]: I know of the strokes, but it's not a surprise to any listener.
01:04:59 --> 01:05:03 [SPEAKER_00]: I'm not like a fan of the strokes and have an informed opinion about this.
01:05:03 --> 01:05:06 [SPEAKER_00]: Mark might be, so what do you think, Mark?
01:05:06 --> 01:05:07 [SPEAKER_04]: Obviously it's striking.
01:05:08 --> 01:05:11 [SPEAKER_04]: I did listen to a few of the songs on this new record by the strokes.
01:05:11 --> 01:05:12 [SPEAKER_04]: I do like the strokes.
01:05:13 --> 01:05:14 [SPEAKER_04]: And it is striking.
01:05:15 --> 01:05:22 [SPEAKER_04]: It felt a little bit like the use of auto tune in like some nights by fun came up on our episode about auto.
01:05:22 --> 01:05:24 [SPEAKER_04]: Folks, we have an episode basically about auto tune.
01:05:24 --> 01:05:26 [SPEAKER_04]: Folks on T-Pane.
01:05:26 --> 01:05:30 [SPEAKER_04]: But we talk about sometimes when auto tunes being used as an instrument.
01:05:30 --> 01:05:30 [SPEAKER_04]: It feels
01:05:30 --> 01:05:36 [SPEAKER_04]: feel so excessive on the level of that vocal trilling that they have in that fun song.
01:05:36 --> 01:05:41 [SPEAKER_04]: That's almost, when I first heard it, I'm like, that is too much, but it's no, they're rich doing something here.
01:05:42 --> 01:05:42 [SPEAKER_03]: Yeah.
01:05:42 --> 01:05:47 [SPEAKER_03]: Yeah.
01:05:53 --> 01:05:58 [SPEAKER_04]: So it is a lot, is it personally my favorite sound in the same way that the sort of
01:05:59 --> 01:06:01 [SPEAKER_04]: Broken microphone can't sound.
01:06:01 --> 01:06:03 [UNKNOWN]: But I feel like...
01:06:16 --> 01:06:31 [SPEAKER_04]: Maybe if we're complaining about weird vocal effects on Julian Casablanca's voice, it's like if I really like Tom Morello and Raging It's the Machine because of the wall pedal, that he does when he goes, wow, wow, wow, wow.
01:06:33 --> 01:06:36 [SPEAKER_04]: And then we put the whammy pedal on another song and it's doing woo, woo, woo.
01:06:42 --> 01:06:44 [SPEAKER_04]: I'm like, whoa, what are you doing, buddy?
01:06:44 --> 01:06:50 [SPEAKER_04]: No, like, Tom Morello is demonstrably interested in messing with his guitar and making it sound weird.
01:06:51 --> 01:06:57 [SPEAKER_04]: So anything that is him messing with his guitar and making it sound weird feels well and keeping with Tom Morello is a guitar player.
01:06:58 --> 01:06:58 [SPEAKER_04]: I would say,
01:06:59 --> 01:07:14 [SPEAKER_04]: Everything I've ever heard of doing in Casablanca's is him messing with his voice, whether it's distortion, whether it's a filter, whether it's a busted up microphone, even one of my favorite songs on the sadly final Daphpunk album, the one instant crush.
01:07:15 --> 01:07:17 [SPEAKER_04]: Features him as vocalist, and guess what?
01:07:17 --> 01:07:22 [SPEAKER_04]: It's Daphpunk, so it's all put through a vocoder, and it feels just as home.
01:07:22 --> 01:07:25 [SPEAKER_04]: He's not just singing, no, he's singing with the band that's gonna mess with his voice.
01:07:36 --> 01:07:51 [SPEAKER_04]: So this feels, even though maybe we're not always gonna love it as much as the low-fi sound from the first few albums or whatever, it does feel like, well, of course, he's gonna go on to some weird, next effect, and this album, it happens to be auto tune.
01:07:52 --> 01:07:53 [SPEAKER_04]: That's my Jake on it.
01:07:53 --> 01:07:53 [SPEAKER_04]: I don't know.
01:07:54 --> 01:07:55 [SPEAKER_00]: Yeah, I'll have to listen to it.
01:07:55 --> 01:07:55 [SPEAKER_00]: I'd like...
01:07:56 --> 01:07:57 [SPEAKER_04]: Doesn't mean I have to like it.
01:07:57 --> 01:07:58 [SPEAKER_00]: I know, I'll let you through.
01:07:59 --> 01:08:05 [SPEAKER_00]: I generally like auto tune when it's used to add value and not just like over-prescriptive.
01:08:05 --> 01:08:09 [SPEAKER_00]: So I like the auto tune treatment in funds, songs.
01:08:10 --> 01:08:12 [SPEAKER_00]: I like it in T-Pain as well.
01:08:13 --> 01:08:20 [SPEAKER_00]: And that's, I don't know, I like it when it's used as an instrument and not as like an filter over everything.
01:08:20 --> 01:08:25 [SPEAKER_00]: It sounds like Mike is saying that in this stroke's album, it's overused.
01:08:25 --> 01:08:27 [SPEAKER_00]: So I'm not a fan of anything being overused.
01:08:27 --> 01:08:29 [SPEAKER_00]: I think it should be as mindfully.
01:08:29 --> 01:08:34 [SPEAKER_04]: So I think it's also like his auto tune being used to cover the fact that you can't sing in tune.
01:08:34 --> 01:08:37 [SPEAKER_04]: That is a completely different thing than using it for a sonic effect.
01:08:38 --> 01:08:44 [SPEAKER_00]: I think that that's, yeah, that's saying what I'm trying to say, but in a smarter way, I think that's what I like.
01:08:44 --> 01:08:47 [SPEAKER_04]: The thing is, the stroke singing isn't always in tune.
01:08:47 --> 01:08:49 [SPEAKER_00]: That's what makes it nice.
01:08:50 --> 01:08:54 [SPEAKER_04]: And that's fine, and it kind of fits that garage rock revival of the odds, right?
01:08:54 --> 01:09:00 [SPEAKER_04]: And so maybe it's like darn, and you kind of wish Julian was out of tune in that way, where he's like,
01:09:01 --> 01:09:05 [SPEAKER_04]: I don't know, like, just a little delightfully flat on a few notes, right?
01:09:05 --> 01:09:06 [SPEAKER_04]: In a way that sounds good.
01:09:07 --> 01:09:11 [SPEAKER_04]: Now you snap it in perfect pitch and you're like, ah, it sounds like a different kind of music.
01:09:11 --> 01:09:13 [SPEAKER_04]: And maybe they're trying to make it different.
01:09:14 --> 01:09:15 [SPEAKER_04]: Look, I'm not defending it.
01:09:15 --> 01:09:21 [SPEAKER_04]: I'm just saying, because I haven't heard more than a couple songs on the record, but it feels like the next step.
01:09:21 --> 01:09:24 [SPEAKER_04]: It's another one of the tools to mess with your voice.
01:09:24 --> 01:09:26 [SPEAKER_04]: I could imagine somebody messing with.
01:09:26 --> 01:09:29 [SPEAKER_04]: It's just maybe not the tool that you would think,
01:09:32 --> 01:09:42 [SPEAKER_00]: And that's why I think it seems, in principle, seems kind of disingenuous towards the aesthetic of the strokes to use a device like that.
01:09:43 --> 01:09:48 [SPEAKER_00]: So maybe that's why I've even psychologically might be a little bit off putting on this application for for Mike.
01:09:49 --> 01:09:54 [SPEAKER_04]: Yeah, I mean, it's evocative of something else like my earlier Tom Morello raising against the machine example.
01:09:54 --> 01:10:02 [SPEAKER_04]: It's not like for a solo he suddenly is using like a Twangy Carl Perkins 50's rock ability tone.
01:10:03 --> 01:10:04 [SPEAKER_03]: Like and he's like, I like guitar effects.
01:10:04 --> 01:10:07 [SPEAKER_04]: Let me sound because that sort of feels like that evokes.
01:10:08 --> 01:10:10 [SPEAKER_04]: Like, why are you evoking that in the middle of the song?
01:10:10 --> 01:10:11 [SPEAKER_04]: Maybe that's what there's.
01:10:11 --> 01:10:18 [SPEAKER_04]: Why is this evoking by you a drink or whatever in the middle of this band that otherwise you had kind of a garage.
01:10:18 --> 01:10:21 [SPEAKER_00]: So this is my final response to my to my W's.
01:10:22 --> 01:10:24 [SPEAKER_00]: Did they ruin it in the quick education?
01:10:24 --> 01:10:33 [SPEAKER_00]: I just got the use of our tune is so off brand for the strokes that they did ruin it because it's just not in what you want in a stroke's album.
01:10:33 --> 01:10:34 [SPEAKER_00]: So there you go.
01:10:34 --> 01:10:35 [SPEAKER_00]: Definitive answer.
01:10:35 --> 01:10:36 [SPEAKER_00]: You heard it here first.
01:10:37 --> 01:10:38 [SPEAKER_00]: Don't take.
01:10:38 --> 01:10:39 [SPEAKER_00]: Come at me.
01:10:39 --> 01:10:40 [SPEAKER_04]: Should we just end there?
01:11:02 --> 01:11:04 [SPEAKER_04]: Never mind, the music is part of the Laura Hound's network.
01:11:04 --> 01:11:09 [SPEAKER_04]: Join the conversation by going to thelawhounds.com and hop on our Discord server.
01:11:10 --> 01:11:11 [SPEAKER_04]: Thanks for listening.