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Speaker 1: Welcome to stuff you should know, a production of I

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Speaker 1: Heart Radio. Hey, and welcome to the podcast. I'm Josh Clark,

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Speaker 1: and there's Charles W. Chuck Bryan over there, and there's

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Speaker 1: Dave C. Kustin. I said it right this time that

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Speaker 1: it was Couston. No, if you're in France, that's how

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Speaker 1: you would say it, but here in the United States

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Speaker 1: you say Coustin. Can I start this off by saying something,

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Speaker 1: Oh boy, I'm worried about what you're gonna say about Okay, Well,

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Speaker 1: this episode is on music, and uh. I started thinking

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Speaker 1: last night. I was thinking about your love of music,

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Speaker 1: which is not at all ironic, not in the least,

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Speaker 1: but you can't say that kind of thing these days.

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Speaker 1: People don't believe you. I know it's true everyone. I

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Speaker 1: know Josh very well, and I was thinking of your

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Speaker 1: and I like all kinds of music too, but you know,

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Speaker 1: in my heart I'm a rock and roll guy, and

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Speaker 1: I was thinking about your top musical genres that are

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Speaker 1: above rock and roll in your picking order. Yeah, not

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Speaker 1: in order. I counted easy listening music, disco, art rock,

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Speaker 1: krowd rock, and I probably missed a couple. Crowd rock

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Speaker 1: is below rock and roll. I want to like crowd rock,

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Speaker 1: it just doesn't quite jibe with me. I like some

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Speaker 1: but not all of it. And then stuff I think

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Speaker 1: art rock because it's sort of that avant garde, like

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Speaker 1: I don't you don't love Yoko, but you certainly are

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Speaker 1: a bit of a Yoko apologist, Grace Jones, stuff like that.

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Speaker 1: But I love Grace Jones for sure. What about Talking Heads?

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Speaker 1: They go in there too, right, Oh, they'd probably be

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Speaker 1: I mean they literally went to art school together. Yeah,

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Speaker 1: I mean they kind of span from art rock to

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Speaker 1: new wave to like world music by the time they finished. Yeah, yeah,

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Speaker 1: but uh yeah, I mean I certainly love the Talking Heads,

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Speaker 1: but all of those, for you are of good old

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Speaker 1: fashioned rock and roll. I think, Yeah, you also left

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Speaker 1: out nineties techno. I've been listening to a lot of

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Speaker 1: that to like Alternating, the Prodigy and everything. But you

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Speaker 1: love music, you really do. I do too. Actually, I

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Speaker 1: don't know, I don't know how much I like. I

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Speaker 1: will listen to some of that stuff. And we're talking

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Speaker 1: about we'll talk about you know, and here of course

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Speaker 1: old sour Pus Brian Eno. But um, I love listening

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Speaker 1: to his ambient stuff, which he sort of wrote as

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Speaker 1: an antidote to music. Again. We'll talk about that more later,

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Speaker 1: but I do like in certain circumstances that music thing

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Speaker 1: is really great to have on in my house as

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Speaker 1: background music, and it serves that same purpose. One of

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Speaker 1: the big reasons why too, is because you can get

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Speaker 1: stuff done with it. Like lyrics can be so distracting,

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Speaker 1: they just latch onto your brain and no pay attention

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Speaker 1: to me. I'm I'm talking to you now. Music does

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Speaker 1: the opposite of that. It says, go be free, but

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Speaker 1: also enjoy this, Like there's there's like a whole part

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Speaker 1: of your brain that music can tap into that doesn't

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Speaker 1: require your conscious thought, but it's still produces like good

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Speaker 1: feelings and you know, like people people just smack music

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Speaker 1: around like it's just it's so bland and it's so soulless,

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Speaker 1: and I totally disagree with that. Like, if you actually

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Speaker 1: stop and listen to music, it's really really technically proficient.

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Speaker 1: It's frequently well done. It's often very clever and creative

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Speaker 1: and inventive. Um, which is really saying something because you're

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Speaker 1: doing this when they in the confines of covering an

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Speaker 1: existing song in a way that makes it familiar and

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Speaker 1: easy to recognize, but also takes away any intrusiveness that

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Speaker 1: it might have. It's tough to do. And I really,

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Speaker 1: I just I love music. You're absolutely right. Like I

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Speaker 1: listened to music this whole time, not just when we

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Speaker 1: were when we were researching music today, but also when

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Speaker 1: I was researching the Havana syndrome, and I realized, like,

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Speaker 1: this is my normal thing, this is the same stuff

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Speaker 1: I listened to. And yeah, and uh, we can go

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Speaker 1: ahead and to spell a couple of or not myths,

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Speaker 1: but clear up a couple of things right off the bat. Um.

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Speaker 1: First of all, music is a name brand UM. And

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Speaker 1: people can kind of collectively use the term music or

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Speaker 1: have collectively use that term for what's called like potted

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Speaker 1: plant music or elevator music or shopping music. UM. But

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Speaker 1: it is actually actually a brand name, which will get

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Speaker 1: to the history of And then the second thing is

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Speaker 1: it gets the name elevator music. UM. Part of the

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Speaker 1: myth is that people said, well, they put it on

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Speaker 1: elevators because people were afraid to death of elevators early on,

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Speaker 1: and it calmed people down or it covered up the

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Speaker 1: noise of the clanking elevators. I've never heard that before you. Yeah,

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Speaker 1: neither one of those things are true total myth. My

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Speaker 1: uh guesses that it was played on elevators, and because

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Speaker 1: you're in such a closed little box that's usually quiet,

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Speaker 1: it just was way more noticeable than like in a

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Speaker 1: big office full of people working. So people called the

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Speaker 1: elevator music. That's my guess, right, Yeah, I mean yeah,

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Speaker 1: there wasn't music on elevators before, but for several decades

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Speaker 1: in the twentieth century, like there, there weren't many elevators

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Speaker 1: you could get on because people didn't have elevators in

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Speaker 1: their house, so it was a public building you're in

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Speaker 1: where they weren't playing music to two of some form

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Speaker 1: very frequently music blues scene, Yeah, yeah, because they're they're

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Speaker 1: going up to the the Cook County Assessor's office and

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Speaker 1: they like there there's the entire Chicago Police Department is

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Speaker 1: after them, but they're forced to get on this elevator

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Speaker 1: and the girl from Ipanema is playing. I think my

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Speaker 1: favorite part of that scene is there's just dozens and

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Speaker 1: hundreds of cops and swat guys just you know, hut hut, hut,

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Speaker 1: hut hut, and they're repelling and doing all this stuff.

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Speaker 1: And then there's the one shot of the loan guy

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Speaker 1: repelling down the side of the building and he's by himself,

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Speaker 1: just going hut hut. Yeah, that's a good one, so funny.

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Speaker 1: There's another scene too from around the era few years

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Speaker 1: later from airplane to where um how it's like ripped torn.

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Speaker 1: I believe it's ripped torn the party from the Larry

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Speaker 1: Sanders Show. And I don't know the other guy he's

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Speaker 1: talking to, but anyway, they're walking and talking and they

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Speaker 1: have to get on an elevator and the elevator door

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Speaker 1: opens and it's just blaring like like ear drums shattering

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Speaker 1: decibel um MacArthur Park and they have to get on.

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Speaker 1: People are coming off the elevator like with their hands

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Speaker 1: and their ears like with splitting headaches from this. But

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Speaker 1: it's just completely the opposite elevator music is supposed to

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Speaker 1: be like. But it's a good little scene too as

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Speaker 1: far as elevator music goes well. I mean that's kind

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Speaker 1: of one of the points too, is music has long

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Speaker 1: been a movie trope and a TV trope and then

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Speaker 1: ben lampooned and scenes just like the Blues Brother scene

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Speaker 1: where there's something chaotic going on and then you cut

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Speaker 1: back to the sound of music playing wherever the other

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Speaker 1: scene is setting. Right, very very fun stuff. But but

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Speaker 1: that started, I guess it started with The Blues Brothers,

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Speaker 1: which came out in nineteen eighty. But before that that

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Speaker 1: was like music was not really lampoon. I mean, not

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Speaker 1: everybody liked it. It really kind of started to get

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Speaker 1: a little backlash in the late sixties early seventies, as

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Speaker 1: we'll see, but there was a very significant chunk of

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Speaker 1: the twentieth century again, from maybe nineteen fifty to nineteen eighty.

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Speaker 1: Will say, where everywhere you went in public, including if

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Speaker 1: you took a Greyhound bus, or if you were on

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Speaker 1: a plane, or you happened to be an Air Force

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Speaker 1: one um, or you were at the mall, in an

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Speaker 1: elevator at your office, everywhere music was was playing. There

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Speaker 1: was music playing everywhere. It was just a part of

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Speaker 1: life that you was inescapable. Actually. Yeah, so let's go

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Speaker 1: back in time and talk about the inventor of musaic uh,

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Speaker 1: And this is sort of a fun fact of music.

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Speaker 1: The man's name is George Square. It is spelled Squire,

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Speaker 1: but he swears it's pronounced square. I'm really impressed. Man,

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Speaker 1: I had not come up with that one, or he

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Speaker 1: swore it was pronounced Square. Yeah, that's kind of one

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Speaker 1: of the funny jokes, like the guy who invented musics

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Speaker 1: was Square. UM. But Major General George Square was born

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Speaker 1: in eighteen sixty five if you believe that, and he

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Speaker 1: has a just a laundry list of accomplishments as a

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Speaker 1: human being. He was hearing a doctorate from JOHNS. Hopkins

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Speaker 1: in electrical science. He was UH an Army engineer with

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Speaker 1: a pH d. I think the first one. And he

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Speaker 1: was I believe the lead Signal Corps officer for the

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Speaker 1: Army as well. He was UM. He also was inducted

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Speaker 1: into the National Academy of Sciences, which connects this episode

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Speaker 1: to the other one today UM because he came up

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Speaker 1: with something called a tree telephone. He figured out how

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Speaker 1: to use any tree, but preferably one UM with UH

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Speaker 1: fully leaved. I guess I don't know what you'd call that.

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Speaker 1: UM as a as a receiver and transmitter for radio signals.

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Speaker 1: He figured out how to use a tree, a living

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Speaker 1: tree for that. He was Here's another fun fact. He

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Speaker 1: was one of the first airplane passengers ever because he

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Speaker 1: was way into human flight and got together with the

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Speaker 1: Wright brothers in a consulted with them and they said, hey,

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Speaker 1: why don't you take a ride on our new little biplane.

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Speaker 1: You'll probably live right. I looked at our um, I

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Speaker 1: looked at the document for our Right Brothers episode, and

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Speaker 1: he did not appear. I don't think we mentioned him,

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Speaker 1: but he might. He might have been the first airline

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Speaker 1: passenger from what I saw. Yeah, where he really made

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Speaker 1: a big name for himself pre music was this uh

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Speaker 1: invention which is what we call multiplexing, which is he

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Speaker 1: figured out or maybe wire wireless communications, which is something

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Speaker 1: he worked on with the army. He basically figured out

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Speaker 1: how to get multiple uses out of single telephone lines. UH.

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Speaker 1: Telephone wires were you know, there are only so many,

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Speaker 1: so you were really limited as to what you could

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Speaker 1: do with them and how many people could use them.

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Speaker 1: So he basically figured out a way to increase their

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Speaker 1: output and efficiency by multiplexing and by sending uh superimposing

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Speaker 1: high frequency radio signals over those low frequency telegraph signals,

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Speaker 1: basically just allowing you to use the wire at the

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Speaker 1: same time the same wire. Yeah. Yeah, I mean it's

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Speaker 1: like if you think of like a wave if it's

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Speaker 1: low frequency, there's big wide gaps in between. You can

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Speaker 1: fit a higher frequency that's tighter and squitched together in

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Speaker 1: those gaps, and but you're still using the same line.

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Speaker 1: And you know, this was the guy who came up

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Speaker 1: with that. That's an enormous advancement in telecommunications that we're

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Speaker 1: still putting use today in some applications, but definitely helped

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Speaker 1: like the early Internet along UM. It was a just

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Speaker 1: a huge contribution to humanity. Like forget even just music,

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Speaker 1: like just that alone would would probably warrant like an

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Speaker 1: episode for for George Square. Yeah, and I think he

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Speaker 1: was like everyone should be able to use this, So

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Speaker 1: I'm gonna open source it and everyone can use this

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Speaker 1: new multiplexing technology. A T and T came along and said,

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Speaker 1: we'll use it, and then you know what, you've stole

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Speaker 1: it from us. Actually right, he he came up with it,

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Speaker 1: but since he left it open, they decided to just

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Speaker 1: take it from him and sue him for it. I

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Speaker 1: think he sued them, but it didn't work, that's right,

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Speaker 1: you're right, so um he but he still was able

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Speaker 1: to use this wire wireless technology with multiplexing and UM

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Speaker 1: at the time, people were starting to get into radio broadcasts,

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Speaker 1: but radio wireless radio like that you would just have

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Speaker 1: in your house. It's picking up radio waves at a

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Speaker 1: station that was not widespread at the time. So George

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Speaker 1: Square said, you know what, I understand people want music

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Speaker 1: in their house. I'm gonna give it to them. I'm

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Speaker 1: gonna use that multiplexing technology and I'm going to um

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Speaker 1: run sound waves over the electrical wires that go into

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Speaker 1: the house. And I'm gonna sell this. It is brilliant.

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Speaker 1: I'm gonna sell this service to people's homes for a

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Speaker 1: dollar fifty a month about twenty dollars today. UM. And

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Speaker 1: it's just part of your utility bill because it's coming

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Speaker 1: in through your electrical company. And there's actually a section

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Speaker 1: of Cleveland called the Lakewood I believe Lakewood area. UM.

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Speaker 1: That was the pilot for this wired wireless radio UM

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Speaker 1: that that George Square invented. Uh. The problem was, by

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Speaker 1: the time they deployed it, wireless radio was already a thing.

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Speaker 1: And so we had this really great idea that just

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Speaker 1: little longer had an application. Yeah he was. He basically

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Speaker 1: invented the first music subscription service exactly. Yeah, and he

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Speaker 1: had multiple channels to like when you subscribed, you got news,

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Speaker 1: you got dance music. There was like I think three

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Speaker 1: different channels you could choose from Howard Stern. Yea, Howard

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Speaker 1: Stern was back then Baba booie. So he had that

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Speaker 1: technology though, and he said, you know what, this is

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Speaker 1: a good idea. Though, maybe I can think of how

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Speaker 1: to use this in offices and stores. And he looked

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Speaker 1: up at Kodak, very successful corporation, and said, I love

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Speaker 1: that name, and I love music. Let's just call it music.

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Speaker 1: And history changed and maybe we should take a break. Okay,

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Speaker 1: let's do it all right, we'll be right back. So,

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Speaker 1: in the parlance of today, Chuck Um, George Square and

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Speaker 1: his Musaic Corporation pivoted from home consumer markets to business markets.

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Speaker 1: And that just knocked it out of the park because

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Speaker 1: it turned out that there were a lot of companies

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Speaker 1: UM hotels, restaurants, clubs. I think the store club was

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Speaker 1: an early UM customer that said, you know what, it's

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Speaker 1: really going to make our place seem fancy if we've

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Speaker 1: got music piping in UM all the time. So yes,

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Speaker 1: we would like to sign up for your service. And

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Speaker 1: that's really where music kind of started to take off. Yeah,

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Speaker 1: so music, Um, I mean we have and even said

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Speaker 1: what it is. Surely people know. But music are instrumental tracks.

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Speaker 1: And you did mention that there were no vocals, so

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Speaker 1: we kind of hinted that big one. But there are

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Speaker 1: instrumental tracks that are cover songs of kind of anything

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Speaker 1: you can think of. I mean that I've heard some

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Speaker 1: some music of some heavy rock. Um. It can be

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Speaker 1: classical music, it can be old standards. But the point

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Speaker 1: is they are instrumental versions that are re recorded. They

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Speaker 1: don't just take the vocals out. It's not karaoke style. UM.

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Speaker 1: It is rerecord arranged and recorded by professional, really good

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Speaker 1: musicians orchestras sometimes and it is, uh, that's what it is,

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Speaker 1: and it's great the end, and very very frequently, um,

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Speaker 1: it's it's made into a much more mellow version of itself.

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Speaker 1: Like any rough edges are taken off the Since they

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Speaker 1: take the vocals out, it's not like there's not there,

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Speaker 1: that vocal melody is non existent any longer. They just

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Speaker 1: replace it with something else. So if they're trying to

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Speaker 1: go for something like a little more upbeat or up tempo,

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Speaker 1: they'll replace the vocals, would say, like a saxophone if

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Speaker 1: they're trying to do something a little more mellow, they'll

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Speaker 1: replace the vocals with a string section or harp perhaps. Yeah,

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Speaker 1: that's one of the things that that music is very

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Speaker 1: famous for, is, like matt what's called masses of strings,

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Speaker 1: just strings upon strings. In fact, one of the early

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Speaker 1: um I guess big name groups that produced music was

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Speaker 1: called A hundred and one strings. They probably were absolutely

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Speaker 1: accurate in that, like, there's just a lot tons of

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Speaker 1: strings everywhere. Um violence Cello's viola is every every string

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Speaker 1: instrument you can throw at it. They just layer upon

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Speaker 1: layer in these songs. It's one of the hallmarks of music. Yeah.

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Speaker 1: The and there are there are many versions of Antonio

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Speaker 1: Carlos Showbim's Girl from Ipanema, but the music version and

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Speaker 1: one of the most popular, and that one one strings

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Speaker 1: version is the most ubiquitous from that lot. Um I

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Speaker 1: do encourage people to go watch the YouTube though, of

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Speaker 1: Frank Sinatra and Joe Beam singing that song live on TV,

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Speaker 1: because it's great in every way. They're just sitting next

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Speaker 1: to each other and the shot isn't wide at first,

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Speaker 1: and they're just sort of singing back and forth to

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Speaker 1: each other, and Frank Stone is saying, and then it

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Speaker 1: cuts to the wide and Frank is like totally kicked

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Speaker 1: back with his legs crossed with a cigarette in his hand,

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Speaker 1: exactly like you would hope. But he looks like, I mean,

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Speaker 1: he looks like he just not rolled out of bed

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Speaker 1: because he's put together, but he looks like he rolled

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Speaker 1: from his wicker bag to his wicker chair for this performance.

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Speaker 1: Can I get some cocaine in here? Baby? It's Joe

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Speaker 1: Piscopo is Frank Sinatra? Um? Do you ever listen to

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Speaker 1: Joe Beam's stuff? Oh? Yeah, I love that old lounge stuff.

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Speaker 1: It's really great Brazilian stuff. Yeah, his record Stone Flower

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Speaker 1: is just a masterpiece from beginning to end. But that's

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Speaker 1: a good party music. That's another thing though too. It's

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Speaker 1: like it's so mellow, um that to take that kind

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Speaker 1: of music and then make it into music is like

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Speaker 1: it's almost like it takes a certain amount of audacity,

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Speaker 1: you know, Like I was listening to I found so

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Speaker 1: there's I want to I want to point people to

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Speaker 1: two different music um records that are on YouTube. UM.

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Speaker 1: One is called More Than Music Period and Environment. It's

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Speaker 1: a music record and it has a version of sailing

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Speaker 1: Christopher Crosses sailing exactly. They figured out how to basically

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Speaker 1: make you lose control of your bladder listening to this. Yeah, um,

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Speaker 1: that's a good one. And then the other one is

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Speaker 1: called the Blue Album. Uh, and it is from nineteen

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Speaker 1: seventy four, I believe. And it's just both of them

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Speaker 1: are really great. That's good, good introductions to music if

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Speaker 1: you're not into it already. All right, So music is

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Speaker 1: trucking along in the thirties. Uh, they get to the

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Speaker 1: forties and they think, you know what, we need a

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Speaker 1: better way to sell this stuff and to pitch this

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Speaker 1: two businesses and corporations. So why don't we hire some

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Speaker 1: people to research music and to figure out what kinds

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Speaker 1: of music keep people happy and working? And because people,

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Speaker 1: you know, they work hard in the morning and then

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Speaker 1: they sort of lag a bit before lunch, and then

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Speaker 1: they really lag sort of a couple of hours after lunch.

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Speaker 1: So why don't we do this? So why don't we

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Speaker 1: study it? Let's call it stimulus progression. It's a bit pseudoscience.

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Speaker 1: It makes sense it is in that it's not been proven.

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Speaker 1: It makes sense to everyone who I feel like knows

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Speaker 1: about it. Like sure, music can pick you up and

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Speaker 1: make you work harder. But it's pseudoscience in that it's

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Speaker 1: I don't think it's ever been scientifically proven, okay, because

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Speaker 1: I keep seeing it just like dismissed as pseudoscience. But

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Speaker 1: then there were plenty of early studies that were done

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Speaker 1: by legitimate industrial psychologists and other like efficiency experts that

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Speaker 1: kind of thing that showed that there there really was

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Speaker 1: a significant um like improvement and productivity or less sick days,

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Speaker 1: that kind of stuff in places that have musaic compared

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Speaker 1: to places that didn't have music pumped into the office. Yeah,

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Speaker 1: I think maybe they're specific claims about a work day, Okay,

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Speaker 1: might have been a little and I mean everywhere I

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Speaker 1: read said it was basically not a marketing scam but

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Speaker 1: a marketing tool that they kind of invented. I got you.

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Speaker 1: But but so one thing to say about this we're

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Speaker 1: going to talk about it in a second stimulus progression,

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Speaker 1: is that they did kind of plow money that they

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Speaker 1: were making. They were making a lot of money starting

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Speaker 1: in the late forties early fifties, Um, they plowed it

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Speaker 1: back into research to basically come up with scientific it

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Speaker 1: ince to back up their claims, which you can really

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Speaker 1: kind of see the ghost of George Square still looming

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Speaker 1: over the company. You know, this this decade or so

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Speaker 1: after he died. UM that it's always been this kind

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Speaker 1: of uh, science interested, if not science based company. UM

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Speaker 1: that's also been an early adopter of technology, as we'll see. Yeah,

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Speaker 1: I mean that is certainly fair. It was never just like, hey,

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Speaker 1: we're just gonna play a bunch of what people might

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Speaker 1: consider droll background music, like they really did. I think

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Speaker 1: I don't think it was a scam. I think they

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Speaker 1: really did try to study UM working environments, and what

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Speaker 1: they did with his stimulus progression was they divided the

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Speaker 1: work day into fifteen minute increments and basically set a

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Speaker 1: DJ playlist every fifteen minutes two and they assigned a

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Speaker 1: stimulus value from one to six, one being really really mellow,

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Speaker 1: six being you know, super up. And they basically went

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Speaker 1: through and almost like a Pandora sort of curated playlist

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Speaker 1: type of thing to get people to work hard and

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Speaker 1: efficiently throughout a day, and companies bought in, including the U. S. Army. Yeah.

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Speaker 1: I think World War two is basically cited as the

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Speaker 1: moment when music kind of proved itself enough at least

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Speaker 1: to start being adopted by very large companies, and then

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Speaker 1: within a few years after the war, by like the

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Speaker 1: very early fifties, they started to spread more and more

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Speaker 1: to even smaller and smaller companies. Uh. And it was

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Speaker 1: this idea that if you played music and music you know,

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Speaker 1: patented stimulus progression model, um, you know you're going to

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Speaker 1: avoid that mid morning slump that like every worker goes through,

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Speaker 1: you know, in productivity, and then the mid afternoon slump.

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Speaker 1: You could avoid that too, And think about how many

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Speaker 1: more widgets you could make if your employees don't you know,

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Speaker 1: slack off productivity wise at ten thirty, from ten thirty

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Speaker 1: to lunch, and then from like to thirty until they

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Speaker 1: go home. Like imagine if this this very pleasant music

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Speaker 1: is just kind of keeping them humming along what what

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Speaker 1: people call a forward us just unconscious sense of forward momentum.

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Speaker 1: The tempo in your environment is moving subtly faster and

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Speaker 1: faster and so um to keep people from going insane.

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Speaker 1: Part of the stimulus progression was that the songs in

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Speaker 1: a fifteen minute increment would kind of go up in tempo,

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Speaker 1: and then you'd have a fifteen minute break of silence

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Speaker 1: and then the music would come back on again. But

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Speaker 1: then this fifteen minutes there their first song, the tempo

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Speaker 1: of their first song would probably start a little faster

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Speaker 1: than the tempo of the first song of the last

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Speaker 1: fifteen minutes, And so all of a sudden, next thing

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Speaker 1: you know you're making which it's like a maniac because

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Speaker 1: you're being manipulated by this stimulus progression model, at least

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Speaker 1: again according to music. I I get what you're saying, Like,

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Speaker 1: it's not like, you know, Harvard came along and said, yes,

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Speaker 1: we've studied this thoroughly, and this is exactly what happens.

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Speaker 1: This is you know, company claims. But it is intuitively

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Speaker 1: sensible at least. Well, yeah, I mean you need only

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Speaker 1: to host house party and play and play music yourself

401
00:24:20,400 --> 00:24:23,159
Speaker 1: to determine how music can affect the mood of a

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Speaker 1: group of people. Put on group group is in the heart,

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Speaker 1: and you know what's gonna happen. Yeah, everybody's gonna shake

404
00:24:29,280 --> 00:24:31,720
Speaker 1: their group thing. Everyone's gonna shape their group things, shake

405
00:24:31,800 --> 00:24:35,119
Speaker 1: their group thing. If you put in uh old sour

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00:24:35,160 --> 00:24:39,840
Speaker 1: plus Brian ENO's music for Airports not a good party thing,

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00:24:40,359 --> 00:24:42,719
Speaker 1: No it's not. And since you brought him up for

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Speaker 1: the second time. I say, um, we discussed Brian, you know,

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Speaker 1: momentarily sure. I mean I love that record, and I

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Speaker 1: love a lot of his stuff, including his ambient music

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Speaker 1: Experimental Um records. I think it's really really good stuff

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Speaker 1: to have on if it's a nice gray day outside

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Speaker 1: and you're getting work done. I really enjoyed his background music,

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Speaker 1: but it's definitely not up in any way. You know,

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Speaker 1: what I found is a really good one for for

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Speaker 1: what you just described. Do you ever listen to Future

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Speaker 1: Sound of London. No. They have an album, like a

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Speaker 1: double album called life Forms, and it's it's about as

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Speaker 1: amazing as ambient gets. So you should check that one out.

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Speaker 1: Emily Embily, Emily got me into ambient. I call her

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Speaker 1: Embully when she's listening to that stuff. She really got me.

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Speaker 1: She called an ambient groove. She really got me into

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Speaker 1: that stuff. Over the years. Is that like um, like

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Speaker 1: zero seven and uh, you know stuff that's she calls

425
00:25:42,400 --> 00:25:45,080
Speaker 1: it ambient groovy, just sort of sort of mellow and

426
00:25:45,160 --> 00:25:49,320
Speaker 1: groovy and like zero seven and more Chiba. And it

427
00:25:49,480 --> 00:25:51,520
Speaker 1: was a certain era I think where that stuff peaked

428
00:25:51,880 --> 00:25:55,320
Speaker 1: Massive Attack a little bit. Oh yeah, it's good stuff. Yeah,

429
00:25:55,320 --> 00:25:57,840
Speaker 1: I think you'd like life forms. Then the future sound

430
00:25:57,840 --> 00:26:00,000
Speaker 1: of London stuff is normally a lot a little more.

431
00:26:00,200 --> 00:26:02,960
Speaker 1: You know, it's super cerebral and intelligent, but it's also

432
00:26:03,200 --> 00:26:06,160
Speaker 1: fairly dancy life forms his way, it's probably their most

433
00:26:06,200 --> 00:26:09,480
Speaker 1: ambient stuff around. So you know, though, let's get back

434
00:26:09,480 --> 00:26:10,959
Speaker 1: to him. He kind of came up with this as

435
00:26:11,000 --> 00:26:15,040
Speaker 1: an as an antidote to music, right, Yes, if you

436
00:26:15,080 --> 00:26:18,639
Speaker 1: like ambient music, you better thank your lucky stars for muzak.

437
00:26:18,840 --> 00:26:22,680
Speaker 1: Because we're not from Musach. You might not have ambient

438
00:26:22,800 --> 00:26:25,280
Speaker 1: music at least not now. Maybe it becoming fifty years

439
00:26:25,280 --> 00:26:29,439
Speaker 1: from now, who knows. Yeah, he said, um I loved it.

440
00:26:29,480 --> 00:26:32,800
Speaker 1: In this article says, as reported by Red Bull Music,

441
00:26:34,040 --> 00:26:35,840
Speaker 1: uh Ena said this, and this was I think for

442
00:26:35,880 --> 00:26:38,480
Speaker 1: the liner notes actually the airport or music for airports.

443
00:26:38,840 --> 00:26:41,399
Speaker 1: Whereas can music's intention is to brighten the environment by

444
00:26:41,440 --> 00:26:44,560
Speaker 1: adding stimulus to it, ambient music is intended to induce

445
00:26:44,600 --> 00:26:48,840
Speaker 1: calm and space and a space to think. Uh Ambient

446
00:26:48,880 --> 00:26:51,399
Speaker 1: music must be able to accommodate many levels of listening

447
00:26:51,400 --> 00:26:54,720
Speaker 1: attention without enforcing one. In particular, it must be as

448
00:26:54,760 --> 00:26:59,800
Speaker 1: ignorable as it is interesting. So so he hits on

449
00:27:00,000 --> 00:27:02,960
Speaker 1: something though that people would come to really resent about.

450
00:27:03,240 --> 00:27:07,960
Speaker 1: Um music is not even just necessarily the syrup nous

451
00:27:07,960 --> 00:27:11,480
Speaker 1: of the music itself, but the intent behind the music.

452
00:27:11,520 --> 00:27:16,800
Speaker 1: That it was always uh intended to basically manipulate your

453
00:27:16,840 --> 00:27:21,199
Speaker 1: mood into making you a better worker, a more docile consumer.

454
00:27:21,800 --> 00:27:25,479
Speaker 1: Um that that it was poking at your brain to

455
00:27:25,520 --> 00:27:27,520
Speaker 1: get to get you to do things that you may

456
00:27:27,600 --> 00:27:30,720
Speaker 1: or may not want to do. Maybe your your will

457
00:27:30,840 --> 00:27:33,320
Speaker 1: be less likely to punch some guy on the bus

458
00:27:33,320 --> 00:27:35,720
Speaker 1: because there's music playing, which is a good thing. We

459
00:27:35,720 --> 00:27:38,600
Speaker 1: should not be punching other people on the bus. But

460
00:27:38,760 --> 00:27:41,479
Speaker 1: the point is that you're being mind controlled in a

461
00:27:41,520 --> 00:27:49,000
Speaker 1: certain way, and eventually people got kind of resentful of that. Yeah,

462
00:27:49,160 --> 00:27:52,040
Speaker 1: we're not there yet. Though we're not there yet. There

463
00:27:52,080 --> 00:27:55,000
Speaker 1: was actually a point in time, though, Chuck, where music

464
00:27:55,640 --> 00:27:59,320
Speaker 1: and popular music were basically one and the same. Yeah,

465
00:27:59,440 --> 00:28:02,480
Speaker 1: that was sort of um, I mean one of the

466
00:28:02,480 --> 00:28:06,280
Speaker 1: heydays of music certainly was in that. When you know,

467
00:28:06,320 --> 00:28:09,840
Speaker 1: when Glenn the Glenn Miller Orchestra was pop music on

468
00:28:09,880 --> 00:28:13,000
Speaker 1: the radio. Music wasn't a far stretch from some of

469
00:28:13,040 --> 00:28:15,600
Speaker 1: that stuff, so it was sort of all one and

470
00:28:15,640 --> 00:28:18,480
Speaker 1: the same. I think it was as that as styles

471
00:28:18,560 --> 00:28:22,080
Speaker 1: changed and the sixties and seventies start rolling along, that

472
00:28:22,320 --> 00:28:25,439
Speaker 1: music became really sort of a bad word to a

473
00:28:25,440 --> 00:28:27,960
Speaker 1: lot of people, right. And one of the reasons I

474
00:28:28,000 --> 00:28:30,879
Speaker 1: saw that really explained it to me, because you know,

475
00:28:31,440 --> 00:28:34,760
Speaker 1: things change. The society just changed between the nineteen fifties

476
00:28:34,760 --> 00:28:39,560
Speaker 1: and the nineteen sixties. Um, it just abruptly changed. But

477
00:28:40,360 --> 00:28:43,600
Speaker 1: to the that doesn't fully explain why music just was

478
00:28:43,760 --> 00:28:48,200
Speaker 1: suddenly looked down upon. A good explanation I saw is

479
00:28:48,240 --> 00:28:52,200
Speaker 1: that lyrics became really really important in the league sixties.

480
00:28:52,440 --> 00:28:57,240
Speaker 1: People had something to say, and music does not include lyrics.

481
00:28:57,680 --> 00:29:01,040
Speaker 1: It completely undermines the point of music if you put

482
00:29:01,120 --> 00:29:03,840
Speaker 1: lyrics in or don't you know, don't rearrange the lyrics

483
00:29:03,840 --> 00:29:08,760
Speaker 1: with strings. Um So music kind of couldn't. I couldn't

484
00:29:08,840 --> 00:29:10,840
Speaker 1: keep up with that. It's not like it went away,

485
00:29:11,000 --> 00:29:12,960
Speaker 1: it doubled down. It kept doing what it was doing.

486
00:29:13,080 --> 00:29:15,760
Speaker 1: And in fact, it would take some of those pop

487
00:29:15,840 --> 00:29:19,480
Speaker 1: hits that had really, um monumentally important lyrics and just

488
00:29:19,520 --> 00:29:21,440
Speaker 1: take the lyrics out and replace it with a saxophone

489
00:29:21,520 --> 00:29:23,719
Speaker 1: or something like that. Yeah, they didn't think you do that.

490
00:29:23,760 --> 00:29:25,600
Speaker 1: I think it's interesting. They could have had a really

491
00:29:25,600 --> 00:29:28,960
Speaker 1: mellow singer at a certain point come in and they

492
00:29:29,120 --> 00:29:31,840
Speaker 1: really respect the fact that they were like, nope, the

493
00:29:31,920 --> 00:29:34,360
Speaker 1: singer as a violin and I don't want to hear

494
00:29:34,400 --> 00:29:37,920
Speaker 1: it anymore. Right. But a lot of these songwriters, in particular,

495
00:29:38,000 --> 00:29:44,760
Speaker 1: like I think Joan Bayez, Um, Bruce Springsteen, Boz Scags,

496
00:29:46,200 --> 00:29:49,040
Speaker 1: all of them refused to let their their music um

497
00:29:49,080 --> 00:29:53,360
Speaker 1: be covered by music or any of its competitors. UM.

498
00:29:53,400 --> 00:29:55,880
Speaker 1: But Paul Simon I saw, said he always knew he

499
00:29:55,920 --> 00:29:58,040
Speaker 1: had a hit when he heard a music version of it,

500
00:29:58,360 --> 00:30:00,960
Speaker 1: like at the Mall or something like that, which is

501
00:30:01,040 --> 00:30:05,160
Speaker 1: kind of like Weird Al covering Nirvana. Like Cobain said

502
00:30:05,160 --> 00:30:07,720
Speaker 1: that he knew that Nirvana had made it when Weird

503
00:30:07,760 --> 00:30:10,880
Speaker 1: Al covered smells like teen Spirit. I think that's basically

504
00:30:10,920 --> 00:30:15,160
Speaker 1: the same thing. Oh. I think most musicians, unless you're

505
00:30:15,840 --> 00:30:19,000
Speaker 1: a Ted Nugent, who uh And we'll get to that.

506
00:30:19,040 --> 00:30:22,160
Speaker 1: But very famously sort of offered to buy music when

507
00:30:22,160 --> 00:30:24,360
Speaker 1: they fell upon a hard time so he could basically

508
00:30:24,680 --> 00:30:28,560
Speaker 1: burn it to the ground. I think most musicians deep

509
00:30:28,600 --> 00:30:30,280
Speaker 1: down think it's kind of an honor when one of

510
00:30:30,280 --> 00:30:33,280
Speaker 1: their songs is music ified. It's got Yeah, you'd have

511
00:30:33,320 --> 00:30:36,040
Speaker 1: to play. I just want to find out what somebody's

512
00:30:36,040 --> 00:30:37,240
Speaker 1: going to do with it, because, like I was saying

513
00:30:37,280 --> 00:30:40,560
Speaker 1: at the beginning, like it really takes some creativity to

514
00:30:40,720 --> 00:30:43,400
Speaker 1: come up with, Okay, what can I replace this with

515
00:30:43,880 --> 00:30:47,160
Speaker 1: that's not just completely predictable or boring, but also isn't

516
00:30:47,160 --> 00:30:50,320
Speaker 1: gonna grab everybody's attention because it's again not the point

517
00:30:50,320 --> 00:30:54,360
Speaker 1: of music. It's it's um one of the the the

518
00:30:54,640 --> 00:30:56,240
Speaker 1: I don't know if it was a slogan of the

519
00:30:56,360 --> 00:31:00,000
Speaker 1: music corporation or not, but they basically said that they

520
00:31:00,040 --> 00:31:05,440
Speaker 1: fill in the awkward pauses in life to where yeah,

521
00:31:05,480 --> 00:31:07,600
Speaker 1: you don't like it's like you were saying at the party,

522
00:31:07,680 --> 00:31:09,480
Speaker 1: you if you're at a party that doesn't have any

523
00:31:09,560 --> 00:31:13,480
Speaker 1: music on, you just probably just get smashed out of

524
00:31:13,480 --> 00:31:16,320
Speaker 1: your skull because you're just trying to lubricate the social

525
00:31:16,320 --> 00:31:19,080
Speaker 1: situation so much. Whereas if you put on music, it's

526
00:31:19,080 --> 00:31:21,080
Speaker 1: like it takes a lot of the edge off. That

527
00:31:21,280 --> 00:31:23,800
Speaker 1: was one of the points too with music. And then

528
00:31:23,840 --> 00:31:26,240
Speaker 1: also to kind of get you to to linger a

529
00:31:26,280 --> 00:31:29,560
Speaker 1: little longer when you were shopping in a store. Um,

530
00:31:29,600 --> 00:31:31,760
Speaker 1: that was that was part of it as well. Yeah,

531
00:31:31,800 --> 00:31:35,720
Speaker 1: I mean music, We almost always have music on in

532
00:31:35,760 --> 00:31:39,040
Speaker 1: our house, unless you know it's night and we're watching,

533
00:31:39,120 --> 00:31:41,600
Speaker 1: you know, a movie or watching something on TV. But

534
00:31:42,160 --> 00:31:45,680
Speaker 1: at almost all waking hours we have music playing in

535
00:31:45,760 --> 00:31:48,320
Speaker 1: our home, and it just feels weird and quiet and

536
00:31:49,200 --> 00:31:53,240
Speaker 1: not full of life when it's when there's no music happening, right,

537
00:31:53,560 --> 00:31:56,800
Speaker 1: it's strange. It can be strange, for sure. Should we

538
00:31:57,000 --> 00:32:00,760
Speaker 1: take a break? Yeah, we're we're we have re basically

539
00:32:00,840 --> 00:32:05,560
Speaker 1: the early seventies, which is music's first crisis point, and

540
00:32:05,600 --> 00:32:36,200
Speaker 1: we'll come back to that after this. All right, So

541
00:32:36,280 --> 00:32:43,480
Speaker 1: I'm born in and uh and music starts to die

542
00:32:43,480 --> 00:32:47,000
Speaker 1: a little bit. A little real rock and roller came

543
00:32:47,000 --> 00:32:50,960
Speaker 1: into the world, that's right, born with a Jane jacket

544
00:32:50,960 --> 00:32:53,840
Speaker 1: with the Van Halen logo on marker in the back.

545
00:32:54,280 --> 00:32:56,560
Speaker 1: It did not go away completely though. It was just

546
00:32:56,640 --> 00:33:01,120
Speaker 1: sort of, um, I guess the beginning of the end.

547
00:33:01,160 --> 00:33:03,680
Speaker 1: But that didn't mean there wasn't still a business model

548
00:33:03,680 --> 00:33:07,680
Speaker 1: for music, because music was never about its popularity, no,

549
00:33:07,840 --> 00:33:09,880
Speaker 1: but there was a time where it was popular. Like

550
00:33:09,960 --> 00:33:13,440
Speaker 1: JFK had it on Air Force one, Eisenhower had it

551
00:33:13,480 --> 00:33:16,720
Speaker 1: piped into the White House, UM, it was playing on

552
00:33:16,840 --> 00:33:21,680
Speaker 1: board Apollo eleven, UM like it was like it was everywhere,

553
00:33:21,760 --> 00:33:26,240
Speaker 1: Like it's really hard to get across, um how ubiquitous

554
00:33:26,240 --> 00:33:27,760
Speaker 1: it was. But I found a quote from a guy

555
00:33:27,840 --> 00:33:31,920
Speaker 1: named Professor Gary Gumpert of Queen's College in New York.

556
00:33:32,480 --> 00:33:36,480
Speaker 1: He said that that at the time, music was just

557
00:33:36,640 --> 00:33:41,160
Speaker 1: kind of amniotic fluid that surrounds us. It never startles us.

558
00:33:41,200 --> 00:33:43,520
Speaker 1: It is never too loud, it's never too silent. It's

559
00:33:43,560 --> 00:33:46,120
Speaker 1: always there. And that was what it was like. You're

560
00:33:46,200 --> 00:33:49,880
Speaker 1: just kind of moving from one placid bucolic field to

561
00:33:49,960 --> 00:33:52,640
Speaker 1: the next, going from mall, the mall, store to store,

562
00:33:52,680 --> 00:33:56,040
Speaker 1: elevator to elevator, bus ride to bus ride. Um, it

563
00:33:56,120 --> 00:33:59,800
Speaker 1: was just absolutely everywhere. So compared to that, the idea

564
00:33:59,840 --> 00:34:04,040
Speaker 1: that it's absolutely everywhere unquestioned. Um. Yeah. It really kind

565
00:34:04,040 --> 00:34:05,800
Speaker 1: of started to take a bit of a downturn in

566
00:34:05,800 --> 00:34:08,000
Speaker 1: the seventies, but it just didn't go anywhere yet. It

567
00:34:08,040 --> 00:34:10,680
Speaker 1: took decades for it to really take a hit. Yeah.

568
00:34:10,719 --> 00:34:13,880
Speaker 1: I mean even in the eighties that was syndicated nineteen countries.

569
00:34:13,920 --> 00:34:17,160
Speaker 1: There were eighty million people listening, whether or not they

570
00:34:17,200 --> 00:34:20,279
Speaker 1: wanted to or not, listening to music every day. And

571
00:34:20,320 --> 00:34:22,680
Speaker 1: the company ended up being bought and sold a couple

572
00:34:22,680 --> 00:34:26,319
Speaker 1: of times over the years. I think in eighty one,

573
00:34:27,200 --> 00:34:29,920
Speaker 1: or in seventy two, a company called Teleprompter owned it.

574
00:34:30,680 --> 00:34:34,279
Speaker 1: In eighty one, Westinghouse bought it. And I don't know

575
00:34:34,360 --> 00:34:37,920
Speaker 1: if I believe this. The story goes that Westinghouse learned

576
00:34:38,000 --> 00:34:42,080
Speaker 1: later on when they were buying Teleprompter that they owned music,

577
00:34:42,120 --> 00:34:44,960
Speaker 1: and apparently they didn't know that. That's what funding Universe

578
00:34:45,040 --> 00:34:47,440
Speaker 1: dot Com says. I don't know. I mean, who doesn't.

579
00:34:48,440 --> 00:34:52,120
Speaker 1: Maybe back then they didn't do research into purchasing entire corporations,

580
00:34:52,120 --> 00:34:54,279
Speaker 1: but they were on a lot of scotch at the time. Man,

581
00:34:54,760 --> 00:34:58,560
Speaker 1: Although we've had companies that bought websites, and then they

582
00:34:58,680 --> 00:35:01,200
Speaker 1: learned that there was a podcast bro attached. So yeah,

583
00:35:01,280 --> 00:35:03,120
Speaker 1: I think I've heard of that Things you Should Do

584
00:35:03,320 --> 00:35:06,160
Speaker 1: or something like that. Yeah, that was actually that that

585
00:35:06,200 --> 00:35:09,040
Speaker 1: could happen now that I think about it, that's right. Yeah.

586
00:35:09,080 --> 00:35:12,240
Speaker 1: I kind of actually felt a deeper affinity from music

587
00:35:12,280 --> 00:35:14,200
Speaker 1: when I learned how many times they've been passed around

588
00:35:14,520 --> 00:35:18,759
Speaker 1: corporation by corporation. Uh. And then I think in the um,

589
00:35:18,800 --> 00:35:20,719
Speaker 1: I think it was was when did Yesco come along?

590
00:35:20,760 --> 00:35:24,920
Speaker 1: Without the nineties? So Yesco was around from the sixties

591
00:35:25,480 --> 00:35:28,200
Speaker 1: well when they finally came together though, right, Yeah, but

592
00:35:28,239 --> 00:35:31,319
Speaker 1: they were early competitor, I guess that kind of a

593
00:35:31,360 --> 00:35:38,080
Speaker 1: mid midlife competitor to um uh to Musaic. But by

594
00:35:38,120 --> 00:35:41,319
Speaker 1: the eighties, Yesco had established a name for itself by

595
00:35:41,320 --> 00:35:45,600
Speaker 1: doing basically the opposite of what music did. Rather than

596
00:35:46,400 --> 00:35:51,120
Speaker 1: making you know, uh covers of canned music without lyrics,

597
00:35:51,360 --> 00:35:53,560
Speaker 1: they would just go get the licenses of like the

598
00:35:53,680 --> 00:35:57,400
Speaker 1: hot new song of the of the moment and play

599
00:35:57,440 --> 00:36:00,400
Speaker 1: those and so rather than background music, which is what

600
00:36:00,480 --> 00:36:04,560
Speaker 1: music whole jam was, these guys were pioneering foreground music.

601
00:36:05,160 --> 00:36:08,480
Speaker 1: And they were just a small little outfit from Seattle

602
00:36:08,960 --> 00:36:11,080
Speaker 1: that you know. It was kind of like the little

603
00:36:11,120 --> 00:36:15,400
Speaker 1: engine that could. And they changed the entire landscape, the

604
00:36:15,400 --> 00:36:20,200
Speaker 1: audio landscape of the United States. Um just by being persistent,

605
00:36:20,239 --> 00:36:23,520
Speaker 1: by getting that that that word out that hey, now

606
00:36:23,920 --> 00:36:27,720
Speaker 1: foregrounds the way to go, not background that's old stuff. Yeah,

607
00:36:27,800 --> 00:36:30,040
Speaker 1: And I think that's why today when you go into

608
00:36:30,040 --> 00:36:33,000
Speaker 1: Public's to do your grocery shopping, you'll hear Christopher Cross

609
00:36:33,040 --> 00:36:36,879
Speaker 1: singing sailing instead of the music version of sailing. Yeah.

610
00:36:37,120 --> 00:36:40,680
Speaker 1: Can't we just get both though? Or do we have

611
00:36:40,760 --> 00:36:44,759
Speaker 1: to choose? I mean, I'm I'm a big Christopher Cross fan.

612
00:36:44,920 --> 00:36:47,319
Speaker 1: You're not gonna find a bigger fan than me, for real?

613
00:36:47,400 --> 00:36:50,800
Speaker 1: You you like him that much? He's great, Uh to

614
00:36:51,200 --> 00:36:53,240
Speaker 1: his two big albums I still have on my shelf.

615
00:36:53,960 --> 00:36:55,960
Speaker 1: Oh yeah, Well he's sitting in the other room in

616
00:36:56,080 --> 00:36:59,759
Speaker 1: my house right now. I guess you're the bigger fan. Yeah,

617
00:37:00,040 --> 00:37:02,600
Speaker 1: you're like, no, no, no, he's just tied up. Well

618
00:37:02,680 --> 00:37:04,880
Speaker 1: I was gonna say he's not here on on his

619
00:37:04,920 --> 00:37:07,960
Speaker 1: will and his own will. In fact, you could make

620
00:37:08,000 --> 00:37:10,319
Speaker 1: a pretty strong case he's here against as will. But

621
00:37:11,520 --> 00:37:18,800
Speaker 1: so in those when Yesco got Um officially involved with music,

622
00:37:18,840 --> 00:37:22,120
Speaker 1: I think music was did they actually file for bankruptcy

623
00:37:22,239 --> 00:37:24,400
Speaker 1: or were they just at that sort of mount precipice

624
00:37:24,680 --> 00:37:27,200
Speaker 1: Not yet, they were teetering right there on the edge,

625
00:37:27,200 --> 00:37:29,800
Speaker 1: And it was actually they were bought by the Fields Company,

626
00:37:29,840 --> 00:37:32,720
Speaker 1: the company that owns Marshall Fields. So Chicago makes another

627
00:37:32,760 --> 00:37:36,799
Speaker 1: appearance um and the Fields Company said we like where

628
00:37:36,840 --> 00:37:40,120
Speaker 1: this Yesco group is going. We're gonna merge with them.

629
00:37:40,280 --> 00:37:44,920
Speaker 1: So Musaic actually merged with Yesco Um, the smaller company,

630
00:37:44,960 --> 00:37:48,000
Speaker 1: but then ended up moving to Seattle right before the

631
00:37:48,040 --> 00:37:53,160
Speaker 1: grunge movement hit. So Seattle's big musical contribution before grunge

632
00:37:53,360 --> 00:37:58,160
Speaker 1: was music I remember seeing the I remember seeing that logo.

633
00:37:58,239 --> 00:38:02,200
Speaker 1: I mean you'd probably seen the vans around before and

634
00:38:02,320 --> 00:38:04,880
Speaker 1: really not known it's that M with the circle around it.

635
00:38:05,800 --> 00:38:07,160
Speaker 1: I remember when I first saw that, it was like,

636
00:38:07,160 --> 00:38:10,200
Speaker 1: wait a minute, is that the music? That's yeah, And

637
00:38:10,239 --> 00:38:12,400
Speaker 1: that was a big update. They apparently went with some

638
00:38:12,480 --> 00:38:14,319
Speaker 1: design group I can't remember the name of it that

639
00:38:14,440 --> 00:38:19,399
Speaker 1: just completely reinvented the brand because they went from being

640
00:38:19,400 --> 00:38:24,320
Speaker 1: in the background to manipulating your mood using stimulus progression

641
00:38:24,640 --> 00:38:28,560
Speaker 1: to this other thing, this new sound made up sounding

642
00:38:28,600 --> 00:38:36,960
Speaker 1: thing called um. What's it called quantum physics mechanics? Keep

643
00:38:37,000 --> 00:38:43,400
Speaker 1: guessing what else? Realm leap? No, those are all the quantums.

644
00:38:43,400 --> 00:38:46,280
Speaker 1: I know. There's got to be another one, chuck, because

645
00:38:47,960 --> 00:38:51,279
Speaker 1: I'm still looking. Is that thing called it's called it's

646
00:38:51,320 --> 00:38:56,080
Speaker 1: quantum leap. What was this called quantum leap? Sure? So

647
00:38:56,239 --> 00:38:59,160
Speaker 1: um with this quantum leap thing that they had going on,

648
00:38:59,320 --> 00:39:05,759
Speaker 1: the bacular effect, quantum modulation, quantum modulation. Okay, although I

649
00:39:05,840 --> 00:39:10,520
Speaker 1: like bacular effect, that's a great one. Um with quantum modulation,

650
00:39:11,000 --> 00:39:17,399
Speaker 1: it was um, we are evoking an emotion that is

651
00:39:17,480 --> 00:39:21,160
Speaker 1: now tied forever to this the brand that you're shopping.

652
00:39:21,200 --> 00:39:25,240
Speaker 1: Who store, your shopping and yeah, so like this, um

653
00:39:25,360 --> 00:39:28,200
Speaker 1: this one. So they hire people who make playlists, who

654
00:39:28,200 --> 00:39:33,520
Speaker 1: curate these playlists that are start to finish. Um, they

655
00:39:33,560 --> 00:39:36,160
Speaker 1: all share this one theme. They all kind of have

656
00:39:36,320 --> 00:39:43,520
Speaker 1: this one like cool, um not scary, uh, super hip, beachy,

657
00:39:43,560 --> 00:39:48,759
Speaker 1: you know spring Break two thousand and eight whatever. So

658
00:39:49,160 --> 00:39:52,680
Speaker 1: um that like a company will will say this is

659
00:39:52,800 --> 00:39:54,680
Speaker 1: this is what our brand is all about. Give us

660
00:39:54,680 --> 00:39:57,680
Speaker 1: playlists that fit this. And so now you're you're kind

661
00:39:57,719 --> 00:40:00,640
Speaker 1: of like you feel cool because of the music of

662
00:40:00,800 --> 00:40:03,160
Speaker 1: where you're shopping, and so that makes you want to

663
00:40:03,200 --> 00:40:06,520
Speaker 1: shop and associate yourself with that place even more. That's

664
00:40:06,520 --> 00:40:10,360
Speaker 1: what music, That's what the what's called neo music is

665
00:40:11,040 --> 00:40:14,360
Speaker 1: all about. That's that's the current state of affairs in

666
00:40:14,800 --> 00:40:18,279
Speaker 1: the industry. Yeah, like take if you want to use

667
00:40:18,400 --> 00:40:22,080
Speaker 1: Armani Exchange as an example. What they'll do is they

668
00:40:22,120 --> 00:40:24,799
Speaker 1: will literally try and make like a DJ mix with

669
00:40:25,360 --> 00:40:28,520
Speaker 1: that has beat matches and it doesn't break the momentums

670
00:40:28,520 --> 00:40:31,839
Speaker 1: and it's all cross faded. Whereas if Ann Taylor calls

671
00:40:31,920 --> 00:40:34,000
Speaker 1: them up, they don't want to cross fade. They want

672
00:40:34,000 --> 00:40:36,560
Speaker 1: Selene Dion songs and then a little bit of a

673
00:40:36,600 --> 00:40:39,799
Speaker 1: small break and then a sting song coming on, and

674
00:40:39,880 --> 00:40:43,080
Speaker 1: these gentle fades in and fades out, and you know,

675
00:40:43,160 --> 00:40:47,799
Speaker 1: it's the same sort of stuff, is just curated foreground music. Um.

676
00:40:47,880 --> 00:40:51,520
Speaker 1: What I love about music is in the end, when

677
00:40:51,560 --> 00:40:54,839
Speaker 1: they were finally acquired, they had at one point five

678
00:40:54,920 --> 00:40:59,080
Speaker 1: million commercially recorded songs in their catalog and they call

679
00:40:59,160 --> 00:41:03,040
Speaker 1: that the Well. Right, that's amazing, almost eight hundred Beatles

680
00:41:03,080 --> 00:41:05,960
Speaker 1: songs it is. I think that's why they never fully

681
00:41:06,000 --> 00:41:11,880
Speaker 1: went under, is that catalog kept them commercially viable for sale. Yeah,

682
00:41:12,280 --> 00:41:15,440
Speaker 1: So they were bought and I think two thousand nine

683
00:41:15,560 --> 00:41:20,000
Speaker 1: maybe by a group called Mood Music Atin two eleven,

684
00:41:20,560 --> 00:41:23,200
Speaker 1: and then two years later they retired the music name

685
00:41:23,280 --> 00:41:26,399
Speaker 1: forever just couldn't do anything with it. So now it's

686
00:41:26,440 --> 00:41:30,240
Speaker 1: Mood Music is the company that that owns the Well.

687
00:41:30,480 --> 00:41:33,400
Speaker 1: But they're doing that whole four okay, they're doing that

688
00:41:33,440 --> 00:41:38,680
Speaker 1: whole foreground music quantum modulation type thing where you know,

689
00:41:38,760 --> 00:41:41,560
Speaker 1: you just associate a brand with a certain kind of music,

690
00:41:41,800 --> 00:41:44,760
Speaker 1: Like you would walk into that armand the exchange and here,

691
00:41:45,600 --> 00:41:49,480
Speaker 1: you know, Simon yea Christopher Cross, You'd be like, something's

692
00:41:49,480 --> 00:41:53,560
Speaker 1: off here, the mood mood what is that mood media.

693
00:41:54,080 --> 00:41:56,280
Speaker 1: Their their job is to make sure that there's nothing

694
00:41:56,320 --> 00:41:58,360
Speaker 1: off while you're in that store, that it all just

695
00:41:58,440 --> 00:42:01,239
Speaker 1: kind of fits together and you feel good about where

696
00:42:01,239 --> 00:42:03,279
Speaker 1: you're shopping. I don't know that, man. You want to

697
00:42:03,520 --> 00:42:06,000
Speaker 1: you want to move some Armandi gear put on, you

698
00:42:06,040 --> 00:42:09,520
Speaker 1: can call me out, just blash it, fly off and

699
00:42:09,560 --> 00:42:13,960
Speaker 1: those kids would freak out there they're frosted. Tips would

700
00:42:14,000 --> 00:42:17,520
Speaker 1: stand up on end then and then they're like, what

701
00:42:17,640 --> 00:42:20,520
Speaker 1: is this? This is amazing. I've never felt more alive.

702
00:42:20,840 --> 00:42:25,839
Speaker 1: Why is Chevy Jason here? Oh man. A really cool thing, though,

703
00:42:25,960 --> 00:42:27,920
Speaker 1: is what you were talking about with music being on

704
00:42:27,960 --> 00:42:31,759
Speaker 1: the tech forefront. Uh, it's really cool that over the

705
00:42:31,880 --> 00:42:36,080
Speaker 1: years they were always early adopters of tech, and it's

706
00:42:36,080 --> 00:42:37,719
Speaker 1: funny to think about them that way, but they were

707
00:42:37,760 --> 00:42:40,000
Speaker 1: always on the on the leading edge and the forefront

708
00:42:40,239 --> 00:42:44,399
Speaker 1: of what technology was doing. Yeah, so they I don't

709
00:42:44,400 --> 00:42:47,160
Speaker 1: know if they invented them, but they certainly were early adopters,

710
00:42:47,160 --> 00:42:51,680
Speaker 1: if not pioneers. In vinyl records. People were not using

711
00:42:51,760 --> 00:42:54,680
Speaker 1: vinyl at the time. Then they eventually ditched the vinyl

712
00:42:54,680 --> 00:43:00,000
Speaker 1: records in favor of an electronic brain called mater m.

713
00:43:00,040 --> 00:43:04,040
Speaker 1: The number eight and the letter are Um, which basically

714
00:43:04,200 --> 00:43:08,560
Speaker 1: was a big deck of real the real tapes that

715
00:43:08,640 --> 00:43:10,560
Speaker 1: had a bunch of different songs on it, but they

716
00:43:10,600 --> 00:43:14,400
Speaker 1: had different inaudible pulses that would trigger a different one

717
00:43:14,440 --> 00:43:16,680
Speaker 1: to come on next, so you could curate lists on

718
00:43:16,760 --> 00:43:19,680
Speaker 1: these huge reel to reels. It was just amazing. They

719
00:43:19,680 --> 00:43:22,719
Speaker 1: were using this thing starting in the fifties, so the

720
00:43:22,760 --> 00:43:25,680
Speaker 1: whole thing became kind of automated. They launched their own

721
00:43:25,680 --> 00:43:28,840
Speaker 1: satellite in the seventies, They had a computer database in

722
00:43:28,880 --> 00:43:32,360
Speaker 1: the seventies. Like they were very much uh, pioneers and

723
00:43:32,400 --> 00:43:34,759
Speaker 1: early adopters of a lot of different technology that we

724
00:43:34,840 --> 00:43:37,359
Speaker 1: take for granted today. Yeah, I mean that you could

725
00:43:37,400 --> 00:43:39,880
Speaker 1: make an argument that they were doing the Pandora Spotify

726
00:43:39,960 --> 00:43:44,680
Speaker 1: think decades before they were doing it absolutely um yeah,

727
00:43:44,680 --> 00:43:46,520
Speaker 1: And I mean the whole point of it too, was

728
00:43:46,719 --> 00:43:50,560
Speaker 1: was virtually unchanged. I mean, it's not necessarily to make

729
00:43:50,560 --> 00:43:54,399
Speaker 1: you a docile shopper anymore, but it's two like they're

730
00:43:54,440 --> 00:43:57,640
Speaker 1: trying to make you feel like that brand is part

731
00:43:57,680 --> 00:44:02,360
Speaker 1: of your identity by evoking memories and you using songs

732
00:44:02,440 --> 00:44:08,120
Speaker 1: to unlock them. Totally pretty interesting stuff. Man, I'm gonna

733
00:44:08,160 --> 00:44:09,960
Speaker 1: go work with those two records again, I want to

734
00:44:09,960 --> 00:44:14,400
Speaker 1: write this down. Okay. One is more than music, period

735
00:44:14,560 --> 00:44:19,799
Speaker 1: and environment. Music record that has not just sailing on.

736
00:44:19,840 --> 00:44:25,279
Speaker 1: It has Olivia Newton, John's Magic, has um uh take

737
00:44:25,360 --> 00:44:28,359
Speaker 1: your Time do It Right, which I don't care if

738
00:44:28,360 --> 00:44:30,040
Speaker 1: the lyrics are there or not. If you're sitting next

739
00:44:30,080 --> 00:44:32,680
Speaker 1: to your mom in a doctor's office and baby, you

740
00:44:32,760 --> 00:44:34,920
Speaker 1: can do it. Take your Time, do It Right comes on.

741
00:44:35,280 --> 00:44:37,560
Speaker 1: You both know what what that song is about. You

742
00:44:37,560 --> 00:44:41,280
Speaker 1: know it may even be more uncomfortable in that situation.

743
00:44:41,640 --> 00:44:45,480
Speaker 1: And then it ends with Funky Town. It's a good one.

744
00:44:45,600 --> 00:44:47,600
Speaker 1: The other one is called the Blue Album. It's a

745
00:44:47,680 --> 00:44:51,080
Speaker 1: complete stimulus progression album and it has a bunch of

746
00:44:51,080 --> 00:44:54,359
Speaker 1: good songs on it, including um Orleans Dance with Me,

747
00:44:54,880 --> 00:44:57,560
Speaker 1: which is if you ask me, the music covers way

748
00:44:57,560 --> 00:45:00,319
Speaker 1: better than the original, so not to be can used

749
00:45:00,320 --> 00:45:05,440
Speaker 1: with Wheezers Blue Album. No, that's a little different. And

750
00:45:05,480 --> 00:45:08,000
Speaker 1: then if you're like, oh, it's music is floating my boat,

751
00:45:08,280 --> 00:45:13,040
Speaker 1: go start looking up Ronnie Aldrich, Frank checks Field, Montevanni,

752
00:45:14,040 --> 00:45:17,400
Speaker 1: um and just start there. Yeah. And if eventually you're like,

753
00:45:17,520 --> 00:45:22,600
Speaker 1: I'm feeling really goosey, how about some actual vocalists going on?

754
00:45:23,239 --> 00:45:25,560
Speaker 1: And then you'll just go right into Josh's other favorite,

755
00:45:25,560 --> 00:45:28,799
Speaker 1: which is yat Rock easy listening. I like yat Rock

756
00:45:28,840 --> 00:45:32,280
Speaker 1: a lot too. I'm super right now into West Coast

757
00:45:32,360 --> 00:45:38,279
Speaker 1: cool jazz, um Stan Getz, Chet Baker, um Oh, I

758
00:45:38,320 --> 00:45:40,600
Speaker 1: can't remember. I can't remember his name, but I just

759
00:45:40,640 --> 00:45:43,799
Speaker 1: got into him. He's a great jazz pianist from that era.

760
00:45:44,960 --> 00:45:48,080
Speaker 1: Bill Evans, the Bill Evans Trio, love Bill Evans. You're

761
00:45:48,080 --> 00:45:51,040
Speaker 1: just getting into Bill Evans. Yeah, I just just started

762
00:45:51,080 --> 00:45:53,759
Speaker 1: getting into I. I started with Chet Baker and just

763
00:45:53,800 --> 00:45:56,640
Speaker 1: started working my way out. Vince Garaldi is another great one.

764
00:45:56,640 --> 00:45:58,320
Speaker 1: And I know he's known for the Charlie Brown stuff,

765
00:45:58,320 --> 00:46:01,000
Speaker 1: but all of vince Garaldi is great. You can tell

766
00:46:01,080 --> 00:46:03,400
Speaker 1: just by the Charlie Brown album that he's an amazing

767
00:46:03,480 --> 00:46:07,160
Speaker 1: jazz good stuff. So, Chuck, I have one more thing.

768
00:46:07,280 --> 00:46:10,120
Speaker 1: There's a you know, people hate music a lot, so

769
00:46:10,239 --> 00:46:13,359
Speaker 1: there's some artists who have like tried to a lot

770
00:46:13,400 --> 00:46:15,840
Speaker 1: of artists have tried to make hay out of the

771
00:46:15,840 --> 00:46:19,399
Speaker 1: whole thing. But one guy, David Schaefer, had something from

772
00:46:19,400 --> 00:46:22,160
Speaker 1: back in two thousand or two thousand too. Something. Um.

773
00:46:22,239 --> 00:46:25,919
Speaker 1: He had X ten R dot one and X ten

774
00:46:26,120 --> 00:46:29,000
Speaker 1: R dot two. These two CDs that he released that

775
00:46:29,080 --> 00:46:37,640
Speaker 1: were basically his weird, unnerving remixes of music that just

776
00:46:37,719 --> 00:46:39,799
Speaker 1: turns the whole thing on its head so much so

777
00:46:39,880 --> 00:46:41,840
Speaker 1: that like you may laugh out loud when you first

778
00:46:41,880 --> 00:46:45,440
Speaker 1: hear them. And I believe they're on his website. But

779
00:46:45,520 --> 00:46:48,360
Speaker 1: it's like a it's like music, but what you would

780
00:46:48,360 --> 00:46:52,279
Speaker 1: hear in your nightmares. It's really good. Uh. And I

781
00:46:52,320 --> 00:46:54,279
Speaker 1: believe he's got it on his website to go listen to.

782
00:46:54,360 --> 00:46:56,560
Speaker 1: And I think you can buy the CDs too, So

783
00:46:56,800 --> 00:46:58,759
Speaker 1: check that out and we'll check it out. Okay, Well,

784
00:46:58,800 --> 00:47:01,240
Speaker 1: if you want to know more about music to start

785
00:47:01,360 --> 00:47:05,120
Speaker 1: listening and loving, just just don't pre judge. How about that?

786
00:47:05,960 --> 00:47:08,560
Speaker 1: And since I said don't prejudge everybody, that means it's

787
00:47:08,600 --> 00:47:13,600
Speaker 1: time for a listener mail. You know. Before we do

788
00:47:13,680 --> 00:47:18,239
Speaker 1: listener mail, we want to issue a formal apology to

789
00:47:18,400 --> 00:47:22,319
Speaker 1: people that suffer from mesophonia. In the Titanic Part two

790
00:47:22,360 --> 00:47:26,480
Speaker 1: episode listener Mail, someone wrote in about our ad that

791
00:47:26,560 --> 00:47:29,319
Speaker 1: we had where someone was whispering, and I it was

792
00:47:29,400 --> 00:47:32,200
Speaker 1: my fault. Frankly, I started off by sort of teasing

793
00:47:32,640 --> 00:47:35,840
Speaker 1: and whispering. I joined in, you joined in, but I

794
00:47:35,840 --> 00:47:39,239
Speaker 1: think I led you down the Primrose Path. You did,

795
00:47:39,320 --> 00:47:41,319
Speaker 1: but you know, if Chuck jumped off a bridge, when

796
00:47:41,360 --> 00:47:44,120
Speaker 1: I jump off a bridge. Apparently the answers yes, but

797
00:47:44,200 --> 00:47:46,680
Speaker 1: I'm still responsible for that. Well, we heard from plenty

798
00:47:46,680 --> 00:47:48,680
Speaker 1: of people. Um, I had a really nice back and

799
00:47:48,719 --> 00:47:52,720
Speaker 1: forth over email with the original email er. I misinterpreted,

800
00:47:52,960 --> 00:47:55,960
Speaker 1: uh there, um sort of joking tone of the email,

801
00:47:56,160 --> 00:47:58,360
Speaker 1: and she said, yeah, I was trying to be lighthearted

802
00:47:58,360 --> 00:48:00,680
Speaker 1: about it, so I get where you're coming from. Um,

803
00:48:00,680 --> 00:48:03,360
Speaker 1: she was fine, she's going to get tickets to a

804
00:48:03,440 --> 00:48:05,279
Speaker 1: future stuff you should know show, which she is very

805
00:48:05,320 --> 00:48:08,640
Speaker 1: excited about her But um, we worked it out and

806
00:48:08,680 --> 00:48:10,759
Speaker 1: she's good, and we just I didn't know it was

807
00:48:10,800 --> 00:48:12,960
Speaker 1: a real I had heard of misoponia. I didn't know

808
00:48:13,000 --> 00:48:15,879
Speaker 1: it could be such a debilitating condition. Yea. We never

809
00:48:15,920 --> 00:48:18,880
Speaker 1: would have made fun of it, certainly. Um. I just

810
00:48:19,120 --> 00:48:21,000
Speaker 1: sort of thought it was people that are like I

811
00:48:21,080 --> 00:48:24,280
Speaker 1: just don't like people when they eat food and listening

812
00:48:24,320 --> 00:48:27,600
Speaker 1: to that. So now we know, Yes, now we know.

813
00:48:27,760 --> 00:48:30,440
Speaker 1: So thanks to everybody who wrote in, and uh, sorry

814
00:48:30,520 --> 00:48:33,879
Speaker 1: for being jerks about that. Yeah, and um, I think

815
00:48:33,880 --> 00:48:36,960
Speaker 1: we should probably do an episode on mesoponia too, probably, Yes,

816
00:48:37,040 --> 00:48:39,399
Speaker 1: for for sure. I've started to do it before Chuck,

817
00:48:39,480 --> 00:48:42,080
Speaker 1: and there's not that much info out there, so it's

818
00:48:42,080 --> 00:48:44,480
Speaker 1: gonna we will, for sure, I agree with you, but

819
00:48:44,840 --> 00:48:46,680
Speaker 1: it might take a little longer. All right, so all

820
00:48:46,719 --> 00:48:49,759
Speaker 1: apologies everyone, and uh, I hope, I hope this helps

821
00:48:49,800 --> 00:48:53,359
Speaker 1: make it right. Yeah, and now on the listener mail, right,

822
00:48:53,719 --> 00:48:57,160
Speaker 1: all right, I'm gonna call this from Lauren. Hey, guys,

823
00:48:57,800 --> 00:48:59,759
Speaker 1: a man walks down the street and says, why am

824
00:48:59,760 --> 00:49:02,040
Speaker 1: I oft in the middle? The rest of my life

825
00:49:02,080 --> 00:49:04,640
Speaker 1: is so hard? Oh wait a minute, Sorry, what a

826
00:49:04,880 --> 00:49:07,840
Speaker 1: perfect email for this one. I was reading my forearm

827
00:49:07,880 --> 00:49:12,040
Speaker 1: tattooed by accident. Hey, guys, been listening to stuff you

828
00:49:12,040 --> 00:49:13,680
Speaker 1: should know for a few years. Off and turn up

829
00:49:13,680 --> 00:49:15,919
Speaker 1: the volume and play an episode while I cooked dinner.

830
00:49:16,000 --> 00:49:18,759
Speaker 1: My seven year old daughter Lila used to complain, oh,

831
00:49:18,840 --> 00:49:21,680
Speaker 1: you're listening to this again. But I recently called her

832
00:49:21,719 --> 00:49:24,640
Speaker 1: singing the be to the intro music, and she'll casually

833
00:49:24,680 --> 00:49:27,320
Speaker 1: mention things she's heard from time to time. I suspect

834
00:49:27,440 --> 00:49:33,000
Speaker 1: she's fond of the animal episodes. Anyway, you'll jokingly sometimes say, Jerry, well,

835
00:49:33,000 --> 00:49:34,680
Speaker 1: you have to edit that. You're gonna have to edit

836
00:49:34,719 --> 00:49:37,520
Speaker 1: that part out. And it has me curious how often

837
00:49:37,560 --> 00:49:40,320
Speaker 1: things are cut from an episode and why bad jokes

838
00:49:40,719 --> 00:49:43,480
Speaker 1: too long? Have you ever had to completely redo one?

839
00:49:44,120 --> 00:49:45,960
Speaker 1: I think it'd be really interesting to know, and about

840
00:49:46,000 --> 00:49:48,480
Speaker 1: Lila would find it encouraging since she likes to make

841
00:49:48,560 --> 00:49:51,359
Speaker 1: videos of herself singing and dancing for the record, y'all

842
00:49:51,400 --> 00:49:54,400
Speaker 1: make it effortless and uh seem effort lessen, it's always

843
00:49:54,400 --> 00:49:58,480
Speaker 1: a joy to listen to. That is Lauren from monta Vallo, Alabama,

844
00:49:59,520 --> 00:50:04,080
Speaker 1: and she yes, Montevallo, Yeah, you're probably right. You put

845
00:50:04,080 --> 00:50:06,920
Speaker 1: a little too much mustard on there. She says, ps.

846
00:50:06,960 --> 00:50:08,279
Speaker 1: How cool of a mom would I be if my

847
00:50:08,360 --> 00:50:11,200
Speaker 1: daughter heard her names on the podcast? Yeah, So there

848
00:50:11,239 --> 00:50:15,959
Speaker 1: you go, Lauren and Lilah. The answer is very little

849
00:50:16,000 --> 00:50:19,279
Speaker 1: gets edited out, just the singing and dancing like that

850
00:50:19,320 --> 00:50:23,680
Speaker 1: siren in the background. We'll probably just leave that into No,

851
00:50:24,040 --> 00:50:26,959
Speaker 1: we don't edit a lot out occasionally, Like we found

852
00:50:27,000 --> 00:50:30,000
Speaker 1: out when we said this before. Early on, we left

853
00:50:30,000 --> 00:50:32,279
Speaker 1: in the words stumbles and the ums and uhs, and

854
00:50:32,640 --> 00:50:34,719
Speaker 1: just because it's a conversation and we didn't want to

855
00:50:34,760 --> 00:50:38,720
Speaker 1: make it seemed too scripted because it's not, or canned

856
00:50:38,719 --> 00:50:41,320
Speaker 1: because it's not, and so we just left that stuff

857
00:50:41,320 --> 00:50:45,480
Speaker 1: in there. And the only time, like, like I think

858
00:50:45,520 --> 00:50:47,239
Speaker 1: today you had to look something up real quick. But

859
00:50:47,280 --> 00:50:49,360
Speaker 1: that doesn't happen much. Yeah, I had to poke my

860
00:50:49,400 --> 00:50:51,280
Speaker 1: head out of the studio and look at my record

861
00:50:51,280 --> 00:50:54,959
Speaker 1: collection and come up with name. So I mean that's

862
00:50:55,000 --> 00:50:58,200
Speaker 1: gone now. But very little is edited out. It's especially

863
00:50:58,200 --> 00:51:01,320
Speaker 1: after this many years. It's we're not one take wonders,

864
00:51:01,320 --> 00:51:03,839
Speaker 1: but it's Jerry doesn't have the hardest job in the world.

865
00:51:03,880 --> 00:51:09,319
Speaker 1: You know, we've taken it easy on her for years. Yeah. Yeah,

866
00:51:09,440 --> 00:51:11,480
Speaker 1: that that's about it, Chuck. I can't think of anything

867
00:51:11,520 --> 00:51:14,319
Speaker 1: else we really added out. But that's not to say

868
00:51:14,360 --> 00:51:18,600
Speaker 1: that shows that are heavily edited and various kind of

869
00:51:18,640 --> 00:51:20,800
Speaker 1: scripty and slick, like, there's a room for those two.

870
00:51:21,440 --> 00:51:24,040
Speaker 1: Oh yeah, we're not the only way to do it now.

871
00:51:24,080 --> 00:51:26,839
Speaker 1: We're like the music of podcasts. There's other people who

872
00:51:26,840 --> 00:51:29,359
Speaker 1: are all like the Ted NuGen of podcasts, and there's

873
00:51:29,440 --> 00:51:32,680
Speaker 1: room for both. Yea, like Roman Mars the Ted Nugenta podcasting.

874
00:51:32,840 --> 00:51:35,920
Speaker 1: That's right, man, that guy's always wearing like a studded

875
00:51:36,000 --> 00:51:38,839
Speaker 1: leather wrist fan and stuff. I keep waiting on Roman

876
00:51:38,920 --> 00:51:41,480
Speaker 1: to text me and being like, you guys are consistently

877
00:51:41,520 --> 00:51:44,160
Speaker 1: talking smack about me. He doesn't, he doesn't listen, and

878
00:51:44,200 --> 00:51:49,719
Speaker 1: no one he knows. That's impossible. Um so who is that?

879
00:51:49,920 --> 00:51:54,319
Speaker 1: Lila and Lauren correct nice. Well, thank you very much

880
00:51:54,320 --> 00:51:57,400
Speaker 1: for writing in hope. We answered your question. Uh and

881
00:51:57,480 --> 00:51:59,080
Speaker 1: if you want to get in touch with this, like

882
00:51:59,400 --> 00:52:02,440
Speaker 1: Lila and Lauren did, you can send us an email.

883
00:52:02,840 --> 00:52:09,560
Speaker 1: Send it off to stuff podcast at iHeart radio dot com.

884
00:52:09,640 --> 00:52:11,920
Speaker 1: Stuff you Should Know is a production of I heart Radio.

885
00:52:12,400 --> 00:52:15,560
Speaker 1: For more podcasts my heart Radio, visit the iHeart Radio app,

886
00:52:15,760 --> 00:52:18,680
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.

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00:52:21,520 --> 00:52:21,560
Speaker 1: H