1 00:00:00,160 --> 00:00:03,320 Speaker 1: Welcome back to the show, Ridiculous Historians. As always, thank 2 00:00:03,360 --> 00:00:07,360 Speaker 1: you so much for tuning in. This is a blast 3 00:00:07,480 --> 00:00:11,119 Speaker 1: from the past, a classic blast from the past, A 4 00:00:11,800 --> 00:00:15,400 Speaker 1: blastic a class I love it. Yeah, I love coining 5 00:00:15,400 --> 00:00:21,640 Speaker 1: new words. A blastic clastic, an iconoclastic blastic from the plastic. 6 00:00:22,120 --> 00:00:26,760 Speaker 1: Max dropped the beat. Yes, yes, agreed. That's our super producer, 7 00:00:26,760 --> 00:00:30,480 Speaker 1: the one and only Mr Max Williams. No, you and 8 00:00:30,520 --> 00:00:33,680 Speaker 1: I are bringing a classic to the table this week. 9 00:00:33,760 --> 00:00:36,599 Speaker 1: And there's a there's a bit of synchronicity here because 10 00:00:37,040 --> 00:00:40,160 Speaker 1: this is you know, we've done so many episodes by now. 11 00:00:40,600 --> 00:00:43,040 Speaker 1: We've been doing this show for a number of years, 12 00:00:43,040 --> 00:00:45,320 Speaker 1: and we've been doing other shows for a number of years. 13 00:00:45,400 --> 00:00:50,360 Speaker 1: And occasionally we get people on our social media, like 14 00:00:50,479 --> 00:00:54,360 Speaker 1: Ridiculous Historians on Facebook who say, hey, have the guys 15 00:00:54,360 --> 00:00:57,360 Speaker 1: ever done an episode on this? And it just so 16 00:00:57,440 --> 00:01:01,040 Speaker 1: happens we're scrolling through where would on air, it just 17 00:01:01,160 --> 00:01:05,600 Speaker 1: so happens that one of our fellow Ridiculous Historians recently 18 00:01:05,640 --> 00:01:10,360 Speaker 1: asked about one of our favorite topics from the past. 19 00:01:10,440 --> 00:01:13,360 Speaker 1: I think it's your very favorite episode we ever did. Well. 20 00:01:13,400 --> 00:01:15,000 Speaker 1: I say that, I mean we we've got so many 21 00:01:15,000 --> 00:01:18,160 Speaker 1: interesting ones. It just takes a lot of my particular boxes, 22 00:01:18,720 --> 00:01:24,520 Speaker 1: you know, record collecting, recording technology, antiquated, weird, you know, 23 00:01:24,640 --> 00:01:29,720 Speaker 1: kind of kitchy recording technology, bootlegging, dumbster diving, and it 24 00:01:30,400 --> 00:01:33,720 Speaker 1: encapsulates a lot of some of my favorite things. Also, 25 00:01:33,840 --> 00:01:36,080 Speaker 1: quick disclaimer, I don't know if you can tell by 26 00:01:36,120 --> 00:01:39,920 Speaker 1: the sound of my ragged voice and breathing, I caught 27 00:01:39,959 --> 00:01:42,479 Speaker 1: a case of the COVID and uh and and ten 28 00:01:42,680 --> 00:01:46,200 Speaker 1: respectfully requested that we pushed this classic episode out so 29 00:01:46,240 --> 00:01:49,440 Speaker 1: I didn't have to do a full episode today. Well, 30 00:01:49,480 --> 00:01:53,000 Speaker 1: to be fair, no, I Ben Bullin's would have pitched 31 00:01:53,000 --> 00:01:57,840 Speaker 1: it because I got a lot and I respectfully requested 32 00:01:58,080 --> 00:02:02,760 Speaker 1: to confirm you a pitch, sir. Well, guys, if we're 33 00:02:02,760 --> 00:02:04,960 Speaker 1: if we're claiming credit, I was the one who went 34 00:02:05,040 --> 00:02:08,280 Speaker 1: and found the episodes, so I think I deserve about 35 00:02:08,360 --> 00:02:11,760 Speaker 1: nine I was I was running and god, I'm not 36 00:02:11,840 --> 00:02:13,840 Speaker 1: even oh man, I don't think any of us are 37 00:02:13,840 --> 00:02:17,040 Speaker 1: supposed to be here right now, but your pals Ben, Nolan, 38 00:02:17,120 --> 00:02:20,680 Speaker 1: Max are. We are legitimately excited about this. This has 39 00:02:20,720 --> 00:02:24,639 Speaker 1: a lot of my my favorite things as well. Human ingenuity, 40 00:02:24,880 --> 00:02:28,800 Speaker 1: some real fortitude, some real mcgever, moments like this whole 41 00:02:28,840 --> 00:02:32,560 Speaker 1: thing is a mgeiver moment, and we also, of course, 42 00:02:32,800 --> 00:02:36,920 Speaker 1: you know, no, didn't want to derail you feeling under 43 00:02:36,960 --> 00:02:39,040 Speaker 1: the weather, and I hope you're on the mend soon, 44 00:02:39,160 --> 00:02:42,440 Speaker 1: my friend. But in the meantime, this is an excuse 45 00:02:42,520 --> 00:02:45,280 Speaker 1: for the three of us to also enjoy this one. Max. 46 00:02:45,360 --> 00:02:47,680 Speaker 1: I don't know if you've heard this one. I have not. 47 00:02:47,840 --> 00:02:51,480 Speaker 1: Who was the producer on this one, casey Pecker. This 48 00:02:51,560 --> 00:02:53,480 Speaker 1: is one of the very first episodes were recorded on 49 00:02:53,639 --> 00:02:58,840 Speaker 1: the stilly aggy Russian hipster beat Nick Weirdos, who made 50 00:02:59,560 --> 00:03:07,880 Speaker 1: bootleg albums of Elvis Presley recordings from dumpster dived X rays. 51 00:03:08,080 --> 00:03:09,520 Speaker 1: Just by the way, I gotta say, you guys are 52 00:03:09,600 --> 00:03:12,160 Speaker 1: kind of blame hogs here. I was trying to like 53 00:03:12,600 --> 00:03:15,000 Speaker 1: throw myself under the bus, take one for the team, 54 00:03:15,120 --> 00:03:16,880 Speaker 1: and you guys wouldn't even let me take the blame. 55 00:03:16,960 --> 00:03:20,960 Speaker 1: So I thank you, but also weird flex No, no, no, 56 00:03:21,040 --> 00:03:23,240 Speaker 1: I'm just like, uh, you know, you know how it 57 00:03:23,320 --> 00:03:25,480 Speaker 1: is you got Sometimes you gotta fight for credit on 58 00:03:25,520 --> 00:03:27,400 Speaker 1: your ideas, you know what I mean. But I don't 59 00:03:27,400 --> 00:03:29,600 Speaker 1: think it's I don't think there's any blame here. You know, 60 00:03:29,680 --> 00:03:31,880 Speaker 1: we love the show. We love you all out there, 61 00:03:32,000 --> 00:03:37,400 Speaker 1: ridiculous historians, and uh, sometimes you know, sometimes we forget 62 00:03:37,400 --> 00:03:40,640 Speaker 1: that not everybody has heard all these episodes. So we 63 00:03:40,760 --> 00:03:43,680 Speaker 1: like to bring the ones that we're really proud of 64 00:03:43,720 --> 00:03:46,360 Speaker 1: to light. And no, I'm I'm really proud of this one. 65 00:03:46,440 --> 00:03:48,800 Speaker 1: I kind of I don't know. I think we both 66 00:03:48,800 --> 00:03:51,040 Speaker 1: want to impress Max so much. Max, I hope you 67 00:03:51,120 --> 00:03:54,160 Speaker 1: like this one. If you don't, don't tell us, or 68 00:03:54,160 --> 00:03:56,600 Speaker 1: at least have the self respect to lie to us 69 00:03:56,600 --> 00:04:00,160 Speaker 1: about it, because rest assured he'll be listening along right 70 00:04:00,200 --> 00:04:04,280 Speaker 1: alongside you, ridiculous historians. Don't worry, guys, I have lots 71 00:04:04,320 --> 00:04:08,800 Speaker 1: of practice. Line to y'all. Now that's the weird flex 72 00:04:08,840 --> 00:04:14,040 Speaker 1: for our intro. Indeed, indeed, you got me questioning literally everything, Max, 73 00:04:14,200 --> 00:04:18,120 Speaker 1: literally everything. What about the hot tub times? Those are 74 00:04:18,120 --> 00:04:20,960 Speaker 1: always true? Noll? Do this mean nothing to you? They 75 00:04:20,960 --> 00:04:23,240 Speaker 1: mean everything to me. They mean nothing to me. I 76 00:04:23,279 --> 00:04:27,360 Speaker 1: was not invited, but well it wasn't an invitational kind 77 00:04:27,360 --> 00:04:29,000 Speaker 1: of thing. We just sort of happened that we were 78 00:04:29,040 --> 00:04:31,640 Speaker 1: trapsing through the woods and happened to stumble into the 79 00:04:31,680 --> 00:04:34,560 Speaker 1: same hot tips. So so with that mental image in 80 00:04:34,600 --> 00:04:39,719 Speaker 1: your head, fellow Ridiculous Historians. Without further ado, check out 81 00:04:40,040 --> 00:04:44,080 Speaker 1: our classic episode on the Still Yagi, which I still 82 00:04:44,160 --> 00:04:48,120 Speaker 1: think sounds like a weird Eastern European monster. Here we go. 83 00:04:50,080 --> 00:05:18,040 Speaker 1: Ridiculous History is a production of I Heart Radio. Welcome 84 00:05:18,080 --> 00:05:21,000 Speaker 1: to the show, everybody. I'm Ben, I'm Noel, and we 85 00:05:21,040 --> 00:05:26,719 Speaker 1: are joined with our super producer, Casey Pegrum today and 86 00:05:26,839 --> 00:05:29,200 Speaker 1: this is Ridiculous History. And I will tell you he 87 00:05:29,320 --> 00:05:33,000 Speaker 1: is piping a legit mixtape into my headphones right now. 88 00:05:33,240 --> 00:05:35,200 Speaker 1: I really wish you guys could hear, but we couldn't 89 00:05:35,240 --> 00:05:39,000 Speaker 1: clear the samples. So it's always the samples to get us. 90 00:05:39,040 --> 00:05:41,880 Speaker 1: Just for us, you will have to take our word 91 00:05:41,960 --> 00:05:46,800 Speaker 1: for it. Uh. Like most people, we're very into music. 92 00:05:47,240 --> 00:05:50,719 Speaker 1: It's true. And um, I wanted to ask you, Ben, 93 00:05:50,760 --> 00:05:55,080 Speaker 1: have you seen the movie The Bone Collector? The Bone Collector? 94 00:05:55,120 --> 00:05:58,120 Speaker 1: I feel like I have wait, is this the Is 95 00:05:58,200 --> 00:06:03,839 Speaker 1: this like the Crime the y where U is someone paralyzed? 96 00:06:04,000 --> 00:06:05,800 Speaker 1: You know, I haven't actually seen it, It's just the 97 00:06:05,920 --> 00:06:08,320 Speaker 1: name makes me think of the topic that we're talking 98 00:06:08,320 --> 00:06:11,680 Speaker 1: about today. Um, that was a total non sequitor, but 99 00:06:11,839 --> 00:06:14,880 Speaker 1: that's that. We We love non sequitors here on Ridiculous History. 100 00:06:14,920 --> 00:06:18,280 Speaker 1: But yeah, I love music. You love music. Casey loves music. 101 00:06:18,279 --> 00:06:20,360 Speaker 1: I'm telling you these samples are on fire. I really 102 00:06:20,360 --> 00:06:23,600 Speaker 1: wish you guys could hear it, but it's just for us, right, 103 00:06:23,800 --> 00:06:28,240 Speaker 1: And it brings up a pretty good question. Will will 104 00:06:28,320 --> 00:06:32,119 Speaker 1: segue just a little bit here, which is how far 105 00:06:32,440 --> 00:06:36,479 Speaker 1: would you go to hear that one song that you 106 00:06:36,520 --> 00:06:39,320 Speaker 1: really wanted to hear? You know, the thing that's stuck 107 00:06:39,320 --> 00:06:42,520 Speaker 1: in your head or the um Let's see, you're new, 108 00:06:42,880 --> 00:06:45,520 Speaker 1: your favorite artist puts out a new album and you're like, 109 00:06:45,760 --> 00:06:47,240 Speaker 1: I gotta get it, I gotta get it, but I 110 00:06:47,320 --> 00:06:50,760 Speaker 1: can't find it. Or Casey's fire mixtape or Casey's Fire mixtape, 111 00:06:50,760 --> 00:06:52,839 Speaker 1: which is the reason we keep a fire extinguisher in 112 00:06:52,839 --> 00:06:55,440 Speaker 1: the studio. Now we learned our lesson, Well, let's let's 113 00:06:55,440 --> 00:06:59,920 Speaker 1: go back far far far far far far far far away, 114 00:07:00,200 --> 00:07:02,560 Speaker 1: alright to the distant past, and not that distant. I 115 00:07:02,600 --> 00:07:12,120 Speaker 1: guess picture yourself Ben as a as a child in Russia. Okay, okay, 116 00:07:12,320 --> 00:07:14,840 Speaker 1: And and like you said, you've got this tune, some 117 00:07:14,920 --> 00:07:18,480 Speaker 1: sort of uh, some sort of little ditty, a jingle 118 00:07:18,640 --> 00:07:20,200 Speaker 1: if you will, that you just can't get out of 119 00:07:20,200 --> 00:07:22,360 Speaker 1: your head. You gotta own it. You gotta get a 120 00:07:22,400 --> 00:07:28,040 Speaker 1: copy on a gramophone record. And in Soviet Russia there 121 00:07:28,080 --> 00:07:33,080 Speaker 1: were record stores, but a lot of the music that 122 00:07:33,160 --> 00:07:38,720 Speaker 1: was very popular was forbidden. Oh because you see ladies 123 00:07:38,760 --> 00:07:42,400 Speaker 1: and gentlemen, friends and neighbors. That music was Western. And 124 00:07:43,080 --> 00:07:47,280 Speaker 1: at the time, the years after World War Two, the 125 00:07:47,400 --> 00:07:52,600 Speaker 1: USSR and the United States or the Western general were 126 00:07:52,760 --> 00:07:56,840 Speaker 1: in a not a hot war, but a very cold one, 127 00:07:56,840 --> 00:08:00,320 Speaker 1: a war of ideology, war of hedgemony, and a tempt 128 00:08:00,480 --> 00:08:04,640 Speaker 1: to control the hearts and minds of the human species. 129 00:08:04,880 --> 00:08:08,960 Speaker 1: And the USSR was pretty militant about things that it 130 00:08:09,040 --> 00:08:15,400 Speaker 1: felt were decadent or Western or violated Communist sensibilities, especially 131 00:08:16,040 --> 00:08:20,360 Speaker 1: music and art, which they considered propaganda. This means for 132 00:08:20,560 --> 00:08:23,240 Speaker 1: little Russian Ben, it's going to be really tough to 133 00:08:23,320 --> 00:08:29,200 Speaker 1: get a record that he wants desperately, Yeah, desperately wants. 134 00:08:29,240 --> 00:08:33,119 Speaker 1: And as far back a two, the Stalin regime decided 135 00:08:33,160 --> 00:08:37,120 Speaker 1: that all arts would be subject to censorship and there 136 00:08:37,160 --> 00:08:39,600 Speaker 1: would be a test applied that would determine whether this 137 00:08:39,679 --> 00:08:42,840 Speaker 1: piece of art be a music, be a sculpture, painting, 138 00:08:42,880 --> 00:08:47,920 Speaker 1: what have you. Was quote in service to socialist realism, 139 00:08:47,920 --> 00:08:51,920 Speaker 1: and this idea of socialist realism um it's sort of 140 00:08:52,040 --> 00:08:56,880 Speaker 1: characterized by the glorified depiction of communist values such as 141 00:08:56,960 --> 00:09:03,520 Speaker 1: the emancipation of the proletariat, um by means of realistic imagery. 142 00:09:03,559 --> 00:09:06,320 Speaker 1: So jazz was prohibited in the Soviet Union until briefly 143 00:09:06,559 --> 00:09:10,480 Speaker 1: during World War Two, when Russia and America were aligned 144 00:09:10,520 --> 00:09:13,600 Speaker 1: behind the same cause. But then get to that Chili 145 00:09:13,640 --> 00:09:16,400 Speaker 1: War that you're talking about. During that the tables turned 146 00:09:16,480 --> 00:09:20,280 Speaker 1: once again, and roughly from ninety seven to the early nineties, 147 00:09:21,320 --> 00:09:25,679 Speaker 1: Russian jazz musicians were actually arrested and locked up in gulags, 148 00:09:26,080 --> 00:09:31,200 Speaker 1: and recordings from American and even British artists were particularly forbidden. 149 00:09:31,240 --> 00:09:35,120 Speaker 1: They were deemed a fascist or the term mystic came up, 150 00:09:35,160 --> 00:09:37,040 Speaker 1: which seems like an odd term of abuse. I mean, 151 00:09:37,080 --> 00:09:39,560 Speaker 1: I think the word mystic sounds like something that would 152 00:09:39,559 --> 00:09:44,760 Speaker 1: be cool. And speaking of cool language surrounding this, here's 153 00:09:45,040 --> 00:09:48,720 Speaker 1: a glimpse into how seriously people in general, let's call 154 00:09:48,800 --> 00:09:52,520 Speaker 1: them the musical squares from the USSR. Here's all seriously 155 00:09:52,559 --> 00:09:55,200 Speaker 1: they took it. There was a common catchphrase that that 156 00:09:55,679 --> 00:09:59,400 Speaker 1: translates to something like today he dances jazz, but the 157 00:09:59,480 --> 00:10:03,000 Speaker 1: model he will sell his homeland. Oh my god, it's 158 00:10:03,080 --> 00:10:08,000 Speaker 1: heavy I know. Right, let's let's unpack that so literally, 159 00:10:08,040 --> 00:10:13,640 Speaker 1: like saying, you listen to jazz, you're potentially a traitor, right, 160 00:10:13,800 --> 00:10:18,480 Speaker 1: you listen to jazz. Therefore, whether you are like a 161 00:10:18,559 --> 00:10:21,559 Speaker 1: degree removed from a spy, do you think the implication 162 00:10:21,679 --> 00:10:24,120 Speaker 1: is that this kind of music would cause people to 163 00:10:24,280 --> 00:10:27,280 Speaker 1: betray the state by infecting them with some sort of like, 164 00:10:27,720 --> 00:10:33,080 Speaker 1: you know, agenda that was somehow present in jazz music. Absolutely, 165 00:10:33,160 --> 00:10:36,720 Speaker 1: I think that is absolutely the case, because we've seen 166 00:10:36,800 --> 00:10:40,559 Speaker 1: the same thing happen cyclically, or I should say similar 167 00:10:40,640 --> 00:10:43,960 Speaker 1: things cyclically with music in the past, you know what 168 00:10:44,000 --> 00:10:47,560 Speaker 1: I mean, Like the music that people our age like 169 00:10:48,040 --> 00:10:53,360 Speaker 1: might horrify our elders, and the music they enjoyed might 170 00:10:53,400 --> 00:10:58,880 Speaker 1: have horrified their elders. So there's a weird changing of 171 00:10:58,920 --> 00:11:01,520 Speaker 1: the guard that occurs. I know, I'm in an interesting 172 00:11:01,559 --> 00:11:03,840 Speaker 1: spot with my year old daughter because the music that 173 00:11:03,880 --> 00:11:06,520 Speaker 1: she loves doesn't really horrify me as much as it 174 00:11:06,800 --> 00:11:11,120 Speaker 1: horrifies me, you know. Maybe, you know, given a little 175 00:11:11,120 --> 00:11:13,160 Speaker 1: more time, maybe she'll maybe they'll be like the new 176 00:11:13,200 --> 00:11:15,320 Speaker 1: Marilyn Manson and she'll get into that, and then all 177 00:11:15,360 --> 00:11:18,439 Speaker 1: of a sudden, I'll be like, you know, super shocked. 178 00:11:19,320 --> 00:11:20,840 Speaker 1: I swear to you, and the most that she listened to. 179 00:11:20,840 --> 00:11:24,120 Speaker 1: I'm just shocked at how freaking doll it is. And 180 00:11:24,400 --> 00:11:27,679 Speaker 1: uh that that is an interesting problem. I have this 181 00:11:27,720 --> 00:11:30,439 Speaker 1: picture of you know, uh, telling your eight year old 182 00:11:30,520 --> 00:11:33,679 Speaker 1: daughter that she should listen to more challenging music. I 183 00:11:33,840 --> 00:11:36,200 Speaker 1: literally do say things along those lives. She there's this 184 00:11:36,200 --> 00:11:38,920 Speaker 1: one song that she really loved that is literally heart 185 00:11:38,960 --> 00:11:43,720 Speaker 1: and soul like from Big Dud Da Da Da Da, 186 00:11:43,960 --> 00:11:45,680 Speaker 1: And I pointed that out to her because she says 187 00:11:45,679 --> 00:11:47,960 Speaker 1: the song was so great. I'm like, kid, this is 188 00:11:48,000 --> 00:11:50,920 Speaker 1: like a total straight one to one rip off of 189 00:11:51,000 --> 00:11:53,800 Speaker 1: this like piano song that every kid learns how to play. 190 00:11:53,840 --> 00:11:57,760 Speaker 1: But I digress. Oh well, we haven't done. Can we 191 00:11:57,800 --> 00:12:04,000 Speaker 1: repackage my digression into reolutely absolutely because let's say, um, 192 00:12:04,200 --> 00:12:07,760 Speaker 1: let's say that wasn't just a rip off. Let's say 193 00:12:07,840 --> 00:12:10,720 Speaker 1: was so close that it was almost a bootleg of 194 00:12:10,760 --> 00:12:13,480 Speaker 1: that song effects simile if you will. There we go. 195 00:12:13,640 --> 00:12:16,679 Speaker 1: We we just did, and we hope we pull it off. 196 00:12:16,800 --> 00:12:18,960 Speaker 1: Let us know right to us at ridiculous at how 197 00:12:19,000 --> 00:12:20,840 Speaker 1: stuff words dot com? Can I say one more thing 198 00:12:20,840 --> 00:12:25,760 Speaker 1: before the bootleg stuff? There was actually even a an 199 00:12:25,760 --> 00:12:31,160 Speaker 1: element of this censorship that allowed for Russian born artists 200 00:12:31,760 --> 00:12:35,120 Speaker 1: to be blacklisted as traitors like you just said, or 201 00:12:35,280 --> 00:12:39,439 Speaker 1: dissidence um under the Soviet regime. And it was really 202 00:12:39,480 --> 00:12:41,800 Speaker 1: easy for that to happen because it pretty much just 203 00:12:41,880 --> 00:12:44,400 Speaker 1: took getting on the wrong side of the government. And 204 00:12:44,400 --> 00:12:47,040 Speaker 1: this is actually even still happening to this day. Artist 205 00:12:47,280 --> 00:12:49,920 Speaker 1: Robbie Williams, you don't remember from I think was it 206 00:12:50,000 --> 00:12:51,480 Speaker 1: take that he was in like a boy band and 207 00:12:51,480 --> 00:12:54,760 Speaker 1: then he had this sow Millennium. He reportedly, according to 208 00:12:54,800 --> 00:12:57,360 Speaker 1: an article and a digital spy that I found, was 209 00:12:57,480 --> 00:13:00,760 Speaker 1: banned from performing in Russia um after he released a 210 00:13:00,840 --> 00:13:04,600 Speaker 1: song called Party like a Russian that apparently made some 211 00:13:04,640 --> 00:13:08,000 Speaker 1: little jabs at Putin. So yeah, they still take that 212 00:13:08,040 --> 00:13:11,680 Speaker 1: stuff serious. And and the band Pussy Riot also got 213 00:13:11,720 --> 00:13:16,880 Speaker 1: imprisoned for a counter cultural or counter government protest. Yes, 214 00:13:17,520 --> 00:13:20,320 Speaker 1: so they definitely are not playing around even to this 215 00:13:20,400 --> 00:13:28,880 Speaker 1: day in the former Soviet Union. So here we are 216 00:13:29,040 --> 00:13:33,920 Speaker 1: in the fifties and the younger kids right with a 217 00:13:34,040 --> 00:13:37,520 Speaker 1: their version of let's call them hipsters to set this up. Uh, 218 00:13:37,640 --> 00:13:41,600 Speaker 1: they want this music, but this music is banned. And 219 00:13:41,800 --> 00:13:45,000 Speaker 1: without going too far into other stories, I think we 220 00:13:45,040 --> 00:13:49,520 Speaker 1: can all say that prohibition doesn't work as well as 221 00:13:49,559 --> 00:13:53,000 Speaker 1: its supporters wish it would definitely not. I like to 222 00:13:53,040 --> 00:13:59,440 Speaker 1: think of these Russian youths as beet mix. Yeah, yeah, 223 00:13:59,640 --> 00:14:01,720 Speaker 1: it was doesn't seem o the word beat Nick would 224 00:14:01,720 --> 00:14:04,040 Speaker 1: I have to come have some sort of Russian origin anyway, 225 00:14:04,160 --> 00:14:08,000 Speaker 1: because into Nick, you know what is it? Boris and Natasha? 226 00:14:08,320 --> 00:14:13,400 Speaker 1: No good Nicks or robot Nick. Yet it seems Eastern 227 00:14:13,440 --> 00:14:17,360 Speaker 1: European or even Slavic. There. Here's the thing. When you 228 00:14:17,440 --> 00:14:23,240 Speaker 1: banned something, especially amongst younger kids, right, especially if they're 229 00:14:23,280 --> 00:14:26,640 Speaker 1: if they're teenagers, and they see banned things is cool, 230 00:14:27,200 --> 00:14:29,840 Speaker 1: then the first thing that happens is a demand if 231 00:14:29,880 --> 00:14:34,320 Speaker 1: it didn't exist, comes into being. And this is where 232 00:14:34,480 --> 00:14:39,720 Speaker 1: these kids begin to unite. And they called themselves the 233 00:14:39,880 --> 00:14:42,840 Speaker 1: still Yagi, which I know sounds like a super cool 234 00:14:42,920 --> 00:14:46,760 Speaker 1: specific type of subgenre vampire, it really does, but this 235 00:14:46,800 --> 00:14:49,200 Speaker 1: is still pretty cool. Well wait a minute, what what 236 00:14:49,280 --> 00:14:51,720 Speaker 1: was it? What were the names of the vampires and 237 00:14:51,800 --> 00:14:56,160 Speaker 1: that kind of middling vampire show and FX that Gil 238 00:14:56,200 --> 00:14:59,640 Speaker 1: Little Toro did. They were called the Strain, that was 239 00:14:59,680 --> 00:15:03,120 Speaker 1: called the train, but they were called the Okay, yeah 240 00:15:04,200 --> 00:15:07,280 Speaker 1: that was good, but yeah, I mean the heart wants 241 00:15:07,280 --> 00:15:09,920 Speaker 1: what the heart wants, right, So like these hip kids, 242 00:15:10,440 --> 00:15:14,120 Speaker 1: they wanted their damn records and the still yaggy, as 243 00:15:14,120 --> 00:15:17,840 Speaker 1: he said, kind of banded together. That means style hunters 244 00:15:17,880 --> 00:15:19,920 Speaker 1: by the way, which which I think is interesting. And 245 00:15:20,000 --> 00:15:23,600 Speaker 1: this youth movement was so obsessed with like modern trends 246 00:15:23,640 --> 00:15:25,160 Speaker 1: and culture and a lot of the stuff that was 247 00:15:25,200 --> 00:15:28,240 Speaker 1: brought back by returning soldiers who had been able to 248 00:15:28,280 --> 00:15:34,320 Speaker 1: experience modern culture abroad. And this communist crackdown created this 249 00:15:34,520 --> 00:15:37,880 Speaker 1: thriving black market. But how you know, when that stuff 250 00:15:37,920 --> 00:15:42,120 Speaker 1: is scarce, what happens? Prices go up? Yeah, through the room. 251 00:15:42,200 --> 00:15:44,720 Speaker 1: These are kids, they can't afford to pay those kind 252 00:15:44,760 --> 00:15:47,920 Speaker 1: of prices for for their record discs, you know, And 253 00:15:48,120 --> 00:15:53,280 Speaker 1: as a result, they were trying to find any other 254 00:15:53,360 --> 00:15:56,280 Speaker 1: way to access these records because not only would the 255 00:15:56,320 --> 00:16:00,240 Speaker 1: price be super high, but availability would be very low. Right, 256 00:16:00,280 --> 00:16:03,240 Speaker 1: So even if you did have the exorbitant amount of 257 00:16:03,280 --> 00:16:07,120 Speaker 1: cash needed to get uh, the latest Elvis Presley record, 258 00:16:07,160 --> 00:16:10,000 Speaker 1: which was you know, a hot commodity at that time, 259 00:16:10,960 --> 00:16:13,800 Speaker 1: the black market might just be sold out, totally sold out, 260 00:16:13,920 --> 00:16:18,040 Speaker 1: or like, as the supply diminishes, those prices are just 261 00:16:18,040 --> 00:16:23,080 Speaker 1: gonna go up. Up up. But luckily in nine uh 262 00:16:23,200 --> 00:16:26,440 Speaker 1: there was an invention called the telefunking recording lathe, and 263 00:16:26,480 --> 00:16:29,320 Speaker 1: it kind of blew this whole problem wide open. The 264 00:16:29,360 --> 00:16:33,120 Speaker 1: recording lathe actually allowed an audio signal to be fed 265 00:16:33,200 --> 00:16:36,440 Speaker 1: into this machine and then a lathe which is like 266 00:16:36,480 --> 00:16:39,520 Speaker 1: a like almost like a cutting tool kind of that 267 00:16:39,840 --> 00:16:44,600 Speaker 1: it actually cuts grooves into a plastic material that you 268 00:16:44,640 --> 00:16:48,800 Speaker 1: can then play back on a standard record player. Right, 269 00:16:49,160 --> 00:16:52,640 Speaker 1: and so this guy named Stanislav Philo opened a little 270 00:16:52,640 --> 00:16:57,000 Speaker 1: shop where he charged a nominal fee to allow customers 271 00:16:57,440 --> 00:17:00,640 Speaker 1: to make little voice recordings onto plastic discs, kind of 272 00:17:00,680 --> 00:17:03,840 Speaker 1: as a bit of curio tourist trap kind of deal. 273 00:17:04,160 --> 00:17:07,520 Speaker 1: But the real success from this came from a different 274 00:17:07,600 --> 00:17:11,399 Speaker 1: use of the lafe. He used it to make copies 275 00:17:12,000 --> 00:17:16,800 Speaker 1: of this forbidden music. So it's like pre pre pre 276 00:17:17,040 --> 00:17:22,600 Speaker 1: pre BitTorrent napster pirrating, you know what I mean. Absolutely, 277 00:17:22,640 --> 00:17:25,240 Speaker 1: And there's there's another material problem that comes in here. 278 00:17:25,480 --> 00:17:29,879 Speaker 1: So now we finally have the technology to uh to 279 00:17:30,080 --> 00:17:35,560 Speaker 1: reproduce these recordings, but we're missing something very important and 280 00:17:35,560 --> 00:17:38,720 Speaker 1: that is vinyl. There's still no vinyl or because the 281 00:17:38,760 --> 00:17:41,000 Speaker 1: material that he had access to probably had to be 282 00:17:41,040 --> 00:17:46,480 Speaker 1: special ordered, expensive and not readily available as well. Wasn't 283 00:17:46,520 --> 00:17:48,320 Speaker 1: something that you could just get at a department store. 284 00:17:48,400 --> 00:17:53,800 Speaker 1: So the still Yaggi got creative. Yes, these style hunters 285 00:17:53,840 --> 00:17:58,640 Speaker 1: began get this digging through dumpsters, not just any dumpsters, 286 00:17:58,920 --> 00:18:02,800 Speaker 1: hospital dumpsters, and they weren't just looking for you know, um, 287 00:18:03,080 --> 00:18:06,560 Speaker 1: medical waste or weird shoes or something. So we have 288 00:18:06,600 --> 00:18:10,879 Speaker 1: proto Russian hipsters, pirrating music and dumpster diving right on 289 00:18:11,000 --> 00:18:13,480 Speaker 1: the same story. History doesn't repeat, but it sure does. 290 00:18:13,560 --> 00:18:19,160 Speaker 1: Rhyme man, and they were looking for scrapped X rays 291 00:18:19,200 --> 00:18:24,080 Speaker 1: because X rays were made using thin vinyl sheets, so 292 00:18:24,119 --> 00:18:26,159 Speaker 1: like X rays, like literally, like I go in with 293 00:18:26,160 --> 00:18:28,960 Speaker 1: a broken collar bone, they run an X ray of me. 294 00:18:29,400 --> 00:18:33,080 Speaker 1: They have to throw it out because of laws actually 295 00:18:33,160 --> 00:18:36,520 Speaker 1: that were meant to protect against fire hazards, because this 296 00:18:36,640 --> 00:18:38,440 Speaker 1: material is end up with stacks and stacks of like 297 00:18:38,520 --> 00:18:41,640 Speaker 1: dusty X rays. Stuff can go up in a blaze, 298 00:18:41,800 --> 00:18:44,960 Speaker 1: you know, So they had to regularly put them out 299 00:18:45,040 --> 00:18:47,879 Speaker 1: to the trash. And the Stillagi got wise to it 300 00:18:48,400 --> 00:18:52,760 Speaker 1: and basically had a supply chain for these bootleg copies 301 00:18:52,800 --> 00:18:55,920 Speaker 1: of recordings. So it was actually a pair of customers 302 00:18:56,080 --> 00:18:57,720 Speaker 1: of Philo, the guy we talked about they made the 303 00:18:57,760 --> 00:19:00,959 Speaker 1: voice recordings guy by the name of Risk Tigan and 304 00:19:01,080 --> 00:19:06,400 Speaker 1: Russian Bagaslavsky. Uh. They somehow managed to like cobbled together 305 00:19:06,840 --> 00:19:10,439 Speaker 1: their own version of this lathe cutter through like Rando 306 00:19:10,600 --> 00:19:13,080 Speaker 1: spare parts and god knows what, but I guess they 307 00:19:13,520 --> 00:19:16,199 Speaker 1: were able to like look at the design of it 308 00:19:16,240 --> 00:19:17,880 Speaker 1: and figure out a way to make their own, which 309 00:19:17,880 --> 00:19:21,600 Speaker 1: I think is incredibly entrepreneurial and and and interesting. Um. 310 00:19:21,640 --> 00:19:25,399 Speaker 1: And this has spawned this entire cottage industry. Yeah, I 311 00:19:25,480 --> 00:19:30,000 Speaker 1: like that phrase cottage industry. There they would duplicate recordings 312 00:19:30,320 --> 00:19:33,199 Speaker 1: onto the x ray itself, the x ray sheet, and 313 00:19:33,200 --> 00:19:35,480 Speaker 1: then they would have to trim the disk by hand, 314 00:19:36,480 --> 00:19:38,320 Speaker 1: and for me this is one of the neatest parts. 315 00:19:38,400 --> 00:19:40,720 Speaker 1: They would burn a hole in the center so you 316 00:19:40,720 --> 00:19:44,240 Speaker 1: could put the record on a record player with a cigarette. 317 00:19:44,640 --> 00:19:49,040 Speaker 1: You can see this process online if you would like, uh, 318 00:19:49,040 --> 00:19:53,240 Speaker 1: in well, numerous fan recordings right on YouTube. But it's 319 00:19:53,280 --> 00:19:56,120 Speaker 1: also in the opening credits of a two thousand eight 320 00:19:56,240 --> 00:20:01,200 Speaker 1: cult film called Still Yagy. And this old cottage industry, 321 00:20:01,200 --> 00:20:03,120 Speaker 1: I guess, for lack of a better term, I had 322 00:20:03,119 --> 00:20:04,840 Speaker 1: a name it was. It was called like the x 323 00:20:04,920 --> 00:20:08,280 Speaker 1: ray press or hopefully I can do this, right, Rowant 324 00:20:08,480 --> 00:20:11,560 Speaker 1: Gennis Dot that was pretty good. You're not bad, right, 325 00:20:11,880 --> 00:20:14,880 Speaker 1: and you know you can actually find these things today. Um, 326 00:20:15,160 --> 00:20:17,840 Speaker 1: they're pretty rare and you know, kind of counter to 327 00:20:17,920 --> 00:20:21,040 Speaker 1: what their intent was quite expensive. Um, so I was 328 00:20:21,040 --> 00:20:24,680 Speaker 1: actually able to find a couple of listings on eBay 329 00:20:24,760 --> 00:20:26,239 Speaker 1: and and and like discus. I think I found one 330 00:20:26,240 --> 00:20:29,840 Speaker 1: on Discuise maybe, but they're you know, upwards of three bucks, 331 00:20:29,840 --> 00:20:31,479 Speaker 1: which is actually lower than I would have thought. So 332 00:20:31,800 --> 00:20:33,439 Speaker 1: you know, if you want to get a piece and 333 00:20:33,480 --> 00:20:37,280 Speaker 1: become a bone collector yourself, Um, take a look. They're 334 00:20:37,280 --> 00:20:39,639 Speaker 1: out there to be to be found. And they sound 335 00:20:39,680 --> 00:20:43,359 Speaker 1: really neat. They sound really neat. Now, technically the audio 336 00:20:43,440 --> 00:20:45,720 Speaker 1: quality is is going to be poor. We just want 337 00:20:45,720 --> 00:20:48,919 Speaker 1: to establish that. But you were also encountering a piece 338 00:20:49,040 --> 00:20:51,720 Speaker 1: of forbidden history. Well shall we hear a couple of 339 00:20:51,760 --> 00:20:55,560 Speaker 1: clips of this uh poor quality forbidden history. That's a 340 00:20:55,600 --> 00:21:05,560 Speaker 1: great idea, Casey, if you would by I'm back waiting 341 00:21:06,720 --> 00:21:12,520 Speaker 1: when you got never word land to bedy, way to 342 00:21:14,400 --> 00:21:34,600 Speaker 1: crowd and so there it is. No how would you 343 00:21:34,680 --> 00:21:37,680 Speaker 1: describe that sound when you when you first heard it, Well, 344 00:21:37,720 --> 00:21:40,800 Speaker 1: it's super evocative for me, I mean I'm a vinyl 345 00:21:41,040 --> 00:21:44,320 Speaker 1: fan in general, but when I hear like old jazz 346 00:21:44,440 --> 00:21:47,240 Speaker 1: or that kind of like tinny recording quality, then you 347 00:21:47,280 --> 00:21:50,159 Speaker 1: hear it mixed with all those pops and clicks and 348 00:21:50,240 --> 00:21:52,480 Speaker 1: the hiss of like everything. And like I said, because 349 00:21:52,520 --> 00:21:55,199 Speaker 1: you're making this on a material it wasn't really intended for, 350 00:21:55,280 --> 00:21:58,840 Speaker 1: it's also going to sound like extra raw. Um. It 351 00:21:58,920 --> 00:22:00,600 Speaker 1: kind of gives me goose bumps a little bit. It's 352 00:22:00,600 --> 00:22:04,280 Speaker 1: a little bit uh ethereal and kind of spooky. Agreed. Agreed, 353 00:22:04,400 --> 00:22:09,280 Speaker 1: It's sort of the auditory version of the feeling I 354 00:22:09,320 --> 00:22:12,600 Speaker 1: get when I see old film which has still all 355 00:22:12,640 --> 00:22:16,040 Speaker 1: the all the contaminants and all the junk on the 356 00:22:16,680 --> 00:22:21,040 Speaker 1: on the cells. There's a laundry list of reasons why 357 00:22:21,240 --> 00:22:26,280 Speaker 1: these recordings were imperfect. First, the quality degraded with each 358 00:22:26,359 --> 00:22:31,080 Speaker 1: play of the bootleg because the lathes could only etch 359 00:22:31,320 --> 00:22:35,720 Speaker 1: shallow grooves into these into these sheets, and this meant 360 00:22:35,720 --> 00:22:39,000 Speaker 1: that they were in permanent People would call it jazz 361 00:22:39,040 --> 00:22:41,840 Speaker 1: on the bones. This is so full of cool phrases. 362 00:22:42,480 --> 00:22:47,600 Speaker 1: Because they were impermanent. Because each play would degrade the quality, 363 00:22:47,920 --> 00:22:53,560 Speaker 1: the demand for their production skyrocketed even higher. So I 364 00:22:53,600 --> 00:22:59,160 Speaker 1: gotta say I'm pretty sure somebody at the hospital eventually noticed. 365 00:22:59,200 --> 00:23:01,240 Speaker 1: I mean they we have found out about the X 366 00:23:01,320 --> 00:23:05,919 Speaker 1: rays because of a hook up inside the hospital. So 367 00:23:05,960 --> 00:23:09,360 Speaker 1: at this point FILO does not have a monopoly anymore 368 00:23:09,680 --> 00:23:12,359 Speaker 1: by any means, you know, because all you have to 369 00:23:12,440 --> 00:23:16,400 Speaker 1: do is have an existing bootleg recording from somewhere else 370 00:23:16,480 --> 00:23:20,000 Speaker 1: on actual vinyl and then go to the nearest hospital 371 00:23:20,080 --> 00:23:24,240 Speaker 1: dumpster not get caught, and uh, hang out with your 372 00:23:24,280 --> 00:23:26,159 Speaker 1: friends who can teach you how to do this. So 373 00:23:26,200 --> 00:23:31,600 Speaker 1: there's there's almost like a hidden culture here operating under 374 00:23:31,640 --> 00:23:33,400 Speaker 1: the eye of the U. S. S R. Well, it's 375 00:23:33,400 --> 00:23:35,640 Speaker 1: interesting because I think of like Russian culture and youth 376 00:23:35,640 --> 00:23:41,160 Speaker 1: culture today. Um, there's a whole scene of super young 377 00:23:41,760 --> 00:23:45,879 Speaker 1: Russian kids that make these insane YouTube videos or that 378 00:23:46,080 --> 00:23:49,439 Speaker 1: go up onto like really really really high skyscrapers like 379 00:23:49,480 --> 00:23:52,320 Speaker 1: a night and break into empty buildings and like hang 380 00:23:52,359 --> 00:23:54,320 Speaker 1: off the edge and stuff. So like I feel like 381 00:23:54,320 --> 00:23:56,080 Speaker 1: in a way, that's kind of a continuation of that 382 00:23:56,160 --> 00:23:58,920 Speaker 1: like badass kind of punk spirit of like we're gonna 383 00:23:58,960 --> 00:24:01,960 Speaker 1: do what we're gonna do, and you know, we love 384 00:24:02,040 --> 00:24:04,320 Speaker 1: what we love and the government be damn. That's like 385 00:24:04,359 --> 00:24:07,280 Speaker 1: living in a regime like that almost forces you to 386 00:24:07,320 --> 00:24:08,760 Speaker 1: have to kind of like be a bit of a 387 00:24:09,320 --> 00:24:11,840 Speaker 1: of a badass, right, yeah, a bit of a daredevil. 388 00:24:11,920 --> 00:24:15,199 Speaker 1: You have to succeed with some daring do And I 389 00:24:15,240 --> 00:24:18,960 Speaker 1: really love that you mentioned the modern meme of climbing 390 00:24:19,000 --> 00:24:22,840 Speaker 1: and taking those incredible selfies because one of the things 391 00:24:22,920 --> 00:24:25,920 Speaker 1: the photographers do is they don't just try to get 392 00:24:25,960 --> 00:24:28,600 Speaker 1: to the place, they try to recreate a specific like 393 00:24:28,720 --> 00:24:31,920 Speaker 1: trope or seeing, you know, somebody hanging out of a window, 394 00:24:32,480 --> 00:24:35,840 Speaker 1: somebody wearing the same outfit doing the same selfie at 395 00:24:35,880 --> 00:24:39,480 Speaker 1: the top of the same crane. So it is I 396 00:24:39,880 --> 00:24:43,320 Speaker 1: think the best word to describe it would be badass. 397 00:24:49,080 --> 00:24:55,680 Speaker 1: These in contrast to the prohibitively expensive actual on vinyl 398 00:24:55,960 --> 00:25:01,800 Speaker 1: used to make records, bootleg records, the bone records, these 399 00:25:01,800 --> 00:25:05,400 Speaker 1: bootlegs on X rays would cost between four to six roubles. 400 00:25:05,800 --> 00:25:09,560 Speaker 1: That was about the price of a of a typical lunch. Uh. 401 00:25:09,800 --> 00:25:13,400 Speaker 1: And not every record came from those two guys who 402 00:25:13,440 --> 00:25:17,719 Speaker 1: started what they called the Golden Dog Gang. Many people 403 00:25:18,520 --> 00:25:22,000 Speaker 1: were accidentally buying records that only had a few seconds 404 00:25:22,000 --> 00:25:27,760 Speaker 1: of music. How infuriating is that? How angry would you 405 00:25:27,800 --> 00:25:31,560 Speaker 1: be if you're thinking, oh, yes, my new Elvis record 406 00:25:31,880 --> 00:25:36,480 Speaker 1: and then you hear the opening riff and that's it. 407 00:25:36,680 --> 00:25:40,320 Speaker 1: Bait and switch right there, man, I'd be enraged. Enraged, Yeah, 408 00:25:40,359 --> 00:25:43,600 Speaker 1: that's a good word for it. These also led to 409 00:25:44,080 --> 00:25:48,200 Speaker 1: the development of a dance tradition, uh, different dances. There's 410 00:25:48,240 --> 00:25:52,119 Speaker 1: one called the Hamburg style, the Atomic style. Can do 411 00:25:52,119 --> 00:25:53,719 Speaker 1: a little Hamburg style for me right now, I'm then 412 00:25:53,720 --> 00:25:57,920 Speaker 1: I'll describe it to the people. I cannot. I would 413 00:25:57,960 --> 00:26:02,359 Speaker 1: feel like I am culturally appropriating their struggle. Do you 414 00:26:02,400 --> 00:26:07,600 Speaker 1: like how just because I didn't know it was thanks. Uh. 415 00:26:07,720 --> 00:26:11,320 Speaker 1: The thing about these dances is they had little to 416 00:26:11,720 --> 00:26:16,480 Speaker 1: almost no connection to dances in the United States. Instead, 417 00:26:17,280 --> 00:26:21,119 Speaker 1: this is fascinating. I would want to learn one of these. Uh. 418 00:26:22,160 --> 00:26:26,000 Speaker 1: They represented the still Yagi's opinion of how they thought 419 00:26:26,040 --> 00:26:29,280 Speaker 1: Americans might be dancing to these things. So it was 420 00:26:29,280 --> 00:26:31,440 Speaker 1: just kind of like they're just using their imagination, yeah, 421 00:26:31,520 --> 00:26:34,960 Speaker 1: to like blindly impersonate or do an impression of their 422 00:26:35,000 --> 00:26:38,320 Speaker 1: idea of American dancers. Interesting, and there are a couple 423 00:26:38,320 --> 00:26:40,399 Speaker 1: of layers there, you know, No, it really is. I'm 424 00:26:40,600 --> 00:26:42,159 Speaker 1: I'm having a hard time wrapping my brain around it. 425 00:26:42,200 --> 00:26:45,399 Speaker 1: So it's like they were fascinated by American culture you know, 426 00:26:45,400 --> 00:26:46,800 Speaker 1: I can think of a good example. What is There's 427 00:26:46,800 --> 00:26:49,400 Speaker 1: this rapper named Young Lean. I think we've talked about 428 00:26:49,440 --> 00:26:53,880 Speaker 1: Young Lean before, and I believe he's Swedish um and 429 00:26:54,000 --> 00:26:58,480 Speaker 1: he kind of approximates like, you know, Southern trap hip 430 00:26:58,560 --> 00:27:02,360 Speaker 1: hop music, but like his lyrics or something lost in translation. 431 00:27:02,440 --> 00:27:04,920 Speaker 1: Like he's a really interesting rapper. But there's something about like, 432 00:27:05,200 --> 00:27:08,760 Speaker 1: while trying to approximate this thing but not really speaking 433 00:27:08,760 --> 00:27:11,960 Speaker 1: the language, what comes out the other side is somewhat 434 00:27:11,960 --> 00:27:14,480 Speaker 1: evocative of the thing, but it's also like its own 435 00:27:14,520 --> 00:27:17,320 Speaker 1: thing and really kind of strange and interesting. And I 436 00:27:17,359 --> 00:27:20,879 Speaker 1: really like that. Yeah, it's fascinating, you know. I I 437 00:27:20,920 --> 00:27:25,359 Speaker 1: love that this conversation did range into a mention of 438 00:27:25,480 --> 00:27:27,399 Speaker 1: Young Lean. Oh yeah, Ben, this is you know that 439 00:27:27,400 --> 00:27:29,000 Speaker 1: That's what we do on in ridiculous History. We just 440 00:27:29,080 --> 00:27:32,960 Speaker 1: kind of go where the where the ridiculous rabbit may lead, 441 00:27:33,400 --> 00:27:35,160 Speaker 1: and today it led to Young Lean. And I'm gonna 442 00:27:35,200 --> 00:27:36,840 Speaker 1: quote you just a line and just he says what 443 00:27:36,880 --> 00:27:39,480 Speaker 1: I'm talking about. He says, uh, I got an empire 444 00:27:39,520 --> 00:27:42,480 Speaker 1: of emotional squad seemy cruising, cruising in my go kart. 445 00:27:42,760 --> 00:27:45,600 Speaker 1: I'm war Hoo, I'm warhol, I'm Warrior when I'm in 446 00:27:45,680 --> 00:27:49,760 Speaker 1: Mario Kart. Okay, there's a there's a rhyme scheme there. 447 00:27:50,000 --> 00:27:53,480 Speaker 1: He's great. Yeah, okay, check it out. Let's to take it. 448 00:27:53,520 --> 00:27:56,359 Speaker 1: And Young Lean, if you're enjoying the show, let us know. Yeah, 449 00:27:56,359 --> 00:27:58,560 Speaker 1: he's really into Arizona iced tea. That's another thing about 450 00:27:58,600 --> 00:28:01,359 Speaker 1: Young Lean. But just wrap this up. There's a really 451 00:28:01,359 --> 00:28:05,200 Speaker 1: cool connection to between these bootleg bone records and something 452 00:28:05,200 --> 00:28:07,640 Speaker 1: that was really popular in the sixties and seventies, which 453 00:28:07,680 --> 00:28:11,359 Speaker 1: was cereal box records. So like you know, Life Cereal 454 00:28:11,440 --> 00:28:15,040 Speaker 1: or Wheaties or honeycomb um or fruit loops or whatever 455 00:28:15,080 --> 00:28:19,199 Speaker 1: would have in the box a forty five rpm record 456 00:28:19,520 --> 00:28:22,800 Speaker 1: that you cut out literally with scissors, and it's on cardboard. 457 00:28:22,920 --> 00:28:26,479 Speaker 1: So it goes to show like the material determines probably 458 00:28:26,480 --> 00:28:29,960 Speaker 1: the fidelity and like the longevity the life of the 459 00:28:30,040 --> 00:28:33,199 Speaker 1: you know, the record. But you could do it on cardboard. 460 00:28:33,520 --> 00:28:36,000 Speaker 1: You know. It's just really interesting. I would never have 461 00:28:36,000 --> 00:28:37,520 Speaker 1: thought that that was the case, and this is it 462 00:28:37,560 --> 00:28:39,800 Speaker 1: opened my eyes to all sorts of weird thing. Maybe 463 00:28:39,840 --> 00:28:42,400 Speaker 1: you could do it on you know, would you could 464 00:28:42,400 --> 00:28:44,680 Speaker 1: probably make a wood record? You can, I'm sure you 465 00:28:44,680 --> 00:28:47,680 Speaker 1: could quite possibly. Yeah, And again as you said it 466 00:28:47,800 --> 00:28:51,040 Speaker 1: me just it will have you know, it will have 467 00:28:51,040 --> 00:28:53,960 Speaker 1: inevitable effects on the quality. Was interesting too, when you 468 00:28:54,000 --> 00:28:57,120 Speaker 1: listen to a record, if you turn your receiver off 469 00:28:57,200 --> 00:29:00,200 Speaker 1: your amplifier and you just stick your ear down, can 470 00:29:00,240 --> 00:29:02,920 Speaker 1: actually hear the sound of it just through the needle. 471 00:29:03,080 --> 00:29:06,200 Speaker 1: So it's this literally like the music is encoded into 472 00:29:06,240 --> 00:29:08,320 Speaker 1: these grooves and you can faintly hear it just by 473 00:29:08,400 --> 00:29:12,880 Speaker 1: listening to the turntable cartridge. So that's that's fascinating in 474 00:29:12,880 --> 00:29:15,160 Speaker 1: and of itself. And there's this other you know, we're 475 00:29:15,160 --> 00:29:21,960 Speaker 1: seeing this other world that exists again relatively independent of 476 00:29:22,080 --> 00:29:25,080 Speaker 1: the authorities, that there were systems of their own. Slang 477 00:29:25,160 --> 00:29:28,960 Speaker 1: of course, a chuvak, by the way, as male still 478 00:29:29,000 --> 00:29:34,040 Speaker 1: yagi chuvika is a female still yaggy. I found the 479 00:29:34,120 --> 00:29:37,960 Speaker 1: list of the terminology, so I know we're still in Uh, 480 00:29:38,080 --> 00:29:41,000 Speaker 1: we're still in Russia several decades ago, because we haven't 481 00:29:41,000 --> 00:29:43,680 Speaker 1: traveled back to the present yet. We gotta get better 482 00:29:43,680 --> 00:29:45,680 Speaker 1: at that, and they we're gonna get left behind. I 483 00:29:45,840 --> 00:29:48,560 Speaker 1: propose we I propose we travel back to the safety 484 00:29:48,560 --> 00:29:54,640 Speaker 1: of the studio. Alright, we're back, and luckily it looks 485 00:29:54,640 --> 00:29:57,400 Speaker 1: like I am uh no longer a little boy, but 486 00:29:57,400 --> 00:30:01,280 Speaker 1: I've learned a valuable lesson about the story of music. Yeah, 487 00:30:02,480 --> 00:30:04,760 Speaker 1: we know now that we have the benefit of looking 488 00:30:04,760 --> 00:30:09,280 Speaker 1: back from the present day. Is we record this, we 489 00:30:09,360 --> 00:30:14,120 Speaker 1: know that the authorities were intensely aware of the Stillagy, 490 00:30:14,200 --> 00:30:19,120 Speaker 1: going so far as to send informants, snitches, rats to 491 00:30:19,280 --> 00:30:21,760 Speaker 1: the bootleggers to pose his record buyers. But we know 492 00:30:21,840 --> 00:30:25,880 Speaker 1: by the nineteen sixties, restrictions began to loosen. This was 493 00:30:25,920 --> 00:30:30,400 Speaker 1: after the death of Stalin and the advent of other 494 00:30:30,480 --> 00:30:34,880 Speaker 1: recording devices like real to real tape recorders began to 495 00:30:35,040 --> 00:30:41,800 Speaker 1: make bone records less crucial to this. To this cultural 496 00:30:42,040 --> 00:30:45,720 Speaker 1: war waged through music totally, like you know, because that's 497 00:30:46,280 --> 00:30:47,880 Speaker 1: when you went out, Like speaking of because you know 498 00:30:47,920 --> 00:30:51,680 Speaker 1: Casey's Fire mixtape, but still banging in my ears right now, 499 00:30:51,920 --> 00:30:55,160 Speaker 1: I sound a little distracted. Why I got that beat, Casey, 500 00:30:55,200 --> 00:30:57,480 Speaker 1: I don't even know what that is. Um. But yeah, 501 00:30:57,480 --> 00:30:59,719 Speaker 1: like you know, when I was a kid, I would actually, uh, 502 00:31:00,240 --> 00:31:03,280 Speaker 1: please don't come after me FCC or whatever. Um. But 503 00:31:03,360 --> 00:31:07,360 Speaker 1: I used to exchange smashing Pumpkins bootleg cassettes with people 504 00:31:07,360 --> 00:31:10,200 Speaker 1: through the mail. The mail. It was the whole thing. 505 00:31:10,240 --> 00:31:12,240 Speaker 1: You'd meet people on message boards and then you would 506 00:31:12,320 --> 00:31:15,440 Speaker 1: like you would say I've got this one, you know, okay, 507 00:31:15,480 --> 00:31:17,520 Speaker 1: I've got this one, and then you'd exchange and there'd 508 00:31:17,520 --> 00:31:19,760 Speaker 1: be no money would change hands. It was literally this 509 00:31:19,840 --> 00:31:24,000 Speaker 1: like internet marketplace, you know, that was all based on 510 00:31:24,000 --> 00:31:26,120 Speaker 1: like I've got something you want, You've got something I want. 511 00:31:26,240 --> 00:31:28,840 Speaker 1: It's on this disposable medium that everyone can get there. 512 00:31:28,920 --> 00:31:32,240 Speaker 1: There became like standards. You had to have the Maxel cassettes. 513 00:31:32,240 --> 00:31:34,959 Speaker 1: I can't remember what the exact but it was very 514 00:31:35,000 --> 00:31:38,320 Speaker 1: specific and they always they I found about this thing 515 00:31:38,360 --> 00:31:40,560 Speaker 1: called filler, where like whenever there was room at the 516 00:31:40,680 --> 00:31:43,000 Speaker 1: end of the cassette, they would just fill it with whatever, 517 00:31:43,120 --> 00:31:45,320 Speaker 1: like cool you know, fire mixtape they had and when 518 00:31:45,320 --> 00:31:47,160 Speaker 1: they wanted you to hear. So I actually learned about 519 00:31:47,160 --> 00:31:50,880 Speaker 1: a bunch of cool new music through the filler on 520 00:31:51,280 --> 00:31:55,240 Speaker 1: my Smashing Pumpkins bootlegs. And that's a little something about me. 521 00:31:55,440 --> 00:31:58,320 Speaker 1: That's pretty cool. That's neat fact I didn't know that before. 522 00:31:59,400 --> 00:32:03,040 Speaker 1: I do want to say that despite the tactics of 523 00:32:03,080 --> 00:32:08,440 Speaker 1: the Soviet government at the time, and despite the repression 524 00:32:08,560 --> 00:32:12,240 Speaker 1: involved in the country at the time, the still yagy 525 00:32:12,360 --> 00:32:16,960 Speaker 1: I would argue succeeded, and now you can find these records, 526 00:32:17,000 --> 00:32:20,200 Speaker 1: these bone recordings in museums, as you said, you can 527 00:32:20,240 --> 00:32:23,240 Speaker 1: find them in private exhibits. You can even if the 528 00:32:23,240 --> 00:32:27,560 Speaker 1: spirit so moves you participate in the in this historic 529 00:32:27,640 --> 00:32:31,720 Speaker 1: movement by going online and buying one on your own. 530 00:32:31,720 --> 00:32:35,280 Speaker 1: But as you said, it's somewhat strange that these things 531 00:32:35,320 --> 00:32:39,240 Speaker 1: were built to be affordable and accessible. Yeah, And I 532 00:32:39,240 --> 00:32:41,600 Speaker 1: actually was just digging out on eBay and there's quite 533 00:32:41,600 --> 00:32:43,479 Speaker 1: a few for sale here and they look so cool. Man. 534 00:32:43,640 --> 00:32:45,560 Speaker 1: One of them is a Beach Boys I get around 535 00:32:46,040 --> 00:32:49,160 Speaker 1: U x ray rowan Gun Film Bones record rare SI 536 00:32:50,120 --> 00:32:52,360 Speaker 1: or best offer H. And then we have one it's 537 00:32:52,400 --> 00:32:55,960 Speaker 1: just instrumental jazz piece x ray rowan gun Film Bones 538 00:32:56,040 --> 00:32:59,200 Speaker 1: Record to twenty nine. And this one looks so cool. 539 00:32:59,280 --> 00:33:01,480 Speaker 1: It's like just you know, it's like with a cigarette 540 00:33:01,480 --> 00:33:02,960 Speaker 1: burn in the middle, and it's cut out sort of 541 00:33:02,960 --> 00:33:06,840 Speaker 1: irregularly shaped, because you know, these were page shaped and 542 00:33:06,840 --> 00:33:08,240 Speaker 1: they had to be cut out into discs, you know, 543 00:33:08,440 --> 00:33:10,920 Speaker 1: hand by hand. But it's leg you to close up 544 00:33:10,920 --> 00:33:13,640 Speaker 1: on someone's like stern um like ribs on the side. 545 00:33:13,680 --> 00:33:15,800 Speaker 1: It looks like a like something from like the nine 546 00:33:15,800 --> 00:33:17,920 Speaker 1: inch Nails album art or something like that. But there 547 00:33:17,920 --> 00:33:20,320 Speaker 1: are quite a few of these on eBay and they're 548 00:33:20,360 --> 00:33:23,560 Speaker 1: not that crazy expensive. There's sixty five dollars for this one. 549 00:33:23,560 --> 00:33:27,120 Speaker 1: It's a USSR one side X ray record from fifties 550 00:33:27,160 --> 00:33:31,080 Speaker 1: Bill Haley and the Saddleman. I see Heart seventy eight RPM. 551 00:33:31,120 --> 00:33:33,560 Speaker 1: It's interesting too, because I wonder if they're all seventy eights. 552 00:33:34,400 --> 00:33:36,840 Speaker 1: Here's a t REX one mark bowl and t Rex 553 00:33:36,920 --> 00:33:42,480 Speaker 1: for seven bucks. So not not cheap and available. Yes, available, 554 00:33:42,560 --> 00:33:47,640 Speaker 1: And do exercise caution when you buy, well, when you 555 00:33:47,680 --> 00:33:50,680 Speaker 1: buy anything online, but when you buy these online, because 556 00:33:51,360 --> 00:33:55,040 Speaker 1: some of the Bone records were undercover bait and switches 557 00:33:55,240 --> 00:33:57,840 Speaker 1: created by the authorities, so you don't want to get 558 00:33:57,880 --> 00:34:02,080 Speaker 1: your saddlement record that you paid a hefty amount for. 559 00:34:02,560 --> 00:34:04,800 Speaker 1: And then here the first few bars of music, and 560 00:34:04,800 --> 00:34:08,680 Speaker 1: then here a very angry and stern Russian voice giving 561 00:34:08,719 --> 00:34:15,400 Speaker 1: you government warnings. Would lectures is cold blooded. I know 562 00:34:15,680 --> 00:34:21,600 Speaker 1: it's sore, but if you have experience with this piece 563 00:34:21,600 --> 00:34:24,760 Speaker 1: of musical history, we would love to hear from you. 564 00:34:24,760 --> 00:34:29,000 Speaker 1: You can find us all over the internet wherever you 565 00:34:29,080 --> 00:34:33,040 Speaker 1: find your favorite podcasts, and you can email us directly. 566 00:34:33,239 --> 00:34:36,560 Speaker 1: Right we are ridiculous at how stuff works dot com 567 00:34:36,600 --> 00:34:39,600 Speaker 1: and we're all over the usual social media channels and whatnot, 568 00:34:39,680 --> 00:34:41,400 Speaker 1: but we really just hope you join us again for 569 00:34:41,440 --> 00:34:45,040 Speaker 1: the next episode. And what more appropriate way to end 570 00:34:45,160 --> 00:34:49,200 Speaker 1: this exploration today then with a little ultra music, Little 571 00:34:49,200 --> 00:35:22,160 Speaker 1: bone music. Drop it, Casey M. For more podcasts for 572 00:35:22,239 --> 00:35:25,000 Speaker 1: my heart Radio, visit the I Heart Radio app, Apple podcast, 573 00:35:25,080 --> 00:35:27,240 Speaker 1: or wherever you listen to your favorite shows.