1 00:00:14,824 --> 00:00:15,264 Speaker 1: Pushkin. 2 00:00:18,424 --> 00:00:22,984 Speaker 2: Hi, everyone, it's Paul molldoin. Before we get to this episode, 3 00:00:23,344 --> 00:00:25,744 Speaker 2: I wanted to let you know that you can binge 4 00:00:25,784 --> 00:00:31,104 Speaker 2: all twelve episodes of McCartney A Life and Lyrics right now, 5 00:00:31,304 --> 00:00:36,904 Speaker 2: add free by becoming a Pushkin Plus subscriber. Find Pushkin 6 00:00:37,064 --> 00:00:40,624 Speaker 2: Plus on the McCartney A Life and Lyrics show page 7 00:00:41,064 --> 00:00:46,744 Speaker 2: in Apple Podcasts, or at pushkin dot fm, slash Plus. 8 00:00:49,344 --> 00:00:53,624 Speaker 3: Now, this is a song here, There and everywhere Leader 9 00:00:53,944 --> 00:00:59,784 Speaker 3: letter I've seen described as one of your own favorites. 10 00:01:07,424 --> 00:01:14,064 Speaker 4: He yeah, I'm often asked what my favorite song I've 11 00:01:14,104 --> 00:01:17,144 Speaker 4: ever written is, and I don't ever really want to 12 00:01:17,184 --> 00:01:20,424 Speaker 4: answer it, But if pushed, I would go to here, 13 00:01:20,504 --> 00:01:21,424 Speaker 4: there and everyone. 14 00:01:25,704 --> 00:01:36,544 Speaker 2: Lessen, I'm Paul will do for a while. Now, I've 15 00:01:36,664 --> 00:01:40,104 Speaker 2: been fortunate to spend time with one of the greatest 16 00:01:40,104 --> 00:01:42,424 Speaker 2: songwriters of the era, and. 17 00:01:42,424 --> 00:01:45,344 Speaker 4: Will you look at me, I'm going on to I'm 18 00:01:45,384 --> 00:01:47,144 Speaker 4: actually a performer. 19 00:01:46,944 --> 00:01:50,544 Speaker 2: That is, Sir Paul McCartney. We work together on a 20 00:01:50,584 --> 00:01:53,104 Speaker 2: book looking at the lyrics of more than one hundred 21 00:01:53,144 --> 00:01:57,704 Speaker 2: and fifty of his songs, and we recorded many hours 22 00:01:57,944 --> 00:01:59,184 Speaker 2: of our conversations. 23 00:01:59,584 --> 00:02:02,784 Speaker 4: It was like going back to an old snapshot album 24 00:02:02,984 --> 00:02:07,704 Speaker 4: looking back on work I hadn't ever analyzed. 25 00:02:08,104 --> 00:02:14,344 Speaker 2: This is McCartney, A life in lyrics, a masterclass, a memoir, 26 00:02:15,024 --> 00:02:19,504 Speaker 2: an improvised journey with one of the most iconic figures 27 00:02:19,544 --> 00:02:30,144 Speaker 2: in popular music. In this episode, Here There, and Everywhere, lesson. 28 00:02:37,224 --> 00:02:40,224 Speaker 5: Learning. 29 00:02:41,064 --> 00:02:45,504 Speaker 2: When I asked Paul McCartney, why, out of the hundreds 30 00:02:45,544 --> 00:02:49,864 Speaker 2: of songs he's written, he considers Here, There and Everywhere 31 00:02:50,024 --> 00:02:54,304 Speaker 2: his favorite, he kept returning to the structure of the lyrics, 32 00:02:54,704 --> 00:02:58,864 Speaker 2: where one verse ends, the next begins, only in a 33 00:02:58,944 --> 00:03:02,544 Speaker 2: new context. It's a move he borrowed from one of 34 00:03:02,584 --> 00:03:06,384 Speaker 2: the classics, a song by Irving Berlin. 35 00:03:06,744 --> 00:03:10,064 Speaker 4: One of my favorite songs because us of its structure 36 00:03:10,344 --> 00:03:14,624 Speaker 4: is cheek to cheek Heaven as song by Fred Asta. 37 00:03:14,984 --> 00:03:21,624 Speaker 6: I'm in heaven and my heartbeats so that I can hardly. 38 00:03:21,304 --> 00:03:26,104 Speaker 7: Spe and I like very much. Can starts off heaven. 39 00:03:26,384 --> 00:03:31,464 Speaker 4: I'm in heaven literally really really fast forward, and then 40 00:03:31,904 --> 00:03:32,704 Speaker 4: that's with me. 41 00:03:34,104 --> 00:03:36,424 Speaker 2: I want my arm about. 42 00:03:36,184 --> 00:03:41,784 Speaker 7: You, a middle late carry me through, to carry me 43 00:03:42,064 --> 00:03:44,464 Speaker 7: through heaven. 44 00:03:46,304 --> 00:03:47,544 Speaker 8: I'm in heaven. 45 00:03:48,584 --> 00:03:52,704 Speaker 4: It's like, yes, just the way it just resolves up 46 00:03:52,704 --> 00:03:58,304 Speaker 4: its own tail. I always found wonderful, and I think 47 00:03:58,984 --> 00:04:01,384 Speaker 4: somebody said I do it in this, I. 48 00:04:01,424 --> 00:04:07,704 Speaker 8: Wonder everywhere, and if she's beside me, I am the line. 49 00:04:16,584 --> 00:04:27,064 Speaker 9: Knowing Courridge has alignment and somewhere in the Biographia literary 50 00:04:27,184 --> 00:04:30,624 Speaker 9: or whatever it's called where he talks about all narrative 51 00:04:31,424 --> 00:04:35,024 Speaker 9: being like a snake with its tail in its mouth 52 00:04:36,344 --> 00:04:42,224 Speaker 9: and in that circularity be relevant here, well, I don't. 53 00:04:42,024 --> 00:04:45,184 Speaker 4: Know if i'd agree with him about all, but I 54 00:04:45,184 --> 00:04:56,344 Speaker 4: think attractive stuff often does that often kind of comes 55 00:04:56,384 --> 00:05:01,144 Speaker 4: back to where it began, and there's a little glee 56 00:05:01,704 --> 00:05:02,664 Speaker 4: arriving there. 57 00:05:02,904 --> 00:05:06,104 Speaker 7: Like I said, heaven, wait a minute, we just started 58 00:05:06,144 --> 00:05:08,384 Speaker 7: with that, and now we're back there and. 59 00:05:08,584 --> 00:05:12,464 Speaker 4: Very clear fully done, and without me suspecting he was 60 00:05:12,504 --> 00:05:16,064 Speaker 4: going there. So there's just something that's sort of little 61 00:05:16,144 --> 00:05:27,544 Speaker 4: thrill when you do that. And I like the fact 62 00:05:27,584 --> 00:05:31,184 Speaker 4: that we think we're on a path off on the 63 00:05:31,224 --> 00:05:34,624 Speaker 4: moors and we're going for a walk, and then suddenly 64 00:05:35,624 --> 00:05:41,464 Speaker 4: we've arrived where we started, and it's not like as 65 00:05:41,504 --> 00:05:43,024 Speaker 4: if we've gone around in a circle. 66 00:05:43,824 --> 00:05:45,624 Speaker 7: It's magically more magical. 67 00:05:45,224 --> 00:05:51,504 Speaker 4: Than that, we've come to another beginning of the path. 68 00:05:52,664 --> 00:05:54,384 Speaker 4: It's not just like we run in a circle and 69 00:05:54,504 --> 00:05:57,944 Speaker 4: just come back to the beginning. That's quite boring, but 70 00:05:58,024 --> 00:06:01,704 Speaker 4: it's just this trick where you suddenly. 71 00:06:03,104 --> 00:06:07,464 Speaker 7: Where you were, but it's surprising. 72 00:06:07,904 --> 00:06:11,144 Speaker 2: So something is cheap, is what we comes back there. 73 00:06:11,144 --> 00:06:16,464 Speaker 4: Well, you're where you were, but you're not because you 74 00:06:16,464 --> 00:06:19,064 Speaker 4: you can see back where you came from, and you're 75 00:06:19,064 --> 00:06:22,704 Speaker 4: definitely not there. You're at a new place. But it's 76 00:06:22,784 --> 00:06:27,664 Speaker 4: trity and it's got the same scenery again. 77 00:06:28,264 --> 00:06:29,304 Speaker 7: Leader Letter. 78 00:06:36,064 --> 00:06:40,464 Speaker 2: While the song is grounded in this spiraling structure, one 79 00:06:40,584 --> 00:06:44,624 Speaker 2: place it never returns is to the very first two lines. 80 00:06:45,024 --> 00:06:49,064 Speaker 2: They stand on their own, separate from the core melody 81 00:06:49,264 --> 00:06:50,104 Speaker 2: of the song. 82 00:06:50,384 --> 00:06:54,864 Speaker 4: They were to emulate the openings that old songs had. 83 00:06:55,264 --> 00:06:58,264 Speaker 4: John and I were fascinated by this idea that in 84 00:06:58,304 --> 00:07:03,064 Speaker 4: the old days did this complete ramble that didn't appear 85 00:07:03,144 --> 00:07:05,304 Speaker 4: to be about the song at all. 86 00:07:05,824 --> 00:07:09,144 Speaker 5: The only exception I know is the kid. 87 00:07:11,184 --> 00:07:17,184 Speaker 9: When I'm out on a quiet spreeze, fighting vainly the 88 00:07:17,464 --> 00:07:18,624 Speaker 9: al loe we. 89 00:07:20,704 --> 00:07:23,384 Speaker 5: And I suddenly turn and. 90 00:07:23,344 --> 00:07:38,584 Speaker 6: See your fabulous face. I get no kick from Champagne. 91 00:07:39,624 --> 00:07:42,544 Speaker 7: An intro. It was an intro. They called it verse. 92 00:07:42,944 --> 00:07:46,664 Speaker 4: We call versus the sort of first main body, and 93 00:07:46,704 --> 00:07:48,104 Speaker 4: of course then the second main body. 94 00:07:49,104 --> 00:07:51,784 Speaker 7: They called that word. Yeah, so we like that. We 95 00:07:51,984 --> 00:07:52,344 Speaker 7: liked you know. 96 00:07:52,704 --> 00:07:56,664 Speaker 4: I was walking around Manhattan. I had my scar phone 97 00:07:56,864 --> 00:07:59,144 Speaker 4: and then I came to the corner of so I 98 00:07:59,224 --> 00:08:02,824 Speaker 4: new thinking. First I looked at the deceited I didn't 99 00:08:02,864 --> 00:08:08,864 Speaker 4: notice that. But then suddenly you came around the corner. Heaven, 100 00:08:09,904 --> 00:08:17,744 Speaker 4: Oh there's the song, you know, running. 101 00:08:23,624 --> 00:08:31,944 Speaker 5: Speaking happen soon speaking, but she does. 102 00:08:35,904 --> 00:08:38,744 Speaker 4: Someone is speaking, but she doesn't know he's there. I 103 00:08:38,784 --> 00:08:40,944 Speaker 4: don't know who it is, probably the Telly. 104 00:08:42,184 --> 00:08:45,024 Speaker 7: It's like that. It's kind of a romantic idea. We 105 00:08:45,144 --> 00:08:48,744 Speaker 7: are just us, not listening to him. 106 00:08:51,584 --> 00:08:53,464 Speaker 5: Knowing his. 107 00:08:56,944 --> 00:09:01,944 Speaker 7: Remember writing this song whilst waiting for John one day. 108 00:09:02,544 --> 00:09:07,624 Speaker 2: Paul McCartney wrote much of Here, There and Everywhere one 109 00:09:07,704 --> 00:09:12,584 Speaker 2: morning while sitting poolside waiting for John Lennon to wake up. 110 00:09:12,984 --> 00:09:16,184 Speaker 10: I would go out to his house in Weybridge for 111 00:09:16,304 --> 00:09:20,984 Speaker 10: a writing session, and he wasn't always up, so I 112 00:09:21,064 --> 00:09:23,704 Speaker 10: would often have twenty minutes. 113 00:09:23,464 --> 00:09:25,464 Speaker 7: Half an hour when someone told him I was here, 114 00:09:26,024 --> 00:09:26,904 Speaker 7: and he would get up. 115 00:09:35,024 --> 00:09:38,704 Speaker 2: In the song's leisurely tempo, it's almost as if we 116 00:09:38,824 --> 00:09:41,744 Speaker 2: can hear McCartney's patience. 117 00:09:42,744 --> 00:09:43,504 Speaker 5: Everywhere. 118 00:09:46,824 --> 00:09:50,824 Speaker 11: I remember sitting out by swimming pool in his house 119 00:09:51,264 --> 00:09:54,104 Speaker 11: in Weybridge, which is a sort of golf suburb of 120 00:09:54,744 --> 00:09:58,824 Speaker 11: London and had a guitar because I was ready for 121 00:09:58,944 --> 00:10:03,304 Speaker 11: the writing session, so he sat out and started something 122 00:10:04,104 --> 00:10:05,984 Speaker 11: and it was here he. 123 00:10:06,144 --> 00:10:10,104 Speaker 4: Lived in here, And yeah, I just sort of went 124 00:10:10,184 --> 00:10:12,544 Speaker 4: quite nice and smoothly, so that by the time I 125 00:10:12,784 --> 00:10:17,784 Speaker 4: came to write with John, the time he deigned to 126 00:10:17,904 --> 00:10:21,544 Speaker 4: get up and have his coffee, I would have something to. 127 00:10:21,584 --> 00:10:23,424 Speaker 10: Go, watching. 128 00:10:25,144 --> 00:10:46,344 Speaker 5: End, helping him, always watching rins end, hoping. I am always. 129 00:10:47,744 --> 00:10:51,344 Speaker 2: The slow, steady pace and the way the verses spill 130 00:10:51,464 --> 00:10:57,504 Speaker 2: into each other. It's mesmerizing, like water rippling across a pool. 131 00:10:58,384 --> 00:11:02,384 Speaker 2: Is it possible that Ringo Star hits his snare just 132 00:11:02,504 --> 00:11:06,024 Speaker 2: a fraction after the beat, as if the song is 133 00:11:06,144 --> 00:11:08,064 Speaker 2: trying to slow itself done. 134 00:11:12,384 --> 00:11:18,664 Speaker 5: Making changing. 135 00:11:23,624 --> 00:11:27,664 Speaker 4: I like the line changing my life for the wave 136 00:11:27,744 --> 00:11:31,744 Speaker 4: of a hand. You know, I look at those kind 137 00:11:31,784 --> 00:11:34,904 Speaker 4: of lyrics now and sort of. 138 00:11:34,904 --> 00:11:37,624 Speaker 7: Think, where did that come from? What was it? 139 00:11:37,704 --> 00:11:39,744 Speaker 4: Do I think of the queen waving out of a 140 00:11:39,864 --> 00:11:45,744 Speaker 4: royal carriage, or you know, just my love can just 141 00:11:45,824 --> 00:11:49,784 Speaker 4: do it by hardly doing anything, waving a hand. 142 00:11:50,104 --> 00:11:53,704 Speaker 7: Oh my god, you's chenting my life. It says a 143 00:11:53,784 --> 00:11:55,584 Speaker 7: lot in a line. 144 00:11:56,184 --> 00:12:00,184 Speaker 2: The picture of a royal hand waving from a carriage, 145 00:12:00,704 --> 00:12:06,744 Speaker 2: the pinnacle of effortlessness. It's a McCartney trademark, this rare 146 00:12:06,984 --> 00:12:11,224 Speaker 2: ability to assemble lyrics and melodies with the ease of 147 00:12:11,504 --> 00:12:14,864 Speaker 2: strumming a few chords on his guitar. He seems to 148 00:12:15,304 --> 00:12:19,904 Speaker 2: fool himself into thinking there's nothing at stake. He trusts 149 00:12:20,304 --> 00:12:23,424 Speaker 2: that the right lyrics will find their way to them. 150 00:12:23,824 --> 00:12:29,624 Speaker 4: Even when you get lyrics like this, the purpose of 151 00:12:29,744 --> 00:12:38,504 Speaker 4: the lyric is to support the song rather than be 152 00:12:38,664 --> 00:12:43,104 Speaker 4: a lyric, So it's quite liberating. You can sort of 153 00:12:43,264 --> 00:12:46,304 Speaker 4: just kind of experiment as you go along, you know, 154 00:12:46,504 --> 00:12:52,784 Speaker 4: so things slip out like they would in a session 155 00:12:52,824 --> 00:12:54,704 Speaker 4: with a psychiatrist. 156 00:12:57,224 --> 00:13:04,064 Speaker 5: And everywhere. 157 00:13:06,904 --> 00:13:08,184 Speaker 7: I like it when that happens. 158 00:13:08,664 --> 00:13:11,984 Speaker 4: I think, you know, that's the idea of the word 159 00:13:12,184 --> 00:13:14,104 Speaker 4: dancing idea. 160 00:13:14,424 --> 00:13:15,184 Speaker 7: You know, you just. 161 00:13:16,744 --> 00:13:19,264 Speaker 4: You play with things like that, I think, you know, 162 00:13:20,544 --> 00:13:26,024 Speaker 4: I think a lot of this comes naturally from Liverpool 163 00:13:27,224 --> 00:13:32,264 Speaker 4: for me, Like jokes often have that, you know, just 164 00:13:33,264 --> 00:13:35,264 Speaker 4: there's a little you think you're going one way and 165 00:13:35,344 --> 00:13:37,904 Speaker 4: then there's a little surprise and it takes you another way. 166 00:13:38,624 --> 00:13:42,744 Speaker 4: And I like to be able to do that because 167 00:13:42,784 --> 00:13:46,624 Speaker 4: I think it keeps it moving, it keeps you interested. 168 00:13:47,824 --> 00:13:53,784 Speaker 4: Dancing round words, shuffling them like a deck of cards. 169 00:13:55,264 --> 00:13:55,704 Speaker 7: Basically. 170 00:13:55,824 --> 00:13:58,624 Speaker 4: You know, I always say when I'm writing a song, 171 00:13:59,144 --> 00:14:00,744 Speaker 4: I'm kind of following. 172 00:14:00,384 --> 00:14:03,144 Speaker 7: A trail of bread crumbs. 173 00:14:05,264 --> 00:14:08,184 Speaker 4: Someone's thrown out these bread crumbs, and I see the 174 00:14:08,304 --> 00:14:11,744 Speaker 4: first few, and you just, you know, we go along, 175 00:14:11,784 --> 00:14:15,584 Speaker 4: and I feel like I'm following the song rather than 176 00:14:15,624 --> 00:14:16,144 Speaker 4: writing it. 177 00:14:17,624 --> 00:14:24,584 Speaker 8: And everywhere, and if she's beside me, I know, line neednerbo. 178 00:14:27,104 --> 00:14:29,824 Speaker 9: Do you ever look ahead and plant on it with 179 00:14:30,144 --> 00:14:33,464 Speaker 9: the phrase or two versus down the road? 180 00:14:34,544 --> 00:14:38,784 Speaker 4: Not versus, but the lines. I will, I will, I 181 00:14:38,824 --> 00:14:41,184 Speaker 4: will think of the line that's coming and think of 182 00:14:41,304 --> 00:14:45,064 Speaker 4: how to get in it. Yeah, like stepping stones kind 183 00:14:45,064 --> 00:14:46,464 Speaker 4: of thing, you know, just think well, I've got to 184 00:14:46,544 --> 00:14:48,264 Speaker 4: do that to get there. 185 00:14:49,264 --> 00:14:50,424 Speaker 7: Yeah. I quite enjoy that. 186 00:14:51,344 --> 00:14:56,224 Speaker 4: It's an interesting process. I like that about writing that 187 00:14:56,424 --> 00:15:01,984 Speaker 4: it's it's a puzzle. I often liken it to crossword puzzles. 188 00:15:02,064 --> 00:15:06,904 Speaker 4: You know, my dad loved crossword puzzles. And if you 189 00:15:06,984 --> 00:15:09,744 Speaker 4: put that together with that, and when you twist that 190 00:15:09,904 --> 00:15:11,824 Speaker 4: word around, then you get that. 191 00:15:12,904 --> 00:15:17,704 Speaker 7: And my answer is that, yes, I mean it is. 192 00:15:17,984 --> 00:15:32,344 Speaker 1: It is about filling in gaps, the structural and rhetorical 193 00:15:32,504 --> 00:15:37,024 Speaker 1: tricks of here, there, and everywhere are obscured by the 194 00:15:37,144 --> 00:15:44,304 Speaker 1: song's apparent spontaneity. It's flowing melody, it's gentle vocals. McCartney's 195 00:15:44,584 --> 00:15:48,584 Speaker 1: singing on the track is reminiscent of an earlier era, 196 00:15:49,184 --> 00:15:51,504 Speaker 1: which brings us back to Fred Astare. 197 00:15:52,824 --> 00:15:56,424 Speaker 8: Oh, I love to go out fishing in the river 198 00:15:56,944 --> 00:16:01,464 Speaker 8: are a Greek, but I don't enjoy have as much 199 00:16:02,104 --> 00:16:02,544 Speaker 8: dads A. 200 00:16:04,504 --> 00:16:05,904 Speaker 7: I was big fan of Fred Astare. 201 00:16:05,944 --> 00:16:09,784 Speaker 4: I still have, and unlike the studio executive thought he 202 00:16:09,824 --> 00:16:12,904 Speaker 4: could dance a little has no voice. I always loved 203 00:16:12,944 --> 00:16:15,704 Speaker 4: his voice. I still do, and I actually use it 204 00:16:15,864 --> 00:16:19,424 Speaker 4: often as an inspiration. I did an album of standards, 205 00:16:20,824 --> 00:16:21,384 Speaker 4: and that's. 206 00:16:21,224 --> 00:16:21,944 Speaker 5: Sort of heaven. 207 00:16:22,864 --> 00:16:26,024 Speaker 7: That little place for your voice is a lovely place 208 00:16:26,544 --> 00:16:31,984 Speaker 7: to sing from. It's not there, it's sort of heaven. 209 00:16:33,024 --> 00:16:38,944 Speaker 7: Being there. 210 00:16:41,144 --> 00:16:47,304 Speaker 2: And here, there and everywhere has inspired many other vocalists 211 00:16:47,704 --> 00:16:51,224 Speaker 2: and has itself become one of those classics McCartney was 212 00:16:51,264 --> 00:16:55,864 Speaker 2: trying to emulate. Even John Lennon, rarely wanted to give compliments, 213 00:16:56,304 --> 00:16:58,864 Speaker 2: was impressed when he heard the song and said it 214 00:16:59,024 --> 00:17:03,384 Speaker 2: was his favorite track on the album Revolver in nineteen eighty. 215 00:17:03,584 --> 00:17:07,144 Speaker 2: He even told a reporter from Playboy Magazine that it 216 00:17:07,264 --> 00:17:10,784 Speaker 2: was one of his favorites from the tire Beatles cattalog. 217 00:17:11,264 --> 00:17:20,024 Speaker 2: So to Lennon when he did get up, did he contribute, I'm. 218 00:17:20,864 --> 00:17:21,824 Speaker 7: Well, I'm not sure he did. 219 00:17:21,904 --> 00:17:26,784 Speaker 4: Actually I suspect he did, but it does sound like 220 00:17:26,864 --> 00:17:28,864 Speaker 4: something I might have sort of just done by the 221 00:17:28,944 --> 00:17:32,424 Speaker 4: pool side, sort of just delivered to him because it 222 00:17:32,544 --> 00:17:35,584 Speaker 4: doesn't sound like anyone else is working now. 223 00:17:35,704 --> 00:17:37,504 Speaker 7: Starts sounds like one head. 224 00:17:39,944 --> 00:17:44,784 Speaker 5: He's to share each one. 225 00:17:47,304 --> 00:18:03,304 Speaker 6: Never dies, watching a rise and hoping him All Andy. 226 00:18:06,904 --> 00:18:17,304 Speaker 2: And here, there and Everywhere, released on the Beatles album 227 00:18:17,544 --> 00:18:24,464 Speaker 2: Revolver in nineteen sixty six. In the next episode, have. 228 00:18:24,544 --> 00:18:27,424 Speaker 4: Said throughout the day that they hope to use minimum. 229 00:18:27,144 --> 00:18:32,424 Speaker 2: Face, an unusually sharp political song written in response to 230 00:18:32,904 --> 00:18:34,104 Speaker 2: Bloody Sunday. 231 00:18:36,304 --> 00:18:42,864 Speaker 5: To the US, make them take it away. 232 00:18:44,464 --> 00:18:53,944 Speaker 4: In to the Iris became irsay. 233 00:18:53,944 --> 00:18:58,184 Speaker 2: Give Ireland back to the Irish. That's next time on 234 00:18:58,464 --> 00:19:05,744 Speaker 2: McCartney A Life in Lyrics. McCartney A Life in Lyrics 235 00:19:06,144 --> 00:19:11,744 Speaker 2: is a co production between iHeartMedia and pl and Pushkin Industries.