1 00:00:00,080 --> 00:00:02,720 Speaker 1: Hey there, history fans, We're taking a break so that 2 00:00:02,800 --> 00:00:06,040 Speaker 1: we can bring in new episodes all December long. In 3 00:00:06,080 --> 00:00:10,680 Speaker 1: the meantime, enjoy these flashback episodes from the TDI HC Vault. 4 00:00:11,560 --> 00:00:14,640 Speaker 2: Hi everyone, I'm Eves and welcome to This Day in 5 00:00:14,800 --> 00:00:17,880 Speaker 2: History Class, a podcast where we dust off a little 6 00:00:17,920 --> 00:00:20,680 Speaker 2: piece of history and place it ever so gently on 7 00:00:20,720 --> 00:00:30,479 Speaker 2: your brain shelf every day. The day was November twenty third, 8 00:00:30,600 --> 00:00:35,760 Speaker 2: eighteen eighty three. Jose Clemente Arosco was born to Erinio 9 00:00:35,840 --> 00:00:40,960 Speaker 2: Orosco and Rosa Flores in Zapotlin, Elgrande, Mexico now Ceo 10 00:00:41,040 --> 00:00:46,120 Speaker 2: dot Gusman. Adosco went on to become a renowned caricaturist 11 00:00:46,159 --> 00:00:50,760 Speaker 2: and painter, known for his Fresco murals. Odosco's family moved 12 00:00:50,800 --> 00:00:54,120 Speaker 2: to Guadalajara in eighteen eighty six, and by eighteen eighty 13 00:00:54,160 --> 00:00:57,360 Speaker 2: eight they had made their way to Mexico City. His 14 00:00:57,480 --> 00:01:00,360 Speaker 2: passion for art blossomed there, as he had me imired 15 00:01:00,400 --> 00:01:03,640 Speaker 2: the art in the workshop of Jose Guadalupe Posada, a 16 00:01:03,680 --> 00:01:08,679 Speaker 2: printmaker whose work included political and social commentary. As he 17 00:01:08,720 --> 00:01:11,280 Speaker 2: passed the workshop on his way to and from school, 18 00:01:11,680 --> 00:01:16,440 Speaker 2: he became fascinated by the style of Posada's illustrations. Odosko 19 00:01:16,600 --> 00:01:19,680 Speaker 2: studied art in Mexico City, taking classes at the San 20 00:01:19,720 --> 00:01:23,520 Speaker 2: Carlos Academy of Fine Arts. By eighteen ninety eight, his 21 00:01:23,640 --> 00:01:26,360 Speaker 2: parents had sent him to the country to study agriculture 22 00:01:26,400 --> 00:01:30,000 Speaker 2: for pragmatic reasons. He studied at the School of Agriculture 23 00:01:30,000 --> 00:01:33,840 Speaker 2: in San Jacinto and attended the National Preparatory School with 24 00:01:33,959 --> 00:01:38,400 Speaker 2: the intent of studying architecture later, but in nineteen o three, 25 00:01:38,440 --> 00:01:42,240 Speaker 2: his father died of typhus, so Odosco began working to 26 00:01:42,240 --> 00:01:45,360 Speaker 2: support his mother and siblings and pay his way through college. 27 00:01:46,440 --> 00:01:49,360 Speaker 2: He took a job as an architectural draftsman and hand 28 00:01:49,440 --> 00:01:54,560 Speaker 2: tinted post mortem portraits. He wasn't as passionate about agriculture, math, 29 00:01:54,680 --> 00:01:59,080 Speaker 2: and architecture as he was about painting. Odosco also injured 30 00:01:59,120 --> 00:02:02,120 Speaker 2: his eye and lost his left hand in an accidental explosion, 31 00:02:02,600 --> 00:02:06,400 Speaker 2: so he began studying art again at the San Carlos Academy. 32 00:02:07,200 --> 00:02:11,200 Speaker 2: By nineteen ten, Odosko's artwork was getting attention. That year, 33 00:02:11,440 --> 00:02:15,080 Speaker 2: some of his drawings got recognition at an exhibition commemorating 34 00:02:15,120 --> 00:02:19,760 Speaker 2: the centenary of Mexican independence from Spain. The Mexican Revolution, 35 00:02:19,960 --> 00:02:23,680 Speaker 2: which was unfolding around this time, affected his artistic viewpoint. 36 00:02:24,200 --> 00:02:28,000 Speaker 2: Opposition to the regime of President Portfibio Dias spread, and 37 00:02:28,080 --> 00:02:33,399 Speaker 2: political and social turmoil escalated. As power changed hands. Odosko 38 00:02:33,520 --> 00:02:37,560 Speaker 2: participated in a student strike and he began creating illustrations 39 00:02:37,560 --> 00:02:41,400 Speaker 2: for radical newspapers. He painted with black and what he 40 00:02:41,480 --> 00:02:45,960 Speaker 2: said were quote the colors exiled from Impressionist palettes. He 41 00:02:46,040 --> 00:02:48,679 Speaker 2: depicted locals who went to the bars and brothels in 42 00:02:48,720 --> 00:02:52,520 Speaker 2: his neighborhood. Informed by the context of the Mexican Revolution 43 00:02:53,040 --> 00:02:57,480 Speaker 2: and the culture of Mexico City, he emphasized injustice and corruption. 44 00:02:58,880 --> 00:03:02,480 Speaker 2: One of the artists who influenced his work was Julio Ruelles, 45 00:03:02,720 --> 00:03:08,000 Speaker 2: a Mexican symbolist who created dark, hallucinatory images of mythological characters, 46 00:03:08,280 --> 00:03:13,560 Speaker 2: the subconscious, and his own tormented face. While in Orrisaba, 47 00:03:13,720 --> 00:03:17,480 Speaker 2: working for the revolutionary newspaper La van Guardia, he met 48 00:03:17,600 --> 00:03:22,079 Speaker 2: David Alfaro, Siqueios, and Diego Rivera, who, along with him, 49 00:03:22,160 --> 00:03:25,959 Speaker 2: would later be known as the Big Three in Mexican muralism. 50 00:03:26,360 --> 00:03:31,200 Speaker 2: Doctor Attul, also known as Herado Murrio, edited La van Guardia. 51 00:03:31,880 --> 00:03:35,119 Speaker 2: Doctor Atoul had met Rosco at the San Carlos Academy 52 00:03:35,320 --> 00:03:38,840 Speaker 2: years earlier and inspired him to embrace Mexican themes in 53 00:03:38,880 --> 00:03:43,200 Speaker 2: his art. After his solo exhibition House of Tears received 54 00:03:43,240 --> 00:03:46,400 Speaker 2: a lot of negative criticism, he turned to the US 55 00:03:46,440 --> 00:03:49,720 Speaker 2: to find new opportunities. He got to the US in 56 00:03:49,800 --> 00:03:53,480 Speaker 2: nineteen seventeen, where customs took a lot of his paintings 57 00:03:53,680 --> 00:03:57,600 Speaker 2: because they were deemed indecent. After spending two years in 58 00:03:57,640 --> 00:04:00,880 Speaker 2: the States working on his art, he returned to Mexico. 59 00:04:02,080 --> 00:04:05,200 Speaker 2: His career in muralism began in nineteen twenty three, when 60 00:04:05,200 --> 00:04:08,320 Speaker 2: he started painting his first murals at the National Preparatory 61 00:04:08,320 --> 00:04:12,119 Speaker 2: School in Mexico City. Cicados and Rivera were also doing 62 00:04:12,200 --> 00:04:17,039 Speaker 2: murals here. This same year, Odosco married Margarita via Datis 63 00:04:17,160 --> 00:04:22,760 Speaker 2: and helped found the Union of Revolutionary Painters, Sculptors and Engravers. 64 00:04:22,960 --> 00:04:26,279 Speaker 2: As he completed more murals, his work received more praise 65 00:04:26,400 --> 00:04:31,160 Speaker 2: and international attention. In nineteen twenty seven, he went back 66 00:04:31,160 --> 00:04:34,480 Speaker 2: to the US, where he found inspiration in the artwork 67 00:04:34,560 --> 00:04:38,680 Speaker 2: of European artists like Francisco Goya and was influenced by 68 00:04:38,680 --> 00:04:41,839 Speaker 2: the impact of the Great Depression. He stayed in the 69 00:04:41,960 --> 00:04:46,600 Speaker 2: US until nineteen thirty four. The Epic of American Civilization, 70 00:04:47,000 --> 00:04:49,800 Speaker 2: a cycle of murals that he completed at Dartmouth College, 71 00:04:50,200 --> 00:04:52,479 Speaker 2: was a highlight of his art career in the US. 72 00:04:53,520 --> 00:04:56,400 Speaker 2: Adosco went back to Mexico after he left the US, 73 00:04:56,760 --> 00:04:59,719 Speaker 2: and he stayed there throughout most of the nineteen forties, 74 00:05:00,160 --> 00:05:03,800 Speaker 2: constantly adding to his already robust body of work by 75 00:05:03,800 --> 00:05:09,359 Speaker 2: creating new murals exhibiting his idealistic and pessimistic perspectives. He 76 00:05:09,440 --> 00:05:12,560 Speaker 2: painted murals in the Palace of Fine Arts in Mexico City, 77 00:05:12,880 --> 00:05:17,960 Speaker 2: the University of Guadalajara, the Governor's Palace, the Auspicio Cabanas, 78 00:05:18,000 --> 00:05:21,880 Speaker 2: and the Palace of Justice in Mexico City, among other locations. 79 00:05:22,839 --> 00:05:27,719 Speaker 2: He also created smaller works like engravings, diesel paintings, and portraits. 80 00:05:28,160 --> 00:05:30,839 Speaker 2: He continued to work on frescoes until he died of 81 00:05:30,880 --> 00:05:34,600 Speaker 2: heart failure at the age of sixty five. Even though 82 00:05:34,600 --> 00:05:38,200 Speaker 2: he faced censorship and financial struggles, he played a key 83 00:05:38,279 --> 00:05:41,240 Speaker 2: role in invigorating the public arts movement and has been 84 00:05:41,279 --> 00:05:45,000 Speaker 2: honored for exposing Mexican art to a wider international audience. 85 00:05:46,720 --> 00:05:49,280 Speaker 2: I'm eaves, Jeffco, and hopefully you know a little more 86 00:05:49,279 --> 00:05:53,159 Speaker 2: about history today than you did yesterday. Know any fellow 87 00:05:53,279 --> 00:05:55,839 Speaker 2: history buffs who would enjoy the show, you can share 88 00:05:55,880 --> 00:05:59,320 Speaker 2: it with them. We're on Twitter, Facebook, and Instagram at 89 00:05:59,520 --> 00:06:05,320 Speaker 2: TAHC podcast and you can send your thoughts are comments 90 00:06:05,360 --> 00:06:10,159 Speaker 2: to us at this Day at iHeartMedia dot Com. We're 91 00:06:10,200 --> 00:06:12,560 Speaker 2: here every day, so you know where to find us. 92 00:06:12,800 --> 00:06:27,160 Speaker 1: Bye, Hello, and welcome to This Day in History Class, 93 00:06:27,440 --> 00:06:30,520 Speaker 1: a show that strives to know at least a little 94 00:06:30,560 --> 00:06:35,680 Speaker 1: bit more history every day. I'm Gabe Lucier, and today 95 00:06:36,040 --> 00:06:39,400 Speaker 1: we're looking at the origins of the jukebox, a vital 96 00:06:39,440 --> 00:06:42,520 Speaker 1: part of music history that's just as fun to look 97 00:06:42,520 --> 00:06:53,800 Speaker 1: at as it is to listen to. The day was 98 00:06:53,839 --> 00:06:59,479 Speaker 1: November twenty third, eighteen eighty nine. An early forerunner of 99 00:06:59,520 --> 00:07:03,400 Speaker 1: the modern jukebox was installed for public use at the 100 00:07:03,440 --> 00:07:09,720 Speaker 1: Palais Royal Saloon in San Francisco, California. The name jukebox 101 00:07:10,000 --> 00:07:13,800 Speaker 1: wouldn't be applied for another thirty years or so. When 102 00:07:13,800 --> 00:07:16,520 Speaker 1: it was invented, it was known as a nickel in 103 00:07:16,600 --> 00:07:20,840 Speaker 1: the slot player. It may have looked drastically different from 104 00:07:20,920 --> 00:07:24,120 Speaker 1: what we now know as a jukebox, but its purpose 105 00:07:24,320 --> 00:07:27,640 Speaker 1: was about the same. It allowed people to listen to 106 00:07:27,760 --> 00:07:31,480 Speaker 1: music in a bar or restaurant without the added cost 107 00:07:31,680 --> 00:07:36,560 Speaker 1: of live performers. The first nickel in the slot was 108 00:07:36,600 --> 00:07:40,760 Speaker 1: invented by Louis Glass and William Arnold, who both worked 109 00:07:40,760 --> 00:07:45,440 Speaker 1: at the Pacific Phonograph Company in San Francisco. They realized 110 00:07:45,520 --> 00:07:49,200 Speaker 1: that although the phonograph had captured the public's attention since 111 00:07:49,240 --> 00:07:53,400 Speaker 1: its creation in eighteen seventy seven, the machine was still 112 00:07:53,520 --> 00:07:57,600 Speaker 1: too expensive for most people to afford. So, in an 113 00:07:57,600 --> 00:08:00,680 Speaker 1: effort to bring music to the people to make some 114 00:08:00,720 --> 00:08:04,720 Speaker 1: money in the process, Glass and Arnold decided to rig 115 00:08:04,800 --> 00:08:08,200 Speaker 1: up a coin operated device that would allow people to 116 00:08:08,360 --> 00:08:11,400 Speaker 1: listen to a recording without having to buy their own. 117 00:08:12,360 --> 00:08:16,640 Speaker 1: To be fair, other inventors were working on similar machines 118 00:08:16,720 --> 00:08:20,440 Speaker 1: around that same time, but Glass and Arnold were the 119 00:08:20,480 --> 00:08:24,600 Speaker 1: first to unveil a functioning version to the public. The 120 00:08:24,680 --> 00:08:29,120 Speaker 1: first model they built consisted of an Edison class M 121 00:08:29,320 --> 00:08:34,360 Speaker 1: electric phonograph housed inside an oak cabinet with a coinslot 122 00:08:34,480 --> 00:08:39,680 Speaker 1: mechanism attached. So far so jukebox. But here's where things 123 00:08:39,679 --> 00:08:45,680 Speaker 1: start to differ. The first machine had no speakers or amplifiers. Instead, 124 00:08:45,960 --> 00:08:51,000 Speaker 1: it had four tube like listening devices connected to the phonograph. 125 00:08:51,480 --> 00:08:54,200 Speaker 1: It's a little hard to describe, but if you picture 126 00:08:54,360 --> 00:08:58,440 Speaker 1: four stethoscopes attached to a big wooden box, you're not 127 00:08:58,559 --> 00:09:04,080 Speaker 1: far off. Each of those four tubes functioned independently, meaning 128 00:09:04,120 --> 00:09:06,760 Speaker 1: that up to four people could listen to the same 129 00:09:06,880 --> 00:09:12,160 Speaker 1: song simultaneously, provided that each of them paid their own nickel. Also, 130 00:09:12,559 --> 00:09:15,719 Speaker 1: for any germaphobes out there, you'll be thrilled to know 131 00:09:15,840 --> 00:09:19,720 Speaker 1: that patrons were supplied with towels so they could wipe 132 00:09:19,720 --> 00:09:22,880 Speaker 1: off the ends of their tubes before or after each listen. 133 00:09:23,840 --> 00:09:27,920 Speaker 1: Another difference from later jukeboxes was the amount of songs 134 00:09:27,960 --> 00:09:33,040 Speaker 1: on offer. Modern jukeboxes have many, while the first jukebox 135 00:09:33,400 --> 00:09:37,080 Speaker 1: had one. The single song was housed on a wax 136 00:09:37,200 --> 00:09:41,400 Speaker 1: cylinder inside the cabinet, which could be swapped out periodically 137 00:09:41,559 --> 00:09:45,480 Speaker 1: to give customers something new to listen to. Glass and 138 00:09:45,720 --> 00:09:49,240 Speaker 1: Arnold got permission to display their first machine in a 139 00:09:49,280 --> 00:09:52,560 Speaker 1: saloon just two blocks away from their offices at the 140 00:09:52,559 --> 00:09:57,160 Speaker 1: Phonograph Company. Unfortunately, there's no record of which song was 141 00:09:57,200 --> 00:10:00,560 Speaker 1: played first, so we'll have to use our imagination on that. 142 00:10:01,440 --> 00:10:06,440 Speaker 1: Despite its limitations, the coin operated phonograph took off overnight. 143 00:10:07,160 --> 00:10:11,200 Speaker 1: Within six months, that single player had earned over one 144 00:10:11,200 --> 00:10:15,880 Speaker 1: thousand dollars, the equivalent of more than thirty thousand dollars today, 145 00:10:16,600 --> 00:10:19,080 Speaker 1: and by the end of the first year, Glass and 146 00:10:19,240 --> 00:10:23,559 Speaker 1: Arnold had installed another fifteen machines and raked in more 147 00:10:23,600 --> 00:10:29,880 Speaker 1: than four thousand dollars. The instant's success inspired countless imitators 148 00:10:29,920 --> 00:10:32,760 Speaker 1: to whip up their own versions all across the country. 149 00:10:33,520 --> 00:10:38,480 Speaker 1: Soon there were entire phonograph parlors with multiple nickel and 150 00:10:38,520 --> 00:10:42,079 Speaker 1: the slot players so customers could listen to different songs 151 00:10:42,280 --> 00:10:46,520 Speaker 1: in the same location. As the machine grew in popularity 152 00:10:46,600 --> 00:10:50,479 Speaker 1: over the next decade and a half, improvements were gradually 153 00:10:50,520 --> 00:10:54,880 Speaker 1: made to the initial design. The sound quality improved when 154 00:10:55,040 --> 00:10:59,280 Speaker 1: disc records replaced the old phonograph cylinders, and the addition 155 00:10:59,360 --> 00:11:04,520 Speaker 1: of amplify allowed large groups to listen simultaneously without the 156 00:11:04,559 --> 00:11:08,480 Speaker 1: need to hold stethoscopes to their ears. The next major 157 00:11:08,520 --> 00:11:12,880 Speaker 1: innovation came in nineteen oh five, when Chicago based inventor 158 00:11:13,040 --> 00:11:18,960 Speaker 1: John Gable debuted the Automatic Entertainer, a coin operated disc 159 00:11:19,040 --> 00:11:23,360 Speaker 1: playing phonograph that featured twenty four songs to choose from, 160 00:11:23,600 --> 00:11:27,600 Speaker 1: though the disc still had to be selected manually. Thirteen 161 00:11:27,679 --> 00:11:32,600 Speaker 1: years later, another inventor, Hobart Knee Black, created a part 162 00:11:32,679 --> 00:11:36,720 Speaker 1: that could change records automatically, leading to the debut of 163 00:11:36,800 --> 00:11:42,200 Speaker 1: the first selective jukeboxes in the nineteen twenties. That decade 164 00:11:42,280 --> 00:11:46,319 Speaker 1: presented a challenge to automatic phonographs due to the emerging 165 00:11:46,400 --> 00:11:51,400 Speaker 1: technology of radio record sales, and jukebox usage took a 166 00:11:51,520 --> 00:11:54,720 Speaker 1: dive when people realized they could hear music for free 167 00:11:54,800 --> 00:11:58,400 Speaker 1: on the radio. The hard times kept on coming in 168 00:11:58,440 --> 00:12:02,079 Speaker 1: the nineteen thirties, when the Great Depression left most families 169 00:12:02,120 --> 00:12:06,800 Speaker 1: with little money for recreation, even just a nickel. However, 170 00:12:07,080 --> 00:12:12,280 Speaker 1: once the depression ended, jukeboxes bounced right back, more popular 171 00:12:12,360 --> 00:12:14,920 Speaker 1: than ever in a country that was itching to get 172 00:12:14,960 --> 00:12:18,679 Speaker 1: out and dance again. It was around this time that 173 00:12:18,760 --> 00:12:23,120 Speaker 1: the automatic phonograph finally started to look like a jukebox. 174 00:12:23,840 --> 00:12:29,400 Speaker 1: The big four companies in the industry were Ami, Rockola, Seeberg, 175 00:12:29,720 --> 00:12:36,560 Speaker 1: and Wurlitzer. These manufacturers introduced now classic jukebox features such 176 00:12:36,600 --> 00:12:40,880 Speaker 1: as flashy light up displays and numbered and lettered buttons 177 00:12:41,160 --> 00:12:45,760 Speaker 1: that were used to select specific songs. The machines now 178 00:12:45,880 --> 00:12:49,320 Speaker 1: had their familiar shapes and features, but it was still 179 00:12:49,360 --> 00:12:53,080 Speaker 1: a few years before they would actually be called jukeboxes. 180 00:12:53,840 --> 00:12:58,160 Speaker 1: The term originated in the Southern United States sometime in 181 00:12:58,200 --> 00:13:01,600 Speaker 1: the late nineteen thirties. It was based on the term 182 00:13:01,920 --> 00:13:05,680 Speaker 1: juke joint, which was regional slang for a rowdy bar 183 00:13:05,880 --> 00:13:09,320 Speaker 1: or dance hall with lots of loud music. The word 184 00:13:09,600 --> 00:13:13,280 Speaker 1: juke comes from the Creole language and is an adjective 185 00:13:13,400 --> 00:13:18,360 Speaker 1: that means wild, bad, or wicked. Once the name was set, 186 00:13:18,880 --> 00:13:23,400 Speaker 1: jukeboxes entered a golden age, with their peak popularity running 187 00:13:23,440 --> 00:13:28,240 Speaker 1: from the nineteen forties through the mid nineteen sixties. In fact, 188 00:13:28,440 --> 00:13:32,440 Speaker 1: by nineteen forty five, seventy five percent of all the 189 00:13:32,520 --> 00:13:37,319 Speaker 1: records produced annually in the United States were put into jukeboxes. 190 00:13:38,240 --> 00:13:41,559 Speaker 1: The radio shook things up again in the nineteen fifties, 191 00:13:41,760 --> 00:13:44,640 Speaker 1: when the invention of the transistor introduced the world to 192 00:13:44,679 --> 00:13:49,280 Speaker 1: the joys of portable music. Jukebox sales and usage began 193 00:13:49,360 --> 00:13:53,000 Speaker 1: to slide from there, but they remained staple fixtures in 194 00:13:53,120 --> 00:13:58,079 Speaker 1: plenty of diners, bars, and restaurants. Today you can still 195 00:13:58,160 --> 00:14:02,160 Speaker 1: find working vintage jukebox and many of those same locations 196 00:14:02,559 --> 00:14:05,320 Speaker 1: and new models are still produced and used as well. 197 00:14:06,080 --> 00:14:08,600 Speaker 1: Most of the ones made in the past few decades 198 00:14:08,800 --> 00:14:12,719 Speaker 1: play songs either from CDs or digital files, but they 199 00:14:12,760 --> 00:14:15,840 Speaker 1: still look a lot like the ones from the nineteen fifties, 200 00:14:16,360 --> 00:14:21,600 Speaker 1: complete with domed tops, shiny chrome candy colored light bars, 201 00:14:21,800 --> 00:14:25,280 Speaker 1: and if you're really lucky, those tubes of little bubbles 202 00:14:25,320 --> 00:14:28,400 Speaker 1: they run up and down the sides. With that much 203 00:14:28,440 --> 00:14:31,560 Speaker 1: to look at, it doesn't really matter which song is playing. 204 00:14:32,440 --> 00:14:38,600 Speaker 1: Well almost, I'm Gabe Luesier and hopefully you now know 205 00:14:38,760 --> 00:14:42,160 Speaker 1: a little more about history today than you did yesterday. 206 00:14:43,040 --> 00:14:46,080 Speaker 1: You can learn even more about history by following us 207 00:14:46,120 --> 00:14:51,520 Speaker 1: on Twitter, Facebook, and Instagram at TDIHC show. And if 208 00:14:51,560 --> 00:14:55,120 Speaker 1: you'd like to share your favorite jukebox selection, you can 209 00:14:55,120 --> 00:14:59,480 Speaker 1: write to me at this day at iHeartMedia dot com. 210 00:15:00,000 --> 00:15:03,680 Speaker 1: My own favorite is Jay seventeen. Can't get enough of 211 00:15:03,680 --> 00:15:07,240 Speaker 1: that one. Thanks to Chandler Mays for producing the show, 212 00:15:07,760 --> 00:15:10,440 Speaker 1: and thank you for listening. I'll see you back here 213 00:15:10,480 --> 00:15:21,600 Speaker 1: again tomorrow for another day in History class. For more 214 00:15:21,600 --> 00:15:25,200 Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or 215 00:15:25,200 --> 00:15:26,800 Speaker 1: wherever you listen to your favorite shows.