WEBVTT - A Different Kind of Identity Theft

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<v Speaker 1>Pushkin.

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<v Speaker 2>It's always about the music. Music is everything to me.

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<v Speaker 2>Music is the food I eat, it's the blood in

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<v Speaker 2>my veins. Without music, I'm not here. I'm actually not here.

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<v Speaker 1>When world renowned musician Nin Kim first picked up a violin,

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<v Speaker 1>she knew immediately that it would define her, and it

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<v Speaker 1>did until one day in a London train station, everything changed.

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<v Speaker 2>I didn't know if I was ever going to play

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<v Speaker 2>the violin again. I didn't know if I could ever

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<v Speaker 2>listen to music again. I didn't listen to music, even

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<v Speaker 2>if it was the most healing music. I just couldn't

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<v Speaker 2>process it. And in that my life as I knew

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<v Speaker 2>it ended.

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<v Speaker 1>On today's episode, a different kind of identity theft, I'm

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<v Speaker 1>Maya Shunker and this is a slight change of plans,

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<v Speaker 1>a show about who we are and who we become

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<v Speaker 1>in the face of a big change. I felt an

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<v Speaker 1>immediate and close connection to me and Kim the first

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<v Speaker 1>time I heard her story. We both began playing the

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<v Speaker 1>violin at a young age, and it quickly became the

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<v Speaker 1>center of our identities. And then we both experienced a

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<v Speaker 1>plot twist. Many of you know what happened in my

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<v Speaker 1>musical career when I was fifteen, an injury to my

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<v Speaker 1>hand left me unable to play. Min's slight change of

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<v Speaker 1>plans arrived a little later in her life, but we'll

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<v Speaker 1>get to that in a bit. For now, let's start

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<v Speaker 1>with Min's love story with music. She says it began

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<v Speaker 1>before she was even born. Min's uncle would often send

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<v Speaker 1>Min's mom classical music records in the mail. Her mom

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<v Speaker 1>loved these recordings, especially the ones that featured the violin,

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<v Speaker 1>and when she became pregnant with men, listening to these

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<v Speaker 1>records became a sort of pregnancy craving.

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<v Speaker 2>It was sort of the highlight of her week to

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<v Speaker 2>get these records. And my parents had a very sort

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<v Speaker 2>of traditional career and marriage where my father would come

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<v Speaker 2>home pay his wages on the kitchen table. My mother

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<v Speaker 2>would budget for the week, but she'd always put some

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<v Speaker 2>money aside because she just so desperately wanted a high

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<v Speaker 2>fight system, and they were terribly expensive in those days.

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<v Speaker 2>But she managed it, and she didn't know she was

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<v Speaker 2>pregnant with me at the time, but she just had

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<v Speaker 2>this yearning to listened to as much classical music as possible.

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<v Speaker 2>She eventually got this hi Fi system and she was

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<v Speaker 2>listening to things like Sibelia's Violin Concerto, Mozart, violin concertos, Mendelssohn, Tchaikovski,

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<v Speaker 2>and I'm sure that exposure in my mother's womb. Yeah,

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<v Speaker 2>was my first violin lesson.

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<v Speaker 1>Wow, amazing, What is your first memory of the violin?

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<v Speaker 2>So my best friend at the time, we were both six,

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<v Speaker 2>she had started learning the trumpet for the Salvation Army

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<v Speaker 2>and her sister was playing the violin, and she had

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<v Speaker 2>a quarter sized violin, and I would look at this

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<v Speaker 2>viol and I just felt this sort of pang of

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<v Speaker 2>feeling like I'm at home. It's really difficult to describe

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<v Speaker 2>that sense of wow, everything makes sense. And I think

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<v Speaker 2>that is possibly as a result of we'd actually come

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<v Speaker 2>to England three years before that, and I know it

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<v Speaker 2>was tough. I know it was tough for my parents,

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<v Speaker 2>coming from you know, very Korean culture, not really speaking English,

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<v Speaker 2>learning a new language. So language became really really important

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<v Speaker 2>in my mind at the time, And all of a sudden,

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<v Speaker 2>seeing this violin, I realized that it's actually another vessel

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<v Speaker 2>for language and music, being the you know, the universal language.

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<v Speaker 2>I sort of realized that actually everything that can be

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<v Speaker 2>expressed can be done through music. And I actually taught

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<v Speaker 2>myself to play the violin before I had my first

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<v Speaker 2>violin lesson via my friend's instrument. I mean, it was

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<v Speaker 2>just twiggled to good. Little style wasn't but it was

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<v Speaker 2>just so exciting. You know that the sounds that the

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<v Speaker 2>violin was capable of making. I think, the freedom of

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<v Speaker 2>having this. You know, you put your finger down and

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<v Speaker 2>it makes a different note. I mean, for a six

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<v Speaker 2>year old, it just absolutely blew my mind.

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<v Speaker 1>It's really delightful for me to hear this story because

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<v Speaker 1>I also started playing the violin at age six, and

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<v Speaker 1>so we must have been an very similar stage of development.

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<v Speaker 3>Oh, I just away of that.

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<v Speaker 1>I remember they would put little pieces of colored tape

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<v Speaker 1>onto the fingerboard to help q where it is that

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<v Speaker 1>we were supposed to put our fingers, and so yeah,

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<v Speaker 1>I think I had a similar level of intrigue and like, ooh,

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<v Speaker 1>this is really cool. Okay, so you had this moment

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<v Speaker 1>at six where you're looking at your friend's violin and

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<v Speaker 1>you feel a sense of home and then I'm presuming

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<v Speaker 1>you ask your mom for your own violin. Can you

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<v Speaker 1>describe me your early relationship once you began playing the violin.

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<v Speaker 1>What was that like? Like, what were you drawn to?

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<v Speaker 1>What did it make you feel?

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<v Speaker 2>It made me feel free. So when I was talking

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<v Speaker 2>about language and things like that, it just felt like

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<v Speaker 2>there were no barriers. I mean, I look back now,

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<v Speaker 2>I did have this sense of destiny. It was like,

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<v Speaker 2>I remember there was a moment around the time that

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<v Speaker 2>I started playing the violin and it starts to rain

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<v Speaker 2>and I didn't have a number. I was in the

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<v Speaker 2>playground and I was looking up into the sky and

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<v Speaker 2>seeing these rain drops falling, and I just knew there

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<v Speaker 2>was a god and I knew that I was supposed

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<v Speaker 2>to play the violin. Right. It's kind of I mean

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<v Speaker 2>I think that now, and I put myself back into

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<v Speaker 2>that six year old mind, and I was deadly serious.

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<v Speaker 2>Do you know what. I think I was more serious

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<v Speaker 2>as a six year old. Now.

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<v Speaker 1>I was going to say, then you were a very

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<v Speaker 1>precocious six year old, because I think my six year

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<v Speaker 1>old brain was like, I love the violin. Also, how

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<v Speaker 1>do I convince my mom to give me more cookies?

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<v Speaker 1>Like that was the level of sophistication that I had.

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<v Speaker 2>Oh well, yeah, yeah, you know, I love cheese sawagy.

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<v Speaker 1>Wow, it's quite extraordinary that you had such a deep

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<v Speaker 1>attachment from such an early age. So how quickly did

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<v Speaker 1>you realize min that you had this incredible gift? And

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<v Speaker 1>I'll say it for you so that you don't have to,

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<v Speaker 1>but you were deemed a child prodigy? So when did

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<v Speaker 1>that happen?

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<v Speaker 2>So actually, one of the reasons why I think it

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<v Speaker 2>was recognized very quickly that I did have an unusual

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<v Speaker 2>talent was because I was actually allergic to rosin. It's

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<v Speaker 2>a substance that you used to oil the bow. That

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<v Speaker 2>the bow is made from horse hair, and so in

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<v Speaker 2>order to make it slightly sticky and produce the sound

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<v Speaker 2>so it's not sort of sliding everywhere, you put this

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<v Speaker 2>rosin on the hair. And in those days, I had

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<v Speaker 2>really really terrible asthma. I was being hospitalized every other month.

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<v Speaker 2>I was allergic to everything, including rosin, and so that

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<v Speaker 2>meant that I couldn't actually practice more than half an

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<v Speaker 2>hour at a time before I would start wheezing, and

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<v Speaker 2>so my mother would have to monitor me, like the

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<v Speaker 2>first sign of the wheezing should make me stop.

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<v Speaker 1>But what it.

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<v Speaker 2>Actually did show was with half an hour practice a day,

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<v Speaker 2>I was still able to progress at a pace that was,

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<v Speaker 2>you know, outside of the norm, and I think that's

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<v Speaker 2>why people called me a prodigy. I mean, I remember

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<v Speaker 2>actually going to the awards ceremony picking up this prize

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<v Speaker 2>that i'd won because I'd got the highest mark in

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<v Speaker 2>the country or something like that, and I'm looking around

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<v Speaker 2>and everybody else is sort of you know, in their

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<v Speaker 2>late teens, and I'm like a child, and yeah, I'm thinking, well,

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<v Speaker 2>I guess that's my life.

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<v Speaker 1>How did your devotion to the violin and your relationship

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<v Speaker 1>with the violin evolve during your teenage years? So, I mean,

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<v Speaker 1>was there a moment in particular where you decided I

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<v Speaker 1>want to be a professional or was that always in

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<v Speaker 1>the cards for you that you knew?

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<v Speaker 2>No, it was actually So that's the bit I suppose

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<v Speaker 2>of my life where I look back now and I

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<v Speaker 2>realized that I really didn't have any control over it

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<v Speaker 2>was already decided by the time I was eight, by

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<v Speaker 2>my teachers, by the school, that I was going to

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<v Speaker 2>be a violinist. I mean, I had no choice in

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<v Speaker 2>the matter. I wasn't complaining because I think I'd always

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<v Speaker 2>felt that that was the case. But I think it

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<v Speaker 2>make me develop a sort of love hate relationship with

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<v Speaker 2>the violin, not music, but with the violin, because I

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<v Speaker 2>think when that kind of expectation is on very young shoulders,

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<v Speaker 2>it does cause a sense of responsibility. I mean one

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<v Speaker 2>of the things that I would hear constantly was the

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<v Speaker 2>word potential. And what a loaded word that is. Expectation. Yeah,

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<v Speaker 2>you can't help but pick up the subtext behind the

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<v Speaker 2>word potential, which is that the saddest thing is unfulfilled potential.

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<v Speaker 2>And to deal with that as a child, you know,

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<v Speaker 2>not even in double figures. By that we were talking

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<v Speaker 2>eight nine years old. It was Yeah, it was daunting.

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<v Speaker 2>And I remember saying to my mother, I don't think

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<v Speaker 2>I want to play the violin anymore if I'm not

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<v Speaker 2>going to enjoy it. And that was a really strong

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<v Speaker 2>message for her to hear. And she did sit me

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<v Speaker 2>down and say, look, if you don't want to do this,

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<v Speaker 2>you don't have to. And that was the moment that

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<v Speaker 2>I decided that that's what I wanted to do.

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<v Speaker 1>Wow, what a nice pressure test. Yeah, So I'd like

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<v Speaker 1>to fast forward over a decade to when you're twenty one,

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<v Speaker 1>and from the perspective of a violinist, you have this

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<v Speaker 1>once in a lifetime opportunity when it comes to the

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<v Speaker 1>violin that you play. Do you mind bringing us back

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<v Speaker 1>to that moment.

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<v Speaker 2>So I'd actually been borrowing violins since I was, oh gosh,

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<v Speaker 2>twelve years old from this dealership, but you know, I

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<v Speaker 2>always wanted to have my own instrument. It's a little

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<v Speaker 2>bit like a house, I suppose, or a home. When

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<v Speaker 2>you own your home, you feel like it's your home.

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<v Speaker 2>You can't be kicked out at any point. I mean,

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<v Speaker 2>the thing about borrowing a violin is that there's always

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<v Speaker 2>that sort of sense at the back of your mind

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<v Speaker 2>that it can be taken away times. So it became

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<v Speaker 2>very important for me to actually own my own instrument,

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<v Speaker 2>and so I asked the dealership if they wouldn't mind

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<v Speaker 2>just keeping an eye out for any instrument. They knew

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<v Speaker 2>my playing very well, and so I just asked them

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<v Speaker 2>to just, you know, to keep an ear to the

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<v Speaker 2>ground if they hear of any instruments that they might

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<v Speaker 2>feel suited me. And as it happened, after a few

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<v Speaker 2>years of nothing, two came along at the same time,

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<v Speaker 2>and so I got the phone call saying, well, we've

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<v Speaker 2>got two violins that we think might suit your playing.

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<v Speaker 2>They're both strads, and I'm thinking, wow, okay, this is

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<v Speaker 2>very unusual.

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<v Speaker 1>Yeah, tell us what makes the strad so spectacular in

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<v Speaker 1>the world of violinists.

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<v Speaker 2>So, Stradivarius was an incredibly prolific violin maker in the

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<v Speaker 2>sixteen hundreds all the way to the seventeen hundreds. He

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<v Speaker 2>actually lived unti a very ripe old age. He basically

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<v Speaker 2>revolutionized how violins were made. And I think it is

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<v Speaker 2>a real testament to his genius. That's how he visualized

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<v Speaker 2>the violin, how he understood the physics of the violin

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<v Speaker 2>has never been improved. I mean that is incredible. And

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<v Speaker 2>you know, there's no wonder that they're going for millions

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<v Speaker 2>of dollars. So a really quality instrument like a strad,

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<v Speaker 2>it shows you how to play, It teaches you how

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<v Speaker 2>to play, It makes you better, you know, and the

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<v Speaker 2>magic and you feel like, you know how when you

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<v Speaker 2>listen to great singing and it sends shivers down your spine.

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<v Speaker 2>And that's what a top violin playing on the top

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<v Speaker 2>violin does. You feel these electricity, it's magic, you know,

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<v Speaker 2>and you feel alive. So I was presented with two strads.

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<v Speaker 2>I mean, can you imagine two stratavirus is. You know,

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<v Speaker 2>we were actually in my parents' home. The dealer actually

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<v Speaker 2>with a double case, and in that case are two

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<v Speaker 2>violins that's worth more than the house was standing in.

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<v Speaker 2>I mean, it's just it's insane, right, And he opens

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<v Speaker 2>the case and I can feel everybody willing me to

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<v Speaker 2>choose the one that has the better pedigree. Gorgeous looking instrument,

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<v Speaker 2>I mean, was just so handsome, had a kind of amber,

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<v Speaker 2>dark amber hue to it. And I picked it up,

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<v Speaker 2>and I mean the sound was just incredible. It sounded

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<v Speaker 2>like Pavarotti. Okay, it had this incredibly rich, rich, vibrant

0:13:49.356 --> 0:13:53.956
<v Speaker 2>just tingles, you know, but you know what didn't feel

0:13:53.996 --> 0:13:57.156
<v Speaker 2>like me. It didn't sound like me. It was like

0:13:57.236 --> 0:14:02.876
<v Speaker 2>I was wearing the most beautiful gown and it just

0:14:02.916 --> 0:14:06.756
<v Speaker 2>didn't suit me. So the other one was smaller, It

0:14:06.836 --> 0:14:10.196
<v Speaker 2>had a much more slender body and neck. It was

0:14:10.236 --> 0:14:13.196
<v Speaker 2>made in sixteen ninety six, it'd been through the walls,

0:14:13.236 --> 0:14:15.556
<v Speaker 2>it had a hole in the top, and you know,

0:14:15.676 --> 0:14:18.516
<v Speaker 2>it didn't come from such a great pedigree year. But

0:14:18.596 --> 0:14:21.396
<v Speaker 2>I picked it up, and you know, I just knew

0:14:21.436 --> 0:14:26.716
<v Speaker 2>it was the one. It felt like you know, when

0:14:26.796 --> 0:14:32.636
<v Speaker 2>you meet someone and you on paper, you wouldn't necessarily

0:14:32.676 --> 0:14:35.276
<v Speaker 2>say this is the perfect fit for me, this is

0:14:35.596 --> 0:14:38.316
<v Speaker 2>this is you know, you might not necessarily know that

0:14:38.396 --> 0:14:41.276
<v Speaker 2>it's your match. But the chemistry, and I know it

0:14:41.316 --> 0:14:44.596
<v Speaker 2>sounds so strange talking about a chemistry with a violin,

0:14:44.636 --> 0:14:47.796
<v Speaker 2>but it was the chemistry was just right. It just

0:14:47.876 --> 0:14:51.516
<v Speaker 2>felt right. It felt it felt like it completed me.

0:14:52.596 --> 0:14:55.716
<v Speaker 1>You know, it's I don't know if you're a fan

0:14:55.756 --> 0:14:58.636
<v Speaker 1>of Harry Potter, but it does remind me. Okay, so

0:14:58.796 --> 0:15:01.036
<v Speaker 1>it does remind me of the you know, the one

0:15:01.276 --> 0:15:03.876
<v Speaker 1>chooses the wizard. And what I'm hearing in your story

0:15:04.076 --> 0:15:07.076
<v Speaker 1>is this particular strat of areas chose you.

0:15:07.436 --> 0:15:07.876
<v Speaker 3>Yeah.

0:15:08.116 --> 0:15:10.516
<v Speaker 2>You know a lot of people might meet their life

0:15:10.556 --> 0:15:13.516
<v Speaker 2>partner at that age, and I'd never felt like that

0:15:13.556 --> 0:15:16.476
<v Speaker 2>about another person. I was twenty one. You're kind of

0:15:17.036 --> 0:15:21.556
<v Speaker 2>you know, you're on the cusp of leaving childhood, you know,

0:15:21.876 --> 0:15:25.716
<v Speaker 2>youth and really becoming an adult. I was becoming a woman,

0:15:26.476 --> 0:15:29.236
<v Speaker 2>and I think, yeah, it just came at that point

0:15:29.316 --> 0:15:32.196
<v Speaker 2>that I was ready for a new life, and this

0:15:32.356 --> 0:15:36.556
<v Speaker 2>violin really fulfilled that new life. I mean I basically

0:15:36.796 --> 0:15:40.076
<v Speaker 2>invested everything I had in that violin. I had been

0:15:40.076 --> 0:15:42.956
<v Speaker 2>earning since I was ten eleven years old. I won

0:15:42.996 --> 0:15:46.756
<v Speaker 2>a competition when I was eleven which the prize money

0:15:46.876 --> 0:15:50.076
<v Speaker 2>was a lot, which my parents actually invested for me.

0:15:50.716 --> 0:15:52.916
<v Speaker 2>So by the time I actually reached twenty one, I

0:15:52.956 --> 0:15:56.556
<v Speaker 2>actually had enough money to buy a flat. And I

0:15:56.556 --> 0:16:01.276
<v Speaker 2>think the normal thing would be you upgrade your flat

0:16:01.916 --> 0:16:04.796
<v Speaker 2>and buy a bigger place, you know, and so on

0:16:04.836 --> 0:16:06.836
<v Speaker 2>and so forth. Well for me, it was a no brainer.

0:16:07.276 --> 0:16:09.316
<v Speaker 2>I didn't care about my flat. I just need did

0:16:09.316 --> 0:16:10.596
<v Speaker 2>this violin for everything?

0:16:10.876 --> 0:16:13.276
<v Speaker 1>So rather than the flat upgrade, you were like going

0:16:13.316 --> 0:16:15.996
<v Speaker 1>all in and eventually wanting to own this violin.

0:16:16.236 --> 0:16:16.756
<v Speaker 3>Yeah.

0:16:16.876 --> 0:16:19.516
<v Speaker 2>I had loans, I had mortgages, but yeah, I mean,

0:16:20.036 --> 0:16:20.636
<v Speaker 2>you know, it.

0:16:20.516 --> 0:16:21.436
<v Speaker 3>Was my life. Wow.

0:16:21.596 --> 0:16:24.916
<v Speaker 2>But actually also I don't know, it was just it

0:16:24.956 --> 0:16:27.516
<v Speaker 2>gave me a sense of home. It gave me sense stability.

0:16:27.516 --> 0:16:29.596
<v Speaker 2>The thing about the violin as well. And I was

0:16:29.636 --> 0:16:32.796
<v Speaker 2>traveling a lot as well in those days, and whenever

0:16:32.836 --> 0:16:35.596
<v Speaker 2>I felt homesick or whenever I felt like a culture

0:16:35.596 --> 0:16:38.596
<v Speaker 2>shock or anything like that, and I felt like, oh gosh,

0:16:38.676 --> 0:16:41.196
<v Speaker 2>I'm you know, a bit anxious. I don't know where

0:16:41.236 --> 0:16:44.276
<v Speaker 2>I am. If I got out my violin, I played

0:16:44.276 --> 0:16:46.196
<v Speaker 2>a few scales and I would just sort of get

0:16:46.236 --> 0:16:49.076
<v Speaker 2>lost in the violin world. I just felt at home

0:16:49.236 --> 0:16:52.396
<v Speaker 2>so effectively, you know, you're sort of carrying your home

0:16:52.436 --> 0:16:53.636
<v Speaker 2>around with you wherever you go.

0:16:54.756 --> 0:16:55.596
<v Speaker 3>And I loved it.

0:16:55.596 --> 0:16:57.876
<v Speaker 2>It was just it meant everything to me.

0:16:59.236 --> 0:17:04.236
<v Speaker 1>Now, let's fast forward ten years to this called November Day.

0:17:04.436 --> 0:17:07.076
<v Speaker 1>It's twenty ten. You're thirty one years old at the time,

0:17:08.116 --> 0:17:12.596
<v Speaker 1>and everything changed for you. In a London train station.

0:17:13.076 --> 0:17:17.996
<v Speaker 2>So it was actually particularly cold November. I had actually

0:17:17.996 --> 0:17:22.196
<v Speaker 2>been in hospital a few days before with asthma. I

0:17:22.236 --> 0:17:25.036
<v Speaker 2>actually collapsed in the street. I was sort of on

0:17:25.076 --> 0:17:28.676
<v Speaker 2>these heavy duty steroids, you know, head all over the place,

0:17:29.236 --> 0:17:33.636
<v Speaker 2>and I was heading off to Manchester. So got to

0:17:33.676 --> 0:17:37.676
<v Speaker 2>the train station. I was with my boyfriend Matt. We

0:17:37.796 --> 0:17:40.196
<v Speaker 2>got there a little bit early, decided to get something

0:17:40.196 --> 0:17:43.676
<v Speaker 2>to eat. We were in prit Mages, which is our

0:17:43.716 --> 0:17:49.636
<v Speaker 2>Sandward shop, and because I wasn't feeling well, Matt wanted

0:17:49.676 --> 0:17:53.756
<v Speaker 2>to look after my violin. My default position sitting down

0:17:54.116 --> 0:17:56.436
<v Speaker 2>with my violin was to tie the strap around my

0:17:56.476 --> 0:17:59.236
<v Speaker 2>ankle and I would never let anybody carry my violin

0:17:59.396 --> 0:18:05.436
<v Speaker 2>for me. So my response was absolutely no way, and

0:18:05.516 --> 0:18:08.196
<v Speaker 2>we had an argument. We actually had an argument about it,

0:18:08.316 --> 0:18:10.556
<v Speaker 2>and you know, the thing is I'm the kind of

0:18:10.596 --> 0:18:14.436
<v Speaker 2>person I just really don't like creating any kind of

0:18:14.476 --> 0:18:19.636
<v Speaker 2>scene in public. And he was very insistent on looking

0:18:19.676 --> 0:18:21.916
<v Speaker 2>off my violin, and I said, promise me, you'll look

0:18:21.956 --> 0:18:30.476
<v Speaker 2>after it. And then about ten minutes later he said,

0:18:30.556 --> 0:18:39.516
<v Speaker 2>oh my god, where's your violin? And it had gone.

0:18:40.436 --> 0:18:45.836
<v Speaker 2>And in that moment, my life as I knew it ended.

0:18:49.916 --> 0:18:51.996
<v Speaker 1>We'll be back in a moment with a slight change

0:18:51.996 --> 0:19:07.596
<v Speaker 1>of plans. Min Kim's beloved violin was gone. Here's what

0:19:07.716 --> 0:19:11.996
<v Speaker 1>happened in the London trains that day. Min had reluctantly

0:19:12.036 --> 0:19:14.756
<v Speaker 1>let her boyfriend watch over her instrument while she grabbed

0:19:14.756 --> 0:19:18.036
<v Speaker 1>a quick sandwich. He got distracted for a moment, and

0:19:18.116 --> 0:19:23.156
<v Speaker 1>someone snatched the violin. Security footage later revealed that three

0:19:23.196 --> 0:19:26.396
<v Speaker 1>men were behind the theft. The violin was valued at

0:19:26.396 --> 0:19:30.196
<v Speaker 1>one point two million pounds. As police began a search,

0:19:30.556 --> 0:19:33.076
<v Speaker 1>Min tried to adjust to life without her violin.

0:19:33.916 --> 0:19:38.276
<v Speaker 2>I was sort of struggling between feeling a sense of,

0:19:39.596 --> 0:19:42.196
<v Speaker 2>you know, just needing to be very practical, dealing with

0:19:42.236 --> 0:19:44.556
<v Speaker 2>the practicalities of it, like the assurance stuff like that,

0:19:44.596 --> 0:19:48.996
<v Speaker 2>and also feeling very guilty about feeling so devastated and

0:19:49.076 --> 0:19:55.796
<v Speaker 2>got it almost like you know, it was there were

0:19:55.796 --> 0:19:58.916
<v Speaker 2>some very well meaning people who loved me and were

0:19:58.916 --> 0:20:01.356
<v Speaker 2>basically just trying to help, and they, you know that,

0:20:01.396 --> 0:20:03.796
<v Speaker 2>they were saying, man, it's just a violin. You know

0:20:04.356 --> 0:20:07.596
<v Speaker 2>there are other violins, And of course they're right, there

0:20:07.636 --> 0:20:11.516
<v Speaker 2>are other violins. But I think for me it was

0:20:12.116 --> 0:20:15.636
<v Speaker 2>like it was akin to say, you've lived somewhere since

0:20:15.636 --> 0:20:19.676
<v Speaker 2>you're twenty one, you've lived somewhere that you've really made

0:20:19.716 --> 0:20:23.196
<v Speaker 2>your home, You've tended the garden, and you know everything

0:20:23.276 --> 0:20:25.956
<v Speaker 2>is your home. You know it's your safe place, it's everything,

0:20:26.036 --> 0:20:30.236
<v Speaker 2>and then all of a sudden it's destroyed. So that's

0:20:30.236 --> 0:20:35.556
<v Speaker 2>how it felt like for me, and well, I suppose

0:20:35.556 --> 0:20:37.756
<v Speaker 2>it was a sense of loss of identity. It was

0:20:37.796 --> 0:20:40.436
<v Speaker 2>a sense of a loss of everything that i'd actually

0:20:40.956 --> 0:20:43.676
<v Speaker 2>it was my life earnings as well. And at this

0:20:43.796 --> 0:20:47.116
<v Speaker 2>point I'm not even sure what's happening with the insurance,

0:20:47.196 --> 0:20:50.676
<v Speaker 2>so I don't even know if I've actually lost my

0:20:50.996 --> 0:20:56.956
<v Speaker 2>entire life earnings, my savings, my pension, everything. I didn't

0:20:56.996 --> 0:20:58.836
<v Speaker 2>know if I was ever going to play the violin again.

0:20:59.356 --> 0:21:01.636
<v Speaker 2>I didn't know if I could ever listen to music again.

0:21:02.196 --> 0:21:05.796
<v Speaker 2>I didn't listen to music actually, for gosh, the best

0:21:05.836 --> 0:21:08.356
<v Speaker 2>part of six months. I couldn't it was too painful.

0:21:08.596 --> 0:21:11.956
<v Speaker 2>And this is, you know, having been someone who's basically

0:21:12.036 --> 0:21:14.116
<v Speaker 2>been in love with music since I was born, well,

0:21:14.236 --> 0:21:17.636
<v Speaker 2>so as I was in the woomb to all of

0:21:17.676 --> 0:21:20.916
<v Speaker 2>a sudden actually reject music. I had to reject music

0:21:20.916 --> 0:21:24.156
<v Speaker 2>because it was just so painful. I didn't want to feel.

0:21:24.236 --> 0:21:27.596
<v Speaker 2>I didn't want, I couldn't feel. I couldn't cry. To

0:21:27.756 --> 0:21:31.676
<v Speaker 2>cry meant that I had to feel, and to feel

0:21:31.716 --> 0:21:37.516
<v Speaker 2>meant that I was human, and I just felt like

0:21:37.996 --> 0:21:41.916
<v Speaker 2>I was going through the motions. I slept. I was

0:21:42.076 --> 0:21:45.316
<v Speaker 2>just all I wanted to do was sleep. I didn't

0:21:45.356 --> 0:21:48.156
<v Speaker 2>want to get out of bed, just wanted to sleep.

0:21:49.036 --> 0:21:51.716
<v Speaker 1>You mentioned that for a long time after your violin

0:21:51.796 --> 0:21:56.196
<v Speaker 1>was stolen, you were not even able to listen to music. Yeah,

0:21:56.316 --> 0:21:59.996
<v Speaker 1>tell me about when that changed for you and what

0:22:00.236 --> 0:22:03.396
<v Speaker 1>cracked you open again and made music an option for

0:22:03.436 --> 0:22:04.076
<v Speaker 1>you once again.

0:22:04.996 --> 0:22:11.516
<v Speaker 2>So I needed silence, I felt so immediately after the theft.

0:22:12.316 --> 0:22:19.036
<v Speaker 2>I just needed silence. I couldn't process. I couldn't process

0:22:20.516 --> 0:22:26.476
<v Speaker 2>noise or sounds. Everything just sounded like noise and I

0:22:26.516 --> 0:22:29.916
<v Speaker 2>couldn't deal with it. You know how when you listen

0:22:29.996 --> 0:22:34.876
<v Speaker 2>to a song and they have very specific lyrics, very

0:22:34.916 --> 0:22:38.716
<v Speaker 2>meaningful lyrics to something maybe that you've experienced, and it's

0:22:38.796 --> 0:22:42.876
<v Speaker 2>just so exactly what you're going through, and you're just like,

0:22:43.116 --> 0:22:45.116
<v Speaker 2>get it away from me. I can't deal with it,

0:22:45.396 --> 0:22:48.276
<v Speaker 2>you know. And every single piece of music sounded like

0:22:48.276 --> 0:22:50.396
<v Speaker 2>that to me. It was like a dagger to my heart.

0:22:50.996 --> 0:22:54.076
<v Speaker 2>Even if it was the most healing music, I just

0:22:54.196 --> 0:22:58.916
<v Speaker 2>couldn't process it. I certainly couldn't play. And I really

0:22:58.956 --> 0:23:02.836
<v Speaker 2>didn't want to be self indulgent about grieving, and I

0:23:02.876 --> 0:23:06.476
<v Speaker 2>think that's why I denied myself the grieving process for

0:23:06.516 --> 0:23:10.876
<v Speaker 2>so long. I felt guilty that maybe I'm being massively

0:23:10.876 --> 0:23:14.036
<v Speaker 2>self indulgent. So I kind of went into sort of

0:23:14.196 --> 0:23:18.436
<v Speaker 2>soldier mode, giving myself a massive of doses of tough love,

0:23:18.516 --> 0:23:22.156
<v Speaker 2>not actually realizing that what I really needed was to

0:23:22.236 --> 0:23:26.916
<v Speaker 2>just take it easy, just you know, say it's okay

0:23:26.916 --> 0:23:31.436
<v Speaker 2>to cry, It's okay to cry over something so important

0:23:31.476 --> 0:23:35.116
<v Speaker 2>to me. And I think that delayed just sort of

0:23:35.116 --> 0:23:40.116
<v Speaker 2>reconnecting with my life. And the moment actually came through bach.

0:23:41.676 --> 0:23:46.676
<v Speaker 2>I was alone in the flat in Manchester and I

0:23:46.716 --> 0:23:51.076
<v Speaker 2>had this violin that borrowed that sort of be sitting

0:23:51.596 --> 0:23:55.676
<v Speaker 2>unopened for months. Took it out, took out the boat.

0:23:55.716 --> 0:23:57.876
<v Speaker 2>It felt like a golf club in my hand, you know,

0:23:59.516 --> 0:24:06.596
<v Speaker 2>just felt soulless. But I suddenly had an urge to

0:24:06.676 --> 0:24:09.396
<v Speaker 2>play Bach. And the reason, I think is because I

0:24:09.436 --> 0:24:12.716
<v Speaker 2>always think of Bach has been the ultimate detox. You know,

0:24:12.836 --> 0:24:21.236
<v Speaker 2>it's so pure, it's so clean, and my soul felt

0:24:21.276 --> 0:24:24.916
<v Speaker 2>ready to let go of some of the of the

0:24:24.916 --> 0:24:28.756
<v Speaker 2>real darkness. I didn't realize just how in such a

0:24:28.836 --> 0:24:33.356
<v Speaker 2>dark place that i'd been, I hadn't laughed in months.

0:24:34.156 --> 0:24:39.596
<v Speaker 2>I hadn't cried either. So I played a piece by

0:24:39.716 --> 0:24:43.836
<v Speaker 2>Bach called the Chakan, and I started shaking, like my

0:24:43.916 --> 0:24:47.636
<v Speaker 2>body actually started shaking in voluntarily, like it was trying

0:24:47.676 --> 0:24:50.596
<v Speaker 2>to feel something, like it was trying to connect with something.

0:24:50.636 --> 0:24:54.036
<v Speaker 2>And I think it's also because the Chakon being such

0:24:54.076 --> 0:24:58.996
<v Speaker 2>an incredibly powerful piece that he wrote after learning that

0:24:59.076 --> 0:25:03.276
<v Speaker 2>his wife had died, and it's not a sentimental piece,

0:25:03.876 --> 0:25:12.196
<v Speaker 2>but it really does capture life. I'm a huge believer

0:25:12.516 --> 0:25:16.036
<v Speaker 2>in the subconscious mind, just knowing what it's going to do,

0:25:16.156 --> 0:25:18.196
<v Speaker 2>what you're going to do before you even do it.

0:25:18.236 --> 0:25:21.996
<v Speaker 2>And I clearly chose the Bach on a very deep

0:25:22.436 --> 0:25:24.356
<v Speaker 2>level because I think it's the piece that I always

0:25:24.396 --> 0:25:27.636
<v Speaker 2>go back to if I ever feel like I need

0:25:27.956 --> 0:25:32.196
<v Speaker 2>to not even have answers for anything, because I don't

0:25:32.236 --> 0:25:35.436
<v Speaker 2>have answers for anything really, but just that feeling of

0:25:35.476 --> 0:25:38.196
<v Speaker 2>something so much greater that, you know, that wonderment.

0:25:38.396 --> 0:25:38.716
<v Speaker 1>Yeah.

0:25:38.756 --> 0:25:41.396
<v Speaker 2>So it was almost like going back to being a

0:25:41.476 --> 0:25:45.316
<v Speaker 2>child and that wonderment of music and the awe that

0:25:45.396 --> 0:25:50.716
<v Speaker 2>you feel of oh, of discovering music. You're thinking, wow,

0:25:51.596 --> 0:25:53.596
<v Speaker 2>this is nature, this is life.

0:25:53.996 --> 0:25:54.196
<v Speaker 1>You know.

0:25:54.516 --> 0:25:56.796
<v Speaker 2>It was almost like discovering music for the very first

0:25:56.796 --> 0:26:02.036
<v Speaker 2>time again and just realizing that everything, every language is

0:26:02.076 --> 0:26:07.196
<v Speaker 2>in music, every emotion, every thought, everything that's ever been

0:26:07.556 --> 0:26:08.836
<v Speaker 2>discovered is in music.

0:26:10.116 --> 0:26:10.356
<v Speaker 3>Yeah.

0:26:10.396 --> 0:26:13.756
<v Speaker 2>It just freed my mind to stop being so closed.

0:26:13.916 --> 0:26:16.236
<v Speaker 2>And you know, at that point, I was actually living

0:26:16.956 --> 0:26:19.396
<v Speaker 2>in my head with so many walls. There was just

0:26:19.396 --> 0:26:22.756
<v Speaker 2>so many walls around my thought process, and the bars

0:26:22.796 --> 0:26:26.636
<v Speaker 2>chak on just somehow just shattered those walls and it

0:26:26.716 --> 0:26:31.156
<v Speaker 2>helped me. It was almost like I felt I felt

0:26:31.756 --> 0:26:36.516
<v Speaker 2>touch God. I you know, I get really emotionalized remembering

0:26:36.516 --> 0:26:44.156
<v Speaker 2>that feeling of He helped me live again, you know,

0:26:44.236 --> 0:26:46.036
<v Speaker 2>And that's the power of music.

0:26:48.196 --> 0:26:50.876
<v Speaker 1>I love that you use r to describe this moment

0:26:51.076 --> 0:26:53.796
<v Speaker 1>because it I'm just thinking back to your childhood and

0:26:53.836 --> 0:26:58.036
<v Speaker 1>how it was music's are inspiring qualities that led you

0:26:58.076 --> 0:26:59.476
<v Speaker 1>to fall in love with it in the first place,

0:26:59.476 --> 0:27:03.156
<v Speaker 1>and now here you are in adulthood reclaiming those are

0:27:03.276 --> 0:27:06.276
<v Speaker 1>inspiring aspects of music to help you heal from this

0:27:07.116 --> 0:27:10.716
<v Speaker 1>traumatic event in your life, and it's just so beautiful.

0:27:10.716 --> 0:27:12.676
<v Speaker 1>It's like you arde your way through this heartbreak.

0:27:13.916 --> 0:27:18.876
<v Speaker 2>Yeah, I think that sense of awe it led me

0:27:19.036 --> 0:27:23.596
<v Speaker 2>to understand the importance of really getting out of the way,

0:27:24.356 --> 0:27:26.756
<v Speaker 2>you know. I think the times that I felt the

0:27:26.756 --> 0:27:29.956
<v Speaker 2>most blocked was because I was kind of getting in

0:27:29.996 --> 0:27:32.996
<v Speaker 2>the way of myself. So when I was blocking the

0:27:33.076 --> 0:27:34.916
<v Speaker 2>music out, it was because I was getting in the

0:27:34.916 --> 0:27:40.876
<v Speaker 2>way of it and allowing the music to wash over,

0:27:41.556 --> 0:27:45.916
<v Speaker 2>like being in a bath and just letting it flow,

0:27:46.276 --> 0:27:47.956
<v Speaker 2>not trying to control it in any way. And I

0:27:48.036 --> 0:27:53.796
<v Speaker 2>think that's when whatever I'm doing, whether it's practicing, performing, composing,

0:27:54.716 --> 0:28:00.356
<v Speaker 2>even listening, letting go of control is key for everything,

0:28:01.476 --> 0:28:01.636
<v Speaker 2>you know.

0:28:01.636 --> 0:28:04.756
<v Speaker 1>I recently spoke with the psychologist dak Or Keltner, and

0:28:04.956 --> 0:28:08.476
<v Speaker 1>he talks about the fact that one feeling we have

0:28:08.636 --> 0:28:12.556
<v Speaker 1>with art is perceived vastness that we are in the

0:28:12.596 --> 0:28:15.236
<v Speaker 1>presence of something that is so great and big and

0:28:15.236 --> 0:28:18.676
<v Speaker 1>bigger than ourselves, and it can make us feel like

0:28:18.756 --> 0:28:23.036
<v Speaker 1>we are part of a larger hole. They think. When

0:28:23.076 --> 0:28:25.516
<v Speaker 1>you said you kind of got out of the way,

0:28:26.556 --> 0:28:28.676
<v Speaker 1>it aligned with my understanding of all, which is what

0:28:28.716 --> 0:28:31.916
<v Speaker 1>all can do to us is allow us to see

0:28:31.956 --> 0:28:34.796
<v Speaker 1>beyond ourselves. It diminishes the self in a way that's

0:28:34.796 --> 0:28:37.036
<v Speaker 1>actually quite powerful and perspective giving.

0:28:37.596 --> 0:28:40.436
<v Speaker 2>What happened when I lost my violin was because I

0:28:40.556 --> 0:28:43.356
<v Speaker 2>had wrapped so much of my identity with the violin.

0:28:43.596 --> 0:28:46.636
<v Speaker 2>With the violin gone, suddenly I'm left with just me.

0:28:47.676 --> 0:28:49.996
<v Speaker 2>I don't know what to do with it. So that

0:28:50.116 --> 0:28:53.876
<v Speaker 2>sense of awe, I sort of temporarily lost it because

0:28:53.916 --> 0:28:57.356
<v Speaker 2>I'm sort of dealing with me as a human being,

0:28:57.396 --> 0:29:01.036
<v Speaker 2>and I'm thinking, well, there's nothing awesome there, you know,

0:29:02.196 --> 0:29:07.116
<v Speaker 2>and finding that awe again, that feeling of awe is

0:29:07.836 --> 0:29:14.276
<v Speaker 2>forgetting yourself and allowing the music to take shape to

0:29:14.436 --> 0:29:19.836
<v Speaker 2>fill your being, and it's for gosh, it's so powerful, actually,

0:29:19.836 --> 0:29:22.196
<v Speaker 2>and I think that was the reason why I couldn't

0:29:22.236 --> 0:29:25.716
<v Speaker 2>actually let it in. It's such strong medicine actually, that

0:29:25.796 --> 0:29:27.956
<v Speaker 2>sometimes you've got to be a little bit strong and

0:29:27.996 --> 0:29:31.836
<v Speaker 2>I was so weak and I needed to just get

0:29:31.836 --> 0:29:35.076
<v Speaker 2>a little bit stronger in order to be able to

0:29:35.076 --> 0:29:36.796
<v Speaker 2>receive the medicine of music.

0:29:39.436 --> 0:29:41.276
<v Speaker 1>I of course want to know, and I know listeners

0:29:41.276 --> 0:29:45.956
<v Speaker 1>will want to know, if investigators ever found your strativarius.

0:29:47.756 --> 0:29:53.236
<v Speaker 2>Yes, after three very long years, I got the phone

0:29:53.276 --> 0:30:03.676
<v Speaker 2>call and it was elation, followed by the bittersweet realization

0:30:04.156 --> 0:30:08.996
<v Speaker 2>that the violin no longer belonged to me. Who did

0:30:09.476 --> 0:30:14.516
<v Speaker 2>to It belonged to the insurance company within that three years,

0:30:14.876 --> 0:30:18.596
<v Speaker 2>in the normal protocol, the normal way that these things

0:30:18.636 --> 0:30:21.316
<v Speaker 2>are dealt with. You know, my vinyl was insured. I

0:30:21.356 --> 0:30:25.356
<v Speaker 2>had collected the insurance money, and the moment I did that,

0:30:25.396 --> 0:30:28.676
<v Speaker 2>the violin belonged to the insurance company. That's completely fair,

0:30:29.436 --> 0:30:33.516
<v Speaker 2>that's you know, and I had to come to terms

0:30:33.596 --> 0:30:33.836
<v Speaker 2>with that.

0:30:35.236 --> 0:30:37.796
<v Speaker 1>Did you use the insurance money to buy a new violin?

0:30:38.036 --> 0:30:38.396
<v Speaker 2>I had?

0:30:38.476 --> 0:30:41.436
<v Speaker 1>Yes, Okay, yeah, Did it ever feel like you were

0:30:41.516 --> 0:30:44.556
<v Speaker 1>cheating on your strad with this new violin? It's kind

0:30:44.596 --> 0:30:45.716
<v Speaker 1>of a bizarre question, but.

0:30:46.156 --> 0:30:48.796
<v Speaker 2>Oh yeah, well, I mean I think it says everything

0:30:48.916 --> 0:30:53.636
<v Speaker 2>that I resented it. Oh interesting, I resented this VI.

0:30:53.756 --> 0:30:56.396
<v Speaker 2>I mean I know that sounds kind of you know

0:30:56.476 --> 0:30:59.876
<v Speaker 2>what what's you're talking about? But yeah, I mean I

0:30:59.916 --> 0:31:01.996
<v Speaker 2>was being massively unfair, you know, I mean, it's not

0:31:02.356 --> 0:31:05.116
<v Speaker 2>It wasn't violence thought that was the rebound instrument.

0:31:08.356 --> 0:31:11.436
<v Speaker 1>Absolutely out of I was trying its investment to fill

0:31:11.476 --> 0:31:12.836
<v Speaker 1>the void, you know what I mean.

0:31:13.716 --> 0:31:17.316
<v Speaker 2>And I never really truly bonded with it though. And

0:31:17.356 --> 0:31:22.476
<v Speaker 2>I didn't have enough time though to you know, to

0:31:22.556 --> 0:31:25.836
<v Speaker 2>sell it and rebuy my vine only. I only had

0:31:25.916 --> 0:31:29.236
<v Speaker 2>ninety days, and because I had actually purchased this other violin,

0:31:30.116 --> 0:31:31.436
<v Speaker 2>it just wasn't enough time.

0:31:32.476 --> 0:31:36.996
<v Speaker 1>Yeah, did you get a chance to say goodbye to

0:31:37.476 --> 0:31:40.236
<v Speaker 1>your strad like? Were you ever physically reunited with it?

0:31:40.276 --> 0:31:41.636
<v Speaker 1>Once investigators found it?

0:31:42.156 --> 0:31:47.156
<v Speaker 2>I did, I did, and it was it was painful.

0:31:47.716 --> 0:31:51.956
<v Speaker 2>It was really really painful. I played the last thing

0:31:52.516 --> 0:31:54.436
<v Speaker 2>that I had actually recorded on it, which was the

0:31:54.476 --> 0:32:00.676
<v Speaker 2>Brahms Concerto. I played the slow movement because it seemed

0:32:00.676 --> 0:32:05.196
<v Speaker 2>to sum up. So Brahms wrote this slow movement as

0:32:05.196 --> 0:32:09.076
<v Speaker 2>a love letter to his great unrequired love Clara Schumann

0:32:09.396 --> 0:32:13.636
<v Speaker 2>who so Clara Schumann was married to Brahms's best friend,

0:32:13.716 --> 0:32:19.156
<v Speaker 2>Robert Schumann, and he had been in love with Clara

0:32:19.396 --> 0:32:24.476
<v Speaker 2>forever and then when Robert died everybody expected, including Clara herself,

0:32:24.716 --> 0:32:29.476
<v Speaker 2>that Brahms would, you know, make overtures and you know,

0:32:30.036 --> 0:32:33.316
<v Speaker 2>and he didn't. And it was almost as though the

0:32:33.356 --> 0:32:38.676
<v Speaker 2>pain of unrequirted love was what drove him more than

0:32:38.916 --> 0:32:42.596
<v Speaker 2>the possibility of a real relationship. And you really feel

0:32:42.636 --> 0:33:00.116
<v Speaker 2>that in the slow movement of the Broms. It just

0:33:00.156 --> 0:33:04.716
<v Speaker 2>felt very just felt very fitting to play something that

0:33:04.916 --> 0:33:08.796
<v Speaker 2>is so emotional but in a very kind of painful way.

0:33:08.956 --> 0:33:12.196
<v Speaker 2>You know, how you have a relationship where you do

0:33:12.356 --> 0:33:14.356
<v Speaker 2>learn a lot about love, but you also learn a

0:33:14.356 --> 0:33:18.156
<v Speaker 2>lot about pain. And I think that's what I associate

0:33:18.756 --> 0:33:20.916
<v Speaker 2>the relationship that I had with my strad with I

0:33:20.996 --> 0:33:23.236
<v Speaker 2>learned a lot about love, but I also learned a

0:33:23.276 --> 0:33:28.316
<v Speaker 2>lot about grief and a lot about pain. I'm glad

0:33:28.356 --> 0:33:30.916
<v Speaker 2>I said goodbye to it. I think it was really

0:33:30.956 --> 0:33:34.596
<v Speaker 2>important to say goodbye. I don't want to do it

0:33:34.636 --> 0:33:38.276
<v Speaker 2>again again. I don't want to sort of make too

0:33:38.356 --> 0:33:40.956
<v Speaker 2>much of an analogy with a human relationship, but it was, Yeah,

0:33:40.996 --> 0:33:42.516
<v Speaker 2>it was kind of like the final goodbye.

0:33:43.036 --> 0:33:46.676
<v Speaker 1>Wow, I'm glad you had that moment of goodbye. So,

0:33:46.916 --> 0:33:49.676
<v Speaker 1>in reflecting back then, I'm wondering if you can tell

0:33:49.716 --> 0:33:55.396
<v Speaker 1>me what this lass has taught you about yourself and

0:33:55.436 --> 0:33:57.796
<v Speaker 1>how you had defined yourself, how you had defined your

0:33:57.796 --> 0:33:59.556
<v Speaker 1>self identity.

0:34:00.436 --> 0:34:04.796
<v Speaker 2>What I learned mainly was that I'm not in control

0:34:04.836 --> 0:34:07.836
<v Speaker 2>of anything. I can make all the plans in the world,

0:34:08.196 --> 0:34:12.036
<v Speaker 2>and control of anything. You know, life is so much bigger.

0:34:12.676 --> 0:34:15.356
<v Speaker 2>But actually, what was quite surprising that came out of

0:34:15.396 --> 0:34:18.516
<v Speaker 2>it was that I rediscovered my love of writing music,

0:34:19.316 --> 0:34:21.836
<v Speaker 2>which I'd always had as a child, but you know,

0:34:21.876 --> 0:34:24.436
<v Speaker 2>it was always on the back burner. And I met

0:34:24.996 --> 0:34:28.356
<v Speaker 2>a wonderful composer called Drew Masters a few years ago,

0:34:28.916 --> 0:34:32.836
<v Speaker 2>and he's, oh, gosh, I love his music so much,

0:34:32.876 --> 0:34:35.356
<v Speaker 2>and I'd always loved his music, and so when we met,

0:34:35.516 --> 0:34:40.996
<v Speaker 2>we just clicked and this energy just suddenly emerged. It

0:34:41.036 --> 0:34:43.916
<v Speaker 2>was like this energy was born. And so it was

0:34:43.956 --> 0:34:46.476
<v Speaker 2>almost like this, So this relationship that I had with

0:34:46.516 --> 0:34:49.636
<v Speaker 2>my violin where we were a unit, I discovered in

0:34:49.676 --> 0:34:54.076
<v Speaker 2>this partnership with Drew as a composer. So we started writing,

0:34:54.916 --> 0:34:58.316
<v Speaker 2>nothing really serious, just sort of messing around a little

0:34:58.316 --> 0:35:01.876
<v Speaker 2>bit in the studio, and we discovered, actually that we

0:35:01.956 --> 0:35:05.236
<v Speaker 2>almost have this telepathy with each other. I'll have an idea,

0:35:05.276 --> 0:35:07.356
<v Speaker 2>He'll have an idea, and we just go. We just

0:35:07.436 --> 0:35:09.636
<v Speaker 2>go with it. We just go with the flow. I

0:35:09.636 --> 0:35:13.436
<v Speaker 2>feel like my identity as Minca, and that's the name

0:35:13.476 --> 0:35:17.196
<v Speaker 2>of the collaboration between Drew and me. I feel like

0:35:17.316 --> 0:35:22.876
<v Speaker 2>Minca is now massively part of my identity. But then

0:35:22.996 --> 0:35:26.556
<v Speaker 2>so was my violin. So what happens when one identity

0:35:27.516 --> 0:35:30.596
<v Speaker 2>goes and another one is born? What happens to the

0:35:30.636 --> 0:35:33.836
<v Speaker 2>old identity? Is it just part of my past? Am

0:35:33.876 --> 0:35:37.716
<v Speaker 2>I bringing part of that identity into Minca? There's questions

0:35:37.716 --> 0:35:41.676
<v Speaker 2>I ask myself every day, actually, because I think there's room.

0:35:42.596 --> 0:35:46.076
<v Speaker 2>I think there's room for all of these different identities.

0:35:47.036 --> 0:35:50.876
<v Speaker 2>And I'm not the same person that I was. It's

0:35:50.916 --> 0:35:55.756
<v Speaker 2>almost like there's me pre violin, there's me. There was

0:35:55.796 --> 0:35:58.716
<v Speaker 2>me pre my violin. There was me and my violin,

0:35:59.276 --> 0:36:02.716
<v Speaker 2>and there's me post my violin, and we are three

0:36:02.716 --> 0:36:06.076
<v Speaker 2>different people. I mean, obviously, you know, the essence, the

0:36:06.116 --> 0:36:09.676
<v Speaker 2>core of a person doesn't change. My soul the same,

0:36:10.196 --> 0:36:13.716
<v Speaker 2>my heart is the same, but I have changed. And

0:36:14.356 --> 0:36:18.356
<v Speaker 2>I look at those years with my violin, like there

0:36:18.356 --> 0:36:22.316
<v Speaker 2>were these sort of ten technically years where everything was

0:36:22.356 --> 0:36:25.996
<v Speaker 2>just massively, massively vibrant. I think I was scared. I

0:36:26.116 --> 0:36:30.876
<v Speaker 2>was fearful that I would never find joy, real joy again.

0:36:31.316 --> 0:36:33.876
<v Speaker 2>But you know what, I feel so joyful now.

0:36:34.076 --> 0:36:37.356
<v Speaker 1>Yeah, No, that's so wonderful, I really really do. I

0:36:37.396 --> 0:36:39.036
<v Speaker 1>can see it. I can see it in your face.

0:36:39.076 --> 0:36:40.796
<v Speaker 1>I can see it in your smile. I mean, the

0:36:40.876 --> 0:36:43.756
<v Speaker 1>joy is so evident. What I'm hearing is that you

0:36:43.916 --> 0:36:48.476
<v Speaker 1>found that there are many mins you can be yes

0:36:48.596 --> 0:36:49.956
<v Speaker 1>when it comes to loving music.

0:36:50.116 --> 0:36:50.276
<v Speaker 2>Right.

0:36:50.356 --> 0:36:53.356
<v Speaker 1>So, I think before you had a very tight grasp

0:36:53.436 --> 0:36:56.676
<v Speaker 1>around Okay, min is the concert violinist who plays this

0:36:56.796 --> 0:37:01.476
<v Speaker 1>strad and you're still a musician, You're still a violinist.

0:37:01.516 --> 0:37:04.836
<v Speaker 1>But I sense that there's a greater capaciousness there, like

0:37:04.876 --> 0:37:06.996
<v Speaker 1>there's more space and more freedom for you to be

0:37:07.076 --> 0:37:08.916
<v Speaker 1>many things within that category.

0:37:08.876 --> 0:37:12.316
<v Speaker 2>Yeah. I actually feel as though what's happening is I'm

0:37:12.356 --> 0:37:15.956
<v Speaker 2>actually going through what most people go through in their adolescence,

0:37:16.316 --> 0:37:21.556
<v Speaker 2>which is, you know, experimenting, testing the boundaries, pushing the boundaries,

0:37:21.916 --> 0:37:25.996
<v Speaker 2>you know, finding who you are, and having done that,

0:37:26.036 --> 0:37:30.916
<v Speaker 2>I accidentally realized that there's this whole new world of music.

0:37:30.996 --> 0:37:35.036
<v Speaker 2>It's like I actually physically feel something in me blossoming.

0:37:35.076 --> 0:37:39.196
<v Speaker 2>I feel every day I wake up and I'm so happy.

0:37:39.276 --> 0:37:40.876
<v Speaker 2>I'm so happy to get out. I mean, I don't

0:37:40.916 --> 0:37:44.556
<v Speaker 2>mean that I'm kind of always ecstatic or anything like that,

0:37:44.676 --> 0:37:48.836
<v Speaker 2>but there's always a point in the day where I

0:37:48.956 --> 0:37:51.756
<v Speaker 2>just have this massive sort of dopamine hit because the

0:37:51.876 --> 0:37:54.716
<v Speaker 2>music is just so beautiful and I just can't bear it.

0:37:54.396 --> 0:38:14.196
<v Speaker 3>It's yeah, so free.

0:38:15.356 --> 0:38:18.476
<v Speaker 1>This is Men playing an original song called Queen's Gambit

0:38:18.676 --> 0:39:38.676
<v Speaker 1>from her new project Minka. Hey, thanks so much for listening.

0:39:39.356 --> 0:39:42.196
<v Speaker 1>Join me next week when we finish our series on AWE.

0:39:42.876 --> 0:39:45.996
<v Speaker 1>In our first episode of the series, psychologist Daker Keltner

0:39:46.076 --> 0:39:49.556
<v Speaker 1>spoke about a surprising source of AWE called collective effervescence.

0:39:50.196 --> 0:39:53.196
<v Speaker 1>It's the feeling we get when we experience something transcendent

0:39:53.316 --> 0:39:56.676
<v Speaker 1>with other people. Next week, I talked to doctor Shira

0:39:56.756 --> 0:40:00.316
<v Speaker 1>Gabriel about the science of collective effervescence and how we

0:40:00.356 --> 0:40:03.396
<v Speaker 1>can access it more in our everyday lives. See you

0:40:03.476 --> 0:40:16.676
<v Speaker 1>next week. A Slight Change of Plans is created, written

0:40:16.716 --> 0:40:20.116
<v Speaker 1>and executive produced by me Maya Schunker. The Slight Change

0:40:20.156 --> 0:40:24.236
<v Speaker 1>family includes our showrunner Tyler Green, our senior editor Kate

0:40:24.316 --> 0:40:29.036
<v Speaker 1>Parkinson Morgan, our sound engineer Andrew Bstola, and our producer

0:40:29.156 --> 0:40:33.196
<v Speaker 1>Tricia Bobita. Louis Scara wrote our delightful theme song, and

0:40:33.276 --> 0:40:37.036
<v Speaker 1>Ginger Smith helped arrange the vocals. Special thanks this week

0:40:37.076 --> 0:40:40.356
<v Speaker 1>to Min Kim and Drew Masters, who write and perform

0:40:40.436 --> 0:40:43.556
<v Speaker 1>as the musical duo Minca. You heard part of their

0:40:43.596 --> 0:40:46.796
<v Speaker 1>song Queens Gambit in this episode. You can find more

0:40:46.836 --> 0:40:50.156
<v Speaker 1>of their music at sounds like ninca dot com that's

0:40:50.316 --> 0:40:53.396
<v Speaker 1>m I n Ka. We also heard a bit of

0:40:53.436 --> 0:40:57.116
<v Speaker 1>Min's performance of Brahms from her album Gone, released as

0:40:57.156 --> 0:41:00.516
<v Speaker 1>a companion to her memoir by the same name. Special

0:41:00.556 --> 0:41:03.356
<v Speaker 1>thanks also to my friend Rachel Lee, who I've known

0:41:03.396 --> 0:41:06.196
<v Speaker 1>since I was nine years old, for letting us play

0:41:06.236 --> 0:41:09.076
<v Speaker 1>a bit of her performance of the Mendelssohn Violin Concerto.

0:41:09.636 --> 0:41:12.396
<v Speaker 1>A Slight Change of Plans is a production of Pushkin Industry,

0:41:12.516 --> 0:41:15.876
<v Speaker 1>so big thanks to everyone there, and of course that's

0:41:16.076 --> 0:41:19.156
<v Speaker 1>very special thanks to Jimmy Wing. You can follow A

0:41:19.196 --> 0:41:22.316
<v Speaker 1>Slight Change of Plans on Instagram at doctor Maya Schunker.

0:41:46.276 --> 0:41:49.076
<v Speaker 2>I have that thing, what's it called earworm where you

0:41:49.156 --> 0:41:52.436
<v Speaker 2>hear music and it's constant, and even now I'm always

0:41:52.436 --> 0:41:54.396
<v Speaker 2>hearing music in my head and sometimes it drives me

0:41:54.476 --> 0:41:57.116
<v Speaker 2>mad because i can't sleep because I've got music going

0:41:57.116 --> 0:41:59.116
<v Speaker 2>on in my head and i can't put ear plugs

0:41:59.156 --> 0:42:02.716
<v Speaker 2>in block out people snoring, but I can't block out

0:42:02.756 --> 0:42:03.196
<v Speaker 2>the music.

0:42:03.356 --> 0:42:05.596
<v Speaker 1>I hear you, by the way, like every Taylor Swift

0:42:05.636 --> 0:42:08.476
<v Speaker 1>song eventually finds its way into my head right right,

0:42:08.556 --> 0:42:12.636
<v Speaker 1>So yeah, I'm glad it's Beethoven for you. For me,

0:42:12.716 --> 0:42:13.356
<v Speaker 1>it's Tess

0:42:20.116 --> 0:42:20.396
<v Speaker 2>Mhm