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Speaker 1: Fellow conspiracy realist, we are returning with an adventure. Now

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Speaker 1: often you will hear Matt and Nol and myself refer

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Speaker 1: to one of us as on adventures. Turns out, on Wednesday,

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Speaker 1: February nineteenth, twenty twenty five, we had quite an adventure

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Speaker 1: together and we're proudly presenting it to you this evening.

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Speaker 2: Yeah, we hung out together at the National Sawdust in Brooklyn,

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Speaker 2: New York as part of the on AirFest twenty twenty five.

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Speaker 3: Brooklyn.

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Speaker 2: Guys, this has been called the Coachella of podcasts. Company

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Speaker 2: your company, Yes, and Wired called it the future of podcasting.

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Speaker 4: Man.

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Speaker 1: Oh, I like the latter one the best.

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Speaker 2: Yeah, for that one, to be clear, not this specific

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Speaker 2: show you're about to listen to, but on AirFest.

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Speaker 1: On AirFest, which is a fantastic thing. I think we

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Speaker 1: got a second date. We put our heads together and

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Speaker 1: we started asking about the conspiracies inherent in the concept

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Speaker 1: of sound and Noel, you put together a team that

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Speaker 1: played live music, responding to the audience for about an

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Speaker 1: hour before we even opened, with help from our friends

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Speaker 1: at Force got Hey.

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Speaker 5: I know, less of a team, more of a ragtag

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Speaker 5: bunch of synth nerds. But yeah, my buddy Eric from

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Speaker 5: the band fors Ghosts so done some production work with

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Speaker 5: if you want to check out. They've got an EP

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Speaker 5: out actually called Recycled Hearts that I did a remix

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Speaker 5: of one of their songs on if you want to

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Speaker 5: check that out, And I think we'll probably put the

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Speaker 5: music stuff out eventually that we.

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Speaker 3: Did for this event.

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Speaker 5: But the live show itself actually also contained some fun

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Speaker 5: sound design and some original music by mister Eric Kinlaw

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Speaker 5: and myself as well in this cool kind of radio

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Speaker 5: play that you wrote, Ben, and that we actually figured

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Speaker 5: out how to perform live with live sound effects and

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Speaker 5: music and surround sound and everything.

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Speaker 2: With the PlayStation five controller, and I made a pretty

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Speaker 2: fun little compilation of our old YouTube videos to go

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Speaker 2: over top of when Nol and team were playing music.

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Speaker 2: And it was a delightful thing to behold in this

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Speaker 2: all red place. But you're not going to experience any

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Speaker 2: of that. What you were going to hear is the

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Speaker 2: moment we walked on stage as stuff they don't want

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Speaker 2: you to know. To do our episode.

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Speaker 5: Yes on a Conspiracy of Sound, and we talk a

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Speaker 5: little bit about the science of sound and psy optics

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Speaker 5: of sound along with all kinds of other things, including

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Speaker 5: a fun game we played with some backwards masking messages.

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Speaker 1: And we have a third act, a legendary guest at

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Speaker 1: the end of the show, none other than Justin Richmond.

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Speaker 3: Yeap from the Broken Record podcast.

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Speaker 1: Part of why we are giving you just like the quick,

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Speaker 1: skinny context of this is this performance does contain what

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Speaker 1: stand up comedy calls blue or strong language.

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Speaker 3: We've just had a real potty mouth.

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Speaker 2: There are some wild language in hereio indeed, all right,

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Speaker 2: then on with the show.

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Speaker 1: From ufons to psychic powers and government conspiracies. History is

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Speaker 1: riddled with unexplained defense. You can turn back now or

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Speaker 1: learn the stuff they don't want you to know. Hey, check, check.

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Speaker 3: What everybody doing?

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Speaker 5: Yeah, human being, how did you like our music?

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Speaker 3: Concrete performance?

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Speaker 1: Okay, okay, big ants, my pal nole there as well

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Speaker 1: as we've got Scott and a.

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Speaker 3: Rick, You guys, all of you, indeed.

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Speaker 1: Anybody with the courage to reach it into U, your

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Speaker 1: heart of hearts, your soul of souls and share a

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Speaker 1: story into that microphone.

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Speaker 3: There were fragments.

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Speaker 5: This told a whole story in some form or fashion,

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Speaker 5: maybe just a word someone say.

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Speaker 3: He immediately, Yeah, it was yeah, of course it was. Yeah,

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Speaker 3: I said a bunch of times.

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Speaker 5: Oh yeah, Well I felt like you were summoning me.

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Speaker 5: I was was doing stuff. Then I was deeping and booping.

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Speaker 1: Who are you though?

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Speaker 3: Hi? My name is Matt, my name is Nola.

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Speaker 1: They called me Ben. Most importantly, you are you. You

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Speaker 1: are here that makes this stuff. They don't want you

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Speaker 1: to know live that the legendary national sawdust here in Brooklyn.

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Speaker 3: Is it legendary? Yes?

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Speaker 6: It is?

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Speaker 3: Now, yeah it is.

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Speaker 5: It feels Look at this place, I know, look at

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Speaker 5: the whole. I can't tell which way is up. It's

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Speaker 5: very Yeah.

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Speaker 2: Did anybody ever play mass effect? Anybody in this room?

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Speaker 2: Not a single one. It feels like we're on a

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Speaker 2: ship in mass effect.

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Speaker 3: That's all I say.

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Speaker 1: It feels cool up here. And it also hears cool,

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Speaker 1: which is a thing I think I can get away

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Speaker 1: within the English lagus Here's cool.

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Speaker 3: Here's true.

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Speaker 7: Why not?

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Speaker 3: It's a malleable thing, the English lange us here cool

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Speaker 3: around here?

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Speaker 1: I heard tell it here's cool, and we are excited

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Speaker 1: to join you guys tonight with something we call the

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Speaker 1: conspiracy of sound. Sound is everywhere around us. We can

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Speaker 1: notice it, especially here in this legendary venu. We also

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Speaker 1: ignore a lot of sound, and it's so strange. It

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Speaker 1: reminds me a little bit of the old David Foster

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Speaker 1: Wallace quote where a fish goes up to the other

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Speaker 1: fish and is like, what it's crazy. We're swimming around

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Speaker 1: water and the fish says, what's water?

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Speaker 3: Yeah? It just kind of exists in that medium. They

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Speaker 3: don't really give it too much thought.

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Speaker 2: Is there a technical definition of what a sound is?

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Speaker 3: You know, there is mass, you know, we've got it right.

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Speaker 2: I don't know as science ever nailed down what a

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Speaker 2: sound is.

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Speaker 1: Oh my gosh. All right, so we have some problems

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Speaker 1: with this one. We'll give you the actual facts definition

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Speaker 1: of sound. Sound is a mechanical disturbance from a state

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Speaker 1: of equilibrium that propagates through as an elastic material medium.

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Speaker 3: It's a disturbance that sounds negative.

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Speaker 1: It's also technically accurate, which means it's practically not helpful.

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Speaker 5: So in the way that the water is medium, the

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Speaker 5: medium for us the fish to swim around, and obviously

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Speaker 5: sound can travel through water as well.

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Speaker 3: For us, it's just.

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Speaker 5: Literally we're picking up our ear machines or picking up

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Speaker 5: vibrations in the air.

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Speaker 2: It's all this stuff because there's a lot of stuff

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Speaker 2: out there, you just can't see it in particulates.

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Speaker 3: It's true.

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Speaker 5: I mean, I'm a giant music nerd, as you can

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Speaker 5: maybe tell, but I still to this day am mystified

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Speaker 5: and baffled by the idea of You know, we literally

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Speaker 5: can interpret vibrating particles of air.

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Speaker 3: As like beautiful music.

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Speaker 2: That can like move us to tears, and language that

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Speaker 2: can hold concepts like acoustics.

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Speaker 1: Right, well, let's okay, We've got a lot of stuff

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Speaker 1: to get into tonight, folks, and the best way to

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Speaker 1: do it shout out to our old alma matter, an

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Speaker 1: outfit called how Stuff Works. If you remember that.

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Speaker 3: That's nerds.

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Speaker 1: Yeah, all right, welcome back. We wanted to give just

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Speaker 1: a more helpful, more practical definition of what sound is.

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Speaker 1: It's a constant experience for a lot of us. It

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Speaker 1: is also a widely misunderstood thing. So, guys, if we

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Speaker 1: were going to talk about the building blocks of sound,

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Speaker 1: right the notes in the composition of the idea of sound,

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Speaker 1: what will we be talking about.

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Speaker 5: There's a couple of different terms. I mean, you can

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Speaker 5: plot this on a graph. If anyone's ever messed within

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Speaker 5: a scilloscope. It's a way of visually interpreting and understanding

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Speaker 5: and measuring sound waves that travel through the air.

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Speaker 3: And there's a couple of different terms.

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Speaker 5: We've got frequency, so the number of sound waves that

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Speaker 5: can pass a given point. That's measured in wave lengths,

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Speaker 5: you know, so you've got like the peak and the

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Speaker 5: trough of a wave. There's different kinds of waves, like

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Speaker 5: in synthesis, you've got like a sine wave, which is

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Speaker 5: sort of a pure tone, it's like, and then you

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Speaker 5: got a saw tooth wave, which has more harmonic so

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Speaker 5: it's more like and all of these sounds that are

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Speaker 5: used to make weird beetboop music is literally just recreating

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Speaker 5: things that occur naturally in nature when you're redundant.

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Speaker 3: But I'm okay with that.

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Speaker 2: I think that's why this performance is so cool and

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Speaker 2: fits what we just did, because you're manipulating specifically those

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Speaker 2: those sound waves in like sine waves.

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Speaker 1: Well yeah, right.

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Speaker 5: And it's interesting because frequency in music can be registered

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Speaker 5: as pitch, Like if you've got an oscillating sound.

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Speaker 3: Wave, and if it's really slow, it's going to be

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Speaker 3: a low tone.

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Speaker 5: And as it gets faster and faster and faster, it

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Speaker 5: can change to a higher pitch. And it's frequency is

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Speaker 5: something that is used all kinds of ways in sound design,

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Speaker 5: whether it be you know, creating a tremolo effect that

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Speaker 5: is registered as a speed. You know, like the frequency

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Speaker 5: is how fast or slow that oscilla is. But if

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Speaker 5: once you get into what it's called audio rate, that's

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Speaker 5: when you start perceiving it as pitch.

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Speaker 3: I'm done, end of end of music. Nerd rants.

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Speaker 2: Way more So we got to talk about this term

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Speaker 2: hurts because a lot of people have heard this, and

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Speaker 2: you're not in you know, the audio industry in some capacity,

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Speaker 2: you probably don't know what that really means.

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Speaker 3: So I still don't really know, not the not the

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Speaker 3: rental company.

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Speaker 2: Well that it's a measurement of the frequency of sounds.

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Speaker 2: So it's the number of those waves that pass per cycle. Yeah, persiton,

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Speaker 2: which is generally measured in a second if you're using

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Speaker 2: hurts right. And then when human beings walk around, we

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Speaker 2: can only hear between what's the spectrum that humans can

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Speaker 2: hear between? Like you guys, yes, most of us are humans.

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Speaker 5: I think don't we have a thing? I think we

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Speaker 5: have a thing? Right, should I play the thing?

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Speaker 1: Not yet?

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Speaker 2: Yet an experiment, but I just want to establish this

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Speaker 2: between twenty hurts and twenty thousand hurts is generally accepted

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Speaker 2: to be the human beings hearing spectrum.

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Speaker 3: That's what I have a thing for that. You know,

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Speaker 3: we are going to talk about it. I really want

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Speaker 3: to do the whole point, guy, I know.

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Speaker 2: The whole point is to set up that there are

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Speaker 2: things called infrasound which are below that level that you

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Speaker 2: can hear, and they're what's the ultra Ever had a child,

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Speaker 2: You are familiar with that term, but it just means

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Speaker 2: higher than you can hear from.

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Speaker 5: Why did I just immediately and not think about that,

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Speaker 5: but just thought about it like mega cool sound?

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Speaker 3: It's ultraed.

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Speaker 1: And then there's no, there's decibel. That's just the unit

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Speaker 1: used to measure the intensity of a sound.

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Speaker 3: Yes, yes, yes.

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Speaker 1: And we can we can go back and forth comparing sounds,

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Speaker 1: and everybody this is the thing. Everybody in this room

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Speaker 1: has a unique experience. What we have described to you

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Speaker 1: are the scientific commonalities, objective stuff, the language, the language,

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Speaker 1: yes just so, the notes and the composition. However, your

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Speaker 1: sonic mileage may vary even right now in here and

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Speaker 1: outside of here. The world is riddled, so there's so

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Speaker 1: much sound that just to survive your average day, your brain,

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Speaker 1: without your knowledge nor your consent, actively works to make

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Speaker 1: you ignore I'll say it. We're live a bunch of

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Speaker 1: shit so much.

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Speaker 3: Yeah, yeah, naughty boy.

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Speaker 5: I heard about a study the other day that apparently

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Speaker 5: jen z are losing that ability because of noise canceling headphones.

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Speaker 3: WHOA have you guys heard about this? You hear about this,

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Speaker 3: You know about this.

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Speaker 5: It makes sense if you think about it, because the

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Speaker 5: noise canceling headphones use some kind of phase technology to

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Speaker 5: cancel out the noise outside in the world. So when

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Speaker 5: you're constantly experiencing that, your brain almost like kind of

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Speaker 5: loses the ability to do it naturally. And it's causing

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Speaker 5: some simulation, yes, exactly. And then there was a name

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Speaker 5: for it in the article that I completely should have remembered.

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Speaker 5: But there's a particular type of condition that is being

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Speaker 5: developed more and more by folks.

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Speaker 3: Who used noise canceling heads called getting hit by cars.

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Speaker 5: Well, that's its own things, that's its own occupational hazard.

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Speaker 5: But but I just made me think of that, because

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Speaker 5: it really our brains are designed to filter out those sounds.

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Speaker 5: But when we use technology to do it for us,

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Speaker 5: the brain kind of atrophies are that part that does it,

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Speaker 5: you know.

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Speaker 1: Yeah, And that's the thing Earth is not to get

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Speaker 1: too woo about it. Earth is alive. Collectively. We can

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Speaker 1: call this planet its own huge living mago organism. And

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Speaker 1: like every other living thing, Earth is constantly making noise. Right,

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Speaker 1: it's never gonna shut up. You know, you're not going

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Speaker 1: to win that conversation with the planet. You can have

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Speaker 1: some headphones and get hit by a car.

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Speaker 3: White noise machine. Some people use noise to mask noise.

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Speaker 5: Yeah, Like my good buddy Jordan run talking, I hope

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Speaker 5: it is here is He has a white noise machine

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Speaker 5: by his bed and I never understood it until I

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Speaker 5: go at his place and now I can't go back.

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Speaker 3: It's like it's weird. It's like it's comforting in some way.

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Speaker 5: But when you live in a big city and you

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Speaker 5: have this constant from right, that's a way of masking out.

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Speaker 3: Also, therapists like to use.

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Speaker 5: This so the people in the waiting room don't hear

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Speaker 5: your deepest, darkest secrets.

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Speaker 2: Well hopefully so there's an ambient sound level that exists

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Speaker 2: wherever you are, right sure, and in this city I

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Speaker 2: watched on the plane goal I watched what was it

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Speaker 2: called quiet Place to No, it was a quiet place,

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Speaker 2: the earliest quiet place the first day. And there's a

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Speaker 2: title card when you when that movie first starts, and

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Speaker 2: it says the average decibel level in New York City

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Speaker 2: is ninety hurts, so sorry, but it says that that

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Speaker 2: is the basically decibel level of a human screen. So

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Speaker 2: then upon further looking into it.

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Speaker 1: Oh and by the way, shout out to the guy

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Speaker 1: who just somberly nodded, like, why did you already know.

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Speaker 3: That it is? Just watched it too on a plane.

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Speaker 3: I'm sure so it.

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Speaker 2: Uh.

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Speaker 3: The whole point is a conversation.

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Speaker 2: So if we're just sitting here talking, not yelling into

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Speaker 2: a mic the way I am, at least right now,

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Speaker 2: this is about seventy decibels. If you're standing across from

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Speaker 2: you having that conversation, and if I'm screaming at you,

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Speaker 2: that's about ninety decibels.

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Speaker 3: And that is.

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Speaker 2: Sands Mike sounds like just walking around.

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Speaker 3: That just blew my mind.

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Speaker 1: And that means you have to, as a matter of

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Speaker 1: survival and sanity, you have to cut yourself off from

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Speaker 1: a lot of the noises that surround you, right, And

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Speaker 1: I'm not talking about like arguments with a significant other.

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Speaker 1: I mean just walking down the street. I'll talk about

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Speaker 1: or not I saw you not. And so we also

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Speaker 1: we know though that there's still a lot of science

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Speaker 1: people have not figured out about this, right, There's still

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Speaker 1: a lot of noises that we can't explain. Have you

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Speaker 1: guys ever heard of the bloop?

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Speaker 3: Mm? Yes, okay, that's the bluep you guys, let's talk

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Speaker 3: about the bloop. Now, that's what the blue is, Matt.

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Speaker 3: It's so funny in that clip.

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Speaker 2: You can't even really hear the there it is.

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Speaker 3: It's a really weird sound.

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Speaker 5: It's athlu askue creature coming coming at us from the deep.

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Speaker 3: Well.

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Speaker 2: Yeah, it was a sound that was recorded by microphones

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Speaker 2: that are in the ocean, and scientists were baffled, like

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Speaker 2: what in the heck made that sound? And you know,

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Speaker 2: some of the weirdos thought, hey, maybe that was like.

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Speaker 3: A see maybe a creature out there in the sea.

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Speaker 5: Esque tentacled demons in the depths, craft, some large mammal,

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Speaker 5: you know, some large fish that we just haven't discovered yet.

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Speaker 2: They could exist in the deep deep ocean because it

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Speaker 2: was such a long and strange sound that seemed to

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Speaker 2: raise up I was looping it.

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Speaker 3: By the way, it doesn't just go on forever like that.

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Speaker 1: Yeah, it is like a singular it is deep sea

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Speaker 1: farr it is it is?

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Speaker 3: Yeah what an ended up being, Matt.

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Speaker 1: It ended up It ended up being U the glacial

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Speaker 1: version of a tectonic plate ship. The glaciers were cracking,

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Speaker 1: and scientists had abstractly predicted this but kind of got

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Speaker 1: the time window wrong. So this was a real oh

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Speaker 1: shit moment when they figured out, hey, it's not a

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Speaker 1: cool sea monster from our buddy HP Lovecraft.

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Speaker 3: It's really thought that though it was just us.

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Speaker 1: It's a glacier going mobile man, okay, and now and

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Speaker 1: now this brings us. So we explained that one. But

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Speaker 1: there's another noise that still has not been explained, and

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Speaker 1: it's one of the one of the weirdest continual phenomena

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Speaker 1: across the planet in the world of sound.

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Speaker 3: We're talking about the hum. We got the bluep and

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Speaker 3: we got the hum. These are great the um has anyone.

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Speaker 2: Here ever experienced, just like while you're in your apartment,

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Speaker 2: just here like this background.

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Speaker 5: Well, Matt, do you remember earlier we were in a

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Speaker 5: coffee shop or something or pizza guy in front of

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Speaker 5: us goes, do you hear like this sixty.

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Speaker 3: Cycle hum right now? And we were like, you have

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Speaker 3: no idea. We've been like literally thinking about nothing but that,

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Speaker 3: and no, I do not hear it. You're losing your mind, sir.

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Speaker 2: Well, And in what what we do as humans, we

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Speaker 2: try and find a source, right, So if there's event

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Speaker 2: or you know, you can tell there's a fan somewhere,

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Speaker 2: like maybe there's a homecoming from over there, maybe it's

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Speaker 2: some other mechanical device that's just causing that standing wave.

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Speaker 2: But in this case, it's like a standing wave that

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Speaker 2: is just outside somewhere.

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Speaker 5: Tell us what a standing wave is, Matt. We've talked

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Speaker 5: about sound waves. They can actually collect like and sort

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Speaker 5: of hang out in corners. If anyone's ever been to

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Speaker 5: a recording studio, there's a lot of techniques that are

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Speaker 5: used to keep standing waves from happening because they can

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Speaker 5: totally mess with the way that you perceive other sounds

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Speaker 5: by interfering with them. So basically, low frequencies can collect

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Speaker 5: in corners and in studios, they use things called base

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Speaker 5: traps to keep that from happening. They're like really expensive

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Speaker 5: pieces of insulation, is what they basically are. But they

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Speaker 5: keep the those waveforms from collecting and changing the shape

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Speaker 5: of the room and the way sound waves kind of

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Speaker 5: bounce around and refract. I'm sorry, I asked you to

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Speaker 5: describe it, and then I went and described it.

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Speaker 1: Than This makes me think of one of my favorite

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Speaker 1: sound conspiracies, which is infrasounds.

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Speaker 5: Yes, right, it's the lol right ultra.

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Speaker 1: And this is just real quick, I don't know, just

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Speaker 1: show of hands. Does anyone hear no judgment, genuinely believe

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Speaker 1: in ghost Yeah?

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Speaker 3: Okay, write it down. You gotta got some true believers, Okay,

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Speaker 3: all right.

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Speaker 1: So it turns out that once upon a time a

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Speaker 1: guy who is very skeptical, his name Big Tandy, engineer,

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Speaker 1: super skeptical. Uh you you have to prove something to

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Speaker 1: me beyond the shadow of a doubt, no matter how

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Speaker 1: innocuous you.

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Speaker 3: Say, Vic Tandy. Yes, yeah. And this is also James Randy,

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Speaker 3: who's also a real skepticist.

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Speaker 1: Yeah.

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Speaker 3: Different, what's the deal of that, guys?

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Speaker 1: I think it's their last names, right?

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Speaker 3: Something us about Big Tandy?

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Speaker 1: As I was saying, he is working alone kind of

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Speaker 1: late at night in this rectangular lab, and it's not

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Speaker 1: a super impressive lab. It's not like super duper high security,

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Speaker 1: take your biometrics or anything. He's walking in, he's working alone,

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Speaker 1: and he starts to get a creepy sensation. It's a

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Speaker 1: sensation that occurs more than once. It haunts him. He

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Speaker 1: begins to believe that he's seeing things move out of

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Speaker 1: the corner of his eye.

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Speaker 3: He's carrying chills.

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Speaker 1: He has the sense of a presence always just behind him,

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Speaker 1: always just out of view. And he says, Okay, first off,

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Speaker 1: I've built like my whole personality on saying ghost are

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Speaker 1: not real. So I got to figure out something to

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Speaker 1: explain this. And he looks everywhere around, he goes outside.

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Speaker 1: He's talking to like the power company, the utilities company,

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Speaker 1: and then he finds out that there is a fan

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Speaker 1: in the very back of the room that is generating

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Speaker 1: a sound he cannot consciously hear. This is infrasound, and

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Speaker 1: multiple investigators have gone to haunted houses and discovered that

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Speaker 1: at least in those instances, something like that fan has

400
00:20:14,920 --> 00:20:17,600
Speaker 1: produced something that very much appears to be a ghost

401
00:20:17,800 --> 00:20:19,800
Speaker 1: when you experience it in the moment.

402
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Speaker 5: And there are lots of folks that will like to

403
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Speaker 5: set up tape recorders in these houses and let them run,

404
00:20:25,840 --> 00:20:27,760
Speaker 5: and there will be these sounds that they will pick

405
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Speaker 5: up that can't be explained by just like what's going

406
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Speaker 5: on in the house.

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Speaker 2: Yeah, tell us, well, it's odd because you're it's kind

408
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Speaker 2: of two different things.

409
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Speaker 3: But just to get the infrasound.

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Speaker 2: If you've heard a fan that's just running, let's say,

411
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Speaker 2: a highly metal fan, you know, maybe one of the

412
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Speaker 2: older ones, and you hear the high pitched tones that

413
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Speaker 2: it creates, but there's harmonic stuff going on on the

414
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Speaker 2: lower end because of the mechanical movement of that thing.

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Speaker 2: And that's the stuff he's talking about. You can't hear

416
00:20:54,320 --> 00:20:57,160
Speaker 2: it right, And it can physically. What Vic Tandy found

417
00:20:57,200 --> 00:21:00,440
Speaker 2: is it can physically vibrate your eye like you're squeishy

418
00:21:00,520 --> 00:21:03,760
Speaker 2: squeeze eye, that eyes that we all have. And that's

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00:21:03,800 --> 00:21:06,000
Speaker 2: one of the reasons you get almost that floater feeling

420
00:21:06,080 --> 00:21:08,320
Speaker 2: when you move your eye just a little bit and

421
00:21:08,359 --> 00:21:09,520
Speaker 2: you you feel.

422
00:21:09,280 --> 00:21:10,040
Speaker 3: Like you saw something.

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Speaker 5: That's what he was experiencing, what he was seeing out

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Speaker 5: of the corner of his eye, and it was freaking yeah.

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Speaker 2: Okay, but it's you can sense that infra sound right,

426
00:21:17,480 --> 00:21:23,240
Speaker 2: sure causes fight or flight. Yeah, often on a primal level. Yeah,

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00:21:23,320 --> 00:21:25,600
Speaker 2: without like feeling like you actually need to leave. You'd

428
00:21:25,600 --> 00:21:29,040
Speaker 2: get that sensation when you were talking about Ben. It

429
00:21:29,160 --> 00:21:31,919
Speaker 2: was such a fascinating thing to discover that. And I

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Speaker 2: think we talked to his son for the book we did.

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Speaker 1: We talked to his son when we were researching researching

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Speaker 1: my book named in a burst of creativity stuff. They

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Speaker 1: don't want you to go the book because we had

434
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Speaker 1: the title for the show earlier anyway, So this is

435
00:21:48,560 --> 00:21:53,359
Speaker 1: this is the parable or the moral here is if

436
00:21:53,400 --> 00:21:55,960
Speaker 1: you feel you are encountering in ghosts, because we want

437
00:21:55,960 --> 00:21:59,600
Speaker 1: to give you practical applications and ideas, the first thing

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Speaker 1: you should do, As silly as it sounds, it's like jack,

439
00:22:02,760 --> 00:22:03,480
Speaker 1: if there's a.

440
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Speaker 2: Fan, oh, or a bus it was there was a

441
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Speaker 2: bus stop right outside another place that was reported to

442
00:22:08,440 --> 00:22:12,480
Speaker 2: be super haunted. Yea, the bus's engine was creating infrasound,

443
00:22:12,520 --> 00:22:16,119
Speaker 2: in standing waves inside the basement of this area. And he,

444
00:22:16,320 --> 00:22:18,360
Speaker 2: you know, he proved it. It's just crazy.

445
00:22:18,920 --> 00:22:21,800
Speaker 5: One thing I've noticed since I've been working on a

446
00:22:21,800 --> 00:22:24,480
Speaker 5: lot of more music and recording, and like mixing records

447
00:22:24,480 --> 00:22:27,080
Speaker 5: and things like that. Is I wouldn't say I hear better,

448
00:22:27,119 --> 00:22:31,439
Speaker 5: but I hear differently and say dead people who welcome that.

449
00:22:31,440 --> 00:22:32,560
Speaker 3: That's okay, that's fair.

450
00:22:32,800 --> 00:22:34,680
Speaker 5: But like i will be in my house and I'll

451
00:22:34,680 --> 00:22:36,920
Speaker 5: be in my living room and I'll hear this sound

452
00:22:37,000 --> 00:22:38,800
Speaker 5: and I'm like, what is that? It's driving me crazy

453
00:22:38,840 --> 00:22:41,800
Speaker 5: and realize that it's a bathroom fan on on the

454
00:22:41,840 --> 00:22:45,040
Speaker 5: other side of the house, and it's because it's creating

455
00:22:45,080 --> 00:22:48,040
Speaker 5: this kind of standing wave thing that travels a lot

456
00:22:48,080 --> 00:22:50,840
Speaker 5: farther than you would think, and I'm experiencing it more

457
00:22:50,920 --> 00:22:53,080
Speaker 5: like not necessarily, like my ears are.

458
00:22:52,920 --> 00:22:55,720
Speaker 3: Better, but my brain's processing this sound differently.

459
00:22:56,240 --> 00:22:59,000
Speaker 1: This okay, And speaking of going back to like our

460
00:22:59,040 --> 00:23:02,280
Speaker 1: point about hearing things differently, can we do the experiment?

461
00:23:02,359 --> 00:23:06,240
Speaker 3: I think? Must we do an experiment with you? Okay?

462
00:23:06,400 --> 00:23:07,080
Speaker 3: All right, all right?

463
00:23:07,520 --> 00:23:10,280
Speaker 1: So okay, as we said, not everybody can hear the

464
00:23:10,320 --> 00:23:17,280
Speaker 1: same sounds. Diplomatically put as we age, our hearing abilities change.

465
00:23:17,680 --> 00:23:20,159
Speaker 1: And so what we'd like to do here with you

466
00:23:20,240 --> 00:23:23,439
Speaker 1: tonight is play a brief clip for you. We're going

467
00:23:23,520 --> 00:23:27,680
Speaker 1: to start at the lowest sound a human being can register.

468
00:23:28,040 --> 00:23:31,640
Speaker 1: We're going to go into the higher ranges, and as

469
00:23:31,680 --> 00:23:36,400
Speaker 1: we play this, listen along closely. When you can no

470
00:23:36,520 --> 00:23:39,320
Speaker 1: longer hear the sound, just raise your.

471
00:23:39,160 --> 00:23:42,080
Speaker 3: Hand and we'll play too. We'll play two. It's going

472
00:23:42,119 --> 00:23:44,000
Speaker 3: to be interesting. Yeah, let's see if I'll play let's

473
00:23:44,000 --> 00:23:55,359
Speaker 3: see the thing. I'm ready, all right, trying to make this.

474
00:23:55,480 --> 00:23:59,200
Speaker 3: It doesn't hurt anybody. It's okay, I'm not hurting yet.

475
00:23:59,200 --> 00:24:03,639
Speaker 3: I guess we'll hear it, guys. Yeah, okay, get.

476
00:24:03,480 --> 00:24:14,720
Speaker 8: A little higher higher, yeah, okay, okay, okay, still there, Okay,

477
00:24:14,760 --> 00:24:17,560
Speaker 8: here's no it's.

478
00:24:17,359 --> 00:24:21,360
Speaker 3: Just where you can't explodes like in scanners, I think so. Yeah,

479
00:24:21,560 --> 00:24:28,000
Speaker 3: stretch it. It is no, not quite gone for me,

480
00:24:29,640 --> 00:24:31,639
Speaker 3: not quite gone for me. Okay, it's gone for me.

481
00:24:32,200 --> 00:24:34,520
Speaker 3: I got it for you, to be honest, guys, still

482
00:24:34,560 --> 00:24:35,600
Speaker 3: got it. I still hear it.

483
00:24:35,720 --> 00:24:36,399
Speaker 1: You still hear it.

484
00:24:36,520 --> 00:24:42,600
Speaker 3: Okay, that's still going. Okay are you joking? Yeah?

485
00:24:42,720 --> 00:24:45,879
Speaker 1: Okay, all right, I's going for me. Here's what happened.

486
00:24:46,320 --> 00:24:49,159
Speaker 3: So it's pretty cool, guys. I've never done that with

487
00:24:49,200 --> 00:24:51,200
Speaker 3: actual people before. It must have been.

488
00:24:51,320 --> 00:24:53,240
Speaker 1: It was probably a little weird for some of us

489
00:24:53,280 --> 00:24:55,840
Speaker 1: to see the hands go up earlier and realize that

490
00:24:55,880 --> 00:24:57,919
Speaker 1: the person may be sitting next to you could no

491
00:24:57,960 --> 00:25:02,000
Speaker 1: longer hears as siren sound of wine that was, no

492
00:25:02,119 --> 00:25:04,919
Speaker 1: doubt becoming increasingly disturbing and irritating.

493
00:25:05,160 --> 00:25:07,600
Speaker 2: Right, No, I've lost most of my hearing from a

494
00:25:07,680 --> 00:25:10,000
Speaker 2: ride symbol that sits right here, usually when I'm just

495
00:25:10,040 --> 00:25:12,159
Speaker 2: crashing it. I and I can't believe I heard that

496
00:25:12,280 --> 00:25:13,080
Speaker 2: as long as I did.

497
00:25:13,119 --> 00:25:15,720
Speaker 3: That was Are we sure that was accurate? No?

498
00:25:15,600 --> 00:25:21,440
Speaker 1: No, it is that is accurate? Confirmed podcast accurate. Okay, okay,

499
00:25:21,720 --> 00:25:23,880
Speaker 1: so this is wow.

500
00:25:24,080 --> 00:25:24,480
Speaker 3: That's good.

501
00:25:25,840 --> 00:25:28,520
Speaker 1: So here's the here's the thing. For those of us

502
00:25:28,600 --> 00:25:32,240
Speaker 1: who could hear the sound almost to the entirety of

503
00:25:32,320 --> 00:25:34,800
Speaker 1: the time, you will need to avoid parts of the

504
00:25:34,800 --> 00:25:40,600
Speaker 1: Scottish railway network because a few years back, true story, now,

505
00:25:40,680 --> 00:25:42,880
Speaker 1: a few years back, they got tired of all these

506
00:25:43,160 --> 00:25:48,120
Speaker 1: young loiterers and so they they weaponized the system called

507
00:25:48,160 --> 00:25:52,640
Speaker 1: the Mosquito. They conspired against the Utes of Scotland and

508
00:25:52,680 --> 00:25:56,080
Speaker 1: they they put these speakers in that would play a

509
00:25:56,160 --> 00:25:59,399
Speaker 1: noise that would drive people on the younger side of

510
00:25:59,480 --> 00:26:02,720
Speaker 1: the human ana e spectrum absolutely insane.

511
00:26:02,359 --> 00:26:06,560
Speaker 5: Like our friend at the pizza shop. But she the

512
00:26:07,040 --> 00:26:09,239
Speaker 5: thing we couldn't hear for sure. I don't think any

513
00:26:09,240 --> 00:26:11,560
Speaker 5: of us get here. So that's kind of wild man.

514
00:26:11,680 --> 00:26:12,960
Speaker 5: So did it work?

515
00:26:13,720 --> 00:26:16,919
Speaker 1: It did work? It did we know that? Well? I

516
00:26:16,960 --> 00:26:19,040
Speaker 1: guess as a kid would age out.

517
00:26:18,880 --> 00:26:20,800
Speaker 3: They would regain the ability to loiter.

518
00:26:21,000 --> 00:26:24,440
Speaker 5: Okay, fair enough, But then it's like elderly are a

519
00:26:24,480 --> 00:26:25,880
Speaker 5: lot less threatening.

520
00:26:25,640 --> 00:26:27,720
Speaker 1: It's a lot less cute, Like what are you doing

521
00:26:27,720 --> 00:26:30,280
Speaker 1: when you're thirty eight? Just there?

522
00:26:30,440 --> 00:26:32,800
Speaker 3: I dig that, I actually really dig that.

523
00:26:32,840 --> 00:26:35,119
Speaker 5: Well, yeah, I'm forty one and I could hear it

524
00:26:35,119 --> 00:26:36,280
Speaker 5: almost till the very end.

525
00:26:36,320 --> 00:26:39,240
Speaker 3: So I'm still going to go loitering Scottish train stations.

526
00:26:39,320 --> 00:26:42,680
Speaker 2: What if all the kids had sound canceling headphones.

527
00:26:43,040 --> 00:26:45,359
Speaker 1: See, this is where we're tying things together.

528
00:26:45,400 --> 00:26:47,960
Speaker 2: Okay, Okay, I get it. I guess we're.

529
00:26:47,720 --> 00:26:51,440
Speaker 1: Also noting that that's one that's one real world example

530
00:26:51,800 --> 00:26:54,720
Speaker 1: of how sounds can be weaponized, how they can be

531
00:26:54,840 --> 00:26:59,280
Speaker 1: used against you. However, that is a fairly innocuous example,

532
00:26:59,480 --> 00:27:02,919
Speaker 1: because no one on that train station is forced to

533
00:27:03,000 --> 00:27:05,840
Speaker 1: be there. No one is being forced to stay there

534
00:27:06,119 --> 00:27:08,680
Speaker 1: or encounter sounds that they do not consent.

535
00:27:08,359 --> 00:27:08,760
Speaker 3: To hear it.

536
00:27:10,480 --> 00:27:20,040
Speaker 1: And will pause for a word from our sponsors, and

537
00:27:20,200 --> 00:27:25,320
Speaker 1: we've returned with a conspiracy of sound. Well on you guys,

538
00:27:25,359 --> 00:27:27,480
Speaker 1: do we want to talk about the for another experiment?

539
00:27:27,520 --> 00:27:29,240
Speaker 1: Do we want to talk about the sound of silence?

540
00:27:29,280 --> 00:27:30,880
Speaker 1: Or we want to go straight to weaponization.

541
00:27:31,080 --> 00:27:32,040
Speaker 2: Let's go to weaponization.

542
00:27:32,359 --> 00:27:34,200
Speaker 3: Can we do Simon and Garfunkle first?

543
00:27:34,119 --> 00:27:36,399
Speaker 1: I mean, actually, it's funny. You don't know about this,

544
00:27:36,480 --> 00:27:40,720
Speaker 1: but I've been writing a terribly nasty parody of Homeward Bounds.

545
00:27:40,960 --> 00:27:42,320
Speaker 1: I'll share it with you after the show.

546
00:27:42,359 --> 00:27:44,400
Speaker 3: Wow, it's too much.

547
00:27:44,480 --> 00:27:48,760
Speaker 1: Quite frankly, it's pretty good. Whatever, it's good, So okay,

548
00:27:48,800 --> 00:27:51,160
Speaker 1: all right, weaponized sound then, right, yeah.

549
00:27:51,000 --> 00:27:54,840
Speaker 3: Let's do it. Actually it is really nice and quite.

550
00:27:57,040 --> 00:27:57,840
Speaker 1: Legendary. Yeah.

551
00:27:57,840 --> 00:28:00,760
Speaker 2: Wow, thanks y'all for having that's a cool space.

552
00:28:01,560 --> 00:28:02,880
Speaker 3: Yeah, we don't have to do it. Let's talk about

553
00:28:02,960 --> 00:28:05,200
Speaker 3: dangerous stuff. But you already did it. We got to

554
00:28:05,200 --> 00:28:07,600
Speaker 3: at least talk about the world's quietest room. All right,

555
00:28:07,680 --> 00:28:08,000
Speaker 3: let's do it.

556
00:28:08,040 --> 00:28:11,320
Speaker 1: Let's do it over in ore Field Labs in Minnesota.

557
00:28:11,480 --> 00:28:15,159
Speaker 1: Some we, I think several of us audio files know

558
00:28:15,280 --> 00:28:20,280
Speaker 1: about this. Some of the world's smartest experts in audio

559
00:28:20,400 --> 00:28:23,560
Speaker 1: built the literal quietest room in the world. And that

560
00:28:23,760 --> 00:28:27,119
Speaker 1: silence we just heard together what passes for silence, you know,

561
00:28:27,160 --> 00:28:29,880
Speaker 1: with the slight hung there, we could hear some breathing,

562
00:28:30,040 --> 00:28:33,720
Speaker 1: some coughs, things of that nature that doesn't happen in

563
00:28:33,760 --> 00:28:36,600
Speaker 1: the quietest room, and it makes the quietest room an

564
00:28:36,640 --> 00:28:41,760
Speaker 1: incredibly disturbing place. People can hear themselves blink and hear.

565
00:28:41,640 --> 00:28:45,080
Speaker 3: The sound of your blood like flowing through your body. Yeah,

566
00:28:45,360 --> 00:28:46,040
Speaker 3: you guys ever have.

567
00:28:45,960 --> 00:28:49,240
Speaker 5: Those like orchid Tho's rooms in orchestra class, like in school,

568
00:28:49,640 --> 00:28:50,760
Speaker 5: the little practice.

569
00:28:50,480 --> 00:28:51,040
Speaker 7: Rooms or whatever.

570
00:28:51,080 --> 00:28:54,440
Speaker 5: It's like that, but like fifty x, you know, and

571
00:28:54,680 --> 00:28:58,560
Speaker 5: it is so intense that if you it could be

572
00:28:58,720 --> 00:29:01,800
Speaker 5: considered torture to a degree if someone was forced to

573
00:29:01,800 --> 00:29:03,160
Speaker 5: stay in there for long enough.

574
00:29:03,200 --> 00:29:06,400
Speaker 2: Can you imagine seriously locking somebody in there. Oh my god,

575
00:29:06,440 --> 00:29:08,200
Speaker 2: that's terrifying. Yeah.

576
00:29:07,840 --> 00:29:10,160
Speaker 3: We talk about being alone with your thoughts.

577
00:29:11,000 --> 00:29:13,440
Speaker 2: I mean, well, this solitary confinement is one of the

578
00:29:13,480 --> 00:29:16,000
Speaker 2: worst things you could do to somebody, right, right, We've

579
00:29:16,080 --> 00:29:17,120
Speaker 2: learned that over time.

580
00:29:17,720 --> 00:29:19,680
Speaker 3: But at least you can talk through the pipes to

581
00:29:19,760 --> 00:29:20,280
Speaker 3: your neighbor.

582
00:29:20,400 --> 00:29:20,560
Speaker 9: You know.

583
00:29:20,680 --> 00:29:23,600
Speaker 3: There's little notes and stuff not in this.

584
00:29:24,080 --> 00:29:27,440
Speaker 1: Not in this room, and people do kind of like

585
00:29:27,440 --> 00:29:31,040
Speaker 1: a really scary haunted house. People do make the decision

586
00:29:31,160 --> 00:29:34,480
Speaker 1: to pay to go into the room for some amount

587
00:29:34,480 --> 00:29:38,240
Speaker 1: of the was a bravado. It's a bragge docio, you

588
00:29:38,280 --> 00:29:40,760
Speaker 1: know what, Like, I'm already a very quiet person. How

589
00:29:40,760 --> 00:29:44,240
Speaker 1: bad could this be? You know, it never works out spoiled.

590
00:29:44,280 --> 00:29:45,080
Speaker 3: No, no, it's not good.

591
00:29:47,200 --> 00:29:49,680
Speaker 1: It's cool that it exists. But yeah, you're gonna learn

592
00:29:49,720 --> 00:29:53,520
Speaker 1: a lot about yourself in that way. And that's like, okay,

593
00:29:53,560 --> 00:29:57,040
Speaker 1: it's because humanity exists in somewhat of a of a

594
00:29:57,160 --> 00:30:02,880
Speaker 1: Goldilock zone of sound. The absence of sound is terrified, right,

595
00:30:03,160 --> 00:30:06,880
Speaker 1: and the wrong sounds use the wrong way are not

596
00:30:06,960 --> 00:30:10,400
Speaker 1: just terrifying, but physically dangerous. This is where we get

597
00:30:10,520 --> 00:30:12,440
Speaker 1: to the real weaponized stuff. I think one of our

598
00:30:12,480 --> 00:30:19,120
Speaker 1: favorites the PsiOps. The fact that, okay, I think it's funny,

599
00:30:19,240 --> 00:30:23,280
Speaker 1: the fact that the US military, at multiple times, not

600
00:30:23,360 --> 00:30:26,440
Speaker 1: just the US, multiple world militaries have been trying to,

601
00:30:26,480 --> 00:30:29,680
Speaker 1: you know, lay siege to some nay force. They've been

602
00:30:29,720 --> 00:30:33,120
Speaker 1: trying to straight up torture people. And they've said, oh,

603
00:30:33,160 --> 00:30:36,160
Speaker 1: we've tried everything, right, you know, we've done all these

604
00:30:36,680 --> 00:30:40,880
Speaker 1: horrific interrogation techniques. What should we do next? And someone goes,

605
00:30:42,320 --> 00:30:45,440
Speaker 1: I can play the Barney song. Yeah, yeah, it's just

606
00:30:45,480 --> 00:30:49,000
Speaker 1: they keep playing it it's true. Don't stop, just keep

607
00:30:49,000 --> 00:30:49,360
Speaker 1: it going.

608
00:30:49,440 --> 00:30:52,280
Speaker 3: It's absolutely diabolical, is what it is.

609
00:30:52,640 --> 00:30:55,600
Speaker 1: It is in classic rock and heavy metal. True story.

610
00:30:55,720 --> 00:31:00,560
Speaker 1: That's what broke Manual Noriega in nineteen eighty nine. They

611
00:31:01,240 --> 00:31:02,920
Speaker 1: look it up, they played classic rock.

612
00:31:03,120 --> 00:31:09,600
Speaker 2: It was the Scorpions well and enhanced interrogation techniques. We

613
00:31:09,640 --> 00:31:12,280
Speaker 2: don't want to get you know, in too much trouble here,

614
00:31:12,320 --> 00:31:15,640
Speaker 2: but those were used with extremely loud metal music playing

615
00:31:15,800 --> 00:31:19,640
Speaker 2: right in order to make somebody feel extremely.

616
00:31:19,560 --> 00:31:21,280
Speaker 3: Non sensory overload.

617
00:31:22,240 --> 00:31:26,360
Speaker 1: And then there's also the part about using sound in

618
00:31:26,400 --> 00:31:31,400
Speaker 1: a way that weaponizes not just your auditory mechanisms, but

619
00:31:31,480 --> 00:31:34,240
Speaker 1: also the culture in which you exist. This is another

620
00:31:34,800 --> 00:31:39,640
Speaker 1: military thing, Operation Wandering Soul and the ghost tapes. Know

621
00:31:39,760 --> 00:31:40,840
Speaker 1: you want to talk a little.

622
00:31:40,600 --> 00:31:44,000
Speaker 5: Bit about, Yeah, this is There was a podcast that

623
00:31:44,160 --> 00:31:47,200
Speaker 5: worked on back in the early days of podcasts when

624
00:31:47,200 --> 00:31:50,920
Speaker 5: they were only one billion podcasts, and it was called

625
00:31:50,920 --> 00:31:53,520
Speaker 5: The Stuff of Life with a good friend Julie Douglas

626
00:31:53,560 --> 00:31:55,440
Speaker 5: over at House Stuff Works, and we actually did an

627
00:31:55,440 --> 00:31:59,160
Speaker 5: episode on what's called ghost tape number ten or the

628
00:31:59,200 --> 00:32:01,760
Speaker 5: one but what is it to Operation Wandering Soul, And

629
00:32:01,840 --> 00:32:05,840
Speaker 5: it was essentially a US psyops effort to freak out

630
00:32:05,880 --> 00:32:11,000
Speaker 5: the vietcom by planting these little speakers in trees in

631
00:32:11,080 --> 00:32:16,320
Speaker 5: the forests of Vietnam and playing like spooky ghost sounds. Essentially,

632
00:32:16,360 --> 00:32:19,000
Speaker 5: I'm simplify oversimplifying it a little bit, but the idea

633
00:32:19,120 --> 00:32:21,160
Speaker 5: was there's a lot of ancestor worship in that culture,

634
00:32:21,200 --> 00:32:23,920
Speaker 5: and there's a lot of belief in ghosts that it

635
00:32:24,000 --> 00:32:28,880
Speaker 5: runs very, very deep, and the US government essentially weaponized

636
00:32:28,880 --> 00:32:31,320
Speaker 5: that against them by making them believe that the ghosts

637
00:32:31,360 --> 00:32:34,720
Speaker 5: of their ancestors were coming for them or haunting them,

638
00:32:35,080 --> 00:32:38,120
Speaker 5: or lurking in some way in the forests.

639
00:32:38,320 --> 00:32:39,880
Speaker 1: Yeah, you're attempting to at least so.

640
00:32:40,000 --> 00:32:42,480
Speaker 2: Yeah, and they did it by physically sneaking in in

641
00:32:42,920 --> 00:32:43,920
Speaker 2: planting devices.

642
00:32:44,000 --> 00:32:45,560
Speaker 3: Right, that's terrifying.

643
00:32:45,320 --> 00:32:48,400
Speaker 1: Spooky stuffs too, even if you don't believe in ghosts.

644
00:32:49,600 --> 00:32:52,600
Speaker 1: They're imagineer in the woods. Yeah, that's a that's a

645
00:32:52,600 --> 00:32:55,320
Speaker 1: clip of this. Imagine you're in the woods, you're already

646
00:32:55,680 --> 00:32:58,760
Speaker 1: set a koto, you're already in a combat zone. You've

647
00:32:58,880 --> 00:33:02,840
Speaker 1: seen people die, right, you might die today, and you

648
00:33:02,920 --> 00:33:05,280
Speaker 1: hear something like this. There's also the clip of the

649
00:33:05,640 --> 00:33:09,160
Speaker 1: little Girl, which I think is creepier.

650
00:33:10,320 --> 00:33:12,840
Speaker 3: I think that's a little map that's the warning.

651
00:33:13,040 --> 00:33:16,600
Speaker 2: Yeah, but just coming from the tree tops, right, Like

652
00:33:16,640 --> 00:33:19,720
Speaker 2: if you imagine that low file least somewhat.

653
00:33:19,680 --> 00:33:22,040
Speaker 1: Right, and you're already keyed up, you already know the

654
00:33:22,080 --> 00:33:25,000
Speaker 1: sounds of the environment around you. So this is even

655
00:33:25,120 --> 00:33:27,480
Speaker 1: for the most skeptical of your Kong, this is a

656
00:33:27,600 --> 00:33:28,800
Speaker 1: very frightening experience.

657
00:33:28,840 --> 00:33:31,880
Speaker 5: I agree with you, but didn't we also kind of

658
00:33:31,920 --> 00:33:34,280
Speaker 5: determine that a lot of people kind of thought it

659
00:33:34,320 --> 00:33:37,560
Speaker 5: was bullshit, and then it wasn't particularly effective and maybe

660
00:33:37,600 --> 00:33:39,800
Speaker 5: a little bit you know on the part of Uncle

661
00:33:39,840 --> 00:33:41,920
Speaker 5: Sam dismissive.

662
00:33:41,400 --> 00:33:44,480
Speaker 2: And super well, yeah, it was all of those things

663
00:33:44,480 --> 00:33:44,960
Speaker 2: for sure.

664
00:33:45,200 --> 00:33:45,520
Speaker 1: Yeah.

665
00:33:45,600 --> 00:33:47,600
Speaker 2: Whether or not anybody believe that, I don't, but it is.

666
00:33:47,560 --> 00:33:52,000
Speaker 1: An example of it is another example of the immense

667
00:33:52,080 --> 00:33:57,200
Speaker 1: amount of time, money, and energy spent on weaponizing sound

668
00:33:57,240 --> 00:34:00,680
Speaker 1: against people and turning sounds you hear against you. And

669
00:34:00,920 --> 00:34:04,959
Speaker 1: sometimes this stuff doesn't work. But honestly, in some cases

670
00:34:05,000 --> 00:34:08,319
Speaker 1: it works way better than you might assume. This is

671
00:34:08,360 --> 00:34:12,400
Speaker 1: where we introduce a guy named Woody Norris. Matt, do

672
00:34:12,440 --> 00:34:16,240
Speaker 1: you want to you want to kick some guy Norris?

673
00:34:17,320 --> 00:34:20,840
Speaker 2: This guy I've become obsessed with, y'all, and I highly

674
00:34:20,880 --> 00:34:24,520
Speaker 2: recommend you do a search for Woody Norris and something

675
00:34:24,560 --> 00:34:29,200
Speaker 2: called hypersonic sound. This is uh, this is an inventor.

676
00:34:29,400 --> 00:34:32,000
Speaker 2: He has a third grade education, at least that's what

677
00:34:32,080 --> 00:34:35,680
Speaker 2: he states. He one time took a part a transistor

678
00:34:35,800 --> 00:34:38,520
Speaker 2: radio when he was about eight years old, and he's

679
00:34:38,520 --> 00:34:43,080
Speaker 2: been inventing things ever since, well back in the nineties,

680
00:34:43,120 --> 00:34:45,400
Speaker 2: I think it was ninety six. Specifically, he patented a

681
00:34:45,480 --> 00:34:50,319
Speaker 2: thing called hypersonic sound. And uh, give a little Ted

682
00:34:50,320 --> 00:34:52,480
Speaker 2: talk about it. Should we play the clip before.

683
00:34:52,239 --> 00:34:55,680
Speaker 3: We think we should? Well, let's just say. Let's just

684
00:34:55,680 --> 00:34:56,280
Speaker 3: say that.

685
00:34:56,560 --> 00:35:01,360
Speaker 2: He developed a way to turn soundund into a beam

686
00:35:01,520 --> 00:35:04,279
Speaker 2: the way we can turn lights into a laser, right,

687
00:35:04,560 --> 00:35:06,880
Speaker 2: really focus it down, or we can turn it into

688
00:35:07,239 --> 00:35:10,280
Speaker 2: with a lens, you know, focus it down on something

689
00:35:10,320 --> 00:35:12,080
Speaker 2: like this and you can get pictures.

690
00:35:12,120 --> 00:35:12,760
Speaker 3: It makes sense.

691
00:35:13,040 --> 00:35:15,080
Speaker 2: Well, he found a way to make a device that

692
00:35:15,120 --> 00:35:18,319
Speaker 2: he can point at you and sound can travel through

693
00:35:18,360 --> 00:35:21,120
Speaker 2: the air to exactly where you are, as far away

694
00:35:21,160 --> 00:35:22,799
Speaker 2: as you are. If you're in this beam.

695
00:35:22,760 --> 00:35:24,720
Speaker 1: And the person next to you won't hear a thing.

696
00:35:24,840 --> 00:35:26,799
Speaker 2: You only you will be able to hear when he

697
00:35:26,920 --> 00:35:27,680
Speaker 2: is shooting at you.

698
00:35:27,719 --> 00:35:29,239
Speaker 5: Can I say, Matt, I don't know if this is

699
00:35:29,280 --> 00:35:31,520
Speaker 5: exactly connected. But have you guys heard of this place,

700
00:35:31,560 --> 00:35:33,200
Speaker 5: the sphere in Las Vegas?

701
00:35:33,640 --> 00:35:33,839
Speaker 3: Yeah?

702
00:35:33,960 --> 00:35:36,720
Speaker 2: Directly what directly connected?

703
00:35:36,840 --> 00:35:39,400
Speaker 5: Okay, great, Well that they apparently have this sound system

704
00:35:39,760 --> 00:35:43,080
Speaker 5: that it like whatever your seat is, you get a

705
00:35:43,120 --> 00:35:46,640
Speaker 5: sound mix that's in whatever your language is or whatever.

706
00:35:46,600 --> 00:35:49,359
Speaker 3: Like preferences you might have. Can you yeah, get so

707
00:35:49,400 --> 00:35:51,640
Speaker 3: this is the same technology, then yes, but.

708
00:35:51,600 --> 00:35:53,960
Speaker 2: We're talking about the nineties when he patented it. And

709
00:35:54,000 --> 00:35:55,640
Speaker 2: then he's going to tell you a little something in

710
00:35:55,719 --> 00:35:57,520
Speaker 2: this clip we pulled from his ted talk that he

711
00:35:57,560 --> 00:36:01,600
Speaker 2: gave in the early two thousands that, uh, let's extrapolate

712
00:36:01,680 --> 00:36:03,960
Speaker 2: maybe together a little bit what he means.

713
00:36:04,600 --> 00:36:06,719
Speaker 10: We've got the military had just deployed some of these

714
00:36:06,800 --> 00:36:09,800
Speaker 10: into a rack where you can put fake troop movements

715
00:36:10,239 --> 00:36:15,560
Speaker 10: a quarter of a mile away on a hillside, or

716
00:36:15,600 --> 00:36:18,080
Speaker 10: you can whisper in the ear of a supposed terrorist

717
00:36:18,160 --> 00:36:19,280
Speaker 10: some biblical verse.

718
00:36:22,320 --> 00:36:22,960
Speaker 3: I'm serious.

719
00:36:25,680 --> 00:36:29,480
Speaker 2: Yeah, you can make someone think they're hearing God. Yeah,

720
00:36:30,400 --> 00:36:33,320
Speaker 2: with a weapon that the military has had since before

721
00:36:33,440 --> 00:36:34,479
Speaker 2: you know, we invaded a rock.

722
00:36:34,400 --> 00:36:36,800
Speaker 3: Decon and like have him tell you to do stuff.

723
00:36:37,120 --> 00:36:40,040
Speaker 1: Yeah, which goes back to the by Caramel Mind, which

724
00:36:40,080 --> 00:36:41,040
Speaker 1: is a different episode.

725
00:36:41,520 --> 00:36:43,440
Speaker 2: Sure, Sorry, this has blown my mind so much that

726
00:36:44,000 --> 00:36:46,319
Speaker 2: it's even a possibility, and really thinking about it being

727
00:36:46,320 --> 00:36:50,440
Speaker 2: weaponized and purchased by the Pentagon for such activities.

728
00:36:51,160 --> 00:36:53,160
Speaker 3: Yeah, it's cool, it's fine, everything's fine.

729
00:36:53,280 --> 00:36:55,799
Speaker 1: It also reminds me of one thing that has been

730
00:36:55,880 --> 00:36:59,440
Speaker 1: on everybody's mind a few years ago, Havana syndrome. We've

731
00:36:59,440 --> 00:37:02,799
Speaker 1: all heard about that, right, Yeah, just real quick show

732
00:37:02,800 --> 00:37:05,360
Speaker 1: of hands, all right, I think it's real it.

733
00:37:05,360 --> 00:37:05,759
Speaker 3: Who's got it?

734
00:37:06,840 --> 00:37:10,760
Speaker 1: Okay? Okay, yeah, okay, who thinks it's malarkey? As Biden

735
00:37:10,800 --> 00:37:15,080
Speaker 1: would say, Okay, surprisingly closer than I thought.

736
00:37:15,160 --> 00:37:18,520
Speaker 3: We get it. We talked extensively about this.

737
00:37:19,000 --> 00:37:21,799
Speaker 5: We're going to again in a little bit and an

738
00:37:21,840 --> 00:37:24,000
Speaker 5: additional segment of the show that we're going to do later.

739
00:37:24,360 --> 00:37:25,880
Speaker 3: Now, do a little bit.

740
00:37:25,920 --> 00:37:28,840
Speaker 1: Oh yeah, we'll set this up. Beginning in twenty sixteen,

741
00:37:29,280 --> 00:37:32,960
Speaker 1: individuals who I want to say this diplomatically, were in

742
00:37:33,040 --> 00:37:38,160
Speaker 1: some way associated with intelligence communities in the State Department. Right,

743
00:37:38,400 --> 00:37:45,920
Speaker 1: they started reporting, Okay, I need they started reporting all

744
00:37:45,960 --> 00:37:50,600
Speaker 1: these debilitating symptoms associated with what they thought was as

745
00:37:50,640 --> 00:37:56,200
Speaker 1: it yet unexplained weapon that could target target them in

746
00:37:56,320 --> 00:37:59,560
Speaker 1: some way. Was this some kind of microwave energy directed?

747
00:37:59,680 --> 00:38:02,680
Speaker 1: Was its being more associated with sound. People were looking

748
00:38:02,719 --> 00:38:06,840
Speaker 1: for all kinds of explanations, including this one guy who said,

749
00:38:06,840 --> 00:38:11,000
Speaker 1: with a lot of misinformed confidence, the crickets in Cuba

750
00:38:11,080 --> 00:38:11,600
Speaker 1: are weird.

751
00:38:12,960 --> 00:38:14,759
Speaker 3: Yeah, okay, I can buy that. Maybe.

752
00:38:14,880 --> 00:38:17,160
Speaker 1: Yeah, everybody else went along with it. We don't know

753
00:38:17,239 --> 00:38:21,840
Speaker 1: what's happening, Brooklyn. As we hang out tonight, the top

754
00:38:22,040 --> 00:38:27,160
Speaker 1: intelligence agencies of the world don't agree on what's happening.

755
00:38:27,360 --> 00:38:30,239
Speaker 1: Some people are saying they made it up, you know,

756
00:38:30,400 --> 00:38:32,560
Speaker 1: it's just they had them malaise and now they can

757
00:38:32,600 --> 00:38:34,120
Speaker 1: put a word on it.

758
00:38:34,160 --> 00:38:36,200
Speaker 5: Well, can we just say, like, it's similar to Gulf

759
00:38:36,239 --> 00:38:39,359
Speaker 5: War syndrome, for example. It's this like kind of amorphous

760
00:38:39,360 --> 00:38:43,040
Speaker 5: collection of symptoms that are hard to pin to a

761
00:38:43,080 --> 00:38:46,880
Speaker 5: particular thing in general. So we're starting off with a

762
00:38:46,920 --> 00:38:48,240
Speaker 5: disadvantage in that respect.

763
00:38:48,280 --> 00:38:50,520
Speaker 1: Sure, maybe a bit of confirmation bias.

764
00:38:50,239 --> 00:38:53,200
Speaker 2: As you know, I honestly thought I heard it once

765
00:38:53,600 --> 00:38:56,440
Speaker 2: in the house. Honestly, for real, I thought I heard it,

766
00:38:56,480 --> 00:38:59,400
Speaker 2: and I got nervous, and I guess a paranoia I

767
00:38:59,480 --> 00:38:59,839
Speaker 2: heard what?

768
00:39:00,200 --> 00:39:04,440
Speaker 3: So what? Fine, it was a sound.

769
00:39:04,520 --> 00:39:07,640
Speaker 2: If you're not paranoid, you should that's probably it was

770
00:39:07,719 --> 00:39:12,080
Speaker 2: my PS four. My PS four was the fans within

771
00:39:12,120 --> 00:39:15,719
Speaker 2: it were generating such a terrible tone that was so

772
00:39:15,840 --> 00:39:19,720
Speaker 2: high pitched, and I didn't understand that it was causing

773
00:39:19,760 --> 00:39:22,439
Speaker 2: it because I heard it coming from the far side

774
00:39:22,440 --> 00:39:23,880
Speaker 2: of my house like a standing wave.

775
00:39:24,040 --> 00:39:27,000
Speaker 3: Sure, but it was just this high pitched tone from

776
00:39:27,040 --> 00:39:29,520
Speaker 3: the fans, and it scared the crap out of me.

777
00:39:30,040 --> 00:39:32,319
Speaker 5: But now you've got in Havana syndrome, and you weren't

778
00:39:32,320 --> 00:39:33,239
Speaker 5: even in Havana.

779
00:39:33,440 --> 00:39:33,920
Speaker 3: Not at all.

780
00:39:34,000 --> 00:39:35,680
Speaker 2: I thought I was in Atlanta syndrome.

781
00:39:36,760 --> 00:39:38,399
Speaker 3: That's a different kind of syndrome, bro.

782
00:39:38,719 --> 00:39:42,759
Speaker 1: This is our PSA for Atlanta syndrome. No, well, you'll

783
00:39:42,800 --> 00:39:43,480
Speaker 1: have to listen.

784
00:39:43,239 --> 00:39:47,560
Speaker 3: To the recording. Strew chicken wings everywhere you go. Peperwtt.

785
00:39:47,719 --> 00:39:49,759
Speaker 1: I'm telling you. I'm telling you the hype is real.

786
00:39:49,960 --> 00:39:51,840
Speaker 2: Just so we know that thing, that hypersonic sound. But

787
00:39:51,880 --> 00:39:55,200
Speaker 2: what he made it can only register what is it?

788
00:39:55,200 --> 00:39:56,680
Speaker 2: It hurts above two hundred.

789
00:39:56,680 --> 00:40:00,160
Speaker 3: So pepperweight, yes, thank you by them. Sorry, I are

790
00:40:00,160 --> 00:40:03,239
Speaker 3: gonna let that go. That is the way, Sorry, Matt,

791
00:40:03,280 --> 00:40:04,520
Speaker 3: Please get totally fine.

792
00:40:04,680 --> 00:40:08,400
Speaker 2: Two hurts and above is the targeted like sound you

793
00:40:08,440 --> 00:40:11,520
Speaker 2: can create at crazy high decibel levels, which sounds a

794
00:40:11,520 --> 00:40:12,360
Speaker 2: lot like habana.

795
00:40:12,640 --> 00:40:15,160
Speaker 5: But we do know that these types of weapons exist

796
00:40:15,280 --> 00:40:20,000
Speaker 5: for like crowd dispersement. Sure, and their quote unquote non

797
00:40:20,160 --> 00:40:21,359
Speaker 5: lethal right.

798
00:40:21,760 --> 00:40:23,760
Speaker 1: Less than lethal would be the better.

799
00:40:24,239 --> 00:40:25,120
Speaker 3: Your head doesn't.

800
00:40:25,160 --> 00:40:28,279
Speaker 5: Scanners explode instantly, but it may not be good for

801
00:40:28,320 --> 00:40:29,080
Speaker 5: you long term.

802
00:40:29,239 --> 00:40:32,640
Speaker 1: Bits picture, it's a thing where the manufacturers can say, legally,

803
00:40:32,760 --> 00:40:34,960
Speaker 1: we're not trying to kill people.

804
00:40:35,040 --> 00:40:36,960
Speaker 3: Yeah, like rubber bullets, you know.

805
00:40:37,840 --> 00:40:40,400
Speaker 2: Yeah, Look, pain hurts or hurts?

806
00:40:40,520 --> 00:40:41,000
Speaker 3: Pain does?

807
00:40:43,120 --> 00:40:43,799
Speaker 1: Everybody hurts?

808
00:40:43,800 --> 00:40:46,399
Speaker 2: Sometimes add a docibel level one hundred and twenty five.

809
00:40:46,440 --> 00:40:49,439
Speaker 2: That's when pain begins to register in your mind when

810
00:40:49,440 --> 00:40:50,880
Speaker 2: you're like being hit with.

811
00:40:50,960 --> 00:40:54,279
Speaker 3: A followed by scanner's head explosion right after that. So

812
00:40:54,360 --> 00:40:55,160
Speaker 3: I'm not gonna let it go.

813
00:40:55,760 --> 00:40:59,239
Speaker 1: Fine, So we know that there can also be messages

814
00:40:59,239 --> 00:41:02,680
Speaker 1: conveyed in this way, right, There can be messages that

815
00:41:02,760 --> 00:41:06,680
Speaker 1: are sent out maybe in plane at your shot, to

816
00:41:06,840 --> 00:41:09,360
Speaker 1: this entire audience, but for one reason or another, maybe

817
00:41:09,360 --> 00:41:11,080
Speaker 1: only a few people would register it.

818
00:41:11,160 --> 00:41:11,440
Speaker 3: Right.

819
00:41:11,520 --> 00:41:16,080
Speaker 1: And we're not talking about just a just like a

820
00:41:16,200 --> 00:41:20,160
Speaker 1: high shrill notes or something. We're talking about the possibility

821
00:41:20,600 --> 00:41:25,240
Speaker 1: of certain encoded things. Matt, I see what you have there.

822
00:41:25,239 --> 00:41:28,840
Speaker 3: Is It's just my phone.

823
00:41:28,880 --> 00:41:30,400
Speaker 2: I'm just going to make a call. No, no, no,

824
00:41:31,719 --> 00:41:34,799
Speaker 2: my son was obsessed with this, is obsessed with this.

825
00:41:34,880 --> 00:41:36,600
Speaker 2: He thinks is the coolest thing. He wants to take

826
00:41:36,600 --> 00:41:41,160
Speaker 2: it in for show and tell. This is a transistor radio. Yeah,

827
00:41:41,200 --> 00:41:43,239
Speaker 2: that's all it is. It's not connected to Wi Fi.

828
00:41:43,280 --> 00:41:45,719
Speaker 2: It doesn't do anything else. It's got batteries and it's

829
00:41:45,719 --> 00:41:49,399
Speaker 2: a transistor radio. It's got a fancy little thing here

830
00:41:49,440 --> 00:41:51,160
Speaker 2: we call an antenna.

831
00:41:51,719 --> 00:41:52,720
Speaker 3: And you know what it does.

832
00:41:53,400 --> 00:41:54,600
Speaker 1: What does it do?

833
00:41:55,200 --> 00:41:58,279
Speaker 2: It translates all the hidden waves that are flying through

834
00:41:58,280 --> 00:42:01,400
Speaker 2: the air right now, and it turns them into audible music.

835
00:42:01,680 --> 00:42:05,160
Speaker 2: And Howard Stern, I guess sometimes and other people. You know,

836
00:42:05,400 --> 00:42:08,040
Speaker 2: I've heard folks that are awesome and you can listen

837
00:42:08,080 --> 00:42:09,600
Speaker 2: right now. I think it's one oh five point one

838
00:42:09,719 --> 00:42:10,440
Speaker 2: here in New York.

839
00:42:10,480 --> 00:42:11,040
Speaker 3: You gotta listen.

840
00:42:11,080 --> 00:42:13,680
Speaker 2: I heard We Have to the Breakfast Clubs, one of

841
00:42:13,719 --> 00:42:17,480
Speaker 2: the best shows on the radio. It's I don't even

842
00:42:17,520 --> 00:42:18,839
Speaker 2: want to do it. I was gonna put it on

843
00:42:19,040 --> 00:42:22,160
Speaker 2: and show. It's just it's amazingly cool that you can

844
00:42:22,200 --> 00:42:26,000
Speaker 2: turn this thing on and you can just pick stuff

845
00:42:26,040 --> 00:42:28,920
Speaker 2: out of the air that is flowing through us right now.

846
00:42:30,719 --> 00:42:33,960
Speaker 2: It doesn't stop flowing through us when you go to sleep.

847
00:42:34,560 --> 00:42:38,040
Speaker 2: It's flowing through us. When you take a shower, it's

848
00:42:38,080 --> 00:42:39,720
Speaker 2: flowing through us, and that.

849
00:42:39,560 --> 00:42:41,680
Speaker 1: Happens pretty much anywhere in the world you go.

850
00:42:41,960 --> 00:42:43,880
Speaker 2: It kind of freaks me out, but it's also amazing.

851
00:42:43,920 --> 00:42:45,640
Speaker 1: It kind of should freak you out. It's weird that

852
00:42:45,719 --> 00:42:46,799
Speaker 1: it became normalized.

853
00:42:47,640 --> 00:42:49,279
Speaker 5: Hey, let's take a quick break from the show. Here

854
00:42:49,280 --> 00:42:51,200
Speaker 5: a word from our sponsor, and then we'll be right

855
00:42:51,239 --> 00:42:53,799
Speaker 5: back with our Conspiracy of Sound. That live show from

856
00:42:53,920 --> 00:42:56,760
Speaker 5: National Sawdust at on AirFest.

857
00:43:02,600 --> 00:43:05,359
Speaker 2: Oh those were great, Right, we're back, let's jump in.

858
00:43:07,200 --> 00:43:10,960
Speaker 1: We don't even need much more technology to do a

859
00:43:11,000 --> 00:43:13,560
Speaker 1: real hidden message that can go around the world.

860
00:43:13,719 --> 00:43:16,879
Speaker 3: It's time for us to talk about number stations. Yes,

861
00:43:17,800 --> 00:43:19,040
Speaker 3: really quickly though, I.

862
00:43:20,640 --> 00:43:24,480
Speaker 5: Man, lest we leave you terrified that we're all being,

863
00:43:24,560 --> 00:43:27,399
Speaker 5: like you, bombarded with these radio frequencies and that they're

864
00:43:27,440 --> 00:43:28,840
Speaker 5: like dangerous or something.

865
00:43:28,840 --> 00:43:30,719
Speaker 3: There are no different spectrums.

866
00:43:30,800 --> 00:43:33,799
Speaker 5: There are, of course, microwaves things like that that are

867
00:43:33,920 --> 00:43:37,320
Speaker 5: very tiny because they can penetrate your body in ways

868
00:43:37,440 --> 00:43:38,719
Speaker 5: that are dangerous.

869
00:43:38,800 --> 00:43:42,240
Speaker 3: But these are comparatively large waves.

870
00:43:42,480 --> 00:43:45,440
Speaker 2: Right, yes, wait, which ones?

871
00:43:45,480 --> 00:43:46,279
Speaker 3: We're talking short wave?

872
00:43:46,360 --> 00:43:46,440
Speaker 6: Right?

873
00:43:46,520 --> 00:43:47,640
Speaker 3: The short waves what they're called.

874
00:43:47,640 --> 00:43:50,000
Speaker 5: But like the type of things that are flying around,

875
00:43:50,040 --> 00:43:52,600
Speaker 5: most of the stuff that we encounter when we're sleeping,

876
00:43:52,600 --> 00:43:54,360
Speaker 5: like you're talking about, these are not things that we

877
00:43:54,360 --> 00:43:57,120
Speaker 5: should be worried No, we shouldn't be worried about.

878
00:43:57,200 --> 00:44:00,440
Speaker 2: Just but Wi Fi is a fairly new thing when

879
00:44:00,440 --> 00:44:03,600
Speaker 2: you think about another kind of ra existence frequency.

880
00:44:03,760 --> 00:44:06,960
Speaker 1: Yeah, someone in the crowd right now just thought, oh god, five.

881
00:44:07,200 --> 00:44:10,319
Speaker 3: We're not going there, five G, seven G.

882
00:44:11,719 --> 00:44:14,840
Speaker 2: But no, just think about the the amount of waves

883
00:44:14,880 --> 00:44:17,640
Speaker 2: that we send out from all these giant places that

884
00:44:17,719 --> 00:44:21,080
Speaker 2: broadcast them and from you know, our individual devices and

885
00:44:21,120 --> 00:44:21,680
Speaker 2: all that stuff.

886
00:44:21,719 --> 00:44:22,719
Speaker 3: And there are a lot of people that.

887
00:44:22,680 --> 00:44:25,480
Speaker 2: Are freaked out about that, which leads to ones of

888
00:44:25,080 --> 00:44:26,440
Speaker 2: the quiet zone.

889
00:44:26,840 --> 00:44:31,080
Speaker 6: Yes, Radio D we went there, We got launched, We

890
00:44:31,160 --> 00:44:32,520
Speaker 6: got hell one of the.

891
00:44:32,520 --> 00:44:38,320
Speaker 1: Last places with actual landline pay phones in this country

892
00:44:38,400 --> 00:44:42,480
Speaker 1: because there are no cell phones allowed to exist.

893
00:44:42,160 --> 00:44:45,480
Speaker 5: And they have literal vans people whose job it is

894
00:44:45,520 --> 00:44:48,920
Speaker 5: to roll around scanning for these type of frequencies and

895
00:44:49,000 --> 00:44:52,280
Speaker 5: figuring out who the hell broke the rules and brought

896
00:44:52,400 --> 00:44:55,680
Speaker 5: this you know, forbidden device into the quiet.

897
00:44:55,560 --> 00:44:56,880
Speaker 1: And we will get to number stations.

898
00:44:57,840 --> 00:44:59,239
Speaker 3: Sorry, I'm so sorry. Now why are you sorry?

899
00:44:59,239 --> 00:45:01,000
Speaker 5: I'm the one that brought us to the radio HEAs

900
00:45:01,000 --> 00:45:02,520
Speaker 5: wanted to, don't want to think they were like getting

901
00:45:02,520 --> 00:45:05,320
Speaker 5: cancer from you know, uh Star ninety seven.

902
00:45:06,080 --> 00:45:07,560
Speaker 3: No, hell no.

903
00:45:07,920 --> 00:45:11,120
Speaker 2: The greatest thing is if, ever, if all the technology

904
00:45:11,520 --> 00:45:13,800
Speaker 2: just broke right, huge blackout or something.

905
00:45:14,360 --> 00:45:16,040
Speaker 3: If you've got one of these, you.

906
00:45:16,000 --> 00:45:18,959
Speaker 2: Know what's going on, because there's there're gonna be human

907
00:45:19,000 --> 00:45:22,960
Speaker 2: beings in a radio station broadcasting some important message.

908
00:45:22,640 --> 00:45:25,920
Speaker 5: Out hopefully like in Fallout what's the guy's name? The

909
00:45:26,840 --> 00:45:29,120
Speaker 5: DJ and the Fallout game you have to go find

910
00:45:29,920 --> 00:45:33,040
Speaker 5: three dogs. That's true, you got to find a three

911
00:45:33,080 --> 00:45:34,719
Speaker 5: dog and then he'll tell you where your dad is.

912
00:45:36,080 --> 00:45:41,960
Speaker 1: And there's an entire system of automated there's an entire

913
00:45:42,000 --> 00:45:46,080
Speaker 1: system of automated messages that are supposed to continue like

914
00:45:46,280 --> 00:45:47,880
Speaker 1: after civilization falls.

915
00:45:47,880 --> 00:45:48,839
Speaker 3: That's exactly right.

916
00:45:49,120 --> 00:45:51,800
Speaker 1: There's like twelve people and now they have to listen

917
00:45:51,840 --> 00:45:55,160
Speaker 1: to the same recorded message over and over again, which

918
00:45:55,239 --> 00:45:56,719
Speaker 1: kind of becomes an accidental signe.

919
00:45:56,719 --> 00:45:59,400
Speaker 5: And there's usually like a plot point where you realize

920
00:45:59,440 --> 00:46:02,000
Speaker 5: they record it and it's on a loop and everyone's

921
00:46:02,040 --> 00:46:03,440
Speaker 5: dead and you're fucked.

922
00:46:03,560 --> 00:46:05,800
Speaker 2: It's yeah, So so if I tune my radio to

923
00:46:05,880 --> 00:46:08,359
Speaker 2: one O five point one, I can hear Charlemagne?

924
00:46:08,120 --> 00:46:11,560
Speaker 3: What else gets played on some of these radio bands?

925
00:46:11,760 --> 00:46:14,320
Speaker 1: Oh, gosh, yeah, we'll fast forward through this real quick.

926
00:46:14,400 --> 00:46:18,279
Speaker 1: You don't need a uh, you don't need a dangerous

927
00:46:18,320 --> 00:46:23,760
Speaker 1: frequency to do dangerous things. Numbers stations are an active

928
00:46:23,800 --> 00:46:27,960
Speaker 1: conspiracy right now. I accidentally I just tuned into one

929
00:46:28,000 --> 00:46:31,080
Speaker 1: when I was in Japan a little while back. There

930
00:46:31,160 --> 00:46:34,719
Speaker 1: is this Cold war relic that is entirely meant to

931
00:46:34,760 --> 00:46:39,640
Speaker 1: communicate with spies. Anybody can tune into these radio stations,

932
00:46:39,719 --> 00:46:41,359
Speaker 1: at which point you'll hear something like this.

933
00:46:45,320 --> 00:46:45,720
Speaker 3: Awesome.

934
00:46:45,760 --> 00:46:47,759
Speaker 2: Nope, hold on, we had a screen saver.

935
00:46:56,400 --> 00:46:58,719
Speaker 3: There's only cool beaps. There's one with the cool beap.

936
00:46:58,800 --> 00:47:04,040
Speaker 11: We like the one with the beeps. So it's a

937
00:47:04,120 --> 00:47:07,080
Speaker 11: radio station that's quiet most of the time. I feel

938
00:47:07,080 --> 00:47:12,239
Speaker 11: the people nod in the heads. Yeah, except every so

939
00:47:12,360 --> 00:47:13,720
Speaker 11: often something like this.

940
00:47:13,640 --> 00:47:15,160
Speaker 3: Will come out.

941
00:47:15,360 --> 00:47:18,120
Speaker 1: You can hear this because of the hotel, because of

942
00:47:18,160 --> 00:47:20,719
Speaker 1: the nature radio. You can hear this almost anywhere in

943
00:47:20,760 --> 00:47:25,759
Speaker 1: the world. And there are entire communities, often online, dedicated

944
00:47:25,800 --> 00:47:29,239
Speaker 1: to figuring out what's happening here. But the most likely

945
00:47:29,320 --> 00:47:33,160
Speaker 1: answer is that at least once upon a time, these

946
00:47:33,239 --> 00:47:40,560
Speaker 1: were one way messages to agents of espionage right, largely Russian,

947
00:47:40,920 --> 00:47:43,880
Speaker 1: and they're written with what's called the one Time Codebook.

948
00:47:43,960 --> 00:47:46,080
Speaker 1: Not to get too into the weeds here, but what

949
00:47:46,120 --> 00:47:48,560
Speaker 1: that means is there's effectively no way for you to

950
00:47:48,600 --> 00:47:51,960
Speaker 1: figure out the what they're saying unless you also have

951
00:47:52,280 --> 00:47:55,520
Speaker 1: your handy little book, which we're not gonna is.

952
00:47:55,440 --> 00:47:57,200
Speaker 3: It like a cipher like I mean that you have

953
00:47:57,239 --> 00:47:59,280
Speaker 3: to have a key to scratch.

954
00:47:59,320 --> 00:48:02,960
Speaker 1: I got it, So Echo Hotel, a couple of numbers

955
00:48:02,960 --> 00:48:05,680
Speaker 1: you might be able to say, possibly that sounds like

956
00:48:05,800 --> 00:48:08,960
Speaker 1: latitude and longitude. Unless you have that little book, you're

957
00:48:09,000 --> 00:48:12,560
Speaker 1: never gonna know. And if you ever get bored and

958
00:48:12,640 --> 00:48:16,440
Speaker 1: bibe your vice of choice and get thee to YouTube.

959
00:48:16,600 --> 00:48:17,040
Speaker 3: Yeah. Yeah.

960
00:48:17,560 --> 00:48:20,480
Speaker 5: There's a collection of these is called the Connet Projects,

961
00:48:20,560 --> 00:48:23,040
Speaker 5: and it's very fascinating, really interesting listens.

962
00:48:23,080 --> 00:48:24,400
Speaker 3: Some of them are actually kind of beautiful.

963
00:48:24,520 --> 00:48:28,239
Speaker 5: If anyone's familiar with the Wilco record Yankee Hotel Foxtrot,

964
00:48:28,560 --> 00:48:31,040
Speaker 5: there's a sample at the end of one of the

965
00:48:31,080 --> 00:48:33,000
Speaker 5: crazy songs called I'm Trying to Break Your Heart that

966
00:48:33,000 --> 00:48:35,760
Speaker 5: gets really wild, and then there's the sample Yankee Hotel

967
00:48:35,800 --> 00:48:38,200
Speaker 5: Foxtrot that is from the Connt Project. So you can

968
00:48:38,239 --> 00:48:40,359
Speaker 5: find all of those in playlists on YouTube, and they're

969
00:48:40,480 --> 00:48:41,480
Speaker 5: really interesting.

970
00:48:41,280 --> 00:48:43,520
Speaker 1: And we're pretty sure it's fine to listen to these,

971
00:48:43,560 --> 00:48:45,920
Speaker 1: because we did a few episodes on them, and no

972
00:48:45,960 --> 00:48:46,680
Speaker 1: one is content.

973
00:48:46,760 --> 00:48:48,440
Speaker 3: These are old. I mean these are from you know,

974
00:48:48,640 --> 00:48:50,040
Speaker 3: like these are yeah, all right?

975
00:48:50,120 --> 00:48:52,160
Speaker 1: Have you listened to the new ones? That's that's the

976
00:48:52,160 --> 00:48:53,200
Speaker 1: most pretentious thing.

977
00:48:53,040 --> 00:48:57,239
Speaker 3: Of whoa you ever heard the new numbers? Listen to

978
00:48:57,360 --> 00:48:58,960
Speaker 3: music on my mini the trolla?

979
00:48:59,320 --> 00:48:59,480
Speaker 6: Yes.

980
00:49:00,560 --> 00:49:03,680
Speaker 1: So this is where this is where, this is where

981
00:49:03,680 --> 00:49:06,440
Speaker 1: we we have to ask ourselves. Knowing that there is

982
00:49:06,520 --> 00:49:09,279
Speaker 1: at least some grain enough truth to all of these

983
00:49:09,320 --> 00:49:13,160
Speaker 1: conspiracies we just explored together, we have to ask ourselves

984
00:49:13,680 --> 00:49:16,919
Speaker 1: when it comes to hidden messages, right, how far does

985
00:49:17,000 --> 00:49:21,960
Speaker 1: this conspiracy ankle play? That's why. To learn more, we're

986
00:49:22,000 --> 00:49:24,440
Speaker 1: going to join some folks at their house right now.

987
00:49:24,480 --> 00:49:28,120
Speaker 5: Okay, Now, can I just say that's really cool as Scott,

988
00:49:28,360 --> 00:49:31,439
Speaker 5: he's like our Paul Schaeffer. He just really gave such

989
00:49:31,480 --> 00:49:34,400
Speaker 5: a boisterous laugh like Paul Wood for David Letterman. Oh,

990
00:49:34,560 --> 00:49:36,719
Speaker 5: they feel like a million bucks. So big ups, the

991
00:49:36,880 --> 00:49:38,640
Speaker 5: big ups this guy. Oh, it's really sweet.

992
00:49:38,960 --> 00:49:42,319
Speaker 2: I think some other folks could do better. I'm just

993
00:49:42,440 --> 00:49:44,400
Speaker 2: I'm telling you.

994
00:49:45,719 --> 00:49:47,960
Speaker 1: Okay, all right, obviously it's falling apart, so.

995
00:49:47,920 --> 00:49:49,080
Speaker 3: We're leaving the stage.

996
00:49:49,440 --> 00:49:51,680
Speaker 1: We're doing different place.

997
00:49:51,760 --> 00:49:53,680
Speaker 3: It's time for a word from our sponsor.

998
00:49:54,560 --> 00:49:55,720
Speaker 1: Two guys at their house.

999
00:49:56,000 --> 00:49:59,480
Speaker 4: We opened on a common place. See an evening familiar

1000
00:49:59,520 --> 00:50:03,480
Speaker 4: to red household. You've just returned from a hard day

1001
00:50:03,520 --> 00:50:06,400
Speaker 4: at work, and now it's time to kick back to

1002
00:50:06,640 --> 00:50:12,879
Speaker 4: unwide soaking in the comforting background of your favorite television programs. Yet,

1003
00:50:13,320 --> 00:50:17,880
Speaker 4: as we'll see, you're always just one step away from

1004
00:50:18,160 --> 00:50:25,640
Speaker 4: the stuff they don't want you to do.

1005
00:50:27,360 --> 00:50:28,759
Speaker 3: Man, what a day?

1006
00:50:29,520 --> 00:50:32,279
Speaker 2: All right here you time to take a break. What's

1007
00:50:32,320 --> 00:50:32,759
Speaker 2: on the two?

1008
00:50:33,560 --> 00:50:34,840
Speaker 1: Let's see?

1009
00:50:34,960 --> 00:50:35,719
Speaker 2: Let's see.

1010
00:50:36,600 --> 00:50:42,359
Speaker 4: Oh I love conversions, me too. Imagine with this light,

1011
00:50:42,600 --> 00:50:45,719
Speaker 4: crisp serial, you can get all the nourishment.

1012
00:50:45,280 --> 00:50:50,200
Speaker 12: Of you can tile easy, clean, solid vinyl tiles ends.

1013
00:50:50,320 --> 00:50:53,000
Speaker 3: You'll never have to ask where does it all start?

1014
00:50:53,840 --> 00:50:57,239
Speaker 3: Sometimes here with an acid stunning or.

1015
00:50:57,160 --> 00:51:01,480
Speaker 1: Here which is careless, matchres cigarette and fire till the

1016
00:51:01,560 --> 00:51:02,520
Speaker 1: next time you're.

1017
00:51:02,360 --> 00:51:02,640
Speaker 6: In the.

1018
00:51:08,800 --> 00:51:09,240
Speaker 4: Attention.

1019
00:51:09,760 --> 00:51:13,560
Speaker 12: This is a test of the emergency conspiracy system. This

1020
00:51:13,640 --> 00:51:16,600
Speaker 12: is a test of the emergency conspiracy system.

1021
00:51:16,960 --> 00:51:19,719
Speaker 3: Oh I was waiting for this, waiting for what?

1022
00:51:20,480 --> 00:51:22,960
Speaker 1: Man, this noise is driving me crazy? What the missu

1023
00:51:23,000 --> 00:51:23,680
Speaker 1: phoonio mean?

1024
00:51:24,400 --> 00:51:27,719
Speaker 2: I'm sorry, dude, it's the national headphone Alert. Don't you

1025
00:51:27,760 --> 00:51:28,400
Speaker 2: read the news.

1026
00:51:28,680 --> 00:51:30,839
Speaker 1: It's illegal for you to ask me that.

1027
00:51:31,120 --> 00:51:34,600
Speaker 2: The Transparency and Audio Act, remember the new secrecy laws.

1028
00:51:34,880 --> 00:51:37,479
Speaker 2: They say that some people finally get to hear what's

1029
00:51:37,680 --> 00:51:39,319
Speaker 2: really being broadcast.

1030
00:51:39,920 --> 00:51:42,040
Speaker 3: It's thanks to these dose issued headphones.

1031
00:51:42,239 --> 00:51:46,800
Speaker 1: Oh right these Wait, I thought it was a scam

1032
00:51:47,000 --> 00:51:48,920
Speaker 1: and not everybody gets these headphones.

1033
00:51:49,000 --> 00:51:52,640
Speaker 2: Yeah yeah, And it turns out there's an entire hidden

1034
00:51:52,680 --> 00:51:55,360
Speaker 2: world of sound and only a few people get to

1035
00:51:55,400 --> 00:51:56,560
Speaker 2: learn about it every year.

1036
00:51:57,160 --> 00:52:00,399
Speaker 1: Okay, so why us though?

1037
00:52:00,880 --> 00:52:02,520
Speaker 2: I think it's because we went to that on air

1038
00:52:02,640 --> 00:52:05,640
Speaker 2: fest a little while back. Like right now, this just

1039
00:52:05,680 --> 00:52:11,480
Speaker 2: sounds like a beep. Yeah yeah, Check this out again.

1040
00:52:11,719 --> 00:52:15,600
Speaker 12: If you are hearing this message, congratulations, you have successfully

1041
00:52:15,680 --> 00:52:20,360
Speaker 12: passed the emergency conspiracy broadcast test. With these headphotes, you

1042
00:52:20,400 --> 00:52:23,319
Speaker 12: will be able to hear the true messages embedded in

1043
00:52:23,440 --> 00:52:27,839
Speaker 12: your programming. We the secret government, invite you to use

1044
00:52:27,920 --> 00:52:32,160
Speaker 12: these devices and explore the signals sent through public airwaves.

1045
00:52:32,280 --> 00:52:33,879
Speaker 4: Have the best part about the chroom?

1046
00:52:34,120 --> 00:52:38,480
Speaker 1: Why the efficiency with the newest surgitry embedded Holy.

1047
00:52:38,200 --> 00:52:41,080
Speaker 3: Smokes, put them back on. Here we go.

1048
00:52:43,960 --> 00:52:47,000
Speaker 12: A hidden war rages throughout the world. The race for

1049
00:52:47,200 --> 00:52:50,800
Speaker 12: rare earth metals. The ikroom can, through the following steps,

1050
00:52:50,840 --> 00:52:54,960
Speaker 12: be reassembled into a powerful transmission device. First, find it

1051
00:52:55,040 --> 00:52:59,359
Speaker 12: appropriate crossroads, gather a fire of willow, and you had

1052
00:52:59,360 --> 00:53:01,359
Speaker 12: the stroke of a favorable doubt.

1053
00:53:01,440 --> 00:53:06,640
Speaker 1: Wherever you find your favorite Conglomco products. What in the

1054
00:53:06,640 --> 00:53:09,120
Speaker 1: holy Kellogg's diners going on here?

1055
00:53:09,160 --> 00:53:09,920
Speaker 2: Pretty cool?

1056
00:53:10,239 --> 00:53:11,399
Speaker 3: Right? No?

1057
00:53:11,760 --> 00:53:15,080
Speaker 1: Dude, no, it's not pretty cool at all. You're saying

1058
00:53:15,120 --> 00:53:19,920
Speaker 1: there's an entire conspiracy to hide secret What are these messages?

1059
00:53:20,120 --> 00:53:22,160
Speaker 1: Instructions in plain in sight?

1060
00:53:22,880 --> 00:53:24,480
Speaker 4: Technically plane earshot?

1061
00:53:24,840 --> 00:53:26,000
Speaker 3: Wait you can hear us?

1062
00:53:26,280 --> 00:53:29,759
Speaker 4: Oh yeah, I can hear you. We can always hear you.

1063
00:53:29,800 --> 00:53:33,240
Speaker 1: What the That guy sounds like me? And we're supposed

1064
00:53:33,280 --> 00:53:36,439
Speaker 1: to act on this like we're being conscripted into some

1065
00:53:36,719 --> 00:53:38,400
Speaker 1: sort of secret army.

1066
00:53:39,120 --> 00:53:41,480
Speaker 2: Don't think of it that way. Think of it more

1067
00:53:41,560 --> 00:53:44,360
Speaker 2: like it's good to know things.

1068
00:53:45,000 --> 00:53:46,960
Speaker 1: It's good to know things.

1069
00:53:47,400 --> 00:53:48,520
Speaker 4: Are you in on this?

1070
00:53:49,280 --> 00:53:53,520
Speaker 2: It's twenty twenty five, man, everything's crazy. I guess you

1071
00:53:53,680 --> 00:53:57,080
Speaker 2: just watch regular commercials or you know, oh I love

1072
00:53:57,120 --> 00:53:57,480
Speaker 2: this one.

1073
00:53:57,760 --> 00:54:01,120
Speaker 4: Has this ever happened to you? In traffic?

1074
00:54:01,160 --> 00:54:04,200
Speaker 1: And gosh darn it, someone else has a better car.

1075
00:54:04,800 --> 00:54:07,760
Speaker 1: Don't be a knucklehead. Check out the brand New twenty

1076
00:54:07,840 --> 00:54:09,360
Speaker 1: twenty five Honda odist.

1077
00:54:09,719 --> 00:54:11,520
Speaker 2: Now you got to hear the real message here.

1078
00:54:11,680 --> 00:54:19,800
Speaker 13: Put them on bye obey, consume bye Okay, consume bye obey,

1079
00:54:20,000 --> 00:54:29,319
Speaker 13: consume bye obay, consume bye obay, consume bye.

1080
00:54:30,200 --> 00:54:32,359
Speaker 1: So we're doing a they live thing.

1081
00:54:33,200 --> 00:54:36,560
Speaker 4: Yeah, this is a they live thing, but with sound.

1082
00:54:36,920 --> 00:54:39,839
Speaker 1: We're sort of booking fun and how easily audio can

1083
00:54:39,880 --> 00:54:43,880
Speaker 1: be manipulated to push human behavior, sometimes without the conscious

1084
00:54:43,880 --> 00:54:47,239
Speaker 1: mind registering what's happening. We're having a lot of fun

1085
00:54:47,280 --> 00:54:50,719
Speaker 1: with it, but it's a very real, potentially dangerous thing.

1086
00:54:51,680 --> 00:54:55,800
Speaker 4: Also, we're doing the matrix. What you'll see, you'll see.

1087
00:54:56,200 --> 00:54:58,480
Speaker 3: Man, I'm so glad we're in on this.

1088
00:54:59,160 --> 00:55:01,600
Speaker 1: I don't know if I I want to be Matt.

1089
00:55:01,719 --> 00:55:04,080
Speaker 1: Is it fair for us to keep such a massive

1090
00:55:04,160 --> 00:55:05,280
Speaker 1: revelation secret.

1091
00:55:05,680 --> 00:55:08,160
Speaker 2: It's a choice you got to make for yourself. You

1092
00:55:08,160 --> 00:55:10,759
Speaker 2: can choose to keep going the way you were, or

1093
00:55:11,239 --> 00:55:14,959
Speaker 2: you can oscillate just a little further down the rabbit hole.

1094
00:55:15,480 --> 00:55:17,080
Speaker 1: But what about everybody else?

1095
00:55:17,200 --> 00:55:19,680
Speaker 4: Don't people deserve to know what's happening?

1096
00:55:20,120 --> 00:55:22,399
Speaker 2: I mean, you can try and tell them, but they

1097
00:55:22,560 --> 00:55:24,000
Speaker 2: literally can't hear you.

1098
00:55:24,760 --> 00:55:25,480
Speaker 4: That's correct.

1099
00:55:25,800 --> 00:55:29,040
Speaker 1: If there was any way to genuinely help people learn

1100
00:55:29,080 --> 00:55:32,960
Speaker 1: about the conspiracy surrounding the power of sound without incurring

1101
00:55:32,960 --> 00:55:35,640
Speaker 1: the wrath of the powers that be. You'd probably have to,

1102
00:55:35,920 --> 00:55:40,560
Speaker 1: you know, make it part of a show, maybe in Brooklyn.

1103
00:55:46,320 --> 00:55:49,080
Speaker 1: This is a test of a conspiracy broadcast. This is

1104
00:55:49,120 --> 00:55:51,920
Speaker 1: only a test. If you are left one suspect your

1105
00:55:51,960 --> 00:55:55,920
Speaker 1: audio is being manipulated, please report immediately to your local

1106
00:55:55,920 --> 00:55:59,560
Speaker 1: shadowy cabal and apply for a patented conspiracules brought to

1107
00:55:59,560 --> 00:56:03,400
Speaker 1: you by Illumination, Globle Unlimited and Remembered.

1108
00:56:14,680 --> 00:56:16,799
Speaker 2: Whoa guys, hold on, I think we need to take

1109
00:56:16,840 --> 00:56:18,080
Speaker 2: a break before we move on.

1110
00:56:18,680 --> 00:56:20,960
Speaker 3: We'll be right back after a word from our sponsors.

1111
00:56:23,680 --> 00:56:25,400
Speaker 1: Isn't that back masking?

1112
00:56:25,840 --> 00:56:27,560
Speaker 3: Oh shit, we have a show to do. Yeah, let's

1113
00:56:27,600 --> 00:56:27,960
Speaker 3: keep going.

1114
00:56:28,120 --> 00:56:29,040
Speaker 1: That's right, folks.

1115
00:56:29,560 --> 00:56:32,600
Speaker 14: We would like to welcome our very special guests for

1116
00:56:32,680 --> 00:56:36,399
Speaker 14: this evening, the host of Broken Records, the man who

1117
00:56:36,440 --> 00:56:40,239
Speaker 14: knows everything about music and has decided to join us

1118
00:56:40,360 --> 00:56:41,040
Speaker 14: live tonight.

1119
00:56:41,280 --> 00:56:42,160
Speaker 1: Please join us.

1120
00:56:42,040 --> 00:56:48,520
Speaker 3: And welcoming the one and only justin Richmond. Who you are, sir?

1121
00:56:53,320 --> 00:56:55,520
Speaker 6: Wow, I don't know how I got you. I just

1122
00:56:55,560 --> 00:56:58,759
Speaker 6: heard a sound I was compelled to come. Yeah, I

1123
00:56:58,840 --> 00:56:59,680
Speaker 6: think I agreed to this.

1124
00:57:01,440 --> 00:57:04,200
Speaker 1: Well, we can't thank you enough for coming. We were

1125
00:57:04,480 --> 00:57:08,120
Speaker 1: we were talking back and forth earlier when we were

1126
00:57:08,160 --> 00:57:11,600
Speaker 1: working on the idea of the conspiracy of sound. We

1127
00:57:11,719 --> 00:57:16,680
Speaker 1: wanted to touch on some of the weirdest sounds that

1128
00:57:17,200 --> 00:57:19,720
Speaker 1: people like our friends and family and the audience tonight

1129
00:57:20,080 --> 00:57:24,240
Speaker 1: have heard and tie that into of course, music conspiracies,

1130
00:57:24,320 --> 00:57:26,919
Speaker 1: maybe a little Havana syndrome, but justin let's start here.

1131
00:57:27,920 --> 00:57:31,240
Speaker 1: We were talking earlier and we were asking you what

1132
00:57:31,360 --> 00:57:34,400
Speaker 1: are the weirdest sounds that you have heard?

1133
00:57:34,840 --> 00:57:35,160
Speaker 3: Yeah?

1134
00:57:35,200 --> 00:57:39,240
Speaker 6: So, uh, you know, I live in Long Beach, California,

1135
00:57:39,560 --> 00:57:41,800
Speaker 6: which you know is that cool?

1136
00:57:42,160 --> 00:57:43,320
Speaker 3: Oh, it's great, It's amazing.

1137
00:57:43,960 --> 00:57:47,080
Speaker 1: A short beach. I've always wanted to ask, is it

1138
00:57:47,120 --> 00:57:47,800
Speaker 1: a short beach?

1139
00:57:47,960 --> 00:57:50,840
Speaker 3: Is there a short is a short beach? Seal beach?

1140
00:57:51,320 --> 00:57:54,600
Speaker 1: Oh? But they don't they don't, Yeah, they don't advertise them.

1141
00:57:54,960 --> 00:57:56,200
Speaker 3: Maybe someone of the beach is nice.

1142
00:57:56,360 --> 00:57:59,440
Speaker 5: Also, apparently Long Island, like is just New York? Here

1143
00:57:59,480 --> 00:58:02,080
Speaker 5: is Manhattan rather right, like the Long Island. If you

1144
00:58:02,120 --> 00:58:04,600
Speaker 5: heard this what somebody told me about this? Like maybe

1145
00:58:04,680 --> 00:58:07,560
Speaker 5: I'm totally wrong, but like Long Island was originally like

1146
00:58:07,800 --> 00:58:11,600
Speaker 5: referring to the island of Manhattan. But I digress tell

1147
00:58:11,640 --> 00:58:14,440
Speaker 5: us about what happens sonically in Long Beach.

1148
00:58:14,520 --> 00:58:19,200
Speaker 6: Well, Long Beach, for those who don't know, is it's

1149
00:58:19,240 --> 00:58:22,440
Speaker 6: a port town. So we you know, it has the

1150
00:58:22,480 --> 00:58:24,240
Speaker 6: Port of Los Angeles and the Port of Long Beach,

1151
00:58:24,280 --> 00:58:26,200
Speaker 6: and so it's like, you know, beside it's like one

1152
00:58:26,240 --> 00:58:27,880
Speaker 6: of the biggest ports in the world.

1153
00:58:28,560 --> 00:58:31,720
Speaker 3: And so in addition to the the you know, there's

1154
00:58:31,760 --> 00:58:32,840
Speaker 3: all cons of things going on Long Beach.

1155
00:58:32,840 --> 00:58:34,840
Speaker 6: There's the port, there's the airport. There's all kinds of

1156
00:58:35,000 --> 00:58:38,120
Speaker 6: going on with the port. You know, most of us

1157
00:58:38,240 --> 00:58:41,160
Speaker 6: day to day we probably about five miles from the ports.

1158
00:58:41,200 --> 00:58:42,880
Speaker 6: We're not we're not always over there. We don't really

1159
00:58:42,920 --> 00:58:47,680
Speaker 6: see it. But at night a lot of times I'll

1160
00:58:47,680 --> 00:58:51,800
Speaker 6: wake up three am and just hear like a weird

1161
00:58:53,280 --> 00:58:56,360
Speaker 6: like foghorn, like the most unsettling you know, like when

1162
00:58:56,360 --> 00:59:00,120
Speaker 6: you're in a horror movie and it's like, uh, it's

1163
00:59:00,160 --> 00:59:03,240
Speaker 6: it's it's misty or foggy and it's a full moon

1164
00:59:04,040 --> 00:59:05,880
Speaker 6: and the leaves are bare on the tree.

1165
00:59:06,800 --> 00:59:09,960
Speaker 5: Have you seen the lighthouse that Rabbert Egger's yes, okay, right,

1166
00:59:10,040 --> 00:59:11,440
Speaker 5: Like that soundtrack.

1167
00:59:11,000 --> 00:59:14,919
Speaker 3: Is fog horn, Like it is indeed unsettling, and you'll

1168
00:59:15,000 --> 00:59:16,800
Speaker 3: just wake up, you know, when we're like three blocks

1169
00:59:16,800 --> 00:59:17,120
Speaker 3: in the beach.

1170
00:59:20,080 --> 00:59:20,800
Speaker 1: WHOA.

1171
00:59:20,960 --> 00:59:24,120
Speaker 2: I wonder if you hear the hum the rumble of

1172
00:59:24,160 --> 00:59:26,120
Speaker 2: some of the ships and stuff that roll through there too,

1173
00:59:26,120 --> 00:59:28,640
Speaker 2: and the mechanisms that are like on the dock itself.

1174
00:59:28,680 --> 00:59:30,840
Speaker 6: Well, you know that's that's the thing, like the foghorn,

1175
00:59:31,000 --> 00:59:33,400
Speaker 6: as unsettling as it is, Like you know, you wake

1176
00:59:33,440 --> 00:59:35,440
Speaker 6: up three am to go to go to go use

1177
00:59:35,440 --> 00:59:37,120
Speaker 6: the restroom, go back to your.

1178
00:59:37,000 --> 00:59:38,160
Speaker 3: Bed, and you're hearing a foghorn.

1179
00:59:38,800 --> 00:59:40,880
Speaker 6: At least I know what it is and why, Yes,

1180
00:59:40,920 --> 00:59:42,720
Speaker 6: and I can identify that sound.

1181
00:59:42,960 --> 00:59:46,520
Speaker 3: There's also an abnormal for the longest simon.

1182
00:59:46,520 --> 00:59:48,240
Speaker 6: I haven't heard it in a while, but for a

1183
00:59:48,320 --> 00:59:52,520
Speaker 6: while I would wake up around four or five am,

1184
00:59:52,960 --> 00:59:57,240
Speaker 6: between four or five am and six am, six thirty am,

1185
00:59:57,640 --> 01:00:02,360
Speaker 6: there'd just be a high pitched what's oh, And everyone

1186
01:00:02,400 --> 01:00:04,600
Speaker 6: in Long Beach who's up at that time can hear it,

1187
01:00:05,240 --> 01:00:05,840
Speaker 6: but no one can.

1188
01:00:05,960 --> 01:00:07,520
Speaker 3: No one can tell me what it is.

1189
01:00:07,920 --> 01:00:10,280
Speaker 6: There's just a rogue, no one there was also, by

1190
01:00:10,280 --> 01:00:12,280
Speaker 6: the way, I know we're not talking about smells, but

1191
01:00:12,320 --> 01:00:16,920
Speaker 6: there's a smell that floats in from off the coast

1192
01:00:17,040 --> 01:00:19,720
Speaker 6: okay that no one can tell you what it is.

1193
01:00:19,760 --> 01:00:21,400
Speaker 6: I mean, it smells like there's a gas Like sometimes

1194
01:00:21,440 --> 01:00:24,280
Speaker 6: I've come home like there's a gas like what I

1195
01:00:24,400 --> 01:00:26,440
Speaker 6: left the and I'll go look and there's nothing, and

1196
01:00:26,480 --> 01:00:29,520
Speaker 6: I'll call the you know, uh, you.

1197
01:00:29,480 --> 01:00:30,360
Speaker 3: Know, I'll call it.

1198
01:00:30,520 --> 01:00:31,840
Speaker 6: Just wants to call in the ghast, lik, right, So

1199
01:00:31,880 --> 01:00:33,680
Speaker 6: I'll call you know, what do you want to sense

1200
01:00:33,920 --> 01:00:34,800
Speaker 6: now to check this out?

1201
01:00:35,200 --> 01:00:35,280
Speaker 3: Oh?

1202
01:00:35,320 --> 01:00:37,160
Speaker 6: No, we're getting calls left and right, like it's everywhere.

1203
01:00:37,160 --> 01:00:39,160
Speaker 6: We don't but they don't know what it is. No

1204
01:00:39,200 --> 01:00:41,560
Speaker 6: one knows what it is. The government, the local government

1205
01:00:41,600 --> 01:00:44,360
Speaker 6: can't tell us. Like California, ask people go down to investigate.

1206
01:00:44,400 --> 01:00:45,120
Speaker 3: They can't tell us.

1207
01:00:45,240 --> 01:00:48,760
Speaker 1: Doesn't smell bad, smells like gyas.

1208
01:00:48,840 --> 01:00:52,000
Speaker 3: It's like like like likes like sulfur. Oh I got

1209
01:00:52,040 --> 01:00:57,040
Speaker 3: bad news. Your whole town is haunted. Yeah, this is

1210
01:00:57,040 --> 01:00:58,360
Speaker 3: actually not surprised me.

1211
01:00:58,480 --> 01:00:59,960
Speaker 1: What we brought you on the show to talk.

1212
01:01:01,480 --> 01:01:04,160
Speaker 3: This is terrible news. I'll be leading, I will not

1213
01:01:04,200 --> 01:01:07,440
Speaker 3: be returning home themselves.

1214
01:01:07,760 --> 01:01:10,640
Speaker 2: Tell us what connects you directly to music and to

1215
01:01:10,720 --> 01:01:13,080
Speaker 2: Broken Record into just what you do?

1216
01:01:13,320 --> 01:01:14,360
Speaker 3: What I do well?

1217
01:01:14,480 --> 01:01:18,360
Speaker 6: I am the host of Broken Record, a music podcast

1218
01:01:18,400 --> 01:01:22,800
Speaker 6: that I started with Rick Rubin and Malcolm Gladwell, WHOA, yeah.

1219
01:01:22,840 --> 01:01:25,080
Speaker 3: That's cool. And Rick Assentce.

1220
01:01:25,160 --> 01:01:27,680
Speaker 6: You know, he's still involved at high level, but he's

1221
01:01:27,680 --> 01:01:29,840
Speaker 6: he's hosting a new show now and so I'm left

1222
01:01:29,920 --> 01:01:30,440
Speaker 6: to host.

1223
01:01:30,560 --> 01:01:34,880
Speaker 5: He's just meditating, levitating somewhere in Malibu right now we speak.

1224
01:01:35,600 --> 01:01:41,120
Speaker 3: We don't even know where he is. We're yeah, and

1225
01:01:41,120 --> 01:01:44,200
Speaker 3: I mean, yeah, there were But like, you know, music is.

1226
01:01:44,560 --> 01:01:47,000
Speaker 3: We talked about what sound is, sound waves and all

1227
01:01:47,000 --> 01:01:47,200
Speaker 3: of that.

1228
01:01:47,360 --> 01:01:50,280
Speaker 5: I'm a huge music fan, and the idea that music

1229
01:01:50,400 --> 01:01:54,840
Speaker 5: is just this scientifically quantifiable bunch of vibrating air, you know,

1230
01:01:55,000 --> 01:01:56,200
Speaker 5: molecules still just.

1231
01:01:56,160 --> 01:01:57,120
Speaker 3: Kind of blows my mind.

1232
01:01:57,120 --> 01:01:59,400
Speaker 5: And when I put a needle on a record, the

1233
01:01:59,480 --> 01:02:03,520
Speaker 5: process by which grews scratched into a piece of plastic

1234
01:02:03,800 --> 01:02:07,480
Speaker 5: are then transmuted through a needle into a thing that

1235
01:02:07,520 --> 01:02:10,640
Speaker 5: goes into speakers and becomes music that then hits our

1236
01:02:10,680 --> 01:02:14,000
Speaker 5: ears absolutely blows my mind constantly, and I more or

1237
01:02:14,080 --> 01:02:16,400
Speaker 5: less understand the science of it, but it doesn't make

1238
01:02:16,440 --> 01:02:18,280
Speaker 5: you feel any less magical, right, It.

1239
01:02:18,200 --> 01:02:19,320
Speaker 3: Blows you know. What's funny?

1240
01:02:19,320 --> 01:02:21,600
Speaker 6: We always talk about this in a negative sense, but

1241
01:02:21,640 --> 01:02:23,360
Speaker 6: I'm always astounded by it, and I wish we could

1242
01:02:23,360 --> 01:02:23,760
Speaker 6: go back to it.

1243
01:02:23,760 --> 01:02:24,560
Speaker 3: But We always think.

1244
01:02:27,240 --> 01:02:30,400
Speaker 6: A lot of books or documentaries just about music, or

1245
01:02:30,400 --> 01:02:32,400
Speaker 6: if you talk to people who are at a certain age,

1246
01:02:32,400 --> 01:02:34,160
Speaker 6: you made music at a certain time, they'll tell you.

1247
01:02:34,200 --> 01:02:37,080
Speaker 6: By the time when recording studios were run by people

1248
01:02:37,080 --> 01:02:38,240
Speaker 6: in lab coats.

1249
01:02:39,360 --> 01:02:41,000
Speaker 3: Beatles were always pissing them off.

1250
01:02:41,200 --> 01:02:44,200
Speaker 5: We're using the equipment wrong, right, and the the the

1251
01:02:44,280 --> 01:02:47,080
Speaker 5: narrative in music is like at some point the Beatles

1252
01:02:47,200 --> 01:02:50,360
Speaker 5: and other people we were we were freed by the

1253
01:02:50,720 --> 01:02:53,720
Speaker 5: tyrannical lab coat engineers like democratize it.

1254
01:02:53,840 --> 01:02:56,600
Speaker 6: Democratize it, right, and you get like, you know, the

1255
01:02:56,680 --> 01:02:59,520
Speaker 6: kind of you know, then you get more the engineer

1256
01:02:59,560 --> 01:03:00,960
Speaker 6: just looks more like a like a you know, like

1257
01:03:01,000 --> 01:03:03,160
Speaker 6: a run of the mill like hippie or something, right

1258
01:03:03,200 --> 01:03:05,640
Speaker 6: like yeah, yah, yeah, Well the thing that's need about that,

1259
01:03:05,640 --> 01:03:07,120
Speaker 6: I should go back to that, I should go back

1260
01:03:07,160 --> 01:03:09,400
Speaker 6: to lap Yeah. Well sure, But the thing is a

1261
01:03:09,440 --> 01:03:13,040
Speaker 6: lot of music technology, things like compressors, for example, a

1262
01:03:13,120 --> 01:03:16,480
Speaker 6: word built for broadcast for very functional purposes, like to

1263
01:03:16,520 --> 01:03:18,680
Speaker 6: make it so when a song come came on, it

1264
01:03:18,720 --> 01:03:20,480
Speaker 6: wasn't going to knock your head off because it.

1265
01:03:20,440 --> 01:03:22,280
Speaker 5: Was so much louder than the last one. But then

1266
01:03:22,360 --> 01:03:25,240
Speaker 5: somebody went around behind the lab co guy's back and

1267
01:03:25,280 --> 01:03:27,240
Speaker 5: figured out how to crank that thing up and make

1268
01:03:27,280 --> 01:03:29,840
Speaker 5: it sound cool. And that's like the sound of led

1269
01:03:29,920 --> 01:03:33,400
Speaker 5: Zeppelin slappy drums, or like the Beatles plugging a guitar

1270
01:03:33,480 --> 01:03:35,640
Speaker 5: right into the console and cranking the game up so

1271
01:03:35,680 --> 01:03:37,080
Speaker 5: they get a fuzz on revolution.

1272
01:03:37,280 --> 01:03:37,520
Speaker 3: You know.

1273
01:03:37,840 --> 01:03:39,960
Speaker 6: That is that is what we did liberate from the lab.

1274
01:03:40,080 --> 01:03:43,080
Speaker 6: You know some of there's certain sounds that aren't proper

1275
01:03:43,120 --> 01:03:48,200
Speaker 6: sounds or correct sounds that that that are make music

1276
01:03:48,440 --> 01:03:51,360
Speaker 6: invigorating to us. Right, it's sort of this weird we

1277
01:03:51,360 --> 01:03:53,400
Speaker 6: we people who don't even you know, it's funny, like

1278
01:03:53,480 --> 01:03:54,440
Speaker 6: you talked to someone.

1279
01:03:54,320 --> 01:03:56,520
Speaker 3: And my people in this audience. There's no there's no

1280
01:03:56,560 --> 01:03:56,960
Speaker 3: shame in this.

1281
01:03:57,000 --> 01:03:58,680
Speaker 6: I can't even remember a time in my life where

1282
01:03:59,000 --> 01:04:00,880
Speaker 6: I love music, but we hear things and I couldn't

1283
01:04:00,880 --> 01:04:03,800
Speaker 6: differentiate between the instruments. Like if you say, oh, like

1284
01:04:03,840 --> 01:04:05,640
Speaker 6: that's an interesting bass on, I don't know what what

1285
01:04:05,760 --> 01:04:07,760
Speaker 6: is the bass? You have to really sit and explain

1286
01:04:07,800 --> 01:04:09,080
Speaker 6: it to me, like, oh, that's what that is. And

1287
01:04:09,120 --> 01:04:11,360
Speaker 6: I sometimes I still talk to people, I'm like, the

1288
01:04:11,440 --> 01:04:14,200
Speaker 6: song is great. It's great because listen to arrange, listen

1289
01:04:14,200 --> 01:04:14,880
Speaker 6: to the bass.

1290
01:04:14,600 --> 01:04:19,200
Speaker 3: And the guitar on the way that the horns the piccolo.

1291
01:04:21,400 --> 01:04:26,280
Speaker 6: Let's talking about the magic flute by the way. No,

1292
01:04:26,400 --> 01:04:28,520
Speaker 6: but you know, it's like in the same way, like

1293
01:04:28,520 --> 01:04:31,480
Speaker 6: there are sounds that aren't that weren't proper sounds, and

1294
01:04:31,520 --> 01:04:34,480
Speaker 6: we can't necessarily readily identify what's proper or not proper

1295
01:04:34,520 --> 01:04:37,680
Speaker 6: as a listener. But sometimes that that those weird the

1296
01:04:37,720 --> 01:04:40,800
Speaker 6: distortions or the weird things that were mistakes in the

1297
01:04:40,800 --> 01:04:44,200
Speaker 6: studios make the songs that we love better.

1298
01:04:44,320 --> 01:04:47,400
Speaker 5: Keith Richard's got his guitar tone by slashing a speaker

1299
01:04:47,440 --> 01:04:51,200
Speaker 5: with a switchblade, like literally ripping the cone, the paper

1300
01:04:51,240 --> 01:04:54,080
Speaker 5: cone of the speaker and making it vibrate against themself

1301
01:04:54,120 --> 01:04:55,160
Speaker 5: to get a cool tone.

1302
01:04:55,240 --> 01:04:55,560
Speaker 3: Yeah.

1303
01:04:55,680 --> 01:04:57,560
Speaker 6: Yeah, a lot of times that would happen, right, And

1304
01:04:57,600 --> 01:05:01,080
Speaker 6: I think, like something I can't remember the Zach specifics,

1305
01:05:01,120 --> 01:05:04,440
Speaker 6: but if you go and listen to the Kinks song

1306
01:05:09,400 --> 01:05:12,280
Speaker 6: really Got, Really Gotten, really got me, Like there's a

1307
01:05:12,320 --> 01:05:14,680
Speaker 6: really great distorted guitar on that. That's one of one

1308
01:05:14,720 --> 01:05:16,760
Speaker 6: of the early distorted guitars. And that's because like the

1309
01:05:16,800 --> 01:05:19,960
Speaker 6: amp was malfunctioning you or they broke it and be

1310
01:05:20,000 --> 01:05:21,640
Speaker 6: based on that, you know, then they go in they

1311
01:05:21,640 --> 01:05:23,960
Speaker 6: figure out, well, how do we get that sounding someone

1312
01:05:24,040 --> 01:05:26,040
Speaker 6: manufactured like a distortion pedal?

1313
01:05:26,120 --> 01:05:29,080
Speaker 1: You know, that's that's a good question too, because we

1314
01:05:29,200 --> 01:05:33,240
Speaker 1: often more and more now we we kind of hear

1315
01:05:33,440 --> 01:05:40,680
Speaker 1: and accept these allegations of cabal running a music industry. Right,

1316
01:05:40,960 --> 01:05:44,000
Speaker 1: So in your experience, we'll get to that the truth

1317
01:05:44,080 --> 01:05:46,040
Speaker 1: or falsity of that in a second, But in your

1318
01:05:46,080 --> 01:05:51,000
Speaker 1: experience personally, do you think those imperfections are more or

1319
01:05:51,120 --> 01:05:54,600
Speaker 1: less frequent to emerge in a finish song now? Like

1320
01:05:54,760 --> 01:05:58,120
Speaker 1: is there someone shutting down a thing? Or is there

1321
01:05:58,200 --> 01:06:01,480
Speaker 1: someone do people still have the agency to say, no,

1322
01:06:01,680 --> 01:06:03,919
Speaker 1: that's perfect, I don't care if the accordion's out of tune,

1323
01:06:04,120 --> 01:06:06,000
Speaker 1: I'm tom Waits or anything like that.

1324
01:06:06,120 --> 01:06:08,520
Speaker 3: You know, you know, that's a that's a that's that's

1325
01:06:08,560 --> 01:06:09,280
Speaker 3: a tricky question.

1326
01:06:09,320 --> 01:06:12,280
Speaker 6: I mean, in some ways, there's in some ways there's

1327
01:06:12,280 --> 01:06:14,560
Speaker 6: more freedom to make mistakes because everyone's just like, we've

1328
01:06:14,600 --> 01:06:17,760
Speaker 6: now gone from making a record in a studio you

1329
01:06:17,840 --> 01:06:19,400
Speaker 6: paid a lot of money for with guys and lab

1330
01:06:19,440 --> 01:06:21,800
Speaker 6: coats running the studio, to you're making a record in

1331
01:06:21,840 --> 01:06:24,080
Speaker 6: a studio for a lot of money with dudes who

1332
01:06:24,160 --> 01:06:26,800
Speaker 6: look just like they're in the band running the recording

1333
01:06:26,840 --> 01:06:29,480
Speaker 6: studio to the recording studios just at your house, and

1334
01:06:29,520 --> 01:06:32,040
Speaker 6: you may or may not even know exactly what you're

1335
01:06:32,080 --> 01:06:33,360
Speaker 6: doing or all the ins and outs of like the

1336
01:06:33,360 --> 01:06:37,160
Speaker 6: equipment that you're using, and so in some ways it's

1337
01:06:37,200 --> 01:06:39,400
Speaker 6: easier to make mistakes. But in terms of the music

1338
01:06:39,480 --> 01:06:45,240
Speaker 6: that gets to the general, you know, population, Like, I'm

1339
01:06:45,280 --> 01:06:50,280
Speaker 6: of the mind that pop music is it is marginally

1340
01:06:50,400 --> 01:06:54,800
Speaker 6: less interesting today than say in like nineteen eighty something.

1341
01:06:54,680 --> 01:06:59,280
Speaker 5: Or yes, and I'm obsessed with Rhythm Nation by Janet Jackson.

1342
01:07:00,160 --> 01:07:03,560
Speaker 5: Just a crazy sounding record, and it's because they were

1343
01:07:03,640 --> 01:07:06,640
Speaker 5: using all of these sixteen bit samplers that were kind

1344
01:07:06,680 --> 01:07:11,640
Speaker 5: of by our standards today low fi, right. But Jimmy Jams,

1345
01:07:11,680 --> 01:07:14,440
Speaker 5: a producer, like it sounds like an industrial record. There

1346
01:07:14,440 --> 01:07:17,080
Speaker 5: are sounds on this sound like drills or you know,

1347
01:07:17,160 --> 01:07:18,560
Speaker 5: beating on trash cans.

1348
01:07:18,840 --> 01:07:22,240
Speaker 3: And it was a massive pop record. When you listen

1349
01:07:22,280 --> 01:07:23,920
Speaker 3: to it now, it sounds fucking weird.

1350
01:07:24,040 --> 01:07:26,960
Speaker 6: Yeah, Janet Jackson, you can't get I mean, when when

1351
01:07:27,160 --> 01:07:29,280
Speaker 6: Rhythm Nation came out, could you get any bigger than

1352
01:07:29,320 --> 01:07:31,320
Speaker 6: Janet Jackson, like one of the most popular artists on

1353
01:07:31,400 --> 01:07:34,800
Speaker 6: Earth at the time. Experimental yes, yes, And I mean

1354
01:07:34,800 --> 01:07:36,120
Speaker 6: even you know, if you go back and you listen

1355
01:07:36,200 --> 01:07:41,120
Speaker 6: to you know, it's funny. I heard single Ladies recently

1356
01:07:41,520 --> 01:07:43,040
Speaker 6: and you're like, I like.

1357
01:07:43,280 --> 01:07:45,640
Speaker 3: How did this? How did how did this get released?

1358
01:07:45,720 --> 01:07:45,920
Speaker 3: Like this?

1359
01:07:46,000 --> 01:07:47,840
Speaker 6: Like this is not in a bad way, like a

1360
01:07:47,920 --> 01:07:50,959
Speaker 6: fascinating way, Like there are some weird sounds on that record, yes,

1361
01:07:51,040 --> 01:07:52,240
Speaker 6: that make like you're.

1362
01:07:52,080 --> 01:07:53,040
Speaker 3: Like, what is it?

1363
01:07:53,080 --> 01:07:53,479
Speaker 6: Like? Why?

1364
01:07:53,880 --> 01:07:55,840
Speaker 3: Who did who did this? I don't even know if

1365
01:07:55,840 --> 01:07:56,240
Speaker 3: I like it?

1366
01:07:56,280 --> 01:07:58,920
Speaker 1: I guess, but I'm I'm glad it has the studio

1367
01:07:59,360 --> 01:08:01,680
Speaker 1: just that impro training and they just kept saying like

1368
01:08:01,920 --> 01:08:04,440
Speaker 1: yes and at this other.

1369
01:08:04,280 --> 01:08:08,360
Speaker 2: Thing, yes, and he's Samberg in a leotard go in

1370
01:08:08,400 --> 01:08:08,840
Speaker 2: the video.

1371
01:08:09,160 --> 01:08:10,040
Speaker 3: I don't know about that.

1372
01:08:10,840 --> 01:08:12,200
Speaker 5: You know, it's funny that it depends on who you

1373
01:08:12,240 --> 01:08:14,680
Speaker 5: are and how much kind of clout you have, because

1374
01:08:14,680 --> 01:08:17,599
Speaker 5: you've got like Billie Eilish and like Phineas or brother.

1375
01:08:18,040 --> 01:08:20,360
Speaker 5: They make records, they make weird records, but they got

1376
01:08:20,400 --> 01:08:24,360
Speaker 5: big organically through like TikTok or whatever, and some people

1377
01:08:24,360 --> 01:08:27,200
Speaker 5: say they were that's fair.

1378
01:08:27,400 --> 01:08:28,719
Speaker 3: I don't have no knowledge.

1379
01:08:29,360 --> 01:08:35,680
Speaker 5: I'm because they found it organically just but my point is, though,

1380
01:08:35,720 --> 01:08:38,720
Speaker 5: it's like because of that cloud, they can kind of

1381
01:08:38,720 --> 01:08:40,760
Speaker 5: make records that sound the way they want to make them.

1382
01:08:40,880 --> 01:08:44,040
Speaker 5: And he's all about samplings, snack, you know, matches, striking

1383
01:08:44,120 --> 01:08:45,960
Speaker 5: and things like that, which is not the norm.

1384
01:08:45,960 --> 01:08:47,479
Speaker 3: I would it makes weird sounds.

1385
01:08:47,680 --> 01:08:50,880
Speaker 1: You said, one of my favorite phrases in these kinds

1386
01:08:50,880 --> 01:08:54,720
Speaker 1: of conversations. Some people say, you.

1387
01:08:54,680 --> 01:08:57,639
Speaker 3: Know what I mean. That's what people say.

1388
01:08:57,680 --> 01:08:58,679
Speaker 4: I heard.

1389
01:08:58,800 --> 01:08:59,599
Speaker 3: Who am I to say?

1390
01:09:00,240 --> 01:09:00,360
Speaker 12: Right?

1391
01:09:00,479 --> 01:09:03,080
Speaker 2: We're talking a lot about this, the beat boops. What

1392
01:09:03,200 --> 01:09:04,879
Speaker 2: about the messages and the lyrics?

1393
01:09:04,920 --> 01:09:11,280
Speaker 11: Guys nine, number nine, nine.

1394
01:09:11,479 --> 01:09:17,240
Speaker 3: Number nine, nine, familiar nines, number nine. I'm familiar with

1395
01:09:17,280 --> 01:09:19,519
Speaker 3: the number nine. I feel like number nine. We were

1396
01:09:19,560 --> 01:09:23,040
Speaker 3: talking about the Beatles. They're talking about misusing equipment. A

1397
01:09:23,200 --> 01:09:24,080
Speaker 3: song like this.

1398
01:09:25,000 --> 01:09:27,799
Speaker 5: Number Revolution, number nine or whatever on the White album

1399
01:09:28,120 --> 01:09:30,479
Speaker 5: is what you would call music concrete or it uses

1400
01:09:30,560 --> 01:09:34,640
Speaker 5: these concepts of misusing tape machines, playing things backwards, you know,

1401
01:09:34,720 --> 01:09:39,600
Speaker 5: manipulating sounds more like an experimental way, and that is

1402
01:09:39,640 --> 01:09:42,120
Speaker 5: sort of the genesis of this idea of hidden messages,

1403
01:09:42,160 --> 01:09:45,519
Speaker 5: whether intentional or not. You know, people like Alistair Crowley,

1404
01:09:45,560 --> 01:09:47,960
Speaker 5: who is a big proponent of you know, the Black Arts,

1405
01:09:48,080 --> 01:09:50,800
Speaker 5: believe that if you played recordings backwards, you could learn

1406
01:09:50,880 --> 01:09:53,800
Speaker 5: to speak backwards, and you could use that to cast

1407
01:09:53,840 --> 01:09:56,559
Speaker 5: spells and incantations and things like that.

1408
01:09:56,840 --> 01:10:00,000
Speaker 1: Yeah, this is the This is the concept that there's

1409
01:10:00,080 --> 01:10:03,599
Speaker 1: two guys in the couch and encountered earlier back masking.

1410
01:10:03,880 --> 01:10:04,040
Speaker 9: Right.

1411
01:10:04,640 --> 01:10:08,640
Speaker 1: It's something that it's almost like someone is speaking a

1412
01:10:08,800 --> 01:10:11,160
Speaker 1: language that is very close to a language you speak,

1413
01:10:11,240 --> 01:10:13,880
Speaker 1: and you're kind of you're hearing parts of it. And

1414
01:10:14,040 --> 01:10:17,680
Speaker 1: what we wanted to do tonight with you and with

1415
01:10:17,840 --> 01:10:23,080
Speaker 1: all of us here is to explore some back masking examples.

1416
01:10:23,120 --> 01:10:24,519
Speaker 3: I don't know if I can hang around with this guy.

1417
01:10:24,840 --> 01:10:31,439
Speaker 3: Come on, I don't know. There's a pentagram underneath the coach.

1418
01:10:32,280 --> 01:10:33,200
Speaker 3: I don't understand.

1419
01:10:33,240 --> 01:10:36,639
Speaker 5: But there is a precedent for this, and the Beatles

1420
01:10:36,680 --> 01:10:38,519
Speaker 5: really kind of set the groundwork for it. We just

1421
01:10:38,560 --> 01:10:41,000
Speaker 5: heard is a very experimental track from the White album,

1422
01:10:41,320 --> 01:10:44,280
Speaker 5: and it started these rumors that Paul McCartney was dead

1423
01:10:44,360 --> 01:10:46,360
Speaker 5: because when you play number nine back, where as you

1424
01:10:46,400 --> 01:10:58,040
Speaker 5: get this.

1425
01:10:57,360 --> 01:10:58,439
Speaker 3: Turn me on dead man?

1426
01:10:58,800 --> 01:10:59,240
Speaker 1: Right?

1427
01:10:59,040 --> 01:10:59,160
Speaker 6: Right?

1428
01:10:59,400 --> 01:10:59,559
Speaker 3: Or?

1429
01:10:59,840 --> 01:11:03,360
Speaker 1: Or are we are we practicing pattern recognition?

1430
01:11:03,439 --> 01:11:05,400
Speaker 3: Well we're going to get to that too, for sure.

1431
01:11:05,520 --> 01:11:08,400
Speaker 1: What do you think a conspiracy that kind of created itself?

1432
01:11:08,479 --> 01:11:09,519
Speaker 1: But you're familiar with.

1433
01:11:09,439 --> 01:11:11,360
Speaker 3: This, I know about the Paul's that conspiracy.

1434
01:11:11,360 --> 01:11:15,280
Speaker 6: I gotta say, I either have never actually heard that

1435
01:11:16,360 --> 01:11:18,280
Speaker 6: the where it comes from, or it's just been a

1436
01:11:18,280 --> 01:11:19,719
Speaker 6: long enough time that I just forgotten.

1437
01:11:20,960 --> 01:11:28,479
Speaker 3: It's free stretch. Someone's a little too high and ran

1438
01:11:28,520 --> 01:11:31,760
Speaker 3: away with it.

1439
01:11:31,880 --> 01:11:35,200
Speaker 5: Started people talking. It started these rumblings of this idea

1440
01:11:35,240 --> 01:11:37,560
Speaker 5: of hidden messages. Most of them are a stretch, I

1441
01:11:37,560 --> 01:11:39,519
Speaker 5: would argue, and we're going to get through some and

1442
01:11:39,520 --> 01:11:40,720
Speaker 5: then we're going to see if we can kind of

1443
01:11:40,760 --> 01:11:44,760
Speaker 5: identify what they're supposedly saying. A lot of these messages

1444
01:11:44,840 --> 01:11:48,879
Speaker 5: were identified by Mothers Against Metal and these similar groups

1445
01:11:49,080 --> 01:11:53,280
Speaker 5: who believe there were hidden messages trying to convince kids

1446
01:11:53,320 --> 01:11:55,120
Speaker 5: to do horrible things or worships sat.

1447
01:11:55,120 --> 01:11:58,800
Speaker 6: They had a little bit of an agenda like underestimate

1448
01:11:59,040 --> 01:11:59,960
Speaker 6: parents with time on them.

1449
01:12:00,200 --> 01:12:01,080
Speaker 3: It's exactly.

1450
01:12:02,520 --> 01:12:07,400
Speaker 6: Hands Jesus, well my child, let's hear let's hear another one.

1451
01:12:07,400 --> 01:12:09,880
Speaker 5: Okay, let's do this is just another Beatles one really quickly.

1452
01:12:10,080 --> 01:12:12,080
Speaker 5: This is just also FeAs into the Paula is dead and.

1453
01:12:12,080 --> 01:12:17,519
Speaker 12: I'm with you.

1454
01:12:21,600 --> 01:12:30,920
Speaker 3: That that's a real miss miss Okay, I don't whoa

1455
01:12:31,160 --> 01:12:31,960
Speaker 3: what do you think? Well?

1456
01:12:32,000 --> 01:12:34,559
Speaker 6: I put in my rational cap on, all right, If

1457
01:12:34,600 --> 01:12:38,120
Speaker 6: I'm John Lennon. Yeah, and I hear that people heard

1458
01:12:38,120 --> 01:12:40,720
Speaker 6: that heard what they heard in that other message, and

1459
01:12:40,920 --> 01:12:42,719
Speaker 6: Paul is dead then yeah, I'm gonna I'm just gonna

1460
01:12:43,800 --> 01:12:46,559
Speaker 6: criterally say Paul is dead man, like in a kind

1461
01:12:46,560 --> 01:12:48,200
Speaker 6: of a weird way, but like Paul, Paul's dead man.

1462
01:12:48,280 --> 01:12:49,920
Speaker 5: Well, that's funny you say that, because a lot of

1463
01:12:49,960 --> 01:12:52,240
Speaker 5: the stuff that we're gonna hear too is people responding

1464
01:12:52,520 --> 01:12:55,000
Speaker 5: to the bullshit and making a little joke out of

1465
01:12:55,040 --> 01:12:56,719
Speaker 5: it to him Paul, and I mean, I'm sorry, John

1466
01:12:56,760 --> 01:12:57,880
Speaker 5: was the kind of guy that would do exactly.

1467
01:12:58,120 --> 01:13:00,639
Speaker 3: Yeah, you have to take him, take the piss, taking

1468
01:13:00,680 --> 01:13:01,000
Speaker 3: the fists.

1469
01:13:01,000 --> 01:13:04,680
Speaker 5: Indeed, I'll turn other one. This is actually this is

1470
01:13:04,680 --> 01:13:06,160
Speaker 5: one of my favorites. Let's see if you can guess

1471
01:13:06,160 --> 01:13:08,160
Speaker 5: who make it a game? See if you can guess

1472
01:13:08,160 --> 01:13:09,960
Speaker 5: who the artist is or the song is and what

1473
01:13:10,000 --> 01:13:21,400
Speaker 5: they're supposed to be saying, we'll work together on it.

1474
01:13:23,200 --> 01:13:25,559
Speaker 5: The best part the next line, it sounds like he's

1475
01:13:25,560 --> 01:13:28,320
Speaker 5: saying there was a little tool shed where he made

1476
01:13:28,439 --> 01:13:33,599
Speaker 5: us suffer. Oh my sad, sad satan, Yeah, tool shed.

1477
01:13:33,640 --> 01:13:44,560
Speaker 6: There is a bustle in your Yeah, I think that

1478
01:13:44,640 --> 01:13:46,960
Speaker 6: works for multiple Why are these words for.

1479
01:13:46,920 --> 01:13:50,840
Speaker 5: Things topiary, perhaps make a shape.

1480
01:13:50,600 --> 01:13:57,240
Speaker 3: Like something a well groomed bush, like you know, keep

1481
01:13:57,280 --> 01:13:57,639
Speaker 3: it up.

1482
01:13:58,360 --> 01:14:01,360
Speaker 5: But Jimmy Page and Robert playing like it's hard enough

1483
01:14:01,400 --> 01:14:02,559
Speaker 5: to make music forwards.

1484
01:14:02,600 --> 01:14:05,400
Speaker 3: How are you gonna like hide stuff backwards? But that

1485
01:14:05,800 --> 01:14:08,280
Speaker 3: sounds like you say years to my sweet Satan. You guys,

1486
01:14:08,280 --> 01:14:08,680
Speaker 3: I don't know.

1487
01:14:08,800 --> 01:14:10,599
Speaker 5: I think it's a coincidence, and it is that pattern

1488
01:14:10,640 --> 01:14:12,120
Speaker 5: recognition Ben's talking about.

1489
01:14:12,120 --> 01:14:14,120
Speaker 3: But I think that one's pretty neat. I don't know.

1490
01:14:14,240 --> 01:14:15,720
Speaker 3: I just want to play it forward when I hear that.

1491
01:14:15,760 --> 01:14:23,200
Speaker 3: I love that. Who's sitting playing Zeppelin backwards? Yeah?

1492
01:14:23,280 --> 01:14:26,479
Speaker 2: It is funny though, Just this this concept of learning

1493
01:14:26,520 --> 01:14:28,640
Speaker 2: that if something is taboo and you put it in

1494
01:14:28,680 --> 01:14:33,519
Speaker 2: your music, you can probably generate enough controversy that you might.

1495
01:14:33,479 --> 01:14:36,080
Speaker 3: Have a hit. Right. I think that might be the

1496
01:14:36,120 --> 01:14:37,519
Speaker 3: real conspiracy at play.

1497
01:14:37,560 --> 01:14:37,760
Speaker 1: Well.

1498
01:14:37,840 --> 01:14:40,160
Speaker 2: I mean you can feel in because these are big

1499
01:14:40,240 --> 01:14:42,719
Speaker 2: bands we're talking about, right, some of man for sure.

1500
01:14:42,840 --> 01:14:45,800
Speaker 2: But they didn't need this to become hits. No, but

1501
01:14:45,840 --> 01:14:47,880
Speaker 2: it is a way to keep them.

1502
01:14:47,760 --> 01:14:48,280
Speaker 3: In the news.

1503
01:14:48,360 --> 01:14:53,640
Speaker 6: Maybeelin Zeppelin was a guess Jimmy Page was into the culture.

1504
01:14:53,920 --> 01:14:55,080
Speaker 1: That's true, right.

1505
01:14:54,960 --> 01:14:58,400
Speaker 6: And so therefore either I mean, you know, maybe it's

1506
01:14:58,479 --> 01:14:59,559
Speaker 6: just taking the piss again and.

1507
01:14:59,800 --> 01:15:03,280
Speaker 3: Maybe uh or maybe yeah, maybe.

1508
01:15:03,200 --> 01:15:05,679
Speaker 1: Do you think it's something? Do you think it's something?

1509
01:15:05,720 --> 01:15:08,600
Speaker 1: Where he was seriously trying to sell the rest of

1510
01:15:08,640 --> 01:15:11,280
Speaker 1: the band on it, and they were like, come on, man,

1511
01:15:11,360 --> 01:15:15,559
Speaker 1: it's four thirty, it's a Friday. Can we just sure, fine,

1512
01:15:15,680 --> 01:15:18,640
Speaker 1: fine do it. I'm sure. I'm sure they capitulated to

1513
01:15:18,680 --> 01:15:19,240
Speaker 1: Jimmy a lot.

1514
01:15:19,840 --> 01:15:22,200
Speaker 5: The tricky thing though, is like Stereoid Heaven's a really

1515
01:15:22,200 --> 01:15:25,080
Speaker 5: great song. It's beautiful, the melody is great, everything about

1516
01:15:25,360 --> 01:15:28,160
Speaker 5: so to make it sound super cool and beautiful and

1517
01:15:28,160 --> 01:15:32,000
Speaker 5: perfect forward just to have this secret hidden backwards message and.

1518
01:15:32,080 --> 01:15:32,559
Speaker 1: That's a lot.

1519
01:15:32,600 --> 01:15:35,120
Speaker 3: That's a tall order, tall order. It's also kind of

1520
01:15:35,160 --> 01:15:36,800
Speaker 3: cool if they did do it. If they did do.

1521
01:15:36,760 --> 01:15:38,400
Speaker 5: It, it's kind of cool Floyd Dark Side of the

1522
01:15:38,439 --> 01:15:40,479
Speaker 5: Moon sinking up with the Wizard of Oz, Like I

1523
01:15:40,520 --> 01:15:42,800
Speaker 5: really truly don't believe they could have pulled that off, but.

1524
01:15:42,760 --> 01:15:45,160
Speaker 3: It really does work. Great happy accident, I think so.

1525
01:15:45,240 --> 01:15:45,960
Speaker 3: But it's really neat.

1526
01:15:46,040 --> 01:15:49,280
Speaker 5: That's a really neat one's experience here. Let's let's do another. So, oh, actually,

1527
01:15:49,280 --> 01:15:51,320
Speaker 5: before we get to this, what I wanted to point out,

1528
01:15:51,439 --> 01:15:54,559
Speaker 5: so Matt said the idea of, you know, trying to

1529
01:15:54,600 --> 01:15:57,320
Speaker 5: do this to get some attention, whether it's wanted attention

1530
01:15:57,400 --> 01:15:58,120
Speaker 5: or on wanted attention.

1531
01:15:58,200 --> 01:16:01,519
Speaker 3: Judas Priest actually sued at.

1532
01:16:01,439 --> 01:16:04,880
Speaker 5: The Best of Mothers against Metal because they had a

1533
01:16:04,920 --> 01:16:08,479
Speaker 5: song that, supposedly, when played backwards, says do it, do it,

1534
01:16:08,560 --> 01:16:13,360
Speaker 5: and some unfortunately very disturbed young people took their own lives,

1535
01:16:13,479 --> 01:16:16,400
Speaker 5: and the Mothers blamed this hidden message that Judas pre

1536
01:16:16,520 --> 01:16:21,120
Speaker 5: supposedly had used to target youths to do horrible things

1537
01:16:21,120 --> 01:16:21,760
Speaker 5: to themselves.

1538
01:16:21,880 --> 01:16:24,160
Speaker 3: That's not how I would have interpreted that message, as you.

1539
01:16:24,360 --> 01:16:26,800
Speaker 6: First, Yeah, that's not what I would have gone with

1540
01:16:26,840 --> 01:16:29,200
Speaker 6: that you never got I would have done before I

1541
01:16:29,240 --> 01:16:29,680
Speaker 6: got through that.

1542
01:16:29,720 --> 01:16:33,160
Speaker 5: But okay, Nike never got in trouble and the judge

1543
01:16:33,200 --> 01:16:35,439
Speaker 5: threw it out because there was no sufficient evidence. And

1544
01:16:35,520 --> 01:16:37,599
Speaker 5: Rob Halford and their attorney said, look, if we were

1545
01:16:37,640 --> 01:16:40,599
Speaker 5: gonna hide hidden messages in our music, it would be like.

1546
01:16:40,600 --> 01:16:44,240
Speaker 3: Buy more records, not you know, he did.

1547
01:16:44,320 --> 01:16:46,599
Speaker 5: Take your own life to our listeners. It didn't really

1548
01:16:47,120 --> 01:16:48,280
Speaker 5: help us out very much.

1549
01:16:48,320 --> 01:16:51,439
Speaker 2: So have you guys seen those videos that supposedly are

1550
01:16:51,600 --> 01:16:56,559
Speaker 2: like older musicians talking about how there were some weird

1551
01:16:56,680 --> 01:16:57,759
Speaker 2: rituals going.

1552
01:16:57,520 --> 01:16:59,519
Speaker 3: On with Matt.

1553
01:16:59,640 --> 01:17:01,080
Speaker 1: Yeah, I'm so on board.

1554
01:17:01,240 --> 01:17:03,519
Speaker 2: There's some weird stuff out there that you can find,

1555
01:17:03,880 --> 01:17:07,760
Speaker 2: and there are actual musicians, and I cannot discern if

1556
01:17:07,760 --> 01:17:11,439
Speaker 2: they are joking.

1557
01:17:10,000 --> 01:17:11,799
Speaker 3: About what are we talking We're talking.

1558
01:17:11,600 --> 01:17:16,000
Speaker 1: To seventies, Yeah, in the seventies, eighties, sixties, eighties.

1559
01:17:16,160 --> 01:17:19,639
Speaker 2: Where you know they're it's like a single artist saying well, yeah,

1560
01:17:19,680 --> 01:17:22,439
Speaker 2: there there was a ritual room, did some stuff and

1561
01:17:22,439 --> 01:17:23,519
Speaker 2: we were putting on a new record.

1562
01:17:23,520 --> 01:17:25,320
Speaker 3: But anyway, it was just I never do it too

1563
01:17:25,360 --> 01:17:27,519
Speaker 3: seriously and you're just like a type stuff.

1564
01:17:27,560 --> 01:17:31,519
Speaker 2: What I can't discern if they're joking or not.

1565
01:17:31,920 --> 01:17:35,120
Speaker 1: Well, also, did they just go to a really weird

1566
01:17:35,160 --> 01:17:39,599
Speaker 1: house party? Like I think it's been at weird parties right.

1567
01:17:39,560 --> 01:17:42,240
Speaker 3: So very very odd.

1568
01:17:42,320 --> 01:17:45,880
Speaker 5: Yeah, let's do another one, Shelly, Yes, let's go back

1569
01:17:45,880 --> 01:17:46,879
Speaker 5: to they love.

1570
01:17:46,720 --> 01:18:00,839
Speaker 9: It sounds smoke marijuana.

1571
01:18:03,040 --> 01:18:08,040
Speaker 6: Okay, behind that that's great for you.

1572
01:18:08,680 --> 01:18:11,200
Speaker 3: Do you know the song and the artist Queen? That's Queen.

1573
01:18:11,200 --> 01:18:16,960
Speaker 6: Another one that groove ship Backwards forward silent No one,

1574
01:18:18,600 --> 01:18:19,439
Speaker 6: another one.

1575
01:18:20,880 --> 01:18:21,320
Speaker 3: So good?

1576
01:18:21,600 --> 01:18:24,840
Speaker 2: Wait, so where is that backwards part in the song?

1577
01:18:25,280 --> 01:18:27,160
Speaker 3: It's that the break.

1578
01:18:27,560 --> 01:18:38,000
Speaker 2: Wait, so it's just that backwards that's the reason.

1579
01:18:38,160 --> 01:18:39,599
Speaker 3: That's another one who writes the guests.

1580
01:18:42,760 --> 01:18:46,559
Speaker 2: Okay, but remember hearing it in the song when I

1581
01:18:46,600 --> 01:18:47,120
Speaker 2: listened to it.

1582
01:18:47,120 --> 01:18:50,080
Speaker 3: But hold on. So even though I support that message,

1583
01:18:50,320 --> 01:18:52,800
Speaker 3: so I want to believe that was really We're on.

1584
01:18:53,320 --> 01:18:55,640
Speaker 3: I want to believe that was real. But okay, so

1585
01:18:55,880 --> 01:18:57,400
Speaker 3: what's the process though? So like.

1586
01:18:58,840 --> 01:19:01,400
Speaker 6: That Freddie Mercury was in the studio and goes into

1587
01:19:01,439 --> 01:19:05,760
Speaker 6: mic and says, smoke marijuana, goy guys, guys played backwards

1588
01:19:05,840 --> 01:19:08,120
Speaker 6: and then it goes and he's like, and then.

1589
01:19:08,040 --> 01:19:14,400
Speaker 3: He yeah, that sounds kind of like that. Get back

1590
01:19:14,439 --> 01:19:17,519
Speaker 3: in that vocal booth. Yeah, I mean maybe.

1591
01:19:17,680 --> 01:19:21,440
Speaker 1: But then then the question becomes, why does the cadence

1592
01:19:21,520 --> 01:19:25,479
Speaker 1: sound so correct in the in the forward version? Right

1593
01:19:25,600 --> 01:19:28,040
Speaker 1: if the backward version was the original one.

1594
01:19:27,920 --> 01:19:28,920
Speaker 3: And it is an odd phrase?

1595
01:19:28,960 --> 01:19:31,160
Speaker 6: I got that, I mean another one by I mean,

1596
01:19:31,280 --> 01:19:32,880
Speaker 6: it's not that weird, but it's kind of like it's

1597
01:19:32,880 --> 01:19:33,480
Speaker 6: a little.

1598
01:19:33,240 --> 01:19:37,280
Speaker 1: They've done so they had some weird choices and lyricism,

1599
01:19:37,360 --> 01:19:40,960
Speaker 1: like seven seas Awry. So that what is that song about?

1600
01:19:41,160 --> 01:19:42,720
Speaker 1: I guess I'm reading into it too much.

1601
01:19:42,760 --> 01:19:46,000
Speaker 2: It's probably just I just want to ride my bicycle

1602
01:19:46,240 --> 01:19:46,880
Speaker 2: all the time.

1603
01:19:49,680 --> 01:19:50,360
Speaker 3: It's a great song.

1604
01:19:50,439 --> 01:19:52,559
Speaker 6: But despite that, it's like it's like that's could be

1605
01:19:52,560 --> 01:19:55,639
Speaker 6: a bat song very easily. I mean the line between

1606
01:19:55,680 --> 01:19:59,640
Speaker 6: like like greatness and like ship is like the Beatles

1607
01:20:00,120 --> 01:20:01,880
Speaker 6: is a ship name, like if you were like everyone,

1608
01:20:01,960 --> 01:20:04,960
Speaker 6: like everyone worries about naming things like the most incredible thing.

1609
01:20:04,960 --> 01:20:06,720
Speaker 3: Everybody's like gotta come up with the name for these things.

1610
01:20:06,720 --> 01:20:08,960
Speaker 3: It's gotta be like revolutionary, and it's gotta be short.

1611
01:20:09,080 --> 01:20:10,479
Speaker 6: It's gotta have a hit, a message, and it's like

1612
01:20:10,479 --> 01:20:12,479
Speaker 6: the Beatles, I wouldn't be the fucking Beatles and it's

1613
01:20:12,520 --> 01:20:18,200
Speaker 6: gonna be like it sucks, but it's honestly the greatest

1614
01:20:18,240 --> 01:20:19,960
Speaker 6: name ever. So it's like it's just what they did

1615
01:20:20,000 --> 01:20:22,160
Speaker 6: with the name, you know, like they became the greatest

1616
01:20:22,200 --> 01:20:23,200
Speaker 6: man ever, were like the Beatles.

1617
01:20:23,200 --> 01:20:25,080
Speaker 3: That's fucking awesome. It's kind of easier.

1618
01:20:25,240 --> 01:20:29,400
Speaker 1: It's kind of easier to back back then because there

1619
01:20:29,479 --> 01:20:33,120
Speaker 1: were fewer bands that had already called names even.

1620
01:20:33,439 --> 01:20:36,280
Speaker 6: Which makes it even more of like egregious, like pick

1621
01:20:36,320 --> 01:20:39,800
Speaker 6: a better fucking name. I just had Smoking Robinson in

1622
01:20:39,840 --> 01:20:42,040
Speaker 6: the podcast. He was like unbroken Record and he was like,

1623
01:20:42,160 --> 01:20:44,360
Speaker 6: you know, I started like listening back to motown stuff again.

1624
01:20:44,400 --> 01:20:48,200
Speaker 6: I'm like the Supremes the Miracles, the four these are

1625
01:20:48,240 --> 01:20:48,880
Speaker 6: fucking names.

1626
01:20:48,960 --> 01:20:50,600
Speaker 3: These are this is incredible.

1627
01:20:50,760 --> 01:20:53,160
Speaker 5: But then we had the Indy Sleeves era where the

1628
01:20:53,280 --> 01:20:56,759
Speaker 5: thus came back and we got the Strokes, the yeah, yeah, yeah.

1629
01:20:57,640 --> 01:21:01,360
Speaker 3: There's more. I just wanted a snake why why different?

1630
01:21:03,439 --> 01:21:05,000
Speaker 5: If you guys don't mind, though, I would love to

1631
01:21:05,200 --> 01:21:07,840
Speaker 5: end the game on a couple of intentional ones that

1632
01:21:07,920 --> 01:21:10,360
Speaker 5: I think are really fun. Because we talked about Yeah,

1633
01:21:10,439 --> 01:21:12,240
Speaker 5: I think you're right, it's a tall order to get

1634
01:21:12,280 --> 01:21:14,040
Speaker 5: this in there in the way that you would be

1635
01:21:14,120 --> 01:21:17,680
Speaker 5: intended to be heard and communicate a subliminal message. But

1636
01:21:17,840 --> 01:21:22,120
Speaker 5: this legacy of this is legendary in the music world,

1637
01:21:22,280 --> 01:21:23,960
Speaker 5: and so there's folks kind of picked up on that

1638
01:21:24,120 --> 01:21:25,920
Speaker 5: sort of made that a little fun with it.

1639
01:21:26,000 --> 01:21:27,519
Speaker 3: So let's try. Let's hear a couple of those.

1640
01:21:29,479 --> 01:21:30,120
Speaker 7: Carry car.

1641
01:21:40,120 --> 01:21:41,400
Speaker 3: Can you guess who the artist is?

1642
01:21:41,439 --> 01:21:41,840
Speaker 7: At least?

1643
01:21:42,439 --> 01:21:54,400
Speaker 3: Can you play it again? Yeah? What you said you

1644
01:21:54,520 --> 01:21:58,759
Speaker 3: two is a two in it? Who the B fifty

1645
01:21:58,800 --> 01:22:03,439
Speaker 3: two is? Okay? Okay, that's right, Let's play it here.

1646
01:22:03,520 --> 01:22:06,240
Speaker 3: That's that's the forward versions got the backwards message in it.

1647
01:22:06,320 --> 01:22:07,599
Speaker 3: Here is what it sounds like. We used to play

1648
01:22:07,640 --> 01:22:08,800
Speaker 3: the record backwards.

1649
01:22:19,439 --> 01:22:22,639
Speaker 4: Record watch out.

1650
01:22:27,600 --> 01:22:31,560
Speaker 1: So that one clearly done on purpose. Leaning into this.

1651
01:22:32,160 --> 01:22:34,639
Speaker 1: You play your record backwards, watch.

1652
01:22:34,479 --> 01:22:36,040
Speaker 3: Out, you might ruin your needle.

1653
01:22:36,680 --> 01:22:38,120
Speaker 2: But I buried my parents.

1654
01:22:38,200 --> 01:22:39,960
Speaker 3: I buried my parakeet in the backyard.

1655
01:22:40,080 --> 01:22:41,240
Speaker 1: You get in situations.

1656
01:22:41,680 --> 01:22:44,840
Speaker 3: It's true, it's true. Okay, And this is the last.

1657
01:22:44,600 --> 01:23:09,320
Speaker 7: One guy, and arguably the horniest song of all.

1658
01:23:09,280 --> 01:23:11,040
Speaker 3: Time, darling nicky.

1659
01:23:11,600 --> 01:23:13,679
Speaker 5: And this is at the end of the song as

1660
01:23:13,840 --> 01:23:17,200
Speaker 5: a f u to the record industry and to these

1661
01:23:17,280 --> 01:23:21,360
Speaker 5: puritanical folks. And he's obviously a devout religious man. Jeh

1662
01:23:21,439 --> 01:23:22,680
Speaker 5: whit is when I'm mistaken.

1663
01:23:23,680 --> 01:23:26,000
Speaker 3: But not he was lapsed. I think this fair enough,

1664
01:23:26,080 --> 01:23:27,560
Speaker 3: but this is what But well do you tell me?

1665
01:23:27,640 --> 01:23:34,559
Speaker 3: And when you hear this, I.

1666
01:23:49,800 --> 01:23:50,479
Speaker 6: Like that song.

1667
01:23:52,200 --> 01:23:56,160
Speaker 5: It's the end of that Doctor basically hit a Bible

1668
01:23:56,320 --> 01:23:58,920
Speaker 5: verse in horning a song of all time.

1669
01:23:59,280 --> 01:24:02,880
Speaker 3: I just love that's so Prince, Well, the Lord is coming.

1670
01:24:02,960 --> 01:24:06,280
Speaker 3: We could talk about the phrase. Maybe it's not talking.

1671
01:24:06,560 --> 01:24:07,920
Speaker 3: That's good.

1672
01:24:08,040 --> 01:24:12,880
Speaker 1: Yeah, yeah, again open to interpretation, but we see we

1673
01:24:13,040 --> 01:24:17,559
Speaker 1: see something here through this exploration that shows us there's

1674
01:24:17,760 --> 01:24:22,519
Speaker 1: like music is technically math, but there's something inexplicable about it.

1675
01:24:22,840 --> 01:24:26,320
Speaker 1: There's something that I think naturally lends itself to the

1676
01:24:26,439 --> 01:24:30,479
Speaker 1: conspiratorial and when we were talking about it didn't take

1677
01:24:30,560 --> 01:24:33,080
Speaker 1: us long, folks. We were hanging out and talking about

1678
01:24:33,479 --> 01:24:37,200
Speaker 1: just the idea of sound and conspiracy. We got to

1679
01:24:37,280 --> 01:24:41,840
Speaker 1: the music industry, We got to some of your your

1680
01:24:42,000 --> 01:24:45,880
Speaker 1: takes on the biggest conspiracy theories in the world of music,

1681
01:24:46,520 --> 01:24:51,679
Speaker 1: one of which would be just simply put Paola's Paola real.

1682
01:24:52,120 --> 01:24:55,720
Speaker 6: I mean, yeah, yeah, it was in in in I mean,

1683
01:24:56,000 --> 01:24:59,720
Speaker 6: it was a huge scandal and we worked for iHeartRadio.

1684
01:24:59,760 --> 01:25:02,160
Speaker 3: We had to take classes about pale We did we.

1685
01:25:02,280 --> 01:25:06,799
Speaker 1: Know they were They were very specifically for people more famous.

1686
01:25:07,000 --> 01:25:11,200
Speaker 5: Old school though Paola is a product of old school radio, right,

1687
01:25:11,320 --> 01:25:12,240
Speaker 5: old school broadcast.

1688
01:25:12,479 --> 01:25:15,640
Speaker 6: I mean it apparently continued in forms and such. I mean,

1689
01:25:15,920 --> 01:25:17,880
Speaker 6: you know, but yeah, it was like it was like

1690
01:25:18,520 --> 01:25:21,240
Speaker 6: I wasn't there were like congressional hearing. It was like

1691
01:25:21,320 --> 01:25:23,160
Speaker 6: a big deal, like this was happening because it was

1692
01:25:23,240 --> 01:25:24,440
Speaker 6: distorting in the marketplace.

1693
01:25:24,880 --> 01:25:27,280
Speaker 3: D mean that you pay to play, right, you pay

1694
01:25:27,320 --> 01:25:27,920
Speaker 3: to play yeah, right.

1695
01:25:27,960 --> 01:25:31,160
Speaker 6: You go to a disc jockey and it's like here's

1696
01:25:31,160 --> 01:25:33,840
Speaker 6: this new record and here's uh, here's a hundred bucks

1697
01:25:33,880 --> 01:25:36,040
Speaker 6: you know, or whatever would have been equivalent a hundred bucks.

1698
01:25:36,280 --> 01:25:38,320
Speaker 1: Oh, Wow, day right, we got to adjust for inflation.

1699
01:25:39,240 --> 01:25:41,000
Speaker 3: Yeah, he's he's yeah, here's a nickel.

1700
01:25:41,360 --> 01:25:41,639
Speaker 1: Okay.

1701
01:25:41,880 --> 01:25:44,080
Speaker 2: I have to admit I'm guilty of this. When I

1702
01:25:44,320 --> 01:25:47,679
Speaker 2: was in a band in college, I tried to pay

1703
01:25:47,800 --> 01:25:51,000
Speaker 2: the disc jockey at eighty eight point five in Atlanta.

1704
01:25:51,680 --> 01:25:53,479
Speaker 1: That's that's our college radio station.

1705
01:25:53,680 --> 01:25:54,120
Speaker 3: I didn't know.

1706
01:25:54,320 --> 01:25:56,240
Speaker 2: I just was like, will you take money and take

1707
01:25:56,280 --> 01:25:56,719
Speaker 2: my record?

1708
01:25:56,760 --> 01:25:57,280
Speaker 1: Did it work?

1709
01:25:58,640 --> 01:25:58,680
Speaker 6: Like?

1710
01:25:58,920 --> 01:25:58,960
Speaker 12: No?

1711
01:25:59,360 --> 01:26:03,240
Speaker 3: Cc no? But justin what do you say as we

1712
01:26:03,320 --> 01:26:04,040
Speaker 3: wrap up the show?

1713
01:26:04,080 --> 01:26:07,839
Speaker 5: Do you have any conspiracy theories in the music industry

1714
01:26:07,920 --> 01:26:10,280
Speaker 5: that are like you gotta just get off your chet?

1715
01:26:11,080 --> 01:26:12,280
Speaker 3: Ah? Do I have any?

1716
01:26:12,400 --> 01:26:12,559
Speaker 1: Well?

1717
01:26:12,640 --> 01:26:13,400
Speaker 3: You know, I don't know.

1718
01:26:13,600 --> 01:26:15,320
Speaker 1: Man, you're comfortable talking.

1719
01:26:16,640 --> 01:26:21,479
Speaker 3: I can't talk about anything that I know about. I

1720
01:26:21,560 --> 01:26:26,559
Speaker 3: don't know anything well, you know, I mean, I mean.

1721
01:26:28,320 --> 01:26:31,719
Speaker 6: You know, I mean think about what we think about

1722
01:26:32,000 --> 01:26:38,040
Speaker 6: like Kendrick Lamar Okay, Drake manufacturer? Is there some manufacturing

1723
01:26:38,120 --> 01:26:40,439
Speaker 6: going on or is that a real I don't know

1724
01:26:40,560 --> 01:26:43,760
Speaker 6: what record. Everyone's mad at Drake, I mean from I'm

1725
01:26:43,760 --> 01:26:46,560
Speaker 6: from l A. My family's from Compton, So you know,

1726
01:26:46,880 --> 01:26:48,200
Speaker 6: come on, what am I gonna say? I'm gonna say

1727
01:26:48,200 --> 01:26:52,559
Speaker 6: anything against Kendrick, But everyone's mad about the Drake lawsuits.

1728
01:26:54,520 --> 01:26:57,240
Speaker 3: I'm kind of interested. I'm kind of like, I'm interested

1729
01:26:57,360 --> 01:26:59,000
Speaker 3: what will come out of that. I don't know if

1730
01:26:59,080 --> 01:27:00,439
Speaker 3: much will because I think will.

1731
01:27:03,120 --> 01:27:06,439
Speaker 6: Drake is suing Universal Music Group, which is like they

1732
01:27:06,520 --> 01:27:10,800
Speaker 6: have their their and let me let me please, guys,

1733
01:27:10,840 --> 01:27:12,439
Speaker 6: I love Universal Music Group, by the way, so I

1734
01:27:12,479 --> 01:27:16,360
Speaker 6: don't want to love music Universal Music Group. I mean

1735
01:27:17,120 --> 01:27:21,360
Speaker 6: they have a wonderful catalog. I think they have wonderful leadership,

1736
01:27:22,200 --> 01:27:29,280
Speaker 6: wonderful teams. Yeah, there wonderful facilities, incredible, let me job.

1737
01:27:30,240 --> 01:27:34,160
Speaker 6: I love Universal Music Group. But their market share is like,

1738
01:27:34,240 --> 01:27:37,559
Speaker 6: you know, over like roughly a third and sometimes more.

1739
01:27:37,600 --> 01:27:39,360
Speaker 6: Sometimes rightly call them.

1740
01:27:40,320 --> 01:27:41,120
Speaker 3: Yeah, they're huge.

1741
01:27:41,200 --> 01:27:43,639
Speaker 6: You know, there's only three major record labels, and they're

1742
01:27:44,680 --> 01:27:48,920
Speaker 6: far and away the largest and most important, and both

1743
01:27:49,000 --> 01:27:51,320
Speaker 6: Drake and Kendrick are signed to them, and Drake is

1744
01:27:51,400 --> 01:27:55,519
Speaker 6: now suing them, saying that they basically engaged in modern

1745
01:27:55,560 --> 01:27:59,479
Speaker 6: forms of payola, which is like using bot farms to

1746
01:28:00,120 --> 01:28:04,200
Speaker 6: create and and and influencers to you know, sort of

1747
01:28:04,280 --> 01:28:07,960
Speaker 6: increase the places of Kendrick Lamar's not like us in order.

1748
01:28:07,920 --> 01:28:11,120
Speaker 3: To defame Drake, and so that's his thing.

1749
01:28:12,040 --> 01:28:14,960
Speaker 6: The additional conspiracy on top of that that the Internet

1750
01:28:15,000 --> 01:28:18,479
Speaker 6: is running away with is that Universal did it because

1751
01:28:18,640 --> 01:28:23,439
Speaker 6: Drake's due to renegotiate his contract with UMG, and obviously

1752
01:28:23,600 --> 01:28:26,080
Speaker 6: Drake is worth a lot of money. And if I'm

1753
01:28:26,160 --> 01:28:28,599
Speaker 6: Drake and I got to renegotiate with Universal Music Group,

1754
01:28:28,640 --> 01:28:33,439
Speaker 6: who I know is like the biggest, you know, most.

1755
01:28:33,360 --> 01:28:37,040
Speaker 3: Money making, most wonderful and beautiful and excellent.

1756
01:28:36,960 --> 01:28:40,720
Speaker 6: Music company out there, along with Warner and so like

1757
01:28:40,760 --> 01:28:43,840
Speaker 6: that like as like there's a lot of money here,

1758
01:28:43,880 --> 01:28:45,240
Speaker 6: Like let me like what like and I've made a

1759
01:28:45,280 --> 01:28:46,920
Speaker 6: lot of money for you, Like this contract is going

1760
01:28:46,960 --> 01:28:48,400
Speaker 6: to be a contract, and so like they're saying that

1761
01:28:48,520 --> 01:28:53,920
Speaker 6: they purposely you know, boosted that and maybe maybe even

1762
01:28:53,960 --> 01:28:57,559
Speaker 6: manufactured to remove his leverage, to move his leverage and contract.

1763
01:28:57,560 --> 01:28:59,000
Speaker 1: And the British would call that.

1764
01:28:59,080 --> 01:29:05,320
Speaker 5: Dirty pool, Yeah they would. Well, I've got one follow

1765
01:29:05,400 --> 01:29:07,760
Speaker 5: up there. There's this dude, Jason Pargan and if you

1766
01:29:07,800 --> 01:29:11,840
Speaker 5: wrote yeah daily so he's he makes these fun little

1767
01:29:12,520 --> 01:29:16,000
Speaker 5: YouTube videos just kind of commenting on pop culture type stuff.

1768
01:29:16,040 --> 01:29:17,559
Speaker 5: And he pointed out that he thought it was really

1769
01:29:17,640 --> 01:29:20,760
Speaker 5: strange that the song not Like Us Like accuses a

1770
01:29:20,880 --> 01:29:25,120
Speaker 5: dude of being a sex predator, a pedophile basically and

1771
01:29:25,360 --> 01:29:28,720
Speaker 5: that it's getting like TikTok and he's looking straight into

1772
01:29:28,760 --> 01:29:30,800
Speaker 5: the camera on the Super Bowl and saying this stuff

1773
01:29:30,800 --> 01:29:32,840
Speaker 5: and people are shouting and like it's a fun thing,

1774
01:29:33,479 --> 01:29:35,840
Speaker 5: and it's like incredibly defamatory.

1775
01:29:36,120 --> 01:29:38,040
Speaker 3: I don't want I don't want to go again again again.

1776
01:29:38,080 --> 01:29:40,000
Speaker 6: I got my my rooster on content, man, So I

1777
01:29:40,040 --> 01:29:42,439
Speaker 6: don't really want to really disparage Kendrick in any sort

1778
01:29:42,479 --> 01:29:45,280
Speaker 6: of way. But I feel like this is a safe

1779
01:29:45,320 --> 01:29:48,880
Speaker 6: place to say this. Sure, And I'm not really saying anything.

1780
01:29:48,880 --> 01:29:51,000
Speaker 6: I'm just sort of like wondering in questioning, I'm wondering.

1781
01:29:51,080 --> 01:29:53,720
Speaker 6: I'm just curious in general about our society's obsessional with

1782
01:29:53,760 --> 01:29:59,640
Speaker 6: pedophil Like obviously, like it's a terrible thing, like obviously, right,

1783
01:30:00,160 --> 01:30:00,400
Speaker 6: got it?

1784
01:30:00,479 --> 01:30:02,479
Speaker 3: Like, but it's like why are universally bad?

1785
01:30:02,640 --> 01:30:06,360
Speaker 6: Yeah, but why why do we all walk around like we,

1786
01:30:06,640 --> 01:30:09,640
Speaker 6: I mean people walk around like talking about it, like

1787
01:30:09,760 --> 01:30:11,760
Speaker 6: as if like to say, like, I am not a

1788
01:30:11,840 --> 01:30:12,600
Speaker 6: pedoph It's like, well, I.

1789
01:30:12,600 --> 01:30:14,800
Speaker 3: Don't assume most people that I meet are, Yeah, but

1790
01:30:14,880 --> 01:30:16,360
Speaker 3: we are obsessed with it. And it makes me wonder

1791
01:30:16,439 --> 01:30:17,840
Speaker 3: like maybe there are more. I don't know, Like it

1792
01:30:17,920 --> 01:30:18,519
Speaker 3: just freaks me out.

1793
01:30:18,520 --> 01:30:21,360
Speaker 6: But there's a lot of conspiracies around pedophilia, absolutely, especially

1794
01:30:21,360 --> 01:30:25,400
Speaker 6: in the political world, the music world, I'm sure in

1795
01:30:25,439 --> 01:30:28,000
Speaker 6: all the other worlds. But what is our society's obsession

1796
01:30:28,120 --> 01:30:30,680
Speaker 6: with pedophilia? I wonder if in twenty Houston I will

1797
01:30:30,680 --> 01:30:32,040
Speaker 6: look back at it. I think it's kind of weird

1798
01:30:32,160 --> 01:30:36,000
Speaker 6: and if that like a minor you know line is

1799
01:30:36,080 --> 01:30:38,599
Speaker 6: not just like the peak pinnacle strangeness of it all,

1800
01:30:38,680 --> 01:30:39,880
Speaker 6: Like why are we obsessed with this?

1801
01:30:40,120 --> 01:30:43,519
Speaker 1: It's say, it's an iteration of I mean, part of it,

1802
01:30:43,720 --> 01:30:47,920
Speaker 1: we could argue is it's the following phase one. It's

1803
01:30:47,960 --> 01:30:52,040
Speaker 1: a It's something that despite any demographic difference, everyone can

1804
01:30:52,120 --> 01:30:55,519
Speaker 1: agree is just horrific and bad. Right, unite, right, So.

1805
01:30:55,520 --> 01:30:56,800
Speaker 3: Why do we need to watch? So why do we

1806
01:30:56,840 --> 01:30:59,040
Speaker 3: need to be dead? We know he doesn't know what

1807
01:30:59,160 --> 01:31:01,120
Speaker 3: this is. I mean, you we'll do it, but we then.

1808
01:31:01,040 --> 01:31:03,880
Speaker 1: We Here's what Because it is so bad, it can

1809
01:31:03,960 --> 01:31:10,240
Speaker 1: be weaponized to like associate, being right to associate?

1810
01:31:10,360 --> 01:31:12,600
Speaker 6: So what was like the nineteenes because okay, so like

1811
01:31:12,720 --> 01:31:15,680
Speaker 6: what was like in the nineteen seventies, what was a scoundrel?

1812
01:31:16,680 --> 01:31:20,080
Speaker 3: That's that's like a philanderer? Like what was like what

1813
01:31:20,240 --> 01:31:22,120
Speaker 3: was the great like the thing that they just yeah,

1814
01:31:22,240 --> 01:31:24,439
Speaker 3: like leverage, Yeah, gotcha, gotch.

1815
01:31:24,800 --> 01:31:27,800
Speaker 2: So we we made a show about the Atlanta missing

1816
01:31:27,960 --> 01:31:32,800
Speaker 2: murdered case back several years ago called Atlanta Monster. And

1817
01:31:33,040 --> 01:31:35,920
Speaker 2: in the coverage from the late seventies in Atlanta, like

1818
01:31:36,000 --> 01:31:40,240
Speaker 2: nineteen seventy eight, when they're talking about those who abused children,

1819
01:31:40,320 --> 01:31:43,000
Speaker 2: they didn't have the word pedophile and it wasn't used,

1820
01:31:43,040 --> 01:31:45,519
Speaker 2: and a lot of these the terminology wasn't even used

1821
01:31:45,560 --> 01:31:48,120
Speaker 2: for this kind of thing because it wasn't in the

1822
01:31:48,200 --> 01:31:52,360
Speaker 2: zeitgeist to think about that type, that specific type of heinous.

1823
01:31:52,080 --> 01:31:55,200
Speaker 6: Abuse of children. And it was that wasn't like investigated.

1824
01:31:55,240 --> 01:31:57,799
Speaker 6: It wasn't like a unit of the police department.

1825
01:31:58,240 --> 01:32:00,320
Speaker 3: No, no, it is not.

1826
01:32:00,640 --> 01:32:00,680
Speaker 4: No.

1827
01:32:02,160 --> 01:32:04,080
Speaker 2: But again, like sex crimes in general, that kind of

1828
01:32:04,080 --> 01:32:07,040
Speaker 2: stuff like that that comes later where there's specialization in

1829
01:32:07,120 --> 01:32:09,320
Speaker 2: that kind of stuff. So I think what I'm just

1830
01:32:09,479 --> 01:32:12,040
Speaker 2: my only argument is that the Internet revealed a lot

1831
01:32:12,200 --> 01:32:14,679
Speaker 2: of horrifying things to humanity.

1832
01:32:14,800 --> 01:32:18,320
Speaker 1: Sure, there aren't more skeletons in the closet, there are

1833
01:32:18,439 --> 01:32:21,320
Speaker 1: just more flashlights, yes, And then.

1834
01:32:21,479 --> 01:32:25,280
Speaker 2: We find out things about very prominent individuals you know

1835
01:32:25,479 --> 01:32:28,840
Speaker 2: that people grew up watching for decades or you love

1836
01:32:28,920 --> 01:32:32,160
Speaker 2: that well, I'm just saying, you learn those things right,

1837
01:32:32,200 --> 01:32:33,560
Speaker 2: and then all of a sudden a bit of the

1838
01:32:33,640 --> 01:32:36,560
Speaker 2: illusion is shattered what reality is.

1839
01:32:36,920 --> 01:32:40,160
Speaker 1: So maybe you start to assume there's a higher likelihood

1840
01:32:40,360 --> 01:32:42,400
Speaker 1: than you once assumed, or something like that.

1841
01:32:42,800 --> 01:32:45,679
Speaker 6: Because like the way, we don't like hitchhike anymore, because

1842
01:32:45,680 --> 01:32:48,120
Speaker 6: we kind of understand that's actually.

1843
01:32:50,360 --> 01:32:52,160
Speaker 3: We don't walk around like we don't like I mean,

1844
01:32:52,200 --> 01:32:53,639
Speaker 3: I guess maybe do we. I don't know, we don't.

1845
01:32:53,640 --> 01:32:55,360
Speaker 6: We don't talk about it all that much anymore, right,

1846
01:32:55,400 --> 01:32:57,000
Speaker 6: Like would be great to get to that place where

1847
01:32:57,000 --> 01:32:58,920
Speaker 6: we're not constantly It's.

1848
01:32:58,840 --> 01:33:00,800
Speaker 3: Kind of like my own second. It's more like I

1849
01:33:00,880 --> 01:33:02,040
Speaker 3: don't know, like we're.

1850
01:33:01,880 --> 01:33:05,240
Speaker 1: Not constantly warning each other about hitch hiking. Yeah, no, no,

1851
01:33:05,360 --> 01:33:07,200
Speaker 1: and we all understand, hey, what are you doing after

1852
01:33:07,280 --> 01:33:08,840
Speaker 1: the show? Better not be hitchhiking.

1853
01:33:11,800 --> 01:33:14,479
Speaker 6: Another way, in another way, though, haven't we lost a

1854
01:33:14,520 --> 01:33:16,200
Speaker 6: lot when we lost like the hitch hiking as a

1855
01:33:16,200 --> 01:33:18,040
Speaker 6: good thing, Like this is a very romantic thing.

1856
01:33:17,960 --> 01:33:22,599
Speaker 1: Like maybe I wish I could, I wish I could hitchhike.

1857
01:33:22,680 --> 01:33:25,040
Speaker 1: But you're right, that's why it's such a great comparison.

1858
01:33:25,400 --> 01:33:27,920
Speaker 1: The zeitgeist got in my head. I am convinced that

1859
01:33:28,040 --> 01:33:30,960
Speaker 1: if I if I tried to hitchhike in this country,

1860
01:33:31,320 --> 01:33:33,639
Speaker 1: then the only people who would pick me up would

1861
01:33:33,680 --> 01:33:35,080
Speaker 1: be people I don't want to hang out.

1862
01:33:35,600 --> 01:33:38,240
Speaker 3: We take ubers all the time, and somehow that's safe and.

1863
01:33:38,680 --> 01:33:40,400
Speaker 1: That's more transactional, Like it's true.

1864
01:33:40,439 --> 01:33:42,560
Speaker 3: I'm just saying it's it's by the way, Like just

1865
01:33:42,600 --> 01:33:43,559
Speaker 3: like if anyone who picked.

1866
01:33:43,439 --> 01:33:44,960
Speaker 6: Up a hitch hiker was like a serial killer, Like

1867
01:33:44,960 --> 01:33:47,400
Speaker 6: I'm pretty sure like the police would get that pretty squid,

1868
01:33:48,560 --> 01:33:52,839
Speaker 6: that pretty easy, open and shut, like send the undercover

1869
01:33:52,960 --> 01:33:55,799
Speaker 6: out the hitch the undercover hitchhiker.

1870
01:33:56,000 --> 01:33:59,080
Speaker 3: Yeah maybe maybe maybe maybe that exists.

1871
01:34:00,200 --> 01:34:04,160
Speaker 1: That exists, but we do know something that exists for sure.

1872
01:34:04,840 --> 01:34:07,160
Speaker 1: We've had Thank you so much for being with us, folks.

1873
01:34:07,800 --> 01:34:08,719
Speaker 3: The audience exists.

1874
01:34:10,520 --> 01:34:15,719
Speaker 1: Exist also a conspiracy at foot big thanks to National

1875
01:34:15,880 --> 01:34:18,920
Speaker 1: saw Dust. Big thanks to you, and big thanks to you.

1876
01:34:19,240 --> 01:34:22,200
Speaker 1: Justin here's one of my favorite conspiracies. I hear it's

1877
01:34:22,400 --> 01:34:26,240
Speaker 1: true that you are making another appearance at this very venue.

1878
01:34:26,439 --> 01:34:27,799
Speaker 3: Oh wow, that was masterful.

1879
01:34:28,000 --> 01:34:32,080
Speaker 6: Oh goodness, I know with this, Yes, yeah, yeah, I'll

1880
01:34:32,080 --> 01:34:35,599
Speaker 6: be here Friday night at seven thirty seven thirty seven

1881
01:34:35,640 --> 01:34:36,639
Speaker 6: thirty start time.

1882
01:34:37,320 --> 01:34:42,480
Speaker 15: With Daniel Lanoi who so coo great, great, great producer, incredible,

1883
01:34:42,680 --> 01:34:46,559
Speaker 15: you know, one of the originals of ambient music along

1884
01:34:46,560 --> 01:34:49,240
Speaker 15: with Brian Eno and you know together they produced You Too.

1885
01:34:49,400 --> 01:34:51,840
Speaker 3: And he did the Dylan comeback will.

1886
01:34:51,680 --> 01:34:53,720
Speaker 6: He did Old Mercy and Time out of Mind, which

1887
01:34:53,760 --> 01:34:56,120
Speaker 6: is like the big nineties come back Dylan record, and

1888
01:34:56,800 --> 01:34:57,040
Speaker 6: like you.

1889
01:34:57,040 --> 01:34:59,240
Speaker 3: Know, Peter Gabriel so and so many other things. I

1890
01:34:59,360 --> 01:35:00,400
Speaker 3: just really interesting guy.

1891
01:35:00,640 --> 01:35:03,519
Speaker 6: He's gonna have his pedal steel, all lot of stuff

1892
01:35:03,720 --> 01:35:04,800
Speaker 6: and we'll talk about some stuff.

1893
01:35:05,680 --> 01:35:07,000
Speaker 3: We can't be here, I got we gotta go to

1894
01:35:07,040 --> 01:35:11,640
Speaker 3: another thing. Don't tell people that don't actually they will

1895
01:35:11,640 --> 01:35:14,200
Speaker 3: be here, to be here. That'll be here.

1896
01:35:14,240 --> 01:35:18,240
Speaker 5: Every huge Brian and a fan, huge Daniel and one

1897
01:35:18,280 --> 01:35:20,200
Speaker 5: fun Really that's awesome that you're gonna get to to

1898
01:35:20,240 --> 01:35:23,800
Speaker 5: talk to him and so again, thank you.

1899
01:35:24,120 --> 01:35:27,240
Speaker 1: Justin we're gonna hang out. Uh, the bar is open

1900
01:35:27,400 --> 01:35:29,240
Speaker 1: for a little while if you like, if you like

1901
01:35:29,360 --> 01:35:33,720
Speaker 1: to hop Okay, cool, I was yeah, I was just

1902
01:35:33,840 --> 01:35:36,439
Speaker 1: trying to push that one. Yeah, that's great if I

1903
01:35:36,520 --> 01:35:39,000
Speaker 1: say it loud enough, big big thanks of course to

1904
01:35:39,120 --> 01:35:41,639
Speaker 1: Scott and Eric. Let's have a hand Yay.

1905
01:35:43,160 --> 01:35:45,799
Speaker 3: We got Garth up in the booth here. We got Mary.

1906
01:35:46,240 --> 01:35:50,040
Speaker 1: We got Mary l who else we got up there whilst.

1907
01:35:49,680 --> 01:35:51,680
Speaker 3: We got up there, Cody, we got Tandy. Oh, we

1908
01:35:51,800 --> 01:35:54,960
Speaker 3: got so many cute amazing that helped out. They just

1909
01:35:55,040 --> 01:35:56,000
Speaker 3: work here in her cool.

1910
01:35:56,479 --> 01:35:56,920
Speaker 12: We got you.

1911
01:35:57,439 --> 01:36:00,200
Speaker 3: You're Matt, my name's Matt. We got you to me,

1912
01:36:00,360 --> 01:36:01,479
Speaker 3: no hright, we got Scott.

1913
01:36:01,520 --> 01:36:02,840
Speaker 1: We got Eric Eric sounds.

1914
01:36:02,880 --> 01:36:04,920
Speaker 5: I got a great band on Sports Code And if

1915
01:36:04,920 --> 01:36:06,520
Speaker 5: you're into a weird ambient.

1916
01:36:06,240 --> 01:36:07,760
Speaker 3: Music, you should talk to him and buy one of

1917
01:36:07,840 --> 01:36:08,320
Speaker 3: his records.

1918
01:36:08,760 --> 01:36:10,320
Speaker 1: And thank you guys so much for being.

1919
01:36:10,160 --> 01:36:10,760
Speaker 11: Called me Ben.

1920
01:36:11,000 --> 01:36:11,599
Speaker 3: Thank you so much.

1921
01:36:11,640 --> 01:36:11,880
Speaker 6: Folks.

1922
01:36:11,920 --> 01:36:12,599
Speaker 3: We'll see you soon.

1923
01:36:45,880 --> 01:36:47,920
Speaker 2: Stuff they don't want you to know is a production

1924
01:36:48,080 --> 01:36:52,559
Speaker 2: of iHeartRadio. For more podcasts from iHeartRadio, visit the iHeartRadio app,

1925
01:36:52,680 --> 01:36:55,519
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.