[ Background Conversations ]
>> Good evening.
>> Good evening.
>> Mathew Barton: Hi.
My name is Mathew Barton.
I am the curator of
recorded sound here
at the Library of Congress.
Actually I don't, I'm not
usually here in this building.
I'm usually down in , oh okay.
It's easier said than
done [brief laughter].
There's more than
one way to be heard.
Alright, how's that?
Can you hear me now?
Alright, great.
Yeah, so usually I'm
down in Culpeper,
Virginia at a building
called the NAVCC,
the National Audiovisual
Conservation Center which is
where we store all of
our audiovisual materials
which amount to at this point,
I believe 3.6 million sound
recordings and another 1.1
or maybe it's 2 million moving
image items, video and film.
And it's, speaking as the
curator of recorded sound,
and our recorded sound
collection includes a great deal
of radio.
It really warms the cockles
of my heart when people come
out for an evening of radio,
that they actually come,
leave their homes, come to
the Library of Congress,
sit in a place like
this to listen not
to watch so much as to listen.
And when I was thinking
about what to say tonight
to introduce Jim, I
remembered something
that Fred Allen said
about radio.
Fred Allen, great
comedian and satirist
of what we call the Golden Age
of Radio in the 30s and 40s
who never quite recovered
from the assent of television
in the 50s had this to say, "The
radio listeners saw nothing.
He had to use imagination.
It was possible for
each individual
to enjoy the same
program according
to his intellectual level
and his mental capacity.
With the high-cost of living and
the many problems facing them
in the modern world, all
the poor man had left was
his imagination.
Television has taken
that away from him."
So, obviously he didn't
think too much of television.
I'm okay with television.
I'm sure you are too,
but a really interesting thing
happened about the same time
that Fred Allen wrote that as
television was becoming ascended
which is that the portable
tape recorder became something
that was in reach, not to
everybody, but it was something
that if you thought that
what's you wanted to do
and you save some money for
a while, you could get one
and you could go out in world
and record what you wanted
and bring it back and find a
way to program it to present it
and people did that, beyond
the obvious applications
for recording music and
political speeches and things
like that, innovators like Tony
Schwartz whose collection is
here at the Library of Congress,
went out and collected sounds
and thoughts and dreams, and
gave them back to the world
as a means of not only
of communication but
also inspiration.
And I see tonight's guest,
Jim Metzner very much
in the tradition of
innovators like Tony Schwartz
and Jim you actually,
you knew Tony Schwartz.
You interviewed him didn't you?
Yeah. So, there's a direct
connection there and,
but at the same time, you
know we're also in touch
with the Golden Age of Radio
where there was always a very
busy person doing sound effects
and [brief laughter] without
Eileen here, it's all just talk.
So, with that then I'd just like
to bring up Jim Metzner from.
[ Applause ]
He started with sounds of
Boston, progressed to the sounds
of science and to the
Pulse of the Planet
and next stop is the
universe, so Jim.
>> Jim Metzner: Thank you Matt.
Okay, alright, okay.
Hi. Thank you Matt.
First of all, can
you all hear me?
>> Yes.
>> Original line three.
>> Jim Metzner: A request
to, if you haven't already,
please turn off your
cell phones.
And just a thanks not only to
Matt, but to the entire team
at in the Library of Congress,
Karen and Jay and Tom and others
who put; we're going to
hear some great sounds
over a great system and
I really appreciate it.
It's really wonderful
for me to be here tonight
with some people, people,
people, people, with some people
who I've known for
decades and so
to have you here
tonight it's really
like returning back
and coming home.
So, I feel really welcome
here and thank you for coming.
So, having said that, I'm Jim
Metzner and celebrating 30 years
as a radio series
and now as a podcast,
this is the Pulse of the Planet.
[ Music ]
Our theme music, for those of
you who may not be familiar
with the program, was written
by Tommy Eyre [phonetic]
and the title "Pulse of the
Planet" after 30 years still,
I think, has merit and still
resonates with the idea
that the world is alive,
it's pulsing, it's speaking
to us all the time if we
know how to listen to it.
And there are actually
hints about that idea,
the world speaking
to us from the past.
So, for example, in Imperial
Japan, the emperor dressed
in full regalia with his entire
court would go out to Kyoto
to Arashiyama which is a
sacred place near Kyoto
and they would go for
one purpose, to listen.
And what where they
listening for?
Well, here's a clue, there's
a poem written in honor
of what they were tuning into,
"If a jewel of dew could sing,
it would tinkle with such
a voice" anybody want
to guess what that might be?
[ Cricket Sounds ]
It's a cricket.
Whose emotions homoeogryllus
japonica, the bell cricket
and the members of court
of the emperor's court
would collect them
and they'd take them
back and they would judge
which one was the best singer
and even today, until today
and in this time, in Japan
the collection and the keeping
of crickets as pets is still
very much a tradition in Japan
with keeping little cricket
cages and they release them
around this time of year.
But the idea as I was preparing
this talk and thinking about it
and reminding myself about
that sound and that practice
that was, in fact, one of the
Pulse of the Planet programs
from the 30-year history of
the series, was I was trying
to think and maybe you could
too, are there any examples
in our society that you can
think of concerts aside,
so you know not besides
going to the JFK Center
to hear somebody fabulous
singing and play some music,
aside from music, do we
ever go to places to hear,
to listen intentionally
anything come to mind?
Yeah.
>> The beach.
>> Jim Metzner: The beach
to hear the ocean for sure.
Anybody else?
If we have any other, if you
have any other thoughts on that,
maybe towards the end we'll
come back and I had a,
as I was thinking
I couldn't think
of that many quite frankly
places where you might go
to listen intentionally.
But if it's true that we're
living in a world of vibration
and that sounds are, in fact,
informing us all the time.
I mean, frankly the
sounds aren't stopping,
but we may not be
paying attention to them,
but if we are being bombarded
with sounds all the time
and they're speaking to us, well
let's try and experiment and see
if that really might be true.
We're going to play
two sounds and see
if you can tell now just very
simply what are these sounds
telling you?
[ Bird Sounds ]
So, what do you think?
Morning for sure.
What else?
>> The bird gets the worm.
>> Jim Metzner: Can't hear,
sit up here a little bit.
>> The bird gets the worm.
>> Jim Metzner: Yeah, the
bird gets the worm, right.
Well, there's certainly a
bird that we heard, yeah.
Anything else?
What about the place?
Time of day, morning
for sure, anything else?
[Inaudible response].
Yeah, absolutely.
>> A rural area.
>> Jim Metzner: Yeah.
>> Birds.
>> Busy. Busy area with kids.
And busy area with kids
and bringing back other
animals [inaudible]
>> Jim Metzner: Yeah.
Human activity for sure.
And so, yeah.
>> It reminded me of Hawaii.
>> Jim Metzner: Why?
>> Because they have so
many roosters [inaudible].
>> Jim Metzner: Yeah,
so it's all, yeah.
>> It reminded me of the
[inaudible] at the zoo.
>> Jim Metzner: Yeah.
So, certainly sounds of
animal life, lots of birds
and some human activity
anybody honing in more
on the human activity?
It was a little subtle.
Yeah.
>> School.
>> Jim Metzner: Tools.
>> School.
>> Jim Metzner: School.
>> Swimming pool.
>> Pool.
>> Pool.
>> Jim Metzner: Swimming pool.
Wow. What, and why a pool?
Why what made you think of that?
>> Because it just sounded
like you were echoing
in the background.
>> Jim Metzner.
Good call.
Interesting.
What are we not hearing?
>> Traffic.
>> Jim Metzner: Traffic.
>> No engines.
>> Jim Metzner: No engines.
So, in a way it's, but that's an
in itself is sort of telling you
where we are and
where we're not.
So, we'll come back to it,
here's a second sound
have a listen.
[ Background Conversations ]
[ Tapping Sounds ]
[ Background Conversations ]
[ Whistling Sound ]
[ Background Conversations ]
Marjon [phonetic].
Yeah, one band.
I have a lot of association
with Marjon.
My mother used to play
it and I would hear her
and Ida Dreiblatt played Marjon
and we grew up in Forest.
>> Sit down.
>> Jim Metzner: Yeah,
one band [inaudible].
God that's a blast in the past.
No one has ever said Marjon for
this but a great association.
Anybody else?
What else?
>> Well, there are
the echo of the room
>> Jim Metzner: What
was the first word, the?
>> Echo.
>> Echo.
>> Jim Metzner: The echo, yes.
Absolutely.
>> A gathering place.
>> Jim Metzner: So, when you
said pool before it made me
think of this sound, would you
say this sound was more echoing
or less echoing; more
echoing of course.
So, yeah. So, the echo
is telling you something.
So, where are we?
What is saying about this place.
>> We're inside a
kind of building.
>> Maybe a monastery.
>> Jim Metzner: Say,
I can't hear you.
>> Monastery.
>> Jim Metzner: Monastery.
What part of a monastery?
[ Multiple Speakers ]
Close. Because monasteries
might have a what?
>> Like a courtyard.
>> Jim Metzner: Bingo!
A courtyard.
So, it's going to be
echoing and yet so it's sort
of like outside,
but not entirely.
But what about what we
heard at the beginning
that [multiple speakers].
What?
>> A kind of building.
>> Jim Metzner: Building.
Yeah, there were some.
>> Hammering.
>> Jim Metzner: Hammering
and there was something
at the beginning.
>> There [inaudible] coming
across with clapping out.
>> Jim Metzner: That's
one possibility.
Anybody else have another
thought about what that was?
>> A ball being hit
or something.
>> Jim Metzner: It had
a certain rhythm though
and the rhythm is
what do you think?
>> Sticks, for beating
those sticks together.
>> Jim Metzner: Maybe.
What?
>> It sounded like a
child wearing flip-flops.
>> Jim Metzner: My man.
>> Flip-flops.
>> Jim Metzner: Close.
You get, you get the prize
but flip-flops would have
a, the rhythm was right.
So, you have, you
got the rhythm part.
It's the rhythm of a
child, in fact, a girl.
It's the rhythm some part
of the as you hear it,
you say of course yes it's
a child's, a girl is running
but what does she
have on her feet?
It ain't flip-flops.
>> Clogs.
>> Jim Metzner: Bingo.
You got it.
Clogs. So, she's running,
so I mean the sounds
are telling us that.
We just, you just have to, you
know, decipher it in a way.
I mean, it's speaking
to us without words.
Now these have been
all relatively subtle,
nondescript soundscapes,
but there are sounds
that basically demand
our attention.
They grab you by the ears
and they say, "Remember me.
Record me."
And this is what
sound recordists,
guys like Matt was saying
like Tony Schwartz
did or Alan Lomax did.
We attune to the world,
take these impressions
and share the world of
sound in the same way
that photographers
take impressions
of the visual landscape.
Well, Minor White and I know
there are some folks here
who know Minor was
a photographer
who my very good friend who is
in this audience, Mr. Lee Ewing
and I many moons ago in
1972, were Minor's assistants
on a photographic trip that
he took across the country
and it was an amazing trip.
We hung out with Ansel Adams,
Minor co-developed
the zone system
of photography with Ansel.
Well, we would spend the whole
day photographing things.
We would be photographing
rock walls you remember?
And Minor had this big camera
and we had these little Leicas
and he would be there and wall
would be full of moss and we,
he would just be standing there
photographing this rock wall
and people would come by
sometimes and you'd sort
of see a guy photographing
a rock wall
and then some guy would come up
and maybe pluck up his courage
and saying, "You
photographing a rock wall?"
And we go, "Yeah."
That's what we've been up to.
But one day Minor
came to me and said,
and he had a very deep voice.
I don't know if can do it, but
it was something like "Well,
Jim something out
there is waiting for me
to record it, to photograph it.
Something out there is waiting
for me to photograph it.
I don't know what it is,
but it will find me."
And, I spent the better
part of my life recording
and Minor's words have come back
to me because there are sounds
that really find you,
had it not been for you,
it would have never have been
remembered or heard or shared.
It would be like that tree
that fell in the forest
and nobody was there to hear it.
This is one of those sounds and
it was completely unexpected
and I'll give you a little bit
of prep; first of all, this is,
well I went to Brazil
in 75 and this is
like the first thing I
recorded it was a little town
of [foreign word spoken]
which is in Salvador in Bahia,
the heart of Brazil and
there was this church service
that was just ending
and you'll hear
as the service begins the
choir master is having a slight
conversation with the organist
and everything that you're
about to hear was
exactly as it happened.
There's no editing.
There's no mixing.
What you hear is what
I got in this moment
and then the recording just sort
of I was carrying my recorder
so we sort of followed
the crowd out,
the congregation
out into the street.
[ Music/Background
Conversations ]
[ Bell Ringing ]
[ Music/Background
Conversations ]
[ Bell Ringing ]
[ Tapping Sounds ]
[ Bell Ringing/Background
Conversations/ Tapping ]
[ Music ]
They didn't disappoint.
Well to witness and
record a moment like that,
you really feel like
you've been given a gift
and you become very still,
attentive to the sound
and that's partly technical
because if there any
sound recorders out there,
there are people here I'm
sure who record sounds,
Tom we know you're
one of them, yeah.
But you know that if you make
too much noise you just ruined
your recording.
So, you have to be still
so it's partly technical,
but really every
act of listening,
really listening demands this
quality of attention doesn't it?
It reminds us that like the
world that we're listening
to which is alive,
we too are alive.
Right now the vibration
of my voice travelling
through this room is
reaching you through your skin
into your bones and it may be
subtle, but right now we are
in resonance and as an
experiment we could even try now
if you would like to maybe come
into resonance a
little bit more.
There's an exercise
that my friend Tim Hill
who does [foreign
word spoken] singing.
He was singing that when you do
it you actually accentuate some
of the tones of your voice
which are in all of our voices
to bring out two tones
at the same time.
I'm not saying we're going
to start singing
[inaudible] throat chant now,
but as an experiment
we're going to go
through a series
of vowels together.
We'll find a note and
we're going to say the word
"why" except we're
going to really,
if you want to participate
why not, I mean you know,
close your eyes no one, no one
will see you, and we're going
to say "why" but it's going to
go w-i-e and we'll pick a note,
I don't know, let's
somebody find a note,
ooo is that a good note for you?
Ooo, so oo-why, you ready?
Ooo-i-e. Now we're
going to go backwards,
ee-i-ow, ee-i-otherwise.
Even in that you could hear that
just the taste of the overtones,
the parts of our voice that
are there all the time,
but if you go and
you try that at home,
you don't have to
be a professional.
You can try this at home
in a very reflective place
like your car or the shower,
try that and you'll start
to hear the overtones
that are present
in your voice and
in every sound.
There are just certain places
where the environment makes
it a little bit more possible
for you to hear them.
So, right now whether we're
making sound together or not,
we're all breathing together
in a silent chorus creating
at the same time
with our listening,
that we're doing together
by default, an atmosphere
of listening and if you don't
believe that, tell me the truth.
If you're in a conversation
with somebody,
can't you tell intuitively
whether
that person's listening
to you or not?
You know it.
Alright, sometimes
it's body language,
sometimes it's just this you
know when somebody's tuning out
and you know even better
when they're tuning in.
Now, what is that all about?
So, when you have a group
of people listening
together we are creating
between us an amplified kind
of listening that's maybe
only possible when a group
of people are together listening
on behalf of something else
and nay actor, any
performer knows that.
You get a good crowd and you
say, "Wow, great crowd tonight"
and it helps brings up
the level of the music.
Why? Well, maybe the
performer was knowing that he
or she was being listened to,
it's like a feedback loop.
Well, we're not alone, we
have lots of other entities
on the planet that are engaged
in the process of listening.
We've got company,
a lot of company.
So, over the course of my career
I've interviewed many scientists
and we do have scientists,
there are scientists
in the house tonight and I've
interviewed, I don't know,
hundreds maybe even thousands,
really thousands of scientists,
but hundreds of bio-acousticians
whose job it is to sort
of monitor the pulse of the
creatures there are in the world
and you get this sense,
I've gotten this sense
after interviewing
them, that my golly it's
as if every living thing
on earth is some form
of receptivity or
listening or communication
and we humans are only privy
to small portion of that.
So, for example, bats and rats
are in the ultrasonic range
above the range of
human hearing.
Elephants are infrasonic,
they're below the range
of human hearing and
they actually communicate
to each other.
Yeast cells actually vibrate.
Leaf hoppers which are
an insect, I promised,
I promised you that
there would be some wild
and crazy animal sounds,
this is one of them.
Leaf hoppers make a
sound to each other
that we humans can't hear,
but if you were a leaf hopper
and were on the surface
of a plant you'd be tuning
into these vibrations.
Well, somebody had
the very clever idea,
it was a Japanese
scientist I believe,
had the very clever idea taking
what's called a transducer
which just translates
vibrations to sound.
In fact, he used a
phonograph believe it or not,
he stuck it on the plant,
the substrate of the plant,
the mass of the plant, and these
are the highly amplified sounds
of leaf hoppers, tiny insects.
[ Insect Sounds ]
That's two of them.
That's the call and
response of the leaf hoppers,
it was the mate calling on
"who" that was the mate.
So, transduce sound.
If you want an example of
transduce sound you could
if you put your palm of your
hand against your ear and tap
on your elbow, you
can hear that.
Do you hear that?
Now how are you hearing it?
If you tap with your knuckles
on your elbow you're
hearing it right?
So, how are you hearing that?
>> Bone-to-bone vibrations.
>> Jim Metzner: Pardon?
>> Bone-to-bone.
>> Jim Metzner: Bone-to-bone,
yeah.
It's being conducted transduced
through the same principle.
So, of course, there
are plenty of insects
that we do hear all
the time like cicadas
and crickets they are
among the voices of nature
that we hear many evenings
along with amphibians
and this is a taste
of a nighttime chorus
in Brazil's Pantanal.
It's actually not only Brazil,
there's a number of countries
around this the largest
wetland in Brazil, excuse me,
the largest wetland in the world
of which Brazil is just one
of the countries
in the, on the map.
I think Paraguay is another
and I'm trying to remember,
there are four countries
in the Pantanal.
Anybody know off the
top of their head?
I don't remember what they are.
Largest wetland in the world
and at night the
chorus sounds like this.
Now, when we're listening
to it you might try
as maybe an exercise
or just an experiment,
to hear the spatiality
of the sound.
In other words, well there's
a different sound over here,
there's three sounds are in 3D;
we're getting a spatial effect
of where the different sounds
are and sounds also have a kind
of a texture and they
may even have a kind
of an image not the
necessarily the image
of what it is that's making
that sound, but the image
of the sound itself
that could be produced
in your mind as you hear it, so.
[ Insect Sounds ]
Any images come to mind?
Anybody want to?
Well, what do you think
of when you hear that?
[ Insect Sounds ]
I don't know why, but
there's something,
kind of the sounds remind
me of the surface sort
of like the walls of
the ceiling, you know,
there's something rough and
amazing about it [inaudible].
Well, most mornings there are
a few other sounds of insects
and amphibians and insects
cross-fading with the sounds
of a dawn chorus of birds.
This dawn chorus was
recorded in the Grampians
which is a park outside of
Melbourne West of Melbourne,
Australia and it's a park
run by Aboriginal peoples
and as I was recording this the
crack of dawn, I was surrounded
by birds and many other
creatures including kangaroos
which you won't hear, they
weren't making any sounds.
I doing think kangaroos make
a sound, but just the fact
that knowing that
there were kangaroos
around I think is cool.
Anyway, this is one of my
favorite dawn choruses and,
but another experiment of
another kind of listening
to imagine you can try this also
with a musical sound as well,
as you're listening try
to imagine a mountain
or visualize a mountain of
sound the lows are at the bottom
of a mountain and the
highs are at the top,
and as you're listening it's
as if you become the mountain
and you're sort of [audio
issues], you're sort of reaching
for the higher notes and that
even affects your posture
so that there's a kind of a
posture, a more erect posture
of listening or a
posture that's conducive
to listening especially
reaching for those highs.
This exercise I didn't invent,
it's something that belongs
to Alfred Tomatis' work in the
Listening Center and he someone
who spent his life, who spent
is life studying and listening.
Anyway, it's something you might
try as you listen to the sound
from the Grampians dawn chorus.
[ Bird Sounds ]
There is a layer of complexity,
a layer of complexity
of the bird sounds, that mostly
we don't hear unless we slow the
sound down.
So, it [inaudible] heard in
the springtime and the fall
and these are recordings now of
birds in the wood thrush family,
the wood thrush, hermit
thrush veery at normal speeds
and then slowed down and you'll
hear what the recording reveal.
[ Bird Sounds ]
That's normal speed.
[ Bird Sounds ]
Isn't that wonderful?
Birds, of course, can
also talk or mimic.
This is another serendipitous
moment and it's a conversation
between a girl and talking
parrot that we, it was recorded
in Brazil so they're
speaking Portuguese
and you'll hear the parrot
on one side I forget which
and the girl on the other,
I'll point them out to you.
[ Bird Sounds ]
That's the girl.
That's the parrot.
[ Bird Sounds ]
So, what she's saying
is "I'm mad at you."
And guy says "I'm mad at you."
She say, "You're mad at me?
I'm mad at you."
This may be as closest to object
art as you'll hear tonight
because every, in the sense
that every, I've listened
to that recording
countless times
and every time I hear it it
just brings a smile to my face,
so it's one of these things.
So, you've made a
memorable recording.
You've been given this gift,
this little nugget of audio gold
and now you're dying
to share it,
because this active sharing
is imperative that we have
in common with virtually every
other living thing on earth,
this need to connect
and to commune.
In this case, to share
what you tuned into,
this thing that touched
you deeply.
So, now you search for a context
that you can grab somebody
by the ears and say, "Hey,
listen to this", so
what would it be?"
Is it going to be a CD?
Well, it may be.
In fact, I have two CDs right
here that you're welcome to buy
if you want to later on.
I only got two of some of
the sounds you've heard,
but what I have done
mostly is not sell CDs,
it's to make radio
programs and now podcasts.
And you make it and you
cross your finger or fingers
as the case may be, and you hope
that somebody will
actually pay attention.
Well, one approach is to
frame a sound in a story.
So, here's an early Pulse
of the Planet program
which demonstrates that
possibility of framing a sound
within a little story.
A group of pilot whales that
beach themselves and now
as the tide was falling,
word was getting
out at Cape Cod's [inaudible] of
volunteers was coming to rescue.
I'm Jim Metzner and this
is the Pulse of the Planet.
>> Right now the tide is going
out and these animals are going
to be high and dry for
the foreseeable future
that is either until
the next tide comes
up to float them
12 hours from now
or until we can pick
them up and move them.
We're checking out the area
right now looking for pools
that remain after the tide
goes out and we may be able
to move them and keep
them in those pools,
that would be the best scenario.
>> Jim Metzner: Dave Wyman is
with the International
Wildlife Coalition,
one of the many environmental
groups
that come together
during a whale rescue.
>> Right now we're covering
them with blankets and sheets,
one to keep the sun off
them and keep them moist,
and also in some degree
to help them control their
body temperature.
They can quickly overheat
in a situation like this,
so we'll keep the water
on them to keep them cool
or in some cases if they go
into shock they can
start getting cold.
In that case, we'll use other
things and put more blankets
on them and try to
keep them warm.
>> Jim Metzner: Why
expand all this effort
for these stranded whales?
Why not let nature
take its course?
>> Well, we don't know
what nature's course is
and so it's very
difficult to stand back
and just say well
this is nature's way.
It's like when people in India
they say well somebody's karma
to drown, well maybe it's
you time to save them
and that's kind of a roundabout
answer, but right we're doing
so many negative things to
the planet that it's nice
to have one thing
that you can do
that has maybe a
positive influence
and this certainly does.
>> Jim Metzner: It's true.
After a while I put down my
microphones and lend a hand
in the rescue operation.
Looking into the eye of a whale
close up and hearing it breathe
and vocalize was the
only payment that any
of us volunteers expected,
that and the feeling
that maybe just maybe I'll save
the life of a fellow creature.
This archival program is part
of our 30th anniversary
celebration.
If you want to hear more,
checkout our podcast.
So, sound can also reveal
something unexpected even
in a familiar territory.
>> And you got really make the
point and believe in the strike.
So, however you go about that
that's your own personal style
[crowd cheering].
>> Jim Metzner: What separates
one major league umpire
from another?
It's a personal style
based primarily on sound.
We talked with three American
League umps in Seattle recently
and they demonstrated and talked
about why they sound
the way they do.
I'm Jim Metzner and you're
hearing America recorded
on Maxell tape.
>> Well, I've never said
strike in my career.
I just never could
get out steeeri,
I just couldn't get it out.
Yeah, that's a strike.
But you really got to feel it.
Yeah! That's it.
[ Crowd Cheering ]
>> Mine is a one
that I just go A!
like that.
And the strike three
is I'll reach in
and pull back and it's A-A!
like that.
It looks like a karate
move, but you know, it works
and then a lot of times the
louder you are you're drowning
out a lot of the criticism
too, so by the time I'm done
with my opera, you know,
they're not yelling too much.
>> And my particular
deal is just Ya!
Three! Would be strike three.
>> Free?
>> Three. Free!
>> And we call them from
our heart, you know,
basically we don't care who wins
the ballgame, so the idea is
to go out there and try and get
in as little trouble as possible
and if you're aggressive out
there and you sell yourself,
you know, a lot of
times you'll stay
out of arguments by
being aggressive.
>> Jim Metzner: My thanks
to American League umpires,
Larry Barnett, Durwood
Merrill, and Rocky Roe.
I'm Jim Metzner and you're
hearing American recorded
on Maxell tape.
Maxell, it's worth it.
[ Crowd Cheering ]
That was one of the predecessors
of Pulse of the Planet,
one of the series that I
think Matt had mentioned.
Well, my favorite is I-E.
Sometimes you'll
be out recording
and there's certain sounds,
certain places where you feel
like you're being
kind of pulled along.
The sounds are pulling you.
You're taking this journey.
So, we're going to now take
a little journey in sound
and this journey is to Morocco,
one of the great
cities of Morocco.
A tape recorder is a
pocketful of breadcrumbs.
When you record sounds
wherever you go,
you leave an invisible
trail from moment to moment
and then one day, you
listen to the tape
and you find your
way back again.
[ Background Conversations ]
This trail leads to
Morocco, the city of Fes.
One of the oldest continuously
inhabited cities in the world.
Let's follow these sounds
and see where they take us.
[ Background Conversations ]
Fes is really three cities;
the first a modern
European style metropolis;
the second Fes El-Jadid
or "new Fes" dates
from the 13th century; and
"old Fes" Fes El-Bali goes back
to the 9th century and
that's where we are now.
Picture an ancient walled city
and inside the walls is a maze
of alleyways too narrow
for a car to get through,
so the traffic inside old Fes
is mostly people and donkeys.
[ Background Conversations ]
Balick [phonetic] is the
donkey driver's equivalent
of a car horn and it
means, out of the way.
[ Background Conversation ]
Two hundred twenty-five thousand
people inhabit the old city
of Fes in an area roughly
four-and-a-half square miles.
For the folks who live here,
it's one enormous
extended family.
For a child growing up here, the
alleyways of the old city are
on extended playground
[children playing].
Amidst the bustle of activity
in the city always in motion
like a giant human
hive and the moments
when the sounds themselves
will slow you right down.
In a tunnel passageway with
children playing nearby
and tourists and trades
people walking past,
an old man intones
praises to Iman.
[ Foreign Language Spoken ]
Morocco is an Islamic
country and in Fes' Medina,
that's another name
for the "old city",
there are literally
hundreds of mosques.
Five times a day you
can hear the call
to prayer throughout the city,
but probably the best place
to hear it is from a rooftop
when it's just you
and the pigeons.
[ Background Sounds ]
Non-Muslims are not
allowed inside mosques,
but it is possible to gain
entrance to a koranic school,
men who live and work in this
part of the Medina come here
to pray, but before they
do, they remove their shoes
and wash their feet, hands
and face at the fountain
in the school's courtyard.
[ Water Sounds/Bird Sounds ]
As a flock of birds
circles overhead,
the Iman begins is prayer
facing towards Mecca and a row
of a dozen men standing
shoulder to shoulder join in.
[ Foreign Language Spoken ]
Outside the courtyard
of the koranic school,
the life of the Medina hums
right along and it's easy
to be drawn through the
alleyways and tunnels
from one sound to another.
[ Foreign Language Spoken ]
[ Bell Ringing ]
That's the [foreign word spoken]
who carries a goatskin full
of water and dispenses
it in a brass cup
to anyone who requires a drink.
Along with the bell,
his signature sound,
they [foreign word spoken]
wears a broad-rim hat fringed
with tassels and a costume
bedecked with tiny mirrors
and for a few dirham,
the Moroccan currency,
he'll let you take his picture.
[ Background Conversations/Bell
Ringing ]
The passageways of the old
city are lined with stores
and stalls selling
a mix of modern
and more traditional goods;
foods of every description,
but most especially dates
and olives, spices, clothing,
hardware, dry goods, school
supplies, electrical supplies,
video games, and cassettes.
There are boom boxes
everywhere here and they compete
for a niche in the
rock sound scheme.
[ Music ]
[ Background Conversations ]
In the ecology of
the marketplace,
tourists are both predator
and prey, taking photographs
at every opportunity of the
people who, for the most part,
really don't want to
have their picture taken.
In turn, the busloads of
turistas who make their rounds
through the Medina
are hit on by hawkers,
stall keepers and
would-be guides.
The sounds of bargaining
ripple through the Medina
and the merchants of Fes
are masters salesmen.
[ Background Conversations ]
>> This is all [background
conversations].
Bronze all, all bronze,
50 dirhams.
>> It's not the deal that is
important, it is your friendship
for next time perhaps.
So, money is not of 600 dirham
you won't regret [inaudible].
[ Background Conversations ]
There are settler sonic
delights in the old city,
somewhat off the beaten
pathways like the sound
of grain being sifted before
it's grounded to flour.
[ Background Sounds ]
Or the noise made by a
little hand motor used
to twist the cotton thread
for making djellabas,
the traditional men's
outer garment.
Fes has a rich tradition
of craftsmenship.
Whole sections of the old city
belong to artists who work
in brass, stone,
textiles, wood and leather.
In the [foreign word spoken] the
stone chiselers work nearby the
men who hammer the
designs on brass trays
and sometimes it seems
as though the rhythm
of one is picked up by another.
[ Hammering Sounds/Background
Conversations ]
And then suddenly it's dusk
and the trail of sound morsels,
expands and intersperses
throughout the old city.
There is magic in the air and
what better place to hear it
than at the Bab Boujeloud,
the Blue Gate,
the place where most people
enter and leave the Medina.
In the throngs of humanity
that parade by, and in those
that the cafés that
sit and watch them.
There's an air of
expectancy echoed by the birds
who roost here as
if in the midst
of all this apparent chaos
there's a last minute chance
to make some sense of it all,
and for a fleeting moment,
the music that is hidden
in all sounds reappears.
[ Background Conversations/Bird
Sounds ]
[ Background Conversations/Bird
Sounds/Music ]
[ Music ]
From Fes in Morocco, I'm
Jim Metzner the savvy
traveler [music].
That really together
continues just a little further
with the idea that songs and
stories are among the gifts
that we've been given as
guides to help us navigate
through our collective journeys.
Some Native American
tribes have song carriers,
people who have been entrusted
with specific songs to keep
through over the generations.
Storytellers carry the tales of
our ancestors and of our times
and a great storyteller
invokes a very special quality
of listening.
>> I could go forever
without repeating a story,
stories from all over,
I am a storytelling
cat that's what I am.
>> Jim Metzner: You're
hearing Boston on WEIFM.
In the next two minutes
we'll talk with Brother Blue.
>> I'm only known
as Brother Blue.
Nobody calls me anything but
Brother Blue except my mama.
You know how mama's are?
"I named you Hugh", okay ma.
>> Jim Metzner: On a sunny
day on a traffic island
in the middle of Harvard Square,
there's a man all dressed
in blue with barrels and ribbons
and butterflies all over him.
Brother Blue begins
telling stories to anyone
who will stop and listen.
Already a crowd has gathered
and magically someone
begins to sing.
[ Singing ]
>> Daddy comes in the door while
mama's singing Amazing Grace
for Blue you know.
It's cold on me.
When I got out in the little
square, Harvard Square,
that is my blue [inaudible]
where all the beautiful things
and when my lions come
out and my dragons.
And all you have to do is
cross the sea of traffic.
I don't care if they are sirens
blowing, there's firemen going
by and police whistles, on that
island we get into that blue,
blue country which
is imagination.
Give me your feet.
He's rubbing my feet while
mama sings [singing].
>> Jim Metzner: The next
time you're in Harvard Square
and you want to hear
a great storyteller,
just keep a lookout
for that Blue island.
I'm Jim Metzner, and you're
hearing Boston on WEIFM-103.
>> It's possible to tell a
story to transform the listener
and the teller of the story
and I believe they can
transform the world.
When I ask you I want
you to all sing with me.
>> Jim Metzner: So, perhaps
inspired by the fact that we are
in one of the greatest libraries
of the world here, I'm wondering
if we could say that
song carriers
and storytellers are both
organic sound architects.
What do you think Matt?
Make a case for that maybe?
>> Mathew Barton: Yeah.
>> Jim Metzner: Yes.
Taking it one step further,
what if each of us in his
or her own way is
a sound carrier?
A sound carrier.
What if we carry those
vibrations within us
that have left a
deep impression?
What if inside each of
us there is a repository,
a unique library of memorable
sounds that we've heard
in our lifetime which return
on occasion accompanied usually
by waves of nostalgia?
Well, I spent a year doing
interviews collecting sound
memories asking people this
question which is sort of like
when you got the response
and I got it a lot it was
like striking emotional oil.
What sound kind of entered
into you and never left,
the sound you could hear
even now in your bones?
And then the challenge
in creating this story
that framed it, was to
either recreate or collect
or recreate those sounds.
So, this is just an excerpt
from Sound Memories which ran
on all things considered
some years back.
[ Frying Sounds ]
>> Sunday morning, I would be
up in my bedroom early and down
in the kitchen my mother
would be making tomato sauce
and as the oil would
heat up with the garlic,
she would pour the
tomatoes in and as soon
as the tomatoes hit there would
be a sizzle and I would hear
that sound and the
entire house would explode
with this wonderful aroma and
the scent, and it never left me
and I could almost
taste it as I hear it.
[ Frying Sounds ]
>> I can still hear my
father in the kitchen singing
and he would just stroll up
and down the hall in the house
when I was growing
up with his hands
in his pockets I could hear the
change jingling in his pockets
because he worked for Manhattan
that it needs all the
coins in those days.
You needed coins
for subway tokens
and he would be saying,
"Do-do-do."
[ Singing/Music ]
>> My mother was Scottish
and every Sunday morning
at 8 AM she would put the
pipes and drums on full volume
and I woke up to that every
Sunday morning of my life
and that made a very
deep impression on me.
[ Pipe Music ]
>> Jim Metzner: It was sounds
that got you out of the house.
Maybe they drove you
out, maybe they drew you.
Now I'm listening back
and inviting you again the fire
alarm, the ice cream truck,
the card that your friend
attached with the clothespin
to the fender of his bicycle
made it sound like a motorcycle.
Or the first time you ever
went somewhere just to listen
to the sounds there it was
underneath the Brooklyn Bridge.
[ Background Sounds ]
Sounds do have a
life of their own.
They can take you to
undiscovered places,
but more often than not, they'll
take you back to the brink
of memory to a moment that
was catalyzed by sound.
>> When I was really young,
I had a favorite uncle
who lived with us for a while.
He used to tell me stories
and we had this habit,
he would stretch out on the
floor and with a big bowel
of apples next to him and tell
me stories while I rested my
head on his stomach.
All of these stories
were accentuated by the.
>> Let's lie down.
>> Of the apple and so
the sound of his breathing
and whenever I hear the sound
of an apple being bitten
into there's a little
bit of the.
>> Jim Metzner: Once
upon a time.
>> Pleasantness that
was connected
with those experiences.
>> Jim Metzner: There
was princess
who lived in a big castle.
Want a bite?
>> Okay.
>> Jim Metzner: In far,
far away in a forest,
there lived a very mean ogre.
You know how many heads he had?
>> How many?
>> Jim Metzner: Five.
Five.
>> One, 2, 3, 4, 5.
>> Jim Metzner: Yeah.
>> Yeah.
>> Jim Metzner: And this ogre
used to eat little children
that would come by and.
>> Stop.
>> Jim Metzner: [Inaudible]
>> Stop.
>> Jim Metzner: [Inaudible].
>> Stop, stop.
>> Just several years
ago on the West Coast
of British Columbia I
found an abandoned seal pup
and spent the night with
it sleeping on my stomach
and its cries awakened something
incredibly maternal within me
to which I wasn't aware of and I
still hear those haunting cries
that really settled into
the core of my being.
[ Background Sounds ]
>> Growing up in Algiers
during the war in 1959 to 62,
we lived in Hydra in the
southern part of the city
and periodically there
would be bombings
and those would happen
mostly at night,
and so one of the most
powerful sound memories
that I have was the
low percussive thud
of bombs going off
around the city
and the way the vibrations
would transfer into the walls
of the house and the metal
shutters by my bedroom window.
Often concurrent with
that on these evenings
with warm breezes coming up
from the valley to the south
of the city, would carry
slightly modulated voices
of Berber tribeswomen
ululating and that would sort
of envelop the house and the
sound that was once beautiful,
but also terrifying
on some levels.
[ Bomb Sounds ]
>> Long ago it was in 58-59 we
went all outside into the van,
it was late maybe midnight
and suddenly looking
to just [background
conversations] we saw light
in the sky and it was coming.
>> When I first heard the
sound I thought it was maybe a
low-flying jet and then I
thought well maybe it's a couple
of low-flying jets and then
it sounded really like a fleet
of low-flying jets
and then, you know,
we ran outside to
see this light.
>> Light in the sky and it
was coming from left to right,
but the most [inaudible]
was the sound.
>> Sound.
>> It was like something
in the wind, something.
>> Loud.
>> Between the wind
and something metallic.
>> That I felt that if it
were any louder at all,
that everything me and all life
around me would have
been shattered.
>> Something I will
never forget.
Never.
[ Jet Plane Sounds ]
[ Rain/Hail ]
>> Jim Metzner: So,
we're all sound carriers.
Hopefully this has raised
collective antennae a bit
and I'm wondering if there
are any questions or sounds
or sound memories that you have
that you want to share with us?
Anybody have a sound memory?
Something that stayed
with you that came back
as you were thinking of this?
Don't be shy.
Yeah. Nancy.
>> I climbed the Virungas to
see the gorillas over in Rwanda.
We went up through these
carved farmlands and we went
up the mountain and the line
of demarcation between that
and then this really incredible
journey that we were going
to be taking that day, was
stepping into a bamboo forest.
It was the first time I had
been in one [inaudible] since,
but I never forgot this because
it was literally like going
through a curtain to
another place and all
of a sudden the sounds were
completely different and part
of it was the, the birds and
the whatever other critters were
living up high in the canopy
of this forest were
complete different
than they had been two steps
over outside of it, and also,
I think the thing I most
remember is the sound
of the bamboo, the sound of
crossing it and clattering
and clicking in this really
musical pattern way high
up above us.
>> Jim Metzner: That's great.
That's a great sound
and I've heard,
I've never heard this myself,
but I've heard and told me
that in certain conditions
you can actually hear
bamboo growing.
I don't know if that's
true or not.
But wow, what an amazing sound.
Thank you.
That's a great one.
So, the sounds of being in a
bamboo forest and the sound
of going from one place to
another in Burundi did you say?
>> No this was Rwanda.
>> Jim Metzner: Rwanda.
Any others?
Yeah.
>> So, growing up we didn't
have central heat in the house
so my dad split wood
for our woodstove
and so he taught me how to
split from when I was really,
really young and you can tell
when a mull hits a piece of wood
where it's all the way through,
the mull would just
kind of split it.
He wouldn't be looking,
but I could as I was practicing
he could tell me whether it was
going to split or
not from the sound
of a [inaudible]
from the outside.
It hasn't really moved,
but you could hear this pop
of the all the strands
releasing.
So, I'm listening for that
and hear him bring
the mull [inaudible].
>> Jim Metzner: It's
a great sound,
and as you're saying it I
love to split wood myself
and like I'm hearing
it as you say it.
And also, how many I'm
just so glad you mentioned
that in particular, because how
many times are we being informed
by sounds especially when
like with a car, you know,
the first thing you'll be in
your car and something' s up.
I don't know what it is,
maybe it's the brakes,
maybe it's the engine, but
it's not sounding the way it's
supposed to.
I mean we're, it's one of the
things that inform us often
when things are wrong or right,
you can hear it first as a clue.
Any other?
Yeah.
>> Hi, you know, you presented
such rich soundscapes, you know,
in all the places that you
have been and it's funny,
but what I thought of
was this a few years ago,
and I was like by myself
and I above a tree line
in Central Colorado probably
about 11,000 feet high
so we were above the tree
lines, so there were no trees
and you know I could
see, see all around me.
There was a big horizon and
there was very, this one part
of the sound environment was,
I mean, it was mostly quiet,
but you could hear very
subtle movement of the air.
It wasn't really a breeze.
It was just kind of very
subtle movement of the air
and then every now and
then there would be a sound
of an animal doing
something or a bird
that was mostly near silence,
but still there was a
little sound there and it's
so interesting to think about
the fact that, you know,
when we go through everyday
life, I mean, I think one thing
about everyday life in the city
and now everywhere there's a lot
of kind of manufactured sounds
like you have a soundtrack
every time you go shopping or go
into a restaurant or something,
and so [audio cuts out] same
when you're in an environment
where you can when there's not,
you know, a cacophony
of sound but there are,
there's still subtle sound
going on and then every now
and then more characteristic
sounds.
>> Jim Metzner: Yes.
That's so helpful, because then
in a place like that which,
you know, it's relatively rare,
certainly in the city except
maybe in the morning in cities
or late at night, but even
so there's the sound that web
of traffic going all the time.
Without that you become
more finely attuned
and more sensitized.
I think that's a great example.
Thank you, of a possibility
of hearing things
that we don't always
necessarily hear.
Any others?
Yeah.
>> So, I used to be
stationed in [inaudible].
>> Jim Metzner: I'm sorry.
Just a little louder.
>> I used to be stationed
at a naval air station
in Jacksonville.
[Inaudible] medical
side I used to help
out in [inaudible]
especially at night.
I remember just [coughing] one
of the hangers it was the last
plane of the night coming in
and once it came in and the
engine shut off there's an
extreme loudness
then extreme quiet.
You could hear this cicadas
outside and the crickets
and it was just that sudden
switch and [audio cuts out]
and it was so loud you
couldn't hear anything
and then so quiet you could.
>> Jim Metzner: Huh, great.
Did, there was a moment like
that in the piece did that sort
of trigger the memory?
Huh. Cool.
Any others?
Yeah.
>> After the riots in
Baltimore three years ago,
[inaudible] who made it to that
baseball game with no crowd
in attendance, so
we would some of us
who were season ticket
holders were used to the noise,
the cacophony, the constant
mirage of jumbo trons
and hotdog races and
all this nonsense
and you could go stand the
outside of the stadium in some
of the public accessible
places that listen
to professional baseball game
being played with no crowd noise
and no PA and no announcers.
>> Jim Metzner: Wow.
Twilight zone.
>> And Orioles catcher
actually came out and then
to gage batting practice and
he waved to [inaudible] crowd.
>> Jim Metzner: Well, it's
also you're reminding me
that it's another one of
those sounds, a wooden sound,
but you talk to an outfielder
and I have interviewed
outfielders or baseball players
and they can tell by
the crack of a bat.
It's one of the things that
informs them, well is it going
to be like a line drive,
aside from the visual,
they hear that sound and
they know it's going to,
oh it's a high pop or whatever.
It's one of those things
that has a different
sound quality of sound.
Yeah, Tom.
>> When I was very young,
we lived on a street
that had a park at
the end of the block
and every Saturday morning
in the fall the local high
school marching band would go
past my window on the
way to the football game
and so I would wake up I
would hear the distance sound
and they played out of tune,
because they weren't very good.
It would get louder and louder.
It was something like a
Doppler shift I guess,
but with volume instead of and I
always knew when they were right
in front of the house
it would pick up
and then it would slowly fade
out as they would come pass.
I always remembered that.
>> Jim Metzner: Yeah,
It sounds emotion, yeah.
>> I have a very similar one
actually it's a marching band
one, It's from Minneapolis a
few years ago I was on a run
and I stumbled on I guess it
was like, like the meeting time
for a competition of marching
bands [audio cuts out].
So, I was moving with
the marching band.
They were all stationary
and they were in the bubble
so I was running
through basically a field
of marching bands
practicing with the big band.
They all [inaudible].
I tried to record it, I'm not
very good with sound recorders,
but something about that
[audio cuts out] capture.
I wanted to share another one.
>> Jim Metzner: Please,
please go on.
>> When I was, I was brought
at my grandparent's house
and always wanted to
walk to a sand hill.
We called it a sand hill,
but you know there were a lot
of small pebbles
[audio cuts out] sister
and I would make piles and
we'd spend you know an hour
or two throwing rocks down
the sand hill, so the sound
of rocks [audio cuts out].
And I haven't even mentioned,
you know, until you're talk
on listening to some
of the sounds,
but I live in a modest area now
and after the evening prayer,
there's usually like a period
of meditation and we had
to go break the silence with
small stone that he cracks
against the pews when
they sit [audio cuts out].
I've always found
it very pleasant
and it's strange you know why
I thought that was so pleasant
and I look forward to it.
>> Jim Metzner: Can you say what
kind of monastery it is, which?
>> Yeah, Benedictine.
>> Jim Metzner: Benedictine.
>> Say it sometimes.
>> Jim Metzner: In, I
think Saint Benedicts said
"Incline thy heart's ear"
is one of the things he said
and so chanting, do you chant?
>> No, we [inaudible].
>> Jim Metzner: Well, that
then when I was mentioning
about Tomatis before, he was
a Alfred Tomatis was famously
called to a group of
Benedictines monastery
where all the, where they had
stopped, somebody had seemed
like a good idea at the time
that they would stop chanting
and have more time
for other stuff
and in his words he found
them in their cells "lying
like a bunch of limp dish rags",
that was his description of it
and he basically his remedy
was to get them chanting again
and that energized the sound
of the chant which he went
on to thinking that that
particular frequency
which is heard in the
middle of Gregorian chant
which about one K, one
thousand cycles per second.
He felt energized the brain.
Now, I don't know if
that's true or not.
He also felt Mozart
in particular,
the music of Mozart was
prominent in those frequencies,
but that, that quality
of music he felt helped,
well as he put it,
"Energized the brain"
which is an interesting
idea and he also felt
that there were certain
kinds of sounds in music
that did the opposite.
So, luck you to be in the midst
of that sound environment.
And a lot, so many
traditions have that sound
in Greek orthodox
there's a sound of a,
it has a particular name
which I've forgotten,
but it's also the sound of
you know hitting something
and then getting more rapidly.
Any others?
>> Just because I
have now been saved.
>> Jim Metzner: Yeah.
>> I find the many sounds
of water [audio cuts out].
The rain starts to be heard.
>> Jim Metzner: Yes.
>> On the roof.
>> Jim Metzner: Yeah.
>> Or it may be a stream,
[inaudible] of the beach before.
It has the way of bringing
me this impression of nature.
[ Inaudible ]
>> Jim Metzner: And we
are touched by the sounds
of water and, in
fact, that was one
of the sound memories
you don't hear it,
but it was the last one
there was rain on the roof
of a tin roof and many, many
people had mentioned that
and if we listen to the end
of the piece you would
hear somebody talking
about that sound memory he
had of a very particular place
and the evocative
sound of water.
So, absolutely.
So, we live in a world of
vibration that we mostly take
for granted and we also carry
within us this inner archive
of sounds and complete with all
of the associated relentless
associations that come with them
and somehow our lives are lived
between these two
realms of sound.
The outer and the inner and this
in between place is
a little mysterious,
it's a little unknown,
it's quiet, it's still,
it's sensitive, it's a
bit like being in the eye
of a storm attuning to
something very subtle.
It may be a vibration
that is more sensed
than felt than heard.
It's like if you've
ever had the experience
of someone asking
a question and all
of a sudden you're
hearing the question
that was behind that question.
Do you know what I mean?
Not the words that came
out of their mouth,
but you're hearing what was,
what inspired them
to ask that question.
Do you know what I mean?
Sometimes it's like an intuition
and that's I think similar
to what we're speaking about,
the idea that whenever
we're listening attentively,
we have the possibility
not only of being nourished
by this swirling microcosmic
galaxy of sounds and vibrations,
but also what lies behind them.
So, the thought I'd like
to leave you with is
that by becoming quiet
enough inside, perhaps it's
in that realm that
we can become,
we can rediscover the
magic of listening.
Thank you.
[ Applause ]
Yes.
>> How can we listen to
one of your programs?
>> Jim Metzner: Well, I'm so
glad you asked that question.
Two ways, it's a podcast
so if you have iTunes
or Stitcher you can
listen to that.
You can go to my web, there's
a jimmetznerproductoins.com.
It has a lot of sounds on
it and these two CDs have,
they're not programs but they
have a lot of great sounds some
of which we've heard tonight, so
that's another way you can hear,
not so much the stories
but the sounds themselves
and they're also online.
Yeah. Hi.
>> What about the one
specifically the one in Morocco?
>> Jim Metzner: That is online.
Go to jimmetznerproductions.com
and you'll hear it, it's free.
Or just search, search me
and Fes and you'll hear it.
That's on the Third Coast
Festival if people know
about the Third Coast.
It's on now in Chicago.
They play that, they often play,
or they have played
Fes a lot there
at the Third Coast Festival.
Questions?
No. Okay. Thank you.
>> Thank you.