60 Songs That Explain the '90s - Guns N’ Roses—“November Rain”

Episode Date: November 12, 2020

Rob explores Guns N’ Roses’ signature power ballad “November Rain” in all of its extremely lengthy glory by discussing the band’s turbulent trajectory, the profound genius of Slash’s guitar playing, the song’s equally recognizable music video, and the moral detriment to enjoying the creative work of Axl Rose. This episode was originally produced as a Music and Talk show available exclusively on Spotify. Find the full song on Spotify or wherever you get your music. Host: Rob Harvilla Guest: Naomi Fry Producers: Justin Sayles and Isaac Lee Learn more about your ad choices. Visit podcastchoices.com/adchoices

You're listening to a music and talk episode where full songs and talk segments play together only on Spotify. Best of all, you can create your own music and talk show for free with Anchor Spotify's podcasting platform. Get started at anchor.fm-fm-f-M-C-H-O-R-F-M-U-S-I-S-I-S-M-U-S-I-S-I-S-E-L-L-K. A lot of spelling there, but just do it. In 1988-A-T-H-A-E-E-A-L-E. 10 years old, and I asked my parents to tape the MTV Video Music Awards because Guns and Roses would be

performing. It was past my bedtime. Arsenio Hall was the host. In excess won five awards. Michael Jackson won the Video Vanguard Award. Guns and Roses performed a song called Welcome to the Jungle. I was attending the Catholic School's Sacred Heart Elementary in Eureka, Missouri at the time, if that's relevant, which I think it might have been, because after they watched Guns and Roses perform welcome to the jungle, my parents were unhappy. The next day they sat me down. Now, Robbie, they said, Robbie with the Y, we're just concerned that you might get the idea that drugs might be something you want to try. I had not gotten that idea. I had no idea. I was too naive to even be impressionable.

I want you to imagine that you are a fourth grader at Sacred Heart Elementary, attempting to process the exact nature of this threat. I didn't think it was drugs. I'll tell you that much. My parents let me watch the VMAs, but they would not permit me to buy on cassette, Appetite for Destruction, the 1987 debut album from Guns and Roses that opens with,

Welcome to the Jungle. Instead, I bought Bon Jovi's New Jersey. I do not regret this. Fantastic album. Track 2 is called Bad Medicine, but it's not about drugs. It's about sex. It's fine.

Appetite for Destruction is sold 30 million copies worldwide. One of the biggest and ugliest hard rock albums ever born. I basically owned it in the sense that I had access to MTV in the late 80s. Same deal with G&R Lies, the shortish Guns and Roses album that came out in 1988. that I was also not allowed to buy, even though I loved the all-acoustic ballad patience. Lies had a song called One in a Million that was rife with racist and homophobic slurs.

I was not aware of this at the time. Also, reportedly, there was a photo of a naked lady in the liner notes. I was aware of this at the time, thanks to reporting from my Catholic school classmates. I survived. Cut to 1991. No more Catholic school. I am now, technically, a surly teenager. I can buy any record I want. including, theoretically, the third and fourth albums from Guns and Roses, Use Your Illusion One and Use Your Illusion Two, released on the same day in September and sold separately, 18 bucks or so apiece if you'd moved on to CDs.

I didn't buy them. I didn't need to. Because once again, merely by dint of having access to MTV in the early 90s, the cold November rain washed down on us all. You know where you are? You're on 60 songs that explain the 90s, a podcast about the music that used to scare us, or our parents, and the stuff we probably should have been scared of instead. My name is Rob Harvilla. I stopped going by Robbie in the sixth grade for the ladies. The ladies didn't care. I'm a staff writer and music critic at the ringer, with the exception of exactly one encounter with mushrooms. The flaming lips were involved. I have no significant drug experience. Shout out to my parents. Today, we are talking about November rain. The extremely not acoustic

Guns and Rose's power ballot that appears, for the record, on Use Your Illusion 1. Use Your Illusion 2 is a little better, a little harder. Neither was worth 20 bucks, though. This is also a podcast about what the 90s, quote unquote, invented and what the 90s, quote, unquote, killed.

The party line, among a lot of music critics anyway, is that grunge killed hair metal. The late 80s on MTV, heavy rotation-wise, you get G&R. You get poison. You get deaf leopard. You get Cinderella. You get spandex. You get hairspray. They, at least, get a lot of chicks. The early 90s on MTV, you get Nirvana, you get Pearl Jam, you get Soundgarten. You get darkness. You get self-loathing. Janie Lane, the late frontman

for hair metal knuckleheads warrant, used to tell a story about walking into his record label office in New York City around 1990 and above the label president's secretary's death. is a giant blow-up poster of the new Warren album, Cherry Pie. You remember Cherry Pie. It gave you the idea that dessert was something you might want to try. But around 1992, Janie Lane walked back into this record label's office with another Warren album coming out. And there, hanging above the label president's secretary's desk is a giant blow-up poster

of Allison Chain's dirt. As Janie Lane put it, quote, it got to the point where it was like, okay, every rock band that came out in the 80s sucked and has no reason to live and should not be on this planet, and there's no way they can possibly do anything worthwhile and viable in the 90s.

End quote. So what is Guns and Roses? Very arguably the single best and most dangerous rock band of the 80s due to maintain their viability in 1991. The Use Your Illusion saga, a 30-track, two-and-a-half-hour double album, the two have sold separately, that peaks with November rain, a nearly nine-minute Homeric epic, either the literary Homer or the Simpsons Homer,

with an orchestra, backup singers, multiple guitar solos, and a blockbuster $1.5 million video that features both a wedding and a funeral. During the wedding, it starts raining. This rainstorm is unusually violent. everyone runs for cover and a random wedding guest dives full extension into the wedding cake, just demolishes the cake. Why did he do that? What the hell is going on?

This is a baffling time to be alive, to be a surly teenager. This is a baffling audiovisual experience to process while trying to figure out which dudes with guitars actually suck. It is best when attempting to wrap one's head around the majesty of November rain to start at the very beginning. This, right here, three seconds. You know what you're in for. I want to be clear that I love this song profoundly in spite of everything. But this is how an asshole plays piano, like octaves. I'm telling you for a fact.

It's a bad omen in the best way. Nine minutes of this attitude. You know what you're in for. Can a band that sold as many albums as Guns and Roses sell out? Could a band whose breakout song was the slow dance classic sweet child of mine go soft? Is November rain in its bloat, in its orchestral ass Elton John Grandeur, a betrayal of the sleazy Los Angeles hair metal creeps that brought you It So Easy and Mr. Brownstone and Paradise City? Can a frontman as mercurial as egomaniacal?

as crude, as vicious, as instantly and unapologetically cancelable as Axel Rose ever go too far, morally or sonically. There is no E in Axel, because that way, Axel Rose can be an anagram for oral sex. Slash, the band's equally iconic lead guitarist in Axel's dramatic foil, once described November rain as, quote, the sound of our band breaking up and quote, though in fairness, Slash also described G&R's cover of Sympathy for the Devil, which appeared on the soundtrack to the 1994 Kirsten Dunst Vehicle interview with a vampire as, quote, the sound of a band breaking up, end quote, and that song was actually when the band broke up. But let's just say that Slash and bassist Duff McCagan, and not much longer for this band guitarist,

Izzy Stradlin, didn't actively worship Elton John the way Axel. did. November Rain, for the record, does sound an awful lot like Elton's funeral for a friend, loved lies bleeding. And let's also say that one of the subtler joys of the November Rain video is watching the members of Guns and Roses who aren't Axel Rose try to keep themselves awake. Put it this way, three people who played on appetite for destruction wrote autobiographies, slash Duff and drummer Stephen Adler. Roughly 80% of those books are about sex and drugs. To wit, Stephen Adler's book is called My Appetite for Destruction, Colon, Sex, Drugs, and Guns and Roses. He got kicked out of the band in 1990, largely for substance abuse issues, which I'm hesitant to say is funny, because Stephen's mother, Deanna Adler, also wrote a book called, Sweet Child of Mine, Colon, How I Lost My Son, to Guns and Roses, and that book ain't funny at all.

But the other 20% of most of these books is about what a pain in the ass Axel Rose was. is shall always be. This song as a song, as flowery and overwrought as it might be, does not represent some huge departure temperamentally or otherwise for Guns and Roses, who have the word roses right in their name and who cut at least two demos of November rain back in 1986. There is a five-minute acoustic guitar version. There is a ten-minute piano version. Depending on which book you read, Axel either told. people this one's for the second album or was pissed that people told him to save it for the second album could be both in his autobiography slash suggests that there is also an 18-minute demo

they'll include that in a two thousand dollar box set someday November rain does fit better on the user illusion albums to the extent that anything fits on those albums it can't be some huge anomaly if everything is anomalous the unifying theme is chaos for a solid hour of those two and a hours. G&R sound like the world's surliest blues rock bar band. There's like three paying customers in this bar. It's a Wednesday. Everyone in the band hates everyone else in the band. Duff already lost all their drink tickets. Everyone's just in it for the money. It's that vibe, except these albums sold seven million copies apiece. You also get honestly pretty righteous covers of Bob Dylan's knocking on heaven's door and wings live and let die. It's like classic rock

setting itself on fire while trying to pass the torch. You get Get in the Ring, where an Axel invites Spin Magazine founder Bob Guccioni Jr. To suck his dick. You get an angry bar band song called Back Off Bitch, which takes great pains to be self-explanatory. You get epic dirges called coma and civil war that last as long as most comas in civil wars.

You get the extra surly Terminator 2 tie in You Could Be Mind, which rules, and which would have fit great. on appetite for destruction. And at the very end, you get my world, which sounds like worst-case scenario, Bjork, and would fit great in hell. None of this coheres. None of this especially rewards your time and effort. None of this is worth like 40 bucks. But more to the point, none of this matters. What matters nearly 30 years later is November rain, and specifically the November rain video, which to repeat reportedly cost $1.5 million, in which in 2018 became the

oldest music video on YouTube to surpass one billion views. A great honor I'm still processing in terms of the insults inherent in it. The November rain video is the second chapter, the empire strikes back, if you will, of a video trilogy that starts with Don't Cry, another power ballad and ends with estranged, which is like five power ballads colliding in mid-air. The narrative here is based on a tragic rock star-type short story called Without You, written by a journalist and Axel pal named Del James. November Rain, the song, is inspired in part by Axel's relationship with his ex-wife, model Aaron Everly. Though as with Don't Cry, the video co-stars then current Axel girlfriend and model Stephanie Seymour. It's her wedding,

to Axel. It's her funeral. How she dies is not explained at all. Narratively, it's just wedding, unusually violent rainstorm, wedding cake destroyed, funeral. With this band, you never want the answers to any of your questions. Seymour was supposed to star in the estranged video also, but she and Axel had broken up by then, and so, in the trilogy's closing chapter, Axel Rose hangs out with dolphins. In 1995, Slash, promoting his side-prone, project Slash's Snake Pit would lament the excess of the user illusion era by saying, quote, there was just a little too much thinking going on, end quote. Now that's funny. That's the backstory. This is November Rain's first guitar solo. That's the raddish shot in the whole video,

by the way, Slash walking out of the church in New Mexico. It looks abandoned. I don't know where anybody parked. He's got a cigarette dangling out of his mouth. He looks cool as hell. Maybe this video in its totality is cool as hell. Maybe it's the uncoolest thing in the early 90s managed to barf out. At the towering scale at which 80s hard rock tended to work, your career peak and rock

bottom could look amazingly similar. G&R, in this iteration anyway, were not long for this world as a band, as an ethos. Enter alternative rock. In his own memoir, it's so easy and other lies,

Duff McCagan, a Seattle native, and by default the guy in Guns and Roses with the most punk-rockish underground cred. Idily wonders what would have happened if he'd never gone to L.A. in the first place. Quote, what if I would have stayed in Seattle? Would I have been in Soundgarden or Mother Love Bone? End quote. Mother Love Bone. Grunge forefathers. Charismatic frontman Andrew Wood dies of a heroin overdose in 1990 on the cusp of success.

Some of his bandmates go on to form Pearl Jam, The Pearl Jam Sound Garden Supergroup Temple of the Dog forms to pay tribute to wood, Hunger Strike, Lala Palooza, look out, the rest is history. Mother Lovebone's best song is called Chloe Dancer, Crown of Thorns. See if it reminds you of anybody. I think Duff would have made that work, but some divides are uncrossable. It is truly wild now to think about Nirvana and Guns and Roses, breathing the same oxygen, to think about the November rain and smells like,

Teen Spirit videos dominating the same television network. To think about Axel Rose and Kirk Cobain, occupying the same plane of existence. Axel wanted their bands to tour together. Kurt was not so hot on that idea. Reportedly, there was a heated altercation. Words were exchanged backstage at the 1992 MTV Video Music Awards between Kurt, Courtney Love, and Axel.

Bitch was reportedly among those words. Duff McCagan and Nirvana bassist Chris Novoselic apparently got into it as well. Avoid a basis fight at all costs. It's like when giraffes attack each other. It looks very amusing and unnatural, but it can be deadly. The big winners at the VMAs that year were Van Halen and the red hot chili peppers. That's nice for Los Angeles. But increasingly, Seattle was in, and L.A., or at least the sunset strip from whence Guns and Roses oozed, was out.

November rain was as far as overthought hair-metal brainlessness could go, or anyway, as far as it could take you. What I can tell you is that for the rest of the 90s, hundreds of thousands of rock bands, some unknown, some dismayingly popular, sought to painstakingly replicate Nirvana, the sound, the vision, the attitude, the ethical framework. Guns and Roses, not so much.

In 1993, they put out a punk rock covers album called the spaghetti incidents, question mark. A song written by Charles Manson was included as a bonus track. And then the band finally definitively imploded, and Axel was the only one left. He wrote some new songs. He made some new friends. One of those friends had an empty fried chicken bucket on his head.

The next G&R album called Chinese Democracy was released more than a decade later and cost around $13 million or roughly eight and a half November Rain videos. Let's not get into it. Aaron Everly, for the record, sued Axel Rose in 1994, alleging emotional and physical abuse. Rose and Seymour traded lawsuits and allegations of abuse as well. Enjoying this guy's music has always entailed feeling vaguely terrible about yourself. You might have felt a little gross rooting against him,

in the hapless, recluse wilderness years especially, but it's usually preferable to rooting for him. A reunited Guns and Roses, or at least Slash and Duff were there, started touring together again in 2016. I caught them on that first tour's semi-official opening night in Detroit. They took the stage to the Looney Tunes theme.

It was the night of the Brexit vote, which mercifully didn't come up. They sounded great. They looked. They sounded great. G&R did not make me feel 10 years old again. They did not scare me. They did not remind me of when they scared me.

But fleetingly, They seemed as cool to me as they were in the late 80s, or far cooler anyway than the mid-90s onward would have you believe. I was stretching. I was straining to recall to recapture this feeling. I was exhausted by the effort. The band, visibly, was exhausted by the effort. But it's necessary work the maintaining of certain illusions

and the demolishing of others. Their rock bottom might be your rock bottom. Their peak might be your peak. And as my parents had learned, so many years ago, when you're high, you never want to come down. Let's turn now to Isaac Lee, our producer, our in-house musician and studio guru. Isaac, I'm tired of talking about Axel, and I'd like to instead talk about Slash. What are your feelings about Slash? Slash, I mean, what is there to say?

He's obviously an icon of guitar, of the electric guitar, of rock, of metal. And he's iconic in the way that he even looks, the hat and the hair and the sunglasses. I mean, it's unmistakable. If you see Slash, you know it's Slash. But more to the point of his actual craft and his actual skill, which is playing the guitar, I mean, he is unique in the sense that if you heard Slash on any record, and he's been on multiple records outside of Guns and Roses, you know it's Slash. He is as unmistakable sonically as he is visually.

You can hear the kind of fat tone that's still kind of striking and still very much cutting through at the same time providing this kind of rich, warm tone. But I think what really defines him, what makes him unconventional, what makes him unique in a certain sense is the fact that he's more or less a classic rock and blues player, more than a hard rock and metal player, just in his entire approach to, playing guitar, he's not as flashy as other hard rock guitarists. He's not as hardcore, for lack of a better word, than a lot of other metal guitarists. But he still delivers that sound. He still delivers that, except for the, that his licks are bluesy. And he uses a Gibson Les Paul, which is a very, very classic guitar going into a martial amp, a very, very classic amp. It's almost like he just transported him from the 60s and 70s, except for now he's playing hardcore music. Like,

It's kind of this dissonance that I enjoy almost. It's like an evolution of the sounds that we all associate with the past, even in the 90s that people associated with the past, except for he's updated it. He's modernized it. In a way, I would compare him, this might be a weird comparison. I would compare him to T.S. Eliot, the poet who basically built on English poetry, even as an American expat, who, I don't know if that makes any sense.

But I look at Slash and think this guy is the T.S. Eliot of guitar. Wow. That is profound. I was totally going to say that, Isaac. You stole my line. I don't know if you're a connoisseur of, say, poison or Death Leopard or Motley Crew or Skid Row. Are any of those guys in Slash's league as guitar solos go? Like, what sets him apart from that class? I mean, they're in the same league.

But what makes Slash, I mean, if you just say, hey, list five guitarists you know to anybody in the Western world. They're going to list Slash. And the reason behind that is that he doesn't overdo it. He's a very less is more guitarist. And less is more is more is a lot more recognizable. You remember Slash's solos because there's not a million notes flurrying at you all at once most of the time. Right. You can remember seven notes in a row instead of 35. And that's a little bit too simplistic. Like he's a very, very skilled guitarist who can be flashy, who can actually, I hesitate to use this word, but shred.

He can shred. That's the word. He can. He just chooses not to, and there's a beauty in that restraint. And even though it might sound simple, it's definitely not. His intonation, I mean, God, what a precise guitarist he is, even though you would associate rock

with this kind of chaotic energy. He's a very precise guitarist, and he's very fundamentally sound. And weirdly, that sets him apart. he's one of those like Tim Duncan. I'm going to use another comparison. He's kind of one of those

Tim Duncan type of people. Here we go. You can't really define his game. You can't really define Slash's playing style to one thing, except for that he's really just good at the thing. T.S. Eliot and Tim Duncan.

That's amazing. Thank you very much, Isaac. Thank you. My guest today is Nomi Fry. She writes for the New Yorker. She lives in Brooklyn. She has intense feelings about guns and roads.

I think that about covers it. Nomi, thanks so much for being with us today. Thank you for having me, Rob. That was all very accurate. I'm glad to hear that. Nomi, why does the guy jump into the cake in the November rain video? On the one hand, I think it's a kind of very clumsy foreshadowing, right? Because he, I mean, they slice the cake in the more conventional manner, one does at a wedding party. Yes.

But then after that, this guy with like long hair and a suit just sort of slices the cake, like as he kind of barrels into it, like over the table. Yeah. And the cake collapses. And with it, the two, you know, small figurines of the bride and the groom at the top. And it's a kind of precursor, foreshadowing of the death that the video. and suggests because it's like it's such a happy occasion, but there's an undercurrent of grief and, uh, morning underneath. Right. It's super profound when you put it that way.

And it's also just like, you know, I think in these videos, it's in this type of video, everything is, uh, extremely explicit and over the top. Like there's no subtlety to be had. So I think it's like, what would be the most? clumsy and pedestrian way and obvious way to suggest like, oh, things are going to go awry, then we'll have this guy like shoot through the cake. And it's the third thing that I would say about it is that there's also in the video this sense of like kind of like a pranky kind of humor in certain moments. For instance, when like they're at the altar.

And slash is supposed to be the best man. And he can't find the ring. Do you remember that part? The priest's reaction is my favorite shot in the entire video. And the priest's reaction is amazing. The priest sort of like crinkles his face up and like mock disapproval slash hilarity. Duff is like, oh, hey man, here's the ring. Don't worry.

I got you on his pinky. And that's a kind of like extremely corny, like moment of humor. So I think the cake collapsing under the weight of that guest also is a little bit like that. There's a kind of like, oh, my God, like a kind of a jackassy thing. Right, right. You know, a stunt thing. How does November rain first strike you in 1991? At that point, are you a Guns and Rose super fan?

Are you a casual fan? I'm a Guns and Rose super fan. Okay. Yes. I'm a Guns and Rose's a super fan. I'm in ninth grade. and I am waiting with bated breath for the follow-up to G&R lies. And I love Guns N' Roses. I listen to them all the time.

I think they're the coolest band in the world. And, you know, it took them kind of a long time, or relatively long time, to kind of like make the album. People were saying it's like, yeah, it's a double album. Like, what's it going to be? What's happening? When are we going to hear from the boys? and then it comes out, and I'm immediately turned off. Oh.

Yes. I remember really wanting to like it. Like, I remember not wanting to let go. And I didn't let go. Like, I didn't overtly say, I'm done with the group. Right. But inside, I was weeping. And I felt some sense of betrayal.

With the bloat of it all? The bloat of it all? Yeah. Yeah. Where's the punk spirit? I was a little bit disappointed. You were disappointed. Did anything on either Use Your Illusion album get to you?

Because it's such a grab bag of stuff. Like there is theoretically. It's a grab bag. You know what? I feel like I never really got through it. I swear to God. Like I probably got through it. You know, I had it and I got it.

I got it. I think I still got it on tape, like on cassette, I feel like. And looking at these videos now and listening to these songs now, well, sorry, two things. First of all, of course, I watched those videos like a million times and I heard those songs a million times. Like, it's not like I was like renouncing them exactly.

And then, of course, you just never stopped seeing these videos. And so I think on a really cellular level, they really made it into your bloodstream somehow, even if you didn't want them to. Like a lot of the things from that era, because they were repeated so much, you know? Yeah, I don't remember if it was dial MTV or what it was called, but MTV always had a dubious, like, call in voting,

vote for your favorite video show. And November rain was number one in my memory for just a half decade, just from 91 to 96. Like November rain played at like 4th, 45 p.m. every day on MTV, because it was the number one video. No, it was insane. And I also feel like, you know, how when the, sort of like women's magazine tip of like, oh, you want to buy like an investment piece. You want to

buy like a Chanel bag or you want to buy like a Rolex or something like that. And they say, okay, yeah, it's really expensive, but like the cost per wear is negligible because you're going to like wear this every day for the rest of your life or something. So I feel like everybody really appreciated the effort so much. Right. And like, you know, the production value and how expensive it was and how like insanely long it was that everybody sort of like almost said okay this is like even just on the level of like sheer cost and production we should really play this like every hour on the hour it's a good investment it was the system working together to sort of prop up this like extremely bloated product um at this time do you find axel rose attractive

In a conventional way? Oh, you mean his look, the way he looked in that specific era? Yes. Yes. Yes. Yeah. I don't think I used to. I think I felt like, Axel, what happened?

Like, what's with a blazer? You know? Like, why are you wearing like a boxy blazer and like jeans and you have like bangs? The bangs were disconcerting. I agree. And like the wire rim glasses and like what's the look. But now I love the. look. Now you're into it. I think he looks amazing. Yeah, now I'm into it. Okay. But, you know, I'm now,

like, twice the age axle was then, probably. He was ahead of his time. He was really ahead of his time. And also I was, yeah. And of course, he looked to me then, like he was, like, 67 years old. Like, I was like, oh, he's so old. Like, he's, meanwhile, he's, like 27 probably, right? Or something. Yeah. It's strange to think about the November rain and smells like teen spirit videos. like being on MTV on the same day or like existing in the same universe. Yes. Did you have any sense at the time that like grunge was killing hair metal? Like did you have a sense that you personally had to choose a side?

Yes. Which side did you choose? I totally chose the grunge side, of course. Of course. Because I wanted to be cool. And also it was cooler. Like, and it was more interesting. And it was like more energetic.

And it, it also like, uh, it was just better at that point. And in retrospect, I can appreciate the aesthetics and the sounds of hair metal or hard rock from that era, for sure. But then at the time, I was like, no, I want to be, I want to be with the anarchy cheerleaders. You know, it's like much cooler. And also it seemed like more attainable. Yeah. Do you care about guitar cellos? Do you look forward to them?

Do you tolerate them? Are you indifferent? I'm indifferent. Indifferent. Even to Slash. I love Slash, but I never loved him because of his skill, which is considerable. Was it just the hat then, I guess? He was always very cool.

He was just like really cool. It's true. Where are you on the art versus the artist conundrum when it comes to Axel Rose? Like there's one in a million, you know, there's domestic abuse allegations, like the lyrics to literally any Guns and Rose's song ever recorded. Like at times he just feels like an indefendency. person. Yeah. I mean, I think one thing that makes it somewhat easier for me in this case is that I was a young girl when I listened to these things. And it always seemed wrong to me. Like, I knew that it was wrong. And I sort of like, I didn't like one in a million, for instance. And I had

weird feelings about the songs that were like clearly like misogynistic. I was, yeah, I was also like 13 and 14. and I was like, okay, you know, sort of like, like, I'm sure that had I been like a fully grown person, my initial attitude would probably be different and would like hinder me much more and like accepting this music into my heart and like all of that. Thank you so much, Nomi. This has been wonderful. We appreciate it. Okay.

Thank you, Rob. Thanks very much to Nomi Frye, to our producers, Isaac Lee and Justin Sale. and thanks very much to you for listening. And now, in its entirety, here is Guns and Roses, November rain.