One Song - Yeah Yeah Yeah's "Maps"

Episode Date: November 28, 2024

On this special re-run of One Song, Diallo and LUXXURY are breaking out their skinny jeans, thrifted leather jackets, and statement hairstyles as they breakdown classic indie banger, "Maps." The duo explore everything from the origins of the New York indie scene, to the Yeah Yeah Yeah’s writing process, to Karen O’s incredible onstage presence. Come for the fuzzy guitars, stay for the bangs. Learn more about your ad choices. Visit megaphone.fm/adchoices

What's going on? One Song Nation luxury here, and I wanted to share something special with you from the One Song Archives. If you've been on TikTok lately, chances are you come across lots of people dancing to the Yay Yeah's hit single Maps. Guys, this is a song from 2003. That's over 20 years ago and it's making waves again. It's been number one on TikTok's Billboard Top 50 chart for over six weeks. And it seems like the dominance is not over. So we figured it was time to revisit our episode breaking down this indie hit. Get ready to explore everything from the origins. of the New York indie scene to the Yay Yayas

writing process to Karen O's incredible stage presence come for the fuzzy guitars stay for her bangs that's right from the archives it's the ya ya ya ya's and the song is Maps

luxury my man before we start a checklist of things we're going to have to discuss in this episode tell me the checklist the lofi sound yes

skinny jeans and leather jackets accurate New York and sleazy diabars on the lower east side I was there women with bangs one woman in particular, yes. Luxury, tell the people

what's this episode of one song about. All right, D'all. Well, we're going to throw it all the way back to 2003. 20 years ago. 20 years ago. It's a moment in time when indie rock and pop and angular guitars are all starting to merge and intermingle in really interesting ways.

A time when anyone who is anyone, including myself, possibly you, we'll find out, wore their jeans a little tighter than normal, maybe even rocked one, two, or even a dozen in my case, Thrifted leather jackets. I had so many in my collection. That's all I had. They were all way too small for me.

And had some sort of statement hairstyle. I will say I had a lot of hair in 2003. I also had hair in 2003 that was important to me to look interesting in changing ways. I don't know that that's really changed, though. So, you know. I like your hair now. I like your hair now, too. Oh, yeah.

Hair is important. I had a lot more hair back then. But I will say there was one hairstyle that ruled them all. It was Karen Osbanks. Karen Osbings. We all bowed down to this day. No hairstyle has ever improved upon what she did, right? We're going to talk about that.

We're going to talk about that. We're going to talk about any rock. We're going to talk about the Yay, Yeah, Yeah, Yeah, Yes, and a song that they made that NME rated the best alternative love song of all time. That's right. Today we're talking about a band that almost everybody adores and loves. We're talking about the Yeah, Yeah, Yes, and we're talking about their song. And that song is Maps.

actor, writer, director, and sometimes DJ, Diallo Riddle. And I'm producer, DJ, and songwriter, luxury, aka the guy who talks about and sometimes whispers at turpulation. And this is one song. And this is one song. And this is one song. Okay, let's start here. Like we said at the start of this episode, this is going to be a 2003 time machine.

At that time, bands like the yeah, yeah, yeah's and guitars in general, we're everywhere. It's funny now because, like, I always get asked, like, what's the rock band you listen to? I'm like, man, I do not know. Does Teammem and Pala still count as a rock band? Right. I feel like Team Impala in some ways. Kind of sort of still rock band. It is the group that grew out of this scene that we're going to be talking about today and continues to this day.

But luxury, first off, we want to talk about 2003. Where were you at the time? And what the hell were you at? I, unfortunately, because of this band and because of everything we're going to talk about today, I was in the wrong place. I was in San Francisco. Oh, you're on the wrong coast. Where I'm from.

So, like, you know, no disrespect to my hometown. You were at the hate. I was a place called. The hate Ashbury. I was a hippie 30 years too late and then some whatever. They were like, oh, you missed this, but there's something called the other coach. You're like, no, man, we're bringing it back. I was making the music that I had fallen in love with from my youth kind of like post-punk 80s stuff.

And I had just left New York where nothing was happening of that style of music. But then minutes after I left, We have the explosion of music we're about to talk about today. And I felt like I missed the boat. I feel like I missed it too. You're talking to two extremely bitter podcast guys today. Such fomo about this. Like I was on the West, I was on the East Coast for the end of the 90s because I was in college.

And like you, I broke out to the West Coast. I went to L.A. You went to San Francisco. I mean, like, in researching this episode, I learned that Nick Zinner, who is just a very important member, he's all the instruments. Nick Zinner, apparently he's. When we were leaving, you know, the East Coast of New York, I was in Boston, but it's all New York when you get above a certain point. Like they, Nick Zinner is breaking up the Bobafet Experience. The Boba Fed Experience?

He had a group called the Bobafet Experience. I didn't know. It was apparently a really well-received group in the, like the earliest days of Williamsburg. Like he said he broke up the group in 2000. He said like 1999 was like a big year for the Boba-Fet experience, but he breaks up the group. I want to say it around 2000. I'm just like, oh, so the people were there. Yeah, that's right.

The ingredients were there, but the scene hadn't formed yet. We're so aligned because I was there, you were there, they were there. Apparently, James Murphy of LCD sound system was there. He was in Cologne in 1968 also. But I was there factor to me personally to answer the question and why this song has a lot of meaning, we'll get into, of course. But in 1999, I was transitioning from failing to start a music career in New York to, frankly, failing to start it in San Francisco, but the kind of music I was into and the places I was going, we've talked a lot about, and we're going to today on future episodes, this great movie called

Meet Me in the Bathroom based on a great book. Great documentary, if you want to learn about this scene and you don't know everything, please watch that documentary. It's about New York in the year 2000 through 2004 roughly, when again, this moment and this place are both relevant because this is where all these bands are kind of coming out of, and there's a long history of New York rock and roll and punk rock and post-punk. So all of that plays into this song, this story,

and our individual experiences, I'm in New York wanting to tap into that, Andy Warhol through the Ramones, through Blondie, through all of this musical history and energy and failing to find it. But I think, and by the way, if we form a group, we should call ourselves the FOMO FOMO's. Former FOMO.

Former FOMO. We freaking talk about how much we feel like we missed out on. But you raise a great point right off the bat. In talking about the scene, you can't help but mention that it is a scene. The AAAS are part of a scene. It's a place. And there are other groups, and we could do episodes about them. I was a, listen, I was a big fan of the strokes, okay?

I got their album a week before it actually came out. I was a big fan of the strokes. But, like, there are groups like the strokes. There's some other groups that may come up during this conversation that felt like they were trying maybe a little bit too hard to be a part of the Andy Warhol, New York, a little bit too hard trying to be the Velvet Underground. I think one thing you can say about the Ye'AAS, one of the reasons why their fame is so fun and so endearing,

is because you can try and say that they sound like a band. But very few people say that the Yeas weren't original. You know what I mean? Holy original sound. They did not have to suffer the slings and arrows of, oh, man, what a bunch of posies. We're going to talk about the strokes and LCD, two of our collective favorite songs.

The rapture. Chick, chick, chick, chick. I think in future episodes, there's going to be a strokes episode. I think there's going to be an LCD episode. But I will say this, just to kind of put a little bit of defense on them personally. You're absolutely right that they are the sum of their parts. They are a mosaic of their influences in a way that I love. But again, future episode.

But you're dead right to say that Carineau and the IAS were not that in quite the same way. Of course, everyone's a product of their influence. Everyone's a product of like what came before them. but filtered through them, and especially in this song, this is not like your typical punk rock song. When we get into the stems in a little bit, you'll hear what they were doing was pretty unique at the time, especially in rock circles, that they're using loops,

and they've got like backing tracks essentially that Nick Zinner, the guitar player slash everything instruments guy does. That's, not only was that unusual, I had personal experience on stage at the time doing that, and being kind of taken to task by the gatekeeping sort of indie rock, community, for lack of a better word. There was an idea that that was milly-vinilly. That was Ashley Simpson.

That was corny. And they were bravely up there with only three people making all that noise. Carineau bringing her whirling dervish energy. So I love the fact that they, completely to your point, I fully agree, are completely original, some of their parts, but original in a completely different way from the rest of those bands. I love this sound. And I'm so happy that you bring this up because it didn't occur to me. You're talking, yeah, yeah, yeah.

You're talking about a band of three people. Three people made all that sound. Nick, like you said, all of instruments. Everything. And then you've got Karen, who nobody could ever accuse of not being a completely amazing attention-grabbing front person. Hell yeah. For a group, you know what I mean? Yes.

And if you think about some of the other groups, they're not considered part of this scene. Yeah. But think about the white stripes. Two people on stage. There was a lot of lo-fi stuff going on right then. And limiting the palette in a way. What can we get rid of? What can we do differently?

you know, and mix it with things that have been done before also. You're talking about peak Britney Spears. Yeah, right. Max Martin working with, you know, you've got the Backstreet Boys. Like you've got all these like really polished groups. And it's almost like people who were in their 20s, maybe up until like even their 30s. Like we were saying like, no, we want to hear something to strip down raw and real. Yeah.

And then the AAS are part of that. And then interestingly, as we'll get into on this episode, those things start to converge. And we're going to talk about that as we get into the song. and its impact on the culture because these worlds that had been so separate and so like intellectually and like philosophically separate if you were an indie rock person, you were not, you hated pop music.

But that starts to change a little bit in this era. We're going to talk about that. It's weird because I feel like at some point, because we're just putting stuff in a historical context right now. Like again, you have to realize who this is, I mean like Limewire and Napster are like threatening to disrupt these glory days, this gold rush in the music industry where they literally came up with the diamond status to, you know, because people were going 10 times platinum. They were going 11 times platinum.

People, everybody had a CD case logic in their car. And everybody's like driving around like, you know, blasting, you know, this very polished pop, even in hip hop, even in hip hop. Puffy is so big at this time right now. And like, we don't know it, but in 2003, 50 cents going to come around the corner and usher out, you know, what Puffy had been doing since the Maceaer, usher out what Jaru and Ashanti were doing at Murder Inc. Like, in 2003, there's just this sense. And let's also put in the big, big historical context. 9-11s happen.

Right. Things have gone dark. I mean, like, by today's standards, people would almost be like, oh, man, 2003, that sounds like the good old days. No, it felt dark back then. So you've got 9-11. You've got 2002, which is all just a mark. to war. You know, there are people marching in the street saying, please, President Bush,

don't bomb, you know, Iraq, don't fight this war, don't go to Afghanistan. And then by 2003, you've just got, you've got two major wars taking place. And into this weird cultural stew, because I was in New York right after 9-11, I can remember the Paul that was on the city. It was just a weird, you know, murky vibe. But even in that environment, you had things happening in hip hop that were going to influence the rest of the decade. And for the purpose of this episode, a really exciting underground scene in New York that literally was covered in the ash from 9-11. It was a very weird time. And yet these artists, these people gave us something amazingly infectious to listen to.

They gave us something that, you know, emanated from clubs like, CBGBs before they close that emanated from places like Joe's Pub. You know, Joe's Pub is so important to this story because the first time I heard of the rapture. I want to say they were playing at Joe's Pub. So this is that historical context into which everything from Chick, Chick, Chick, to the Rapture to the EAS, they all come up into this place. But the last thing I'll say about historical context is that we're at the beginning of a new

decade still. 2003, the 80s are officially 20 years old. When a decade is 20 years old, it's inevitable that there's almost always a retro movement and musicians are trying to take the cool sort of like underground forgotten pieces of that cultural moment and trying to bring them up. And it's often like this 20 year thing. Yeah, it's exciting. It's exciting.

And I mean like, so I feel like a lot of people were like playing around with like new wave and post-punk. Well, don't forget, we also have the movement like this electro-clash thing. And these things are happening in parallel. We're definitely doing an Electro Clash episode. And we have these things happening in parallel, just like they had happened in parallel 20 years earlier, when you've got disco turning into New Wave, and you've got hip hop across the street in the Bronx. And it's all happening in downtown Lower Manhattan. It's a similar kind of convergence of exciting musical styles clashing together in Manhattan slash Brooklyn.

And all these bands are coming together. So Electro Clash is happening, a post-punk revival, I would argue, which is what this stroke. and LCD and Interpol and the... Yeah, yeah. So it's a very exciting moment, and just to sort of bring it back to what I was saying about my FOMO for it, is that I was sort of getting the telephone version of that

over in San Francisco in 2003, because I was bringing together my own sort of blend of like, I guess I'd call it synth pop, what would be electro-clash, but 3,000 miles away because there wasn't really a scene. And we had our own scene, I should say, to be fair. I was going to ask, what was going on? in San Francisco. Yeah, in San Francisco, there was the Aero Bar. Shout out to the arrow bar. Shout out to

Jeff Pooleside, by the way, who's now my friend. But at the time, you have the guy who does Pooleside? That's Jeff from Pooleside. Hey, Jeff. Again, shout out to Jeff from Pooleside. At the time, he was in this band called the Paradise Boys, and they ran the scene. Like, they had these great nights that they put on DJ nights, and there was this idea of bands crossing over into dance and punk and dancing and rock. Like, all of these things where we were being experimented with. How do we put this all together, but how do we make songs out of it? There's the 80s element. So I'm involved in all of that. I'm very peripheral. I am not at the center of the scene like Jeff was. It's nice many years later that we've become friends. By the way, poolside grade band, check them out. Great band. By the way,

luxury, also great band. Check them out. So at the time, San Francisco was, there was a scene, but it wasn't this scene. And this was the scene that from afar, I was like, wow, so much is going on here. That seems amazing. And of course, the yeah, yeah, yeah is right at the center of it all. right of the center. I think I was actually lucky in the sense that I was in L.A. Look, in Los Angeles, there was the sense that something was happening in New York. Yeah. And I tried to get out there as frequently as possible just to see it and be a part of it. It was not a very L.A. It was it was very east side L.A. Like this is when Silver Lake finally stopped chasing sort of like the Beck model of playing

spaceland and trying to blow up doing that sound. Okay. And Electro clash was huge. And so like, Felix the house cat and Miss Kitty like these. these sort of groups are taking sort of over our underground scene. And there's definitely a through line between. There's a punk rock connection that you make me think about. Because by the way, Electro Clash is such a, maybe not everyone knows what that is.

Because it was kind of a moment that came and went. But this is like a punk rock version, I would say, and tell me if you agree. Go for it. It's like just taking the very simple drum machines or loops even and writing songs over them that have sort of punk energy. Sometimes the tempas are faster.

Sometimes it's rap. Sometimes it's shouted. and it's definitely got an 80s throwback element to a lot of latrim kind of wrapping. It did. I would actually argue. And thank God for New York's Negro clash parties because they drew the line. I think a lot of people, including myself, drew it from punk to electro clash, but they drew the line from like prints and sort of like the weirder parts of black R&B in the 80s to Electro clash.

There's hugely a hip-hop and freestyle element that I left out and you're 100% right. And we had so much fun. and then that also brought us all into this New York scene. With that said, we want to get into some stems. Okay, so where are we starting today? We got to hear some stems so that we can really understand how special the yes and particularly maps is. So I know you have the stems for maps. What do you want to play for us first?

Let's start with, though. We talked a little bit about Nick Zinner. The Yeah, yeah, yeah, yeahs are three people. It's Karen O, it's Nick Zinner, and it's Brian Chase. Shout to Brian Chase, the drummer. We're both drummer. Shout out to the drummer. Brian the drummer.

So the story of the making of this song is that Karen and Nick, I believe, lived together in an apartment, kind of roommate situation. And she was walking by Nick's bedroom. Now, Nick has... So Nick and Karen are roommates? So the story goes that apparently Karen O had a friend who was really into Nick Zinner. And so he knew that he hung out at Mars Bar in Lower East Side. So one day Karen and her friend get... Karen gets dragged by her friend to Mars Bar to ostensibly, you know, stalk this guy who turns out to be Nick Zinner.

And the two of them connect and become like instant musical soulmates. So Karen and Nick are the, the heart of the songwriting of this, yeah, yeah, yeah, is that partnership between Nick and Karen. Is one more of a lyricist than the other? Yes. Okay. Yeah. So by the way, and Karen is also a full songwriter. She herself writes solo albums and projects.

The two of them, it's probably the magic behind the scenes. will never fully know who came up with what lyric when. But for the most part, Nick is writing using his guitar, but he's also using these early kind of looper pedals and drum machines. And it's a lot of stuff that we were talking about the overlap from, electro-clash and post-punk, this sort of new wave revival of all of this combining. He is absolutely at the forefront of that because he's a guitar player using loop pedals and using drum machines and not being afraid, basically,

to be called inauthentic basically for using machines. which again from firsthand experience, I know that was, there's still this gatekeeping thing. There's tension. Yeah, man. Real rock and roll, real authentic punk. You know who the first person I saw used pedals? Ironically, Reggie Watts. Well, I was going to say Reggie Watts, who those who don't know is like a stand-up comedian,

but he was like using it to like loop sounds and then eventually he would like build it up into music. It's so funny you said that because I was going to bring him up because they're using the same equipment. They're both using these line six to lie pedals. Delay pedals. You've seen the one with the four, that's green with four buttons on it. Now, of course, Nick Zinner has about 30 different devices on his various pedal boards, but one of them is that same looping device.

And the idea behind it is you come up with an idea like a, which we're about to hear, and you can just have that looping in the background while you play a second thing. Is that trim, I don't know what you call trimmeling? Is that guitar that we hear at the very beginning? Does that run throughout the entire song? It runs throughout the entire song. I mean, obviously there are parts where you can't hear it anymore, but like it's it's a bed underneath the entire thing.

It is a bed. I'll play you all of the, all of the different component parts in just a moment. But just to finish the thought that this is Nick, a single individual who in the band, yeah, yeah, is everything that isn't a vocal or the drums is coming from him,

his pedal boards, his loops, his live guitar playing. He is essentially, instead of using a laptop, which nowadays people often use a laptop to try to control the live experience, bring things in and out. He's doing all that,

Or write scripts that nobody's going to read. But go ahead. A lot of things you can be done with a laptop. There's so many things with a laptop. It's a magical device. So he's using his guitar pedals and these looping pedals to do all that. So everything you hear in the yeah, yeah, yeah, is coming from Nick's hands or his feet. I love it.

Can we hear it? Well, let's hear some of it. We're going to start with what you were just alluding to, that guitar jangle that starts the song and does indeed run throughout the entire thing. This just goes through the whole thing. And it's actually, it's not even rhythmically anything. It's just playing as fast as you can. That just happens the whole time.

So we're all familiar with that because it's how the song starts. And then there is a drum pattern, which from my understanding, is actually a loop coming from the drum machine, which Brian Chase, the drummer plays on top of. Oh, wow. So that's a mix of live drums in there somewhere and a loop of a drum machine pattern. And by the way, this is on The Fever to Tell Deluxe Edition. There's two early demos, which are really cool to listen to. Oh, fun. So let me just play a snippet from that because then you can hear what it started life as, that giant drum sound.

So originally... Sounds like Metallica. That to me just sounds like... Karen O talks about this drum machine. I think I might have had the same one. She just says that it's a blue drum machine. And of that, I think I had the same one. I think it's a roll-in.

It's this blue drum machine. and if you turn out if you turn up the distortion really loud like through a drum pedal which like I said Nick has this crazy cool group of pedals that he likes to layer sound on top of so I believe that's what he's doing

and then Brian Chase the drummer plays on top of that to go back to the guitars so they had the drum machine looping and then Brian Chase played over that that is what I think is happening just from like listening to the demo and then listening to the stems it sounds a bit like there's a combination of that

those two things happening. Just her talking in the studio, I kind of got chills a little bit. Yeah. She just got a voice made for this. Let's just, to be more explicit, here's Brian coming in in the chorus where you can definitely hear

that he's playing a new pattern. This makes me want to be in a band now. I know, right? Pans are cool. It sounds like they're just like, you take your time, you create something nice, and then you play it in front of a lot of people

and they go fucking nuts. To be clear, I think as we're listening, I think that that's just Brian recreating what was originally in the writing session, a drum machine beat. And so going back to the guitars. Now, we've got that going, that jingling, jangly thing on top happening the whole time. And then Nick comes in with this. Just stabbing a single note.

And he does that until we finally get to the chorus where there's two interesting things happening at the same time I'm going to play you. One of them is Nick switches from playing that single note to playing the closest thing I would to a bass line in the song. There's no bass in the song. There's no bass line. This is all you get in the chorus besides the singing and the drums. He's just playing the root note. I don't think he's playing any chords in this whole song. Wow. The root note. And one final thing. And by the way, after I play this, you'll have heard everything in the song that isn't vocals is there's this jangly thing happening on top in the chorus, which is another loop from that same blue drum machine. Here it comes.

I'll play it for you in the mix. Here's the guitar jangle still going. So these three things are happening. So that's Nick controlling, bringing out, essentially acting like three guitar players in one. Now, Live, they have been playing with a fourth member recently who comes in and plays keys on some songs and bass on other songs. What is his name? David Pahoe or Pajo, I'm not sure. Okay, got it.

From Slint. But essentially, he's created all these parts and he likes to control when they come in and out. And we've just heard the entire musical bed for the song Maps. There's not a lot going on. It really accomplishes a lot with a little. It really does. And it's also, it sounds so simple. Do you sometimes feel like music has gotten too complicated?

Because this feels right to me. You know what I mean? Like this feels like, like I said earlier, it makes me feel like I wish I had been in a band. Like, what do you think about? I'm only laughing when you ask that because you're asking that of me and I'm the biggest overcomplicator ever, and I'm fully aware of that.

Like, that's the joke behind the scenes on this show. That's the joke to myself as I'm trying to finish a song and a year goes by. And, like, what I end up with 12 months later is not that different from how it had been 12 months prior. I will say it is easy, I think, as an artist, to overthink things. And sometimes you can hold on to things too long.

I always come back to that story of the song, Heartbeat by Tana Gardner, which was produced by Larry Levon. and the record label's like, just give us the song. And every week he would take a new version of the song to the Paradise Garage and play like the acetate and get a different reaction. And so he would do something different with the...

That's why the drum pattern in that song... It's so off, but it's great. Yeah, you can't even DJ it practically. Being that off the beat that really just drove the crowd nuts. And eventually, as I heard, I think it was Mel Sharon at West End Records or somebody, said they literally had to send somebody to his house

and basically steal the song so that it would be put out because if left up to Larry, he would never release it. Was he just trying to fix it? Because it is wonky. Because it is wonky. The kind of a bass line and the drumbeat are not quite on time. It's a freaking classic that has been sampled by almost everybody.

That one and like Marshall Jefferson Move Your Body. Those are like two of my favorite songs that are just like fucking impossible to DJ. It makes very little sense. It's so hard to DJ because it's like coming in and out of time. Absolutely. I mean, luxury, I also have to ask you, in a me, because, you know, we're talking about a love song here. rated this the best alternative love song ever. Would you agree with that? I mean, would you agree with that title in any way? Because I know that we sometimes bump on the term alternative. But, you know,

it is a very special love song. What other love songs would you rank it up there? Well, it's funny because you're right. Part of the question that made me laugh was the word alternative. Why is that? Because I've lived through the era where there was this idea of college rock, which then became alternative rock. And then it became indie rock. And someone was just grunge. I mean, like in the 90s, like it was almost like, alternative went away and everybody was doing grunge. Anytime there's a genre word, it's always wrong very quickly. Like punk rock, what is punk rock? Is it fast guitars?

Is it British white dudes? Is it some 42? Is it right? So the word alternative makes me giggle a little bit. We're just trying to get those guys on the show. Everybody. We're just trying to get alien ant farm here. Shout out to alien ant farm.

And but I guess my question is also like, do you have another alternative love song pick. I mean, I'll throw one out there. Love will tear us apart. Define what do you mean by alternative love song in this context? I mean, I think alternative is a super generic bad term. Yeah. But I think if you're talking about

You're just saying something less than mainstream pop? Not guns and roses. Not mainstream pop. Yes. If you're, not the killers. Like, what is your go-to? You know, like, that's what I'm saying? Like, what does alternative mean when you can lump Metallica with the killers? You say that band name and it just reminds me of this era. And I always felt like, why are the killers, they, I didn't get the killers.

I always felt a little bit like, and to your point, most people, like, they are a big band. Like that song, Mr. Brightside has like a billion, like streams on Spotify. But they come out of a similar scene to the, yeah, yeah, yeah. Movies or on TikTok or in cartoons. Like, it's crazy to me that my kids don't know a lot of songs that were famous when I was, you know, a child. But somehow they know Maniac by Michael Simbello. And I just want to ask them, like, what did this song? Where did this song get used that you know it?

And you're six, you know, like that stuff is very weird to be. Shout out to Michael Simbello and his one song. I was just thinking like, where is Simbello? And what are his political views? Because I'm worried. I'm worried given his age, he might be way, way out. Might be on the wrong side of the tracks these days. Yeah.

It is funny that you bring up the killers because I might say, you know, like we were talking about this being a scene. and groups like the Rapture and LCD sound system and Interpol, they definitely had like the copycat bands. I'm not talking about like Block Party, like a lot of these other bands that were also very cool bands in the same scene. I'm not here to diss anybody, but like certain bands like hot, hot heat. I was like, I feel like I'm being marketed to. The killers sort of felt like they were in that.

Them, maybe the killers were more Franz Ferdinand. But see, here's why I want to slow this down a little bit. I've got a lot to say. We both have so much about this. One thing I want to talk about in this episode, we're already talking about it, is like, where is the line between indie and pop? Because it is blurring and merging in this moment. We're going to get into it in a minute, specifically with this song, how this song has,

there's a pop radio hit that is made off of the back of this song a little bit. And it is the moment where they're starting to, the lines are so blurred that even in this conversation 20 years later, we're like, I don't know that the killers were part of that scene. And so far as I don't think the maps were looking at the killers as peers. First of all, the killers are literally in Las Vegas. So they're not like geographically there. There's also the sort of, there is gatekeeping and it is confusing. Who is and who isn't part of the scene?

At the time, you've got the strokes who are the key members of the scene. But in the documentary I was alluding to meet me in the bathroom, you get the sense that Interpol, who I kind of always thought was also part of the scene, they kind of come across as seeming like they felt very outside the scene. Yes. They seem to feel like they were missing out. It might have just been a timing thing. Yeah.

It might have just been a timing thing, even though I will say that when I first got to New York and was really diving into the scene around 2002, their album turned on the bright lights to me was absolutely hand in hand with everything from Felix, the Housecat, to the AAS. So the question is, who decides this? Who is the gatekeeper? Is it the fan or the band? And to a certain extent the groups. I mean, there are definitely times when groups in a scene will say, no, not them.

Like the Dinkable Plants clearly wanted to be part of the Native Tongues crew. And I feel like someone in De La or maybe this cute temperature was like, maybe not them. I get that feeling too, that they weren't really let in. We're going to talk more about the scene, but we're also going to finally give you what I know you came to this podcast to hear, which are the iconic, the give you chills up and down your spine, isolated Karen O vocals. We will have those right after this break. Don't go away. This is one song. The moment you've been waiting for is here. GMC's truck month is on. For a limited time, get 0% financing for 72 months on the 2026 GMC Sierra 1500 crew cab pro graphite.

Feel the strength of GMC Sierra's 5.3-liter V8 engine. Elevate your confidence with a factory 2-inch lift and off-road suspension. Ready for whatever lies ahead. Power, capability, confidence, all at 0% during GMC's truck month. Don't wait. Visit your local GMC dealer today and make it yours. Welcome back to one song. Okay, so before we get to these Karen O vocals, which are coming,

we want to do a one more song. If you haven't heard this segment before, the premise is very simple. Every episode, Luxor and I will bring a song that you have probably never heard before. A deep cut, a hidden gym, something a little obscure. We're talking Namibian drum and bass, Siberian jazz hop, an actually good rap rock song.

And we'll share it with each other. and with you. So luxury, you go first, what you got for me on one more song. Well, okay, just since we're talking about gatekeeping, I will preface this by saying that I would put this band in the same category as like the meters where it's like it's a quote-unquote deep cut, but all the heads know it and they're already rolling their eyes

like, oh, that quote-unquote deep cut. But most people don't know, a lot of people don't know the band ESG. Oh, yes. And ESG is one of my favorite quote-unquote deep-cut bands that most people that are gatekeepers would know about it already. But ESG are relevant to this story because literally this great quote I found from Nick Zinner from the I said

our band would not exist at all probably in any form without ESG. Oh, I love that. So this song is called Dance by ESG. Oh, good one. So good. It's so like lo-fi, post-punk dance pop.

It's a bunch of sisters and cousins, I think. And it's so simple and that drum fill, as you and I both know, that's the first drum fill you learn, right? I'd be the only drum fill I learned. So I love this band. I love their energy. This is from that first post-punk movement of the 80s we were describing.

And I think clearly as a band, they had a huge influence. The ESG's song Moody. Yes. Huge hip-hop. If you're ever in your headphones, walk around, listen to Moody, and I swear you will enter a time loop. All right.

So now it's your turn. Y'allel, what do you got for me? I struggle with this one more song. Usually on one more song, I try and bring in something that is related maybe to the topic or maybe completely unrelated. Here, I had to go with another yeah, yeah, yeah, song because I've been listening to this group so much.

I was torn between a song called Bang on their first EP. It's before Fever to Tell. Great song. First time I'd ever heard the group. There's obviously Gold Lion and Y Control and so many of my favorites. But I'm going to throw out their pin only because, from a personal point of view, this is one of those yeah, yeah, yeah, yeah songs where not every, casual listener knows the song P-I-N,

and it's just an amazing song. And when I was starting off as a comedian doing improv nights, I always had to listen to something to give me up and excited to get out there and do my improv. So what I would do is I put in my earphones. And I would blast PIN as loud as I could.

And so for those who don't know it, here is PIN. A deeper cut. So that was a little bit of PIN. Is that also on Fever to Tell, same album as MAPS? Absolutely. That album, is just a classic, I think, from start to it. So if you are listening to the show and you don't really feel like you know the AAS,

start with feet and spread out from there, you will hear some amazing music. And to our regular listeners, we want to know what you think of this week's picks. Did we nail it or did we not? Did we give you a deep cut or did we give you a song that maybe didn't know? If you have a song you want to share with us, either way, you know where to find us. We're on Twitter, I guess they call it X, Instagram, TikTok, see us up in Whole Foods. We can't afford it,

but you might want to talk music with us. Any way you can reach out to us, reach out to us, and let us know if you have one more song. Okay, let's get back to Maps. Luxury. We've been waiting patiently, but now we require it.

What do you have to play us from Carino? Let's listen to the isolated carino vocal from the song, MAPS by Yeah, Yeah. Oh, say, say, say, say, oh, say, say, oh, say, say, oh, say, say, oh, say, I'm just laughing because like besides being obviously beautiful and like haunting, I want to hear your reaction. I'm always taken by how few lyrics are in this song.

This is a like 15-word song or something like that, 20 words. I have heard this song so many times in my life. Dare I say when it was popular, because it's about 120 BPM, you can mix it in with Around the World by Dad Punk. You can mix it in with, you know, Rapture, House of Jealous Lovers. if one is moving fast enough. As many times as I heard this song, until we were preparing this week,

I never really thought about the lyrics except for the very haunting, they don't love you like I love you. Which is enough. Which is crazily enough. 20 years in my head, that's plenty. I mean, there are so many times when I think about, you know,

potentially liking something more than it likes me. And I'm like, and the first line that pops in my head is they don't love you like I love you. There's so many different ways to interpret it, but it's always tragic. And as a songwriter, like, you just absolutely nailed. Like, that is always my intent going into making my own music is as much as you're putting time into every instrument and every lyric and every melody.

It's like the takeaway just being a single thought that then infects people for the rest of their lives. Whenever they're in that type of moment, they think of your three words as like a bumper sticker or a mantra. And that's this song. It is almost unfair when it comes to maps. How many different elements they have moving down your spine. You've got that guitar, you know, hitting your spine. you've got her just her voice itself

hitting your spine and then you've got what she's saying hitting your spine like that all of that stuff comes together and it just washes over you Well should we hear that moment now Yes we should Here it is

Maps way They don't love you like I love you I mean I'm broken clearly I'm damaged goods I am broken as well That that that's That lyric hits me as hard

it does. But can you play for me the part where like she goes up? Like, I want to hear that because that's the part where I'm like, damn it, Karen, what is this witchcraft? That's the first chorus and in the second chorus it gets a little bit of a lift like you're saying. By the way, they don't love me.

Did you notice the me? Hold on. I never noticed that. I hadn't noticed that either. I hadn't noticed that either. And also she says MAPS, which is, I always thought there's one of those songs. MAPA ha ha haps. I didn't know. Oh, really? Okay.

No, but she says maps really quick there. Play that again. Did you hear it? She says, maps. Like, she says it really quick. Oh, I missed that then. Hold on a second. Let's go back.

Clearly, we got to get forensic here. Hold on. Put your listening ears on. They don't love you. They don't love you. I mean, how has I been hiding in plain sight for this long? I literally. Now I'm like, what the hell was I sing all that time?

I think maybe I was singing now. You know, like, I thought, clearly not paying any attention, but just transfixed. Yeah, transfixed. I want to just pause for a second. I want to listen to the original. Like, sometimes stems are different. Let's just make sure. And if they are, that's okay.

We can talk about it. But I want to hear the full. She's saying me. She says me. I never freaking noticed that she says me in that. I mean, how do we? Okay, maybe we're the weird ones. Maybe everyone knows that.

By us is like, well, you know, real fans would have noticed that. First off, you're right. You're totally right. Fans talk. That's all, yeah, yeah, fans, including ourselves. Hey, I'm on my laptop. I'm changing your life. No, seriously, think about this.

I mean, like, now I just have to absorb this or rather that. They don't love me like I love you. It's a totally different lyric. The meaning is shifting in real time. They don't love me like they love you. So let's talk about the lyrical meaning because we do know from interviews. This is an email she sends. to her then boyfriend, Angus Andrew, of the band Liars.

Which is not a man I know very well. Do you know the liars? I don't know them very well. I just know that they were part of that same moment. They were another Brooklyn band. And they're on, he's on tour, she's on tour. She's about to leave on tour, I should say. And famously in the video, she's crying because he's not showing up to the video. Shoot that day. That's real. Those are real tears.

She was really crying. So this is a real. And I believe that because that was back when I was so happy. That was back when I got like a 20-inch monitor for me. Apple. And that was like the biggest monitor I'd ever see. That's a big monitor in 2003. One of the first things I did was I chose that wallpaper with the clownfish looking out

on the seaweed. Shout out to that wall. Shout out to those clownfishes. And I bought the, I bought, I went on iTunes store and I bought Maps the video. Oh, you bought the video because you could buy videos. Yeah, you could buy videos. Just to watch. There's no YouTube.

That's the only way to watch a video. You buy the video in iTunes. It's 2003, guys. There was no on YouTube. I was like, I really want to see that video. Yeah. And so, gosh, people were making money so many different ways back then. Wow.

Wow. So you owned everybody wanted to be a rock star. So you owned. You still did this say technically you own that video. Technically, did this day. Oh, yes. It's still on this iTunes account. And I was just sitting back like, the future is here.

That's so funny. I forgot all about that era of having to watch videos by buying them first. People forget. YouTube came around in 2006 and like really shook stuff up. But like, when you read about. stuff that happened in 2003 between John Rule and 50 Cent. Or like, like, we had to go to weird places on the web. You had to avoid all kinds of, like, snuff footage.

You had to download the real audio player? The real video player download? Yeah, man. You were always updating, always updating Adobe or a quick time player. Like, shit was hard. Shout out to Mark Cuban. By the way, as a follower, maybe he's appreciating that we're referring to his real video company. Come on the show, Mark.

Come on the show. One of you. Let's get back to Karen. I feel like this vocal is so vulnerable. It's so emotional. Well, right, we were talking about the storyline. So she tells the story many times that this is, that line,

they don't love you like I love you, is an email she had written to him. And then as she's writing the song, and just to connect back to the story of how the song's written, she's walking by Nick Zinner's room and their roommates, and he's playing that loop, the like high loop and the drums. And she's like,

and they write this song in 15 minutes together. It just comes so quickly. So frustrating. So many of the best songs do, right? You can spend years working on something. Yeah. And then you find out, oh, yeah, Sylvester Stallone wrote the screenplay for Rocky in two weeks, you know, or like this, like 15 minutes, 15 minutes, in and out. Ghostbusters, 15 minutes.

And they didn't even get sued by Huey Lewis in the news. Nope, they did not. So this is really, shout out to Ray Parker, Judy, who is the freaking coolest dude on the play. If you ever have the chance to meet that guy, he's got stories, he's so much fun, and I love him. You know, we've been talking about how I kind of have my catchphrase interpellation. Maybe your catchphrase is that. Shout out two thing, because I've been trying it today and it doesn't feel natural.

I think that's your thing. I think you're the shout out guy. And I think that's your catchphrase for one song. So when it comes to phrases invented in 1990s, maybe I should start whispering it. You're bringing it back. But 15 minutes. 15 minutes to write this amazing song, but has stayed with us for at least 20 years and continues

to win fans. Yeah. And she pulls this lyric out of her email from the love story with her and Angus. So when I listen to that isolated vocal and when we watch the video, what stays the authenticity of the true meaning of this song being missing somebody and the gap between you and another human who you love is just the weight of that, the simplicity of that emotion resonates in only 20-ish words and throughout the ages. We're two decades later, I still feel that.

And when you hear her raw vocal singing it, you hear her, her, what's the word, unrequited love? You hear unrequited love. You feel the emotion. And I hope that the story the Yay-Yea-EAS gives hope to the smart kids out there, the nerds, because Karen-O has gone out of her way. Like, as crazy as their live show was, and their live show is crazy. There's no way for us to show our listeners how crazy that footage.

Just go on YouTube, look up, Yeah, yeah-A-E-S live around this period. Oh, they're touring again. You can see them, luckily. But they're like us. They're a little older. She's got a kid. She's still doing it. She's still doing it.

She might still spit water on herself, but she's not going to keep that. She's not going to be ushered off stage in a wheelchair. And we both missed the 2003 version where that was just like the epitome. No, actually, I saw the Yeas. I saw the Yeas play a show because I worked at a record label. I saw them play a show around the time that that EP I mentioned earlier. With songs like Bang and Art Star, I saw them crazy show. I'm sure it was.

I want to say it was at the Trubador. Crazy show. But I bring all that up to say that Caranoa said, I was such a good kid. growing up. She's like, the reason I'm so crazy on stage is because the stage is where I can get crazy. And by the way, she went to Tish and Nick Zinner went to Bard. Like, these are like art school kids. You know what I mean? Like sometimes we do stories on this podcast and you get the sense that, man, the reason I haven't blown up is because my father loved me. My mom wasn't an alcoholic. But like that's not the case with the A is. Like they really are some people who devoted themselves to the artwork to the to put in the 10,000 hours to really become a really good sounding ban.

So there is hope if you don't come from the most dysfunctional background of all time. Yeah, and the live, the live element is so crucial too. Like I had the good fortune of seeing it in 2009, I think, at Coachella. One of the best shows I've ever seen to this day. I mean, and I saw the daf punk Coachella. But like the yeah, yeah, yeah, is live on stage. Karineau is such a hero to me. And the live element, as we go through the stems and we listen to all those parts,

I'm reminded of how much the live and the recording sometimes a band is better live than the recording sometimes the recording is better. These guys have such an incredible live show that is in a weird, somehow matched I would say by how they sound on record. You get that energy. You do get... Well, Prince always said, Prince and our good friend Jimmy Jam, they always say you have to sound better than you sound on the record. Yeah, live. That's right, yeah.

The fact is the yes, and especially this song just being the huge song it was, MAPS, had a huge influence on music going forward. We've already mentioned some of the groups that came in the wake of the Yazs. But there's a song in particular that might owe a lot of its DNA to MAPs. Well, right. So another theme of this episode besides gatekeeping, and related to gatekeeping, I should say, is this sort of like, still in 2003, the pop charts and the pop world was a completely different world than indie music, for lack of a better way of putting it. So the strokes and the yeah, yeah, yeah's, this is the beginning of MTV is starting to play maps. Yeah, and on the air, and on their airwaves, such as it is. Yeah, yeah, yes, perform at the 2003 MTV Awards. But that's in

between, like, limp biscuit songs and, you know, the offspring. So, like, there is definitely, there's a difference between these two types of music. The pop charts do not sound necessarily like it yet, but they're starting to be an influence from the other side. The strokes and the yeah, yeah, yeah, are starting to filter their way into the pop. songmakers of the time, such as Max Martin, you mentioned, Britney Spears producer. So one of the first songs that a new producer named Dr. Luke, who starts to work with Max Martin, one thing that they do together, which is one of their first, possibly their first song actually written together, and definitely their first hit is this song by Kelly Clarkson. This is since you've been gone.

Okay, first off, she literally says, yeah, yeah. And so I think, I think, I think, I think, there's a clue right there. There's a story about they wrote this song because they had been agreeing Max and Dr. Luke were talking about maps by the yeah, yeah, yeah. And they were agreeing. Is that true? I've heard that this song was like, hey, we should make a poppy strokes record. And to me, I hear the strokes. Other than the fact that it starts off with that guitar and then the drum comes in. I don't know that I hear maps, but maybe.

I was with you on that too, that whole time, especially that eighth note jangling. That is such a strokesy thing to do. But it wasn't until I was doing some research that there's literally a quote in Billboard where Max Martin describes the origin of since you've been gone. They had been listening to the yeah, yeah, yeah's and the song Maps, and they thought this song is incredible, but it goes from a six to like an eight, and it never quite has a proper chorus. Wait, so they were listening to the maps like, oh, they were analyzing it.

They were almost there, but they got it all wrong, kid. They thought it just laughed. That's my Max Martin impression. They thought that everything about it was great, except it didn't have enough of a chorus, enough of a big chorus. Wow. And so they do this shit. So hold that thought.

There's a particular part of this song, which is dead on the money, and I'm going to play it for you now. After the second chorus, there's this bridge section, and since you've been gone, I'm going to play that for you, and then I'm going to play the same exact moment in Maps, The Bridge, and you'll hear what I'm hearing, I think. Here it comes. Wow. What does that remind you?

Oh, go on and play it, but I absolutely hear it. I would have never thought, yeah. And that is a direct lift from the The one part when we were doing the stems The one part I saved for this moment Is there is one more guitar part And it sounds like this Same part of the song

I cannot believe out of all the times I've heard those two songs I have never heard But that's one of the things that I love About people coming clean Is that once you hear it You're like oh damn There is no doubt in anyone's mind That those things are influenced

Same bridge, same part of the like then get litigious because it's like well i mean like whatever i think you know it's interesting no one got litigious i did a deep dive into the like you know the the the backroom file cabinets of ask cap to see there's no writing credit given or offered i should say maybe um on this song but there is in another interpolation which i'd like to talk about now are you about to talk about biancese's lemonade we're going to talk about biances hold up from the album lemonade and uh this one is properly credited and uh let's talk about that one here it comes i think Oh, they don't love you like I love you.

Slow down. They don't love you like I love you. Back up. They don't love you like I love you. Step down. They don't love that. I love that song. I love that interpolation.

I love the sample. There's like a sample. There's an Andy Williams sample in the background, which is I think it's a Burt Bacharach song. There's air horns. Well, you're jealous. Like, what's interesting is she's not exactly saying what Karen O's said. But it's close.

The backstory there is we've got Vampire Weekend frontman Ezrake Koneg tweeting in 2011, just kind of a thought, like a shower thought that he tweets. Like, what if it was hold up instead of wait? And so like three years go by. And that's just a tweet. And then in 2014 or so, he's in the studio with Diplo. There's that Andy Williams loop of that song, can't get used to lose in you. And then that line comes into his head.

He's looking for a lyric and a melody. and he thinks of his tweet, which is alluding to the MAP's song, and makes that flip that you just alluded to. Instead of wait, it's hold up. And they submit it to Beyonce, and it becomes the basis of this song. So wait, Diplo and Ezra find the Andy Williams sample, and they use this lyric from a tweet. Do they get a producer credit on the song?

Yeah, so Diplo found the sample. Ezra's in the studio, and on top of the sample looping in the background, he's meant to be there to come up with the lyrics. the top line. So he's inspired by the sample. He comes up with the lyrical content and him and Diplo and actually Beyonce are all credited as producers. And then all three of the Yay Yayas are among the 15 or so songwriters who are also credited on the song Holdup by Beyonce. That's incredible. Well, hey, as we come sort of to the close of this episode about Maps and the Yay Yayas and the indie rock scene, is there anything you want to say about like, because like nowadays,

I think it's a lot harder, you know, just given all the social media, all the different ways people come across music, to even build one scene that works. What do you want to say about this scene in particular? I mean, so what's interesting is we were talking about it. It really got me thinking about, like, how each band, usually when you get the interview with Interpol or the interview with the IAS or even the strokes, they all end up saying some variation of maybe not the strokes, actually, in this case. they all surprise me by mentioning how they feel like outsiders. Like when there isn't almost anyone, again, except maybe Julian from the strokes, who seem like they know they're at the center of attention and they don't feel like they're missing out on anything.

It seems like most bands have some sort of sense of this thing was happening. Like even James from LCD, there's this sort of sense of like a phenomenon that most bands, most artists kind of feel outsidery. That's a lot of what maybe drives the art. And it's often a surprise to me when I'm hearing an interview with somebody and they seem to me like they're at the center of the culture. But they turn out to feel like they weren't really in the right place at the right time either. Why don't I miss out on this? They have FOMO too, which is weird and crazy.

Let me also say, until only like in the last year, this is kind of amazing to me, but I think it speaks to how much harder it was to give visuals of people. I didn't, I knew what James Murphy of LCD sound system looked like. I knew what Julian and Albert Hammond of the strokes look like. I didn't necessarily know what the Yeas looked like. I just knew that I loved her voice and that it was like that raw sound that it just put me in every dive bar in the Lower East Side that had a group of kids in the corner. And that was okay. You're right. It almost doesn't matter with that.

I didn't need this music to take over the world, even though in some ways it eventually did. Like as we've said a million times on the show, the Indian electronic sounds of the early odds. eventually took over pop. But we didn't need that right now. And it reminded me ultimately of one of my favorite quotes from Hunter S. Thompson, which was he was talking about

the hate to bring it full circle. But he was like, there was madness. San Francisco. What? What was... There was madness in every direction

at any hour. And there was a sense that there was inevitable victory over the forces of old and evil. And my favorite part of the quote is that less than five years later you could go up a steep hill and with the right kind of eyes, you could see the high watermark that place where the wave finally broke and rolled back.

It wasn't long after indie rock sort of went and, you know, kind of away and Pop sort of assumed everything that I was like, thank God I was there. At least I was in the right city all the time. But I was kind of there. I was kind of part of the scene. I got to see it. I feel like, you know, I miss a lot of things before. I'll probably miss some things after. but I was there for that.

That's great. And it was freaking special. It was a special moment. We both were there in different ways. And I feel a similar way. And I think back to that moment and my insider outsider feeling that I had as well, specifically in San Francisco where I wasn't really part of, as I mentioned before, this the Aero Bar and, you know, the Paradise Boys, shout out to Jeff.

And I got to go to Subtonic. And I got to go to places in New York. You know, we've already mentioned Joe's Pub. But I got to be a part of some of those places when I was there. And in L.A. we had, you know, places on Kowanga. You know, the names aren't all that important now. You know, like people will remember star shoes. They'll remember CitiSpace.

But more important than the individual clubs were the places where we stumbled out of far too drunk into the gutter. And it was okay because we were the proper age to do it. And you know what? You can't get those ears back. You just can't. You can't get them back. Yeah. But I mean, you know, it wasn't about the clubs.

It was about the friends that we made, you know. Right. All of us just being outsiders. Well, it's funny you say that because I'm thinking back because that was the beginning of my making music in San Francisco in this moment. As I've talked about this episode, I felt like I was in the wrong place at the wrong time. But what's kind of nice to think back on is like exactly to your point. Like, it's really nice that all these years later, this scene that I didn't feel like I belonged to or had any connection to. Like, it's cool that like I'm friends with Jeff from Poulside.

Like that, I've mentioned him a couple of times because he really symbolized to me. He was the strokes, frankly. He was a little bit the Julian This is such a nice Jeff, I hope you're listening Because these are all genuine words Of affection towards you But I wasn't in that scene

And all these years later We now are friends And I've gone to his house And he's a good guy And like it sort of erases Whatever feeling of being an outsider At the time was to know That that's a pretty universal feeling

To know that so many artists And musicians that seem like They're the gatekeepers Are also maybe feeling Gate Kept themselves So I thought that to be Every Solar Solar system thinks it could be the center of the universe, but it probably isn't.

Exactly. Luxury help me in this thing. Well, I'm producer, DJ, and songwriter luxury. That's who I am. Who are you? I'm actor, writer, director, and sometimes DJ Diallo Riddle. And this is one song. We will see you next time.

We sure will. You can follow us on Instagram. I'm at Diallo, D-I-A-L-O. And I'm at Luxury, L-U-X-U-R-Y. And if you're on TikTok, I'm at Diallo Riddle. And I am at Luxury X-X, L-U-X-U-X-U-S-R-Y-Y-E-A, X-X. This episode was produced by Matthew Nelson with engineering from Marcus Homm. Additional production support from Leslie Guam, Charles Childers, and Alicia Shimara.

The show is executive produced by Kevin Hart, Ty Randolph, Mike Stein, Brian Smiley, Eric Eddings, and Eric Weil. And one thing that's true is they don't love themselves like we love them. What? Luxury again. We really hope you enjoyed the episode on Maps by the Aya-Y-Yaz. If you're feeling like keeping up with Diallo and I outside of the pod, you can follow us on Instagram. I'm Luxury, L-U-X-X-U-R-Y, at Diallo, and on TikTok, I'm Luxury-X-X, and he's at Diallo Riddle. Please keep your eye out for more one-song content on this feed very soon. And if you're already subscribed, stay subscribed. Why change now? Don't change Horace's midstream. And if you're not subscribed, what are you waiting for?