Switched on Pop - Musical Architecture in Charlie Puth + HAIM

Episode Date: May 18, 2017

Two new songs have captured the attention of your hosts—Charlie Puth's "Attention" and HAIM's "Want You Back." On the surface, these two songs appear to have little in common. A closer look, though, reveals the subtle musical architecture undergirding each track, a perfect balance of symmetry and asymmetry that keeps reeling us in for more.  Featuring: • Charlie Puth ft. Meghan Trainor - Marvin Gaye • Wiz Khalifa ft. Charlie Puth - See You Again • Charlie Puth ft. Selene Gomez - We Don't Talk Anymore • Charlie Puth - Attention • Haim - Want You Back • Dvorak - Carnival Overture (United States Marine Band) Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you're tired of endless scrolling to figure out where to eat, same. I'm Stephanie Wu, editor-in-chief of Eater. We've just launched the new-ish and way better Eater app. It has all the restaurants we love, gives you personalized picks wherever you are, and serves up smarter search results just for you. You can find my list of the best places for martinis and fries in New York City. And save your favorite spots, share lists, follow editors, and book right in the app. the eater app at eaterapp.com. It's free for iOS users. Hello, Charlie. Good day, Nate. So you have

just returned from an epic backpacking trip in the wilds of northern Canada. You have literally just gotten back to your home. It's true. I was getting my grizzly man on. And now, despite the extreme mental and physical exhaustion that you are currently experienced, what I imagine is, is a mild hallucinatory state. Perhaps things are blurring in your vision. Despite this, we are nonetheless going to record a podcast. Are you ready? I'm ready.

And I wish I could say I was going to make it easier for you, but I'm not. I'm going to tax your already depleted brain because today I want to talk about pop music and architecture. Oh. Yes. I've been thinking a lot about how to, indeed this question of how to talk about music. And I think the metaphor of architecture keeps coming to me. This might be in part because one of my other side gigs is leading historical walking tours of New York City. Yeah.

And we talk a lot about architecture in those. But I do think there's a nice parallel between the way you construct a song and the way you, construct, say, a building. And so I wanted to try and use this as a paradigm to help us, to help me really understand the strange experience I've been having, which is that I cannot stop listening to the new song by Charlie Pooh. I did get a text from you a few hours ago that on my trip home that I should listen to this song, and I have been listening to it on repeat. It's very compelling. Yes. And there's nothing wrong with that. It's only challenging for me

because the name Charlie Puth and gosh, I love saying that, Puth. Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, Puth, only because that name brings up a very rough association for me, which is the song Marvin Gay. I'm not sure if you're familiar with this duet between Charlie Puth and Megan Trainor.

Let's Marvin Gay and get it on. Not my favorite song. That's the one. Let's Marvin Gay and get it on. What irked you? I think, okay, what irked me was both in terms of the lyrics, the way it's sort of casually appropriated this classic American soul song in a way that felt very cavalier and not really sort of paying respect to this kind of landmark artist and album. Yeah.

And just some of the lyrics. At one point he actually says, Kamasutra Show and Tell. which is just... Ooh. But this song really destroyed me when I... Wow, another one of my gigs, one of my side gigs is playing piano at my old high school every graduation. I played piano.

I had no idea. And the students, each grade sings a song about graduating, at least all the middle school grades. And the fifth grader sang this song based on Marvin Gay. It's sixth grade, we're moving on, was kind of there. Oh, no. PG rewriting. So for a week, every day I had to play this song.

It's sixth grade. We're moving on. And after that, I was like, I can never hear the song again. So who is this Charlie Puth character? He is a young singer-songwriter, a graduate of the Berkeley School of Music. He shot into the pop stratosphere when he was, along with Wiz Khalifa, responsible for the song, See You Again, from Fast and Furious. One of the Fast and Furious movies.

I don't know which one. Fast and Furious 27. It's been a long without you, my friend. And I'll tell you all about it when I see you again. We've come along from where we began. Oh, I'll tell you. The kid has a voice like melted butter. And this is a really, really catchy melody.

And it's interesting because he, I think originally their intention was to re-record it with someone more famous than him. But the producers ended up going with him in the end. And that was it. That was his ticket to the big time. He had an album with a few hits, including that song of which we will never speak again, whose initials are M.G.

More amiably for me was also the duet with Selena Gomez. We don't talk anymore. I love that track. Okay, good. So now we're on the same page, because this is when I became putified. when I realized I could handle the Puth in the end. What can I say?

I'm a Puthsayer. It's just the way it is. This song was when I was like, oh, okay, maybe I have to take another look at this singer-songwriter. So he has a new song out that just dropped. And so the question is, is he going more of that Marvin Gay route, more of the kind of pastiche, retro cookie cutter vibe? Or is he going more in the we don't talk any? more direction. And I'm happy to say that this new song called Attention is very much in the mold of We Don't Talk Anymore. Let's drop the needle and check out the latest from young Mr. Puth.

You've been running around, running around, running around throwing that dirt all on my name. Because you knew that I knew that I knew that I'd call you up. And now I'm all upon you what you expect. But you're not coming home with me too. Okay. Well, I love this tune, but I have no idea what it has to do with architecture. Fair enough. Before we get there, just what stands out to you when you listen to this track? There's so many moments that stand out to me. For free association, you have to say the first thing that pops into your head. What is it? Bass guitar.

Bass guitar. I knew it. Oh, I should have put money down on the table because I knew that is what you were going to say. So in the chorus, everything drops out and we just hear this super funky. But architecture. Architecture. So I think as we make our way through this song, I want to sort of pick apart the architecture of it by seeing the moments of symmetry and the moments of asymmetry and how kind of the balance between those is what makes this so effective at getting into our ears and under our skin. Ooh, okay. I'm really curious how you're going to get me there. Well, we're going to focus on melody.

I have my own architectural digest that I'd like to add as well that are maybe some more textual elements. Wunderbri, I knew I could count on you. Okay, let's hit play on the verse. You've been running around, running around, running around, throwing that dirt all on my name. Because you knew that I knew that I knew that I'd call you up. You've been going around, go around, go around, go around every party in L.A. Because you knew that I knew that I knew that I'd be at one. Super Stark.

Yeah, absolutely. This song is like a precise machine from the very first tone, actually, which is this very staccato. Probably a sample guitar, actually. It's actually a real guitar. Oh, man, I am batting O for dear now. Every decision in this song is very deliberate and calculated. And that first comes through, I think, in the most. kind of basic level of symmetry here, which is that this verse is exactly eight measures,

which is just a number that we gravitate to again and again in music because it's so cleanly divides into two groups of four or four groups of two. It's a nice, clean square number, right? Yeah. So just to sort of make this crystal clear for everyone, I'm just going to count through the verse. Sure. All right, count me in, Charles. One, two, three, four. You've been running around, running around,

running around, throwing that turd I'd want my name. Because you know that I'd know that I'd call you up. Two, three, four. You've been going around, going around every party in L.A. Four.

Because you knew that I knew that I'd be at one. Four. Four. Two, three, four. All right, how many did we get? Well, I counted two groups of four. Great. Eight. Now let's go to the pre-chorus.

Let's do the same thing. Ready? Count me in. All right. One, two, three, four, one. I know that dress is common. Two, two, two, regret. Four.

You got me thinking about when you were my. Four, two, three, four, one. And now I'm all upon you. What's you expect. But you're not coming home with me tonight. Two, three, four. How many was that? Hey.

Okay. Ready for the chorus? Yes. Count me in. One, two, three, four, one, two, two, you don't want my heart. Two, maybe you just hate the thought of me with someone new. You just want attention. I knew from the start.

You're just making sure I'm never getting over. And how many? Was that five? No, that wasn't five, you maniac. I think it was four. It was eight again. It was eight again. No, no, no.

I'm lost in the woods. Okay, so what do we have here? Three groups of eight. Our building so far is just like three nondescript concrete blocks that are exactly the same. Okay. Because we have an eight bar verse. We have an eight bar pre-chorus and we have an eight-bar chorus all with the exact same chord progression that never changes. So, yeah, how do you make this building look beautiful?

This is like a terrible skyscraper condominium with no character. Yeah, exactly. Oh my God, you're right. this is like not very pleasing to look at. And if the song made different decisions, these perfectly symmetrical verse, pre-chorus, and chorus could be very dull with the same chord progression throughout. Sure.

So now we have to introduce some asymmetry, and that's where the melody comes in. So if we go to the first verse, we have a nice asymmetry in the melody. We have a kind of rhythmic asymmetry where the first half of each phrase, it has a quick rhythm, and the second half has a slow rhythm.

Right. So it's like, da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da. Yeah. You've been run around, running around, running around, throwing that turtle on my name. And then we have a symmetry within that melody because that melody repeats twice, right? Right. Or actually almost four times, really, because it's da-da-da-da-da-da-da-da-da-da-da-da. second time.

Da-da-da-da-da-da-da-da-da-da-da-da. Right. Because you knew that I knew that I knew that I'd call you up. So the only difference there is really at the very end of that phrase. A little embellishment. Right. A little embellishment. Right.

So it's like mostly symmetrical with a little bit asymmetry. And then we get symmetry because we have this exact same thing. Da-da-da-da-da-da-da-da-da-da-da-da-da-da. Right. And da-da-da-da-da-da-da-da-da. You've been going around, go around, go around. Every party in L.A. Because you knew that I knew that I knew that I'd be at one.

So there's, again, there's like asymmetry within that phrase, but then symmetry because that phrase gets perfectly repeated. You with me so far? I'm with you. We're still at the foundation of this building, so it's holding strong. It's very symmetrical. Yes, it's very symmetrical. But we're starting to put some kind of some detailing into it.

Some engraving and frescoes and my architectural language is already getting cashed out. Yeah, right. Okay, let's go to the pre-chorus. I think we're also going to find a lot of symmetry here, right? So this one goes, da-da-da-da-da-da-da-da-da-da-da-da-da-da. And now this is kind of interesting

because rhythmically, we've got kind of the opposite arrangement from the verse. Oh, yeah. We've got a kind of slower rhythm. It's a slow line and then a fast line. I know that dress is common If you regret You got me thinking about when you

So now there's Now there's a kind of asymmetry Between the rhythm of the first verse And the rhythm of the pre-chorus That's right, yeah They're kind of their opposites Yet within the world of the pre-chorus Everything is still very symmetrical

Oh yeah Da da da da da da da da da da da da da da da da da da da da da da da da da da da da da that just repeats. Right. So it's the exact same melody just repeated once. To add a little bit of variation, on top of that guitar, they start to add in, I don't know if it's like a synth pad or maybe it's even a Rhodes piano in the background to heighten the texture to move the song forward. You got me thinking about me

Yes, okay, so you're totally right Another source of asymmetry here Is in the arrangement Which does build from verse to pre-chorus to chorus Yeah, totally And now we get to the chorus. Great. And now we have, I think, rhythmically,

kind of a symmetry with the pre-chorus Because it also goes kind of slow fast Da-da-da-da-da-da-da-da-da-da-da-da-da-da. This chorus is interesting. In a way, I hear the It's like a reverberation of the first line in the verse. Yes, exactly, right? But it's happening in the inverse.

If each line is a couple, and in the verse, the A part of the couple is fast, and then the B is slow. Throwing that dirt all on my... Here, the A is slow, and then the B is fast, and referencing the verse. So cool. Yeah, yeah, exactly. And with another small change, because the verse goes,

running round, running round, running round. Right. So it's like, 1, 2, 3, 1, 2, 3, 1, 2, 1, 2, 1, 3. Right. But then the chorus is like, you just hit a dot of B with someone new. So it's like 1, 1, 2, 1, 1, 1, 2. Uh, shortened.

So a callback, but, with this slight asymmetrical difference. Displaced and then they drop one note. Yeah, exactly. Okay, and then the chorus is also very symmetrical, right? That first line, da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da. That just repeats again. So each one of these sections, verse, pre-chorus and chorus, is internally symmetrical, too, right?

Yeah. I'm almost thinking of, like, Da Vinci's Vitruvian man, where everything is kind of like bisected. Right. So there's symmetry from verse one to the pre-course to the chorus, and there's symmetry within each one of those. But then there are also, now we start to see these like kind of asymmetrical touches that keep our interest and stop it from being too square,

too rectilinear, too predictable. At this moment, I just have to say, have you looked at the cover of the single for the song attention? No, I haven't. The album artwork is a skew rectangle with the word attention in it. Oh my God, I'm looking at it right now. Boom. What?

Yeah. I mean, I think we need that asymmetry. We need something for our mind to grab onto our mind. We want to sort of even that out somehow, right? Ooh, I don't know if this is too much of a reach, but this song is about trying to get one's attention. The whole narrative is about a partner running into an ex-partner and leading each other on something which is familiar,

but ultimately turning each other down a rejection. There's something sort of symmetrical, familiar, unfamiliar in the narrative as well. I think mirrors this melodic structure very effectively. I'd love it. I don't know if it's your post-hike delirium, but I couldn't agree more with what you just said. At this point, I feel that we may have exhausted the architectural analogies here in Charlie Poo's track.

With your permission, Charlie will take... Oh, no. I totally disagree. Whoa. I think we're missing one of the most important elements of the entire song. Objection. Okay. Sorry, please forget the break.

Push back the ads. Charlie, tell me. Here's the thing. The song is about getting our attention. Right. And he does this not just through this asymmetry and symmetry and the melody, but I told you I had my own architectural digest. There are all these incredible textural elements.

that unfold in the song, which also create an architectural escape, if you will. I just want to pay attention to one part of it. Yeah, yeah, please. Which is the production of his vocal. Oh, interesting. Okay. If you listen to how his vocal changes throughout the song, it is intentionally trying to grab our attention. Changing how? Okay, two ways.

one, where it exists in the stereosphonic sphere and second, how much reverb there is on his voice. I mentioned earlier that in the pre-chorus, on top of this little guitar line, we get this synthesizer thing in the background, some lower frequency bassy sounds as well. Indeed. And we feel like the whole song is escalating, right?

And now I'm all upon you, which you expect. Should have come at home with me tonight. Right. And we're going to land in some giant chorus, and that chorus is going to be about grabbing our attention, but rather than throwing in some crazy, giant drumbeat with strings and all sorts of big sounds,

instead, this whole song centers. His voice is right in the center of the track, all of the double-tracking and extra, vocals drop out and he basically says, I want to grab your attention. Whoa. Check that out. Chuck. That's pretty good. Right. Everything drops out. It's like he's just in his room by himself and there's this one voice right in the center. Yeah. Totally dry. That's wild. Just Charlie Puth and it grabs your attention. Instead of making it big, everything drops. Yeah. Listening on headphones, you literally hear like two voices on either

side of your head suddenly collapse into one kind of in the center of your head and it's like, okay, you've got my undivided attention. Exactly. And immediately after he says, you just want attention,

boom, that bass, the fundamental thing which drives the rest of the song. Indeed. And it grabs your attention so effectively. Yeah. So as he moves away

from this idea of wanting attention and starts to expand upon other ideas, more of his voices enter back into the song. They come in to support what he's saying. You call this double tracking, or he's harmonizing over himself.

And his extra voices are in the left and right ear, but his voice remains in the center. So the number of Charlie Poots that we hear, and the harmonies that he adds in, and the dryness and wetness of the reverb, grab our attention and allow it to expand and then to collapse back down whenever he wants. to focus you on that one moment.

Whoa. It's a brilliant move. Whoa, that's great. You know, I wasn't paying attention that at all. I was so deep in my melody hole that I wasn't even noticing. That's good stuff, Charles. But I think it's brilliantly architectural. I mean, there feels like there's a three-dimensional aspect to this song.

Oh, yeah. No, no. I think you're absolutely right. I mean, now I'm, I've actually started to refine this metaphor, and I think we will continue to do so. But maybe in a way you could, almost like call form like the edifice of the building, the brick and the stone. Yeah.

And then texture, the like instrumental texture is kind of like the design, the filigree, the coloring. And then melody is like the important stuff and how that's laid out. And by stuff, I mean like windows and doors and roofs and that sort of thing. Right, right. Right. And then what you're describing like voice and and timbre and panning of sounds across left and right. Yeah. What's that?

No, that's got to be. That's with the texture and the color and the fill. Yeah, okay. Now, at this point, may we proceed to a break before returning to discuss how a very different band with a very different sound uses their own kind. of musical architecture to grab your ears and never let go. I cannot wait. See you there. heard of

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we talked about musical architecture in the work

of Charlie Puth Now let us turn to another band And I know you're going to be excited for this Because this is a band near and dear to your heart As a result of your love, you've transferred it to me I also love this band

The three sisters that make up Haim Yes Have just released two tracks From an album set to drop in July So exciting We would be remiss if we didn't talk about these And I think especially I want to talk about one of these singles called Want You Back. Great.

Because this idea of musical architecture, I think, really comes to play in Himes music as well. I think they are brilliant in a very different way than the song attention we just listened to. I think they are brilliant at creating these structures of symmetry and asymmetry that just grab you by the lapel and don't let go. I don't wear lapels, but okay, I'll go with it. They grab you by your Nehru collar and don't let go. Okay, let's drop the needle on Heim's Want You Back. Some things are long forgotten. Some things were never said.

We were on one and this world. But just know that I want you back. Fult and I'll give you. It's beautiful. A sophomore album is all. Always a complicated thing. You know, is it going to be the same? Is it going to be different?

Too different. Yeah. To me, it's like the same sound as before, but I'm happy. I'm happy with it. I can't get enough of that sound. What are you liking? I think this song has a different kind of architecture and maybe reveals a lot about the way Heim construct songs. Because in a way, the melody here and the form is perfectly symmetrical.

We have more of these eight-bar phrases every single time. It's like clockwork, four bars, four bars, four bars, four bars, four bars, four bars, four bars, four bars, for bars, for bars, for bars. Yeah. And we have this incredibly simple melody. And when I say simple, you may not realize how simple it is. I mean, I would like to state that for basically the entirety of this song, that's almost four minutes long, the melody only uses four. notes. Really? I didn't catch that. And again, there's like some little embellishments. Maybe once in a while they go to another note, but mainly the song just uses four notes. It's in the key of C. Yeah. And I would again say like 99% of this song's melody is just made up of C, D, E or G. So if we look at the first verse, we start on that E. Da da da da da da da da da. Some things are long forgotten.

So there's three notes. E, D, C. Da, da, da. Yeah, that's like the fundamental melody of everything. Mirado. And then we have a nice variation in the second line. Ooh, goes up. We were on one and this one.

Goes up. So now we've got our fourth note, which is G. Yep. And from this point on, we're just going to hear G, E, D, and C. Then we have our final line of this verse. Da, da, da, da, da. We kind of land on the D.

So we've given a nice bit of attention to everyone of these four notes. Yeah. We get basically a restatement of this verse before moving to the chorus. And this, I mean, to me, this is just like diabolical what they do here. because as if that verse couldn't be any simpler with its just four-note melody, they find a way to pair it down even more to just two notes. Really? This entire chorus is just two notes.

No. Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da. G. G-G, C-C, G-G. And that's all it is. I have no idea. Okay, but now we get to the bridge. And the bridge is where we expect a real change, right? This is what happens in a bridge.

You give new contrasting material. Right. And indeed, we do have a change, but it's kind of a funny one. And if we go to about 216 in the song, Charlie, you can hear what I mean. I want you back. Just know that I want you. It's kind of like. the chorus but with less stuff happening.

Yeah, I mean, so we get that textual change in the background where a lot of instruments drop out. Voices drop out too. And the voices drop out, right. And the melody does change a little bit, but just in a way that's almost like a little kind of tongue-and-cheek poke at the listener. Because the only thing it does is instead of going from G to C, da-da-da-da-da-da-da. It just goes from E to C.

da-da-da-da-da-da-da-da-da-da-da-da which is like yeah that's a change but not only is it so minuscule it's one of the four notes that we've already been using so it's like it's fascinating to me how much they are able to create from this little four-note melodic material at this point given your analysis I might think well this is a really stupidly written song there's got to be more going on you said that there's some form of architectural symmetry and asymmetry going on. I think you're leading me somewhere. Yes, I am. So in some ways, this song is very simple and symmetrical, melodically and formally, you know, with this very small four-note melody and this very repetitive four-eight bar structure. But then it's asymmetrical and pretty much every other way. And one of the most profound instances is in the rhythmic displacement that is happening behind this very straightforward melody. I'm so glad you brought that up because when I listened to this song, it seemed to break so many conventions that I didn't even catch the simple melody

because all I was paying attention to was these women sing really fast and in strange syncopated ways that I can't even capture. Yeah, exactly. Whoa, that's really cool. Yeah, even though the melody, itself is very simple. The rhythm is not. And then that kind of rhythmic insanity

is mirrored in what's happening with the instrumentation, especially with the bass and drums. What's going on? It's very off-kilter, right? These hits. Bum, bum, two, three, four. Bum, bum, bum.

Some things are long forgotten. Some things were never said. That's a really interesting syncopated baseline that doesn't exactly line up where you think it will. Yeah, you only get one downbeat in there at the very beginning. Exactly. And then with the melodic rhythm that you're saying, on top of this displaced rhythm, you're like, whoa, where am I? So all of a sudden, this really simple melody with this hyperactive rhythm

and this incredibly syncopated bass line has become very asymmetrical and very unsettled. And that just continues throughout the song. It gets more, they add more and more levels of syncopation, of rhythmic displacement, of harmonies snapping back and forth, of chord changes that go to strange, unexpected places that establish a pattern and then break it in a ways that you never know exactly what's coming. Asymmetry is just running through this song. But again, it's occurring in different elements, I guess,

that are sort of playing off of each other. Have you thought about how this song could almost be the response to the Charlie Puth song, but from the other person's point of view? Whoa, wait, let me wrap my head around this for a second. The Charlie Puth song is basically saying, you're just hanging out with you because you want attention. the relationship's over, you're hanging out with me because you want attention,

you don't want me to be with somebody else. But this song, the Hymes song, is basically about, hey, we used to be together, and I wasn't ready for it, and now I want you back. Whoa. Yeah, you just want attention. I've ever said, but just know that I want you back. So maybe Charlie Puth is reading the wrong messages.

I mean, obviously, they're different songs, different narrators. But I like how they both use the symmetry and age. symmetry, the simplicity and the complexity, I think that here the Heim sisters are using it really well because you have the simplicity of a love story encapsulated in the melody, but the freneticism of, oh my gosh, I can't believe I gave up this amazing thing, and I can't handle the energy in my own body trying to get this thing back. There's an angst to it. The familiarity and the angst are embedded in the melody and the rhythm. That was the sound of my mind.

Being blown. Charlie, I knew I could count on you, no matter how tired you are. You are always reliable for killer insights like this. Thank you. Thank you for indulging this architectural fantasy. And this is a work in progress. Yeah. We're still figuring this out.

But I think there's something there. I want to figure out how songs work on us. And I think that could be a productive metaphor for understanding what is ultimately something completely elusive and effervescent. And I will never totally know, but we can get closer and closer, right? What architectural style would these songs be in? Whoa. Is it like a Frank Gehury, abstract, you know, very challenging work in which it rains inside by accident? Or? So that's a, God, you're so good. That's a great question. I mean, to me, the Charlie Puth is just like classic Neo-Eduardian architecture, just a, just a nice,

red brick building with a line down the middle but with some interesting with some like you know gargoyles and stuff that and they're not always symmetrical maybe one side has like a bay window and the other one doesn't yeah then hyme by contrast is yeah it's more like that gary building it's more like gowdy the symmetry is happening on a base level in that it's like a building that stands upright, but then everything else is just like totally crenellated and wonky and weird. Yeah. So, yeah, I love that.

I love that. Beautiful. All right, Charlie, you got to go, you got to go sleep for like 20 hours. I desperately do. And when you wake up, hopefully it'll be two weeks from now and we'll be back here expounding on our next pop music theories. I can't wait for it. Switched on pop is produced by.

me, Nate Sloan, and he, Charlie Harding. That's me. It is also edited by the wonderful Bill Lance. Our design is done by Luke Harris. We are a very proud member of the Panoplin Network. You can catch more episodes of Switched on Pop on our website, switchedonpop.com. We've also really been enjoying engaging with you all over Twitter and Facebook.

We've been getting great listener recommendations. So chat with us there at Switched On Pop. and if you listen to us on iTunes, leave us a review. We've been getting some in rhyme. They've been beautiful. If you can have a more beautiful one in rhyme, maybe we can have a contest and there will be a winner. I don't know what the prize is going to be, but it'll be beautiful. I promise.

Yes. Shouts out to Mariana, who is currently the winner because she's the only one to do so. Thank you, Mariana. And with that, thank you. Thanks for listening.