Switched on Pop - Up late with Taylor Swift’s ‘Midnights’

Episode Date: October 24, 2022

 A Taylor Swift album is just not a collection of new music, it’s an exploration of a theme. For the last eight years, each release has embodied a single idea. Reputation marked a turn to the dark side, Lover a return to the light, and her pair of albums Folklore and Evermore painted acoustic, fictional landscapes. Each album propels fans to find covert lyrical connections to her personal life, and easter eggs to past compositions. Whereas Swift's pop star contemporaries have focused their energies on becoming business moguls, Swift has gone deeper into songwriting and receiving accolades in the process. In September 2022, the Nashville Songwriting Association International awarded Swift the Songwriter of the Decade award. In her acceptance speech she says, “writing songs is my life’s work and my hobby and my never-ending thrill.” Now she continues that thrill collaborating with her frequent producing partner and friend of the show, Jack Antonoff, on Midnights, her 10th studio album (not counting her recent “Taylor’s version” re-recordings of past releases). On Midnights Swift builds a lyrical and sonic world that takes place across “13 sleepless nights.” Nate and Charlie listen closely to hear how she constructs this late night feeling.   More Nate’s article on “Taylor Swift and the Work of Songwriting” for the Contemporary Music Review Journal John Hull's Soundfly course on Advanced Synths and Patch Design for Producers Music Discussed: Taylor Swift - Anti-Hero, Lavender Haze, Maroon, Question, Snow On the Beach, Mastermind, Bejeweled, Vigilante Shit, Labyrinth, Midnight Rain, You’re On Your Own Kid, You Belong With Me, Stay Kevin “Reese” Saunderson - Just Want Another Chance Ray “Renegade” Keith - Terrorist P.A. Mix Burial - Archangel  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. Welcome to Switched-on Pop. I'm a songwriter

Charlie Harding. And I'm musicologist Nate Sloan. Nate, your voice sounds a little funny. Yeah, I had a late one, Chuck. Were you up till midnight? I was up till midnight and then some. Yeah, me too. Taylor Swift's 10th studio album, Midnights. It dropped last night at midnight. You actually have West Coast privilege. It comes out at 9 p.m. on Thursday nights. I do have WCP. That's true. And we were not alone. I imagine half of the world was staying up late to listen to this album drop. And it's appropriate that we might all be tired because midnight is all about the things that happen in the wee hours of the night. That's the first single off the album, anti-hero.

It's about those paranoid self-catastrophizing moments that you have late at night. All of the things are going wrong and the anxiety is at its peak. an insomniac's anthem. And it really fits the theme of this record that she calls a collection of music written in the middle of the night, a journey through terror and sweet dreams. This album

has 13 songs, 13 sleepless nights. 13 is, of course, her lucky number in the Taylor Swift lore. And it's being framed as a concept record, but I think it instead is just a continuation of her musical

world building. Taylor's really great at crafting these framing devices for fan engagement. And she's been doing it for a long time. Like arguably, even albums like speak now and fearless, they had themes that really brought them together. Right. But she takes this idea of world building around albums and runs with it. Reputation was a turn to the dark side. Lover, a return back to the light.

Right. And she had her much awarded pair of albums, folklore and Evermore, that were sort of an acoustic. journey made up of fictional characters. And now Midnights kind of blurs the fictional and the personal just like a dream. And so today I want to listen to Midnights and understand how she crafts this world both through its lyrics and its sonics. Charlie, I feel like this is an opportunity for us to push ourselves a little. I feel like you and I are very music forward listeners, you know, like we can't remember lyrics. That's like not our thing. We can remember intervals and seventh chords, but like a song title, nearly impossible.

Let's challenge ourselves to focus on the lyrics of Midnights and see how that might open up this album in a new way. Great. I've been keeping a running list of all of the nighttime little lyrical illusions that she uses that help craft this Midnight's World. Nice. It's actually not hard to find them. The album starts with a Midnight reference in the opening song, Last. She's not being subtle about this midnight theme. When you said this was a concept album, I was like, really, does anyone make concept albums anymore?

Now I'm being persuaded that this might actually be a genuine one. Well, I did say earlier, I don't think it's necessarily a concept album as much as it's like a collection of songs that she's building a world around. That sounds like a concept album. Actually, Chuck, we could use a romantic term, and by that I mean like capital R, like 19th century, German aesthetics, romanticism. They would call that a song cycle. Oh, a song cycle. How about that song?

Like Schubert's winterizer, Schumann's dicta liva, Taylor Swift's Midnights. I feel like in a concept album, the songs should have an interwoven narrative. These songs don't have that. There you go. But they do all exist in the same thematic world. She uses her lyrics to play with the things

that happen late at night going out, dancing, maybe even a welcome back to New York kind of feel, if you will. That's Maroon, and we are slow dancing in a mirror-balled room late at night, New York City. Right. And very self-referential. I know we're not supposed to talk about music, but there's a killer one-note melody here too. Oh, we're going to get there. We're going to get there. Slow down. Onward. Onward. Lyrics first.

Lyrics first. There are lots of great Love words. Nighttime lyrics. So texty. So textual. How about the song? Question.

Did you leave a house in the middle of the night? Did you wish you put up more of a... This feels like a throwback high school escaping your bedroom window and crawling out the fire escape, which must have been very challenging for you growing up in New York City because I think you were many, many, many floors up at a building. Yeah, no one was throwing pebbles at my window on the 19th floor, but... But a boy can dream and he can listen to Taylor Swift. Speaking of dreams, she loves to go into the world of almost like lullaby quality.

I really enjoyed this song, Sweet Nothing, which has a nice allusion to those sleepy times. And I'm a sucker for a whorlitzer. She's picking up that. that pebble that wasn't thrown for you, Nate, with sleepy, tired eyes, and getting to fall asleep while looking up at the night sky and dreaming about space. This scene feels like what I once saw on a screen. I searched for Aurora Borealis, Queen. We go off into the Aurora Borealis and then all the way into the stars and distant planets. Once upon a time, the planets and all the stars are long.

That's really cool. It's like planetarium pop. I feel like that needs a laser show. It totally is. But it's not just the lyrics. It's also the way that she delivers them. Ah, okay. Thank goodness, yeah.

Like, if we go back to Lavender Hayes, check out the way that she sings the chorus. She says that she got this lyric, Lavender Hayes, from the script of the TV show Mad Men. Look at you. You're in the lavender haze. But it's also widely known to be a strain of cannabis.

And she sings this lavender haze lyric in the highest register of her head voice that's like lost in smoke and surreal and lost at night. At the same time, it's also a section of this album that sounds to me like Taylor Swift reflecting back the sound of pop music and how it's changed. Like when I listen to that chorus, it sounds like. like it could be a top 40 hook the way she's pressing her voice up there and then kind of warping it in the post chorus. It's like she's doing her own thing, but she's also showing, hey, I know what's popular. I know it's hip. I can, I can channel that as well. She does, and that's part of what makes her stand out as a songwriter. In her generation of pop stars, so many people have retired to become business moguls to run fashion brands, to, to,

expand into other lines. And she has really doubled down on songwriting. Yeah. I mean, she was in cats, but point taken. We won't talk. We're not talking about cats. It's a good thing Rianna's not on this because we know Rihanna is a cat stand. Okay. Sorry, shouldn't have even brought it up. Yes, she has done lots of other things. Absolutely. She has plenty of merch. But songwriting is her thing, right? Right. She goes on NPR Tiny Desk to show off, look, I am a songwriter. And just recently, in September 2022, she accepted the songwriter artist of the decade award from the Nashville Songwriters Association International. And this is what she said in her acceptance speech about songwriting. Writing songs is my life's work and my hobby, my never-ending thrill. I am moved

beyond words that you, my peers, decided to honor me in this way for this work that I would still be doing if I'd never been recognized for it. It's striking to hear her say that songwriting is her life's work and her never-ending thrill. I've always suspected that's how she felt about the work, the labor, the art of songwriting. This particular part of the craft of being a musician is really important to her. Yeah, you actually wrote an academic article about Taylor Swift and the labor of songwriting. I'm curious about the ways that you hear her songwriting craft coming through on Midnight's. Right, I was inspired to write that article for the contemporary music review journal

because I feel like there's no shortage of ink spilled on Taylor Swift. And yet I was surprised that I could only find like a handful of articles that actually tried to understand the process of her songwriting and the meaning that songwriting played in her, in her work, in her life. Yeah. So I was like, I want to investigate this. And it was very illuminating both to start to uncover some of the tricks, some of the devices, some of the processes that Swift uses to make songs. And also understand that songwriting isn't just like a means to an end.

You know, it's not just to create the products that give her her career and her fame. It's like something that she does for the sake of it because songwriting creates this kind of safe place within a really cut throat industry. Yeah. And because songwriting is a chance to work through your yourself, your emotions, your thoughts. It's almost like a holy act, I think, to her. Do you hear all of that happening anywhere in particular on Midnights? I think one place on the album I can really hear that coming to the fore is on the track, Vigilante shit.

Spoiler alert, there is cursing on this record. Well, he was doing lines and crossing all of mine. Someone told his white-collar crimes To the FBI He was doing lines and crossing all of mine That's a nice kind of a legion of these two You know metaphors, one about doing drugs And one about like violating boundaries

It feels like an almost R-rated Nashville country kind of song It reminds me of something that we talked about When we were doing our episode about Evermore This use of something called the hinged figure which is an important part of country music. You take an idea and then you like blur it into another. So you're talking about doing lines and all of a sudden you're talking about crossing them. That is a very Nashville move.

I agree. And then we get an internal rhyme, right? Someone told his white color crimes to the FBI. There's a lot of nice assidents there. You got that eye, I over and over again. It's like studied to me. Totally. And even the line, I don't dress for villains or for innocence.

The way she sings it, villains and innocence are rhyming. Those words don't rhyme. And I don't dress for villains or for innocence. I'm on the vigilante shit. So she's building these images at the syllable level that feel like there's maybe a backstory here, or maybe it's just a little vignette that she's making up for this little verse. And I'm sure there are fans guessing at everyone who this might actually be referencing and where the biographical elements reside. But in the wordplay, I feel like we also experience all of the fictional, creative world building that she's doing.

Either way, this is the type of song that challenges you to recognize Taylor Swift as a songwriter as someone who's able to invent to create. Like, that's an important right to have as an artist and not to have your work diminished, not to be something that's just directly channeled from your emotional world onto the page. Like, that's a very diminishing kind of attitude, I think. She even discusses the craft of her songwriting and that acceptance speech that she gave

and gives away some of her secrets. She says that she writes three different kinds, of songs and categorizes them in this, in her own words, sort of dorky way. She has what she calls her quill pen songs, her fountain pen songs, and her glitter pen songs. And they each embody a different kind of idea. The quill pen is very serious when she's thinking about films or she's quoting someone like Emily Dickinson. The fountain pens are the very personal that often have those turns of phrase that flip

their meaning, just like we heard in vigilante shit. And then glitter pen songs are frivolous and carefree and the fun things that we just need in our life because we need pop music as a release. Someone who spent two years, ran an entire article about Taylor Swift's songwriting. You can imagine I was pretty geeked when she dropped this extended pen metaphor. And I've definitely been going through her back catalog thinking about, okay, is this a glitter pen moment or is this a quill pen moment? but I'm curious if you've found those different pens at work on midnights. On this record, I kind of envision her as like in front of her moleskin, and she's got all three pens going at the same time,

and you can hear lyrics interwoven between your quill, fountain, and glitter qualities. So if you take a song like Antihero, for example, you have these lyrics which feel important and poetic and very on the nose with their rhyme schemes. For me, maybe a quill pen quality. I should not be left to my own devices. They come with prices and vices. I end up in crisis.

You know, she even says, tail as old as time. It's like, this is with my quill pen. Yeah, there's something very consciously poetic about that particular passage. And then within the same song, she'll go total glitter gel pen on us and say the most ridiculous lines.

Sometimes I feel. Okay. Amazing. It's a big line. Maybe the best quadrant on the album, in my opinion. So sexy baby is a reference to the TV show 30 Rock. I'm a very sexy baby. I can't help it if men are attracted to me.

I remember that episode. And then she talks about being a monster on a hill that can't be killed, even when you shoot it through the heart. And I don't know. This felt to me like the hill reference, monster reference. Like, have you been watching Stranger Things and listening to Kate Bush? Like, are you doing a double reference to pop culture moments? I couldn't say, Chuck, but that does strike me as another quill pen moment, right? Pierced through the heart.

That's got a nice kind of Edgar Allan Poe vibe to it. She's mixing the pens up in the same stanza. So where do we find the fountain pen? Fountain pens being the sort of more modern storylines that use interesting turns of phrase. I think we hear it in the chorus. Sometimes you're moved by something, not just because of the emotion that it's conveying, but just because of the kind of perfection with which it's crafted. This chorus is that to me.

I don't know that I'm certainly moved by the sentiment of it, you know, the kind of vulnerability of it. Self-sabotaging. But just the way it's like so beautifully put together, the way it kind of tries. trails on on this like run on sentence. That's like buoyed by the music kind of pushing it forward and then reaches this climax, which leads you into this instrumental break where you sort of like contemplate everything that you've just dropped in this awkward way. It's just, m-m-a, chef's kiss. I think it's a fountain pen because it begins with this sort of contemporary cloquialism. It's like, hi, it's me.

I'm the problem. And then she has this great turn of phrase where I'll stare directly at the sun but never in the mirror. it must be exhausting, always rooting for the anti-hero. There's a lot of imagery packed into that one little moment, staring at the sun, which is very damaging to your eyes. You should not do that. But never in the mirror, never self-reflecting. It's like she took something that was very flippant.

Hey, it's me! And then made it something that kind of punches you in the gut. There's a real truth bomb about not acknowledging your own stuff. You're being your own problem. Fountain pen, glitter gel pen, quill pen. It's all there, an anti-hero. Very nice, Chuck. You know, what makes Midnights a cohesive project is, of course, the marrying of lyrics and sound.

And in the second half, we're going to explore the sonic landscape of Midnights. Finally. Attention, Spotify. Has arrived at the new Good Girl Jasmine Absolute of Caroline Herrera. A fragrance intense with character curman and addicive. Imagine a jasmine emvolventy, caramelized, and tonka-tosted. A combination that seduce from the first instant and he has a wella. Good Girl Jasmine Absolute, Hypnotic.

I have to admit, when I first heard Midnights, I was kind of confused because I really enjoyed the folklore Evermore era of Taylor Swift. I love the lean-in to songwriting, the sort of acoustic nature of those albums, the experimental sounds and fragments that happened in the background, and in particular, the fictional characters that she invented in those albums. I thought, well, maybe we're going to go deeper into that more organic sounding thing for her next record. But no, this is a very electronic forward pop record. At first, I thought it feels like we're going back to 1989 or reputation or lover. But even though it's very electronic, it's also quite constrained, a little bit minimal, very measured. Let's talk about the different soundscapes that we're hearing. Let's...

Taylor made the record with her longtime producer friend Jack Antonoff, who's a friend of the show, and you can hear all kinds of his retro synth sequences throughout the album, like in Bajouled,

or in Mastermind. All of these retro synth sounds are supported by down-tempo dance rhythms like we heard on Lavender Hayes. But if there's one through line on this record, it's that bass sound. Wow, wow, wow. Do you know what that's called?

It's called a sludge thunder base. It actually has a name. It's called A Reesbase. A Reesbase is synthistically characterized as like a very low discomfort to whatever it accompanies. That's John Hall. He's a musician and educator at Soundfly, which teaches music production. Oh, yeah. I like those guys.

He taught me how to make one of these Reese bass sounds. Check it out. But of course, John Hall was not the originator of this dark brooding sound. The Reese base was first created by Kevin Sanderson under the alias Reese in 1988 for his track, just won another chance. That is like the archetypal sound. However, Reese or Kevin Sanderson wasn't really recognized for it. It was actually a track from 1994 by the UK artist Renegades.

He sampled just want another chance for his track, terrorist, and that put the sound on the map. From there, it became sort of a quintessential element of the jungle and drum and bass sound or scene. And from there, you know, another track where you might recognize the sound is in Burial's track Archangel. That re-space comes from techno, goes to drum and bass in UK garage, and it has become a mainstain pop music. It's not unusual to hear the re-space sound, but it is all over midnights. That was question. You can hear that sludgy re-space also on the song Labyrinth. It's on Maroon.

Yeah, there it is. It's on anti-hero that we heard earlier. Midnight rain. and a very glitter gel pen song about cats and karma called karma. It's on almost every song on this record except for some of the slower things. And for me, it connects the world of Midnights into the dance genres that originated this sound. It makes it feel like a later night kind of club track, even though many of the beats are down tempo. So this is very illuminating, Charles, thank you, and John Hull for these insights, because I was hearing that bass sound, but I didn't know what to call it.

I wasn't even sure if I was like a little nuts for thinking that it was throughout this album. So you've made me feel a little saner, which I appreciate. Can I throw out a perhaps obtuse analogy here? Of course. Have you seen the movie Dune? The original starring the mayor from Portlandia, or the more recent one with that handsome skinny kid that everyone seems to like? Literally any version, including the books,

because what I suggest is that re-space is sort of equivalent to the sandworms in Dune. Check it out. It's under the surface. You almost don't really hear it clearly. You only see the sand moving, And you get like sort of a hint of what that creature, that sound might look like, might sound like. You get the sense that if you turn up your speakers to hear the bass more clearly, you still wouldn't really be able to. It's always a little bit out of reach something about the way the sound is filtered or sidechained.

I don't know what it is, but it's like it's untouchable, it's unreachable. It's all it's just beyond the point of apprehension. it's subterranean it's dark i feel like that's a metaphor for many of the themes on this album of like up in the middle of the night trying to catch a fragment of a dream you had trying to recreate a half lost memory trying to grapple with something beyond your ken that base that is like there but not there yeah that kind of mirrors that that kind of emotional state what you're saying about the base being kind of this foundation for this discomforting dark, dreamlike world that is midnights. I feel like we get that same feeling of disorientation, that quality of surrealness

in the way that the voices on this record are processed. And it's there right from the very beginning, again, in Lavender Hays. We would hear those kinds of sounds throughout dance music. You even hear it in John Hall brought up Burial's Archangel. Similarly, Taylor's vocals get really messed with and they're disorienting. Wayne, he wanted a comfortable I wanted that pain. He wanted a pride I was making my own name. You know that's Taylor Swift. You know I checked it.

I sped it up and played with a formance on her voice. Wayne, he wanted a comfortable I wanted that pain. He wanted a friend I was making my own name. Jason that pain. Charles, this is a podcast. but the listeners should know I'm agape. Your mouth may be a gape, but it sounds like Taylor Swift's jaw is on the floor

and she has transformed into an alien being, maybe that monster running up a hill in the song, Labyrinth. This part makes me wish that there were a slowdown version over the rest of the album. It turns out if you go down four semitones with Taylor Swift's voice, you get some really rich, gooey, beautiful, Yeah, we've definitely heard her voice manipulated in the past, but never to this degree.

I mean, it's really distorted and unrecognizable. Like, I wasn't sure if we were even listening to her. That feels like a new depth of, like, vocal manipulation. It fits the world of Midnights, right? I get that a late night record is going to be synth-based. It is going to have these dark, eerie bass lines, the Reese-based. and like in a dream when you can't quite hear the dialogue of what people are saying to you, the voices are kind of going in and out of different dimensions.

I think when she brings these sounds together with the lyrics that we discussed earlier, she is crafting a new world, Midnights. And yet, of course, it is undeniably Taylor Swift. All of the qualities that you and I have identified over the years, her musical tropes they're all throughout this record. You dropped one earlier. One note melodies.

One note melodies all the time. I hear him in Taylor Swift. One note melodies. Just one note again and again and again. There's so many of them, but I'll just give you a few. Mastermind. I told you none of it was accidental

in the first night that you saw me. Very nice. Maroon has one. You start hearing them everywhere, but it's not just one note melodies. Nate, you know what we have here? A T-drop? We have new T-drops to add to the T-Drop.

Can you do a musical refresher and what the heck is the T-drop? The T-drop is a melodic device that we encountered, especially like 1989 and earlier Taylor Swift. And it always

looks like a descent of a minor second and then a descent of a third or sometimes a six. I think probably the iconic example comes in the chorus of You Belong With Me. It's right there on me. That's like the archetypal T-drop.

But we haven't heard them in a while. So I'm excited that they're making a return. I think I found three. You've got one on the song, you're on your own kid Summer went away Still the yearning stays Oh man

Best of them You'll hear it again Right Best of them T drop Yeah I think it actually drops a little lower But any

Any drop that starts with a minor Second and then descends qualifies as a T drop So we're definitely counting it All right I got another one for you It's in the song Labyrinth you'd break your back to may break There it is

Da-da-ya Yep Wow, this is like warming my heart to hear these two drops I love it Naya That is to me like the sound of Taylor Swift I think we've got one more

A modified one if you will It's the end of the album actually The proper album There's bonus songs It's a whole thing But the 13 original songs It's on Mastermind Mastermind

Mastermind Everybody Mastermind It's like a gift That she gave the podcast man So so satisfying There's only one explanation Well I mean she clearly

She's been listening to the show Reading our book Yep absolutely Yeah Your academic articles Subscribing online Yeah and she's like I'm going to give this

I'm going to give a little Easter egg To all the Switched on Pop fans Out there a T-drop And what more could we ask for I think there might be one new Taylor Swiftism that I've identified. We've got the T-Drop. I think we also might have a T-Hop. Okay.

Okay. I know, I know, I know. You're looking a little conspiratorial right now in a way that's freaking me out. But yeah, tell me about this. Check out the chorus of the song, Midnight Rain. She goes up to. Yeah. The city.

Whoa. That's horrible. That's why Taylor does it, not a name. The same, like that. There you go. The same. Yeah, that thing. So that's an octave jump, right?

Yeah. So that's the T-Hob? Does she do that in other places as well? When I heard Midnight Rain, I was like, that feels familiar. It was actually Rihanna, who helped connect me to all you had to do was stay. I think there are many more Taylor Swift songwriting mannerisms that we could pick up. Definitely. I'm going to investigate the T-Hop.

I don't like that name. I'm just going to say that right now. I can try a new one. So go back to the workshop. Okay. But I am persuaded there might be something more there, so stay tuned. That's what does compel me about this record. I, on first listen, was like, I don't know, it's kind of down tempo.

There's no big over-the-top funky bass lines to get me dancing. It's all this thick re-space. And then I listen to it again and again. And you have these constant hooks, these lyrical twists, these mannerisms that are undeniably Taylor Swift, and these songs keep pulling me back. And that might be because they are built around a whole world, this world of Midnights, where she blends reality and fiction in this enticing way where I don't know if I'm awake or if I'm dreaming, or if I just set my alarm clock to wake up in the middle hours of the night on a Friday to listen to a new Taylor Swift drop.

And while I do draw up perverse thrill from staying up all night and then having to record with this destroyed voice that you hear before you, maybe Taylor could release your next album at like 2 p.m. How's that? Yeah, like on a Wednesday. Afternoons. There's a, there's a nice concept. Lazy afternoons. Got that, Taylor? Mid morning. Mid morning. Lark goes down in the mid morning, you know. Lunch, thinking about lunch. Anyway, just just some free ideas here from your friendly host at Switchson Pop. Switched-on-pop is produced by Rihanna Cruz, edited by Jolie Myers-Mobile, engineered by Brandon McFarland, Community Management by Abby Barr, Illustrations by Iris Gottlie. Our executive producers are Hanna Rosen and Nishak-Kirwa, and a member of the Vox Media Podcast Network and a production of Vulture. You can listen to more episodes of Switched-on-pop anywhere you listen to podcasts, including whatever method you're using right now to listen to this podcast. You can find more of them.

We also have our website. There's a backslash somewhere in there, but I'll leave that for you to figure out. And finally, I would be remiss not to mention that we are dying to take part in the Midnight's discourse. So find us on Twitter at SwitchDumpop on Instagram at Switched on Pop and tell us your thoughts. What are you hearing? What are we missing? Are there more T-drops? Are there references to Taylor Swift songs past?

Like, just there's no shortage. So, yeah. And then next week, you have something super. exciting, a piece you've been working on for many months now. What's going on? Charlie, you know, I'm a fan of the funk, and in our next episode, I got to speak to Scary Pockets and Lizzie McAlpine, musicians who take pop hits and transform them into funk masterpieces and found unprecedented viral success doing so. So that's going to be a really fun conversation that you won't want to miss. And your voice, I'm sure, will be healed and beautiful and just, it's gorgeous lowest register,

almost like a re-space. I don't know what you're talking about. Until then, thanks for listening. Thanks for listening.