Latest / Conspiracy! The Show / The Nazi 440hz Conspiracy

Transcript

The Nazi 440hz Conspiracy · Conspiracy! The Show

• 0:10
  Speaker 1: Welcome to Conspiracy The Show, the world's most trusted conspiracy
• 0:16
  Speaker 1: dairy podcast, with your hosts Adam Todd Brown and Olivia Hidar.
• 0:32
  Speaker 2: Hey, everybody, welcome to Conspiracy the Show. I'm your host
• 0:38
  Speaker 2: Adam Todd Brown joining me as co host this week
• 0:42
  Speaker 2: special guest Travis Clark.
• 0:45
  Speaker 3: What is up conspiracy pals that we say to the.
• 0:48
  Speaker 2: We haven't given them a name, but I think conspiracy
• 0:51
  Speaker 2: Pals makes the most.
• 0:52
  Speaker 3: I think so too. I mean, because you know.
• 0:54
  Speaker 2: Where we're conspiracy the pals.
• 0:57
  Speaker 3: Conspiracy the pals, or we sit around and we talk
• 1:00
  Speaker 3: about the conspiracy as the palse.
• 1:02
  Speaker 2: Correct everyone knows Travis. You've been on a few episodes,
• 1:05
  Speaker 2: most recently the Hollow Moon episode.
• 1:08
  Speaker 3: God Damn Hollow Moon. I still say we are all
• 1:12
  Speaker 3: just a galactic zoo and the aliens are up there
• 1:14
  Speaker 3: looking at us, and that's their observation tower.
• 1:17
  Speaker 2: It's ringing. I can hear that Halloween ringing like a bell.
• 1:20
  Speaker 3: Ah.
• 1:21
  Speaker 2: I think we did a Courtney Love Kurt Kobaine episode
• 1:24
  Speaker 2: at one point, which is track.
• 1:26
  Speaker 3: Courtney Love is also hollow us.
• 1:31
  Speaker 2: Nothing in there, and that would track because Travis is
• 1:33
  Speaker 2: my co host on another podcast called You don't even like.
• 1:37
  Speaker 3: This band, And you know, I don't even like this conspiracy.
• 1:41
  Speaker 2: I didn't like this conspiracy nor the documentary that we
• 1:46
  Speaker 2: tried to watch to research this conspiracy. Sometimes that works,
• 1:51
  Speaker 2: Sometimes a documentary gives you all the information you need,
• 1:55
  Speaker 2: and that's great in this case. As Travis can attest,
• 1:59
  Speaker 2: about two words of the way into the notes, I
• 2:01
  Speaker 2: just wrote a thing that says I'm gonna have to
• 2:04
  Speaker 2: research this myself.
• 2:06
  Speaker 3: It's great so to peer behind the curtain listeners. Adam
• 2:09
  Speaker 3: does a great job of like breaking down the topics
• 2:11
  Speaker 3: and giving notes, and it became very clear that he
• 2:14
  Speaker 3: was real time putting notes as he was watching the documentary.
• 2:17
  Speaker 3: As I was reading them, I was like, oh my god,
• 2:19
  Speaker 3: this is word for word what I was thinking while
• 2:21
  Speaker 3: watching it as well. It was like, what is happening here?
• 2:25
  Speaker 2: Yeah, we're still going to talk about that documentary, but
• 2:28
  Speaker 2: in terms of information about the theory we're covering, we
• 2:32
  Speaker 2: had to reach out for some other sources. Yeah, and
• 2:35
  Speaker 2: it's a weird theory. I don't know how best to
• 2:37
  Speaker 2: describe it. The Nazi a four thirty two theory, I guess.
• 2:42
  Speaker 3: Which sounds like some robot AI. The Nazi a four
• 2:47
  Speaker 3: to thirty two.
• 2:48
  Speaker 2: Yeah, I mean, take the name Nazi out of there,
• 2:50
  Speaker 2: and it's a pretty cool name for any like a
• 2:54
  Speaker 2: four thirty two just sounds like I'm listening if you
• 2:57
  Speaker 2: If you say, hey, you want to know about a
• 2:59
  Speaker 2: four thirty two, absolutely I'm gonna say yes, And I
• 3:03
  Speaker 2: expect it's gonna be yeah, like cool robot shit, but
• 3:05
  Speaker 2: it's not.
• 3:06
  Speaker 3: It's you know, th Chicks one one three eight was
• 3:09
  Speaker 3: released through passed by A four three two And okay, sure,
• 3:14
  Speaker 3: all right.
• 3:14
  Speaker 2: This is a wild theory that claims that in nineteen
• 3:19
  Speaker 2: thirty nine, infamous Nazi creep Joseph Gerbels instigated a movement
• 3:25
  Speaker 2: to change the standard tuning for musical instruments from four
• 3:30
  Speaker 2: hundred and thirty two hertz to four hundred and forty hertz.
• 3:35
  Speaker 2: This is the kind of shit, Travis, you deal with
• 3:37
  Speaker 2: sometimes you do audio engineering.
• 3:39
  Speaker 3: You're a musician, Yeah, And like tuning to a four
• 3:42
  Speaker 3: forty is like anybody who's used a chromatic tuner, Like
• 3:46
  Speaker 3: it says that, and you just go, I guess, sure,
• 3:49
  Speaker 3: Like I guess I'm tuning to that because you said so.
• 3:53
  Speaker 3: But what I'm hearing you say though about this tuning
• 3:55
  Speaker 3: is that things were one way and then come nineteen
• 3:59
  Speaker 3: thirty nine, everything.
• 4:00
  Speaker 2: Changed, everything changed. This was the nineteen thirty nine meeting
• 4:05
  Speaker 2: that changed everything.
• 4:07
  Speaker 3: I just I love that. Like the way this conspiracy
• 4:11
  Speaker 3: works and the way this theory works is that the
• 4:14
  Speaker 3: entire world was like, all right, we need to figure
• 4:16
  Speaker 3: out tunings and we need to figure out how the
• 4:19
  Speaker 3: Nazis are going to tune instruments. It doesn't make any
• 4:22
  Speaker 3: sense to.
• 4:23
  Speaker 2: Me, It really doesn't. And it's one of those theories
• 4:27
  Speaker 2: that for me falls apart right away because whenever someone
• 4:32
  Speaker 2: tells you this, I mean, the obvious question is going
• 4:35
  Speaker 2: to be, well, why why did the Nazis want to
• 4:37
  Speaker 2: change the tuning of musical instruments to four hundred and
• 4:41
  Speaker 2: forty hertz? And the answer is usually oh, you know,
• 4:45
  Speaker 2: to win the war, which raises the next obvious question,
• 4:48
  Speaker 2: how are they going to win the war? And the
• 4:50
  Speaker 2: answer is by making us sad.
• 4:52
  Speaker 3: Because slowly, over decades, just eroding your happiness by eight
• 4:59
  Speaker 3: herts different.
• 5:00
  Speaker 2: Because you know how Americans were really happy during World
• 5:04
  Speaker 2: War Two, when I mean like all of the males
• 5:08
  Speaker 2: under forty were sent off the fight in the fucking war.
• 5:11
  Speaker 3: Everyone was so thrilled about the rationing and about the
• 5:16
  Speaker 3: lack of resources that people were just like, this is
• 5:19
  Speaker 3: the best. I Also, here's where it falls Williams. Everything
• 5:26
  Speaker 3: was great. What falls apart for me is let's actually
• 5:30
  Speaker 3: say it's true. Let's say that's exactly what the Nazis did.
• 5:33
  Speaker 3: They were like, we got them, We're gonna do this,
• 5:35
  Speaker 3: and we're like, that's what we kept. After we won
• 5:38
  Speaker 3: World War two. We're like, well, we're just going to
• 5:40
  Speaker 3: leave the Nazi tuning alone. Like that's fine, just keep it. Yeah. Yeah.
• 5:44
  Speaker 2: And also they didn't win the war, so that.
• 5:47
  Speaker 3: Yes, it didn't work.
• 5:49
  Speaker 2: It didn't work either. Oh if they did try it,
• 5:52
  Speaker 2: it's like who fucking cares?
• 5:53
  Speaker 3: Well, they didn't win the World War, but they won
• 5:55
  Speaker 3: the tuning war, you know what I'm saying long con.
• 5:58
  Speaker 2: And also like the Nazis lost in you know, in
• 6:03
  Speaker 2: terms of World War two, just means like we adopted
• 6:05
  Speaker 2: them into the American government.
• 6:08
  Speaker 3: Yeah, I mean, did you not want to go into space?
• 6:10
  Speaker 3: But you know you gotta have Nazis to go to space? Yeah?
• 6:13
  Speaker 2: Or to nuke Japan?
• 6:15
  Speaker 3: Yeah? Did you not want a nuke Japan?
• 6:18
  Speaker 2: I bet Japan was like.
• 6:19
  Speaker 3: Hey, Japan's like so fucking They were like, you know
• 6:24
  Speaker 3: what we should we should have taken in some Nazis.
• 6:26
  Speaker 3: We were, they were our friends. Why did we get
• 6:30
  Speaker 3: their nuke bombs? Damn it? We fucked up.
• 6:33
  Speaker 2: So we are going to talk about the documentary in question.
• 6:37
  Speaker 3: Here.
• 6:37
  Speaker 2: It's called Oh It Hurts, But we'll dive into this
• 6:40
  Speaker 2: theory a little more first.
• 6:41
  Speaker 3: But you know, Adam, to someone who's just listening, they
• 6:45
  Speaker 3: might think you mean like hurts, like pain, but it's
• 6:47
  Speaker 3: it's not spilmed that way. It's a punny title. It's
• 6:50
  Speaker 3: a punny title.
• 6:51
  Speaker 2: It's little word play for you, a little conspiracy theory
• 6:54
  Speaker 2: word play. Oh it hurts h E r t Z
• 6:59
  Speaker 2: can I I can tell you reference to the car
• 7:01
  Speaker 2: rental company outs.
• 7:03
  Speaker 3: That's what I was gonna say. I'm such an idiot
• 7:05
  Speaker 3: that when you first sent this to me, I was like, oh,
• 7:07
  Speaker 3: conspiracy about rental cars. I like it?
• 7:09
  Speaker 2: What is it?
• 7:11
  Speaker 3: You know? Like? And then I was like, oh no,
• 7:13
  Speaker 3: the sound just my first thought was rental cars. So
• 7:17
  Speaker 3: I really feel hurts the company kind of owns hurts
• 7:21
  Speaker 3: the word more than the frequency.
• 7:24
  Speaker 2: Kind of Yeah, right, I wonder how hurts the company
• 7:27
  Speaker 2: came up with that there were Nazis.
• 7:28
  Speaker 3: They're just a bunch of Nazis the rent cars. Yeah,
• 7:31
  Speaker 3: it's Nazis. Yeah.
• 7:32
  Speaker 2: So yeah. There are a couple of different write ups
• 7:35
  Speaker 2: out there that get into how this theory happened, along
• 7:39
  Speaker 2: with that documentary that we'll talk about later. For now,
• 7:42
  Speaker 2: one of the better explanations of this theory out there
• 7:45
  Speaker 2: comes from a writer named Jacob Marion. And give them
• 7:49
  Speaker 2: the spelling of that first name. I sure could be
• 7:52
  Speaker 2: mispronouncing it. It looks like Yakub. I think it might
• 7:55
  Speaker 2: be Yakub.
• 7:55
  Speaker 3: Yeah.
• 7:56
  Speaker 2: Well, that takes on a whole other conspiracy in each
• 8:00
  Speaker 2: to it, because that's the name that the Nation of
• 8:04
  Speaker 2: Islam assigns to the evil scientists who created white people.
• 8:07
  Speaker 3: In a lab. Well, I mean, actually that just tracks
• 8:10
  Speaker 3: for me.
• 8:12
  Speaker 2: Yeah, this is probably a different Yakub.
• 8:17
  Speaker 3: How many Yakubs are there? This one the one who
• 8:20
  Speaker 3: created evil white people? And then that's it, right, it's
• 8:22
  Speaker 3: just two yeah, the too. Yeah.
• 8:24
  Speaker 2: And one of the things they explain in this article
• 8:28
  Speaker 2: is all of the allegedly mystical properties surrounding the four
• 8:33
  Speaker 2: hundred and thirty two hertz frequency, because the argument here
• 8:38
  Speaker 2: is that well, four thirty two is what it used
• 8:41
  Speaker 2: to be, and then the Nazis came along and changed
• 8:43
  Speaker 2: it to four forty. Because one of the things people
• 8:46
  Speaker 2: say about the four hundred and thirty two Hurtz frequency
• 8:49
  Speaker 2: is that it's like the frequency of nature, and that
• 8:52
  Speaker 2: all these ancient cultures and civilizations used it. Prince used it,
• 8:58
  Speaker 2: and it's supposed to have these like special magic properties.
• 9:02
  Speaker 3: It feels like you can stop it. Prince used it,
• 9:04
  Speaker 3: like if you go, Prince, Prince was all right, that's
• 9:06
  Speaker 3: probably the one we should use. Let's just make it
• 9:08
  Speaker 3: the Prince standard.
• 9:09
  Speaker 2: Yeah, exactly, until you start talking opiates, then yeah, don't
• 9:14
  Speaker 2: do that. Yeah, don't don't go the Prince route.
• 9:18
  Speaker 3: He took four hundred and thirty two opiates. You're like,
• 9:20
  Speaker 3: that's too many opiates, Prince, Jeez, that hurts.
• 9:25
  Speaker 2: So here's a quote from this article about one of
• 9:29
  Speaker 2: the magical things about four hundred and thirty two, just
• 9:32
  Speaker 2: as a number, not as a frequency. Okay, Indeed, it
• 9:35
  Speaker 2: is an interesting number. It is a sum of four
• 9:38
  Speaker 2: consecutive primes one O three, one oh seven, one oh nine,
• 9:42
  Speaker 2: one thirteen. It is exactly three gross, where gross equals
• 9:47
  Speaker 2: one forty four as a traditional unit. An equilateral triangle
• 9:50
  Speaker 2: whose area and perimeter are equal has the area of
• 9:54
  Speaker 2: exactly the square root of four thirty two end quote.
• 9:58
  Speaker 2: And it's like, yeah, if they didn't say that, I
• 9:59
  Speaker 2: was gonna say all that.
• 10:00
  Speaker 3: I mean all of that tracks Also is did AI
• 10:04
  Speaker 3: write this article? It is just words.
• 10:08
  Speaker 2: It is a whole lot of words, and I don't know.
• 10:11
  Speaker 2: I wouldn't be surprised if AI cranked this out.
• 10:13
  Speaker 3: But it's also too like an equal level what was it?
• 10:17
  Speaker 3: An equilateral triangle whose arian parimeter are equal. That's already
• 10:21
  Speaker 3: what an equalletical triangle is. You were you paying you
• 10:25
  Speaker 3: by the word Ai? What's happening here?
• 10:27
  Speaker 2: Yeah? I think they were maybe just explaining what an
• 10:32
  Speaker 2: equilateral triangle is. But the problem is anyone who's going
• 10:35
  Speaker 2: to understand that sentence already knows what an equilateral triangle is.
• 10:40
  Speaker 2: You don't have to yah koob explain it too.
• 10:43
  Speaker 3: Don't yak koob explain me? Bro right.
• 10:46
  Speaker 2: They also mention other stuff, like how there are four
• 10:49
  Speaker 2: hundred and thirty two Buddhist statues on Mount Mayru.
• 10:52
  Speaker 3: Ever been I summered there as a child?
• 10:55
  Speaker 2: Nice? Yeah, I brought a Buddhist statue home with me.
• 10:58
  Speaker 2: There's actually only four hundred third.
• 11:00
  Speaker 3: Oh, you know now that you mentioned it. The last
• 11:03
  Speaker 3: time I was there, I was like, this feels like
• 11:05
  Speaker 3: it's just like one off. You either need to add
• 11:08
  Speaker 3: eight more or take more away. I can't decide what
• 11:11
  Speaker 3: we need to do.
• 11:12
  Speaker 2: It's actually right here behind me. Looks like a cardboard
• 11:14
  Speaker 2: cutout of the Iron Giant, but it's actually Ah, what
• 11:18
  Speaker 2: do we say, buddhas statute?
• 11:19
  Speaker 3: Yeah, buddhas statute? Yeah.
• 11:21
  Speaker 2: No.
• 11:21
  Speaker 3: A lot of people don't realize that Buddha looked like
• 11:24
  Speaker 3: a robot that was voiced by Vin Diesel. Most people
• 11:27
  Speaker 3: don't realize.
• 11:27
  Speaker 2: That the Iron Giant of his day very much.
• 11:31
  Speaker 3: So I would argue said dartha iron Giant Gutama was
• 11:35
  Speaker 3: his name.
• 11:37
  Speaker 2: There are also some suggestions that this frequency is somehow
• 11:41
  Speaker 2: related to the location of chakras, oh, which prove it's not.
• 11:46
  Speaker 3: You know.
• 11:47
  Speaker 2: I also I love this quote from the article. There
• 11:50
  Speaker 2: is even a claim that scientists at Nike found out
• 11:53
  Speaker 2: that the best golf balls have four hundred and thirty
• 11:57
  Speaker 2: two dimples on them. I like that because it's not
• 12:00
  Speaker 2: a claim. You could just google that. Here is a
• 12:02
  Speaker 2: quote from Nike about their golf balls. They say they
• 12:06
  Speaker 2: have a quote four hundred and thirty two dimple pattern
• 12:09
  Speaker 2: cover designed for long, accurate flights.
• 12:12
  Speaker 3: That's great because I mean that is literally like you're
• 12:16
  Speaker 3: conflating two things. You're like, well, four hundred and thirty
• 12:18
  Speaker 3: two dimples to make a golf ball go clearly has
• 12:21
  Speaker 3: something to do with, you know, how golf balls travel
• 12:24
  Speaker 3: like sound, So that's gotta be the best way to
• 12:28
  Speaker 3: tune things. Because of chakras and Buddhist statues, You're like,
• 12:32
  Speaker 3: fuck are you talking about.
• 12:35
  Speaker 2: They do hit on one pretty interesting point in this
• 12:38
  Speaker 2: article when they're shooting down the idea of four hundred
• 12:43
  Speaker 2: and thirty two being a magical number as it pertains
• 12:46
  Speaker 2: to frequencies, and here it goes, this quote is kind
• 12:50
  Speaker 2: of long, but you'll all survive. It is important to
• 12:53
  Speaker 2: understand that four hundred and thirty two hurtz refers to
• 12:56
  Speaker 2: the number of vibrations per second, and one second is
• 12:59
  Speaker 2: a rap arbitrarily chosen unit. Originally from ancient times through
• 13:04
  Speaker 2: the Middle Ages, the hour was divided into two, three, four,
• 13:09
  Speaker 2: or twelve equal parts, but never into sixty, so there
• 13:14
  Speaker 2: wasn't even a minute. Fractions of a minute were not
• 13:17
  Speaker 2: used at all. There were no devices at the time
• 13:19
  Speaker 2: that could measure such short periods of time. Had we
• 13:22
  Speaker 2: stuck with dividing everything into twelve parts, the second could
• 13:26
  Speaker 2: have been one twelfth of a minute, or perhaps one
• 13:29
  Speaker 2: thy seven hundred and twenty eighth of an hour, which
• 13:32
  Speaker 2: would give a completely different numerical value for the same frequency.
• 13:37
  Speaker 2: The current definition is just a coincidence. I thought that
• 13:41
  Speaker 2: was kind of interesting and a good point if nothing else.
• 13:44
  Speaker 3: Yeah, Also, there's just so many things about time in
• 13:48
  Speaker 3: that that I'm like, wait, when did we come up
• 13:50
  Speaker 3: with second? There's your conspiracy who came up with seconds?
• 13:53
  Speaker 3: Who started measuring things that way?
• 13:55
  Speaker 2: And I think they do actually get into that a
• 13:58
  Speaker 2: little bit in that article, which will to it's a
• 14:00
  Speaker 2: I appreciate the tone they take with this conspiracy theory
• 14:05
  Speaker 2: because it's not one of those articles that's like, here's
• 14:08
  Speaker 2: the facts, you decide for yourself. They're just like, now,
• 14:11
  Speaker 2: this is bullshit.
• 14:12
  Speaker 3: I like that. You like the tone of an article
• 14:14
  Speaker 3: about frequencies. That makes me very happy.
• 14:17
  Speaker 2: I don't get it. What do you mean it's a I'll.
• 14:20
  Speaker 3: Explain later, it's an It's it's an insight joke. So
• 14:24
  Speaker 3: you know, before we get a little further into it,
• 14:26
  Speaker 3: if we're going to talk about four forty, and I
• 14:28
  Speaker 3: mentioned this to you earlier, if we're going to dive
• 14:31
  Speaker 3: into it, if you take four forty and you remove
• 14:34
  Speaker 3: the zero, you got four to four, and if you
• 14:36
  Speaker 3: double that, you get eight to eight. And the eighth
• 14:39
  Speaker 3: letter of the alphabet is H, so you got two h's.
• 14:42
  Speaker 3: So it's Kyle Hitler. So four forty is clearly a
• 14:45
  Speaker 3: Nazi noise.
• 14:46
  Speaker 2: That does actually make a lot of sense.
• 14:48
  Speaker 3: It just totally checks out, you know, And.
• 14:50
  Speaker 2: I feel like we could have just like tweeted that
• 14:52
  Speaker 2: instead of recording this pod would have got the same
• 14:57
  Speaker 2: amount of information.
• 15:00
  Speaker 3: Travis thinks all noises are Nazi noises, and they've been like, oh, okay,
• 15:04
  Speaker 3: well finally tweet went viral.
• 15:06
  Speaker 2: Yeah that makes sense. So this same article, and pretty
• 15:11
  Speaker 2: much any article you'll read debunking this Nazi theory, traces
• 15:16
  Speaker 2: the genesis of the four hundred and thirty two Hertz
• 15:19
  Speaker 2: debate back to the nineteenth century, and one of the
• 15:22
  Speaker 2: things they bring up in particular in this article is
• 15:26
  Speaker 2: the nineteenth century pitch wars, which I had never heard of.
• 15:32
  Speaker 3: I hadn't either, but I find this fascinating and I'm
• 15:35
  Speaker 3: not being sarcastic at all.
• 15:36
  Speaker 2: And the best way to explain it is, if you
• 15:40
  Speaker 2: play a stringed instrument, those strings are going to sound
• 15:42
  Speaker 2: better the higher the tension.
• 15:43
  Speaker 3: Is.
• 15:44
  Speaker 2: Like when you have to change your strings, it's usually
• 15:46
  Speaker 2: because they've lost their tension and so you have to
• 15:49
  Speaker 2: replace them. In the nineteenth century, they weren't manufacturing different
• 15:54
  Speaker 2: gages of strings and things like that. It wasn't as
• 15:57
  Speaker 2: readily available. So what orchestra of the time would do
• 16:01
  Speaker 2: is just tune their instruments a little bit higher than
• 16:06
  Speaker 2: everyone else to increase that string tension and make their
• 16:09
  Speaker 2: shit sound better. And this turned into a war basically,
• 16:14
  Speaker 2: where all of these orchestras were competing to play their
• 16:18
  Speaker 2: stuff at higher pitch frequencies. And this, as you can
• 16:23
  Speaker 2: imagine if you're a singer, was a nightmare for singers.
• 16:26
  Speaker 3: Oh for sure, you're like, uh, this used to be
• 16:29
  Speaker 3: in my register. What what are we doing now? Yeah?
• 16:31
  Speaker 2: And you know, not just that, but they would have
• 16:33
  Speaker 2: to go sing the same song in different registers at
• 16:37
  Speaker 2: different orchestras. Oh my god, turns into a whole nightmare.
• 16:41
  Speaker 2: And apparently they complained about it enough in France that
• 16:46
  Speaker 2: the government there decided to make a four thirty five
• 16:51
  Speaker 2: the official standard, four hundred and thirty five hertz, not
• 16:54
  Speaker 2: four thirty two. Interesting, and that was decided in eighteen
• 16:58
  Speaker 2: fifty nine, and a bunch of orchestras and opera houses
• 17:02
  Speaker 2: and things all throughout Europe followed suit. Somehow Britain fucked
• 17:06
  Speaker 2: it up.
• 17:06
  Speaker 3: That doesn't track at all for how Britain is.
• 17:09
  Speaker 2: Yeah, they misinterpreted the French tuning and made their official
• 17:13
  Speaker 2: tuning four hundred and thirty nine hertz.
• 17:17
  Speaker 3: Or I'll go each little from the French blood and
• 17:20
  Speaker 3: he wants my tone. I think each change four foot
• 17:23
  Speaker 3: nine o't what we're gonna do is show right? Oh?
• 17:28
  Speaker 2: Brov fourth thirty nine?
• 17:30
  Speaker 3: Brov hi, isn't it? That's what we continued to do,
• 17:33
  Speaker 3: isn't it?
• 17:34
  Speaker 2: And so Britain is tuned into four thirty nine, the
• 17:36
  Speaker 2: rest of Europe is doing four to thirty five. And
• 17:39
  Speaker 2: this state of absolute chaos carries on for decades until
• 17:46
  Speaker 2: nineteen thirty nine, bump bum bomb, when it was decided
• 17:50
  Speaker 2: at a meeting of the British Standards Institute that we
• 17:54
  Speaker 2: should all just start fucking with four hundred and forty
• 17:57
  Speaker 2: hertz for our tuning.
• 18:00
  Speaker 3: British Standards Institute.
• 18:02
  Speaker 2: That's great, And this is the fateful meeting that Gerbels
• 18:09
  Speaker 2: and the Nazis are said to have infiltrated and in
• 18:13
  Speaker 2: the name of changing the tuning of musical instruments to
• 18:17
  Speaker 2: make Americans so sad that we would lose the war,
• 18:21
  Speaker 2: or just the Allies so sad that we would lose
• 18:25
  Speaker 2: the war.
• 18:25
  Speaker 3: You know now that you're talking about it in this
• 18:28
  Speaker 3: terms of they're changing all music to make people sad,
• 18:30
  Speaker 3: wouldn't it make Germans sad as well? Isn't everybody just
• 18:33
  Speaker 3: going to be sad?
• 18:34
  Speaker 2: Who are you working for, Travis? What's with all these questions?
• 18:40
  Speaker 3: I'm just trying to critically think about this idea of like,
• 18:43
  Speaker 3: if we're making everyone sad, some of those people are
• 18:46
  Speaker 3: on our side.
• 18:47
  Speaker 2: That was always my question when early on in COVID
• 18:53
  Speaker 2: there was this like conspiracy theory about five G spreading
• 18:57
  Speaker 2: codel right, and it's like that's going to get the
• 19:00
  Speaker 2: people spreading it too, Like that's not a smart bomb,
• 19:03
  Speaker 2: that's just like five g's everywhere.
• 19:06
  Speaker 3: That's just a bomb. Yeah, it's nice, a dumb bomb.
• 19:08
  Speaker 2: And so.
• 19:10
  Speaker 3: I was just thinking like the real sinister act is
• 19:14
  Speaker 3: that if we were having tuning wars in the nineteenth
• 19:17
  Speaker 3: century to like go higher, then we get like, you know,
• 19:21
  Speaker 3: Corn coming in and going like everything needs to be lower,
• 19:24
  Speaker 3: you know, like they come and change everything in the
• 19:26
  Speaker 3: nineth and the nineteen nineties. So that's where your real
• 19:30
  Speaker 3: conspiracy is, is the cornspiracy.
• 19:32
  Speaker 2: And they have notoriously happy fans.
• 19:36
  Speaker 3: Just unbelievable, just just love the sound of slappy, clicky
• 19:40
  Speaker 3: bass tones.
• 19:41
  Speaker 2: Yeah, so it does stand to reason that maybe this
• 19:45
  Speaker 2: theory is true. So the thing about that meeting is
• 19:48
  Speaker 2: even if the Nazis were there, and they probably were,
• 19:52
  Speaker 2: like they were the German government in nineteen thirty nine, right,
• 19:56
  Speaker 2: all you're really saying is the German government was at
• 19:59
  Speaker 2: this meeting a bunch of world governments, and it's like, well, yeah, no, shit,
• 20:03
  Speaker 2: they were at the thirty six Olympics too.
• 20:05
  Speaker 3: Can you believe the Republicans are in Congress? Yeah, that
• 20:08
  Speaker 3: half of them are, that's what they're Yes.
• 20:11
  Speaker 2: And even if they were there, and even if they
• 20:14
  Speaker 2: were the ones who recommended the change to four hundred
• 20:18
  Speaker 2: and forty hertz, when you take that British four hundred
• 20:22
  Speaker 2: and thirty nine hertz thing into accout. This is meaningless. Like,
• 20:26
  Speaker 2: I guess I'm not an expert in sound wave frequencies
• 20:30
  Speaker 2: or whatever, but I bet that jump from four thirty
• 20:34
  Speaker 2: nine to four forty in Britain had zero impact on
• 20:38
  Speaker 2: the outcome of the war.
• 20:39
  Speaker 3: If I want to imagine, what I think really happened
• 20:42
  Speaker 3: is the Nazis are at this British Standard Institute and
• 20:46
  Speaker 3: they're seek Hyland, right, but of course, but the British
• 20:49
  Speaker 3: Institute thinks they're raising their hand, so they're like, yes, Germany,
• 20:52
  Speaker 3: and they're like, oh, if we were forty, oh, there's
• 20:56
  Speaker 3: only one more, why not? Why not Brov, It's only
• 20:59
  Speaker 3: one more, you know, since a unity.
• 21:01
  Speaker 2: All the while Gerbels is looking at that tweet of
• 21:03
  Speaker 2: yours for smiling. So even then, the part where it
• 21:10
  Speaker 2: was officially adopted as the standard everywhere, it didn't happen
• 21:13
  Speaker 2: until nineteen fifty five, when the Nazis were well past defeated.
• 21:18
  Speaker 2: So it's kind of a baseless theory.
• 21:20
  Speaker 3: Yeah, it's just like somebody was just had free time
• 21:23
  Speaker 3: and they just decided, well, I saw the British Standards
• 21:26
  Speaker 3: was nineteen thirty nine, and I saw Goeibels was there,
• 21:28
  Speaker 3: So I'm just going to say nazis made for forty two.
• 21:32
  Speaker 2: It's interesting you should ask because it's almost like I
• 21:35
  Speaker 2: read the notes up next, we're going to get into
• 21:41
  Speaker 2: how this theory started.
• 21:43
  Speaker 3: Right after this break, So right.
• 21:48
  Speaker 2: Around the time the documentary we're going to talk about
• 21:51
  Speaker 2: in a minute was released, a meme started circulating on
• 21:56
  Speaker 2: the internet.
• 21:57
  Speaker 3: Oh, I should get on that. I've heard.
• 21:58
  Speaker 2: It's cool, it is. It's pretty neat. You can find
• 22:01
  Speaker 2: really cool information.
• 22:03
  Speaker 3: Accurate information too.
• 22:05
  Speaker 2: Like this meme that was going around. It was around
• 22:08
  Speaker 2: August twenty twenty one, and we'll link to all of
• 22:11
  Speaker 2: this in the show notes. The meme. It's very colorful,
• 22:15
  Speaker 2: very psychedelic. It's got a picture of Jimmy Hendrix, except
• 22:18
  Speaker 2: the planets earn his afro.
• 22:20
  Speaker 3: And he's got like a wormhole in his afro.
• 22:22
  Speaker 2: Yeah, yeah, there's a lot happening there. And it says,
• 22:25
  Speaker 2: did you know Jimmy Hendrix all caps along with John
• 22:30
  Speaker 2: Lennon all caps, Bob Marley and Prince Not all caps?
• 22:33
  Speaker 3: Yeah, what the hell happened there?
• 22:35
  Speaker 2: All tune their music to a specific frequency of four
• 22:39
  Speaker 2: hundred and thirty two hertz. It is known as the
• 22:41
  Speaker 2: beat of the earth has substantial healing benefits, and ancient
• 22:46
  Speaker 2: Egyptian and Greek instruments were discovered tuned to four hundred
• 22:51
  Speaker 2: and thirty two hertz.
• 22:52
  Speaker 3: Pause stand backs.
• 22:54
  Speaker 2: No fucking way an instrument would hold its goddamn tuning.
• 22:58
  Speaker 3: I gotta gitar ituned yesterday that I guarantee you is
• 23:02
  Speaker 3: not in tune right now.
• 23:04
  Speaker 2: You can't take a guitar outside in cold weather and
• 23:07
  Speaker 2: expect it to keep its fucking tuning.
• 23:10
  Speaker 3: And also to like, how do you know that they
• 23:13
  Speaker 3: didn't Just it's so arbitrary. It's so fucking.
• 23:16
  Speaker 2: Arbitrary, all right, back to this meme. However, since nineteen
• 23:21
  Speaker 2: fifty three, it's actually nineteen fifty five, nice AllMusic has
• 23:25
  Speaker 2: been tuned to four hundred and forty hertz. This frequency
• 23:29
  Speaker 2: has no scientific relationship with our universe and actually causes
• 23:35
  Speaker 2: the brain to become agitated. The Nazis in World War
• 23:39
  Speaker 2: Two use this frequency against their enemies to make them
• 23:44
  Speaker 2: feel and think a certain way. And meme and meme.
• 23:49
  Speaker 3: There's so many things towards the end there that I
• 23:52
  Speaker 3: take exception to. It's like it has no scientific relationship
• 23:56
  Speaker 3: with our universe other than the fact that we used
• 23:58
  Speaker 3: things in our universe to measure it, so it's very
• 24:02
  Speaker 3: much part of our universe. Also, dude, it gets very aggressive.
• 24:07
  Speaker 3: You know, I heard you heard something at four forty.
• 24:10
  Speaker 3: I guess you feel a certain way about it, like
• 24:12
  Speaker 3: you're you're making it. You know. I apologize for you
• 24:17
  Speaker 3: feeling bad. I'm sorry that's how you took it.
• 24:20
  Speaker 2: And also, this frequency has no scientific relationship with our universe.
• 24:25
  Speaker 2: It sounds like it has the exact same scientific relationship
• 24:29
  Speaker 2: with our universe that four hundred and thirty two does,
• 24:31
  Speaker 2: but just in the opposite way. One makes you happy,
• 24:34
  Speaker 2: one makes you sad. I'm sorry, memesters, but that is
• 24:37
  Speaker 2: a scientific relationship. Yeah, with our universe.
• 24:40
  Speaker 3: Man, it's like four point thirty two is the blue
• 24:43
  Speaker 3: pill and four forty is the red bill. You know
• 24:45
  Speaker 3: what I mean?
• 24:46
  Speaker 2: Man, It is kind of like that.
• 24:49
  Speaker 3: And just eight hurts, bro, eight hurts is what separates
• 24:52
  Speaker 3: you from being happy you're sad. Think about that next
• 24:55
  Speaker 3: time you're fucking listening to something. Okay, thanks, dude.
• 25:00
  Speaker 2: I thank you.
• 25:02
  Speaker 3: Please, Yeah, exactly, uh huh uh huh great. So again,
• 25:07
  Speaker 3: can I get a table for two? Is what I
• 25:09
  Speaker 3: asked you?
• 25:11
  Speaker 2: So when this meme started going around. Reuter's picked up
• 25:15
  Speaker 2: on it, and we'll link to this article. Also, they
• 25:18
  Speaker 2: dug a little deeper into the Nazi allegations. They trace
• 25:21
  Speaker 2: the origins of the claim back to a nineteen eighty
• 25:24
  Speaker 2: eight article in the publication run by OG conspiracy theorist
• 25:30
  Speaker 2: Linden LaRouche Always Reliable. Linden LaRouche.
• 25:36
  Speaker 3: Yeah, that's a name that does not have a tinge
• 25:39
  Speaker 3: of credibility to it.
• 25:41
  Speaker 2: No, no, not at all. It's not just that he's
• 25:44
  Speaker 2: a conspiracy theorist. He was borderline cult leader status. That
• 25:49
  Speaker 2: guy was bad times. And even then, the article says
• 25:54
  Speaker 2: nothing about the four hundred and forty hertz tuning making
• 25:58
  Speaker 2: people feel think a certain way. All it's about is
• 26:04
  Speaker 2: the Nazis allegedly being the ones who organized this meeting
• 26:09
  Speaker 2: and made this decision to switch to standard four hundred
• 26:13
  Speaker 2: and forty herts tuning. And the article just says how
• 26:16
  Speaker 2: the Nazis ruined musical tuning. It's nothing at all about
• 26:20
  Speaker 2: them using that tuning to win the war.
• 26:24
  Speaker 3: Wouldn't it be great if that's all Nazis did? Like
• 26:27
  Speaker 3: if you're like if we looked back into history and
• 26:28
  Speaker 3: they're like, oh, there was just, you know, a group
• 26:30
  Speaker 3: of people call the Nazis, what they do, how they
• 26:32
  Speaker 3: fucked up, how we tuned things. Oh that's inconvenient. Anything else, No,
• 26:36
  Speaker 3: no's we didn't. We didn't let them do anything else, did.
• 26:39
  Speaker 3: We stopped them with the tuning.
• 26:40
  Speaker 2: That's why we can never let them come back.
• 26:42
  Speaker 3: Yeah, Nazi, you slapped them at four hundred and thirty two.
• 26:47
  Speaker 2: Works, and so reuters also points out another obvious drawback
• 26:53
  Speaker 2: to this theory, which is that not all music is
• 26:55
  Speaker 2: tuned to four hundred and forty hertz. Why just because
• 26:59
  Speaker 2: some group in nineteen fifty five was like, this is
• 27:02
  Speaker 2: what it should be. It's not like the cops are
• 27:04
  Speaker 2: going to show up and arrest you if you tune
• 27:06
  Speaker 2: to a different frequency.
• 27:08
  Speaker 3: Going back to Corn, you know, Corn was like, we're
• 27:11
  Speaker 3: going to tune to like floppy noise, and then we're
• 27:13
  Speaker 3: just gonna all be at that noise. And they sold
• 27:16
  Speaker 3: millions of albums. The stuff they got in trouble for
• 27:18
  Speaker 3: had nothing to do with their tuning. The ability.
• 27:21
  Speaker 2: Yeah, Nirvana played in drop D tuning all the time.
• 27:25
  Speaker 2: It's such a common thing. Reuter's points out that Cuban
• 27:28
  Speaker 2: music tends to tune to a more frequency closer to
• 27:33
  Speaker 2: four hundred and thirty six hertz.
• 27:35
  Speaker 3: Oh.
• 27:35
  Speaker 2: Another thing they point out there was a Prince tour
• 27:38
  Speaker 2: where during an interview someone mentioned that all of the
• 27:40
  Speaker 2: pianos had to be tuned different because Japan uses a
• 27:44
  Speaker 2: different tuning. Now, if this was a Nazi plot during
• 27:47
  Speaker 2: World War Two, no one was closer to the Nazis
• 27:52
  Speaker 2: than well Italy. But also so like Japan probably would
• 27:58
  Speaker 2: have just adopted it back then, if this was really
• 28:01
  Speaker 2: a thing.
• 28:02
  Speaker 3: Yeah, they'd been like, well, our friend said this is
• 28:04
  Speaker 3: what we have to do to so please please do
• 28:07
  Speaker 3: it this way.
• 28:07
  Speaker 2: Yeah, so this theory is bullshit.
• 28:10
  Speaker 3: Yeah, I mean after someone says it to you and
• 28:12
  Speaker 3: if you ingest it and you go, oh, yeah, I
• 28:15
  Speaker 3: guess there are different frequencies. Oh I wonder Yeah, interesting
• 28:18
  Speaker 3: idea like change the way music is tuned to like
• 28:20
  Speaker 3: affect people's mood. And then the second you go, look,
• 28:23
  Speaker 3: wait a minute, doesn't like it immediately falls apart the
• 28:26
  Speaker 3: second you say, but wait a minute. But you have
• 28:28
  Speaker 3: to have beyond suspension of disbelief. You have to have
• 28:31
  Speaker 3: no critical thinking at all for this to resonate with
• 28:34
  Speaker 3: you getting resonate in.
• 28:36
  Speaker 2: It Nevertheless, that doesn't change the fact that an entire
• 28:41
  Speaker 2: documentary that is ostensibly about this theory does exist, and
• 28:46
  Speaker 2: that was the initial idea. We were just going to
• 28:48
  Speaker 2: cover this documentary. It's called again, Oh it Hurts, and
• 28:52
  Speaker 2: it is really about so much more than this theory.
• 28:56
  Speaker 2: I would argue it is almost not about this theory
• 28:59
  Speaker 2: at all and is more about how the filmmaker loves
• 29:01
  Speaker 2: the word ganrhea.
• 29:03
  Speaker 3: That is true, I would say what I said, Yeah,
• 29:07
  Speaker 3: there's I would say this documentary, other than saying this
• 29:15
  Speaker 3: theory at one point and then addressing it eventually, it
• 29:19
  Speaker 3: is almost not about this at all. It's almost like
• 29:21
  Speaker 3: that was like, well, if we don't add this on,
• 29:23
  Speaker 3: I don't know how we market this.
• 29:25
  Speaker 2: Yeah, and it feels like the meme going around and
• 29:29
  Speaker 2: this documentary being a thing are not unrelated because they
• 29:33
  Speaker 2: happen in such close proximity. And you're right, the Nazi
• 29:37
  Speaker 2: stuff does feel a little just kind of like tagged on.
• 29:41
  Speaker 3: Yeah. So the lady who made this documentary is a
• 29:46
  Speaker 3: singer and performer and I guess a bit of an
• 29:50
  Speaker 3: audio file in her own regard, and it just seems
• 29:52
  Speaker 3: like she was like, you know, I studied film at
• 29:55
  Speaker 3: art school, but I never did anything with it, So
• 29:57
  Speaker 3: what if I did a film?
• 29:58
  Speaker 2: Now?
• 29:59
  Speaker 3: Is what it felt like to me.
• 30:00
  Speaker 2: And it doesn't look bad. No, it's shot well, the
• 30:04
  Speaker 2: lighting is fine, the sound quality is great if you're
• 30:08
  Speaker 2: like an ASMR type and you really want to hear
• 30:11
  Speaker 2: those dry erase markers squeaking on that board. But it's
• 30:16
  Speaker 2: also just so weird. It's a documentary about her, which
• 30:21
  Speaker 2: is my least favorite thing for a documentary filmmaker to
• 30:25
  Speaker 2: do is tell us it's about one thing, and then
• 30:28
  Speaker 2: it's really just a highlight of you.
• 30:31
  Speaker 3: Yeah, and it's you wanted to make a vanity piece,
• 30:34
  Speaker 3: And then you're like, did Nazis make a sound that
• 30:37
  Speaker 3: makes people sad? I don't know, but I love sound,
• 30:41
  Speaker 3: and you're like, okay, great, yeah it's.
• 30:44
  Speaker 2: The woman's name is Laura Mott. There's a scene early
• 30:47
  Speaker 2: on where she breaks a glass with her voice.
• 30:50
  Speaker 3: I don't know if that I don't think that really happened.
• 30:52
  Speaker 2: I don't know. She's way into sounds and recording sounds
• 30:56
  Speaker 2: and mixing sounds. She talks about how sounds make her emotion.
• 31:00
  Speaker 2: She says champagne bubbles are one of her favorite sounds
• 31:03
  Speaker 2: and Travis, I don't doubt that one bit.
• 31:05
  Speaker 3: There's a scene in the movie where she's saying that,
• 31:08
  Speaker 3: and it's a close up of a champagne glass, right,
• 31:10
  Speaker 3: and it's got a little audio designed to it, and
• 31:13
  Speaker 3: you're like, Okay, that's cool. I got distracted by the
• 31:15
  Speaker 3: fact that there is a hair in frame, and I'm like,
• 31:19
  Speaker 3: the fuck is happening with this champagne? Like great that
• 31:22
  Speaker 3: that's your favorite son, Why is there hair in the champagne?
• 31:25
  Speaker 3: And then you pull it back and it's like she's
• 31:26
  Speaker 3: holding it up to her ear and you're like, okay,
• 31:30
  Speaker 3: but it's just a weird shot to give me while
• 31:33
  Speaker 3: you're saying your favorite thing is this because champagne and
• 31:36
  Speaker 3: hair don't typically go together.
• 31:38
  Speaker 2: She really reaches to make this about the Nazi thing too,
• 31:43
  Speaker 2: and I think a good example of that. There's two
• 31:45
  Speaker 2: quotes from really early on. One she says the sound
• 31:50
  Speaker 2: of dogs walking gives her the creeps because it reminds
• 31:53
  Speaker 2: her of Nazis marching. And here's the thing, Noah doesn't huh,
• 31:58
  Speaker 2: No one thinks of dogs that way. Rule. Even if
• 32:01
  Speaker 2: you hate dogs, you know you're the problem.
• 32:04
  Speaker 3: Yeah, that's a big stretch when you're like, when I
• 32:07
  Speaker 3: see a dog walking, all I can think about are
• 32:09
  Speaker 3: the stormtroopers and how they just ruined lives. You're like,
• 32:14
  Speaker 3: from the dog, the dog has a ball and wants
• 32:18
  Speaker 3: to play fetch. I don't know what the fuck you're
• 32:19
  Speaker 3: talking about.
• 32:21
  Speaker 2: Dog is innocent.
• 32:22
  Speaker 3: Yeah.
• 32:23
  Speaker 2: Also, I somehow find this quote even weirder. This is
• 32:27
  Speaker 2: a direct quote.
• 32:27
  Speaker 3: I like music.
• 32:29
  Speaker 2: Gurbels also liked music. I find that strange. End quote.
• 32:33
  Speaker 2: You find it strange that a person liked music. Huh
• 32:40
  Speaker 2: what why is that straight? And then just moves on.
• 32:45
  Speaker 3: It makes no sense. I like eating food. Cannibals eat people.
• 32:50
  Speaker 3: I find that strange.
• 32:52
  Speaker 2: What the fuck should I try people?
• 32:55
  Speaker 3: Yes, M delicious long pig.
• 33:00
  Speaker 2: And that's when she sort of touches on the theory.
• 33:04
  Speaker 2: In this documentary, she runs through, like some of the basics.
• 33:08
  Speaker 2: And I had in here that we were going to
• 33:09
  Speaker 2: go through the theory a little bit, but we already did.
• 33:13
  Speaker 2: We did that intensively, far more extensively than this documentary.
• 33:18
  Speaker 3: Yes, you can skip the documentary and just replay the
• 33:22
  Speaker 3: first part of this and you will be more informed
• 33:24
  Speaker 3: than if you watch the entire documentary.
• 33:27
  Speaker 2: But instead, let's talk about her point in that fucking
• 33:30
  Speaker 2: listening device at people on the streets of Providence, Rhode Island,
• 33:34
  Speaker 2: and getting no reaction. I want the outtakes of people
• 33:39
  Speaker 2: like pointing guns back at her or like yelling at her,
• 33:43
  Speaker 2: because I wouldn't stand for that.
• 33:45
  Speaker 3: No, And it's it's such a look at me moment
• 33:48
  Speaker 3: that it has to be people going the fuck because
• 33:51
  Speaker 3: if you're gonna go around with a shotgun mic to
• 33:53
  Speaker 3: like record sounds, that's kind of a very obvious thing.
• 33:57
  Speaker 3: It takes up a lot of room. Like, Okay, I
• 33:59
  Speaker 3: get that, but she's wearing a real to reel tape
• 34:02
  Speaker 3: recorder around her waist, which nobody has done in like
• 34:06
  Speaker 3: seventy years. That hasn't been the way people record sounds
• 34:10
  Speaker 3: since like the fifties. So it's like you're walking around
• 34:14
  Speaker 3: with an antique being like, I'm recording you on your skateboard,
• 34:18
  Speaker 3: I'm recording you having an argument, I'm recording that car.
• 34:22
  Speaker 3: Everything's noise and sounded could be a song. You're like, no,
• 34:25
  Speaker 3: it isn't. You're weird.
• 34:26
  Speaker 2: I guarantee to the residence of Providence, Rhode Island. She
• 34:31
  Speaker 2: is the crazy sound lady right exactly. Why no one
• 34:35
  Speaker 2: was reacting. It's like, Oh, there's the woman who's gonna
• 34:38
  Speaker 2: point a fucking microphone at you if you walk past.
• 34:41
  Speaker 3: Look, just don't give her any money, don't talk to her,
• 34:44
  Speaker 3: Just give her a wide berth. Let her do her thing.
• 34:47
  Speaker 3: She's harm less ish, but just don't engage.
• 34:51
  Speaker 2: And when she first left the house with that thing.
• 34:53
  Speaker 2: I was like, man, that's a cool fucking purse.
• 34:58
  Speaker 3: It is big. It is not a small you know, spy.
• 35:03
  Speaker 3: It's not good. It's not a good look.
• 35:05
  Speaker 2: And like, I have a phone case. It's not on
• 35:08
  Speaker 2: my phone right now, but I have a phone case
• 35:09
  Speaker 2: that looks like an old cassette. And that's what I
• 35:12
  Speaker 2: thought was happening. I thought this was just like a
• 35:14
  Speaker 2: functional bag designed to look like a real to reel recorder.
• 35:18
  Speaker 2: And then she starts pointing the world's longest shotgun mic
• 35:22
  Speaker 2: at every sound she hears, and I'm like, oh, you're
• 35:26
  Speaker 2: really trying to be noticed right now, huh Yeah.
• 35:28
  Speaker 3: For those who don't know, a shotgun mic is like
• 35:30
  Speaker 3: it's a long tube. It looks like the barrel of
• 35:32
  Speaker 3: a shotgun, which is why it's called the shotgun mic.
• 35:34
  Speaker 3: And they're typically I don't know, foot foot and a half.
• 35:37
  Speaker 3: Some are like maybe even two feet long. Hers is
• 35:40
  Speaker 3: like longer than an arm you could pull vault with
• 35:43
  Speaker 3: this shotgun.
• 35:44
  Speaker 2: Mic and she's just pointing it at random people. It's
• 35:48
  Speaker 2: the kind of shit only white people are comfortable doing.
• 35:52
  Speaker 3: Yeah, and she has a pistol grip on it, so
• 35:55
  Speaker 3: it looks like some like fifties ray gun that she's
• 35:57
  Speaker 3: pointing at people.
• 35:59
  Speaker 2: Like if you saw it from far enough away, you
• 36:02
  Speaker 2: would think she was pointing guns.
• 36:05
  Speaker 3: You're like Grandma reeal to Reel is trying to shoot
• 36:07
  Speaker 3: people with a death ray. We gotta stop her.
• 36:09
  Speaker 2: Yeah, it's insane, and no one says a word. And
• 36:13
  Speaker 2: that's how I know she is a fixture in this community.
• 36:16
  Speaker 2: Like there was a guy where I grew up in
• 36:18
  Speaker 2: Peoria named Willy York. Willy York lived on the streets
• 36:24
  Speaker 2: of Peoria, Illinois. He would wear necklaces with animal teeth,
• 36:30
  Speaker 2: animal teeth and would sometimes eat cats, Like if he
• 36:36
  Speaker 2: found a dead cat, he would sometimes give it some knoms,
• 36:39
  Speaker 2: but otherwise very like he was just like a fixture,
• 36:42
  Speaker 2: Like you would just sometimes you'd see him and you'd
• 36:44
  Speaker 2: be like, there's Willy Yorke. He's that one of those
• 36:46
  Speaker 2: people that everyone in town knew. He was like a
• 36:49
  Speaker 2: local celebrity. I guarantee that's Lauria Mott in Providence, Rhode Island.
• 36:55
  Speaker 3: When I lived in Venice, California, not Italy. When I
• 36:58
  Speaker 3: lived in Venice, there was a guy named pink Man,
• 37:00
  Speaker 3: and pink Man, not surprisingly, wore head to toe spandex
• 37:05
  Speaker 3: that was pink and rode a unicycle and he had
• 37:07
  Speaker 3: a cape and you'd see him around and you're like,
• 37:09
  Speaker 3: that's pink Man. But then one day pink Man showed
• 37:11
  Speaker 3: up at my work, like delivering something on an elevator,
• 37:15
  Speaker 3: and he came out of the elevator in pink spandex
• 37:18
  Speaker 3: with a cape on a unicycle to deliver something. And
• 37:21
  Speaker 3: I went pink Man. He goes, you know the pink Man.
• 37:23
  Speaker 3: I'm like, motherfucker, everybody knows you. You're the guy in
• 37:26
  Speaker 3: pink spandex on a unicycle.
• 37:27
  Speaker 2: Yes, you know the pink Man. Why you call me that? Mister,
• 37:34
  Speaker 2: day Bro, I forgot I'm wearing so yeah. She's pointing
• 37:38
  Speaker 2: these mics. This documentary. It's artsy as fuck. There's one
• 37:43
  Speaker 2: scene where she just stares off into the distance silently,
• 37:47
  Speaker 2: and it carries on a long time, and that is
• 37:49
  Speaker 2: immediately followed by an initially unnamed woman just hitting a
• 37:54
  Speaker 2: huge drum one time and then looking at the camera
• 37:56
  Speaker 2: like you feeling that she don't say anything, And it
• 37:59
  Speaker 2: turns out that's day. I'm Evelyn Glennie, a percussionist who
• 38:03
  Speaker 2: I can't tell she's been deaf since the age of
• 38:05
  Speaker 2: twelve or if she started going deaf at the age
• 38:07
  Speaker 2: of twelve.
• 38:08
  Speaker 3: And I'm not trying to be ablest in any way,
• 38:12
  Speaker 3: but she did not strike me as somebody who was deaf.
• 38:14
  Speaker 2: I got the sense she was maybe deaf in one ear.
• 38:17
  Speaker 3: Oh okay, because it definitely seemed like she could hear
• 38:21
  Speaker 3: something well.
• 38:22
  Speaker 2: Also in the way she talks too, there's no yeah,
• 38:25
  Speaker 2: there's no uh. But I mean, you know, if it
• 38:27
  Speaker 2: started at age twelve, then she had plenty of time
• 38:30
  Speaker 2: to like develop her voice. But I've russianist.
• 38:33
  Speaker 3: Also, I've talked to people who are very hard of hearing,
• 38:37
  Speaker 3: or who are who have lost hearing after they've done that,
• 38:41
  Speaker 3: and after a while you lose the nuances of I'm
• 38:44
  Speaker 3: speaking quietly, I'm speaking loudly, and it's just it's either
• 38:47
  Speaker 3: too loud or too quiet. And she very much kind
• 38:49
  Speaker 3: of understood where she was in a conversation with someone.
• 38:53
  Speaker 2: Yeah, I mean she might wear hearing aids, no sure,
• 38:56
  Speaker 2: But the whole time she's on screen, I'm like, this
• 38:58
  Speaker 2: is going to tie into the Nazi Yeah.
• 39:00
  Speaker 3: I was thinking that too. I was like, Oh, this
• 39:02
  Speaker 3: is going to be the lady who's like, the Nazis
• 39:05
  Speaker 3: took my hearing and here's how they did it.
• 39:07
  Speaker 2: I'm like, oh, okay, And it does tie into the theory,
• 39:10
  Speaker 2: but only in that Laura Mott is like, well, Dame Evelyn,
• 39:15
  Speaker 2: she more feels music as a vibration as opposed to
• 39:19
  Speaker 2: hearing it, And I'm like, yeah, I think it might
• 39:21
  Speaker 2: be a little bit of both, but it's fine. And
• 39:23
  Speaker 2: she's just like, is this what Gerbels and the Nazis
• 39:27
  Speaker 2: were doing? And it's like, is what what Gebels and
• 39:30
  Speaker 2: the Nazis were doing?
• 39:32
  Speaker 3: Like?
• 39:32
  Speaker 2: What is your question?
• 39:34
  Speaker 3: Even were they hitting a drum and feeling it in
• 39:39
  Speaker 3: their arm and decided that dynamics it has to do
• 39:43
  Speaker 3: more with resonance. Is that what the Nazis were? I
• 39:46
  Speaker 3: have no idea. What is your point? Woman?
• 39:48
  Speaker 2: And then they briefly cut back to Dame Evelyn talking
• 39:51
  Speaker 2: about how important the sounds are around you? And she goes,
• 39:54
  Speaker 2: do you even think about the high and low frequencies
• 39:57
  Speaker 2: in a home before you buy it? It's like, how
• 39:59
  Speaker 2: how would I that? How walk in with a guitar tune?
• 40:04
  Speaker 2: They're like, I'm hunting ghosts. I'm there's four forty four
• 40:08
  Speaker 2: in this room.
• 40:09
  Speaker 3: This house is tuned to four to twenty and that's
• 40:12
  Speaker 3: a weird one. I can't do it.
• 40:14
  Speaker 2: I feel high.
• 40:15
  Speaker 3: Yeah, I'm just I'm real forgetful and hungry. I can't
• 40:19
  Speaker 3: live here. Yeah.
• 40:21
  Speaker 2: Then it just jumps to Arkansas. Now we're in Arkansas.
• 40:25
  Speaker 3: Yeah, you have this in your notes a few times,
• 40:27
  Speaker 3: and I loved it because I felt the same thing.
• 40:29
  Speaker 3: They just put up no context, Like they'll put up
• 40:32
  Speaker 3: a city name but not the state, and you're like,
• 40:35
  Speaker 3: where are we? There's what?
• 40:37
  Speaker 2: And then now we're in Arkansas, USA? Because everything up
• 40:40
  Speaker 2: to this it's been like Providence and city names, and
• 40:44
  Speaker 2: now it's like, well, is this a city named Arkansas
• 40:47
  Speaker 2: somewhere right? Or do you think we just won't know
• 40:51
  Speaker 2: that the city you're about to name is in Arkansas?
• 40:53
  Speaker 2: But everyone does No Providence.
• 40:55
  Speaker 3: Well, no one knows the name Little Rock. We can't
• 40:58
  Speaker 3: just say.
• 40:58
  Speaker 2: That famous gang banging documentary of all time that takes
• 41:03
  Speaker 2: place in Little Rock, it does.
• 41:05
  Speaker 3: That's a gnarly one too.
• 41:07
  Speaker 2: It is and gang banging meaning like street gangs people
• 41:10
  Speaker 2: and also a lot of group fucking, a lot of
• 41:13
  Speaker 2: group sex. Weird, very weird, so Jamie, but Turf, I
• 41:19
  Speaker 2: did not care for this guy. He smokes brown cigarettes.
• 41:23
  Speaker 2: He lives in what looks like a converted garage or
• 41:26
  Speaker 2: was that just his workshop. I don't know. He's got cats.
• 41:29
  Speaker 2: I like that part. But he is a researcher and YouTuber.
• 41:32
  Speaker 2: He says four hundred and forty hertz is very disharmonious
• 41:35
  Speaker 2: to the body. And he brings up that meeting of
• 41:38
  Speaker 2: the British Standards Institute and says gerbels In the Nazis
• 41:43
  Speaker 2: spearheaded the effort to change the A note frequency. And
• 41:46
  Speaker 2: it's like, can you at least put some citations up
• 41:50
  Speaker 2: on the screen.
• 41:51
  Speaker 3: Not that guy.
• 41:53
  Speaker 2: None, none, He says. The four thirty two tuning is
• 41:56
  Speaker 2: found all throughout history, in all sorts of ancient cultures.
• 42:00
  Speaker 2: That means it must come from the body and be
• 42:02
  Speaker 2: sacred and YadA, YadA, YadA. But the part I really like, yeah,
• 42:05
  Speaker 2: this is great. Is when he gets into how he
• 42:07
  Speaker 2: doesn't talk to his family because they're brainwashed and he
• 42:11
  Speaker 2: sees things differently and at a higher level than most people.
• 42:15
  Speaker 2: And he has not questioned one bit about any of this.
• 42:19
  Speaker 3: No, he says, people meet me and they either think
• 42:24
  Speaker 3: I'm an idiot because they're brainwashed, or if they're not brainwashed,
• 42:28
  Speaker 3: I'm a genius and you're like, fuck off, dude. Like
• 42:32
  Speaker 3: that guy for sure doesn't talk to his family because
• 42:36
  Speaker 3: his mom won't let him live in the garage for
• 42:38
  Speaker 3: free anymore. Like that's why he doesn't talk to them,
• 42:42
  Speaker 3: you know.
• 42:42
  Speaker 2: Yeah, that's what brainwashed. You know.
• 42:45
  Speaker 3: My mom was like, you need to start paying rent.
• 42:47
  Speaker 3: I'm like, that's just what did want you to think.
• 42:50
  Speaker 3: Because they're tuned instruments to FO forty MA.
• 42:52
  Speaker 2: It takes twenty five to thirty years to become a
• 42:55
  Speaker 2: professional YouTuber.
• 42:56
  Speaker 3: Mom, I'm on the cusp. Mom, I'm on the cusp.
• 42:59
  Speaker 3: You unders then how hard it was to get fifty subscribers.
• 43:03
  Speaker 3: I'm so close.
• 43:04
  Speaker 2: Yeah, at this point, I have in the notes. I
• 43:06
  Speaker 2: never thought i'd say this about a ninety minute documentary,
• 43:09
  Speaker 2: but this could be about forty five minutes shorter.
• 43:11
  Speaker 3: Oh my god, it could be about seventy two minutes shorter.
• 43:15
  Speaker 3: And this is like an eighteen minute conversation.
• 43:18
  Speaker 2: The next sequence, I think, really sums up this documentary perfectly. First,
• 43:24
  Speaker 2: it cuts de Lauria Matt on the streets of somewhere
• 43:27
  Speaker 2: and she says, it makes me crazy when I find
• 43:31
  Speaker 2: new shoes. And this happens, and she just won is
• 43:36
  Speaker 2: just recording the sound her shoes are making when she walks. Also,
• 43:39
  Speaker 2: what does find new shoes mean?
• 43:41
  Speaker 3: I'm guessing she's a freakin you know, she just goes
• 43:44
  Speaker 3: around and whatever exists is now hers.
• 43:48
  Speaker 2: Is that how you got that reel to real recorder?
• 43:50
  Speaker 3: And that's probably yeah? So what was just throwing away
• 43:53
  Speaker 3: this perfectly useless piece of technology.
• 43:56
  Speaker 2: Expensive piece of vintage audio equipment was just in a
• 43:59
  Speaker 2: box on my porch? Weird? Then the I would argue,
• 44:04
  Speaker 2: the key moment in this documentary happens next, and that
• 44:07
  Speaker 2: is when, after complaining about her microphone that she carries
• 44:12
  Speaker 2: picking up the sound of her shoes, she goes, I
• 44:14
  Speaker 2: love the sound of the word gonna rhea and then
• 44:18
  Speaker 2: she says goneriea about seventy five hundred times in every
• 44:23
  Speaker 2: conceivable manner possible. Gonerie, gone Rhea, gonera, like just every
• 44:31
  Speaker 2: way you can say it, and it is art. Oh wait, no,
• 44:35
  Speaker 2: what before I want to say it's art. Let's rewind
• 44:37
  Speaker 2: and pretend I didn't say it's art yet. Then a
• 44:40
  Speaker 2: building collapses.
• 44:43
  Speaker 3: Art art. Here's what I think. What's going on? I
• 44:46
  Speaker 3: think she had gone Rhea and she's like, I'm going
• 44:48
  Speaker 3: to destigmatize it. I'm gonna say it's so much, it's
• 44:51
  Speaker 3: just going to be normal. It's my movie. It's my movie.
• 44:53
  Speaker 3: I can you whatever I want. And it worked. Yeah.
• 44:56
  Speaker 3: By the end, you're like, Gonerie is not so bad.
• 44:58
  Speaker 3: I heard it like seventy five hundred times about it anymore?
• 45:01
  Speaker 3: I think I'm comfortable with it now.
• 45:02
  Speaker 2: And then man, Next they interview a guy named Jeff Folks.
• 45:07
  Speaker 2: That guy who he is a poet and cymatics expert.
• 45:12
  Speaker 3: I'm gonna guess he's more one than the other.
• 45:16
  Speaker 2: Simatics for people at home is either one the study
• 45:20
  Speaker 2: of wave phenomena, especially sound and their visual representations, or
• 45:24
  Speaker 2: two a therapy in which sound waves are directed at
• 45:27
  Speaker 2: the body with the aim of promoting health. So like
• 45:30
  Speaker 2: vibrating crystals.
• 45:31
  Speaker 3: And shit or when someone says something really annoying and
• 45:35
  Speaker 3: you go, that's scientiatics. Yeah, yeah, yeah, yeah.
• 45:40
  Speaker 2: This section yeah, because here's the thing. He talks about
• 45:44
  Speaker 2: how everything in the world is impacted by sound vibration,
• 45:47
  Speaker 2: including how we communicate with each other. He talks about
• 45:50
  Speaker 2: this shit at length.
• 45:53
  Speaker 3: And I am trying to be a better me, but
• 45:55
  Speaker 3: I will say I found it very funny that a
• 45:58
  Speaker 3: guy with ears as large as his was like, I'm
• 46:02
  Speaker 3: really influenced by sound. I'm like, yeah, I think so. Man.
• 46:05
  Speaker 2: That's he shows all this old timey footage of like
• 46:11
  Speaker 2: sand and iron particles and things like getting into a
• 46:15
  Speaker 2: formation because they're introduced to sound waves and things. And
• 46:20
  Speaker 2: he's not the only one. Lauria Mott also asked the question, well,
• 46:23
  Speaker 2: is that happening inside our body when we're hit with
• 46:26
  Speaker 2: sound waves? And it's like, did you ask a doctor?
• 46:30
  Speaker 3: Yeah, man, if you put an iron plate in you
• 46:32
  Speaker 3: and you put certain kinds of gypsum in there, it
• 46:34
  Speaker 3: is going to form a weird shape. But other than that,
• 46:38
  Speaker 3: probably not.
• 46:38
  Speaker 2: And we do know there are sound weapons, like the
• 46:41
  Speaker 2: police have that big radar thing that they can point
• 46:45
  Speaker 2: at a crowd to make you feel weird and uncomfortable,
• 46:48
  Speaker 2: but I think we would recognize if it was also happening.
• 46:51
  Speaker 2: Every time we listen to fucking why Don't We Do
• 46:54
  Speaker 2: It in the Road by the Beatles or something.
• 46:57
  Speaker 3: Yeah, every time I listen to Hey Jude, it sounds
• 47:00
  Speaker 3: like there's a metal scraping bug eating my brain. That's
• 47:03
  Speaker 3: his four forty bro, That's just how it is.
• 47:05
  Speaker 2: That's just that song. Yes, I hate that song. So yeah,
• 47:11
  Speaker 2: we talked to Jeff Vokes for about two and a
• 47:15
  Speaker 2: half hours in this documentary.
• 47:17
  Speaker 3: Don't forget his uh semi naked yoga to sound extravaganza
• 47:22
  Speaker 3: in his yard, yeah.
• 47:23
  Speaker 2: Which is also not going to be the only extended
• 47:26
  Speaker 2: scene involving someone doing yoga. And so then we move
• 47:31
  Speaker 2: on to Bergen, Norway, which I had to look up.
• 47:34
  Speaker 2: Is that a city? Yes it is, so we don't
• 47:38
  Speaker 2: know what part of Norway it's in. It's just the
• 47:40
  Speaker 2: city of Bergen. But urgon, so Laura Mott is talking
• 47:43
  Speaker 2: about how she was on tour in Norway and in
• 47:46
  Speaker 2: need of some good vibrations, and then this is where
• 47:48
  Speaker 2: we get to see her doing like hanging yoga or something.
• 47:52
  Speaker 2: While an absolute caricature of a woman plays a hurdy
• 47:57
  Speaker 2: gurdy or some shit like she's goddamn sting.
• 48:00
  Speaker 3: She's playing like a concertantina like bellows that's pumping a
• 48:04
  Speaker 3: constant tone. And someone in the room is singing and
• 48:08
  Speaker 3: they're hitting quartz bowls and doing this like sound bath
• 48:11
  Speaker 3: while people are hanging from this like purple tapestry. They're
• 48:15
  Speaker 3: being rocked like babies. And then people are coming and
• 48:18
  Speaker 3: humming into their bodies. This were me, I'll be like,
• 48:21
  Speaker 3: get the fuck away from me.
• 48:23
  Speaker 2: And then Laurie just starts growling.
• 48:26
  Speaker 3: She starts making noises like a trapped animal. Yeah, I
• 48:33
  Speaker 3: have you ever heard a cornered porcupine? But it sounded
• 48:36
  Speaker 3: just like that.
• 48:37
  Speaker 2: So what this whole section was about is does what
• 48:40
  Speaker 2: happens to iron particles under a microscope also happened to
• 48:44
  Speaker 2: us inside our body. They don't answer that question, they
• 48:47
  Speaker 2: just ask it.
• 48:48
  Speaker 3: Yeah. And also too, there was a moment where she
• 48:51
  Speaker 3: for sure came, She for sure had an orgasm by this. Yeah.
• 48:56
  Speaker 2: Yeah, probably when that woman was blowing on her coop.
• 48:59
  Speaker 3: At first, it was like, is that lady, Oh my god,
• 49:01
  Speaker 3: that she's putting her mouth on her What the fuck?
• 49:04
  Speaker 2: It's interesting. Norway's crazy man.
• 49:07
  Speaker 3: And also I feel like that scene was like, I think,
• 49:10
  Speaker 3: if we filmed this the movie, you'll pay for it.
• 49:12
  Speaker 3: It felt like a very much like I want to
• 49:14
  Speaker 3: do this thing, and this will get paid for.
• 49:16
  Speaker 2: Yeah. I do feel like this was kind of a
• 49:18
  Speaker 2: tax right off moment. Yeah, like, well, let's take a
• 49:20
  Speaker 2: trip to Norway and clear our mind and come back
• 49:22
  Speaker 2: and finish this documentary. And so is Laura spy because
• 49:26
  Speaker 2: there's a part where she's in Norway just pointing her
• 49:30
  Speaker 2: microphone contraption at random apartment windows.
• 49:33
  Speaker 3: And this is why I'm not fun to watch movies with,
• 49:37
  Speaker 3: because I'm as I'm watching it, I went, that's not
• 49:40
  Speaker 3: how that works. The amount you would have to crank
• 49:43
  Speaker 3: the gain to be able to point that microphone at
• 49:45
  Speaker 3: a window at that distance to hear it anything that
• 49:48
  Speaker 3: walked by would literally deafen you. It's not a magic
• 49:51
  Speaker 3: wand where you can just point it at something and
• 49:53
  Speaker 3: hear what's going on behind a brick wall. Right, And
• 49:56
  Speaker 3: even if it was, Yeah, you're invading people's privacy, dude,
• 50:00
  Speaker 3: she listens to people having sex at one point, is
• 50:03
  Speaker 3: what we're supposed to believe.
• 50:04
  Speaker 2: Yeah, I love to imagine there's a moment where she
• 50:07
  Speaker 2: had to go knock on that apartment door and be like, hey,
• 50:09
  Speaker 2: I just picked up noise. You having sex? You want
• 50:11
  Speaker 2: to sign this release?
• 50:12
  Speaker 3: Yeah, you signed this release so I can use your
• 50:14
  Speaker 3: orgasm in my movie about Nazi Noise.
• 50:17
  Speaker 2: So I can use it my weird Kurt Cobaine montage
• 50:20
  Speaker 2: of heck bullshit music.
• 50:24
  Speaker 3: That would be kind of a cool credit, especially if
• 50:26
  Speaker 3: you're just a random person in Norway. You're like only
• 50:28
  Speaker 3: half one cross it on IMDb and it's I don't
• 50:31
  Speaker 3: know why I'm Scottish. Now I have one credit on
• 50:34
  Speaker 3: IMDb and it's it's sex noises in this like Nazi
• 50:36
  Speaker 3: Noise documentary, but it's you know, card got my sad
• 50:40
  Speaker 3: card and you know every couple of every couple of months,
• 50:42
  Speaker 3: I get like a dime. But you know, it's a
• 50:44
  Speaker 3: cool experience.
• 50:45
  Speaker 2: So her point in that contraption at random Windows is
• 50:48
  Speaker 2: followed by a scene of someone driving way too fast
• 50:51
  Speaker 2: through the Norway countryside. And I put a really great
• 50:55
  Speaker 2: joke in the notes. I said, I hope they're headed
• 50:58
  Speaker 2: to the interesting part of the time.
• 51:02
  Speaker 3: No such luck at him.
• 51:04
  Speaker 2: They are in fact headed to the most boring party,
• 51:08
  Speaker 2: which is in interview with some lex Luthor looking guy
• 51:11
  Speaker 2: named Steve Arnie Skilbrey who just wants to talk about
• 51:16
  Speaker 2: his audio file music collection.
• 51:20
  Speaker 3: And I'd like to say he does reference himself as
• 51:23
  Speaker 3: being an audio file. He is more of a equipment
• 51:27
  Speaker 3: order than an audio file.
• 51:29
  Speaker 2: Yeah, he calls himself an audio file. But he's like,
• 51:32
  Speaker 2: I found she into garbage. She's like they threw him
• 51:35
  Speaker 2: away because they suck.
• 51:37
  Speaker 3: And he's like, do you talk about best speakers and
• 51:39
  Speaker 3: there's like duct tape on them and like pieces of
• 51:42
  Speaker 3: brick or something like that. He's like, I added this
• 51:45
  Speaker 3: to make it sound better, and you're like, dude.
• 51:47
  Speaker 2: That's edit ribs, ribs.
• 51:54
  Speaker 3: Like human bone. And then he's like telling you. He's
• 51:57
  Speaker 3: like these speakers are closed and not like the open
• 52:00
  Speaker 3: ported ones that are popular now that I do not
• 52:03
  Speaker 3: care for. And I'm like, okay, buddy, all right.
• 52:06
  Speaker 2: And this is another part where I was like, this
• 52:10
  Speaker 2: is going to lead to something, right ideally, and it
• 52:14
  Speaker 2: really doesn't. There's a admittedly a bummer of a moment
• 52:17
  Speaker 2: where we find out Stieg has cancer or had cancer,
• 52:20
  Speaker 2: which that sucks.
• 52:21
  Speaker 3: Obviously.
• 52:22
  Speaker 2: I am I gonna make fun of him for that.
• 52:23
  Speaker 2: I will make fun of him for his speakers, because
• 52:25
  Speaker 2: it seems like he pulled through so.
• 52:29
  Speaker 3: The healing power of sound.
• 52:32
  Speaker 2: And yeah, he talks about how David Bowie had the
• 52:34
  Speaker 2: same cancer and he died from it, and I was like,
• 52:38
  Speaker 2: do it.
• 52:39
  Speaker 3: Do it?
• 52:40
  Speaker 2: Say it's because he tuned to a four forty, Just
• 52:42
  Speaker 2: do it. He never says that. So then we move
• 52:45
  Speaker 2: on to an American Legion veteran bar in East Greenwich, Connecticut.
• 52:49
  Speaker 2: I would guess probably something like that documentary is a
• 52:53
  Speaker 2: goddamn geography quiz, and so what are we doing at
• 52:56
  Speaker 2: this bar? Finally we're getting to something important, which is
• 53:01
  Speaker 2: footage of Laurie and her mom singing karaoke.
• 53:04
  Speaker 3: And she'd point out Laurie is not a young woman.
• 53:06
  Speaker 3: I think she's in her late sixties. Her mom is
• 53:09
  Speaker 3: like ninety one. I think she's like she's really up there.
• 53:13
  Speaker 3: And there's this really weird scene before this where she's
• 53:17
  Speaker 3: holding this very brittle looking forty five record and she's like,
• 53:21
  Speaker 3: this is the most precious thing. This is one of
• 53:24
  Speaker 3: the few recordings of my mother singing. And I'm like, oh,
• 53:26
  Speaker 3: her mother's no longer with us, so okay, this is
• 53:28
  Speaker 3: her connection to her past, and she's like, of course,
• 53:31
  Speaker 3: you know, I'm grateful that she had me, but I
• 53:33
  Speaker 3: kind of wish she would have just been a singer.
• 53:35
  Speaker 3: I'm like what, And then it cuts to her in
• 53:39
  Speaker 3: the bar singing with her. I'm like, well, she is singing,
• 53:42
  Speaker 3: she is. What the fuck are you talking about? It's
• 53:45
  Speaker 3: so weird. Wait she's alive. Wait how old is your mom?
• 53:53
  Speaker 2: And then that cuts to a scene of a little
• 53:56
  Speaker 2: girl playing with a balloon.
• 53:58
  Speaker 3: Yet this is so fucked up.
• 54:00
  Speaker 2: That is then quickly followed by a scene of an
• 54:03
  Speaker 2: old man snoring while a little girl is in the room,
• 54:08
  Speaker 2: and it seems like he's gonna die from sleep apnea
• 54:10
  Speaker 2: while this girl just like watches in silent awe. But
• 54:14
  Speaker 2: then he farts himself back in life. And that's when
• 54:21
  Speaker 2: I have the note here that says I'm gonna have
• 54:24
  Speaker 2: to research this fucking theory myself.
• 54:26
  Speaker 3: Huh that first of all your description of the scene,
• 54:30
  Speaker 3: which was again almost like exactly how I described it,
• 54:33
  Speaker 3: and then that note. I was like, yeah, that's pretty
• 54:36
  Speaker 3: much the turning point when the old man farts himself
• 54:40
  Speaker 3: back into existence, and you go, this is not a
• 54:43
  Speaker 3: movie about anything, This is not I don't know what
• 54:46
  Speaker 3: the fuck this is. But this is not a movie
• 54:47
  Speaker 3: about Nazi noise. This is a movie about a woman
• 54:51
  Speaker 3: who is like, I have this really funny idea, like
• 54:54
  Speaker 3: Grandpa's snoring and you think he's dying. It really say,
• 54:57
  Speaker 3: it sounds like a bear growling, it sounds like a
• 54:59
  Speaker 3: snor somewhere in between. And then he dies and it's like,
• 55:02
  Speaker 3: did I just witness my grandfather's death? But then he
• 55:05
  Speaker 3: farts and now he's alive, and you're like, Okay, this
• 55:08
  Speaker 3: is why they made therapy, you know, I don't think
• 55:10
  Speaker 3: we need to make a movie.
• 55:12
  Speaker 2: And then after that we meet some ambient musician lady
• 55:15
  Speaker 2: named Yoko Sen.
• 55:17
  Speaker 3: She was adorable, man.
• 55:21
  Speaker 2: Yeah, she's the highlight of this. She talks about how
• 55:24
  Speaker 2: she's concerned about the sounds in hospitals and I was
• 55:28
  Speaker 2: concerned that we only had twenty nine minutes when she's introduced,
• 55:33
  Speaker 2: and I'm like, surely she's not gonna be the one
• 55:35
  Speaker 2: to make the Nazi connection, but does not feel like
• 55:39
  Speaker 2: where we're headed.
• 55:40
  Speaker 3: She starts talking about how when you're in the hospital,
• 55:44
  Speaker 3: like none of the noises are harmonious, like they all
• 55:47
  Speaker 3: kind of clashed with each other. And she was talking
• 55:50
  Speaker 3: about how one note is it, you know, like the
• 55:52
  Speaker 3: heart monitor is a sea and the alert thing is
• 55:54
  Speaker 3: like an F sharp and she's like, that's a diminished fifth.
• 55:57
  Speaker 3: And this was the fun moment I had. I was like, Oh,
• 55:59
  Speaker 3: that's the devil in me music, and then she goes,
• 56:01
  Speaker 3: it's the devil in music and I was all, fuck yeah,
• 56:03
  Speaker 3: I know, my shit. I felt like so proud of
• 56:04
  Speaker 3: myself in that moment. I was like, I know what
• 56:06
  Speaker 3: the devil in music is.
• 56:08
  Speaker 2: Archie Hewson called them naughty chords.
• 56:11
  Speaker 3: Metallica called it their biggest hit exactly. Yeah.
• 56:14
  Speaker 2: So yeah, Now after this, we finally start getting to
• 56:18
  Speaker 2: the point of the documentary. And by that I mean
• 56:22
  Speaker 2: I'm just joking. There's a scene of Luri riting a
• 56:26
  Speaker 2: I don't know what she's doing, but my note says
• 56:28
  Speaker 2: riding a back. I don't think riding horseback. Yeah's there
• 56:34
  Speaker 2: was a bunch of different things. It was like, here's
• 56:36
  Speaker 2: all these different noises in our opinions of them, and
• 56:38
  Speaker 2: then it's like then there's like a horror movie close
• 56:41
  Speaker 2: up of a dentist coming at you. Yeah, there's a
• 56:44
  Speaker 2: shot of her grating cheese. There is a very fun
• 56:48
  Speaker 2: anecdote about how a friend of hers called to tell
• 56:52
  Speaker 2: her that his dad died, but he started having a
• 56:56
  Speaker 2: sneezing fit and couldn't get the words out. So now
• 56:59
  Speaker 2: every time she hears someone sneeze, she thinks of her
• 57:02
  Speaker 2: friend's dead father. And that was pure comedy, right.
• 57:05
  Speaker 3: It was great because she's playing this clearly like recreated
• 57:08
  Speaker 3: voice message that has like bad stage to sneezing in it.
• 57:11
  Speaker 3: And then she's walking down the street and a guy
• 57:13
  Speaker 3: goes true and she's all like, I can't think of
• 57:16
  Speaker 3: my father, my friend's father dying when I hear someone's knees, Like,
• 57:20
  Speaker 3: none of this really happened. All of this is stage,
• 57:23
  Speaker 3: all of none of this is real.
• 57:24
  Speaker 2: But then we do get to her making some phone
• 57:26
  Speaker 2: calls to confirm this theory about the Nazis, and by
• 57:29
  Speaker 2: that I mean she makes one phone call.
• 57:31
  Speaker 3: It was one of the funniest phone calls. She calls
• 57:33
  Speaker 3: the British Standard Institute and it's like, here's who I am.
• 57:37
  Speaker 3: Do you have notes from nineteen thirty nine? And the
• 57:39
  Speaker 3: person on the phone's like, uh no, we definitely don't
• 57:46
  Speaker 3: have that, Like you can send me an email asking
• 57:49
  Speaker 3: and if we have minutes from that and it's public.
• 57:53
  Speaker 3: I could send you a copy, but I don't know
• 57:55
  Speaker 3: what you're on about, lady.
• 57:56
  Speaker 2: Yeah, it was really weird. And then immediate he moves
• 58:00
  Speaker 2: into an interview with a professor with a special interest
• 58:04
  Speaker 2: in sound as a weapon named Toby Hayes, who spells
• 58:07
  Speaker 2: his last name in such an infuriating way h eys.
• 58:11
  Speaker 3: Yeah, that right there, talk about use of sound as
• 58:14
  Speaker 3: a weapon, Like you spell it that way and want
• 58:17
  Speaker 3: me to say it that way.
• 58:18
  Speaker 2: Well, okay, like sorry to be namo typical, but I
• 58:22
  Speaker 2: feel like that's not how you spell the last name Hayes.
• 58:25
  Speaker 2: And he talks about stuff everyone who's been on the
• 58:28
  Speaker 2: internet knows the police have a weapon that they can
• 58:31
  Speaker 2: point at a crowd of protesters that will just make
• 58:34
  Speaker 2: everyone feel weird. But even then, that's more like a
• 58:38
  Speaker 2: microwave weapon. That's not really a sound wave weapon.
• 58:41
  Speaker 3: Yeah, I texted you before we did this. There's the
• 58:44
  Speaker 3: Havana syndrome thing, which is I think the same kind
• 58:47
  Speaker 3: of weapon where it's like it just cooks the inside
• 58:49
  Speaker 3: of your brain and it's a noise slash microwave and
• 58:52
  Speaker 3: it sounds like something is chewing your brain. And then
• 58:54
  Speaker 3: the next thing, you know, you never hear again.
• 58:56
  Speaker 2: Right, but again, you would notice if that was happening
• 58:58
  Speaker 2: every time bts on the radio or some shit.
• 59:01
  Speaker 3: Yeah, when you're like, man, Imagine Dragons makes me feel
• 59:06
  Speaker 3: like my brain's melting.
• 59:07
  Speaker 2: I mean, Imagine Dragons does make me feel like my
• 59:10
  Speaker 2: brain's melting.
• 59:11
  Speaker 3: But in the best possible way. I mentioned Imagine Dragons
• 59:15
  Speaker 3: because I don't know if you noticed this, but there's
• 59:17
  Speaker 3: like a music bed that I'm assuming Laurie made to
• 59:20
  Speaker 3: go in. Yeah, and it is one hundred percent a
• 59:24
  Speaker 3: total ripoff of Believer by Imagine Dragons. Yeah. Yeah.
• 59:28
  Speaker 2: My favorite thing about Imagine Dragons is that their name
• 59:31
  Speaker 2: is also a suggestion for something you can do instead
• 59:34
  Speaker 2: of listening to their music about dragons till it's over.
• 59:39
  Speaker 3: I need a suggestion from the audience of what I
• 59:41
  Speaker 3: should be doing right now. Imagine Dragons. All right, we
• 59:43
  Speaker 3: got to think about a dragon.
• 59:44
  Speaker 2: So Toby Hayes talks about some bullshit. He talks about
• 59:47
  Speaker 2: the Wandering Soul's campaign during Vietnam War. Look it up.
• 59:52
  Speaker 3: It was they were a ska band and I'm bouncing
• 59:55
  Speaker 3: Souls wrong, the wrong thing.
• 59:56
  Speaker 2: And then we finally finally get to talking about this theory,
• 1:00:00
  Speaker 2: and here's the thing. There is fourteen minutes left in
• 1:00:03
  Speaker 2: the documentary by the time it happened.
• 1:00:06
  Speaker 3: Yeah, this is a tough food documentary where you are
• 1:00:09
  Speaker 3: frequently going how much longer, or like you press the
• 1:00:12
  Speaker 3: button and you're like okay.
• 1:00:14
  Speaker 2: And this part made me so fucking mad. Sam talks
• 1:00:17
  Speaker 2: to a woman named Fanny Grabensky, who is a PhD
• 1:00:21
  Speaker 2: and music historian, which sounds like arguably the best job,
• 1:00:25
  Speaker 2: but later for that, she's here to let us know
• 1:00:27
  Speaker 2: that this is all a myth, which everyone watching this
• 1:00:31
  Speaker 2: documentary already knows that because they got bored enough to
• 1:00:35
  Speaker 2: just google it about halfway through.
• 1:00:37
  Speaker 3: Yeah, and also too, like this could have either opened
• 1:00:40
  Speaker 3: the movie or I felt like they were like, oh,
• 1:00:43
  Speaker 3: you know why we've made this whole movie. We never
• 1:00:45
  Speaker 3: answered what this thing does. Let's go talk to Fanny.
• 1:00:48
  Speaker 3: She's great and yeah.
• 1:00:49
  Speaker 2: They let Fanny shoot this down for about two minutes,
• 1:00:52
  Speaker 2: and then Laurie just comes back on and goes, well,
• 1:00:55
  Speaker 2: that's a relief, and it's like, you, motherfucker, you could
• 1:00:58
  Speaker 2: have just googled that. You didn't have to make this
• 1:01:01
  Speaker 2: a documentary.
• 1:01:03
  Speaker 3: And then this was my favorite part of the whole thing.
• 1:01:05
  Speaker 2: And then it ends mercifully with Laurie going, what is
• 1:01:09
  Speaker 2: the last sound I want to hear before I die?
• 1:01:13
  Speaker 2: And then she just stares at the camera for about
• 1:01:15
  Speaker 2: another fifty five to sixty minutes in silence, and then
• 1:01:20
  Speaker 2: we finally get to the credits and all of the
• 1:01:22
  Speaker 2: different talking heads are attempting to answer this question, and
• 1:01:28
  Speaker 2: only one of them gives a good answer, and that
• 1:01:31
  Speaker 2: is the lovely and talented Yoko Sen who says she
• 1:01:34
  Speaker 2: wants to hear her husband's farts.
• 1:01:37
  Speaker 3: That's what she wants to be the last noise.
• 1:01:40
  Speaker 2: She's adorable. She was the best part of this.
• 1:01:43
  Speaker 3: Yeah, that was like such a surprising answer. The only
• 1:01:46
  Speaker 3: other answer that was surprising to me, and not in
• 1:01:48
  Speaker 3: a good way was Jamie what's his name butt Truff Buttertrouff. Yeah,
• 1:01:53
  Speaker 3: he couldn't think of the name swish. He was like,
• 1:01:57
  Speaker 3: when a basketball goes through a net, but like it
• 1:02:00
  Speaker 3: just goes straight through and you're like a swish and
• 1:02:03
  Speaker 3: he's like, and it's just it's just one sound, swish.
• 1:02:06
  Speaker 3: It's called a swish. He couldn't think of the word swish.
• 1:02:12
  Speaker 3: It was so funny to me.
• 1:02:14
  Speaker 2: Yeah, that was great. And yeah, this is a real
• 1:02:17
  Speaker 2: Wikipedia page of a documentary, Like it pretends it's gonna
• 1:02:21
  Speaker 2: be about one thing and then it just runs you
• 1:02:23
  Speaker 2: through the basic facts and then it is artistic masturbation
• 1:02:28
  Speaker 2: after that.
• 1:02:29
  Speaker 3: Yeah, it is very much Wikipedia and that you're not
• 1:02:32
  Speaker 3: sure who really put this all together? Like who, there's
• 1:02:36
  Speaker 3: no oversight on this.
• 1:02:38
  Speaker 2: This is a documentary.
• 1:02:39
  Speaker 3: Yeah, I don't think she did. I think if we
• 1:02:44
  Speaker 3: go to Providence right now, she's still walking around with
• 1:02:46
  Speaker 3: that damn reel to real point in that.
• 1:02:47
  Speaker 2: People, Absolutely, she's a microphone lady. Yeah, Providence microphone lad.
• 1:02:53
  Speaker 3: Adam. It does raise the question, though, what's the last
• 1:02:55
  Speaker 3: sound you want to hear before you die?
• 1:02:58
  Speaker 2: Uh? Just joking and then I live for like another
• 1:03:01
  Speaker 2: one hundred and fifty years.
• 1:03:02
  Speaker 3: Nice?
• 1:03:03
  Speaker 2: Yeah, yeah, I don't know who I want to say,
• 1:03:05
  Speaker 2: just joking, Buster rhymes Buster. But I forgot I had
• 1:03:11
  Speaker 2: a joke in the notes you want to hear before
• 1:03:13
  Speaker 2: I die? See by two Live Crew.
• 1:03:15
  Speaker 3: Yeah yeah, yeah, yeah, that makes sense to me.
• 1:03:18
  Speaker 2: Yeah, that was a better joke. I should have done that.
• 1:03:21
  Speaker 3: I don't know if I have one. I don't know
• 1:03:23
  Speaker 3: if I have one. I think my like mine would
• 1:03:25
  Speaker 3: just be like probably me being like, don't forget to
• 1:03:27
  Speaker 3: follow Adam on Instagram. You know.
• 1:03:29
  Speaker 2: I'm just yeah, I'm not going to be like the
• 1:03:32
  Speaker 2: soundboard board, play the airhorn. I'm going play the airhorn.
• 1:03:37
  Speaker 2: I want to hear a reggaetone airhorn.
• 1:03:39
  Speaker 3: Actually, I think the last thing I want to hear
• 1:03:41
  Speaker 3: is You're going do we have anything to plug? And
• 1:03:43
  Speaker 3: I'll be like, no, I'm afraid not tune a fourth
• 1:03:52
  Speaker 3: Time of Death for forty interesting.
• 1:03:56
  Speaker 2: So that is the end of our episode. I'm glad
• 1:03:59
  Speaker 2: I looked at into this more myself instead of just
• 1:04:02
  Speaker 2: basing this whole episode on the documentary.
• 1:04:05
  Speaker 3: Yeah. I mean, look, Laurie seems like like the quirky
• 1:04:09
  Speaker 3: friend of your aunt that you're like, oh, she's kind
• 1:04:11
  Speaker 3: of fun when she comes over and she has weird opinions,
• 1:04:13
  Speaker 3: but I don't know if filmmaking is her thing.
• 1:04:16
  Speaker 2: And then one day your aunt's like she made a movie.
• 1:04:19
  Speaker 2: You're like, what fucking what?
• 1:04:21
  Speaker 3: What a whole one? No, not really, it's like five
• 1:04:27
  Speaker 3: different mini movies that don't really connect.
• 1:04:31
  Speaker 2: Yeah, so hey, Travis, I think that's our episode. Thank
• 1:04:35
  Speaker 2: you so.
• 1:04:36
  Speaker 3: Much, thanks for having me on. I'm like look, I
• 1:04:39
  Speaker 3: love a chance to talk about a weird conspiracy any chance.
• 1:04:43
  Speaker 3: So this was fun and plus two, like, I just
• 1:04:46
  Speaker 3: love the idea that people are like, yeah, eight hurts.
• 1:04:49
  Speaker 3: Difference is the difference between happy and sad. That's the
• 1:04:52
  Speaker 3: only see. I thought we were gonna get into things
• 1:04:55
  Speaker 3: like brown notes, you know, where it's like there's a
• 1:04:57
  Speaker 3: certain frequency just makes you shit yourself and you're like, okay,
• 1:05:00
  Speaker 3: they never even Why wouldn't the Natsies do that if
• 1:05:02
  Speaker 3: you had nothing but people shitting themselves on the battlefield,
• 1:05:05
  Speaker 3: I feel like you win that.
• 1:05:06
  Speaker 2: Battle absolutely, that would be the obvious choice.
• 1:05:10
  Speaker 3: But go figure.
• 1:05:11
  Speaker 2: It didn't get into any of that. But hey, do
• 1:05:13
  Speaker 2: you have anything to plug before we get out of here.
• 1:05:15
  Speaker 3: I'm only going to unplug my life machine and that's it.
• 1:05:18
  Speaker 3: I guess this is a very advanced plug. My first
• 1:05:24
  Speaker 3: audio book that I narrate will be out September first
• 1:05:28
  Speaker 3: of this year. It is called Stone's Throw and it'll
• 1:05:32
  Speaker 3: be available on Audible. So if you want to hear
• 1:05:35
  Speaker 3: a nice, I don't know pulpy crime novel narrated by
• 1:05:40
  Speaker 3: a guy who talks like this, check.
• 1:05:43
  Speaker 2: That out very nice. Check out our Lost Rewatch podcast
• 1:05:48
  Speaker 2: going back, Oh, nice spin off of this show that
• 1:05:51
  Speaker 2: I host with Olivia Hydar. You can get that wherever
• 1:05:54
  Speaker 2: podcasts are at. And there's lots of changes coming to
• 1:05:57
  Speaker 2: the on Pops network, so be on the look out
• 1:06:00
  Speaker 2: for that. In the meantime, let's get the funk out
• 1:06:02
  Speaker 2: of here. Travis say goodbye, goodbye, goodbye, everybody. We love you.
• 1:06:11
  Speaker 3: People of a You're fan has to be destroy