David Bowie and Queen's Impact on Collaboration - The History of Rock Music (Part 9)

0:54 What's good? Everybody,this is Scoobert Doobert and welcome back to love music more today.

1:13 We're going to love music more by learning about David Bowie. Welcome back to the history of rock. I've been doing this historyrock in part to draw these through lines that you have to take every single step forward tomake sense.

1:31 Like honestly, if you just put Chuck Berry and then David Bowie side by side, you'd be like, yeah, not the same genre. But if you follow the tree of life that is rock and roll from one tothe next, and of course, he's part of rock and roll. And I think that's one of the most fascinatingthings about larger than life heroes like David Bowie.

1:52 This is actually one of the hardest articles for me to write on my sub stack because I'm so intimidated by David Bowie to try and write a quotehistory, a short one of his impact on rock and pop and everything celebrity was exceedingly

2:12 difficult. And I did my best. But it honestly, it kind of hurt me from progressing in this history ofrock. That's part of the reason why I took this long for break is I tripped on the stone on theboulder that is David Bowie because he is larger than life. He is impossible to distill.

2:33 But I think I got it. I think I got it enough. So let's take that little journey together. So one of my favoritethings about David Bowie is listening to his earliest works because I think that that makes himfeel more human because his alter ego wasn't fully established. Ziggy Stardust.

2:54 His earlier work, you can hear more of the buddy Holly influence. You can hear more of the Britishinvasion. And from there, you're able to extrapolate and see, okay, supremely talented. Very much inthe same way that buddy Holly actually was had all of the chops had the originality in the songwriting, but was struggling to find the persona was struggling to find the genre.

3:21 And the second David Bowie became Ziggy Stardust is the second that he ascended into that next year.

3:29 In the same way that buddy Holly was doing more of the traditional kind of more Western

3:37 music and then tradition then moved full on rock and roll. And it was like, I get it.

3:44 Music will never be the same. Everybody there after is influenced by buddy Holly.Doesn't matter who you are. If you're a rock musician, even if you've never listened to buddy Holly,you're influenced by buddy Holly. That's the thing about these pillar artists throughout allof rock history like a David Bowie, Beatles, Jimi Hendrix.

4:08 They changed the course of musical history there after. And that's pretty crazy, right? So how did David Bowie go about doing that?So I think you got to set the scene a little bit and put yourself there where we have the spacerace.

4:25 We have the tension between the Soviet Union and the Western world and the threat of nuclear annihilation. A lot of people are feeling like they are living at the brink of the apocalypse

4:40 while we are also exploring the stars. And I feel like from that, that's where movies likeStar Wars and stuff, that makes a lot of sense in that context of saying we are in a very

4:51 tense world global environment. But we are also doing something incredible and futuristic.Feels a lot like today too, huh? So out of that comes this whole aesthetic

5:05 which David Bowie adapts and makes his own. But let's talk about that aesthetic a little bit.So one of my favorite examples of this is Barbarella. It's a 1968 sci-fi movie starring JaneFonda. It's bizarre.

5:22 It is extremely sexual and forward-leaning and provocative costumes, tenuous storyline. But it is just such a vibe. And that you're seeing it actually come back today.Like a lot of people are wearing Barbarella inspired like literally just Google Barbarellaand insert name of modern pop star like Ariana Grande.

5:42 And you will find examples like of runway style, Barbara Ella inspired outfits like Met Gala kind of stuff.

5:52 That aesthetic is combining thatlike Jetsons-esque view of the future and trying to turn it into something you actually wear in the late 60s. And this is also a time like one of my favorite little bits of furniture history arethe like flying saucer lamps. I actually have one of them.

6:15 I need to wire it because I accidentally bought it and it is from like Finland or something. So it's a plug into our plugs and I don't want itto explode because it's from the 60s. So I need to rewire it. But anyway, I'm gonna put that in mystudio. It's gonna be cool.

6:29 That space age aesthetic of flying saucers and exploring and going to the moon. That's perfect for a larger than life character. So I want to read you a little excerpt froma Rolling Stone description of the first night that David Bowie changes entire stage aesthetic.

6:49 Around 9 p.m. the house lights were extinguished. A spotlight sliced the darkness. Bowie took thestage. But was it really him? In a strictly physical sense, it must have been. But this was Bowie asno one had ever seen him before.

7:08 His hair, which appeared blonde and flowing on the cover of Hunky Dory, released just three months earlier, was now chopped at severe angles and died a brightorange. The color of a B movie laser beam. His face was lavishly slathered with cosmetics.

7:30 He wore a jumpsuit with a plunging neckline, revealing his delicate pale bone chest and his knee highwrestling boots were fire engine red. Bowie had never been conservative in dress. But even for him,this was a quantum leap into the unknown. Then he began to play.

7:52 His band dubbed the Spiders from Mars in comprising of guitarist Mick Ronson, bassist Trevor Bolder and drummer Woody Woodmansey. I'm so sorry, Woody. That is a funny name. But I like it.

8:07 Was lean, efficient andpowerful, clad in gleaming metallic outfits that mimicked spacesuits reminiscent of costumes from the Campy 1968 sci-fi romp Barbarella. The Jane Fonda of vehicle had been a huge hit in Englandand it became a cult film of the United States.

8:26 I found that I found that excerpt because I was watching Barbarella rewatching Barbarella. The first time I saw it actually was in amotel in Montana.

8:40 I was super tired of laying in bed with my wife and we were just flipping through TV and we stumbled on this thing. It was so good. I was rewatching some of that while I was writingthis Bowie article because I felt that connection and so I googled it with the quotes around itand I found that. I was like, see someone else agrees. It's that fusion.

9:05 It's sci-fi futurism injected into rock. So it's a really cool way to merge this like burgeoning sexual energyin a different way than the hippie revolution. And that's where I feel that branch off. That's whyit points to things that become new subgenres like glam rock and then eventually hair metal.

9:28 But it also makes sense too. It's connected to the theatrical that is all around rock, especiallyinto the 70s, where it's an arms race just like the Soviet Union US nuclear buildup. It's an armsrace of who can attract the biggest audiences. The market gets saturated.

9:49 Everybody is starting a band. Guitars are flying off the shelves. This is like kind of the 70s and 80s. That's like thepeak of music retail. There's a music retailer in like every strip mall in America. Everybody'slearning. The Beatles are a big part of what kick this off. But so you can kind of picture like1964. Beatles come out.

10:10 Everybody that is 10 through 20 sees that and goes, yeah, I want to do that by its instruments. And now like late 60s, early 70s, mid 70s, they're all starting to begin theircareers. And they're all starting at the same time. And the population's huge because of thebaby boomers.

10:29 So you got a whole bunch of people not as nearly as many entertainment options as we have today. So there's like not as much to do. People want to go see live shows. Everybody starteda band. And now you have to differentiate yourself. You have to get out there. You have to makeyourself larger than life just to compete with the noise.

10:49 That's why you see Led Zeppelin with their big hair and their double neck guitars. All of this stuff is not just because the musicdrew them to it. It was also the conversation with the audience.

11:01 The audience always has a say.In the same way that the music that I make is constantly in conversation with what'scatching on which is kind of fun and weird and good and bad of existing as a modern musician is that I put music out all the time and I get constant feedback on that music. So it is like a

11:21 learning to understand like what do I listen to who are my real fans or who are the people thatI'm really trying to play for. And I feel like David Bowie got it. The best way to do it is not toalways follow that criticism or that advice between anticipated and to see where is it going.In the same way that like a swell in the ocean you try to catch that wave. Try to get ahead of it.

11:43 And sometimes people will lambast the lambast you for it. Sometimes people will not like itor they say you've changed like David Bowie, like Bob Dylan when he picked up the electric guitar.

11:55 But Bob Dylan was always very good at sticking this finger in the wind and seeing which way it'sgoing to blow. David Bowie created his own wind.

12:07 One of the things that I think is really fascinatingabout that too is by creating your own wind, by creating that subgenre, you now have the ability to have a career as diverse and intricate and incredible as David Bowie did, then it's worth.

12:28 And you also create a ripple effect because people see, oh, people like that. Why don't we start aband that sounds a bit like David Bowie? That's where I'd like to push back to my previous episode.A great conversation if you haven't heard it. It's with Twisted Sisters JJ French.

12:46 He and I had aguest episode not too long ago, but it was a great, great conversation about David Bowie's influence how it spanned into bands like the New York Dolls, who that JJ is not a fan of musically but was afan of aesthetically, which is also really important.

13:06 I think takeaway for an artist is differentiating between what do I like about this? What do I hate about this? And then how can I take what I likeand push against what I hate to make something I want more of? And that's how subgenres like reallypick up steam.

13:21 And I think that you can do that with any influence in whatever you're doing in your life if you're a filmmaker musician, whatever, of just saying, hey, I'm so drawn to this piece ofwork, but I'm not drawn to this part rather than taking it all or nothing. The people that takeit all are nothing. That's when I think you start to sound just like a copy of somebody else.

13:43 But when you recognize the parts that resonate and recognize the parts that don't and extract

13:49 between them, that's when I think you can really make something unique and fresh.

13:54 That's what I'm trying to do with my music is like, I love brothers Johnson and early funkand early disco. Absolutely love it. I also love Canadian indie from the mid 2010s.How can I blend the things that I love from both of them with what I love about modern music,like bad bunny? How can I do all of that at once? I'm trying with my new record, you know?

14:21 But I'm taking out the things that resonate with me, the things that I think I can actually pulloff as well. And trying to recombine them in a way that I think other people wouldn't even thinkto do because they might not listen to those three things as often as I do. Or they might at thevery least if they listen to them might have different things in their pros and cons columns.

14:41 But I like that from JJ where he's going, okay, I love David Bowie, I love the beach boys,I love the Beatles, I love what the New York Dolls are kind of taking from it aesthetically instage presence wise, but I hate their music. How do I do all of that but better?

15:00 And I think Twisted Sister's story was really fascinating because it's another example of audienceband feedback loops. I think it took them to some interesting and some negative places.

15:14 As I was saying, I love disco. One of the biggest things that Twisted Sister is associated withis creating the split between rock and disco, creating might be a strong word,writing the wave of that, incorporating it into their live show. And there arethings that I talked to JJ about that I don't feel comfortable with.

15:37 He doesn't feel comfortable with either in terms of the ways that early disco, early disco was a lot of it was associated with

15:47 underground. A lot more than it came to be later, but it was underground in terms of a reactionto rock, in a lot of ways, where it's like it's not a lot of white people that are making early disco.It is combining a ton of black music, a ton of Latin music.

16:11 It is a celebration of a counter culture, but then it became the culture. And then I think a lot of groupsfelt like their culture was being taken. Again, some of the stuff we're seeing today.

16:26 And it's interesting because music can be a rallying cry. It can be a community generatorin both positive and negative ways. And I think that Twisted Sister's career incorporatesall of it in part just because they played so much and they were in front of crowds so much.And you're trying to get paid. You're trying to make a career.

16:43 And so you're constantly pandering and exploring and trying things with crowds and whatever works you latch onto.

16:50 It's kind of like any business, right? Like a lot of businesses start off saying,we are going to do X, Y, and Z and that completely changes to the second. They actually startselling to customers. Customers say like, I want this instead. A lot of bands change because

17:05 either they personally change or the audiences are like connecting with something else and theywant to pay their mortgage and they keep doing it. The beauty though of going back to David Bowieis that he was able to do both. So it is possible. You might need to have the charisma of David Bowielike that. That might be part of it.

17:24 You might need to be in the right time and the right place in the sense of the space race and Ziggy Stardust. But it is possible. You can be a leader as a musician.

17:39 That's how to say Twisted Sister was not. But I do think that their story is reallyindicative of that certain age, that certain arms race, that saturation. And it's also superinspiring because they worked really, really hard.

17:56 And I do believe that in their retelling ofthese events that they actually are not connected with the subgroups within their fandom that are racist. They are not, they don't stand for that.

18:11 But it is fascinating to see like, could youimagine being an artist today and then all of a sudden people in the United States that you don't want listening to your music, get obsessed with your music? How that would feel? A lot of peoplewould run with it because they want to make money. I get it. But how can you be the leader?

18:35 How can you be the David Bowie type? The node on that tree of rock and roll or whatever genre you'rein instead of following the grain all the time. It's a tough, it's a tough thing because you cangive up your livelihood in return.

18:56 But sometimes, sometimes these things come together to quote, let's jump on it. And one of the ways that they do come together, let's talk about queen. So,

19:09 Bowie, naturally, larger than life, Freddie Mercury, larger than life in a very different way.

19:19 Queen itself, I was so stunned when I was just doing those research. I didn't realize that queen formedtheir full lineup in 1971 and Bohemian Rhapsody was released four years later. It's crazy how fastthese timelines can move. And it kind of goes to show like, yes, you have to train your entire lifeto get as good as Brian May is at guitar or as good at singing as Freddie Mercury is.

19:43 But you hit the right time, the right place, the right alchemy of players and you strap in for four years andyou grind and you push anything's possible. And I also think that queen is a really good exampleof pulling from unlikely sources. Like I was talking about the influence thing and one of thethings I really liked about the Jay Jay French conversation.

20:04 Freddie Mercury and queen is a really good example of that of pulling from unlikely sources like Broadway and baroque music. I thinkthey were able to do that in part because of Paul McCartney and the, you know, the long and windingroad and the granny music that the Beatles used to call it.

20:22 I do think that some of that opened the door for unlikely subgenre accumulation within rock and roll. That in the same way that when wewere talking about Buddy Holly, how he opened up the door to some of like the jazz harmony andsong structure stuff. Or like how prog rock did that in a really big way as well.

20:46 That's, you know, kind of the same time as queen a little bit later than queen. All of this together makes for a

20:57 like a extravaganza of subgenre. And this is a really hard time to try to profile in history.And that's why I'm, I've split it. I had the pod episode and substack posts about punk,also about metal, about classic rock, prog rock, and now the rock star in a different sense. I hadanother substack and thought about a different kind of rock star in the Jimi Hendrix sense.

21:22 But what I really like about this type of rock star larger than life is it positions rock asthe next stage of the stadium act. Led Zeppelin is doing this. Queen is obviously doing this.Bowie is doing it in the art rock kind of way. And all of this bleeds into the pop star.

21:45 So obviously this is a history of rock. This is not just pop, but rock is the most popular genre forquite a long time. And so the pop sensibility, like Beyonce and Lady Gaga, you don't get thatwithout Freddie Mercury and David Bowie. I'm just saying.

22:03 This is a huge, huge point of defining the spotlight. But one of my favorite stories about the two of them is sharing the spotlight.So one of the best songs of all time under pressure is a collab, the collaboration between queenand David Bowie. And I didn't know this story. So I'm going to share it with you.

22:25 They did it in this Swiss Alps. So a whole bunch of snow. Also a side note. Also a lot of cocaine.Another snowy thing. There's a really funny arc to studio budgets. And if you'll see articlesand they'll talk about it used to be so expensive to make records.

22:45 And that was part of the reason why recoupment was so difficult as in paying back your record label. A lot of that was becausethey hid inside of the studio budgets a lot of drug purchases. And assistant engineers used tobe a different kind of assistant. They in some places they still are.

23:06 There are some crazy stories in the music industry. And I and makes all of my stories sound pretty boring because I don'tdo drugs. I spoke weed, but I don't do drug drugs. But it is like, it's like, what did

23:23 what actually really happened in the studio? It's like, that's unwritten history. Maybe I couldget some of these players on the pod. They could talk about what it was really like in the 70s and 80srecording. So they're in Montreux, Montreux, Montreux, Montreux. I had to pause there for a second.

23:44 Apologies to all of my French fans. I hope you're not listening. I mean, no disrespect. I am

23:55 I am not the best with French. But anyway, so they're in mountain studios in Montreux. They'retracking their 10th album. Queen is hot space when David Bowie drops by the studio. He was in thesame building recording a soundtrack. So they start messing around playing covers, killing time.And then Bowie says to everyone, why don't we just write one? This is stupid.

24:18 So he lays down some backing vocals. They start working out. It's called cool cat, but they abandoned it. It didn'tsound great. This is an interesting point though. In a lot of the conversations that I've had onthis podcast with hit songwriters, they talk about this strange phenomenon where the second songof the collaboration is stronger than the first.

24:36 It's almost like that first one is that shake off that get to know each other kind of moment. And so getting through that first one is quicklyas possible so you can get to the second. It seems to be a good strategy. I have had exceptionsto that rule as well. I've had both.

24:52 So that's not to say like phoned it in for the first song, but it probably makes a lot of sense that somewhere earlier on on the recording of that first song,saying, hey, why don't we come back to this? Let's start fresh, start with a clean slate. I havea new idea or let's jam on something. And jam on something they did.

25:09 John Deacon, that hypnotic bass, like ding, ding, ding, ding, ding, ding, ding, ding, ding, the ice ice baby song. Yes,that was the backbone of the song.

25:18 And one of the other things that I thought was really interestingabout this collaboration that I've seen happen in a lot of collaborations, one of my favorite songsby Blinkwin or you two does this as well, where the two principal writers of the melody and lyrics go off and write to the beat and then come back together.

25:39 So they have this moment of in-person, then a moment of personal, and then a moment of in-person again. And that's where you can getreally chaotic but fun and unexpected combinations. It can actually highlight some of the thingsthat make a collaboration, a collaboration even more so. Whereas if you're just together inthe same room the entire time, you can soften out each other's idiosyncrasies.

26:03 You can make it so that it sounds more like one player or more like the other. Whoever's like kind of running thestudio or whoever has more of voices in the room, like say, for example, queen over one person,David Bowie.

26:15 Like David Bowie has to, and it's funny because they talk about the tension,where Deacon has to say to David Bowie, no, I'm the bass player, you know, all of this kind of drawing the line. But of course David Bowie has to push farther because he is one against four,and that four is a band.

26:31 So they're really like five or six, you know, there's like a multiplier effect when you're a band and you've been working together for a really long time. You know each other'sinstincts. And so this war of egos as Brian May calls it comes out with Freddie, Freddie Mercury,doing his melody update.

26:50 This scatting is very, you know, only he can pull it off kind of, kind of nonsense lyrics. And then David Bowie is singing basically about the apocalypse. And it is

27:03 this strange dance, strange delivery. It's a kinetic energy. It's a jarring and juxtaposed.

27:17 Self-assured versus bombast. It's a last dance, but it's two people interpreting that last dancein a very different way. One is like, I'm going to go out screaming and singing, and one is moresomber and introspective. And I think that's the magic of that song.

27:33 And also the part of the magicof that song is it really didn't feel like this record label executive connected with another record is, oh, we could definitely make a hit if we brought these two together. It really feels like atrue collaboration chaotic, messy, imperfect, but that's what makes it perfect.

27:55 I would be be silly to end it here because I have to go somewhere even sillier and that is into the worldof hair metal, hair metal, just like calling it that. I wonder if they called it that during. Idon't think they did. They probably just called it metal. It's just naturally, it's a silly thingif you name your genre around your hair, but it fits.

28:16 So I think it's so interesting in the history of rock where you have these explosions, these underground scenes that coalesce and synthesizeinto a pop manifestation of it.

28:29 It is, you take, like, take the punk episode and sub-stack postthat I did, for example, you look at the Ramones and you look at the underground energy with CBGB and then you see it synthesize into the clash.

28:45 It's a good example because they pull inother genres, they pull in other things, they kind of mature the punk sound and they're now they're playing stadiums at that time. And then, or like in modern time, you could look at Green Day,

29:02 Green Day, or I was talking about Blink 182. Really good examples of you take the undergroundmovement, you take that energy and that sound, that sonic palette that you love and then you combineit with, yeah, but like what can sell records?

29:15 Or like if you just genuinely love it, like I'msaying this as a pop musician, like I consider myself more on that end rather than the underground end, is like I love melodies, I love singing along to songs, I like writing songs that just make youfeel pretty cool and I like doing both, but I like pop music, you know?

29:35 So I take what I like from the underground, I mix it in and I make my own thing. Hair metal is that too. And to be fair,I really liked hair metal, it's just long time ago when I was like 12. Not to say that it's a juvenile,eh, kind of, it's silly music. It's like it is music that I think is informed by the lifestyle thatthe people were making it, we're at.

29:57 And there's some great songs, like one of my favorite songs, Kickstart My Heart by Mötley Crüe and it's about, you know, the guitarist, he had to get his heartrestarted after partying too hard and they filled them up with adrenaline and he wrote the song ofthat experience. Like that's pretty cool, I know, you know?

30:17 And the song, it feels like it's great, it's a great song, it gets you pumped up. There's a reason also why this music inspires thingslike stranger things or pop culture because it's such a time capsule is such a unique to this periodwhere you combine the theatricality of rock and that arms race.

30:36 You have Bowie and Queen and Led Zeppelin and you combine that with the hard rocking, also the theatricality of Iron Maidenand Judas Priest and Black Sabbath. But then you soften up the edges. You are not

30:50 Ozzy Osbourne biting the head off of a bat live in his concert, which in his telling he didn't,he thought that the bat was a rubber bat. He didn't think it was real. He thought somebody fromthe audience just chucked a bat on staging ripped his head off of the mouth. So he had blood,yeah, sorry, I'm sure you're wondering.

31:05 You take away all of that and you tease out your hair instead and you write songs to try and like get ladies. Like I feel like that was a huge part of why

31:17 hair metal musicians were even in music just in general, you know? Maybe not just hair metalmusicians, but the idea of like, yeah, this is an attractive thing to do. So I'm going to go do that.And there's also this weird element of like a snake eating its own tail. It's very recursive. Itis the rock and roll excess sex drugs and rock and roll kind of energy.

31:42 But it's no longer for sales or for PR. It is everybody is like getting high on their own,supplying completely buying into their own mythos, which is interesting because it createssomething real like Mötley Crüe wrote a book. It's crazy. It's absolutely crazy. But it was theirreal life.

31:59 And so yeah, like of course, they're going to kind of seem like cartoon characters to us because they lived a life that is so foreign and it's crazy that they even survived because theywere doing so many drugs. They're basically like living in strip clubs. They are almost caricaturesof what you would expect a rock star to be. And they made music that's out of that big.

32:22 And some of it's really good. Like there's some really great socks of Mötley Crüe Def LeppardBon Jovi poison. Also, you know, like Aerosmith and Guns N' Roses sort of, Guns N' Roses kind of comesout as the like grittier version of the hair metal. But I'd still at least personally from the waythat I see it. I think they're still kind of in their paradise city. But some incredible guitar playing.

32:43 Like this is what that's my favorite thing. I think that's why I liked it so much. That's why alot of people like hair metal is like there's some amazing virtuosity. And you're taking a lot of theblues rock mixed with the hard rock mixed with the prog rock. You're taking all of it and you'reputting it into that super 80s lens of how fast can you play it? How am I allowed it? Can you be?

33:05 And it still has that blues edge where it's less jazzy. It is a little bit easier to kind of likegrasp and clob onto like sweet child of mine. One of the best guitar solos of all time. It's just awesome.

33:20 I love it. I remember learning it every note because it's that good. It's like you have to get thatin your fingers because like I'd be a bad guitarist if I didn't. I don't play music that sounds like that.But like I kind of want to because it's so fun. And so like music should be fun. And I think thatthat's where hair metal really takes it. And that's why I still like it.

33:42 However, there's a great documentary, rockumentery, mockumentery called this is spinal tap. And I swear that's a big part ofwhat let out the air from the balloon. It is a hilarious retelling of what it's like to be one ofthe snakes that's eating its own tail. I hope you enjoyed this episode.

34:04 This is a strange journey from David Bowie to glam rock and then the hair metal. On the next episode of History of Rock,I think I'm going to explore kind of what comes next. And some of the things that are really

34:19 impactful to the music that I make and the music that I love. So that would be Pixies going intoNirvana, going into the explosion of indie rock. And we've already touched on some of it like velvetunderground CBGB.

34:37 There's also bands like Joy Division that really helps establish that post punk into indie rock into whatever we have now.

34:48 I'm excited to speak on that and to dig deepermyself to understand the roots of the music that I make because a lot of this it's really fun to do this research because I discovered things all the time where I've listened to all thesebands. I'm influenced by all these bands but you don't realize the ways that they connect.

35:11 I don't necessarily always realize the timelines of these things because I'll think like oh yeah,that's one of the first bands like no, no, no, no. You know, you got to go back to the Buzzcocks or you got to go back to Blackbird by the Beatles as an example of what indie sounds like.Really good example for me is Ram by Paul McCartney. You're like that's an indie record.

35:38 So I can't wait to talk about that. I love talking about glam too. It's really fun. I love that kind ofmusic too but my heart, my heart is in this next episode. So join me for that. Please like,subscribe, tell your friends. And also we have a poll question at the end of every episode.Love to see what you think. If you're on Spotify, feel free to drop a comment on there.

36:01 I read every single one of them or hit me answer on that poll question because it's always interestingto see where you're at. If you have other ideas of what you'd want to be pulled on or differentways that you'd like to incorporate yourself into this show's conversation, I'm always opento answering questions or doing a mailbag pod or anything like that.

36:23 So here to be a resource through the history of rock and roll and beyond. Hope you enjoyed this episode and I'll see youagain next week. If you want to hear my music, go to scoobertdoobert.pizza. That is www.scoobertdoobert.pizza.