Exploring the Healing Power of Music in Modern Medicine
The primary focus of this podcast episode is the intersection of music, healing, and the evolving role of artists within the community, particularly in Rochester. We engage in a profound discussion with Sean, a multi-instrumentalist and performance arts medicine practitioner, who elucidates the significance of music therapy and the therapeutic applications of sound in various settings, including hospitals. Our conversation explores the responsibilities of artists as both creators and healers, the importance of active listening, and the impact of community engagement through collaborative events. We also reflect on the unique cultural dynamics of Rochester, examining the potential for growth and creativity within the local artistic landscape. Through this dialogue, we aspire to foster a deeper understanding of how music can serve as a conduit for healing and connection in everyday life. Tune in for another episode, peeking behind the studio door!
You can find Sean at his website:
No Fuss: Tea Time Listening Sessions:
https://www.mixcloud.com/anaglogmusicfm/
Mentioned in this episode:
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Joe Bean Coffee - Coffee that lifts everyone.
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Transcript
Foreign.
Speaker A:Welcome back to behind the Studio Door.
Speaker A:I'm your host, Molly Darling, along with my co host, Christian Rivera.
Speaker B:My name is Christian.
Speaker B:I am the voice inside your head.
Speaker A:He won't.
Speaker B:Thanks for having me.
Speaker A:He won't be able to hold that all podcast, hopefully.
Speaker B:Oh, we'll find out.
Speaker C:It's so comforting.
Speaker A:And we got Stromi to my left.
Speaker C:It just, just feels home, you know.
Speaker B:I just want to make our listeners feel very comfortable.
Speaker B:Settle into the couch, get yourself some cookies.
Speaker B:Yeah.
Speaker B:And just enjoy.
Speaker B:Yes.
Speaker B:Good old time with behind the Studio Door.
Speaker A:Can you tell that we've been stuck at work all day?
Speaker B:This is me letting loose.
Speaker C:We're.
Speaker C:We're starting strong.
Speaker B:I don't know who that guy was, but I'm here and I'm ready to podcast.
Speaker A:Oh, welcome.
Speaker A:C note.
Speaker B:Yeah, yeah.
Speaker B:Excited.
Speaker B:Happy to have arrived.
Speaker A:Glad you're here.
Speaker A:Well, we also have another person in the studio here with us today, our friend Sean.
Speaker A:Sean is a multi instrumental teaching artist, a vinyl selector and performance arts medicine practitioner based in Rochester right here.
Speaker A:He's an alumni of the Eastman School of Music and performs in person as part of the Eastman Performing Arts Medicine series.
Speaker A:A strong hospital, which is really cool.
Speaker A:And online for Highland Hospital with the Bedside Musician series.
Speaker A:He recently accepted a position with Project Music Heals Us to perform weekly for patients at Stanford Health Care, Denver VA and New York Presbyterian Hospital and monthly with Cedars Sinai in Los Angeles.
Speaker A:Also awesome.
Speaker A:Sean is currently pursuing certification in music therapy and he hosts a monthly DJ residency called Grooves and Games at Bookeater Cafe, which is amazing.
Speaker B:So much fun.
Speaker A:Yep.
Speaker A:Almost a year old.
Speaker A:G and G aims to celebrate creation, community and conscious listening.
Speaker A:Welcome to the show, Sean.
Speaker D:Thanks for having me.
Speaker D:Honestly, I don't know how I felt any of that.
Speaker B:Yeah, I was like, okay, what do you do again?
Speaker A:Music.
Speaker D:Wow.
Speaker A:Wow.
Speaker B:That was a whole lot of things.
Speaker A:Amazing.
Speaker B:Yeah.
Speaker B:How do you feel about doing all those things?
Speaker A:Great question to start with.
Speaker C:Yeah.
Speaker D:I mean, it's born out of having to wear many hats.
Speaker D:Like when people ask what I do, I want to say musician, but yeah, there's just so many hats to wear.
Speaker D:Yeah.
Speaker D:Diverse portfolio for sure.
Speaker B:For sure.
Speaker A:Yeah.
Speaker A:Performance arts medicine practitioner.
Speaker A:I want to know more about what that means.
Speaker D:Yeah.
Speaker D:So we're.
Speaker D:Man, this is a huge conversation.
Speaker D:So basically, basically we have a couple layers to it.
Speaker D:You know, you've got music education, you've got music therapy, you've got performers, but then you have all this stuff in between.
Speaker D:And especially with the pandemic when the performance venues Closed the space that was worked on for many years by the music therapist to kind of work for funding and things like that.
Speaker D:It started to open up.
Speaker D:Performers started to see some real value in like, well, actually there are people here that we can serve and.
Speaker D:Yeah.
Speaker D:So music for Care performance arts medicine is specifically to do with like, say you're a top notch.
Speaker D:Well, you are a top notch artist and I'm sure painting for many, you know, for forever.
Speaker D:Do you ache ever?
Speaker A:Do I ache, like, if I practice emotionally, psychologically, spiritually?
Speaker D:Yeah.
Speaker D:So, I mean, so performance arts medicine specifically is like addressing how do artists take care of themselves so that they can stay much like a professional athlete would.
Speaker D:Because I would say artists are athletes, really.
Speaker A:I agree.
Speaker A:Yes.
Speaker A:You show up, you work everybody.
Speaker A:I do very hard work every day.
Speaker B:You have rituals, you have things that you do to practice and to.
Speaker B:Basically, when you show up to the canvas, you perform.
Speaker D:It's true.
Speaker D:It's true.
Speaker D:Yeah.
Speaker A:And it's very physical.
Speaker A:Physical, emotional, all the things.
Speaker A:So it seems like that kind of practice really does tie into it.
Speaker A:All of those different things.
Speaker D:Yeah.
Speaker D:I mean, it's.
Speaker D:It's funny because on the one hand, and I hope I don't get in trouble for this, but on the one hand I'm like, I'm.
Speaker D:I'm pursuing a degree which I will just say is like largely inaccessible.
Speaker D:It's also largely westernized.
Speaker D:I know of, like, music.
Speaker D:Sorry, like healers of with sound.
Speaker D:Tito La Rosa, I think of in Peru, thanks to Adrian Di Matteo, who he introduced me to that teachings.
Speaker D:But it's like he wouldn't be able to get a degree in music therapy in the United States, even though his entire lineage is only like that, you know, and so, like, that's an issue.
Speaker D:And so it's also, you know, funding is an issue.
Speaker D:But what's an interesting thing is that music for Care programs, while they're doing some really good work music, they're kind of.
Speaker D:They get like national endowments, which are wonderful and they do some really wonderful work.
Speaker D:But it begs the question of, like, what's the value of the credential of the music therapist?
Speaker D:And I haven't quite made up my mind yet on that.
Speaker D:Yeah, you know, I'm doing both of them.
Speaker D:So it just.
Speaker D:I'm.
Speaker D:I'm curious to see if a third thing will come up.
Speaker B:Yeah, well, it's one thing to have all these, you know, to have credentials.
Speaker B:It's another thing to be doing things in the world.
Speaker B:And based off of that list of stuff, you Know, you're, you're in the world doing things, and I think that's more important than any of the other stuff.
Speaker A:Yeah.
Speaker A:Sometimes the credentials, I feel like, can help get you into places that wouldn't be accessible otherwise.
Speaker A:But at the same time, it's like they don't necessarily matter all that much.
Speaker A:Like I, I am a practicing artist, like you said, and I don't, I don't have any art degrees.
Speaker A:Technically I have teaching degrees, but I'm using them in a very non traditional way.
Speaker A:So.
Speaker A:Yeah, that is like a whole other conversation of what are we even?
Speaker A:What's the point?
Speaker B:Yeah, but I mean, like, I guess I would ask you in real time, you know, like, what do you, what do you need the credentials for?
Speaker B:What do you need the credentials for?
Speaker D:Yeah, I mean, I would say that, I would say that.
Speaker D:I guess the idea of the credential in the scope of a music therapist and what we're.
Speaker D:Or what I'm finding now in like music for care programs where they're training performers to go into hospital settings, but without the, really the clinical goals, you know.
Speaker D:Right.
Speaker D:The credential really is there just to have accountability.
Speaker D:Right.
Speaker D:Like, you know, okay, hopefully they know what they're talking about.
Speaker D:Not all credential people do.
Speaker D:Yeah, but hopefully they do.
Speaker D:And at least if they don't, we know we can talk to somebody about them to make sure that they eventually figured out, you know, how to.
Speaker D:And it's all about reducing harm.
Speaker D:Right.
Speaker D:And I think the idea about music healing is a wonderful, wonderful thing, but we also have to take the responsibility that if we can heal somebody with something, we actually can also harm them.
Speaker D:And that's where a credential comes in play.
Speaker D:But the work that is being done by these non credentialed individuals is, Is actually proving to be quite effective.
Speaker D:So, like, that really puts a spin on my head, I think.
Speaker D:Like, you know, you don't want to stop this work, but you do want to find a way to incorporate the other models that might be feeling like maybe their scope is being infringed on or maybe like, you know, who knows the difference really, if a person's credentialed or not when they encounter them at a hospital setting, you know.
Speaker B:Right.
Speaker B:Greases the wheels of trust.
Speaker B:But it's not a box that you're stuck in.
Speaker D:Yeah.
Speaker B:You're learning from all sorts of different sources and able to bring your own experience also, because, I mean, even just someone who's gone through art School like 20 years ago at this point, it's like if I'm still doing things that I learned just in art school, I would not have a career.
Speaker A:Right.
Speaker B:Because.
Speaker D:Right.
Speaker B:I would not have adapted to, you know, the way the actual environment is.
Speaker D:Yeah, yeah, it's, it's what, the credential inflation versus industry reality.
Speaker D:And I agree completely.
Speaker D:Also, I definitely did not mean to get this deep in it right off the bat.
Speaker A:No, that's awesome.
Speaker A:Yeah.
Speaker A:I mean, this is great.
Speaker A:I was going to back up and ask you what, what music healing means to you.
Speaker A:Like, what does that look like practically in a day to day setting for the, for the listener who doesn't know what we're talking about necessarily.
Speaker D:Sure, yeah.
Speaker B:Define your terms.
Speaker D:Yeah, yeah, I'm scattered.
Speaker D:So just bring me back.
Speaker D:You're good as we go.
Speaker D:But yeah, I mean, I like that you said day to day, because that's what I believe when I go and I play for somebody in a hospital setting.
Speaker D:That is my Carnegie Hall.
Speaker D:You know, there's, there's a lot.
Speaker D:I, I mean there is a place for the performance hall.
Speaker D:There is, but I see often, so often I see them half empty and I see hospitals full, I see schools full.
Speaker D:So I like this idea that music doesn't have to be reserved just for the dance hall.
Speaker D:It doesn't have to be reserved just for the concert hall to be for daily use.
Speaker D:I mean, I say this often.
Speaker D:We think a lot about what we eat.
Speaker D:We might as well think about what we're hearing.
Speaker D:And I can even say, like, there are countries right now that are suffering from, from like oral warfare of just, you know, so, so music is powerful and, and I, I think daily use.
Speaker D:So what does it look like?
Speaker D:For me, it could be accessing your, your voice humming, you know, for a little bit of a day.
Speaker D:Could actually help somebody, encourage them to feel greater amounts of expression or learning the practice of showing up and just listening to music.
Speaker D:It brings us into like, I call it the airplane effect.
Speaker D:You know, nobody can really bother you on an airplane.
Speaker D:If you give yourself like two minutes to listen to a song, two and a half minutes, like that's, you're in that song and it can energize you, it can relax you.
Speaker D:You know, there's so much, so many benefits.
Speaker A:And what kind of benefits do you see working with like patients in a hospital, for example, like, what does that look like?
Speaker A:Sometimes it's online.
Speaker A:Right.
Speaker A:And sometimes it's in person.
Speaker D:Yeah.
Speaker D:So like Eastman Performing Arts Medicine, we've got a bedside musician series as well as in person.
Speaker D:So in person, once, like every day of the week pretty much, we have somebody going in for an hour to perform at the lobby.
Speaker D:And it's really just a positive distraction.
Speaker D:I mean, people are waiting there for who knows what.
Speaker D:And to just offer, you know, even just like a well intended distraction is sometimes can go so far and, you know, how good do you feel when you hear a song that you recognize, you feel recognized in the space, right?
Speaker B:Yeah, it kind of brings me into a.
Speaker B:Frankly, it gets me out of my head.
Speaker B:You know, we always talk about peace of mind, but we're often looking for peace from mind.
Speaker B:And I'm, I'm approaching it from a psychological lens, but if you're talking about physical healing too, it's like a moment for you to stop touching the pain or touching the problem or being obsessed with it, and it gives you a respite.
Speaker D:I've had some gnarly encounters where.
Speaker D:Okay, so like, I used to do some work with the Chinese community school.
Speaker D:I had a client of mine, he directed the orchestra and so he also arranged music for it.
Speaker D:And the idea was that they would take Chinese traditional music but played on western instruments.
Speaker D:And these kids are amazing.
Speaker D:But one of the arrangements that came out of it was.
Speaker D:I'm going to butcher the Mandarin, it was Yue Shigu Cheng, but, but it was this beautiful like love song basically, you know, but the moon and things.
Speaker D:Long story short, I, I played this for an individual on one of these online tunes.
Speaker D:And.
Speaker D:And then like I got an email that night that said that that was the last thing that he heard or he, he transitioned and that he had basically his condition was that he just, you know, he was, he hadn't really moved or whatever.
Speaker D:But just before we finished our session, he raised his hands and like brought them together and like thanked me and yeah, it was, it was heavy.
Speaker D:You know, the, that family ended up getting that recording and performing it at his funeral.
Speaker D:Yeah, it was, it was heavy stuff.
Speaker D:So that's powerful.
Speaker C:Yeah, yeah, because talk.
Speaker C:Talking about a respite, right?
Speaker C:I mean, could be momentary from, you know, just hearing a background music in a waiting room, you know, or your, you know, an emergency room or something else where, hey, that's that momentary respite from chaos or it can be that respite from, you know, a long time of decline and everything else where you have a moment of positivity that, hey, if that's, if that's the way, that's the way you're going, you.
Speaker C:You're going the way you wanted to with Some positivity kind of want to bring it back to.
Speaker C:Because like that's active.
Speaker C:Right.
Speaker C:Like the waiting room's a passive.
Speaker C:Right.
Speaker C:And they're not.
Speaker C:You might actively listen, but really it's about just the environment of having something around that's pleasant.
Speaker C:Just raises the general thing.
Speaker C:But how much.
Speaker C:How much of what you do is designed to be active listening versus passive?
Speaker C:Because the active listening, I mean, I've started doing that with some songs recently of bands that I never really liked.
Speaker B:Mm.
Speaker C:And then I heard them interviewed.
Speaker C:I think it was a surge from System of a Down.
Speaker C:I saw him interviewed recently.
Speaker A:Gives you some context.
Speaker C:And he is just a fascinating, fascinating interview.
Speaker C:Just a tremendously engaging and moral and value driven and just, just a real artist from top to bottom.
Speaker B:Yeah.
Speaker C:And I never liked the music and then my wife loved it and I.
Speaker C:She played me some of the songs and I actually listened to the lyrics.
Speaker C:I'm like, oh, but now that I know who he is, I can actively listen to it and enjoy it on a different way.
Speaker C:And that's why I was wondering, like, oh, what is active?
Speaker C:How much does active listening come into how you do that stuff?
Speaker D:Absolutely.
Speaker D:I feel absolutely in just good company.
Speaker D:I want to say the, like, the language that's being thrown around right now, active listening, I love that.
Speaker D:Like that is something that as a musician I feel it's.
Speaker D:It's my job to.
Speaker D:To like really promote how to listen actively.
Speaker D:And I think that like in a music therapy sense, say somebody has just suffered like a physical, that they're having trouble getting their walk back, maybe they had a stroke.
Speaker D:You could use music to not just like motivate their spirit, but also to coordinate their gait.
Speaker D:And so that's like an active.
Speaker D:You're engaging another part of the brain that's actually synapsing with, you know, so that's like a music therapy example.
Speaker D:But if I could bring it to like a non clinical space because.
Speaker D:And this is it, like we've got music.
Speaker D:You've got all these different titles.
Speaker D:But for me, I actually have a hard time separating.
Speaker D:I feel every performer wants to be a therapist.
Speaker D:And if performers also listened to their audiences like therapists did, and if.
Speaker D:And if therapists, we could learn that sort of high level prep that performers do, you know, which will even just deepen the practice.
Speaker D:So I'm sort of rambling here, but I hope I've answered your question.
Speaker C:Yeah.
Speaker C:Well, it sounds like you also want to be actively playing too.
Speaker A:Yeah.
Speaker C:And not just going off of routine.
Speaker C:You actually Want to actively play for somebody, which is a whole nother thing about.
Speaker C:You can play the same song a hundred times or a thousand times, and it becomes routine.
Speaker C:You can't feel it the same way.
Speaker D:It's context.
Speaker D:The relationship between you and the person, the relationship between them and the music and you and the music.
Speaker B:Yeah.
Speaker B:There's something that you were a part of.
Speaker B:Some of the mental wellness open mic nights that I did at Mukduk Studio, probably, what, two years ago now, Like, I don't even remember.
Speaker B:Was it a year ago?
Speaker B:Yeah, it was a good time.
Speaker B:And what I wanted to do differently, which I think speaks to what you bring, is I wanted to make it an active listening experience where people were not just performing on stage and then people are up and getting drinks and they're chatting in the back and they're taking photos with their phone or whatever.
Speaker B:I wanted to create a space in a situation where people were present and they were engaged.
Speaker B:And I think that's a little bit of what you're speaking to.
Speaker B:And what Stormy was asking about is this, like, presence.
Speaker B:And what I think is key and what a lot of people want psychologically and frankly, like, in a spiritual sense, too, is like being, like witnessing to be witnessed.
Speaker B:And often we can do that for ourselves.
Speaker B:When you're offering something like, you know, just humming for a little bit and like witnessing your own voice and having that kind of situation, does that.
Speaker B:Does it resonate with what you're talking about?
Speaker D:Absolutely.
Speaker D:Like, if you ever feel lonely, just go yell at a wall and listen for the echo and you've got some confidence.
Speaker D:That sounds so sad.
Speaker A:I do that in my office sometimes now, but.
Speaker D:But absolutely, like grooves and games.
Speaker D:That was an idea that I saw this guy, Haseeb Iqbal, he's a wonderful selector, dj, but he really is a master of giving context.
Speaker D:Like, you know that he's not just playing tracks, he's playing tracks in an order that is, like, historically informed, informed and culturally informed.
Speaker B:Yeah.
Speaker D:And.
Speaker D:And that's just what I aspire to do.
Speaker D:And, And.
Speaker D:And just celebrate everybody who shows up, you know?
Speaker B:Yeah, I can definitely speak to how much care you put into those.
Speaker B:The.
Speaker B:The.
Speaker B:The dubs that you play during those.
Speaker B:Those events.
Speaker A:Yeah, I want to speak to the.
Speaker A:I like the intentionality that you bring to your work and also want to bring it back to the.
Speaker A:The ramble.
Speaker A:That was actually a really good ramble that I would say was a great train of thought where you were talking about, you know, like, bl.
Speaker A:The performance and letting them inform each other, because that's really a beautiful way to think about it.
Speaker A:And I feel like in our world, it doesn't really do us any good to clean, slice things into these boxes that we've clean, sliced them into for so long.
Speaker A:Like, therapy is just therapy and art, visual art is just this.
Speaker A:And it's like the more that we allow those connections, like those mycelial things to start to connect, connect to each other, it really gives it the opportunity to nourish both parts.
Speaker A:Like, I love the fact that you said, like, performers should think, like therapists, and therapists should think like performers.
Speaker A:Like, I love that.
Speaker A:And do you have more along that thought line?
Speaker D:Yeah, I mean, absolutely.
Speaker D:It's just, honestly, it comes down to, like, when an author writes a book.
Speaker D:George Saunders talks about this all the time when he's writing a short story.
Speaker D:He's like, I'm just picturing C note.
Speaker D:I'm picturing, how can I keep C notes?
Speaker D:Attention.
Speaker D:And that's actually like a form of love, you know, that's a form of giving, what, my attention to you.
Speaker B:Money.
Speaker B:That's how you keep my attention.
Speaker D:But.
Speaker D:But I try to do that.
Speaker D:I try to do that with, with, with sound and performing.
Speaker D:I try not to make it a, like, show up and.
Speaker D:And celebrate me performing.
Speaker D:In fact, musicians hundreds of years ago, I, I understand, used to feed.
Speaker D:They were obligated to feed their audience as a way of saying, like, thanks for even coming to listen to me.
Speaker B:Wow.
Speaker D:Don't expect that.
Speaker D:I can't.
Speaker A:Not with these food prices.
Speaker D:We'll get a good caterer.
Speaker D:I've been.
Speaker D:I've been working on some things.
Speaker A:Yeah.
Speaker A:Oh, my gosh.
Speaker A:I love the idea of having, like, a meal where we all consciously listen to music while we're also eating, you know, hors d'oeuvres that kind of match the context and the intentionality.
Speaker B:So that's a little bit what I.
Speaker B:What I was trying to say with the.
Speaker B:The Mental Wellness open mic night.
Speaker B:It's like this.
Speaker B:This notion of.
Speaker B:It's a communal experience.
Speaker B:You as an.
Speaker B:As an audience member are engaged in what's happening.
Speaker B:You're invested in what's happening into the.
Speaker B:All the performances.
Speaker B:And, you know, feeding people definitely helps them feel like they belong in a situation for sure.
Speaker B:Right.
Speaker B:And I wanted to say.
Speaker B:I was going to.
Speaker B:I didn't want to interrupt you, but I wanted to make the joke of, like, so Freud should join a hair metal band is what you're saying about.
Speaker A:Oh, my gosh.
Speaker A:How interesting would that be?
Speaker B:Right?
Speaker D:I just want to say though that like, as cool and as an intentional I can try to make these events, they really are not an event.
Speaker B:Yeah.
Speaker D:Without the people who show up and, and the energy that, like listening back to my, you know, the recordings of those nights and hearing your poetry.
Speaker D:Yeah, Hearing poetry over top of just, just like the.
Speaker D:When the music just.
Speaker D:I mean, nobody planned that.
Speaker D:It just happened.
Speaker A:Yeah.
Speaker D:Yeah.
Speaker A:It's just in the moment and we're kind of weaving together, which makes me think about collaboration, which I would love to talk more about.
Speaker A:We'll take a little break and then we'll dive into that right after this.
Speaker A:Yeah.
Speaker A:So it sounds like a lot of your work is really interwoven with a lot of different elements playing together.
Speaker A:And you mentioned that it really depends on who's showing up to these quote unquote events, these performances, these things that you're doing.
Speaker A:And so for me that begs the question, like, what does that look like in your practice?
Speaker A:Like, how does collaboration come into play with what you do?
Speaker D:Absolutely.
Speaker D:Well, I just want to say thanks for having me here.
Speaker D:I mean, this is part of it, right?
Speaker D:Like, this is like.
Speaker D:I honestly, it really is just rooted in.
Speaker D:I feel like I see so many other versions of the world that are less thought out and I have some really wonderful people in my community right around me doing some really cool things.
Speaker D:So it's like I feel very lucky in Rochester that I can just go to my doorstep to find quality radio, quality whatever, quality grocery.
Speaker D:So that's part of it.
Speaker D:It's something I need.
Speaker D:And I think that some of the collaborations I am doing are like sound baths.
Speaker D:At University of Rochester.
Speaker D:I want to shout out to Rebecca Block.
Speaker D:She has been amazing initiat of making wellness happen at University of Rochester.
Speaker D:Also Frequency Wellness space and just tons of venues around town are doing some really shout out to Karen Mokdok, Ms.
Speaker D:Casey.
Speaker D:Ms.
Speaker D:Casey and yourself.
Speaker D:Honestly, I have to give a shout out to the ugly art sessions really unlocked a part of myself that I can say I was afraid of confronting in my artistic self.
Speaker D:And you gave me just a completely non judgmental.
Speaker D:You're like, it's okay to just ruin your art and it's still art.
Speaker D:Hell yeah.
Speaker D:It was totally like, this is how you practice without attachment.
Speaker A:Yeah.
Speaker D:And.
Speaker D:And I seek for people that, that, that value, that kind of practice.
Speaker A:Thank you.
Speaker A:I'm glad that feedback always makes me so happy because I am really just an instigator at heart.
Speaker A:And so I love, I love instigating people's Creative instinct, right?
Speaker A:And like part of creativity, part of collaboration is being willing to be in a space with people, have presence like we're talking about and make mistakes like, you know, like Ms.
Speaker A:Frizzle.
Speaker A:Like make mistakes and get messy kind of a thing.
Speaker A:Like let, don't be afraid to fuck it up because that's where real, I think relationships can grow is where you're allowing yourself that vulnerability to like, oh, this could like really bomb.
Speaker A:But I don't care, I'm just gonna go for it, you know, like I'm sitting around a table with three other humans and this could be weird.
Speaker A:I don't know.
Speaker A:We're here, we're doing it, you know.
Speaker A:So I appreciate that.
Speaker A:I think that vulnerability and collaboration is really, really important.
Speaker B:So the alchemy of, of collaboration always produces unexpected results.
Speaker A:Right.
Speaker B:So it like, it almost feels like a requirement if you're going to collaborate with anyone to like to, to let go of some of that judgment.
Speaker B:Even the word ruin, I'm going to ruin this is like a little bit of a judgment.
Speaker A:It really has to be non attachment to an outcome.
Speaker A:I think I've found in collaboration for it to work well, otherwise you're too rigid, right?
Speaker D:Non linear or something.
Speaker A:Yeah, something.
Speaker B:Do you, do you have a type of creator that you like to work with?
Speaker B:A type of artist that you sort of gravitate towards?
Speaker B:I mean, you mentioned all sorts of different people and I know a lot of them and they have all sorts of different styles and approaches to life.
Speaker B:I mean, is there any, any I should probably ask more specifically, like what do you feel like you are trying to sniff out now?
Speaker B:Like what's the next interesting thing you want to alchemize with someone and try to make happen?
Speaker D:Yeah, I, I, like, I'm like, do I say this?
Speaker D:I, I.
Speaker D:So we kind of started the conversation with like I'm, you know, I'm a musician, I wear many hats and I, I've really been examining in, in trying to make.
Speaker D:I'm useless at literally I can't even like hardly throw a football.
Speaker D:So it's like basically survival that I find ways to sustain with the, the one thing I just happen to be pretty good at.
Speaker D:And so, you know, I can't say that I have like a one artist or a one kind of thing, but I can say that, that how do I bring this?
Speaker D:How do I serve this?
Speaker D:How do I, how do I let music not necessarily be the focus?
Speaker D:How do I let myself not necessarily be the focus, but how do I create something with music that creates a sort of soil for other people to bloom out of, and then it just becomes, you know, celebrating that and.
Speaker D:Yeah, yeah.
Speaker A:And I can confirm that that happens with.
Speaker A:When you're, like, doing your thing with music.
Speaker A:Like, I feel like the first time that I got to experience, like, you know, to give the compliment back to you, you did, like a sound bath thing.
Speaker A:I think it was like, it was just a private thing at Tegan's house.
Speaker D:Yeah.
Speaker A:And there was like 10 of us, right?
Speaker A:Yeah.
Speaker A:Hell yeah.
Speaker A:She's amazing.
Speaker A:And.
Speaker A:And we were just in her living room.
Speaker A:And you guys did a sound bath together.
Speaker A:And then there was like, some visualizations and meditations, but that was.
Speaker A:That was the most insane.
Speaker A:I've been to so many sound baths.
Speaker A:It's one of the things that I love to do, but for me, the intention and presence that you put into it and, like the way that you, like, dance with your instruments, so to speak, I.
Speaker A:I felt like there were a hundred other beings in the room.
Speaker A:Like, all of a sudden it felt like we were just surrounded by an ENT chorus.
Speaker A:It was really magical.
Speaker A:And I was able to have so many visions and, like, inspirations and things that came through just experiencing that.
Speaker A:So, I mean, hell yeah to you too.
Speaker D:That means a whole lot.
Speaker A:Yeah.
Speaker C:I have my hand up.
Speaker A:Yes, he does.
Speaker A:Show me, like, boop.
Speaker B:Yes, sir.
Speaker C:So please define what, what what is a sound bath.
Speaker C:I'm getting a feel for what it is, but please define what what is a sound bath.
Speaker B:Start with the word sound and then the word bath.
Speaker B:Well, wait for wave.
Speaker D:Latin.
Speaker D:I like.
Speaker A:Anyway.
Speaker B:Good.
Speaker D:I like the.
Speaker D:I like the.
Speaker D:At least, like, Brushka.
Speaker D:He's a music therapy head.
Speaker D:He.
Speaker D:He kind of approaches defining anything as, like, a working definition.
Speaker D:So I would like to offer a working definition of a sound bath because there are many versions of it, but I would like to think that you could call it, like, group nap time.
Speaker D:You know, think yoga studio or anywhere outside.
Speaker D:But honestly, it's an opportunity to experience not just music, but sound.
Speaker D:There's so much sound and things linked to sound that is so unpredictable in our lives that even just a steady beat can be a healing thing.
Speaker D:And for.
Speaker D:For to have an intentional space, a safe space, an agreed upon space where you can explore sound, where the audience, though they are silent, they are collaborating in that experience.
Speaker D:And.
Speaker D:And sometimes aren't silent.
Speaker D:Sometimes they snore, and that's perfect.
Speaker A:Snoring really adds to it.
Speaker D:Yeah, it's a compliment.
Speaker A:So relaxing.
Speaker D:Like the burp, you know, for A chef.
Speaker C:So is it kind of like a purposeful intimacy?
Speaker C:That's kind of the goal.
Speaker C:Because, like, you know, a concert.
Speaker C:I'm trying to delineate my head.
Speaker C:Right, sure.
Speaker D:Yeah.
Speaker C:A concert can be intimate to a person.
Speaker A:Right.
Speaker C:But the experience isn't always definitively intimate.
Speaker C:Right.
Speaker C:And there's this.
Speaker C:The closeness that's the intentionality of this thing, that there's.
Speaker C:It's a purposeful, shared experience, but in a defined, intimate way that's a little bit different than, like, a small concert venue.
Speaker D:Yeah.
Speaker D:And, like, I think that there are variations of it.
Speaker D:Like, for example, Tito La Rosa, you know, a person from the indigenous community of Peru is going to be doing a very different.
Speaker D:It's going to be more.
Speaker D:More ceremony, more based in ritual practice and.
Speaker D:And be connected to those.
Speaker D:And.
Speaker D:But in.
Speaker D:In the sound baths that I offer while, you know, through Adrian Di Mateo, like, that wisdom has been passed to me.
Speaker D:I don't claim to be somebody from the indigenous community.
Speaker D:You know, the best thing we for ourselves is just not try to be anything we're not.
Speaker D:And so in the context of the sound bath that I offer, though informed by those practices, it's really just to promote relaxation, to promote reflection.
Speaker D:It's a shared sonic experience.
Speaker D:And it's something that I hope when having that experience, listening to the different instruments, like different tools of a practitioner, that you can bring those sounds, those spaces, or at least the memory of that into your daily life.
Speaker D:That's the hope to integrate it, like any practice.
Speaker A:Yeah.
Speaker A:And I would say, as someone who's not a practitioner, but who experiences sound baths, basically, it's like, for me, I showed up in a space and it was kind of like a yoga almost setting where you just lay on the floor.
Speaker A:Right.
Speaker A:Savasana, and, like, get into a comfortable position and prepare to just, like, be meditative for like an hour or two.
Speaker A:And I think the sound bath that you did with Tagan at that point, it was like, through the different elements.
Speaker A:So you guys had.
Speaker A:They had a ton of different instruments.
Speaker A:I had my eyes closed the whole time, but they had a ton of different instruments that kind of brought you into these different, almost altered states.
Speaker A:So they went through, like, water and earth and fire and different instruments that gave you the feel of each of those elements.
Speaker A:And for me, I was just like, on a roller coaster ride.
Speaker C:Did they throw wind in between earth and fire?
Speaker A:Totally.
Speaker A:Yeah.
Speaker B:It's a little more thematically appropriate.
Speaker A:Absolutely.
Speaker B:So I think you're getting the idea it's a bathing of sound in the room and it's like reverberating off the walls.
Speaker B:It's very big, immersive sound experience, usually with multiple people.
Speaker A:Yeah.
Speaker A:And you're letting the vibrations, literally the vibrations and frequencies of sound.
Speaker A:You know, it's like if you see a video of sound or music being played where there's like a bowl of water, right.
Speaker A:You can see the shapes of what the frequencies literally do to the cells.
Speaker A:And that's happening in your body.
Speaker A:So it's like you're feeling the sound.
Speaker A:It's reshaping you on a cellular level.
Speaker A:Even though you can't see it, you can feel it.
Speaker A:There was one time in the sound bath, I remember that you had like, it was some sort of like, shaker or something, but it sounded like swooping, like wind.
Speaker A:And it sounded like almost like a big bird of prey or something, like flying through the space.
Speaker A:And I remember having this moment of like, whoa, holy shit.
Speaker A:That crazy.
Speaker D:Like, we can thank Brazil for the chakapa.
Speaker A:Absolutely, yes.
Speaker A:Thank you for naming the instrument.
Speaker D:It's funny too.
Speaker D:Like, I.
Speaker D:I'll tell people at the hospital, music, it's the least invasive medicine.
Speaker D:But actually it's funny you mentioned, like, it is a mechanical sound.
Speaker D:Waves are mechanical waves.
Speaker D:It's like, actually the most invasive.
Speaker D:It's going right through you.
Speaker A:Right.
Speaker A:It's the most invasive medicine, actually.
Speaker C:Shout out to pressure.
Speaker A:That brings me back to all the way in the beginning, though, when you were talking about, like, on a practical day, to day level, how, like, humming can change your day or be therapeutic.
Speaker A:Like, I will do that at, like, at work, if I'm having a stressful day, I'll take a moment and like, ohm or hum and I can feel the frequencies, you know, grounding me.
Speaker A:There is.
Speaker D:There's a science to it, improvisation as well.
Speaker D:Like, even if you just get yourself three little different, like, frequency chimes and just give yourself five minutes in the morning just to like, hit them in different orders without any goal, you know, that act of creation, for me, I find, is the best thing that battles that.
Speaker D:That voice in my head that says, you know, stay.
Speaker D:Stay asleep, you know, and watch Netflix all day or something, you know.
Speaker B:Do you have a running conspiracy theory in your mind related to sound?
Speaker D:A running in what?
Speaker B:Like, like, you know, there.
Speaker B:There are theories about shaping and constructing the pyramids using sound and stuff like that.
Speaker B:Do you play with those ideas in your head?
Speaker D:I.
Speaker B:Are you very practical?
Speaker D:I.
Speaker D:I have to say, like, we are.
Speaker D:What is it?
Speaker D:Is it somatics?
Speaker D:Is that the study of the sound mechanical way.
Speaker D:I dig that that happens, but I don't know if that makes us feel better.
Speaker D:Yeah, I think that would be a myth.
Speaker D:And I think people.
Speaker D:Well, I don't.
Speaker D:How do I want to get.
Speaker B:By all means, pirate reading.
Speaker A:Christian's trying to pull you into the deep end right now.
Speaker D:So the astronomy versus astrology conversation is always a good one.
Speaker D:Yeah, I would favor probably astronomy.
Speaker D:I mean, I respect the value of astrology and what the reflective practices, what we can learn from it.
Speaker B:Right.
Speaker D:But I don't know always if I, you know, each to their own.
Speaker D:Right?
Speaker B:Yeah.
Speaker D:Yeah.
Speaker B:So your focus is on healing and not the pyramids is what I'm saying, what I'm hearing.
Speaker A:You're so silly.
Speaker A:Oh my gosh.
Speaker D:I do often think.
Speaker D:Think of spaces and I do often think of why does an idea in one city knock out and in the same exact space in Rochester?
Speaker D:Like not really kick.
Speaker D:That is something I've been trying to crack.
Speaker D:I've got a couple theories.
Speaker D:Don't know.
Speaker D:Yeah, yeah.
Speaker D:How to voice them, but yeah, but we can explore that if that's.
Speaker A:Yeah.
Speaker A:Say more about that.
Speaker A:Like was there a particular idea or something practice that you've used in other spaces that just didn't necessarily fit.
Speaker D:Well, something.
Speaker D:Something I see in.
Speaker D:In like.
Speaker D:And don't get me wrong, like this is another thing.
Speaker D:Like I'll go to another city, I'll see an idea and I want to bring it back here, but then it doesn't work all the time.
Speaker D:And I think to myself, does Rochester need this idea?
Speaker D:Is anything wrong with Rochester?
Speaker D:Like, like take Ugly Duck for example.
Speaker D:A fantastic space.
Speaker D:Right.
Speaker D:I went to this place in Toronto, looked like basically just the same as Ugly Duck.
Speaker D:The only difference is it's a cocktail bar in the evening.
Speaker D:And in addition to being a co shop, it's also like a hair salon.
Speaker D:You go to New York City, you see a hair salon.
Speaker D:You also see like the other half the hair salon is a record shop.
Speaker A:Right.
Speaker D:And I'm just saying like, like Rory is a.
Speaker D:Like what they're doing with Ugly Duck is amazing.
Speaker D:I love the coffee.
Speaker D:Big ups all the.
Speaker D:We have good coffee in Rochester.
Speaker A:We really do.
Speaker D:Very spoiled.
Speaker C:Very much so.
Speaker D:But I just, you know, like the, the, like the, the musician, the like creator in me is like, okay, so you're open until 5.
Speaker D:What's happening from 6 until 2 3am yeah, like.
Speaker D:And why isn't some.
Speaker D:Why isn't that.
Speaker D:And I'm sure they do stuff.
Speaker D:You know, I've heard of Events that they.
Speaker D:But I just want, you know, I want.
Speaker D:I want a shop that, like, okay, it's nighttime now.
Speaker D:We click it on.
Speaker D:And maybe they don't serve alcohol, but maybe they just serve juice and people can go have a good time sober on a Monday night till 3:00am yes.
Speaker A:Yeah, absolutely.
Speaker D:Yeah, yeah, yeah.
Speaker A:No, but I know what you're saying with, like, being an artist and thinking creatively and connecting all of these different nodes, being like, oh, why can't we have this and that?
Speaker A:Like, why can't we merge these two ideas together?
Speaker A:And it is really interesting, you know, to think about.
Speaker D:Yeah, this, this.
Speaker D:This place has.
Speaker D:Has so much going for it, so much potential.
Speaker D:And then I'm always begged the question, like, what, What?
Speaker D:As other artists, like, other media artists, like, how do you feel?
Speaker D:Like, like, I'm curious how you navigate that or do you have that same.
Speaker B:Experience, like, as Rochester as a city?
Speaker B:Like.
Speaker B:Like, I'm not sure.
Speaker B:Clarify the question for.
Speaker D:Yeah, so clarifying the question being like.
Speaker D:Like, do you feel like there are things happening in Detroit, happening in New York City, happening in Toronto, happening anywhere else, not even that far from us.
Speaker D:That.
Speaker D:That.
Speaker D:That should and could slap here, but.
Speaker D:But sometimes just doesn't.
Speaker B:I don't know.
Speaker D:And not so much things.
Speaker D:Not so much like things, but, like, the reason why.
Speaker B:Yeah, you know, Rochester is interesting in.
Speaker B:Well, I'm gonna try to not sound cynical when I say this, but, you know, I've done events.
Speaker B:My relationship with Rochester lately has been at times, going to events in other cities.
Speaker B:So going away for a week and, you know, working at an event in, like, a hotel.
Speaker B:And it's nothing where I'm, like, going around town or anything like that, but I'd be down in Orlando, and there's a lot of people who are going to Disneyland and there's a lot of tourists and a lot.
Speaker B:A lot of that energy.
Speaker B:And then I come back into Rochester, and even just getting into the airport, there's just a little bit more of a subdued energy.
Speaker B:And I can't describe it other than it feels like there's a lot of movement but not a lot of energy sometimes.
Speaker A:Yeah.
Speaker B:And there's something about that essence of life that I think Rochester can afford to bring into it.
Speaker B:And it's like you're saying it's like, let's take advantage of more of the spaces we have, the time we have.
Speaker B:And that's something, honestly, I had to work through with some events that I was hosting where I was like, hey, let's wake up.
Speaker B:A little bit.
Speaker B:You're involved.
Speaker B:You're a part of this.
Speaker B:You're engaged.
Speaker B:You're not just a passive participant.
Speaker B:And now maybe that's.
Speaker B:Again, I'm from outside of the city, so I'd be curious about your relationship, Molly, to that question.
Speaker A:Yeah.
Speaker A:Well, it's interesting because I agree with both of you in different ways, where it's like, yeah, Rochester is really amazing, and we have so much stuff going for us.
Speaker A:And I also feel, and have felt for most of my life that Rochester has so much potential to do more and, like, to be more.
Speaker A:And I feel like we're really on the cusp of the ability to do that.
Speaker A:And I feel like it's starting to happen.
Speaker A:Like, it's almost like I see Rochester as.
Speaker A:It's like if it were to be like a giant plot of land, like a garden, and there's a lot of artists and really cool people and, like, people in the food industry and comedians and, you know, like, so many people putting their hands in the dirt and starting to be like, okay, like, what can we make this to be?
Speaker A:And what can we cultivate?
Speaker A:And there are some really interesting green shoots starting to come up.
Speaker A:But I agree, there's, like, so much potential for more cool.
Speaker A:And that's really, like, thinking outside of the box.
Speaker A:There's so many buildings in Rochester that are amazing and I feel like are underutilized.
Speaker A:They could be used so creatively.
Speaker A:Like, Christian could tell you, like, every time we're in the car, I'll be like, oh, that's interesting that that space is for rent.
Speaker A:And I'll be like, that would be a really cool art gallery slash cafe slash juice bar, you know, like, that kind of a thing.
Speaker A:And I don't know, maybe we should all do one of those projects.
Speaker C:Yeah.
Speaker C:And then, you know, going essentially on that same journey.
Speaker C:Right.
Speaker C:And I'll go to.
Speaker C:There are a lot, and I'll count myself among them.
Speaker C:You know, there's a lot of us who are doing the work to try and create.
Speaker A:Yeah.
Speaker C:The spaces we want.
Speaker C:Right.
Speaker C:And there's a lot of us who have thought about things that are doing those that we're creating the spaces that we want Rochester to have or creating the community that we want to have in Rochester.
Speaker C:You know, talking about, you know, Meg and Why am I forgetting his name?
Speaker C:Hartman, Right.
Speaker C:Oh, yeah, I forget his.
Speaker C:I forget his name.
Speaker C:I apologize in advance, but I know Meg, but I don't remember his name off the top of my head.
Speaker C:But, like, they've.
Speaker C:They've created the space.
Speaker C:They want it.
Speaker A:Yeah.
Speaker C:They created a n.
Speaker C:A bar in Rochester because that's the space they needed and they were desperate for and wanted to bring to the community.
Speaker C:And we're growing this because this is what we wanted to do.
Speaker C:This is what we're trying to grow in the community, is conversation that isn't driven by anybody but us, that we're driving.
Speaker C:The conversation we want to have in Rochester with a wide range of creators.
Speaker C:And I think we're seeing that.
Speaker C:That.
Speaker C:That turn.
Speaker C:It's the turn that there is opportunity because we're not wildly unaffordable yet.
Speaker B:Right.
Speaker C:We're becoming more unaffordable.
Speaker B:Yeah.
Speaker C:Quickly.
Speaker A:Yeah.
Speaker A:But we're in that moment where it's like we could.
Speaker A:We could kind of mold it.
Speaker C:Right.
Speaker C:Well, we're not Toronto.
Speaker C:Right.
Speaker C:We're not at thousands and thousands and thousands of dollars a month.
Speaker B:Yeah.
Speaker C:It's still affordable.
Speaker C:Ish.
Speaker C:And there's still the opportunity to do things just because.
Speaker C:And there's still relatively cheap things available.
Speaker C:But, you know, that's where things need to grow before it becomes problematically expensive.
Speaker C:Beyond the problematic version.
Speaker C:It is already.
Speaker B:Well, and to speak to that, too, especially with people who come from outside the city in.
Speaker B:And maybe try to start something.
Speaker B:Like, I think Rochester also feels a little bit like it has a tall poppy syndrome where it starts to.
Speaker B:There's some ideas that start to kick off and there are some people who are really brave and take the risk and make something happen and they stick with it, whether it's the.
Speaker B:They switch locations or, like, they stick.
Speaker B:They keep the idea and move it or try to make it work.
Speaker B:But then there are conversations I've heard people have about Rochester where they're like, we don't really want to get too famous.
Speaker B:Like, we don't want people from New York City to start moving here because then the culture changes because there are too many people from outside the city coming in and changing the culture.
Speaker B:There's a certain pride of being, I think, the artistic underdog.
Speaker B:And then there's something else.
Speaker A:Something to wanting to keep up hesitancy in growth.
Speaker B:Like, and I'm wildly speculating.
Speaker C:Yeah.
Speaker B:But I think that's.
Speaker B:That's a little bit.
Speaker A:But I also think, like, on the other half of the coin and thinking about some of the projects that you're involved in, like.
Speaker A:Like, I think that some of that stuff is happening, you know, Like, I think about Book Eater and Shout out to Chad.
Speaker A:Book Eater is so cool.
Speaker D:Chad and Lizzie are wonderful.
Speaker A:Oh, my gosh.
Speaker C:Talk about the space for a second.
Speaker C:Yes.
Speaker C:To be honest, I've not been in and I'm.
Speaker C:I need to go and some of my time off.
Speaker C:So talk about the space a little bit.
Speaker C:Tell us about what that space feels like.
Speaker D:I want to describe this space by starting with a space that I found when I was in Dublin, Ireland when I graduated.
Speaker D:Like I, you know, the deal with my teacher was like, stick with me while I'm in school and then, you know, I'll move over afterwards anyway.
Speaker D:But in there, you know, in Ireland, like reading and books and writing, like, like, like people just do that for fun.
Speaker D:Like you'll see a people, a group of people smoking cigarettes and then you'll see a group of people like just writing stories.
Speaker D:Anyway.
Speaker D:So like you'll find a lot of like bookshops that are also cafes that also like, you know, there's this place called Books upstairs.
Speaker D:And you know, you walked in and it was like, it was like a shop proper bookshop.
Speaker D:And then you go upstairs and it's this like just really you feel like you're in somebody's living room.
Speaker D:And often they hosted writers and things.
Speaker D:So this is all to say that when you step into Book Eater, you feel as if you're walking into like a family member's home.
Speaker D:But that home is covered in books and those books are often for sale that you can take home.
Speaker D:And so the food is amazing.
Speaker D:I mean, I'm totally biased.
Speaker D:Like it's not that I'm saying this because I do events there.
Speaker D:I'm doing events there because I'm saying this.
Speaker A:Oh no.
Speaker A:And I totally agree.
Speaker B:It's a great spot.
Speaker D:Yeah, it's a solid spot.
Speaker A:It's a cafe.
Speaker A:It's like you're walking into a house because it really was a house.
Speaker A:Like they reclaimed this old two story house and made it into a two story bookshop and cafe.
Speaker D:The sound is amazing.
Speaker A:The sound and acoustics are amazing.
Speaker A:Amazing in there.
Speaker A:And you walk upstairs and it's more books for sale.
Speaker A:But it's also like a living room that you can sit in that you can hang out in and they host all kinds of events.
Speaker A:As many as he can possibly get in there.
Speaker A:He does it like he'll say yes if you ask him to do any kind of collabs.
Speaker A:Like Chad's awesome.
Speaker A:And so like the grooves and games thing, my experience of it has been like just so much fun because you just set up like your DJ booth, right?
Speaker A:And your, your, you're grooving and you're DJing and then we're like playing games and we're hanging out together and then they'll make like, dessert for us to buy and it's like, yeah, you know, like creamsicles.
Speaker B:And I didn't know the one event that we were doing, I think that's the one that you recorded me reading poetry.
Speaker B:I didn't know that you had a speaker upstairs that was pointing outside.
Speaker A:Right.
Speaker A:So the street can also hear the shenanigans that are happening inside, including all of Christian's existential Afghan poetry.
Speaker B:Especially, like.
Speaker C:Yeah.
Speaker B:Because I do get into that sometimes, but then I improv a little bit too, and I get loud and I have fun like I do on the podcast, but I just didn't.
Speaker B:You know, I think that that was sneaky and I appreciate the sneakiness of that because I don't think.
Speaker B:I think I would have put on a certain other filter if you hadn't done that sort of thing.
Speaker B:And I.
Speaker B:It's obviously like, I mean, what's your reasoning there?
Speaker B:I assume it's just trying to attract people into the.
Speaker B:The energy.
Speaker B:But, like, being such a.
Speaker B:An audio centric person, it feels like there's just like this drive to have as many people hear the experiences as possible.
Speaker B:Am I right on your thinking there?
Speaker D:I'll tell you what.
Speaker D:Yeah.
Speaker D:I mean, I just want to kind of track back a little bit, say that, like, we actually have a really great problem now in Rochester, which is like, I'll look on a Monday, Tuesday, Wednesday, Thursday, you know, whatever, and I'll be like, man, there's like six events.
Speaker D:I have to choose one.
Speaker B:Yeah.
Speaker D:So I agree there is some wonderful people in this town doing some wonderful work and credit to all the people who are showing up and.
Speaker D:And.
Speaker D:But that kind of thing is kind of something I noticed the other day.
Speaker D:I don't have, like, Airpod things.
Speaker D:I just, I just, I think at one point I had them and then I might have lost them and thought, those are kind of expensive.
Speaker D:I could just listen in other ways.
Speaker D:So.
Speaker D:So anyway, I thought to myself, like, but the thing is, it's almost rude now, right?
Speaker D:It's almost rude if you're listening to music on the street and you don't have headphones.
Speaker D:And I'm very conscious that, like, I wouldn't do that on a bus or like, you know, in a library, but if I'm on the street, I'll explore that.
Speaker D:And the thing is, like, what that means is, like, I miss when you could walk down the street and you could hear what Other people were listening to.
Speaker D:I miss what that created in a soundscape.
Speaker D:You know, you don't see people often with, like, big stereos anymore blasting music and that.
Speaker D:That's like a cultural.
Speaker D:That's, like, cultural richness that we've lost out on by the invention and the cultural push of the airpod.
Speaker D:So to get to your point there, if we have an event going on, I actually had the landlord personally walk over and basically tell me to turn it down.
Speaker D:Big up, Sam.
Speaker D:He was very nice.
Speaker D:He was very nice.
Speaker B:I mean, there are points where I could.
Speaker B:Got real loud.
Speaker A:Well, well, who's this guy yelling?
Speaker D:You know, my.
Speaker D:My thing is, is like a cloth mouth, a closed mouth.
Speaker D:Don't get fed.
Speaker D:And so if we turn the sound up, at least, like, maybe somebody will hear it.
Speaker B:And if you're a book eater, you'll get fed some brisket.
Speaker B:It's very good.
Speaker A:Really good brisket.
Speaker B:The brisket.
Speaker B:Breakfast sandwich.
Speaker A:Yeah.
Speaker A:I mean, as a food guy.
Speaker A:Yeah.
Speaker A:You really owe it to yourself to go to book eater.
Speaker C:I was.
Speaker C:I was looking at the breakfast sandwiches the other day, and I was a little dismayed that there was lettuce on the breakfast sandwich.
Speaker C:I'm like, why.
Speaker C:Why are you putting lettuce on eggs?
Speaker C:Don't.
Speaker B:Don't do that.
Speaker A:Not all of them.
Speaker A:Just some of them.
Speaker C:But I.
Speaker C:I'm gonna go.
Speaker C:I'm gonna go very soon.
Speaker C:Yeah, I'm gonna go very soon.
Speaker C:It's exciting.
Speaker C:It's exciting to see spaces like that.
Speaker C:Right.
Speaker C:There's an intentionality, and it's crossing different sides, which sounds like generally that's where you like to live, is crossing different communities, you know, oh, you've got this public thing.
Speaker C:You've got personal, intimate things.
Speaker C:You've got group things.
Speaker C:It seems like you like that contrast of visiting different things and trying to contribute sonically to different.
Speaker C:To different things in different ways.
Speaker D:Yeah.
Speaker D:I'm trying to give.
Speaker D:I'm trying to make the most of what I'm able to do, to give everybody in our community every opportunity to benefit from whatever.
Speaker D:I know so many different contexts.
Speaker D:Yes.
Speaker A:Heck, yeah.
Speaker A:Is there anything coming up that you want to share before we close out?
Speaker D:Yeah, I guess.
Speaker D:I'm super excited.
Speaker D:I want to give a big shout to my buddy Ty.
Speaker D:He is a fashion designer in Rochester, and he's been cooking up something special for me.
Speaker D:Talk about retail therapy, but what you wear is important.
Speaker D:And I'm like, I might as well be.
Speaker D:Be supporting my.
Speaker D:My friends.
Speaker D:So I have a.
Speaker D:I'm very proud to Say that very soon I will have like some custom fits by Ty and.
Speaker D:And it's gonna be something special.
Speaker D:He's.
Speaker D:He's made it with the intention of, you know, just the spirit of everything that we celebrate that, you know, the dubby freedom, you know, so I'm just very excited to see the pieces.
Speaker D:I've only got a sneak piece and I'm so excited to wear them at groups and games in December.
Speaker D:We're just going to be online, so look out for, you know, people will be home with their families.
Speaker D:So.
Speaker D:But we got to keep it going.
Speaker A:Sure.
Speaker A:And where can people find you, like online or otherwise?
Speaker D:Yeah.
Speaker D:So.
Speaker D:Anna glogmusic.com Anna Glog is not Analog.
Speaker D:Anaglog was actually the name of my dad's first horse.
Speaker D:So there's a story there for another time.
Speaker A:That's awesome.
Speaker D:But yeah.
Speaker D:Anaglogmusic.com I am Anaglog.
Speaker B:My father is Mr.
Speaker B:Analog.
Speaker A:My son is Anaglog Junior.
Speaker A:Awesome.
Speaker A:So glad that you were able to join us.
Speaker A:Like, this was a really good conversation, so thank you.
Speaker D:Yeah, I needed this.
Speaker D:Thank you for just the time.
Speaker D:Honestly, we had a really great.
Speaker D:I forgot about that.
Speaker B:I was under the table the whole time listening.
Speaker B:This was a really great conversation.
Speaker C:We're really ending off on a high note, aren't we?
Speaker B:That guy really talked a lot of about Rochester.
Speaker B:You should get him off the podcast.
Speaker D:I love this city.
Speaker B:Stop it.
Speaker B:Quiet.
Speaker B:Stop it.
Speaker A:And that has been behind the studio door.
Speaker B:This has been a presentation of the Lunchadore Podcast network.
Speaker C:It's a real moment of maturation to say, my time here is short.
Speaker C:What can I do the most beautifully?
Speaker C:I think that's a lesson in prose, but also in life.
Speaker C:If you think you're a composer of string quartets, and when you play your string quartets, everybody goes to sleep.
Speaker C:And in consolation, you pick up your accordion and start playing a polka and everybody dances well.
Speaker C:There you go.
Speaker C:There it is.
Speaker C:George Saunders.
