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Speaker 1: This is Jesse Rutstein and Caleb Dyer.

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Speaker 2: Oh oh now, okay, we we can. Let's do that

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one more time.

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Speaker 1: This is Jesse Rutstein and Caleb Dyer.

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Speaker 2: Oh crap, hold on, what do you want me to say?

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Right after that?

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Speaker 1: From Hatchet act from and then I'll say, you're listening right?

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Speaker 2: Sounds good?

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Speaker 3: This is Jesse Rutstein and oh this is why I'm

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the leader. This is Jesse Rutstein and Caleb Dyer from

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Hatchet Axon Saw Records. You are listening to the Matt

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Connerton Show on w m n H ninety five point

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three Manchester.

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Speaker 4: Actually, what did I say?

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Speaker 2: Okay, all right, all right, let's do this again. Let's

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do this again.

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Speaker 3: This is Jesse Rutstein and Caleb Dyer from Hatchet Axon

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Saw Records.

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Speaker 1: You are listening to Matt Connerton Unleashed on ninety five

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to three w NA. Dude, this is Jesse Rutstein.

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Speaker 2: And Caleb Dyer from Hatchet ax and Saw Records.

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Speaker 3: You are listening to Matt Connorton Unleashed on ninety five

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point three w m n H.

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Speaker 5: F M.

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Speaker 6: Founded forever like number connessa, I know that wherever you go.

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Speaker 7: That's the distance, and you find the difference so much

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less than you know. I said the cognitive Sundra sen

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n r instead.

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Speaker 6: And my love on the break the ships, I still

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say no thoughts have to say.

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Speaker 7: It is let me read of distance between us, and

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still I cannot let you go.

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Speaker 8: Lp making notions and sicklical motions.

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Speaker 6: See how the watters got.

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Speaker 9: Leave in my love on the shop fly home to

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answer a cold.

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Speaker 6: Days of confusion, the black.

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Speaker 8: Dallusion, weirdest int the shot through from b des intention

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to see revelation about it.

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Speaker 5: It is open to you.

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Speaker 10: Oh that is okay, And I love the guitar work

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in that the track is Nebuchadnezzar, and that is Paul Nasol.

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I will ask him though, if I'm pronouncing his name correctly. Paul,

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are you there?

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Speaker 5: Yeah, and I'm there. I know you're not.

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Speaker 10: No, okay, how do you say your name?

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Speaker 5: It's Nasole?

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Speaker 10: Oh, Nazole? Okay, because you are you're you're gets a

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lot of different things. Oh, I can imagine. Yeah, because

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you're of I was reading about you. So you're you're

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from Liverpool, right, but you're of Italian descent, So that

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the name is Italian. I assume right, that's right.

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Speaker 5: Yeah, it's like a scouse.

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Speaker 10: Gotcha, gotcha. I love that song a lot. And is

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that you obviously that's your singing? Is that also you

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on guitar?

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Speaker 5: Yeah, I do some of the guitar. But there's also

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a guy called Robert Johnson on the guitar there as well. Okay,

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he's a great player. Actually he's actually Ginger Baker's nephew.

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Would you believe kidding? Yeah, yeah, cream tu bumbed. It

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sounds at the clockedon actually doesn't it as well?

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Speaker 3: Yeah?

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Speaker 10: Oh that's oh that's wild. Yeah, oh cool, very very

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very nice. Yeah, being are you do you currently still

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live in Liverpool?

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Speaker 5: Yeah at the minute, Yeah, I'm sorts of brunching out

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a little bit, but uh yeah, looking to uh it's

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got a little bit further field. But being never Pool

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most of my life.

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Speaker 10: I'm curious about and I you won't be the first

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person I've asked this question of, but like, is there

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is there a certain pressure that comes with being a

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musician from a place that is so well known for

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uh you know, you know, in terms of of kind

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of being it's I feel like Liverpool is almost kind

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of like this this musical center of the universe within

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that part of the world. What's that like being there

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in that music scene.

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Speaker 5: It's great, yeah, you know, it's very incense as well.

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It can be a little bit of a bubble all

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of its own, you know, which I imagine a lot

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of those places are like Nashville and stuff, you know,

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I mentioned they're all a little bit like that.

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Speaker 10: Yeah.

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Speaker 5: Yeah, there's a lot of great things to be said

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for it. Man, you know, a lot of a lot

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of musicians. You know, everyone seems to play guitar. There

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used to be an old saying back in the nineties.

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He used to save you from Liverpool. You either play football,

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you play guitar, or you were you know, you're up

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to no good, right, right, the young fool, you know.

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But it's changing a lot. You know, the city has

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changed a lot over the last twenty years. It's a

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it used to be quite a poor city. Now it's

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kind of it's growing a lot.

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Speaker 6: You know.

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Speaker 10: Oh, that's good, expanding, that's good. Did you start playing

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guitar and singing at a young age?

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Speaker 5: Not really, now. I was also interested in the arts

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in all different ways, you know, like writing and acting,

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and poetry, and I got into guitar probably about seventeen

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something like that. I played a bit of keyboards, a

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lover the bass, but it was really a little bit

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later on. But it's sours of took over, you know.

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Speaker 10: Yeah, yeah, yeah, that's unusual. But I assume you know,

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once you started playing, you probably picked it up quickly.

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Speaker 5: Yeah, that's it. I was kind of possessed by it,

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you know, and yeah, very obsessed.

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Speaker 10: You had played. Did you start out on keyboard?

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Speaker 5: Yeah, a little bit of keyboards, I think I and

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you know, I say play keyboard, I think I could

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play Van Halen Jump, Yeah, Moonlight sonata, yeah, and like,

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you know, one or two other bits.

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Speaker 10: And now the reason I was the reason I was

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curious is I've heard so many music professors and instructors

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say over the years that no matter what you intend

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to play for an instrument, you should learn some just

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some basic keyboard first, because yeah, and I didn't do that.

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I didn't do that. I wish I had, But I've

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just heard so many people say that because it, you know,

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it teaches you how to in your mind sort of

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put chords together, and and what you learn from the

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keyboard will help you with any other instrument that you play.

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Speaker 5: I can imagine that. It's also like visually you can

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kind of see what's happening in regards you know, the

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space between the notes and things like that, you.

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Speaker 10: Know exactly exactly.

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Speaker 5: So you know, I'm writing on I'm sort of writing

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but on piano at the minute. And it's also very different,

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you know. You know, Guitar can sort of be a

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very mechanical sort you know, like you kind of hunched

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around this thing. It's comfortable to play, of course, but

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you know you are kind of like, you know, hunt

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around it, and it's a little bit more physical, where

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piano you kind of can sit down and it's all

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there in frontier. You know. It's like when I've I've

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sometimes have some problems with me jointing my fingers and

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so piano I can still play just fine, you know,

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but guitar can be a little bit more taxing, sure,

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just because I played far too much guitar, you know.

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Speaker 10: Now, So tell us about the single nebkid Nezzar, and

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I imagine it's probably doing pretty well over there, right.

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It's such a great track.

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Speaker 5: Yeah, I think in Liverpool, you know, in Liverpool, a

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lot of people know the words to it actually and stuff.

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You know. It's actually it's got a very you know,

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it's got a flavor that seems very Liverpool to me.

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And I guess, you know, mostly when I play locally,

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it's it's acoustic, and the song works really nice acoustically

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stripped back, you know, it sounds a little bit more

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Beatles when you when we recorded it, but yeah when

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we when I play it, you know, locally, and it's

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more stripped back, it's got more of like a folky

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sort of feel, you know. And yeah, it did. You know,

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you can always tell a good song, you know. This

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seems to resonate with people. You can see it very quickly,

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you know, especially with the musicians, so to see their

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eyes light up, you know. And it's funny actually because

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it was one of those songs that I wrote very quickly.

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It all just came out in one go. And you know,

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I used to be able to do a lot more

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when I was younger. Right now is a little bit

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more ponderous, you know, but but yeah, there's something to

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be said for it. I think those songs that come

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out very quickly, you sort of channel them, you know.

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Speaker 10: Well, also too. If if people are learning the words,

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you know, if you're playing it at shows and people

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know the words, then you know, it's really resonating, you.

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Speaker 5: Know, definitely. Yeah, yeah, that's one hundred percent, because you know,

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you get you get songs which are like very pleasant

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to listen to, you know, but but when it's got

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that catchy thing, there's there's something to be said. And

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that's kind of you know, that's a you I kind

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of have on on art as well, like in poetry

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and and stuff. I think I read it. It was

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a guy in like the twenties or something was like

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critiquing the modernist poets, you know, T s Elliotts and

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people like that, and he was saying that, you know,

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the flowery language and the mastery of language that these

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guys had was amazing, and he didn't want to critique that,

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but he said, there's something beautiful about sort of the

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folk poetry of rhyme, which is that like children could

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recite this stuff around the fire, you know, and yeah,

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and it stuck in the mind and it furnished their

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minds with beautiful words, you know, and and there was

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something really nice about that. And I think songs can

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have that there's room for everything, but there's something to

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be said that type of stuff, you know, And that's

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I always try and put a bit of focus on

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on rhyme. And I always think if you can say

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what you're trying to say and make it rhyme, then

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maybe you're onto something, you know.

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Speaker 10: Right, right? Absolutely? So, can you tell us more about

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the single Nebuchadnezzar. Where where does it come from? And

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what are the themes are exploring in the song?

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Speaker 5: Yeah, so it's sort of about, like, you know, first

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of all, I guess it's like it felt like to

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me like it was coming to grips with a lot

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of stuff, a lot of like troubles and confusion. That

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was like a central theme to it, you know. And

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never connessed himself, the old King of Babylon. Here he

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was tormented by dreams, you know, and he's this sort

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of conflicting figure who God punishes but also seems to

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love because he lets him be redeemed, you know. And

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that was what sort of I like the idea, and

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it's just a great way, doesn't it from that way?

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Straight away? You know? And yeah, so it was like

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sort of going through it in my own life. It

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was a very confusing time. I was I had a

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kid on the way. I was also going through a

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new relationship with a musician which was total chaos, and

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so yeah, it was like, I guess, the confusing time

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in my life, and it all came came about from that.

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And also it was when I was quite like getting

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back into music. Really it was when I was saying,

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see that I got back to it and I used

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to run a music venue for a long time, really

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taken me away from performing. Yeah, it was a great

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famous old place. Actually it was a recording studio that

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it turned into a bar so where cold Play recorded

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two albums actually, amongst others. Yeah, it was great pastory studios.

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It was called it Got It Got Bulldoze. Unfortunately, I

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would have been quite happy to to try and buy

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the venue and life different paths, but instead, when it closed,

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I thought, well, maybe I'll try music again instead. And

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so for me, NEBC also represents like the start of

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an adventure, you know, And I think that it kind

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of sounds like that a little bit. You know. I

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like the trumpet, and we added some trumpet in a Yes,

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the trump always makes you think it's like a herald.

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You know, it's like it does.

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Speaker 10: Yeah, you're right.

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Speaker 5: The king is coming to town and the trumpet plays

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the leagle.

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Speaker 6: You know that's right.

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Speaker 10: Yeah, that's true. I hadn't even thought of that, but

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you're right. H yeah. The production, the product, the production

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is fantastic. Uh now who did you who did you

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work with on that? As far as uh production? And

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is it the same? Is it the same for the

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entire album? Yeah?

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Speaker 5: Mostly it's It was a mixed bire gat and recorded

243
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by a guy called Russell Cottier Soundhouse Recording Studio, which

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is an amazing old recording studio, a little hidden gem

245
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actually in Liverpool, not many people seem to know about.

246
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And it was in my hometown, which was just was

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really what drew me to. I thought like there was nice,

248
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something nice about that being close to home, and yeah,

249
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Russells done a great job. But actually there was some

250
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of the parts we recorded at another studio as well,

251
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like a home studio, and I think that was the

252
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thiddle parts and some of the harmony parts were recorded

253
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externally from a previous attempt at recording the single. But

254
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like you know, that's the thing. It was like budgets

255
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and stuff defeated. That was a bit of mimister done

256
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what I could do. So when we got the chance to,

257
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I got picked up with a manager, Fuel the Fire,

258
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and they produced the album for oh wow. So having

259
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a bit of a budget and stuff together and a

260
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bigger a bigger crew of musicians to draw from and stuff, right,

261
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we had another go out and put it together and

262
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I'm pretty happy with that. I'd like to record an

263
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acoustic version of it with a flute or something, but

264
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oh yeah, it means to have happened yet.

265
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Speaker 10: And now this is Is this your first this album?

266
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Is this your first release as a solo artist?

267
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Speaker 5: Yeah? Yeah, there was a couple of like basic singles

268
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put out in from home studios, but this is the

269
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first proper release really. Yeah.

270
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Speaker 10: Okay, Now, now were you playing in bands before? I

271
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know you mentioned you kind of took a break too

272
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from playing because you're running running a venue, But prior

273
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to that, were you playing in bands or maybe during that?

274
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Speaker 6: Yeah?

275
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Speaker 5: Yeah, for a long time, from like say seventeen to

276
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twenty five, I was always mostly as a league guitarist,

277
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never as a singer. Oh really, I've done a lot

278
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of rights, Yeah, I've done a lot of writing for

279
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chords and things like that. But I've got a couple

280
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of other project coming out. Actually, so did a lot

281
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of collaborations and league guitar and bands with tons of

282
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people in Liverpool. But yeah, never really put it forward

283
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as you know, as an artist in my own right.

284
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So this was the first time to really try and

285
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do that, you know, because in Liverpool had sort of

286
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been that kind of character. I was kind of someone

287
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who like brought things together, you know, sort of hosting

288
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up on mics and putting on events and sure, and

289
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so a lot of my stuff that I'd done was

290
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really all about collaboration and community, and so it was

291
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nice to finally do something that was kind of like, well,

292
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this is more about me being an artist now, you know.

293
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Speaker 10: Was that always kind of the goal even when you

294
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were playing in bands consistently. Was it always kind of

295
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in the back of your mind that you would eventually

296
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do a solo album.

297
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Speaker 5: No, never, really, I don't think I really had the

298
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belief or the confidence, you know. And then I think

299
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as I was getting older in the venue didn't wearhouse,

300
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I thought, you know, you better do something, you know, right,

301
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And also, you know, it was also that kind of

302
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thing of you know, like, ultimately, you've got to take

303
00:16:01,240 --> 00:16:04,600
your destiny in your own hands, haven't you. So I'd

304
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played with a lot of bands that I thought was great,

305
00:16:06,440 --> 00:16:08,320
but for one reason or another that they wouldn't work out,

306
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and you know, you would dependent on four or five

307
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other people being on the same page. So just by necessity,

308
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it was like, what if I want to have a

309
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real go with this, I'm gonna have to do it

310
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for myself. You know.

311
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Speaker 10: Yeah, that's the hardest thing I think about being in

312
00:16:22,639 --> 00:16:24,440
a band is you know, I've I've been in a

313
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lot of bands, and it's it's hard when you because

314
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you've got people with varying degrees of commitment and and yeah,

315
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you know, and in terms of what their vision is

316
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for for what you're doing, and and it's, uh, that

317
00:16:37,200 --> 00:16:38,919
can be really challenging. Plus you got to deal with

318
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everyone's schedules and whatnot. So there's so many things, you know, Yeah,

319
00:16:42,600 --> 00:16:43,879
there's so many musicians we've.

320
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Speaker 5: Had, you know, people people have kids, and you know,

321
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everything and it can change things, you.

322
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Speaker 10: Know exactly, and also people.

323
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Speaker 5: People see it. You know, for me, it's very important,

324
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you know, it's the kind of stuff I just think

325
00:16:53,279 --> 00:16:55,200
about all the time, you know, not just just music,

326
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but also like writing little poems and things. You know,

327
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it's just sort of how I live, you know. And

328
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it also sorts of occurred to me in the end

329
00:17:02,440 --> 00:17:07,119
that it's unrealistic to expect anyone else to have that

330
00:17:07,240 --> 00:17:10,119
same right, right, but maybe you know.

331
00:17:11,400 --> 00:17:13,839
Speaker 10: Now you did mention, so you're gonna be doing going forward.

332
00:17:13,920 --> 00:17:15,839
You are going to be doing some more collaborating though,

333
00:17:15,960 --> 00:17:18,039
So I like, what what's kind of the is the

334
00:17:18,079 --> 00:17:20,480
solo Is the solo stuff that you're doing, is that

335
00:17:20,519 --> 00:17:22,640
kind of the main priority and the other things are

336
00:17:22,680 --> 00:17:25,200
ancillary or or I think.

337
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Speaker 5: I'll do them. I'll do them as a you know,

338
00:17:27,359 --> 00:17:29,440
under my own name, as a collaboration maybe with with

339
00:17:30,039 --> 00:17:31,799
some of the artists I'm looking I'm actually planning at

340
00:17:31,799 --> 00:17:35,240
the minute to go to a sort of farm on

341
00:17:35,279 --> 00:17:38,559
the Southwest and do something kind of routine, you know,

342
00:17:38,759 --> 00:17:41,279
with a maybe live take a little bit of it.

343
00:17:41,319 --> 00:17:43,319
Because there's two dimensions to me. I supposed to grew

344
00:17:43,400 --> 00:17:45,880
up as a bit of a rock but as I've

345
00:17:45,880 --> 00:17:50,279
got old and I've sorted to become a bit poky. Yeah,

346
00:17:50,480 --> 00:17:52,160
I guess be hard to talk with the two. But

347
00:17:52,200 --> 00:17:54,960
I feel like with the album, I was able to

348
00:17:54,960 --> 00:17:56,640
get a lot of the rock stuff helped me system.

349
00:17:57,079 --> 00:17:58,880
And now I'd like to do something maybe a little

350
00:17:58,880 --> 00:18:02,400
bit more routine and sure, you know, and also, you know,

351
00:18:02,519 --> 00:18:05,000
like a lot of the stuff on the album it's

352
00:18:05,000 --> 00:18:08,119
a little bit I don't know, like the subject matters

353
00:18:08,160 --> 00:18:10,640
and stuff, and often a little bit self indulgent. You know,

354
00:18:10,680 --> 00:18:12,799
it's offing about nothing about me. I'd like to do

355
00:18:12,839 --> 00:18:16,000
something maybe a little bit more about the world. You know, notice,

356
00:18:16,039 --> 00:18:17,559
but if it's a crazy time in the world.

357
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Speaker 10: You know, I've noticed, especially where you are. Man, you know,

358
00:18:23,119 --> 00:18:26,240
you're you're not getting dude, You're not kidding.

359
00:18:27,559 --> 00:18:29,640
Speaker 5: And also you know, like also like the rise of

360
00:18:29,680 --> 00:18:31,240
AI and stuff like that, and you know, I don't

361
00:18:31,279 --> 00:18:34,039
even want to I don't even want to put you know,

362
00:18:34,519 --> 00:18:36,240
value ridgings and everything. I just kind of want to

363
00:18:36,240 --> 00:18:39,039
maybe step back and just observe and just sort of

364
00:18:39,039 --> 00:18:42,559
write what I'm seeing, you know, not you know, not

365
00:18:42,880 --> 00:18:45,000
try and get pretty earth and but you know, just

366
00:18:45,039 --> 00:18:46,160
sort of say what I see.

367
00:18:46,200 --> 00:18:49,440
Speaker 10: You know, is that something that you're concerned about AI

368
00:18:49,720 --> 00:18:51,960
in terms of because that's something we talk about a

369
00:18:51,960 --> 00:18:52,559
lot on the show.

370
00:18:52,839 --> 00:18:54,559
Speaker 5: I'm glad you brought it up, and I've had some

371
00:18:54,680 --> 00:18:56,960
radical thoughts on it lately. That's pissed a few people off,

372
00:18:57,000 --> 00:19:00,400
you know, but I kind of think, you know, you know,

373
00:19:00,400 --> 00:19:02,240
the two ways I could criticize it is like the

374
00:19:02,279 --> 00:19:05,319
technological sides, you know, and what that means for the

375
00:19:05,319 --> 00:19:07,920
industry and that. But really, you know, you know, I

376
00:19:07,960 --> 00:19:09,799
know a lot of successful bands now we're playing to

377
00:19:09,880 --> 00:19:12,759
backend tracks, and and you know, a lot of people

378
00:19:12,839 --> 00:19:15,880
using plugins instead of real instruments, and and a lot

379
00:19:15,880 --> 00:19:19,119
of people you know, like like there's drum machines out there,

380
00:19:19,000 --> 00:19:21,319
there's I mean, the way the line is, I'm not

381
00:19:21,359 --> 00:19:23,359
sure anymore. So that was one side of thoughts about

382
00:19:23,359 --> 00:19:25,400
the technologically. I was like, maybe actually this is just

383
00:19:25,880 --> 00:19:27,680
something that's always happened. And then the other side of

384
00:19:27,720 --> 00:19:30,680
it was kind of about authenticity. But I really I thought,

385
00:19:30,680 --> 00:19:33,559
you know, like looking at the state of the you know,

386
00:19:33,640 --> 00:19:36,480
like I always say, Sabrina Carpenter might as well be AI,

387
00:19:36,920 --> 00:19:40,640
you know, it's like, I don't know what. And also

388
00:19:40,680 --> 00:19:43,279
even the politicians are all fake, you know, and and

389
00:19:43,319 --> 00:19:45,680
everything seems kind of a little bit in authentic in

390
00:19:45,720 --> 00:19:48,440
the world, and so that doesn't really scare me. I

391
00:19:48,440 --> 00:19:51,160
feel like artists have got something to say are still

392
00:19:51,200 --> 00:19:54,559
going to stand out, you know, So I don't know,

393
00:19:54,680 --> 00:19:57,400
maybe their eye isn't really something to be feared. I

394
00:19:58,119 --> 00:20:01,240
personally don't feel all two threatened by it. You know. Also,

395
00:20:01,279 --> 00:20:03,039
the industry has been in the industry has been in

396
00:20:03,039 --> 00:20:04,440
a bit of a bad way for a long time,

397
00:20:04,480 --> 00:20:07,759
hasn't it, in regards to making any money and stuff

398
00:20:07,759 --> 00:20:09,200
in the way Spotify, you know. I see that with

399
00:20:09,279 --> 00:20:11,839
Spotify a lot. You know, Like when I was trying

400
00:20:11,839 --> 00:20:14,680
to promote the album, I'd sort of fall prey to

401
00:20:14,759 --> 00:20:17,160
these things on social media, and you'd see these guys

402
00:20:17,160 --> 00:20:19,319
and they'd be talking about, you know, how to promote

403
00:20:19,359 --> 00:20:22,160
your music. And people were getting very good at like

404
00:20:22,240 --> 00:20:24,960
gaming the system almost, you know, so they could get

405
00:20:24,960 --> 00:20:27,400
on these playlists and and and these guys had like

406
00:20:27,440 --> 00:20:29,319
millions of plays. But when I listened to the music,

407
00:20:29,319 --> 00:20:31,240
I was like, it's so mediocre. I know, that's just

408
00:20:31,279 --> 00:20:33,599
my taste, but from my point of view, I was like,

409
00:20:34,319 --> 00:20:36,480
you know, this music must have millions of plays, but

410
00:20:36,519 --> 00:20:38,200
what does that even mean. I don't think anyone's going

411
00:20:38,240 --> 00:20:40,640
to care about this in ten years time, So what

412
00:20:40,680 --> 00:20:43,400
are we even doing here? Anymore. And so really with

413
00:20:43,440 --> 00:20:46,079
the I I think I'm thinking, what does it really change?

414
00:20:46,119 --> 00:20:47,720
Like what, there's a load of fake music, Well, there's

415
00:20:47,720 --> 00:20:49,519
all idea, a load of fake music made by humans,

416
00:20:49,559 --> 00:20:53,519
you know, right, maybe this is going to shake the

417
00:20:53,559 --> 00:20:56,400
tree a little bit, you know, and maybe maybe it's

418
00:20:56,400 --> 00:20:58,119
going to be okay, but really, you know it's not.

419
00:20:58,200 --> 00:21:00,160
It's you know, I think there's more to fit if

420
00:21:00,119 --> 00:21:02,680
from AI for then how it's going to affect music, you.

421
00:21:02,599 --> 00:21:06,599
Speaker 10: Know, right? Oh yeah, a true good points like.

422
00:21:06,599 --> 00:21:07,640
Speaker 5: What do you think you like it? Or do you

423
00:21:07,680 --> 00:21:08,000
hate it?

424
00:21:08,559 --> 00:21:11,640
Speaker 10: Well, I'll tell you I I I like what you

425
00:21:11,680 --> 00:21:16,039
said about how you know, AI is already in some degrees,

426
00:21:16,319 --> 00:21:19,759
it's already been there, especially with you know, you have

427
00:21:19,799 --> 00:21:21,880
bands who use backing tracks and plugins and all that.

428
00:21:22,000 --> 00:21:24,839
So it's not as though it's not as though technology

429
00:21:24,920 --> 00:21:27,599
has not been helping artists to kind of I don't

430
00:21:27,599 --> 00:21:29,480
want to say cheat because I don't make any value

431
00:21:29,559 --> 00:21:30,200
judgment about it.

432
00:21:30,240 --> 00:21:32,359
Speaker 5: But yeah, yeah, but but.

433
00:21:32,160 --> 00:21:35,240
Speaker 10: But but to kind of enhance the live experience, shall

434
00:21:35,279 --> 00:21:38,519
we say? But that's but but of course a lot

435
00:21:38,559 --> 00:21:41,440
of that's been forever, like you know, bands using backing

436
00:21:41,480 --> 00:21:45,200
tracks for backing vocals, for example, during live shows. I mean,

437
00:21:45,240 --> 00:21:49,119
that's that's been happening for decades, so so there's nothing

438
00:21:49,160 --> 00:21:52,400
new to a lot of it. But it is staggering

439
00:21:52,440 --> 00:21:55,119
to me. Something that I find kind of fun, even

440
00:21:55,160 --> 00:21:56,920
though I feel a little bit guilty about it, is

441
00:21:57,480 --> 00:22:01,160
like going on YouTube and finding these AI generated versions

442
00:22:01,319 --> 00:22:06,440
of songs, you know, new versions like uh, you know,

443
00:22:06,559 --> 00:22:09,480
like like there's this one uh channel on YouTube where

444
00:22:09,480 --> 00:22:13,680
they make AI generated versions of of hard rock and

445
00:22:13,759 --> 00:22:17,920
metal versions of songs from like the Backstreet Boys, the

446
00:22:17,960 --> 00:22:20,279
New Kids on the Block, and and the thing is,

447
00:22:20,440 --> 00:22:25,319
I listen to these and they're really good, Like they're

448
00:22:25,359 --> 00:22:28,799
actually really well done and fun to listen to. And

449
00:22:28,839 --> 00:22:32,319
it's like, you know, but knowing that somebody made that. Now,

450
00:22:32,400 --> 00:22:36,079
granted some of these probably they're made with prompts, but

451
00:22:36,160 --> 00:22:39,160
then they're they're tweaked in certain ways. I don't think

452
00:22:39,200 --> 00:22:43,359
they're I don't think it's they're that simple, but but

453
00:22:43,480 --> 00:22:49,039
it is, you know, it is, Uh, it's scary because

454
00:22:49,440 --> 00:22:51,319
because then it gets you to the question, if you

455
00:22:51,440 --> 00:22:54,039
if you think about it this far, is there a

456
00:22:54,200 --> 00:22:58,559
use for for actual musicians at a certain point if

457
00:22:58,559 --> 00:23:01,720
you can just if you just make AI create whatever

458
00:23:01,759 --> 00:23:04,240
you want whatever it is that you, as an individual

459
00:23:04,279 --> 00:23:07,519
listener want to hear. If that's within reach, why do

460
00:23:07,559 --> 00:23:09,519
you even need other people to make music for you

461
00:23:09,559 --> 00:23:10,119
to listen to.

462
00:23:11,160 --> 00:23:13,640
Speaker 5: Yeah, I think there's definitely you know, that's where there's

463
00:23:13,640 --> 00:23:15,880
some of these I think they're the points of real

464
00:23:15,960 --> 00:23:18,519
tension that we should we can talk about, you know.

465
00:23:18,720 --> 00:23:20,960
But also that in itself is nothing new, you know,

466
00:23:21,000 --> 00:23:24,119
Like there was tons of industries that would dramatically change

467
00:23:24,160 --> 00:23:29,160
by technological progress, you know, and often no one really cared.

468
00:23:29,160 --> 00:23:34,640
How often people really valued the convenience over anything else,

469
00:23:34,680 --> 00:23:38,599
you know, Like my granddad worked on Liverpool Docks, and

470
00:23:39,400 --> 00:23:42,440
prior to Liverpool's decline in like the seventies eighties, the

471
00:23:42,440 --> 00:23:46,839
Liverpool Docks employed thousands upon thousands of people. And not

472
00:23:46,880 --> 00:23:50,599
only was there there was political things that happened in

473
00:23:50,640 --> 00:23:53,200
the Thatchy years that really really cementtered the decline, but

474
00:23:53,839 --> 00:23:56,960
besides that, you know, machinery was changed into a way

475
00:23:57,000 --> 00:23:59,160
that a job that maybe needed twenty guys to do

476
00:23:59,240 --> 00:24:01,720
could now be done with one guy with a machine, right,

477
00:24:01,799 --> 00:24:04,799
and there was an inevitability to it, you know, and

478
00:24:05,599 --> 00:24:08,400
even really some of the processes of globalization, you know,

479
00:24:08,440 --> 00:24:11,559
like England has no manufacturing anymore, and that was because

480
00:24:11,599 --> 00:24:13,480
it was cheaper to do it somewhere else, you know,

481
00:24:13,519 --> 00:24:16,519
And I guess that's happened everywhere. And you know that's

482
00:24:16,599 --> 00:24:19,200
also these processes that have happened. Like part of me

483
00:24:19,319 --> 00:24:20,960
kind of sees all of this is like, well, look,

484
00:24:21,000 --> 00:24:23,319
you know, we all went along with all of this,

485
00:24:23,400 --> 00:24:25,160
you know, for generations, we've all gone along with all

486
00:24:25,160 --> 00:24:27,359
of this. This is this is the bed we've made.

487
00:24:28,119 --> 00:24:29,559
We're going to harp and lie in it, you know,

488
00:24:29,640 --> 00:24:31,799
and adapt to it a little bit. Maybe you know,

489
00:24:32,000 --> 00:24:34,400
it's not going away, is the truth. You know, it's

490
00:24:34,440 --> 00:24:38,400
not going away. And they're positives, you know. I've seen recently.

491
00:24:38,480 --> 00:24:41,160
I can't what it was colled, but something popped up

492
00:24:41,160 --> 00:24:43,039
on social media and this guy had Tuesday Eyes to

493
00:24:43,079 --> 00:24:46,920
make a graphic novel. And the guy's ideas were great,

494
00:24:46,920 --> 00:24:49,480
and I was thinking, you know, like this is my thing.

495
00:24:49,519 --> 00:24:51,839
You know, Like the music industry is also like very

496
00:24:51,880 --> 00:24:54,920
nepotistic these days, you know, it's very Sometimes it seems

497
00:24:54,960 --> 00:24:58,799
hemetically sealed, you know, it seems like it's an insiders club,

498
00:24:58,960 --> 00:25:01,599
you know, And and the art can be like that

499
00:25:01,640 --> 00:25:03,640
in lots of ways, and also social class becomes a

500
00:25:03,640 --> 00:25:06,279
big barrier. You know, all the all the successful musicians,

501
00:25:06,279 --> 00:25:10,400
I know, almost always they come from a wealthy background,

502
00:25:10,519 --> 00:25:14,119
you know. And so there's a thing like that which

503
00:25:14,160 --> 00:25:15,759
is like, you know, this guy making his graphic novel,

504
00:25:16,240 --> 00:25:18,480
he would not have had the money or the backing

505
00:25:19,480 --> 00:25:22,039
to ever make this thing, but in terms of the

506
00:25:22,119 --> 00:25:24,440
ideas and the scenes and stuff he's playing with, it's

507
00:25:24,559 --> 00:25:27,720
very interesting, you know to me, And I thought, well,

508
00:25:27,759 --> 00:25:30,880
you know what this tool has enabled this person who

509
00:25:30,920 --> 00:25:35,240
has something exceptional in the idea, and this thing would

510
00:25:35,279 --> 00:25:37,680
never have been made. And you know, like so often

511
00:25:37,720 --> 00:25:40,240
you see what the industry, whether it's Hollywood or anything else,

512
00:25:40,319 --> 00:25:42,440
is chaining out. You know, there's for me, there's a

513
00:25:42,559 --> 00:25:44,200
there's been a bit of a decline in quality in

514
00:25:44,240 --> 00:25:47,319
the mainstream, you know, and partly I think that's because

515
00:25:48,640 --> 00:25:51,079
of this these these problems. You know. It's like, you know,

516
00:25:51,119 --> 00:25:53,319
in England, we used to produce great bands from working

517
00:25:53,319 --> 00:25:55,160
class communities, like Oasis. You know, I might have been

518
00:25:55,200 --> 00:25:57,039
fan of Oasis, but I like it, you know, and

519
00:25:57,079 --> 00:25:59,680
I like what they've done. But you know, I don't

520
00:25:59,680 --> 00:26:01,880
know if a band like Oasis could could exist in

521
00:26:01,880 --> 00:26:02,920
this climates anymore.

522
00:26:03,000 --> 00:26:05,279
Speaker 10: You know, yeah, interesting.

523
00:26:05,440 --> 00:26:07,319
Speaker 5: I'm not saying AI the answer to that, but I'm

524
00:26:07,359 --> 00:26:09,039
just saying, look, there's a lot of problems that we're

525
00:26:09,039 --> 00:26:11,759
not solving here, and actually there's some benefits to AI.

526
00:26:12,200 --> 00:26:15,559
There's an element of it which is very democratizing. You know,

527
00:26:16,200 --> 00:26:17,880
used to learn about that, you know, the idea that

528
00:26:17,960 --> 00:26:23,400
like home studios. Making home studios made music a lot

529
00:26:23,400 --> 00:26:25,920
more accessible to lots and lots of people, which everyone

530
00:26:26,039 --> 00:26:28,480
champion does a great thing. It was very bad for

531
00:26:28,559 --> 00:26:32,559
professional according studios, you know, like, what do we want

532
00:26:32,599 --> 00:26:34,319
to do here? You know, it's the same for musicians

533
00:26:34,319 --> 00:26:36,480
and in a lot of ways from the artist's point

534
00:26:36,480 --> 00:26:39,039
of view. You know, so often if an artist wants

535
00:26:39,680 --> 00:26:43,359
his vision requires a violin, he has to pay a violin.

536
00:26:43,400 --> 00:26:44,880
It's not and yeah, that's great for this sort of

537
00:26:44,880 --> 00:26:47,519
ecosystem with musicians and stuff. But if he's not able

538
00:26:47,559 --> 00:26:49,799
to do that, he can't make the art. And maybe

539
00:26:49,839 --> 00:26:52,079
the art important, you know, maybe the art is more

540
00:26:52,119 --> 00:26:56,279
important than someone getting paid. You know, I don't know,

541
00:26:56,359 --> 00:26:57,920
I don't know. I'm not saying it is. I'm making that,

542
00:26:58,440 --> 00:27:00,200
you know, not going to be weathered to that idea yet,

543
00:27:00,200 --> 00:27:02,039
I'm just saying I feel like there's a bigger conversation

544
00:27:02,119 --> 00:27:06,119
here than than what you often seeing from from local musicians.

545
00:27:06,440 --> 00:27:08,920
Speaker 10: Yeah, because ultimately, you know, one thing that you can't

546
00:27:08,960 --> 00:27:10,880
do is you can't hold back technology.

547
00:27:11,559 --> 00:27:14,759
Speaker 5: So it's a lose. It's a losing. It's like the

548
00:27:15,480 --> 00:27:17,480
old Western. I always think it's like the old Western films,

549
00:27:17,480 --> 00:27:19,359
you know, and you get this old cowboy and it's

550
00:27:19,400 --> 00:27:22,640
super romantic and the railroads coming through the town, you know,

551
00:27:23,359 --> 00:27:26,599
and he's like holding onto the old ways, and we

552
00:27:26,680 --> 00:27:28,599
love it. It's romantic. It's like we want him to

553
00:27:28,720 --> 00:27:31,640
you know. Ultimately it's the cowboys are over, you know,

554
00:27:31,920 --> 00:27:35,160
right right, or like you know, like medieval nights. I

555
00:27:35,200 --> 00:27:36,839
used to think that was the most romantic thing in

556
00:27:36,839 --> 00:27:39,200
the world. Was like a guy having a sord fight,

557
00:27:39,240 --> 00:27:41,720
you know, and then someone invites invents a gun and

558
00:27:41,720 --> 00:27:44,440
it's like, well, you know, a different game now.

559
00:27:44,640 --> 00:27:47,000
Speaker 10: Yeah, but yeah you can't. Yeah, you can't hold it back,

560
00:27:47,039 --> 00:27:50,920
and it's uh so all you can do. And you know,

561
00:27:51,000 --> 00:27:55,440
the music industry I think already learned this lesson once.

562
00:27:55,599 --> 00:27:57,920
Maybe not well enough, you know, because I remember when

563
00:27:57,960 --> 00:28:00,440
you know, I'm old enough to remember when when Napster

564
00:28:00,559 --> 00:28:02,519
for a stap and and you know, and everybody in

565
00:28:02,519 --> 00:28:05,039
the music industry was freaking out, Oh you can just fileshare,

566
00:28:05,160 --> 00:28:08,039
you can all this music is free now, you know what,

567
00:28:08,039 --> 00:28:09,480
what what are we going to do? You know, because

568
00:28:09,519 --> 00:28:10,960
at the time I was working for I was a

569
00:28:11,359 --> 00:28:14,440
manager for a retail chain here and here in the

570
00:28:14,440 --> 00:28:18,640
States called Strawberries, which later became absorbed into another larger

571
00:28:19,000 --> 00:28:21,880
music retail chain. But that was but that there was panic.

572
00:28:22,000 --> 00:28:25,200
I mean, there was absolute panic in the industry and

573
00:28:25,400 --> 00:28:27,519
the company that I worked for, it was like, well,

574
00:28:27,720 --> 00:28:29,759
why are people going to come in and buy CDs now?

575
00:28:30,680 --> 00:28:30,880
You know?

576
00:28:31,000 --> 00:28:32,599
Speaker 5: Yeah, yeah, exactly, exactly.

577
00:28:32,480 --> 00:28:35,440
Speaker 10: You know. So, but but you can't you can't stop it.

578
00:28:35,519 --> 00:28:37,440
You can't hold it back. All you can do is

579
00:28:37,519 --> 00:28:41,799
adapt and try to figure it out. And I think,

580
00:28:41,880 --> 00:28:44,079
I think, but I think we're at another inflection point

581
00:28:44,119 --> 00:28:46,279
with that. You know, we can't hold it back, so

582
00:28:46,359 --> 00:28:48,960
we got to just figure it out, you know.

583
00:28:49,079 --> 00:28:51,440
Speaker 5: And yeah, you gotta decide what it means, you know. Yeah,

584
00:28:51,559 --> 00:28:54,640
I guess, like, you know, I kind of I respect

585
00:28:54,680 --> 00:28:55,920
I'm not going to take pass and I see a

586
00:28:55,920 --> 00:28:58,079
lot of people who are sort of trying to draw

587
00:28:58,119 --> 00:28:59,720
a line in the sun and say, i'm're gonna we're

588
00:28:59,720 --> 00:29:02,000
going to keep this. You know, we're gonna, you know,

589
00:29:02,240 --> 00:29:04,880
people who mess around with AI, We're gonna kind of

590
00:29:04,880 --> 00:29:06,079
gate keeping them. We're going to say, you know, no,

591
00:29:06,160 --> 00:29:09,359
that's not cool. You know, we're gonna we're gonna ostracize

592
00:29:09,359 --> 00:29:12,599
it in some way or you know, close ranks and

593
00:29:12,640 --> 00:29:14,599
I'm like, yeah, cool, you know, like make you stand.

594
00:29:14,720 --> 00:29:17,279
But you might just be that old cowboy you know, right,

595
00:29:17,720 --> 00:29:21,799
you're gonna get railroaded, you know. And really, like, like

596
00:29:21,880 --> 00:29:24,119
I said, I really think, like I really think if

597
00:29:24,160 --> 00:29:28,359
you if you can try and get back to the

598
00:29:28,480 --> 00:29:30,480
art form more because you know, so much music now

599
00:29:30,640 --> 00:29:33,039
is just commodity. You know, so much pop music, you know,

600
00:29:33,160 --> 00:29:35,880
the Sabrina Carpenter stuff is just commodity. Like there's not

601
00:29:36,279 --> 00:29:38,359
I mean, it's interesting in a way. Popular culture is

602
00:29:38,400 --> 00:29:41,160
always interested in as a way of understanding society, you know,

603
00:29:41,440 --> 00:29:43,640
and where it's at. But as far as I can

604
00:29:43,640 --> 00:29:45,920
see it where it's at, it's not a great place already.

605
00:29:46,039 --> 00:29:49,279
And a lot of the art is just commodity. And

606
00:29:49,359 --> 00:29:51,119
it's really difficult because you know, at least in like

607
00:29:51,119 --> 00:29:54,400
the sixties and stuff, you know, some of the popular

608
00:29:54,400 --> 00:29:58,480
stuff that was breaking through was was really artistically viable,

609
00:29:58,519 --> 00:30:01,759
you know, like Dylan, Bob Dylan. I mean he's writing

610
00:30:01,839 --> 00:30:03,880
lyrics in those early years that are up there with

611
00:30:03,880 --> 00:30:05,359
like T. S Elliott and all these poets. You know.

612
00:30:05,400 --> 00:30:07,680
It's like, yeah, you know, and that's what I think

613
00:30:07,799 --> 00:30:12,240
is like a I will be able to replace Sabrina Carpenter,

614
00:30:12,480 --> 00:30:14,039
but I'm not sure it could replace Bob Dunnan.

615
00:30:14,960 --> 00:30:16,359
Speaker 10: Yeah, that's a good point for.

616
00:30:16,440 --> 00:30:18,000
Speaker 5: The next Bob doing, the next Bob done. You know,

617
00:30:18,079 --> 00:30:20,920
whatever the future version of of a great artist is.

618
00:30:20,960 --> 00:30:22,759
I'm not sure it'll be able to do that. I

619
00:30:22,799 --> 00:30:26,160
think it'll always be playing catch up too, you know,

620
00:30:27,200 --> 00:30:28,480
those sorts of humans, you know.

621
00:30:28,640 --> 00:30:31,000
Speaker 10: Yeah, because without everything that came before it, it has

622
00:30:31,000 --> 00:30:33,839
nothing to draw from, so it needs exactly Yeah.

623
00:30:33,920 --> 00:30:37,359
Speaker 5: So maybe it'll drive innovation and it'll yeah. And also

624
00:30:37,400 --> 00:30:41,319
you know, I find it, you know, even locally, Like

625
00:30:41,440 --> 00:30:45,039
you know, I'm not trying to to break into some

626
00:30:45,160 --> 00:30:47,440
pop thing or to be a mainstream thing at all.

627
00:30:47,480 --> 00:30:49,119
You know, I don't really think it's viable for me,

628
00:30:49,559 --> 00:30:53,039
but I certainly have found there's still a lot of

629
00:30:53,079 --> 00:30:57,400
people who are who are looking for something, you know,

630
00:30:57,519 --> 00:31:00,519
the that maybe is trying to be a bit more

631
00:31:00,880 --> 00:31:05,559
artsy or something, you know, and there's still a place

632
00:31:05,599 --> 00:31:09,319
for it, you know, Yeah, And you know it's maybe

633
00:31:09,319 --> 00:31:11,160
it'll carry on like that. You know, maybe it'll be

634
00:31:11,200 --> 00:31:15,519
something that forced people to really think about what does

635
00:31:15,599 --> 00:31:17,920
matter in a work of art. And if you really

636
00:31:17,920 --> 00:31:20,200
don't like the idea that a computer is making it, well,

637
00:31:20,240 --> 00:31:21,559
what do you like about the fact that it's a

638
00:31:21,599 --> 00:31:24,119
human making it? And you know, maybe we have to

639
00:31:24,119 --> 00:31:26,400
start actually making some distinctions. You know, I think that's

640
00:31:26,400 --> 00:31:29,200
gonna happen. But you know, it's an interesting thing to

641
00:31:29,200 --> 00:31:29,640
think about.

642
00:31:29,839 --> 00:31:32,400
Speaker 10: It is it is, It's it's a very interesting time

643
00:31:32,400 --> 00:31:36,680
to be alive. That's that's for sure. Well, Paul, this

644
00:31:37,000 --> 00:31:40,000
has been wonderful. I love the album. I do want

645
00:31:40,079 --> 00:31:42,599
so I'm gonna can absolutely so I'm going to kind

646
00:31:42,599 --> 00:31:44,359
of put you on the spot here because in a

647
00:31:44,480 --> 00:31:47,079
moment after we let you go, I'm going to play

648
00:31:47,079 --> 00:31:49,640
another track from the album to close out the segment.

649
00:31:49,720 --> 00:31:54,039
But obviously we did play the single Nebu Goodnezzar to open,

650
00:31:54,079 --> 00:31:56,240
But what song would you like us to play at

651
00:31:56,240 --> 00:31:57,359
the end of our conversation?

652
00:31:58,559 --> 00:32:02,319
Speaker 5: And this there's two you know, I have some conflicted

653
00:32:03,119 --> 00:32:04,720
feelings on the album. There's a lot of things that

654
00:32:04,759 --> 00:32:07,359
didn't quite It's a difficult time, you like, to be

655
00:32:07,359 --> 00:32:10,759
totally honest with you, a lot of health problems while

656
00:32:10,799 --> 00:32:14,079
I was trying to make it and stuff. Yeah, and

657
00:32:14,240 --> 00:32:19,279
just a lot of complex things, you know. But but

658
00:32:19,480 --> 00:32:22,039
you know, there's a few bits that came out. I

659
00:32:22,039 --> 00:32:25,000
think there's one song called why Go Home, and there's

660
00:32:25,000 --> 00:32:27,279
this song there called linger On, And I think those

661
00:32:27,279 --> 00:32:30,279
ones are interesting to me. Maybe not the the catches

662
00:32:30,400 --> 00:32:32,599
or anything, but I think they they're the ones that

663
00:32:32,640 --> 00:32:33,680
came out that I really like, you.

664
00:32:33,680 --> 00:32:34,920
Speaker 10: Know, you know what.

665
00:32:35,640 --> 00:32:37,440
Speaker 5: The album just has too many styles on it, you know.

666
00:32:37,480 --> 00:32:40,519
I to be honest, Yeah, my health was getting so

667
00:32:40,559 --> 00:32:43,200
bad I started this is so dramatically, so typical of

668
00:32:43,200 --> 00:32:45,440
an artist. I'm a lot better know, but at the

669
00:32:45,480 --> 00:32:47,000
time I thought that, you know, I might make this

670
00:32:47,079 --> 00:32:52,559
album and just die, you know. Yeah, well no, because

671
00:32:52,559 --> 00:32:56,839
I'm still alive, you know, but yeah, being a dramatic artist,

672
00:32:56,880 --> 00:33:00,799
you know. But yeah, you know, like I was, I

673
00:33:00,839 --> 00:33:01,880
was just kind of like, well, you know what, I'm

674
00:33:01,880 --> 00:33:04,119
just going to record all my favorite songs that I

675
00:33:04,200 --> 00:33:05,680
never recorded over the last ten years, and I'm just

676
00:33:05,720 --> 00:33:07,519
going to put them all on there, and maybe that

677
00:33:07,519 --> 00:33:10,240
should have been three EP's or something. Stylistically it's to

678
00:33:10,319 --> 00:33:13,720
be all over the place. But yeah, I Go Homes

679
00:33:13,720 --> 00:33:15,599
a nice country track, and linger On is kind of

680
00:33:15,599 --> 00:33:18,880
like a weird little pop pop sort of folky thing.

681
00:33:19,079 --> 00:33:21,519
I don't know, I'll have time.

682
00:33:21,559 --> 00:33:23,640
Speaker 10: I'm actually I'll play both of them. I'll play both

683
00:33:23,680 --> 00:33:24,200
of them. At the end.

684
00:33:25,759 --> 00:33:27,480
Speaker 5: I wasn't a going for that. I just couldn't decide.

685
00:33:27,680 --> 00:33:30,039
Speaker 10: Yeah, yeah, that's that's okay. No, I'll play both of them.

686
00:33:30,079 --> 00:33:33,400
We'll have time. I would love to, awesome, Paul. Where's

687
00:33:33,440 --> 00:33:35,440
the best place for people to go online to keep

688
00:33:35,519 --> 00:33:37,119
up with everything that you are doing.

689
00:33:39,480 --> 00:33:43,279
Speaker 5: So right now? Just YouTube? Man or Spotify? I guess

690
00:33:43,359 --> 00:33:48,400
you know. I have a Facebook. I don't really engagements

691
00:33:48,440 --> 00:33:50,240
with social media right now. I'm kind of like I

692
00:33:50,279 --> 00:33:52,720
had some problems with Instagram and it closed down the accounts,

693
00:33:52,720 --> 00:33:55,519
which was quite oh really a lot of followers on there? Yeah, yeah,

694
00:33:55,799 --> 00:33:57,400
I had a lot of followers on there. But I also,

695
00:33:58,160 --> 00:33:59,880
as you can tell by my thoughts on AI AM

696
00:33:59,880 --> 00:34:01,319
so have been a place where I'm sort of trying

697
00:34:01,359 --> 00:34:05,359
to figure out what it all means man, And yeah,

698
00:34:05,480 --> 00:34:07,240
I'm just trying to figure out what where to go next,

699
00:34:07,240 --> 00:34:10,199
and I think I'd like to maybe start building on YouTube,

700
00:34:10,199 --> 00:34:11,679
you know, especially when I do this new thing. I

701
00:34:11,719 --> 00:34:13,159
was saying, I'm going to go to the Southwest and

702
00:34:13,159 --> 00:34:17,480
do a channel Paul McCartney's RAMI hangout on a farm

703
00:34:17,480 --> 00:34:21,519
and community on YouTube. Yeah, I think on YouTube and

704
00:34:21,559 --> 00:34:25,519
film a lot of stuff. So you could subscribe on

705
00:34:25,559 --> 00:34:27,760
YouTube or that'd probably be the one for now, and

706
00:34:27,800 --> 00:34:30,559
then at some point they'll be there'll be more socials

707
00:34:30,559 --> 00:34:32,679
when I'm here with the next project.

708
00:34:32,960 --> 00:34:37,880
Speaker 10: Yeah, out outstanding, outstanding, all right, Well, Paul Nasoli, No,

709
00:34:37,960 --> 00:34:41,880
that's not right, is it? How do I say it?

710
00:34:42,920 --> 00:34:46,880
Nas nas nas Okay, thank you, and I'm sorry for

711
00:34:46,920 --> 00:34:48,320
butchering your name. I'm in America.

712
00:34:48,320 --> 00:34:54,280
Speaker 5: I don't worry. We don't mostly in Liverpool. I understand

713
00:34:54,519 --> 00:34:54,920
it used to be.

714
00:34:58,119 --> 00:34:59,880
Speaker 10: Well, Paul, thank you so much for joining us. This

715
00:35:00,000 --> 00:35:02,719
has been wonderful. We will definitely have to do this. Absolutely,

716
00:35:02,719 --> 00:35:04,039
we'll have to do this again in the future.

717
00:35:04,079 --> 00:35:06,440
Speaker 5: And yeah, we're gonna we're.

718
00:35:05,800 --> 00:35:08,599
Speaker 10: Gonna play both of those tracks from the self titled album,

719
00:35:09,199 --> 00:35:11,239
very very very cool. I listened to the whole thing

720
00:35:11,239 --> 00:35:12,159
and I love it so great.

721
00:35:12,239 --> 00:35:16,199
Speaker 5: Great, absolutely, so we'll hit those tracks.

722
00:35:16,239 --> 00:35:18,000
Speaker 10: We'll let you go for now, Paul, thank you so much,

723
00:35:18,000 --> 00:35:19,320
and we'll talk again soon. I'm sure.

724
00:35:19,760 --> 00:35:21,800
Speaker 5: All right, thanks a lot.

725
00:35:21,480 --> 00:35:24,159
Speaker 10: You got it YouTube, bye bye, all right, wonderful. So

726
00:35:24,159 --> 00:35:26,039
we're gonna play. We're gonna go ahead and play both

727
00:35:26,039 --> 00:35:27,800
of these. By the way, if you are listening live,

728
00:35:28,280 --> 00:35:31,039
stick around if you are listening on Saturday, because in

729
00:35:31,079 --> 00:35:33,480
the third hour gen X is gonna be joining us

730
00:35:33,519 --> 00:35:36,719
from the band Generations and really looking forward to talking

731
00:35:36,760 --> 00:35:39,320
with her. But yeah, we'll play. Uh, we'll play both

732
00:35:39,360 --> 00:35:41,480
of these. Let's do this one first. This is called

733
00:35:42,079 --> 00:35:42,719
why go Home?

734
00:36:03,320 --> 00:36:10,960
Speaker 6: Why go Home? With Mama's sleeve? And no wonder stop

735
00:36:11,039 --> 00:36:12,079
your beating?

736
00:36:12,599 --> 00:36:14,039
Speaker 11: Why go home?

737
00:36:14,639 --> 00:36:16,960
Speaker 10: Twenty could Steve.

738
00:36:22,480 --> 00:36:30,280
Speaker 9: Summer's gone, And I'm to reading along to face.

739
00:36:30,199 --> 00:36:32,000
Speaker 10: These feeling, I.

740
00:36:33,800 --> 00:36:43,280
Speaker 6: PhD just to send against him. Some crickets stops hid bother.

741
00:36:43,440 --> 00:36:47,119
The day that you were born flies we to.

742
00:36:47,239 --> 00:36:52,119
Speaker 9: Wa went the afew only thought sorrow shut on and

743
00:36:52,400 --> 00:36:56,199
restip you try to take your finger to all and.

744
00:36:56,400 --> 00:37:02,800
Speaker 6: Far back down again. Fine your hard misplease.

745
00:37:06,840 --> 00:37:14,079
Speaker 11: So I'm bound with the season looking around for faith.

746
00:37:14,360 --> 00:37:19,239
Speaker 6: Then reason none I found on the.

747
00:37:19,360 --> 00:37:20,920
Speaker 10: Old bones, said be.

748
00:37:25,480 --> 00:37:29,559
Speaker 6: Any food? On inside around here and see it for yourself.

749
00:37:30,320 --> 00:37:32,880
The room be missing from your crying.

750
00:37:32,679 --> 00:37:36,400
Speaker 9: The twindling I you him, and all your pearls of

751
00:37:36,599 --> 00:37:39,360
wisdom have been passed among the swine.

752
00:37:39,880 --> 00:38:09,519
Speaker 6: The cracks beneath the mounds move better next time. Why

753
00:38:09,760 --> 00:38:15,239
go home when mam must leave and no one there?

754
00:38:15,559 --> 00:38:22,559
Who stop? You'll bleed? Why go home when you could stay,

755
00:38:22,880 --> 00:38:24,000
oh man.

756
00:38:27,880 --> 00:38:31,400
Speaker 11: To Why go home when you.

757
00:38:31,519 --> 00:38:33,599
Speaker 10: Could stay, oh night?

758
00:38:37,840 --> 00:38:39,880
Speaker 5: Why go home where?

759
00:39:04,639 --> 00:39:09,360
Speaker 6: Never really had the words to say, never knew what

760
00:39:09,880 --> 00:39:14,880
game to play? Baby with you? Ever since you went away,

761
00:39:17,079 --> 00:39:21,199
only feel like it was yesterday. Yes, God deeds gone.

762
00:39:21,880 --> 00:39:23,119
I linger.

763
00:39:24,800 --> 00:39:25,239
Speaker 5: For you.

764
00:39:30,639 --> 00:39:35,840
Speaker 6: Never really mattered anyway. I can take it, baby, came

765
00:39:35,880 --> 00:39:38,519
I have for men. You'll know it's true.

766
00:39:39,199 --> 00:39:43,880
Speaker 11: Take your seventh on a Saturday, Well it might have

767
00:39:44,000 --> 00:39:49,440
been on one on Liday in the sunder Ilger.

768
00:39:50,880 --> 00:40:19,440
Speaker 6: For you, Alida, just sorry.

769
00:40:24,679 --> 00:40:29,440
Speaker 11: Remember when we never had a kid, so'd you belabe

770
00:40:29,519 --> 00:40:32,440
that I'll take you anywhere that you want to go.

771
00:40:33,360 --> 00:40:35,639
Speaker 6: Eu and me we never had a prince.

772
00:40:37,320 --> 00:40:39,559
Speaker 7: Talk two weeks, you know, we never had a pair

773
00:40:39,760 --> 00:40:41,280
to reach to the sun.

774
00:40:42,239 --> 00:40:43,400
Speaker 6: Alinga on.

775
00:40:45,039 --> 00:40:45,440
Speaker 5: For you.

776
00:42:16,599 --> 00:42:22,400
Speaker 6: I'm standing in the air shuller, I'm listening to the word.

777
00:42:25,039 --> 00:42:34,039
I wonder as girl, A wonder, white spell, a may

778
00:42:34,280 --> 00:42:35,119
of a mind.

779
00:42:37,719 --> 00:43:24,480
Speaker 5: Okay, I'm standing in the shastening to Ben.

780
00:43:28,239 --> 00:43:34,320
Speaker 4: I'll get at the back, staying in the s.

781
00:43:37,000 --> 00:44:42,320
Speaker 6: S to see me.

782
00:44:42,400 --> 00:44:43,880
Speaker 5: Ad got miss.

783
00:44:46,079 --> 00:44:51,880
Speaker 6: What's bad? That's all he got?

784
00:44:55,639 --> 00:44:57,559
Speaker 8: He got ma.

785
00:45:30,880 --> 00:45:31,079
Speaker 6: Kill?

786
00:45:43,639 --> 00:45:46,559
Speaker 10: I love it. That is the Ocean by the band

787
00:45:46,679 --> 00:45:50,199
replaced by robots. Hey, welcome, he everybody. This is Matt

788
00:45:50,239 --> 00:45:53,119
Connorton Unleashed. We are live from the studios of wm

789
00:45:53,199 --> 00:45:56,119
n H ninety five point three FM and Glorious Manchester,

790
00:45:56,320 --> 00:45:59,119
New Hampshire. If you aren't listening live on Saturday. Coming

791
00:45:59,159 --> 00:46:01,639
up in the third hour, gen X from the band

792
00:46:01,840 --> 00:46:04,519
Generations is going to be joining us from Missouri via

793
00:46:04,760 --> 00:46:07,840
Microsoft Teams. Really looking forward to talking with her. I

794
00:46:07,960 --> 00:46:10,880
love the project. Jenny is here, of course at the

795
00:46:11,000 --> 00:46:16,760
news table account for and just saw this some music news. Uh.

796
00:46:16,880 --> 00:46:22,760
Ticketmaster faces lawsuit over alleged website tracking and surveillance tools.

797
00:46:23,639 --> 00:46:27,480
This is from Music Businessworldwide dot com. I feel like

798
00:46:29,079 --> 00:46:32,159
whenever we talk about lawsuits in the music industry, Ticketmaster's

799
00:46:32,280 --> 00:46:34,559
name comes up a lot, a lot, a lot. They're

800
00:46:34,760 --> 00:46:40,000
constantly getting yes, yes, here's here's the well, here's the

801
00:46:40,079 --> 00:46:42,880
newest thing. A new class action lawsuit has been filed

802
00:46:42,880 --> 00:46:47,079
against Ticketmaster, a leegendis website deploys unauthorized surveillance tools that

803
00:46:47,400 --> 00:46:52,840
violate California privacy laws. The latest complaint, filed in the

804
00:46:53,239 --> 00:46:57,840
US District Court for the Central District of California on Monday,

805
00:46:58,039 --> 00:47:02,559
January five, only listed Ticketmaster as the defendant. The class

806
00:47:02,639 --> 00:47:08,480
action was led by Solano County, California resident named Jeffrey Scruggs.

807
00:47:09,400 --> 00:47:16,599
The complaint claims that Ticketmaster employs advertising and analytics trackers

808
00:47:16,800 --> 00:47:22,079
from Google, Facebook, TikTok, and Microsoft bing Oh Bing, I

809
00:47:22,159 --> 00:47:25,000
remember bing I know, I do too. I didn't even

810
00:47:25,000 --> 00:47:28,760
know it still existed, as well as those operated by Pinterest,

811
00:47:29,039 --> 00:47:34,960
Snap and Commscore to illegally quote collect, receive and process

812
00:47:35,079 --> 00:47:41,679
unquote information. Excuse me how to cough information from users

813
00:47:42,840 --> 00:47:47,079
such as IP addresses, paid RL's timestamps, and device on

814
00:47:47,480 --> 00:47:50,599
or browser characteristics, among others. By the way, before we

815
00:47:50,679 --> 00:47:55,519
go any further with this, I would just say, yeah,

816
00:47:55,719 --> 00:47:59,199
I just kind of would have assumed that, like as

817
00:47:59,199 --> 00:48:02,280
any of this house shocking to you, No.

818
00:48:02,559 --> 00:48:04,159
Speaker 4: Shocking el heck no no.

819
00:48:04,920 --> 00:48:09,440
Speaker 12: But it raises an important issue about privacy. So do you,

820
00:48:09,880 --> 00:48:13,119
on the one hand, do you want ads that are

821
00:48:13,159 --> 00:48:15,559
targeted to what you like? Maybe you would like that

822
00:48:16,159 --> 00:48:18,679
instead of ads that are selling trying to sell your products,

823
00:48:18,760 --> 00:48:23,119
you would have nothing to do with, right, Like, but.

824
00:48:25,440 --> 00:48:26,159
Speaker 5: What to what?

825
00:48:27,360 --> 00:48:28,159
Speaker 4: To what expense?

826
00:48:29,280 --> 00:48:31,920
Speaker 12: Do you want it to know when you turn your

827
00:48:31,960 --> 00:48:34,239
browser on and off? Do you want it to tell

828
00:48:35,039 --> 00:48:36,960
what your favorite color is? Do you want it to

829
00:48:37,079 --> 00:48:40,199
tell what musicians you're looking up or whether you looked

830
00:48:40,239 --> 00:48:41,280
up something for athletes?

831
00:48:41,440 --> 00:48:41,679
Speaker 10: Foot?

832
00:48:42,280 --> 00:48:46,400
Speaker 12: You know how it can get? How much information is

833
00:48:46,440 --> 00:48:49,159
okay with you? Because once it's out, it's out right.

834
00:48:49,320 --> 00:48:52,440
Once something gets the net, it's on the net. There's

835
00:48:52,519 --> 00:48:57,079
no deletion, it's there. Yeah, you know, I remember years ago,

836
00:48:57,400 --> 00:49:00,599
years and years and years ago when the super markets

837
00:49:01,199 --> 00:49:04,719
came out with this device that you could go around

838
00:49:04,800 --> 00:49:07,639
to shop with and it would get to know you

839
00:49:08,400 --> 00:49:09,920
and it would tell you if you were in a

840
00:49:09,960 --> 00:49:12,079
particular aisle, do you want to get X again?

841
00:49:12,199 --> 00:49:12,840
Speaker 4: Or why again?

842
00:49:13,599 --> 00:49:18,719
Speaker 12: And how privacy wonks got really upset about it. They're like, oh, well,

843
00:49:18,719 --> 00:49:20,079
they're gonna know what you're eating, they're gonna know what

844
00:49:20,119 --> 00:49:22,000
you're tagging him, you know, And then it was like,

845
00:49:22,079 --> 00:49:24,079
oh I went shopping and then I got like five

846
00:49:24,239 --> 00:49:27,079
cheese coupons in the mail because I bought a lot

847
00:49:27,159 --> 00:49:31,400
of cheese. So where did that seveiled information come from?

848
00:49:31,679 --> 00:49:34,400
So to them doing this as they're trying to show

849
00:49:34,480 --> 00:49:36,599
you the ads like they want to show you the

850
00:49:36,679 --> 00:49:40,400
Doobie Brothers or they want to show you, I don't know,

851
00:49:40,559 --> 00:49:41,760
kid rock, whoever.

852
00:49:41,519 --> 00:49:41,760
Speaker 5: It is.

853
00:49:43,239 --> 00:49:44,760
Speaker 10: To me is so different than you know, when you

854
00:49:44,840 --> 00:49:47,639
go on a shopping site like Amazon and you see

855
00:49:48,079 --> 00:49:51,559
products selected for you, suggested for you, I should say

856
00:49:51,599 --> 00:49:55,400
that by your history that you might like, yes, things

857
00:49:55,440 --> 00:49:58,039
that you're actually interested in. That's how all of it works.

858
00:49:58,079 --> 00:49:59,960
Speaker 4: Okay, Well why does it always try and show me

859
00:50:00,159 --> 00:50:01,320
something I've already bought?

860
00:50:01,639 --> 00:50:03,360
Speaker 10: I don't know, Maybe you want to buy it again? No,

861
00:50:04,440 --> 00:50:05,719
maybe you need another one. I don't know.

862
00:50:06,400 --> 00:50:08,679
Speaker 4: I never understand that one. Why are you showing me

863
00:50:08,800 --> 00:50:09,800
something I already bought?

864
00:50:10,119 --> 00:50:10,320
Speaker 10: Well?

865
00:50:10,440 --> 00:50:13,960
Speaker 4: Crazy? But yo, So it comes down to privacy, right.

866
00:50:15,400 --> 00:50:18,639
Speaker 10: Yeah, but the so I have an unpopular opinion about that,

867
00:50:19,000 --> 00:50:22,639
and that is this. I'm just speaking for me personally.

868
00:50:22,880 --> 00:50:26,239
I couldn't care less, couldn't care less about any of it.

869
00:50:26,360 --> 00:50:29,159
I have no privacy to protect because guess what none

870
00:50:29,199 --> 00:50:33,559
of us do anymore. I mean, come on, because this

871
00:50:33,760 --> 00:50:37,199
toothpaste is so far out of the tube. Who cares?

872
00:50:38,760 --> 00:50:42,960
Some people I know don't want what I just said

873
00:50:43,079 --> 00:50:46,280
is an unpopular opinion. Well, I think probably most people.

874
00:50:46,039 --> 00:50:50,199
Speaker 12: Don't put the browsers in the setting that allows them

875
00:50:50,360 --> 00:50:53,159
to browse and do things without being cast.

876
00:50:53,440 --> 00:50:56,760
Speaker 10: I'm glad you said that, because that's an easy solution. Yeah,

877
00:50:56,880 --> 00:50:59,320
just put it in an incogni neo mode and go crazy.

878
00:50:59,719 --> 00:51:03,159
Speaker 4: That's all that. Well, now it's easy for you to

879
00:51:03,239 --> 00:51:04,559
say that, but you got to look.

880
00:51:04,440 --> 00:51:06,199
Speaker 10: That it's easy to do it.

881
00:51:06,280 --> 00:51:08,000
Speaker 12: You've got to look at it in the legal sense

882
00:51:08,079 --> 00:51:10,119
of the word of how much is that not? How

883
00:51:10,199 --> 00:51:12,360
much is what is crossing the line? Is there a

884
00:51:12,480 --> 00:51:17,079
line on your privacy that you don't want cross that

885
00:51:17,239 --> 00:51:20,280
you do want the laws to protect because you don't

886
00:51:20,360 --> 00:51:24,519
want companies, you know, gathering that.

887
00:51:25,119 --> 00:51:26,760
Speaker 4: Do you want the local hospital to.

888
00:51:26,800 --> 00:51:30,599
Speaker 12: Start sending you bereavement things because it got connected that

889
00:51:30,679 --> 00:51:31,920
you had somebody that passed.

890
00:51:32,760 --> 00:51:35,320
Speaker 10: But it wouldn't offend me. I wouldn't be like, oh,

891
00:51:35,400 --> 00:51:37,360
this is insensitive. I can't believe I'm getting this.

892
00:51:37,400 --> 00:51:40,719
Speaker 4: I be, But somebody else might be like, why does

893
00:51:40,760 --> 00:51:41,400
anybody know this?

894
00:51:41,599 --> 00:51:43,719
Speaker 10: Why not? Like I said, it's my my my way

895
00:51:43,800 --> 00:51:47,559
of looking at is it's an unpopular opinion. I just

896
00:51:47,599 --> 00:51:49,159
don't care. I've never cared. I don't care.

897
00:51:49,559 --> 00:51:51,920
Speaker 12: You're an oddity because you're one of those people that

898
00:51:52,199 --> 00:51:54,679
is I am who I am as I am you.

899
00:51:55,480 --> 00:51:59,000
You don't have to remember his story because it's always truth, right,

900
00:51:59,119 --> 00:52:02,039
you know, so and and that. Unfortunately these days kah

901
00:52:02,199 --> 00:52:04,880
could be kind of rare. So if you're somebody that's

902
00:52:04,880 --> 00:52:08,199
trying to hide behind a cloud, you don't want the surveiled, yeah,

903
00:52:08,480 --> 00:52:10,960
or if you I mean, there is a certain perspective

904
00:52:11,039 --> 00:52:14,440
to respect that people do have a right to privacy.

905
00:52:14,800 --> 00:52:17,320
Speaker 4: People do have a right to be safe within their

906
00:52:17,360 --> 00:52:21,679
own environment. They have that right. So how far is

907
00:52:21,760 --> 00:52:23,280
it okay to let a company go?

908
00:52:24,400 --> 00:52:27,199
Speaker 10: Do you have a line? So I would argue again,

909
00:52:27,400 --> 00:52:30,599
and this will be an unpopular opinion. People will disagree

910
00:52:30,639 --> 00:52:32,920
with me. But if you have, if you want to

911
00:52:32,960 --> 00:52:35,639
have that expectation of privacy, you have to take some

912
00:52:35,760 --> 00:52:39,239
simple steps to do that, like putting your browser incognito

913
00:52:39,320 --> 00:52:43,239
mode for example, or using a VPN. But if you like,

914
00:52:43,440 --> 00:52:45,599
this is the part that will be unpopular with people.

915
00:52:45,840 --> 00:52:49,199
I think at this point in twenty twenty six, you

916
00:52:49,360 --> 00:52:53,760
have no more just using your browser as is and

917
00:52:54,079 --> 00:52:56,480
and just looking at whatever you're looking at, you have

918
00:52:56,679 --> 00:53:00,280
no you should have no more greater expectation of more

919
00:53:00,360 --> 00:53:04,320
greater you should have no greater expectation of privacy doing that,

920
00:53:04,840 --> 00:53:07,599
then you should in a public place having a conversation.

921
00:53:07,239 --> 00:53:11,159
Speaker 4: With disagree right to be.

922
00:53:11,639 --> 00:53:14,519
Speaker 12: If you're in your home doing whatever it is you're

923
00:53:14,639 --> 00:53:16,920
doing as long so long as it's not an illegal

924
00:53:17,000 --> 00:53:19,719
horrible thing, you have right to And the VPN isn't

925
00:53:19,719 --> 00:53:22,119
going to solve this problem because remember in the article

926
00:53:22,159 --> 00:53:25,519
they talked about it's collecting the IP address paige Ur.

927
00:53:25,639 --> 00:53:30,480
Else having a VPN doesn't matter. That VPN only hides.

928
00:53:30,599 --> 00:53:31,239
Speaker 4: Where you are.

929
00:53:31,599 --> 00:53:34,559
Speaker 10: If you put it in an incognito could go.

930
00:53:34,679 --> 00:53:36,880
Speaker 12: For incognito, but do you know whether or not this

931
00:53:37,039 --> 00:53:40,280
technology to get around that? Can they still look at it?

932
00:53:40,559 --> 00:53:43,000
And if there's no law prohibiting it, then it is

933
00:53:43,159 --> 00:53:45,639
legal State of New Hampshire. If it is not a

934
00:53:45,760 --> 00:53:49,880
law specifically saying it's illegal, then it is legal in

935
00:53:49,960 --> 00:53:50,920
the State of New Hampshire.

936
00:53:51,119 --> 00:53:52,119
Speaker 4: That's how our laws are.

937
00:53:52,400 --> 00:53:53,920
Speaker 12: So if there's no law that says I don't have

938
00:53:53,960 --> 00:53:56,639
the right to invade your privacy And look at what

939
00:53:56,800 --> 00:53:58,559
did you buy off a ticket Master? When did you

940
00:53:58,639 --> 00:54:03,360
buy it? What venues are you going to? And can

941
00:54:03,440 --> 00:54:06,000
that information then be gotten out there? Can that information

942
00:54:06,119 --> 00:54:09,159
then be sold? Can somebody use it to surveil the.

943
00:54:09,199 --> 00:54:10,920
Speaker 10: Other thing too? People always complained, abu oh, I don't

944
00:54:10,920 --> 00:54:14,639
want my information being sold. What that that's been going?

945
00:54:14,760 --> 00:54:17,360
That was going on pre internet, like like if you've

946
00:54:17,360 --> 00:54:19,800
ever gotten a piece of junk mail that.

947
00:54:20,360 --> 00:54:25,880
Speaker 12: People fried, but that doesn't make it right, That doesn't

948
00:54:25,880 --> 00:54:29,400
make it right. Well, no, that's not how it now.

949
00:54:29,599 --> 00:54:32,199
Listen to you, it doesn't have to be that's how

950
00:54:32,280 --> 00:54:35,480
it works. If that's how it works, and Ticketmaster can

951
00:54:35,559 --> 00:54:36,320
say that's how.

952
00:54:36,239 --> 00:54:37,719
Speaker 4: It works, we've got the monopoly.

953
00:54:37,880 --> 00:54:39,119
Speaker 10: That's why you guys should.

954
00:54:38,960 --> 00:54:41,920
Speaker 12: Just you know, sell your tickets through us and suck

955
00:54:41,960 --> 00:54:44,199
it up that you're getting, you know, two cents on

956
00:54:44,280 --> 00:54:45,480
the penny or whatever it is.

957
00:54:46,000 --> 00:54:49,360
Speaker 4: You know, there's I don't I don't like that.

958
00:54:49,480 --> 00:54:53,159
Speaker 10: That's just like it is like even pre internet, Like

959
00:54:53,280 --> 00:54:56,679
you subscribe to a magazine and you start getting offers

960
00:54:56,719 --> 00:55:00,159
in your mailbox for other magazines that might be interesting you.

961
00:55:00,280 --> 00:55:03,239
Why does that happen because the company that you bought

962
00:55:03,320 --> 00:55:06,760
that magazine subscription from took your information and sold it

963
00:55:06,840 --> 00:55:07,400
to somebody.

964
00:55:07,480 --> 00:55:10,880
Speaker 12: Ever, ninety percent of companies out there have the ability

965
00:55:10,960 --> 00:55:13,599
that you can say no, do not share. You have

966
00:55:13,800 --> 00:55:17,119
the ability to say no, do not share on a

967
00:55:17,280 --> 00:55:20,000
lot of these websites, a lot of these companies.

968
00:55:20,320 --> 00:55:21,960
Speaker 4: You have that right to say no.

969
00:55:23,159 --> 00:55:26,519
Speaker 12: So they can sell everybody else, but you sure if

970
00:55:26,559 --> 00:55:30,320
they do sell you, then they're violations. They're violating your

971
00:55:30,360 --> 00:55:33,719
privacy and they're not respecting the choice you made to

972
00:55:33,760 --> 00:55:35,559
say no, I don't want you to share my hell

973
00:55:36,159 --> 00:55:37,880
if you I don't want you to know that I'm

974
00:55:37,920 --> 00:55:42,239
buying hemorrhoid cream or I'm buying athletes foot stuff like

975
00:55:42,920 --> 00:55:46,880
maybe people don't so what the other side of that coin,

976
00:55:47,199 --> 00:55:51,400
The unintended consequence can be as bad as somebody doesn't

977
00:55:51,440 --> 00:55:54,639
go get treatment for something because they're too afraid of

978
00:55:54,719 --> 00:55:57,039
the surveillance of somebody finding out that what that is

979
00:55:57,119 --> 00:56:00,239
that they have a treatment for. You gotta think worse case,

980
00:56:00,280 --> 00:56:03,599
best case, chio sure, and if the unintended consequences can

981
00:56:03,679 --> 00:56:08,039
be harmful and hurt somebody, then there is a call

982
00:56:08,239 --> 00:56:12,960
to say we have a right to privacy. Yeah, I

983
00:56:13,000 --> 00:56:15,239
don't think that just because the Internet was created that

984
00:56:15,360 --> 00:56:17,199
means that you lose your right to privacy.

985
00:56:18,119 --> 00:56:20,000
Speaker 10: No, I just think it's no. I agree with that.

986
00:56:20,320 --> 00:56:24,159
Uh in principle. I just think it's uh. I think

987
00:56:24,239 --> 00:56:27,920
the expectator people need to adjust their expectations.

988
00:56:28,000 --> 00:56:29,280
Speaker 4: But I want to know what your line is.

989
00:56:29,679 --> 00:56:32,639
Speaker 12: If they're saying they're they're collecting what was that word

990
00:56:32,719 --> 00:56:35,440
they use, Oh, browser characteristics?

991
00:56:35,800 --> 00:56:37,519
Speaker 4: What in the heck does that actually mean?

992
00:56:37,639 --> 00:56:38,239
Speaker 10: I don't even know.

993
00:56:38,559 --> 00:56:41,760
Speaker 4: I just I just know I personally mean accessing the camera.

994
00:56:42,440 --> 00:56:44,280
Speaker 10: Oh, that would be bad. Yeah. I don't want that happening.

995
00:56:44,320 --> 00:56:48,280
I want prohibiting it. And no, there is Oh, that's

996
00:56:48,400 --> 00:56:49,400
definitely against.

997
00:56:49,119 --> 00:56:49,559
Speaker 5: A lot.

998
00:56:51,480 --> 00:56:52,119
Speaker 4: A privacy.

999
00:56:52,199 --> 00:56:55,960
Speaker 12: If what if you're using a website that utilizes your camera,

1000
00:56:57,639 --> 00:56:59,599
If there isn't a lot of it says that website

1001
00:56:59,639 --> 00:57:02,000
can't and take whatever you utilize that camera with and

1002
00:57:02,079 --> 00:57:03,840
sell it to somebody, Then they get to sell it

1003
00:57:03,920 --> 00:57:04,360
to somebody.

1004
00:57:04,760 --> 00:57:07,920
Speaker 4: What if I'm using an online thing to size out.

1005
00:57:07,800 --> 00:57:11,159
Speaker 12: My eyeglasses, to buy my eyeglasses, to put in my prescription,

1006
00:57:11,480 --> 00:57:14,599
that's my private information. Whether you think it's important or

1007
00:57:14,679 --> 00:57:17,239
not important information, that's my private that.

1008
00:57:17,239 --> 00:57:20,239
Speaker 10: Would be protected by hippo, wouldn't it anywhere?

1009
00:57:20,760 --> 00:57:20,800
Speaker 5: No?

1010
00:57:21,760 --> 00:57:22,840
Speaker 6: Not? Maybe, maybe not.

1011
00:57:23,039 --> 00:57:24,400
Speaker 10: I don't know, I would think it. I don't know

1012
00:57:24,559 --> 00:57:27,559
because because the ceiling with an eyeglass prescription can maybe

1013
00:57:27,599 --> 00:57:29,679
the aspect of it, That's what I'm thinking.

1014
00:57:29,840 --> 00:57:32,400
Speaker 4: Can they get away with sharing any of the other stuff?

1015
00:57:32,440 --> 00:57:32,840
I don't know.

1016
00:57:32,960 --> 00:57:35,960
Speaker 10: Probably. I don't like who you bought the glasses from?

1017
00:57:36,360 --> 00:57:37,679
And yeah probably yeah.

1018
00:57:37,760 --> 00:57:41,920
Speaker 4: You know, so if ticket masters some kind of what

1019
00:57:42,000 --> 00:57:43,159
are they doing on the back end?

1020
00:57:43,280 --> 00:57:43,719
Speaker 10: Is my thing?

1021
00:57:43,920 --> 00:57:47,840
Speaker 12: Like okay, time stamps. They know when you're up, they

1022
00:57:47,880 --> 00:57:50,480
know when you're buying your tickets. Yeah, they know what

1023
00:57:50,599 --> 00:57:52,199
to send out, you know what I mean? They know

1024
00:57:52,280 --> 00:57:54,280
it target cool?

1025
00:57:54,519 --> 00:57:56,480
Speaker 10: Cool, Really, show me, show me what you want to

1026
00:57:56,480 --> 00:57:56,760
sell me.

1027
00:57:57,119 --> 00:58:00,119
Speaker 4: You want to maybe we're getting closer and closer to

1028
00:58:00,159 --> 00:58:04,159
big Brother, then well we're already there.

1029
00:58:04,199 --> 00:58:05,599
Speaker 10: We've been there for a long time.

1030
00:58:05,679 --> 00:58:09,679
Speaker 12: But in the aspect of a private business, do they

1031
00:58:09,880 --> 00:58:15,760
have the right to investigate you, to surveil you in

1032
00:58:15,960 --> 00:58:16,760
such a way.

1033
00:58:18,760 --> 00:58:20,679
Speaker 10: You think I'm interesting enough, you want to investigate and

1034
00:58:20,760 --> 00:58:22,880
surveil me, go ahead, Well.

1035
00:58:22,760 --> 00:58:26,760
Speaker 12: That's my that's my ass that's my personal opinion as well.

1036
00:58:27,320 --> 00:58:29,480
But that can be my personal opinion. That doesn't mean

1037
00:58:29,519 --> 00:58:31,360
it has to be forced to be everybody. No, I

1038
00:58:31,800 --> 00:58:34,840
know I have the air on the side of safety first.

1039
00:58:34,920 --> 00:58:37,639
So the right to privacy should supersede the right for

1040
00:58:37,719 --> 00:58:40,400
the company to be able to sell the information or

1041
00:58:40,480 --> 00:58:42,000
to collect this data.

1042
00:58:42,159 --> 00:58:46,800
Speaker 4: How far deep browser characteristics means? I don't know.

1043
00:58:47,880 --> 00:58:50,159
Speaker 12: And could they Well here, let me throw this at you.

1044
00:58:50,480 --> 00:58:53,599
Could they utilize any of this information against the artists?

1045
00:58:54,559 --> 00:58:58,800
Could they collect data using these surveiled technologies that helps

1046
00:58:58,880 --> 00:59:02,199
them buy new ways to nicol and I'm the artist,

1047
00:59:02,280 --> 00:59:04,280
so they get even less? We have how many times

1048
00:59:04,360 --> 00:59:06,679
we talked about how many how much money the artists

1049
00:59:06,760 --> 00:59:07,239
don't get?

1050
00:59:07,639 --> 00:59:07,760
Speaker 10: Right?

1051
00:59:08,719 --> 00:59:11,159
Speaker 4: Yeah, could that be utilized to do it even further?

1052
00:59:11,719 --> 00:59:12,840
Speaker 10: Well, if you want to look at it. So the

1053
00:59:12,960 --> 00:59:15,440
article is up at Music Business Worldwide dot com. There's

1054
00:59:15,440 --> 00:59:17,679
a there's a bit more to it. But but like

1055
00:59:17,800 --> 00:59:21,000
I said, Ticketmaster, they're always in trouble for something.

1056
00:59:21,239 --> 00:59:24,639
Speaker 12: And they're always trying to get more for less. That's right,

1057
00:59:24,800 --> 00:59:27,400
So protect the artists, watch out for each other.

1058
00:59:27,599 --> 00:59:29,599
Speaker 10: All right, If you are listening live on Saturday, we're

1059
00:59:29,599 --> 00:59:31,440
gonna take a break. We're going to show some love

1060
00:59:31,480 --> 00:59:33,559
to our amazing sponsors, and then coming out of the break,

1061
00:59:33,559 --> 00:59:36,920
we're gonna play the Uh, one of the new singles

1062
00:59:37,119 --> 00:59:40,000
from the band Generation's Seance, and we have another track

1063
00:59:40,119 --> 00:59:42,159
too that just came out that we'll play at the

1064
00:59:42,199 --> 00:59:44,239
end of our conversation with gen X. She's gonna be

1065
00:59:44,280 --> 00:59:46,960
joining us via Microsoft Teams in just a few minutes.

1066
00:59:47,199 --> 00:59:49,920
Really looking forward to talking with her, so stick around.

1067
00:59:49,960 --> 00:59:51,199
There is plenty more to come.