September 20, 2022 • 14 mins
What happens when you mix sound and national identity? I learned some fascinating info when I spoke with Sgt. Major Denver Dill from Westpoint Academy about music and military.
---
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:03):
Welcometo the Sound In Marketing Podcast.
I'm your host, Jeanna Isham, owner
and founder of Dreamr Productionsand Sound in Marketing Learning.
I create, consult and educate
brands and individualson the power of sound in marketing.
Looking to create branded soundor need a sound strategist?
Head on over to www.DreamrProductions.comand let's chat.
(00:25):
www.DreamrProductions.com
Now onto the show.
Todaywe'll be discussing The Sound of a nation
with my guest, SergeantMajor Denver Dill from West Point Academy.
The opinions of SergeantMajor Denver Dill are his own
and don't represent the United StatesMilitary Academy, the U.S.
(00:45):
Army, or the Department of Defense.
Sergeant Major Denver Dill is a founding
member of the WestPoint Music Research Center and the U.S.
Army Music Analytics team leader.
In additionto being a professional musician
in the West Point Band, Sergeant MajorDill is an instructor in the United States
Military Academies Social SciencesDepartment, where he teaches
(01:06):
future Army officers through a coursehe designed called SS 493.
Music and influence. Welcome to the show.
Hey, thanks for having me.
It's a pleasure to be here.
I can't wait to talk with you today.
I'm very excited to talk to you, too,
because this was an anglethat I hadn't really thought about.
But music has influence.
It just it just seems like every singleday I realize that it has influence.
(01:28):
It's so many different
ways and it's just fantastic to me.
So, why don't we just go ahead
and start with you introducing yourselfand what you do at West Point?
I am sergeant major in the United StatesArmy.
I'm active duty
permanently stationed at West Pointwith the West Point Band,
and I've taught in severaldifferent departments over my 19 years
(01:49):
here, but I'm currently teachingin the Department of Social Sciences.
They focus in in three areas.
They focus on American politics,international affairs and economics.
And so it's really an interesting groupof talented, talented officers
shaping our cadetswho are about to become future officers
and talking about the issuesof that matter. And,
(02:10):
they were kind enough to host
my class SS 493 Music and Influence,where we do take music and influence head
on, and we talk about both of those ideasand oftentimes, like you just mentioned,
once you started listening for it,you hear it in everything.
But if you're not paying attention,it's just this idea that, you know,
you're not really, interactingwith in a smart way or in an optimal way.
(02:33):
And so we want to be able to teachthese future leaders to think about that.
And the way that I approach it isit's not the 90% solution,
but you can't get into the United StatesArmy if you don't have hearing.
Right. So it's at least 20% of the idea.
Paying attention to detail, understanding,context,
understanding, framing,possible references that are being made.
(02:53):
And that's really going to make thembetter leaders when they're in front of,
you know, young men and womenand they hear what they're listening to
or what they were brought up with,or how they're trying to deal with
their drive or their own emotionsand coping and resiliency.
And so being a leader who thinks to pausea little bit and to listen to that,
and maybe this is a groundwhere I can engender trust in my team
(03:15):
and a host of other thingsthat I'm sure we'll get to is today.
It's amazing to me because and I knowwe're not going to really delve
into this part, but like, you know,we're we're exploring how important it is
for music and understanding culturethrough music and rhythms and stuff.
But, you know, to be a better leader,as you said,
it could also be about just your voiceand how you speak.
(03:37):
And I feel like we
we learn so muchfrom what we listen to that
I think that it would attributeto the way that we speak formally
or informally, understanding,to read a room, that sort of thing.
How do you feel about that?
Do you think that music and voicecoincide together?
I do, and I think it'sactually vital leadership tool.
So we teach to listenand lead with empathy.
(03:58):
Well, how do you communicate empathy?
Do you communicate it by profanityand yelling and all these classical,
Hollywood depictions of military,you know, leaders?
Well, no, there's a probably a timeand a place where that's appropriate,
but it's probablynot in the garrison environment
when you're trying to develop,you know, a team and team building.
And so if I can match yourcadence, match your pitch,
(04:21):
match your
tone, and sortof also the speaking patterns and rhythms
that you do,I am empathizing with you by my responses.
So and I think I when I listen to peopleand you actively listen, that's
part of the activelistening is I want to respond
in a way that's complementary to the waythat you just delivered your message.
So in that respect, the military is a lotlike just business as usual.
(04:45):
We both have to communicate in a waythat is authentic and empathetic.
Absolutely.
And, that'sone of the things that I've learned here.
Being stationed here is just like how
they teach emotional intelligenceand how important that is.
And I don't feel like when I was younger
in an elementary school,I ever heard those two words put together.
And I just love that.
That's the type of, leaders West Pointis putting out into the force.
(05:07):
One thing that you had explored,how you shape
a nation's sound, and that'sthat's really what I grabbed onto, is
how can you find a nationalidentity through sound
great.
I'd be happy to talk about examples,how that's happened.
And it's definitely happened.
I mean, we'll startwith American examples, right?
Our our national anthem in the historyof the adoption of the National anthem
(05:31):
from a drinking songinto this sacred piece of music
that is then used as a form of protestat major sporting events.
The idea that it's at this momentwhen there are physical courtesies
being rendered to the nation, peopleare standing, some people are saluting
and somebody is making a statementby taking a knee that's at music.
(05:54):
That's that's a one musical momentthat everybody understands
that music is able to communicate
a sense of values,
a sense of national pride,essential heritage,
a sense of multi-generationalconnectedness.
Right.
And this is
also a time where at the Olympics or,you know, at the NFL with Kaepernick,
where somebody’s saying something's not rightif they're raising the warning flag.
(06:15):
And that's why it communicates so welland it's so effective, because
in that example, that's one song that doesrepresent part of our national identity.
I think
that that also is how it gets complicated,
because you can have one songthat is attributed to national pride
and the same song from a different source,and they feel that that national pride
(06:38):
is being stepped on or just, you know, reassociating it in two different ways.
How can we make that cohesive?
How can we find a middle groundwhen we have such tension going on?
Well, I think that the middle groundis in analyzing it
and elevating the experienceto what it truly is, which is hang on.
Now, we do have some things that are
(06:59):
nearly sacred, and oftentimesthose are expressed with song.
You know,that is how the early Christian church
propagated its message was through songsand through hymns.
And, you know, our sacred, sacred trustwith the American public.
If you go to the military districtof Washington, you see those monuments
or you see the tomb of the Unknown Guard,
you hear the click of their shoesas they're taking the steps
(07:22):
honoring everybody who they, you know,don't necessarily know who they are.
And you know, these ideas of selflessservice and courage, right?
There's these transition momentsfrom cold, hard Stem
ideas of engineering and concretenessto the aspirational and the inspirational.
And I think music is always there.
So it doesn't just have to beour national anthem.
It's a look at the idea of the brass band
(07:46):
in the 1800s, developingwith the sound of a military band,
with the sound of New Orleansgetting incorporated into that.
Right.
And then all of a suddenyou have like a ragtime feel
and then they have a lilt, butit's still got that driving tuba sound.
Well,now we get into the early 20th century,
we're calling thatthe origins of jazz, right?
It's all this fusion of ideas.
And so I think that the common groundis appreciating it and talking
(08:11):
about literally how you craft inspirationand you have aspirational ideas.
And while we might disagreeon what we're aspiring to, to some degree,
there's going to be mutual admirationthat we both have aspirations.
And I think that that'show we try to elevate that conversation.
It's like, hey,
I'm thinking differently than you,but I love that you're going for it.
(08:32):
So let's talkabout how we're both going for it,
even if we're not going to tryto get to the exact same end spot.
One thing that you work on at West
Point is you have the West PointMusic Research Center.
Let's let's dig into that.
What do you do in the MusicResearch Center at West Point?
Probably ten years ago, maybe nine.
I was looking to take some of the workI had done in systems engineering,
(08:55):
and I have an undergraduate in marketing,and I wanted to try to help
quantify the effectthat military bands were having,
because I didn't think it was somethingthat couldn't be quantified.
I think it might be challenging.
There might be other wordsthat you would use to describe it,
but I didn't think somethingyou couldn't touch.
And I formed the Army music analytics teamwith some otherr officers.
(09:16):
And what we did was we articulatedto the Department of the Army
and to Public Affairsand all these other organizations,
measuresof effect of the bands themselves.
So we were looking at physical effects,emotional effects.
Right.
There's there's a ton of effects.
And really, what we found in doingthat was we were looking
really narrow mindedly.
(09:36):
And so we kept putting all these, well,
if we got into neurosciencewe could talk about that.
We put the neuroscience on the shelfand said,
you know, the barrier to entry is a little high.
And we thought,well, there's sociological effects.
And we're like, yeah, butthey're going to claim that's anecdotal.
You know, we need a social scientist.Okay, great.
And then so we just keptputting all these things on the shelf.
Eventually our shelves were full.
And he said, you know what?
(09:57):
There's enough research hereto do this into perpetuity.
And nobody's doing the research.
And so we pitched that we neededa music research center,
and it was acceptedby the dean at the time.
And then they reviewedall the research centers.
So now we're in let's say we're in yearseven, maybe 6 or 7.
And we collaborate with industry.
(10:18):
We collaborate with academia.
We do our own independent research
for the United States Armywhen they come knocking as well.
We look at that intersectionof sound and music
and what impacts it's having,what influence it's having.
You know, some things that you'veyou look into your,
podcast as well,like the idea of sonic branding, you know,
and affiliation right,traditional marketing applications of it.
(10:40):
We just keep finding more and more
and more data and more and more relevancythe more we look.
And so it's it'sbeen a really fun, fascinating journey
that every day I come to workand I feel like I just learn
just an incredible amountand it's a little bit like,
an Enigma machine, you know, like
you get a little bit of behavioral scienceover here
(11:02):
and then, you know,a little bit of neuroscience over here.
And then once you figure out the languagepeople are speaking, you can translate it
into marketing or performanceor some other language.
And then it like kind of unlocks the doorand you're like, a-ha!
They were saying discrete interventions.
And I would have said,you know, small changes in a population.
Okay, same way of saying something.
That's the same thing. Yeah.
(11:24):
As this is a show about Sonic branding,I would be remiss
if we didn't bring up West PointSonic logo and Sonic branding.
Can you tell us a little bit about itand how it came about?
Sure. Yeah.
So again, like we just talkedabout recognizing the importance of that
and the overall brandand identity of the institution.
Right.
And we communicated that it’s anover 200 year old institution
(11:45):
that's, you know, uniquely American.
We looked at how we could communicatethose ideas sonically,
and that led us toward the naturallook at our sonic branding,
where we consistent with it,
did it mesh with the traditionsand the prestige of the organization?
So over the series of months,we were able to
distill some of these ideas of academicexcellence.
(12:06):
Military excellence
put them together with its preeminentleadership and development institution.
And to put it into sound,we have one that’s more epic and global. (music playing)
One that's a little more introspective,academic lectures
(12:27):
or some of the West PointDepartment podcasts
and things like that.(music playing)
One that's extremely short
as like an acknowledgment.(music playing)
Similar to how,
(12:47):
Mastercard recently rebranded with theres.
So you have that gratificationthat you did
just spend it, but your brain remembersyou spent it on Mastercard.
And how how has, West Point used this?
Has this just been somethingthat you and your team have,
gotten into,
or is this something that the whole WestPoint Academy has acknowledged and uses
in their marketingand their, outreach inward and outward?
(13:10):
They do.
So our public affairs officeand we have like copyright and licensing
attorneys and people like that.
They all have oversightof all of those things.
We blend some of these iconic West Point
sounds and songsinto these logos together.
So it's so graduatesand people familiar with the academy
think that they're hearing our alma mater,or they think that they're hearing
(13:32):
our fight song, and really,they're hearing both
because we've intertwined them.
And, you know, it's
just paying homage to like,oh, yeah, that does sound like West Point.
Why does it sound like, you know,and the curiosity gets going.
So yeah, that's that's beenthat was one of our real fun projects
that we still get to enjoy seeing when,you know, you hear a new advertisement
or a new new project, you're like,oh yeah, there it is.
(13:53):
I love that that you audited your sound.
So you didn't just, like,start from scratch.
You're like, what is itthat makes West Point West Point?
And I'm assuming elements of it were new,
but you also used somethingfrom your grand history.
So that it just sounds right.That's great.
Yeah, it's it's it's funand I know that you'd appreciate it.
(14:14):
So yeah.
I hope you're enjoying the show.
Stay tuned for next weekfor the conclusion to our interview.
Don't forget to subscribeon all the major podcast channels, share
with friends, follow and rate.
Spread the word because, well,more people should know about this stuff.
I know you know that now.
For any other inquiries, you can find meon LinkedIn, Twitter and Facebook.
(14:36):
You can also email me at Jeanna@DreamrProductions.com
Jeanna@DreamrProductions.com
All links will be provided in the shownotes.
Let's make this world of soundmore intriguing, more unique, and more
and more on brand.
Welcometo the Sound In Marketing Podcast.
I'm your host, Jeanna Isham, owner
and founder of Dreamr Productionsand Sound in Marketing Learning.
I create, consult and educate
brands and individualson the power of sound in marketing.
Looking to create branded soundor need a sound strategist?
Head on over to www.DreamrProductions.comand let's chat.
(00:25):
www.DreamrProductions.com
Now onto the show.
Todaywe'll be discussing The Sound of a nation
with my guest, SergeantMajor Denver Dill from West Point Academy.
The opinions of SergeantMajor Denver Dill are his own
and don't represent the United StatesMilitary Academy, the U.S.
(00:45):
Army, or the Department of Defense.
Sergeant Major Denver Dill is a founding
member of the WestPoint Music Research Center and the U.S.
Army Music Analytics team leader.
In additionto being a professional musician
in the West Point Band, Sergeant MajorDill is an instructor in the United States
Military Academies Social SciencesDepartment, where he teaches
(01:06):
future Army officers through a coursehe designed called SS 493.
Music and influence. Welcome to the show.
Hey, thanks for having me.
It's a pleasure to be here.
I can't wait to talk with you today.
I'm very excited to talk to you, too,
because this was an anglethat I hadn't really thought about.
But music has influence.
It just it just seems like every singleday I realize that it has influence.
(01:28):
It's so many different
ways and it's just fantastic to me.
So, why don't we just go ahead
and start with you introducing yourselfand what you do at West Point?
I am sergeant major in the United StatesArmy.
I'm active duty
permanently stationed at West Pointwith the West Point Band,
and I've taught in severaldifferent departments over my 19 years
(01:49):
here, but I'm currently teachingin the Department of Social Sciences.
They focus in in three areas.
They focus on American politics,international affairs and economics.
And so it's really an interesting groupof talented, talented officers
shaping our cadetswho are about to become future officers
and talking about the issuesof that matter. And,
(02:10):
they were kind enough to host
my class SS 493 Music and Influence,where we do take music and influence head
on, and we talk about both of those ideasand oftentimes, like you just mentioned,
once you started listening for it,you hear it in everything.
But if you're not paying attention,it's just this idea that, you know,
you're not really, interactingwith in a smart way or in an optimal way.
(02:33):
And so we want to be able to teachthese future leaders to think about that.
And the way that I approach it isit's not the 90% solution,
but you can't get into the United StatesArmy if you don't have hearing.
Right. So it's at least 20% of the idea.
Paying attention to detail, understanding,context,
understanding, framing,possible references that are being made.
(02:53):
And that's really going to make thembetter leaders when they're in front of,
you know, young men and womenand they hear what they're listening to
or what they were brought up with,or how they're trying to deal with
their drive or their own emotionsand coping and resiliency.
And so being a leader who thinks to pausea little bit and to listen to that,
and maybe this is a groundwhere I can engender trust in my team
(03:15):
and a host of other thingsthat I'm sure we'll get to is today.
It's amazing to me because and I knowwe're not going to really delve
into this part, but like, you know,we're we're exploring how important it is
for music and understanding culturethrough music and rhythms and stuff.
But, you know, to be a better leader,as you said,
it could also be about just your voiceand how you speak.
(03:37):
And I feel like we
we learn so muchfrom what we listen to that
I think that it would attributeto the way that we speak formally
or informally, understanding,to read a room, that sort of thing.
How do you feel about that?
Do you think that music and voicecoincide together?
I do, and I think it'sactually vital leadership tool.
So we teach to listenand lead with empathy.
(03:58):
Well, how do you communicate empathy?
Do you communicate it by profanityand yelling and all these classical,
Hollywood depictions of military,you know, leaders?
Well, no, there's a probably a timeand a place where that's appropriate,
but it's probablynot in the garrison environment
when you're trying to develop,you know, a team and team building.
And so if I can match yourcadence, match your pitch,
(04:21):
match your
tone, and sortof also the speaking patterns and rhythms
that you do,I am empathizing with you by my responses.
So and I think I when I listen to peopleand you actively listen, that's
part of the activelistening is I want to respond
in a way that's complementary to the waythat you just delivered your message.
So in that respect, the military is a lotlike just business as usual.
(04:45):
We both have to communicate in a waythat is authentic and empathetic.
Absolutely.
And, that'sone of the things that I've learned here.
Being stationed here is just like how
they teach emotional intelligenceand how important that is.
And I don't feel like when I was younger
in an elementary school,I ever heard those two words put together.
And I just love that.
That's the type of, leaders West Pointis putting out into the force.
(05:07):
One thing that you had explored,how you shape
a nation's sound, and that'sthat's really what I grabbed onto, is
how can you find a nationalidentity through sound
great.
I'd be happy to talk about examples,how that's happened.
And it's definitely happened.
I mean, we'll startwith American examples, right?
Our our national anthem in the historyof the adoption of the National anthem
(05:31):
from a drinking songinto this sacred piece of music
that is then used as a form of protestat major sporting events.
The idea that it's at this momentwhen there are physical courtesies
being rendered to the nation, peopleare standing, some people are saluting
and somebody is making a statementby taking a knee that's at music.
(05:54):
That's that's a one musical momentthat everybody understands
that music is able to communicate
a sense of values,
a sense of national pride,essential heritage,
a sense of multi-generationalconnectedness.
Right.
And this is
also a time where at the Olympics or,you know, at the NFL with Kaepernick,
where somebody’s saying something's not rightif they're raising the warning flag.
(06:15):
And that's why it communicates so welland it's so effective, because
in that example, that's one song that doesrepresent part of our national identity.
I think
that that also is how it gets complicated,
because you can have one songthat is attributed to national pride
and the same song from a different source,and they feel that that national pride
(06:38):
is being stepped on or just, you know, reassociating it in two different ways.
How can we make that cohesive?
How can we find a middle groundwhen we have such tension going on?
Well, I think that the middle groundis in analyzing it
and elevating the experienceto what it truly is, which is hang on.
Now, we do have some things that are
(06:59):
nearly sacred, and oftentimesthose are expressed with song.
You know,that is how the early Christian church
propagated its message was through songsand through hymns.
And, you know, our sacred, sacred trustwith the American public.
If you go to the military districtof Washington, you see those monuments
or you see the tomb of the Unknown Guard,
you hear the click of their shoesas they're taking the steps
(07:22):
honoring everybody who they, you know,don't necessarily know who they are.
And you know, these ideas of selflessservice and courage, right?
There's these transition momentsfrom cold, hard Stem
ideas of engineering and concretenessto the aspirational and the inspirational.
And I think music is always there.
So it doesn't just have to beour national anthem.
It's a look at the idea of the brass band
(07:46):
in the 1800s, developingwith the sound of a military band,
with the sound of New Orleansgetting incorporated into that.
Right.
And then all of a suddenyou have like a ragtime feel
and then they have a lilt, butit's still got that driving tuba sound.
Well,now we get into the early 20th century,
we're calling thatthe origins of jazz, right?
It's all this fusion of ideas.
And so I think that the common groundis appreciating it and talking
(08:11):
about literally how you craft inspirationand you have aspirational ideas.
And while we might disagreeon what we're aspiring to, to some degree,
there's going to be mutual admirationthat we both have aspirations.
And I think that that'show we try to elevate that conversation.
It's like, hey,
I'm thinking differently than you,but I love that you're going for it.
(08:32):
So let's talkabout how we're both going for it,
even if we're not going to tryto get to the exact same end spot.
One thing that you work on at West
Point is you have the West PointMusic Research Center.
Let's let's dig into that.
What do you do in the MusicResearch Center at West Point?
Probably ten years ago, maybe nine.
I was looking to take some of the workI had done in systems engineering,
(08:55):
and I have an undergraduate in marketing,and I wanted to try to help
quantify the effectthat military bands were having,
because I didn't think it was somethingthat couldn't be quantified.
I think it might be challenging.
There might be other wordsthat you would use to describe it,
but I didn't think somethingyou couldn't touch.
And I formed the Army music analytics teamwith some otherr officers.
(09:16):
And what we did was we articulatedto the Department of the Army
and to Public Affairsand all these other organizations,
measuresof effect of the bands themselves.
So we were looking at physical effects,emotional effects.
Right.
There's there's a ton of effects.
And really, what we found in doingthat was we were looking
really narrow mindedly.
(09:36):
And so we kept putting all these, well,
if we got into neurosciencewe could talk about that.
We put the neuroscience on the shelfand said,
you know, the barrier to entry is a little high.
And we thought,well, there's sociological effects.
And we're like, yeah, butthey're going to claim that's anecdotal.
You know, we need a social scientist.Okay, great.
And then so we just keptputting all these things on the shelf.
Eventually our shelves were full.
And he said, you know what?
(09:57):
There's enough research hereto do this into perpetuity.
And nobody's doing the research.
And so we pitched that we neededa music research center,
and it was acceptedby the dean at the time.
And then they reviewedall the research centers.
So now we're in let's say we're in yearseven, maybe 6 or 7.
And we collaborate with industry.
(10:18):
We collaborate with academia.
We do our own independent research
for the United States Armywhen they come knocking as well.
We look at that intersectionof sound and music
and what impacts it's having,what influence it's having.
You know, some things that you'veyou look into your,
podcast as well,like the idea of sonic branding, you know,
and affiliation right,traditional marketing applications of it.
(10:40):
We just keep finding more and more
and more data and more and more relevancythe more we look.
And so it's it'sbeen a really fun, fascinating journey
that every day I come to workand I feel like I just learn
just an incredible amountand it's a little bit like,
an Enigma machine, you know, like
you get a little bit of behavioral scienceover here
(11:02):
and then, you know,a little bit of neuroscience over here.
And then once you figure out the languagepeople are speaking, you can translate it
into marketing or performanceor some other language.
And then it like kind of unlocks the doorand you're like, a-ha!
They were saying discrete interventions.
And I would have said,you know, small changes in a population.
Okay, same way of saying something.
That's the same thing. Yeah.
(11:24):
As this is a show about Sonic branding,I would be remiss
if we didn't bring up West PointSonic logo and Sonic branding.
Can you tell us a little bit about itand how it came about?
Sure. Yeah.
So again, like we just talkedabout recognizing the importance of that
and the overall brandand identity of the institution.
Right.
And we communicated that it’s anover 200 year old institution
(11:45):
that's, you know, uniquely American.
We looked at how we could communicatethose ideas sonically,
and that led us toward the naturallook at our sonic branding,
where we consistent with it,
did it mesh with the traditionsand the prestige of the organization?
So over the series of months,we were able to
distill some of these ideas of academicexcellence.
(12:06):
Military excellence
put them together with its preeminentleadership and development institution.
And to put it into sound,we have one that’s more epic and global. (music playing)
One that's a little more introspective,academic lectures
(12:27):
or some of the West PointDepartment podcasts
and things like that.(music playing)
One that's extremely short
as like an acknowledgment.(music playing)
Similar to how,
(12:47):
Mastercard recently rebranded with theres.
So you have that gratificationthat you did
just spend it, but your brain remembersyou spent it on Mastercard.
And how how has, West Point used this?
Has this just been somethingthat you and your team have,
gotten into,
or is this something that the whole WestPoint Academy has acknowledged and uses
in their marketingand their, outreach inward and outward?
(13:10):
They do.
So our public affairs officeand we have like copyright and licensing
attorneys and people like that.
They all have oversightof all of those things.
We blend some of these iconic West Point
sounds and songsinto these logos together.
So it's so graduatesand people familiar with the academy
think that they're hearing our alma mater,or they think that they're hearing
(13:32):
our fight song, and really,they're hearing both
because we've intertwined them.
And, you know, it's
just paying homage to like,oh, yeah, that does sound like West Point.
Why does it sound like, you know,and the curiosity gets going.
So yeah, that's that's beenthat was one of our real fun projects
that we still get to enjoy seeing when,you know, you hear a new advertisement
or a new new project, you're like,oh yeah, there it is.
(13:53):
I love that that you audited your sound.
So you didn't just, like,start from scratch.
You're like, what is itthat makes West Point West Point?
And I'm assuming elements of it were new,
but you also used somethingfrom your grand history.
So that it just sounds right.That's great.
Yeah, it's it's it's funand I know that you'd appreciate it.
(14:14):
So yeah.
I hope you're enjoying the show.
Stay tuned for next weekfor the conclusion to our interview.
Don't forget to subscribeon all the major podcast channels, share
with friends, follow and rate.
Spread the word because, well,more people should know about this stuff.
I know you know that now.
For any other inquiries, you can find meon LinkedIn, Twitter and Facebook.
(14:36):
You can also email me at Jeanna@DreamrProductions.com
Jeanna@DreamrProductions.com
All links will be provided in the shownotes.
Let's make this world of soundmore intriguing, more unique, and more
and more on brand.
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