Lydia Reddy releases second single | Matt Connarton Unleashed

Episode Transcript

Speaker 1 (00:00):
And let's bring her in right now. She is with
us via Microsoft Teams. Lydia Ready, Hello, Lydia.

Speaker 2 (00:07):
Hey everyone, how's it going?

Speaker 3 (00:09):
Good?

Speaker 1 (00:09):
Good, welcome back. It's great to speak with you. You know,
we uh we talked recently your your first single, Turned
This Town Around, which we love. And then uh, and
then we received this, uh, the Way We're Rolling, which
I think we played was it a week or two
or a couple of weeks ago? Actually the American radio
premiere of that? Another great great track from you. I
really like this a lot and absolutely, and so let's

(00:33):
get into it. What what is this song about? I mean,
I know what I took from it, but but tell us, uh,
in your own words, what what is the meaning of
this song? The Way We're Rolling?

Speaker 4 (00:44):
This song is about just being completely yourself and loving
yourself for who you are and loving each other.

Speaker 1 (00:50):
And I think what I got from it too, it
was also there's a strong message I think there about
acceptance and yeah, and not you know a lot of
people and in are current not to get into this
part of it, really, but you know, just in America,
and I'm sure you see it from over there. Uh,

(01:11):
you know, there's there's a lot of attention, a lot
of people who have problems with other people who are
different from them. And unfortunately that's always a facet of
American life to some degree, it seems like right now
it's it's gotten pretty dicey. But and and so sometimes
I don't I don't know if they use the term
there when talking about this, but in America, uh, people

(01:34):
like to use the word tolerance or you know, you
have to you have to tolerate people who are different.
And I've never liked the word tolerance. I prefer the
word acceptance because tolerance to me kind of sounds like, oh,
you know, I don't really like people who are different
from me, but I guess I can tolerate them, you know.
I've always preferred the word acceptance. And that's when when
I listen to that song, that's what I get from

(01:56):
that song, that it's really about acceptance, because we should
we should celebrate our distance, our differences, not be uh,
you know, not be fearful because of them, and and
not to ostracize people because of them or other wise people,
but but we should accept them. And that's that's kind
of what I what I got from that And and
a sense of acceptance and solidarity. Am I Am I

(02:19):
right about that? Or am I reading too much into it?

Speaker 5 (02:22):
Or what?

Speaker 1 (02:23):
Say you?

Speaker 2 (02:24):
No, You're absolutely correct.

Speaker 1 (02:27):
It is.

Speaker 4 (02:28):
It is a little bit deeper than just like loving yourself.
It is about like all that kind of stuff. There
is a lot of hate in the world at the moment,
in probably all areas of the world, and I was
I'm just sick of it. I was like, you know what,
if a few people can aime a song and start
accepting some other people, then my job's done.

Speaker 1 (02:46):
Like I'm happy, right right.

Speaker 3 (02:49):
Yeah.

Speaker 1 (02:49):
What's interesting too is because you know, yeah, there is
a little bit of a deeper meaning. And and when
we talked about Turn This Town Around, we we had
kind of a similar discussion in the sense and by
the way, we're gonna play that track again too. We're
gonna play that one at the end of our conversation
because I love I still love that song too. But
what's so interesting about that song to me is, you know,

(03:09):
if you're just listening to it sort of casually, not
necessarily paying close attention to the lyrics, it just sounds
like a catchy, fun song almost like you know, you're
you know, you're gonna you're gonna, uh, you know, really
make your mark in this town. This whatever talent it
is you're referring to in the song, and you know,
there's it's got a certain anthemic quality to it, But
it's only if you really pay attention to the lyrics

(03:31):
that you realize that there's something deeper going on. There's
a deeper meaning, and you're expressing concerns that maybe other
people don't have but should have, you know, things that
we should all be be concerned about and worried about.
So underneath that that sort of that catchy, fun vibe,
there's a there's a real serious message there. And I
I'm noticing with both of these songs, that's kind of

(03:54):
the through line between them, right, they're both catchy and fun,
But if you're paying attention, if you're paying attention to
the lyrics, there's some very important messaging underneath that.

Speaker 2 (04:06):
Yeah, that's definitely what I've been trying to do.

Speaker 4 (04:08):
I feel a lot of the time, if you have
kind of a serious message and partner it with serious,
gloomy music.

Speaker 2 (04:15):
People might just skip on.

Speaker 4 (04:16):
But if you can't put this serious message with some
a bit more catchy and up be it'll make people
hopefully like want to keep listening to it and then
because of that understand the lyrics and the meaning behind it.

Speaker 1 (04:29):
Mm hmmmm. Is that important to you as an artist,
because I mean, I'm sure that you know if you
wanted to, and maybe you will in the future, maybe
maybe you'll have a song that that really is just
kind of catchy and fun and it's and that's all
it is. It's just like a catchy fund sing along
anthem or something. But is it is it really like,
is it something that you do deliberately when you write

(04:51):
these songs, you deliberately and intentionally put something serious underneath.
Is that important to you as an artist?

Speaker 2 (05:00):
Yeah, it definitely is.

Speaker 4 (05:01):
I've got quite a mixed obviously, not the ones that
are out now, but I've got some coming out that
are just kind of fun, catchy. I've got one called
X Business, which is just about like saying screw you
to your X pre much and a few like that.
But then I've also got these two and then.

Speaker 2 (05:18):
My next song that's coming out that's called look.

Speaker 4 (05:20):
At Me Now, and it's not quite as on a
big scale as in it's more involving acceptance as a world,
it's more like when people try and put you down,
but your rise up and you're like, look at me, now,
I'm better than ever. That kind of vibe, and that's
gonna be a bit rockier. But I think for especially
this first EP, that I'm releasing my whole theme as

(05:43):
I want there to be these big messages within these
catchy melodies. The second EP is where it's gonna go
a little bit more fun.

Speaker 1 (05:51):
Okay, so let's talk about that. So the trajectory so
you have, so you have an EP, is the EP finished?

Speaker 4 (05:59):
The first one I finished recording them, but they're not
out yet. I've only released the first two yet.

Speaker 1 (06:04):
Now, okay, so but the EP has done. So then
what's what's kind of the Do you have an e
t A on when the EP will be out?

Speaker 6 (06:12):
Uh?

Speaker 4 (06:13):
So I'm thinking, let me ever think, Yeah, it will
be out a little bit, probably early April, late March
around that time.

Speaker 1 (06:24):
Okay, okay, interesting? And then what is it? Five tracks?
Six tracks?

Speaker 7 (06:29):
Yeah?

Speaker 2 (06:29):
It is, it's five.

Speaker 1 (06:30):
Five five Okay, very good, very good. It's it's so interesting,
how you know, there's so many different ways to release
music now in terms of you know, you can put
out an EP and then singles or put out singles
and then they coalesce into an EP or or you know,
however you choose to do it. There's there's really uh
limitless options. But I think the I think these first
two are really strong. And then so will there be

(06:53):
a third single before the EP or or will you
or is the EP the next thing that's coming out
or do you know yet?

Speaker 2 (07:01):
Yeah, so there's going to be another single.

Speaker 4 (07:03):
It hasn't been announced yet, but it's gonna be in
around two months time, okay, and that's look at me
now that I was just talking about. Okay, and then
we thought we want to wait until after Christmas because
I think it gets a bit too busy then for
people to bother about new music.

Speaker 2 (07:18):
So probably January ish. I was well wrong when I
said April January ish.

Speaker 1 (07:23):
Okay, I'm gonna we're.

Speaker 4 (07:25):
Gonna put out like the whole EPA with the last
two songs.

Speaker 1 (07:29):
Okay, excellent. And then so but you're already talking about
the next EP too. You you mentioned the next one,
So what's what's your plan for the next one? Is
the next one? Because I think you said that the
next EP that you do is gonna be a little
bit different.

Speaker 2 (07:43):
Yeah.

Speaker 4 (07:44):
So the next one is like a concept EP, so
it's all about kind of this relationship journey. So the
first song on it is called why Do I Like You?
And it's all about liking this bad boy and not
wanting to but you can't help it. That's the very
poppy song, quite cynthie. Then you've got one called real Life,

(08:06):
which is one of my rocky tracks, and that's about
you're with this bad boye but you don't like it anymore.

Speaker 2 (08:12):
And you want to get out.

Speaker 4 (08:14):
Then you've got track three, which is called Sorry. At
this point you've broken up and he's trying to get
you back and you're saying sorry, but it's not going
to happen. Then you've got exp Business, which is a
very upbeat one. It's quite jazzy, and that one is
very similar to Sorry in the theme, but this time

(08:36):
you're with a new boyfriend and you're saying go away,
stop bothering me.

Speaker 2 (08:39):
And then the final song on.

Speaker 4 (08:40):
That one, I'm currently writing it, and that's going to
be you're with your new boyfriend and you're really happy.

Speaker 1 (08:46):
Oh okay, well so it has happy I mean no,
that's cool. So you've got a whole you've got a
whole story planned out. That's that's excellent. Yeah, that's excellent. Yeah. Yeah,
And you're thinking ahead, you're thinking long term, which is cool.
And I think we might have talked about this too
that before when you're on the show, because you know,
a lot of times, a lot of artists, you know,
especially when when they're young in their career, you know,

(09:06):
they just kind of throw a lot of stuff against
the wall and see what sticks. And there's nothing wrong
with doing that because sometimes sometimes that's your only option
if you're if you don't have a long term plan,
you don't have a plan, and sometimes figuring out a
plan is just trying different things and seeing what works.
But you've really got a thought out plan, and I
think that's I think that's great. Is that important to

(09:28):
you to have a sense of certainty about where you're
going and what you're doing and how you're going to
approach this? Is that important to you as an artist?

Speaker 8 (09:38):
Yeah?

Speaker 4 (09:39):
I think it's definitely very important because especially I've seen
my brother is three years older than me, and he's
been doing music since he was forty and he's twenty now,
so I've seen him do everything, and I know how
important it is to have these release plans and knowing
exactly what's happening when in order to try and be successful.

Speaker 1 (09:57):
Yeah, that's right. I remember you mentioning your brother too.
Does he refresh my memory now? And of course newer
listeners who might not have heard our previous conversation. Is
he involved in the production of your music?

Speaker 2 (10:09):
So he is in a few of the songs.

Speaker 4 (10:10):
Yeah, I've got a mix of him and three of
my mates from college who all play different guitar and
bass parts because I write the songs and I can
kind of just about play a bit of guitar and piano,
but I'm not very good at it, so I get
them to play it when I'm recording them.

Speaker 1 (10:26):
Okay, gotcha, gotcha? And what happens in terms of live
do you do you play these out? Have you performed
any of these songs live?

Speaker 4 (10:37):
So generally, when I've been performing my songs live, my
brother's been around and he's played the songs in the background.

Speaker 1 (10:42):
Cool.

Speaker 4 (10:42):
But now as I'm recording the songs, I'm actually getting
back in tracks for them as well, where I just
hit my vocals off. So I'm nearly at the point
where I could do a full set with just back
in tracks.

Speaker 2 (10:54):
But behind the scenes, which.

Speaker 4 (10:56):
Is all top secret, I'm actually rehearsing with the band,
some of my mates from college, and we're we're putting
together a show for my eighteenth birthday next year in April.
But it's all very secret we're doing. I'm going to
release it in December and the tickets.

Speaker 1 (11:12):
Oh oh, very cool, very cool. Yeah, So I don't
know how much more you can say about it, but
I I all right, well, I'll ask you the question,
and if you don't want to answer, I'll respect that.
But but but are you planning to play the full EP?

Speaker 2 (11:27):
I am?

Speaker 1 (11:27):
Yeah, okay, both EPs? Okay, awesome, Oh, very cool, very cool.
All right, we'll have to have you back on before
that happens, so we can, uh, we can get the
update or if it's still a secret at that point,
we'll see what more information we can get out of you.

Speaker 2 (11:41):
But single time and the outlet, well.

Speaker 1 (11:45):
We gotta have when the next single comes out to
we'll have to have you back on for that too,
because you know, we're we're fans. We like what you're doing.
So now and so your brother and tell me again,
is he does he have a band currently?

Speaker 2 (12:00):
He doesn't currently have about no?

Speaker 9 (12:01):
No?

Speaker 1 (12:01):
Okay, okay, because I remember you talking a little bit
about him too. Did you come from a musical family?

Speaker 8 (12:07):
Like?

Speaker 1 (12:07):
Are your parents also musicians?

Speaker 2 (12:10):
Not all, but they love music.

Speaker 4 (12:12):
They've like blasted music in the house all the time
since I was tiny, And my grandma is a singer,
so we think he might have come from my grandma.

Speaker 3 (12:22):
Yeah.

Speaker 1 (12:23):
Well, also to just having obviously if they're if your parents,
even if they're not musicians, but if they're very into music,
I'm sure they're very supportive of what you're doing and
that that can make a huge difference, you know, especially
when you're starting out in your career, you know, having
a family that really supports you and is uh, you know,
encouraging you, you know, because sometimes you know, some some
families don't necessarily encourage their kids. You know, they'll say,

(12:45):
they'll say, oh, what what do you want to do
this for? You know, you should be you should be
more focused on whatever it is they think you should
be doing. But you know, and they might not take
it seriously. You know, we've all heard those stories of
you know, the parents who were like, oh, don't, don't, don't, don't,
don't do that, don't play in a band, don't make music,
you know, just focus on school, focus on whatever. But
I think if I remember correctly, though, are you in

(13:06):
school now? Are you in college?

Speaker 10 (13:08):
Yeah?

Speaker 2 (13:09):
I'm in college, so over here that's ages.

Speaker 4 (13:12):
Sixteen to eighteen, okay, And I'm doing these things called
A levels. I'm not sure if you know about them,
but pretty much I've got to get through them under
B tech.

Speaker 2 (13:21):
It's all sounded very confusing.

Speaker 4 (13:23):
But I've got to get through a few tests at
the end of next year, so it'll be summer next year,
and then I'm hoping to go to university, which is
you do three years in UNI and then you can
hopefully get this fancy certificate and get a job.

Speaker 1 (13:38):
Do you know yet? And I only ask because you know,
I know you're a long term planner, Like, do you
plan to study music when you go to university?

Speaker 2 (13:48):
No, I don't. I'm planning to do marketing and digital advertising.

Speaker 1 (13:53):
Well that's also very useful in the music industry certainly,
so you know. So it sounds like, I mean, actually
that might even be more helpful to you in terms
of your music career, you know than you know, studying
a lot of music theory and all that, like, you know,
learning the marketing especially you know, in the era that
we live in where you know, I'm old enough to

(14:14):
remember when it was you know, a pre inter I'm
generation X. You know, I'm the last generation to grow
up without the Internet. So I've seen everything change so much,
and I think it's more important and beneficial now than
ever to really understand marketing as an artist, because it's
not like when you know, you get signed to a
label and they just do everything for you and all

(14:36):
you have to worry about is show up and play
and record or whatever.

Speaker 3 (14:39):
It is.

Speaker 1 (14:39):
Like now, the more control that you can have over
your own marketing and distribution and social media, all of it.
The more control that you can have, I think, the
better off you are long term. And like I said,
you know, you're obviously a long term planner, so so
I think that's a great direction for you to go. Actually,
I think I think I'll be very very useful to you,

(15:01):
you know, and and something to fall back on too.
That gives you, you know, you'll be able to, you know,
get a job anywhere you want really with that kind
of background, So I think that's great.

Speaker 4 (15:11):
There's so many jobs in that industry that I can
go into. And then I think on the side, probably
Friday Saturday evenings, I've got to pubs and do gigs there,
so i'd still always have music.

Speaker 1 (15:21):
There you go, Yeah, there you go. Absolutely, I think
that's a great I think that's a great direction to go. Well, Lydia,
we appreciate you joining us again. Love the new single,
and in a moment we're going to play turn this
Town Around and we'll kind of we'll cap off the
segment with that. But I want to make sure our
listeners know where should they go online to keep up
with everything that you're doing. Where's the best place to

(15:42):
go online?

Speaker 4 (15:44):
So mostly on Instagram under Lydia Ready music ready spelled
r E D D.

Speaker 2 (15:50):
Why that's on Instagram.

Speaker 4 (15:52):
But I do also have a Facebook account, but that's
private at the moment because it won't let me change
it until I'm eighteen. And it's the same with my
TikTok accoun but I can accept people to go onto those.

Speaker 1 (16:02):
Oh okay, okay, excellent.

Speaker 2 (16:04):
Well yeah, my Instagram's fully public.

Speaker 1 (16:06):
Any music okay, okay, very good and before we let
you go in before we play this track, remind us
again again for listeners who might not have heard our
previous conversation about turn this town around? What what are you?
What are you expressing with this song? I'll let you.
I mean I kind of talked about it, but in
your own words, what are you? What are you addressing
with this?

Speaker 2 (16:26):
So this song, let's.

Speaker 4 (16:28):
Put it in easy terms, just kind of like looking
after the world and looking after each other as much
as you can do.

Speaker 1 (16:36):
Yep, yep, no, perfectly said, absolutely well, Lydia ready, Thank
you so much. Always wonderful to talk with you. I
look forward to I look forward to the next single
and uh hopefully we can give it the American radio
premiere here on this side of the pond when it's ready.
So I look forward to speaking to you again. And
we're gonna hit We're gonna hit this track. We'll let
you go for now. But thanks Lydia, great, Thank you

(16:59):
see later at it. Bye bye, all right. That is
Lydia ready, And if you missed it, we played at
the beginning of our conversation her newest single, The Way
We're Rolling, which is which is great. But we might
we might sneak it in again at the end of
the show today because I really do like that song
very much. But we're also going to play this to
end our conversation and then Jenny and I will be
back on the other side of this with h We've

(17:21):
got another very interesting music industry news story to share
with you. But here it is. This is Turned This
Town Around. This is the first single. And by the way,
we were the first American radio station to play this
from Lydia.

Speaker 7 (17:33):
Ready, what's that sound? What's that sounded?

Speaker 8 (17:45):
Home?

Speaker 7 (17:45):
Our way up?

Speaker 3 (17:46):
Burns down?

Speaker 10 (17:47):
Make see scream and chef hand.

Speaker 9 (17:50):
Out, turn this town around?

Speaker 2 (17:53):
Stop and look this way. I made some use officials.

Speaker 10 (17:56):
What us here is what I see?

Speaker 9 (17:57):
And this is a travesty the earth are trying to
know and you don't see the tragedy. It's all blurring
all it's one and dies a blinded. We think it's typical,
but that's just cause it's so shallow.

Speaker 7 (18:11):
My dad set sound?

Speaker 2 (18:14):
What set sound? Get our my way or burns down?

Speaker 9 (18:17):
Mixie and scream and shout and I'll turn this town round.
Pee everywhere if it your parts and nurture and to
care for this world of ours. I believe the earth
will no longer fall apart. We conclude it al Baxica

(18:39):
and find a piece of less forever.

Speaker 3 (18:42):
What's that sound?

Speaker 7 (18:44):
That's sound?

Speaker 2 (18:45):
Get my way O burns down.

Speaker 9 (18:47):
Mixie and scream and shout pan.

Speaker 2 (18:50):
I'll turn this town round.

Speaker 10 (18:52):
What's it sound?

Speaker 2 (18:53):
What's it sound?

Speaker 3 (18:54):
Down my way?

Speaker 10 (18:55):
Our burns down, maxy and scream.

Speaker 2 (18:58):
And shout pan.

Speaker 10 (19:00):
O's on this town around?

Speaker 9 (19:06):
What's its turn this town? What's it sound?

Speaker 3 (19:21):
What's it sound? What's it south?

Speaker 6 (19:24):
Away?

Speaker 10 (19:24):
I put down bakesy and screaming, shouts and outs on
this town around.

Speaker 3 (19:30):
What's it sound? What's it sound?

Speaker 10 (19:33):
A way of booms down, takes, scream and shot and
out on this town round.

Speaker 1 (19:52):
That is Lydia already turn this town around. And this
is Matt Connor to unleashed and we are alive from
the studios of w M and H ninety five three
FM and Glorious Manchester, New Hampshire. And thank you again
to Lydia for joining us today. And we did feature earlier. Yeah,
we played the way We're rolling her newest single earlier
in the show. We might we might cap off today's
show with that one more time. We'll see we'll see

(20:14):
how how the rest of the hour goes. But uh,
if you are joining us live on Saturday, today is
September twentieth, twenty twenty five, and we've got actually, Jenny
found a couple of interesting, uh music industry stories. But
this is from Billboard dot com. This this just happened.
And this also relates to a subject that we've discussed

(20:34):
many times on the show. Klan Kilanie slams AI artist
Zania or Zannia Moneta. It's x A N I A.
So I guess that's Zania Zannia Monet getting a three
million dollar record deal. Uh, this is so beyond out
of control, the musician told fans. Now, I don't know

(20:55):
anything about this. This is the first time hearing about this.
This is I didn't think there there even was such
a thing as a three million dollar record deal anymore.
I didn't. I thought that was a thing of the past.
But so I don't understand. Let's we'll go through this
here again. This is from Billboard dot Com. A few
days ago, Billboard broke the news that an AI generated artist,
Zania Monet, had signed a multimillion dollar record deal after

(21:19):
meeting with multiple labels.

Speaker 11 (21:22):
This sounds very they thought over this person. It sounds like, yeah,
but not person. It's not a person.

Speaker 1 (21:28):
And by the way, but even that, that's one thing
about this is so strange. But the other thing that's
so strange to me is a story about a new
artist having multiple meetings with various labels to and this
bidding war that that that sounds like something from thirty
years ago. That doesn't sound like something that even happens
in twenty twenty five. So that part's also strange to me.

(21:49):
Everything about this is weird. Are we in an alternate universe?

Speaker 11 (21:52):
An artist I use that term loosely, who did all
of their music.

Speaker 1 (21:57):
With Sunio, Yeah, which is the app that we use Sono,
which is the act that we use. Yah.

Speaker 3 (22:02):
Sorry, I don't know why I said.

Speaker 1 (22:03):
I know why because the other, the other big one
is Udio. So I think in your mind you created
an amalgam of Suno and Udio and created Sudio.

Speaker 3 (22:11):
Yeah.

Speaker 1 (22:11):
I mean maybe maybe someday they'll merge and that'll be
the new name.

Speaker 11 (22:15):
The creator is claiming they are the lyrics are theirs, Yeah,
but they use Suno to make the music. Yeah, So
the music is obviously not theirs.

Speaker 1 (22:25):
Yeah, it says here. In a recent TikTok, the singer
songwriter Kilani shared their thoughts on how Wold Media reportedly
shelling out three million dollars to sign the fictive musician,
whose quote persona is operated behind the scenes by writer
Talisha Nicki Jones, despite copyright concerns previously voiced by other

(22:48):
major labels um So, a frustrated sounding Kilani told followers,
without directly mentioning Monet or Jones, quote, there is an
ai R and B artists who just signed a multimillion
dollar deal and the person is doing none of the work.
This is so beyond out of control unquote.

Speaker 3 (23:09):
It's wrong. It's wrong. It's wrong. It's wrong.

Speaker 11 (23:11):
They're using other people's music to create it. Suno uses
everybody else's music to learn from. So if you're going
there with your lyrics to quote make music, you're making
music from other artists. Really, it's not coming out of
your brain, but artistry comes out of your brain.

Speaker 1 (23:29):
But I also don't understand the most like this. But
the most mind bending thing to me about this is
again I don't like, why is somebody paying three million
dollars for this?

Speaker 3 (23:37):
Because apparently these songs are going.

Speaker 1 (23:39):
Up the jar, but so what even even if they are,
you don't pay in the year twenty twenty five, Why
would anyone pay three million dollars for to anybody for anything.

Speaker 3 (23:49):
Apparently this was a big deal.

Speaker 11 (23:50):
They had this big, giant zoom meeting with the executive
and this is bizarre to close this deal with the
person what was I I can't remember that person's name
is who created Zaniumone, who is not a human being?

Speaker 1 (24:06):
But what am I missing about? I mean, like, yeah,
I mean, and I know the AI part is so suhard,
but I'm still stuck on the other part of this. Like, honestly,
if you took this story and you took the AI
part out of it, and you just told me there
was this new artist named Zaniamone who who had all
these meetings and just got offered a three million dollar

(24:27):
record deal, a brand new artists, this brand new artist
I've never even heard of it. Even if you took
the AI part completely out of the story, I would
still be sitting here going what in the year twenty
twenty five.

Speaker 3 (24:37):
They're charting, That's why the chart.

Speaker 1 (24:40):
But even that shouldn't matter. What greed talks Buck up this.

Speaker 3 (24:44):
They don't care. They can make a dollar, they'll do it.

Speaker 1 (24:47):
But how are they gonna make money?

Speaker 11 (24:49):
Like they're gonna make merch maybe? I guess where do
they make money these days? It's downloads? Aren't the way?

Speaker 1 (24:56):
Nobody gets a three million dollar deal in twenty five?

Speaker 3 (24:59):
So what is in the deal? Though?

Speaker 11 (25:01):
Like, what exactly is in the deal? Obviously this artist
can't go perform anywhere. There's no concerts for fictictional character
unless they make a hologram.

Speaker 1 (25:11):
Well unless the author who created this character is going
to do to do that. I don't know.

Speaker 11 (25:15):
Well, if they were going to do that, when they
do that themselves to begin with, I'm assuming that they
can't perform the way that their fake version can perform.

Speaker 3 (25:24):
I guess yeah, on a computer.

Speaker 11 (25:26):
It can't perform. Outside of a computer. You can't go
to get tickets and go see them live unless it's
a holograph. I don't think we Well we got those
in Vegas, but they're not everywhere yet.

Speaker 1 (25:37):
Well you can, though, I mean if if if if
she can sing, and she's if you know she can sing?
If hire if you can hire a band to learn
the songs, or you just play back in tracks or whatever.

Speaker 11 (25:47):
I mean, but that's not what they're saying. But that's
not what they didn't sign her. They signed the fictitional character.

Speaker 3 (25:54):
Yeah, so it's got to be like merch and stuff
like that.

Speaker 1 (25:58):
Yes, that's like, that's a lot of money.

Speaker 3 (26:00):
For I don't like really.

Speaker 11 (26:03):
I actually am kind of shocked by it all because
I didn't think that the music industry will legitimize it
in this way, and now that they have, I don't
like it.

Speaker 1 (26:16):
I don't like it. I don't like it assescily. The
vocalist Kilani went on emphasize the power of AI to
create fully formed songs out of thin air without users
having to credit anyone involved in making the countless copyrighted
works on which such generative music systems are trained to craft.
Monet's music. Jones used Suna, which is the same app
that we we full disclosure. We played with, we played

(26:39):
with it on the air, we did experiments, we created
tracks about me becoming victorious in my long running feud
with MC hammer.

Speaker 3 (26:48):
Yeah.

Speaker 11 (26:50):
I'm not saying it's not fun to play with, but
to reward it, to pay for it, to legitimize it
in the music industry as a valid.

Speaker 3 (27:02):
I don't know. I've also there too, real Flesh of
blood humans.

Speaker 1 (27:07):
I've also used it full disclosure. I've used it to
create theme music for a couple of podcasts, UH, Tough
Bumps and UH. And I even made a song for
the The AF the podcast only version of this show,
although I'm not really I kind of changed my mind
about the song I chose, but that I created with Suno.
But anyway, it doesn't matter. But okay, So to craft

(27:30):
Mone's music, Jones used Suno, though her manager Rommel Murphy
emphasized to Billboard that his client personally writes all the
original lyrics that Monet quote unquote sing.

Speaker 3 (27:42):
But not the music.

Speaker 11 (27:43):
And I argue that it's not without copyright infringement because
every piece of music this thing used to create it,
it learned from a human being. It didn't come out
of thin air. It came out of a human mind
that it stuck into a computer and spit this out. Right,
So is that really not using somebody else's work, because

(28:05):
I don't think it is. You're using everybody else's work
to train it, and then it pulls from a thousand
artists to make this song. Well, that's a thousand different
artists' input that got into that song. It's not royalty free,
y'all happy? Gee, look at like, I don't like the
way the article comes across. It's like, oh, this is
no that section you read about it being like royalty

(28:30):
free and they can create that.

Speaker 1 (28:32):
Just I don't like it, it says here. Billboard has
reached out to Jones's rep for comment. Kilani certainly isn't
the only person in the industry with objections to Monet's deal.
Sources previously told Billboard that several major labels had also
been in talks with Jones, but ultimately walked away with

(28:54):
respect to their collaborative copyright lawsuit against Suno last year. Yeah, there's, uh,
there's a lawsuit. The labels are suing Souno. That's what.

Speaker 3 (29:03):
So why are somebody signing this person.

Speaker 1 (29:06):
Well, the company signing them isn't involved in that lawsuit obviously,
But but that's why I tell people too, because you know,
we we use Suno, I use soun know for some stuff.
If you are using these uh these these uh large
learning models, like you know, enjoy it while you have it,

(29:27):
because the sharks are circling just so you know, Okay.

Speaker 3 (29:30):
I don't know. I don't think it's gonna be I
think that.

Speaker 1 (29:33):
I don't think. I don't think it's gonna gone. Yeah,
oh I agree, but yeah. The basis of the lawsuit
is that Sono allegedly infringed upon the copyright of the
label's catalogs by using pre existing works to train its technology.
The company disagrees with this characterization, arguing that its users
are actually making entirely original works via fair use of

(29:54):
the music in its database.

Speaker 11 (29:56):
Okay, but that's saying the same thing in a different sentence.
You just this fair use is a very loosely used term.
In that sentence, I think, I think.

Speaker 1 (30:06):
Well that's but well, that's the argument that the company
the signed er is making now there and and so
for people who don't know, so, fair use is when
you're using someone else's material, but but but you're using
it in a transformative.

Speaker 3 (30:19):
Way or educational way.

Speaker 1 (30:21):
So for example, if if you if you watch YouTube videos,
you know, because people make reaction videos, especially you know
in political uh uh YouTube. So for example, if you're
commenting on on something on somebody else's video, you're using
someone else's content and you're playing it and you're commenting
on it as you do it. We had even recently

(30:42):
discussed doing that with someone, but we decided not to
because we don't want someone making angry phone calls to
certain people. But that type of thing where you're using
somebody else's content but you're commenting on it as you
play it on your own channel, that's an example of
fair use. The reason podcasters on YouTube are able to
you that kind of thing is because it's transformative. They're

(31:03):
taking they're using someone else's content to create their own
content from that as they comment on it. And that's
why those podcasters are protected.

Speaker 11 (31:11):
Huge difference because the material they're using, they're using it,
it's still associated, it's still identified as the original. You're
playing it, but it's the original. You know what's the
person speaking? Is that person not them? They're not taking
all of that and creating something.

Speaker 3 (31:30):
It's it's not.

Speaker 11 (31:31):
That you know, this is literally this is like I
read every VC Andrews book and then I write a
VC Andrews book because I read all of her books
and just gurgitated out her own style, wording continued her story.
Isn't that still her story? It's still her story? I'm
I'm playing in her world. It's not like it's one

(31:54):
thing together.

Speaker 1 (31:57):
I mean, if you took the characters and made exactly
a basic yeah, well that would be then you'd be
violating her intellectual property.

Speaker 11 (32:04):
Well, how are you not violating a musician's intellectual property
when you're stealing the notes off of a page instead
of the words off of a page.

Speaker 1 (32:13):
Now that just to play Devil's advocate. You know my
counter argument, and you've heard me say this before, and
by the way, at the end of the day, I
will always argue on behalf of artists, about and protecting artists,
and you know obviously where I come from. I think
everyone understands that. But the the counter argument, and I
do think it's a decent counter argument. So again I'm
playing Devil's advocate. But when we talk about these large

(32:35):
learning models sucking up all this information and then and
then being able to create from it, if I how
is that different from necessarily the human brain? So if
I sit down and I write a song anything, wait,
let me well, let me just finish my thought. Though
again I'm playing Devil's advocate here, but let me just

(32:56):
finish my thought. If I'm sitting down and I'm writing something.
Anything that I write is informed and influenced by all
the music that I've previously heard in my lifetime up
to that moment. So therefore, how is that different?

Speaker 11 (33:11):
Because you are a human being using your mind, not
a computer that can memorize everything verbatim, every signature, stamp,
every note, every everything, every dissonance and replicate that precisely,
you are a human.

Speaker 3 (33:25):
You cannot do that.

Speaker 11 (33:26):
You as a human can interpret what you hear, what
you see, what you feel, and then reinterpret that into artistry.

Speaker 3 (33:32):
That's what artists do, right.

Speaker 11 (33:34):
You take a story, something that's pointed to you, You
take a paint brush and you scart that around. That
is you interpreting the world around you into that canvas, right,
same thing a musician does, interpreting the world and putting
it down on a sheet music.

Speaker 3 (33:47):
That's unique.

Speaker 1 (33:48):
Yeah.

Speaker 11 (33:48):
You taking all the knowledge that somebody gives you, go
to college for ten years, you take all that knowledge
to write something that's you, as a human being, creating
something out of your own mind.

Speaker 3 (33:58):
It's not.

Speaker 11 (34:00):
Picture perfect pages in a computer that can literally just
that's not creation. That's gluing stuff together just very.

Speaker 1 (34:11):
Quick yeah, yeah, just very quickly. I'm looking on YouTube.
I just want to hear something from I Will Live, Like,
what what could somebody possibly be paying?

Speaker 3 (34:22):
See?

Speaker 1 (34:22):
I'm still stuck on that part. What could somebody be
paying three million dollars for? Okay?

Speaker 3 (34:26):
So uh, what's the going rate for artists these days?

Speaker 1 (34:30):
So it's not that, let's see Okay, Okay, So I
found the YouTube page Xanny moon A. All right, I'm
just gonna play this first song that pops up. Looks
like this is the newest single. It's called back when
Love Was Real? All right, this is the lyric video here.
Let me it's probably an ad first, let me see.

(34:51):
I'm just curious, like, what what could this be?

Speaker 5 (35:04):
M I want that back in the day kind of
loving live stream? It was fell inside. It's no text
nor manice, just loyalty and a little bit of respect
before everybody knew your business.

Speaker 12 (35:25):
Before who you with turns suspicious, before the GPS and
the past words to love A simple just me you
take me back when Love was Real.

Speaker 1 (35:40):
I almost feel like she's trolling all of us with
those lyrics.

Speaker 11 (35:42):
It doesn't sound any different from stuff you've created, you know,
I'm I don't think it does.

Speaker 1 (35:46):
Right, Yeah, I don't get a few words in there.

Speaker 3 (35:50):
I don't.

Speaker 1 (35:50):
I don't get it like this.

Speaker 11 (35:52):
This so many people Okay, I'm not okay with this.
You know this is wrong.

Speaker 3 (35:58):
It's a huge difference between human creation and computer creation.

Speaker 13 (36:01):
Wow.

Speaker 11 (36:02):
Humans don't have the ability to photo have a photographic
memory of every single word note you know what I mean,
every breath of the in a nation. Where's There's so
much to what an artist does as a human.

Speaker 1 (36:16):
Although that does well, that raises a question though, what
if an artist has a photographic memory, should but you're
not gonna should they not make music? That's different atogh
memories that.

Speaker 3 (36:29):
You're a human. But you're a human.

Speaker 11 (36:31):
You're still using everything that you've got to create something
out of your own brain. It's not like a computer
literally taking ones and zeros and realigning the ones and
zeros and spitting it back at you, which is what
I feel like it's doing. You're taking everybody else's music,
here's your ones and zeros, rearrange it, spit it back out.

Speaker 3 (36:53):
That's not what a human being does.

Speaker 11 (36:54):
A human being takes life, experience, thought, feeling, passion, emotion,
all of that. Everything they've learned, they've been around musicians whatever,
and then create out of that. Yeah, big difference between
rearranging it and creation.

Speaker 1 (37:10):
Justin Michaels is in the chat room. You know, he's
a very loyal listener and supporter of actually all the
programming that we're involved in. And he says, so you
can you can use AI and get signed. Now, wow, that's.

Speaker 3 (37:24):
What I'm saying. Right, we just found this out.

Speaker 1 (37:26):
And he said, Matt, look out for Skynett.

Speaker 3 (37:29):
I think we've already gotten there at this point.

Speaker 11 (37:31):
Yeah, but it is it isn't right, it's not okay
with me. Yeah, And you're never going to see this
artist for in real life ever, they're not existent. You
could see somebody pretending to be them, but you will
never see them because they don't exist.

Speaker 3 (37:48):
They only exist in a computer.

Speaker 1 (37:50):
Well, let's move on from that because I just want
to get this other story. But this also deals with
you know, because I'm always fascinated by anything to do
with copyright, intellectual proper. Pretty all of that is trademarks,
All of that is very fascinating to me. Obviously I
did not go to law school, but if I had
the type of law that I would probably be practicing,
would have to do with all that. I'd probably be

(38:11):
an entertainment lawyer because these things are so interesting to me.
But this is another story that you sent me. This
is from pitchfork dot Com. Neil Young has been sued
by Chrome Hearts Fashion over his band's new name. And
by the way, I didn't even know that Neil Young
had a new band. I you know, I just think
of him as a solo artist, of course, but.

Speaker 3 (38:32):
I didn't know there was a fashion called Chrome I
didn't either.

Speaker 1 (38:35):
Chrome Heart the Chrome Hearts, the Los Angeles company is
not happy about the existence of Neil Young and the
Chrome Hearts, so says here. Last year, Neil Young began
to play shows with a new backing band that he
called The Chrome Hearts. Then in June, Neil Young and
the Chrome Hearts featuring Young, Micah Nelson, Corey McCormick, Anthony

(39:00):
Lagerfo Or lagerfo and Spooner Old Him released their debut album,
Taken to the Trees I'm sorry Talking to the Trees. Now,
Young and his bandmates are being sued by the La
fashion brand Chrome Hearts for trademark infringement. Chrome Hearts LLC
filed its complaint in a California Federal Court on Thursday,

(39:22):
September eleventh. The lawsuit was first reported by Billboard. In
the complaint obtained by Pitchfork, lawyers for Chrome Hearts outline
the brand's ownership quote of the Chrome Heart's word mark
and composite trademarks comprising the Chrome Hearts mark and design
components unquote, dating back to nineteen ninety one. They argue

(39:46):
that Young and his bandmates are infringing upon the brand's
trademark by selling Neil Young and the Chrome Hearts merchandise.
That quote incorporates the exact Chrome Heart's word mark and
thus likely to cause confusion with Chrome Heart's various Chrome
Heart marks. The likelihood of confusion is not merely hypothetical.

(40:08):
Some clothing and apparel vendors have apparently already mistakenly assumed
that there is a connection between Neil Young and the
chrom Hearts and Chrome Hearts, and are actively promoting that
purported connection. For example, some vendors have started marketing T
shirts that prominently display mister Young's name and the Chrome

(40:30):
Heart's iconic stylization of the Chrome Heart's mark. I assume,
by the way, so what that means is it's using
the same font as the Chrome Heart's logo. I have
to assume otherwise there would probably be no issue. I
wouldn't think.

Speaker 3 (40:47):
I think you only had to be concerned about another
band's name. Yeah, I wouldn't.

Speaker 1 (40:51):
I mean they're claiming, according to that from the lawsuit,
that verbia's from the lawsuit, that it's already causing confusion.
I find that heart of belief. If it is causing confusion.
If that's true, then I guess that bolster is their case.
But I'm a little skeptical. It says here. According to
the complaint, Chrome Hearts notified Young's team in July about

(41:12):
the alleged trademark infringement, but the band continued to tour
under the banner and sell merchandise. Through the lawsuit, Chrome
Herts is now requesting that Neil Young and the Chrome
Hearts stop using the name. Pitchfork has reached out to
representatives for Neil Young and the crom Hearts and lawyers
for crom Hearts LLC for comment. So there you go.
I don't really know what to make of that one.

Speaker 11 (41:34):
Right, I mean, I always thought it would be different
if it's a band, like.

Speaker 1 (41:38):
How is it usually is?

Speaker 3 (41:40):
Banned, Like, how is that confusing?

Speaker 1 (41:43):
Usually if it's music, if it's completely different industries, then
it usually doesn't end up mattering. But I don't know,
I don't know, I mean, does Chrome Hearts? I don't
know what kind of fast Neil Young? I doubt it.
But maybe maybe they're trying to get some money. Maybe

(42:04):
they want maybe they'd like to make a settlement where
Neil Young pays X amount of money to sort of
license the name Chrome Hearts.

Speaker 11 (42:10):
Or are they doing this just to get more attention
onto their products, because hey, it makes a great story.

Speaker 1 (42:15):
That could be talking about it. That could be too Yeah,
because I'd never even heard of Chromarts and you.

Speaker 11 (42:20):
Didn't say anything about them sewing for money. Interestingly, well,
they want them to stop using the name. Is there
a cash requestion there?

Speaker 1 (42:28):
There there may be a well, like I said, I mean,
if they can, if they can come to a settlement,
which these things often do. They they more often settle
than actually go to court. So they might come to
a settlement where they effectively license the name Chrome Arts
to Neil Young it's silly, or or they get a
percentage of uh of of revenue generated from Neil Young

(42:51):
merchandise which has chrome hearts on.

Speaker 11 (42:53):
If I see Neil Young and the cron Hearts up
at this new arena, I know that that I'm going
to be.

Speaker 3 (42:57):
Confused and go by clothing.

Speaker 1 (43:00):
That's the thing that would that that would be Yeah,
that would be a good counter argument in the lawsuit.

Speaker 3 (43:03):
Yeah, it's not like it's it.

Speaker 11 (43:06):
And it's not even like they're not even promoting the
name separately. It's with Neil Young, so Neil Young and
the Chrome. Right, it's not a separate name even right.

Speaker 1 (43:14):
If the band was simply called Chrome Hearts, that would
be well.

Speaker 11 (43:17):
Even if they are, it's a band, it's not a
clothing designer. Yeah, unless their T shirts start making music.

Speaker 1 (43:23):
I don't hear it, right.

Speaker 3 (43:25):
I think I'm saying.

Speaker 1 (43:30):
I'm not sure. I'm a little I usually draw a
pretty fast conclusion with this stuff. I'm a little I'm
a little undecided. I'm uncertain of this.

Speaker 3 (43:41):
Yeah, usually.

Speaker 1 (43:44):
Surprises me too. I usually see these things a little
bit more cut and dry.

Speaker 3 (43:46):
But I think it's stupid.

Speaker 1 (43:48):
I'm not sure. I'm not sure on this one.

Speaker 11 (43:49):
I don't see anybody mixing up clothing with and and
the only merch they're selling is band related.

Speaker 1 (43:54):
So yeah, but there's but again from Cromhart's position, see
they're gonna r you. Yeah, you're right, but what what
what kind of merch do you sell that's band related clothing?
T shirts, a T shirts. That's the argument they're gonna use.

Speaker 3 (44:11):
It's not a whole product.

Speaker 1 (44:12):
It's you know, it'd be one thing if they were
just selling CDs, you know, or something. But you were
in the same industry, you're selling merch But see, but
that's all but see that, but that's the art. But
they are, in a sense, and that's the arguments.

Speaker 3 (44:25):
The same industry. They're in music.

Speaker 1 (44:27):
Merchandising of clothing. That is the same. And if you're
in the music industry, you're in the merch you're in
the merchandise industry. You are going to.

Speaker 11 (44:35):
Follows brand clothing like a brand, which I don't. But
people who follow brand clothing don't confuse it with musicians.
They might get interested in a brand, but they're not
gonna confuse it.

Speaker 3 (44:48):
Oh, I thought you were selling T shirts in here?
Why are there so many drums? Like, come on, that
doesn't happen.

Speaker 11 (44:54):
You don't go to the T shirts, you don't go
to marshals walk over to the rack that's got chrome
whatever here and look for Neil Young.

Speaker 3 (45:02):
It doesn't work that.

Speaker 1 (45:03):
Way, right, I'm sorry, I don't no, I I I
hear you.

Speaker 3 (45:09):
Both of these stories are today.

Speaker 1 (45:12):
I'm just a little bit. I'm just a little bit uncertain.
We're gonna have to follow that one closely as it
moves forward.

Speaker 13 (45:17):
Let's to it.

Speaker 3 (45:18):
Than very curious I'm missing or something.

Speaker 1 (45:22):
Yeah, I'm very curious to see how that ends up.

Speaker 3 (45:24):
I don't see consumer confusion here.

Speaker 1 (45:26):
Well no, but from the from that statement from the lawsuit,
it sounds like Chromart's is saying there's like confusion within
the industry, within the fashion industry, give me a break,
because they're getting orders from.

Speaker 3 (45:36):
Give me a break, I don't know, and.

Speaker 11 (45:39):
They're getting orders from stupid people that don't know the
difference between a musician and clothing designers.

Speaker 3 (45:45):
I don't think I'm sticking to it. All right, we
dug in.

Speaker 1 (45:51):
We gotta go, we gotta go. Jenny, you want to
uh quickly plug the event we're we're going to today
and your website because you've been up to a lot.
Oh and you should mention too. And the union leader
you're oh.

Speaker 3 (46:01):
Yeah, yeah. Check out yesterday's Union Leader.

Speaker 11 (46:03):
I have an opted in there if you want to
go check it out. And we are going to be
leaving here and going to the Great North Alworks on
wholdav here in the Queen City for the Pause and pints,
fundraising and just a party a fun Come say hi
to us, Damy Greed tacause they have all kinds of
great beers and of course this is raising money that's
staying here locally in New Hampshire to take care of animals.

(46:26):
And I'm really curious to see what animal one and
is gonna be pictured on the can of beer when
we get there, so we're gonna check out that. And
also just definitely check out the mosaic Are Collective, also
located here in the Queen City. Check out their website.
Lots of great things coming up there and as always,
you can find more information on me and the Trouble
I get into Good Trouble at Gencoffee dot com, j

(46:47):
E N N co O F f e y dot com.

Speaker 1 (46:51):
And to keep up with everything I'm doing, my website
is Matt Connorton dot com. Of course, in addition to
the show, we have the podcast only version of the show,
the AF version, which is completely separate from the He
has no association with WM and H. That's something that
we do separate from the radio station. But on that
version of the show we have some conversations and guests
that maybe are not suitable for the format of the

(47:12):
radio version of the show, but you can find that
in the podcast feed, you know, wherever you find Matt
Connorton Unleashed in your your podcast platform of choice, you
can you can also find the other version of the
show we just did one Thursday night with our friend
Brandon LeMay, which I suggest people check out, and also
the other podcasts that we have Going Hanging Left and
Tough Bumps. We'll have new episodes of those up soon

(47:34):
as well, so Matt connorton dot com. You can find
all of that there and thank you again. Of course.
In the first hour we had Larry and how do
you say his name? I don't want to mispronounce his name.
We have the gentleman from Loud Entertainment here in the
first hour, Larry. I can't I can't remember how to
say his name correctly. But they've got a big show tonight.

(47:56):
They've got a Godsmack and Metallic Attribute show happening tonight
at jewel if you want to check that out too,
And of course thank you. In the second hour Matt Axton,
who will be at the Rex Theater right here in
Manchester on September twenty fourth. We had a great conversation
with him, and so he'll be coming to Manchester. And
of course in the third hour we talked with Lydia. Ready,
thank you again, Lydia. We're actually gonna end the show today.

(48:18):
We're gonna play this again, her newest single. This is
called the Way We're Rolling. I love this, very positive,
very cool and uh, if you miss any part of
today's show it we'll be up in just a little
bit at Wmnhradio dot organ at my website Matt Coonnorton
dot com. And that's gonna do it for us. For now,
we're out of here. We'll talk to y'all a little
bit later. Bye everybody, Bye bye.

Speaker 3 (48:42):
How can I clag this?

Speaker 9 (48:44):
I can I clag that it doesn't matter the week
because I exist for me, I can walk or I
can't trash. It doesn't matter the way because I talk
for me. Chatter, Sen, chats up.

Speaker 14 (49:00):
You're some perfect even if you don't know, man, all
my beer cor comma.

Speaker 8 (49:06):
Shoulder, all the way, I'm confident.

Speaker 15 (49:08):
And this is just the way we're rolling.

Speaker 8 (49:15):
This is just the way we're rolling.

Speaker 3 (49:23):
I can sit down, Oh all.

Speaker 9 (49:25):
Stand up to That is just the way it's kind
of going.

Speaker 7 (49:30):
So I'll be me and you'll be you. That is
what we've kind of you to try to get.

Speaker 8 (49:37):
Do you chant my sister, shots my brothers, you are.

Speaker 10 (49:42):
Some perfect even have your dog no man, call my
beer common shoulder all the way I comforted.

Speaker 6 (49:49):
And this is just the way were rolling.

Speaker 14 (49:53):
Yeah, this is just the way we're rolling. Yeah, yea
somewhere to hurt.

Speaker 3 (50:06):
Your others will hurt you.

Speaker 9 (50:08):
Turn over, think kid, they don't deserve you know there
you'll come through everything there you do fee your own
person thereby.

Speaker 6 (50:18):
For you live for you. You gotta shats my sinsir, shants.

Speaker 3 (50:35):
My brother you are some perfect man.

Speaker 6 (50:38):
If you don't know, man on.

Speaker 8 (50:40):
A pat on the shoulder, to the way I'm covered in,
I'm bit.

Speaker 6 (50:46):
Yes, shuts my sis, just my girl.

Speaker 2 (50:49):
Start you want some perfect even if.

Speaker 6 (50:51):
You don't know, all my.

Speaker 15 (50:55):
My shoulder, all the way I'm coming in And this
is just the way. This is just the like, this
is just the way.

Speaker 13 (51:53):
Why like a boy? Oh I thank god.

Speaker 16 (51:57):
Now this is like a stupid boy and I was.

Speaker 13 (52:01):
When I was a kid.

Speaker 16 (52:03):
I got my face up in not toilets.

Speaker 8 (52:07):
With the geese side. Damn.

Speaker 3 (52:09):
I wasn't always a stoop pup, but when I was,
I was a jump I.

Speaker 8 (52:18):
Didn't always look as I used to wap and go
filled with us. I remember roll the man sounds and
picked them along.

Speaker 16 (52:34):
It feels like someone that's shopping.

Speaker 6 (52:37):
Their tas fuck out of my arm. They ride Ness
side go where no scene down bomb.

Speaker 13 (52:48):
Me roll up live.

Speaker 8 (52:50):
I ride mess side go where no scene down bomb
me roll up live.

Speaker 13 (53:06):
Yeah, when I was in school, didn't make good grades.

Speaker 16 (53:19):
I was, yes, still being dumb school when I was
still young, and all I cared about round was girls
but stating and like my mpows

Speaker 13 (53:31):
I used to be, I just don't