Return to the 404

00:00:15
Speaker 1: Pushkin.

00:00:20
Speaker 2: Welcome to the bonus Holiday special Atlanta, theine edition of Revisionist History, Part two. A word before we begin. There is no overarching theme to what follows. No beginning, no middle, no end, no single compelling through line. My editor Julia Barton, who is normally lovely, actually got all grumpy about doing this episode, so grumpy in fact, that I thought I should let her put in her two cents before we get going.

00:00:49
Speaker 3: Okay, I thought about it.

00:00:50
Speaker 4: Some more Happy holidays, Malcolm.

00:00:53
Speaker 1: From here on out, you're on your own.

00:00:56
Speaker 2: All right, all right, all right, here's my feeling. If there is anything in the world that unites my fellow revisionist historians, it is our endless appetite for wandering down empty corridors and poking through the cobwebs of the half baked and the marginal. By the way, do you have anything better to do? No, you don't, and no do I. I've been cooped up in my house for nine months, and I'm moving my mind.

00:01:33
Speaker 1: And dreaming of Atlanta.

00:01:50
Speaker 2: So I'm just going to answer a few more random questions from you, my listeners. Lucas Nicholson asks on Twitter, what's your favorite memory of your father. Okay, As you know, my dad comes up on the show every now and again. I like to refer to him as the patron saint of Revision's history, because, among other things, Graham Glabo was a deeply mischievous man in a way that we strive every day to emulate here at Pushkin. Oh, I should point out, why do we call Pushkin Pushkin? Not because we have some pretentious intellectual connection to the famous Russian poet. Well kind of, it's half of it. The other half is Graham Glabo named our family's first dog growing up, Pushkin, a floppy eared Shepherd lab mix, and have always loved the name. My dad also named his garden Rhodo Tiller Alexander after Alexander the Great, and his garden cart Rufus after the English king, King William the Second, otherwise known as William Rufus. He really liked to name things. My dad was English. In the nineteen fifties, he meets my mother, they get married, and a few years later they move back to Jamaica, where my mother is from, and my father teaches mathematics at the University of the West Indies UI as it's called in Kingston.

00:03:12
Speaker 1: Jamaica.

00:03:13
Speaker 2: Parenthetically, while he's there, who does he meet and try to encourage to take mathematics? Donald Harris, father of future Vice President Kamala Harris. Small world anyway, So my dad is working on some crazily complex bit of math, and this is before the Internet. Of course, if you needed to read some crucial bit of scholarship, you had to go to an actual library. And he realizes the closest library that has the books he needs is at Georgia Tech in Atlanta. So he writes the chair of the math department at Georgia Tech, can I come and use your library stay on campus for a bit while I do my research? They say, of course. He starts to plan his trip vote from Kingston to Miami, bus from Miami to Georgia. This is nineteen fifty nine. Georgia Tech is still a segregated institution and the administration realizes that the head of the math department has just extended an invitation to a professor from the University of the West Indies, a place chock full a black people. Panic sweeps through Georgia Tech. They start calling around other math departments. Does anyone know a Graham Gladwell no one does, because my dad is twenty five years old. He's a nobody. Finally, just before my dad is about to leave Jamaica, they manage to reach him by phone. Professor Gladwell, I have an important question for you. Are you white? My father says, why, yes, I am, and the Georgia Tech guy says, oh, thank god. Now my dad doesn't say anything at the time, because that's the way he was. I'll poker face. But when he finally gets to Atlanta, a bunch of people from the university take him out to dinner and he announces to the group, gentlemen, I've just gotten married. I want you to see a picture my lovely bride, and passes a photo of Joyce gladwell sister around the table. I think you can see why he's the patron saint.

00:05:18
Speaker 1: Of Revision's history.

00:05:26
Speaker 2: It's funny. I hadn't thought about that story for a long time, but Lucas Nicholson's question inspired me to do a follow up. So a few weeks ago, I called up the dean of computer science at Georgia Tech, an artificial intelligence researcher named Charles I isbel I'm going to warn you this is a tangent, But as Himon Roth said to Michael Corleone, tangents are the business we've chosen. Yeah, tell me a little bit about your own are you Are you from Atlanta?

00:05:54
Speaker 5: Yes, Well, as you can tell by my accent, I'm from Chattanooga, Tennessee. But my earliest memory is arriving in Atlanta on a moving truck at the age of three. So I think of myself as being from Ataint. Yeah.

00:06:02
Speaker 2: And did you do your undergrad at Georgia Tech?

00:06:05
Speaker 5: I did undergrad at Georgia Tech, and I did my master's and PhD and mit.

00:06:09
Speaker 2: Oh I see, so but you are you consider yourself? You're in Atlanta?

00:06:13
Speaker 1: And oh yes?

00:06:15
Speaker 2: And through through is Bell then told me the following story.

00:06:19
Speaker 5: We started the first online masters of science and computer science from a large elite university. Give you a sense of scale of that, we had zero students and as of this past semester we have about eleven thousand. So we went from zero to eleven thousand in less than six years.

00:06:35
Speaker 2: For around six and a half thousand dollars, you can now get a Master's of Computer Science from Georgia Tech online, as opposed to the forty six thousand dollars it would cost you on campus, same professors, same course materials, same academic standards.

00:06:50
Speaker 5: So once you accept this larger idea, you start asking yourself, Okay, well, if we want to educate everyone, if we want to truly be accessible and live up to this idea, then where can we go? Who can we talk to? So I took a trip for somewhat unrelated reasons to Kenya and visited Kenya, ended up visiting Nigeria and a few other countries in Sub Saharan Africa and started meeting with people there, and I came to the conclusion that this is a population where you have a large amount of untapped talent, people who are really interested in figuring out how to get formal education in computing and in computer science.

00:07:28
Speaker 2: Is Bill and his colleagues began traveling to Africa all the time. Their goal is to make Georgia Tech the world's number one educator of IT talent in Sub Saharan Africa. Does it make a difference that you're an African American when you're making this case for Georgia Tech in Africa?

00:07:44
Speaker 5: I think it does certainly. The conversations I've had make me think that it does. I think people are excited that there's someone over here who wants to have those conversations.

00:07:56
Speaker 2: Then I told Isbell the story about my dad. I feel like there's something First of all, he would have been so happy to hear about what's happening now at Georgia Tech. But just this wonderful story about how, in the space of sixty years the institution has gone from turning its back on people even if they suspect them of being black, to like opening up its doors to sub Saharan Africa. I think that's I don't know, I was moved.

00:08:24
Speaker 5: Well, you know, I'm glad to hear you say that. It's actually a remarkable thing, particularly when you put it like that.

00:08:30
Speaker 2: Today, Georgia Tech is one of the largest producers of black engineers, Hispanic engineers, and Asian engineers in the country. It has more black undergrads who go on to do PhDs in computer science than any other American university.

00:08:44
Speaker 5: Yeah, you know, I have these I talk to people all the time, and you know, they asked me about my life story and the things that I've gone through, positive and negative, and and I was having this conversation with some of the other day, and you know, I was telling about, you know, interactions I've had with the police in my younger days that didn't go very well, and things people had said to me over the years. And I started talking about what I was hoping was going to happen for the future. And someone said to me, well, you know, you seem very optimistic and hopeful. And I thought about it, and I thought, you know, it's true. In the end, I'm optimistic and hopeful. I do like the idea that you know, within a generation, and it's certainly a place like Atlanta. There's the reason why I love the city.

00:09:25
Speaker 2: And I saw on your website that you do I don't know you still do, but hip hop reviews on the side. I mean, this is the most Atlanta thing I've ever heard in my life. The AI professor Georgia Tech who does hip hop stuff on the side.

00:09:40
Speaker 5: Yes, I've been a huge fan of hip hop's it's the very beginning, well, certainly the modern hip hop Araasi's the very beginning. I did an online hip hop award show for about eight years. For a while there had the first online black history database.

00:09:58
Speaker 2: And I saw on your lab page everyone gets a p funk Dame. Everyone gets a p funk name, p Funk being, of course, the nickname of Parliament Funkadelic, the legendary funk band started by George Clinton. On Isabel's laboratory website, it reads the P in p funk stands for probabilistic, as for the funk, it stands for many things as well.

00:10:20
Speaker 1: It should.

00:10:21
Speaker 2: Specific interpretations are left as an exercise for the reader. You are atomic dog, you would have to be at home.

00:10:27
Speaker 5: Of course, I'm atomic dog. What a there's no other option?

00:10:31
Speaker 2: How much do I love Atlanta?

00:10:36
Speaker 1: All right?

00:10:37
Speaker 2: Roger Nation twenty four asks on Twitter, why have you never made an episode about Kanye West? His career trajectory seems like the perfect fit for your podcast. Very very good question, Roger Nation twenty four. Let's put it this way. It's not for lack of trying, because no one likes a celebrity hang more than me. I once met David Hasselhoff in Sweden, of all places, got a selfie with him, and if you look at the photo, I have this big stupid grin on my face, like I'm the happiest I've ever been in my life for the Hoff. But I have a better story which also, and you're not going to believe this involves my favorite city, Atlanta. So a couple of years ago, when Kevin Durant was still with the Golden State Warriors, they came to Atlanta to play the Hawks, and after the game, Quavo of the great hip hop group Migos comes up to Durant, and Durant, who is like seven feet tall, leans down and takes off his jersey and gives it to Quavo. One of the greatest basketball players in the world, comes to town and pays homage to the king of Atlanta hip hop. The picture goes viral. It's a sensation. In fact, you should look it up for yourself image Google Quavo and Kevin Durant epic pop culture defining moment. Right now, while you're at it, look to the right. You'll see a bunch of people standing in the background. You might have to zoom in a bit. There's a skinny guy wearing a beige jacket, glasses, big head of curly hair. Now who does that look like? Oh yeah, baby, I love Atlanta. We'll be right back after a word from our sponsor, We're back with more of your excellent questions. This one's from Zoe Rattis. At the conclusion of each Revisionist History episode, mister Glapple says original scoring by the next two words could be Leuis Scarra, Louise Sierra, lou Wiscerra, or some other combo I haven't thought of yet. I would like to get in touch with this person, as I think their talents are neat and as an aspiring scorewriter myself, I hope they might share some fun with me about how they came to be in this role. Thank you so much, Zoe, Zoe. I am happy to tell you his name is Luis Gera g u e r r A. He's a musical genius, as should be a parent if you've listened to any episode of this show, and I will let him answer the rest of your questions himself.

00:13:30
Speaker 6: Well, it's like I would double take to hear Malcolm Gladwell and put musical genius with by my name in the same sentences.

00:13:37
Speaker 1: A little bit of a what.

00:13:40
Speaker 6: So I mean that's with that said, my name is Luis Guerra, you could also say Louis Gera. Totally fine. I have two ethnic identities. Go on here, so I do compose music for a living. I'm pushing into my thirtieth year as like a full time musician. So I started really young in my life. I grew up in a family where all of us kids, there was four of us, we were encouraged and required to play a musical instrument, and I sort of jumped around the most. So I start out on drums, went to piano, played a little guitar, and then ended up playing bass, and for whatever reason, stuck with the bass. It wasn't really something that I wanted to do for a career. It was more about, this is a great way to escape things going on in my life. And so then you know, long story short. I moved to Austin, Texas in the early nineties, and artist, musician, whatever, a creative person, you didn't need a lot of money to pay your rent and your bills, okay, So as a young person, that was a great place to actually like just jump into a scene. And I also was a short order line cook, and those two things sort of merged later on in my life because I started realizing that as people would come up and ask for their food to be made, they would also sometimes come and ask for me to make a piece of music, and you know, either one I just would do it podcasting. I was like, I didn't think a whole lot of it, honestly, and it was just something that like I would, you know, occasionally listen to a podcast when I go run or something. But when this came up, I knew that this was going to be a very serious project, and so I was like, heck, yeah, that sounds awesome. The podcast would it's things overlooked right and misunderstood, and I think there's room to explore musical cliches, and so I'm feeling like there's that's sort of the top level down I want to take stereotypical ideas sort of that we're there predictable and start inverting them and like not just remixing them, you know, but actually like really playing with that. Maybe there's three things that come to mind and how I approach it. One, I wanted the music to be transparent. I don't want it to stand out so that it's just overshadowing, right and like overtaking and like wow, that's a really great piece of music or that's a really great sound, but then you forget whatever the topic was. The other one is I wanted to support and evolve and be interesting, so that if you actually do find yourself thinking about the music, you're like, well, what is that? What's the sound? What's going on? And then the other is like, I want it to be flexible. I do imagine this music could be performed live. I've thought about Revision's History. I had this team of producers is like a band. We've been in this band for five years, you know, and sometimes the band gets bigger and more producers step in and they're like, we're all supporting Malcolm, who's the front man. So how do I shape the music to sound to match Malcolm's voice on Revision's History. Well, it's a little trick in composing for media, but every speaker has some sort of tonality to their voice. So if I can find that, then I can actually make things sound more harmonious. But if I wanted to create tension, then I can actually like create you right in a key to be sort of juxtaposed or to clash specifically with the voice. So for malcol voice, there's a few tonal centers that I do. If you listen to Revision's History music, there are tonal centers that I pick frequently that really I feel like support his voice. So there's a mysterious element to this, Right, I want to pull from the cliche that I'm referencing, but I also want it to be done in a revision's history sort of way. So in this situation, there's marimba, right, But a marimba to me, with like a certain amount of delay and reverb is going to put the listener into this zone even if they don't know what, they're going to immediately feel like, hmm, what's going on here?

00:17:49
Speaker 2: You know?

00:17:49
Speaker 6: And so it's a device, if you will. And I think that's what composers do. Every day's a new adventure at studio.

00:17:57
Speaker 1: I can't.

00:17:57
Speaker 6: I mean, it's I don't know, it's a fun job. I could think of worse things to be doing.

00:18:02
Speaker 2: Thank you, Louise for five years of making me sound fantastic. Okay, back to listener mail bag. And I have to warn you, you know how like a fleeting moment can inspire a whole novel that takes years to complete. This one is kind of like that. Jonathan Walfitz asks on Twitter, what do you do when you feel like you've reached a dead end in a story. Very very good question, Jonathan. This actually happened to us last season when we were in the middle of doing the episode about the tangled provenance of van Go's Vaz with Carnations. Here's a little piece of that story. In nineteen fifty six, Kirk Douglas started a movie about van Go called Lust for Life.

00:18:51
Speaker 7: Few people know the real story of this intense, strong willed man. Now his tumultuous career is revealed for the first time with frankness and intimacy, with all that lust for life.

00:19:03
Speaker 2: If you look at the corner of the movie poster for Lust for Life, there it is Vaz with Carnations. If by then gets it sold it. He didn't hang on to his van Go the way he did his other treasures. It wasn't for him. The painting passed to the heiress to the Kmart fortune, Katherine Kresgy, who, among other things, was once married to a Swedish baron. She convinced him to leave London and come live with her in her native Detroit. Perhaps unsurprisingly, the Swedish baron's order for Miss Gresgy did not survive the move to Michigan. When Kresgy died in nineteen ninety, she willed Vaz with Carnations to the Detroit Institute of Arts. She gave it without restriction, meaning the Dea, as it's known, could do with it what they wanted, sell it, trade it. They didn't have to make it part of their permanent collection. Kresgy clearly didn't care any more for the painting than Gets did, and neither did the Dia. They put it in her basement for twenty years. Vincent van Goh painted many remarkable canvasses. This is not one of them. While we were reporting this epit, we had to solve a problem, which was we didn't know whether the van Go was a fake. So I said to my producer, Elouise Linton, can we find out? Thinking foolishly, it would be easy. Eloise starts with a curator at the Detroit Institute of Arts named George, who went on the record years ago to say that he thought Vaz with Carnations was a fake.

00:20:32
Speaker 4: I call his home in Maine. He doesn't answer. I leave a message. I call again. His wife picks up. I tell her what I'm asking about, and she says they're going on a trip and if I call back.

00:20:46
Speaker 1: They won't be there.

00:20:49
Speaker 2: This was the beginning of the pandemic. April, Eloise and I had started having these zoom calls where we shared our frustrations.

00:20:57
Speaker 8: That's one little weird fact. Number One, he's retired, he's living in Maine. He doesn't want to talk about a painting that he neither liked nor thought was real.

00:21:09
Speaker 9: Next, what was next? What happened next?

00:21:11
Speaker 2: Then Eloise tries a prominent art journalist who'd written extensively about Bengo. As soon as she mentions Vaz with Carnations, the guy disappears. Then she just starts calling up big name Bengo experts, one after another, same thing.

00:21:27
Speaker 4: I told him I was thinking about Days of Carnations, and he stopped replying, and then I followed up two weeks later because someone had recommended.

00:21:35
Speaker 10: I talked to him and.

00:21:38
Speaker 4: He said that he would speak to me this morning, and then when I called his office, they said he wasn't there, and then I emailed him and he never responded.

00:21:50
Speaker 2: Understand, this is not the Mona Lisa we're talking about. Vaz with Carnations is a third rate. Maybe Bengo. It spent much of its life over the past few decades in the basement of the Detroit Institute of Arts and also understand that we're doing this reporting while the entire world is at home. Do you know how easy it is to get people to talk during lockdown. It's been the most fantastic stretch of reporting in my thirty five years in journalism. I could get the Pope on the phone if I want it, because he's sitting in his palazzo like everyone else doing nothing but watching Italian Netflix. Everyone was available except art people.

00:22:33
Speaker 8: I talked to the lawyer on the other side of that controversy and he says insists everything has to be on background, and then sends me this long email in which he tells me something that it's like totally obvious, like I could have gotten off Wikipedia and says, you can use that, but only on background.

00:22:50
Speaker 9: This is this random painting which isn't any good, which we thought was fake for years and years and years, and the whole world doesn't want to talk about it, not even till little old us. Yeah, who knows what I mean.

00:23:06
Speaker 4: I can't understand why unless we're just being part of me thinks that we're just alone and quarantined and becoming paranoid or something.

00:23:15
Speaker 2: Finally, Eloise finds a Ango expert named David Brooks who spells it out for us.

00:23:21
Speaker 11: Yeah, everybody kind of walks on eggshells when it comes to the fakes topic, and rightfully so. I don't really say much about it, and the Vango Museum is always very careful. For example, I'll even say to my friend, my contact at the Vango Museum, such and such work. I mean, people have questioned it, what do you think? And my friend will say, we have no opinion. We simply can't express an opinion unless they're officially called on to do an investigation and to properly study the work. They're Switzerland. They just remain neutral, and that's a smart move. It makes life easier for them.

00:24:00
Speaker 4: Why why is it such a use I think you called it a firecracker topic.

00:24:06
Speaker 9: It is.

00:24:07
Speaker 11: It's a firecracker topic, and again one that I've avoided over the years because I just don't need the grief.

00:24:15
Speaker 2: The art world is a collection of people with a great deal of knowledge about art who, on the question of fakes, whether knowledge might be useful, declined to use their knowledge. Then, don't want to be the one who reigns on someone's parade by telling them that their prized van Go was actually painted by like some dude in Cleveland in the nineteen seventies. This is like doctors who are happy to tell you that you're healthy, but would rather not break the news to you that you're sick. So finally Eloise tracks down a data scientist at a university in Holland named Eric Postma.

00:24:50
Speaker 10: I was working on in the old days of computer vision, before the time of deep learning. There was this challenge to recognize visual texture, and I was I had a visitor to Ango Museum there was a kind of Impressionist paintings exhibit, and then an idea to create a data set from paintings because they all have these different visual textures.

00:25:12
Speaker 2: Basically, Postma trains his AI program to match the patterns of authenticated ven goes against unverified ven goes. So Alois sends him an image of us with carnations, and a few weeks later he calls with the results.

00:25:29
Speaker 10: To make it very concrete, I take blocks of two hundred and fifty six by two hundred fifty six pixels and I look at each block in the in the image and compared and try to classify that as real fango or none vango. And what I see in many paintings that I know are fango's I always see, Okay, it's about seventy to eighty percent of the surface is classified as fango, but in this particular case, it's fifty to fifty. It's really fifty to fifty. I replicated that several times I changed the data set. Normally I would like to have multiple copies of reproductions, but this suggests to me that it's not clearly if I'm GO and not clearly a non FuMO. It's something in between, which is not very helpful, of course, but it's the first time that I have such a clear code whey, where it's really balanced. It's really fifty to fifty.

00:26:24
Speaker 2: I mean, how perfect is that?

00:26:27
Speaker 1: Fifty to fifty.

00:26:28
Speaker 2: Then Postma comes back to us and says, actually, upon re analysis, I think the flowers are real, but maybe the background is not. We spared you all this in the original episode because we found a better story to tell, but at least you know how I came to the conclusion that I did, which is the art world is nuts. The only person who would actually discuss the authenticity of oz wasn't someone in the art world. It was a data scientist, for goodness sake, an outsider who uses AI to analyze pixels, and poor Eric Postma is left spending his days dealing with crazy art world types clutching would be masterpieces.

00:27:09
Speaker 10: Even people that wanted to put their painting in my computer.

00:27:11
Speaker 4: Literally, what do you mean, oh that physical painting?

00:27:16
Speaker 1: Yeah?

00:27:16
Speaker 10: They called me, so, yeah, I'm my painting. Can I put it in your computer? I said, yeah, what do you mean? I can bring it to you? And is there an opening in your computer that I can put it in? The Really people were strange people.

00:27:29
Speaker 2: Pretty sure this will be my last episode on the Art World. We're back with more of your insightful listener questions. Aaron Klanderman at Clandera asks love to hear more about your running obsession. Smiley face, what's your routine? Got some good shoe recommendations? Okay, Ultra shoes, tracksmith gear. My favorite thing in the world is group track workouts. But sadly, since COVID, my only running partner has been the thirteen year old son of my friends, who is super speedy and completely plays me. Pretends he's all exhausted and then destroys me on the final interval. Speaking of Tracksmith, you may have heard some of their ads on Revisionist History. I'm a huge fan of their stuff, wear it all the time. And a few weeks ago, the founder of Tracksmith asked me could he convince me to write the copy for an ad they were making, And I said sure, because I don't know if you know this, but my ambition coming out of college was to be a copywriter. I applied to twenty eight ad agencies and got twenty eight rejection letters, which I put on the wall of my dorm room. So I'm a frustrated ad guy deep down. That's my core identity, which is why I sometimes go a little crazy on the ads I do for Revisionist History. Do you remember Horace Throgbottom of the law firm throg Bottom, throg Bottom and Throgbottom. That was a character I cooked up with my producer Jacob Smith for zip Recruiter. Really and where do you work now?

00:29:09
Speaker 11: Started?

00:29:09
Speaker 9: I'm a partner at a throg Bottom and throg Bottom.

00:29:12
Speaker 2: Horrse, my man, let's drink to.

00:29:14
Speaker 9: Your future chinchin.

00:29:18
Speaker 2: If your horse cab at throg Bottom the first It's easy to figure out who to hire. But if your last name is in throg Bottom, you need zip recruiter. The point is the head of some little startup who makes my favorite running stuff comes to me and says, do you want to help? Out of course I'm going to say yes. So here it is the video of this is a couple of runners, including the great Mary Kine, running through darkened, lonely streets. You could always stay in bed, pull up the covers, pour a stiff drink, order in worry. You could always let someone else take on the world. Actors playing heroes, pounding soundtrack, that thing where they take on great risks, only it's all made up. But then who would you be? Or you could say to the world, I have all I need. I have movement, breath, lungs, daydreams, I have running. Running is a gift. It's so emotional. It's like the email Malcolm Gladwell, is anyone still listening at Harsha Shroud asks higher percentile your mild time for your age group or your l SAT score. There were actually a bunch of questions like this at Production Labs. Writes hello from Germany, what did you score on the l SAT in the Puzzle Rush episode. I get this question all the time.

00:31:13
Speaker 1: Now.

00:31:14
Speaker 2: Back in season four, my then assistant Camille Baptista, and I took the ELSAT not to become lawyers, no, just to see whether a young, brainy whipper snapper like Camille was a match for a savvy, grizzled veteran like me. And at the end of a two episode arc with so much ridiculous build up, I refuse to reveal what our scores were, which apparently left many in the revisionist history universe up in arms. But wait, the whole point of the episode was the standardized tests like the el SAT don't tell us anything meaningful. If you tell someone your score, you're complicit in the scam. Don't ask, don't tell. But we did get one very charming email on the subject from Joan Riddle Steinmann, who teaches choir at Paradigm High School in Salt Lake City. Steinmann wrote a whole song inspired by our l SAT episodes. I'm not kidding. It's called a SCANTRONA day keeps all learning at bay. She said she was coming to New York with her choir and could they perform it for us. This is what she wrote we twenty four singers, four parent chaperones, myself and our school principal would love to sing to him, meaning me we can meet him outside a coffee shop or anywhere and sing the song a cappella. Sadly, because of COVID, the meeting never happened, so we're going to play the song for you now.

00:32:50
Speaker 9: B C DCAC.

00:32:59
Speaker 7: DCB Please mark etes.

00:33:06
Speaker 3: Ictg Hoy, Stuff Katan g, Martin Elsa.

00:33:11
Speaker 2: And staff A SCANTRONA Day is part of Steinmann's musical Solve for X, which you can check out at Solve for x musical dot com. You want to get on my good side, write me songs, Joanes Steinmann, you are a genius, proof that sometimes good things happen outside of Atlanta.

00:33:33
Speaker 6: Fav and just market every time.

00:33:39
Speaker 2: That's all, ladies and gentlemen, stay safe, have a wonderful holiday and see you for season six of Revision's History in twenty twenty one. Revisions His He is produced by Mia LaBelle and le Mingestu with Jacob Smith, Eloise Linton, Kobe Guildford and ann An Aim. Our editor is Julia Barton. Original scoring by the Great Luis Kara Ge You E R R A mastering by Flawn Williams. Special thanks to the Pushkin Crew head a Fine, Carlei Migliori, Maya Knig, Maggie Taylor, Eric Sandler, Jason Cambrell, Martine Gonzalez, and of course l Hafe Jacob Westbrook.

00:34:42
Speaker 1: I'm mocol Bubble.

00:34:50
Speaker 9: Put your pencils down.

00:34:54
Speaker 3: Now.

00:34:55
Speaker 2: I have to sing Little Feed, But I've forgotten and I realized that what I thought with the lyrics to Little Feed, we're not the lyrics A little feet. I thought it was, Oh Atlanta, I hear you calling.

00:35:06
Speaker 1: It's not.

00:35:08
Speaker 2: You don't know the song?

00:35:10
Speaker 9: You guys?

00:35:11
Speaker 2: Do you guys know the song?

00:35:14
Speaker 7: What?

00:35:15
Speaker 2: What's the what's the Are you serious, Eloise?

00:35:19
Speaker 11: Do you know it? Oh?

00:35:21
Speaker 2: My god, came up hold on, I.

00:35:27
Speaker 3: Said, Oh Atlanta, Oh Atlanta, I got.

00:35:34
Speaker 2: To get back. Well, we'll do this later, I said.

00:35:42
Speaker 3: I said, Oh Atlanta, oh Atlanta, I got to get back to you, all right,