Stranger Things Soundtrack: Season 1 Episode 3 - The Story of Foreigner, We WIsh You a Merry Christmas and David Bowie!

<v Speaker 1>Hello, Shirley fans.
<v Speaker 2>For the last three years, Jason and I have been
<v Speaker 2>bringing you the stories behind all of your favorite movies
<v Speaker 2>from the eighties. But today we begin a new series.
<v Speaker 3>In twenty sixteen, the Duffer Brothers introduced the world to
<v Speaker 3>Stranger Things. This show not only changed the way we
<v Speaker 3>all watch television, but surprisingly also truly impacted the music
<v Speaker 3>we listened to, from Africa to Running Up that Hill.
<v Speaker 3>Stranger Things has brought back songs of our past and
<v Speaker 3>introduced them to a whole new generation.
<v Speaker 2>So the Surely you Can't Be Serious Podcasts begins a
<v Speaker 2>new series bringing you the stories behind the songs of
<v Speaker 2>Stranger Things. Hello everybody, and welcome back to the Shirley
<v Speaker 2>you Can't Be Serious Podcast. I am James D.
<v Speaker 1>Graves.
<v Speaker 2>I am here with my good buddy Jason Colvin, and
<v Speaker 2>we are here to talk some Stranger Things music.
<v Speaker 3>Episode three of season one. I've got one question for you,
<v Speaker 3>d Yeah, is that new bra.
<v Speaker 1>Was last episode?
<v Speaker 2>Oh?
<v Speaker 1>Sorry? Last episode?
<v Speaker 3>Hey, it jumps in right where we left off last
<v Speaker 3>episode with Steve and Nancy.
<v Speaker 1>And Barb and Barb, poor Barb man.
<v Speaker 2>These shows I love going back to revisit these episodes.
<v Speaker 2>And preparation for these things. This is such a well
<v Speaker 2>made show. It is, and I know we're here to
<v Speaker 2>talk about the songs, but man, the production is so
<v Speaker 2>good I feel like we need to talk about it
<v Speaker 2>a little bit.
<v Speaker 3>Basically, Barb is stuck in the upside down. Yes, she
<v Speaker 3>was on the diving board at the party, having a
<v Speaker 3>crappy time dropping blood in the water. Yeah, all of
<v Speaker 3>a sudden boom, She's in the upside down. While Steve
<v Speaker 3>and Nancy are making out yep, Eleven down in the basement.
<v Speaker 3>Mike's taking care of her, Yeah, pumping snacks tour, taking
<v Speaker 3>care of her, and their buddy Will is still lost.
<v Speaker 3>Everybody's looking for Will.
<v Speaker 2>And in this episode we discover through flashbacks that Eleven
<v Speaker 2>has more powers than we really knew about right two,
<v Speaker 2>that she is not willing to kill cats, but is
<v Speaker 2>willing to kill orderlies who are trying to throw her
<v Speaker 2>in the closet. They deserved it, and that she's punished
<v Speaker 2>for not killing the cats, so that we know that
<v Speaker 2>there's something fishy going on here. I can't not talk
<v Speaker 2>about this, right. I realized that we're here to talk
<v Speaker 2>about the song, but I just have to say that
<v Speaker 2>So the sheriff goes to investigate at the research facility
<v Speaker 2>and he's very suspect, like he's like, can you show
<v Speaker 2>us the video of the night the kid disappeared? And
<v Speaker 2>when they leave, he's like, did you see any ring
<v Speaker 2>in that video? He called it off for the storm, right,
<v Speaker 2>So they start investigating at the library. He's had a
<v Speaker 2>little little thing with the library and that was kind
<v Speaker 2>of funny. And when they're doing their research, it comes
<v Speaker 2>across this page where doctor Brenner played by Matthew Modine.
<v Speaker 2>He shows up as implicated in some nefarious stuff, including
<v Speaker 2>and this is the first first article that he sees
<v Speaker 2>the mk ultra experiments. I did some looking on this.
<v Speaker 2>This is a real thing. I am sure that a
<v Speaker 2>lot of our Shirley fans know about this, but this
<v Speaker 2>this was my first. This was my first to dive
<v Speaker 2>into this stuff. It is crazy. I mean this is
<v Speaker 2>I mean literally, like we talked about LSD in our
<v Speaker 2>first episode in nineteen fifty three, when Korean prisoners of
<v Speaker 2>war came back to the United States and were like
<v Speaker 2>toting the communist party line, They're like, holy cow, these
<v Speaker 2>guys have been brainwashed, and so what they decided to
<v Speaker 2>do was make their own brainwashing investigation. And with these
<v Speaker 2>completely front organizations that appeared to be educational or treatment
<v Speaker 2>oriented or whatever, they would give people LSD and other mescaline,
<v Speaker 2>other drugs, other weird sort of experimentations on them. I
<v Speaker 2>mean frequently. It was like Nazi war camp crap all
<v Speaker 2>through the CIA for like twenty years, and they spent
<v Speaker 2>twenty million dollars on it. It's insane. My mind was blown.
<v Speaker 2>My mind was blown.
<v Speaker 3>When you called me and said, hey, this do you
<v Speaker 3>know about this? All this stuff?
<v Speaker 2>I was like, who smokes like it's Manchurian candidate style stuff?
<v Speaker 2>Is manasering except real life, right right? And they gave
<v Speaker 2>one of their own guys. They gave like a US
<v Speaker 2>weapons biochemist LSD without him knowing about it, and he
<v Speaker 2>jumped out of a freaking window a week later, like dead.
<v Speaker 3>Don't do drugs, kids, don't don't don't do it. Don't
<v Speaker 3>take drugs from the CIA. Boys and girls. Hey, I've
<v Speaker 3>got another mind blowing thing for you, something we talked
<v Speaker 3>about during our Top Gun episode. Yes, okay, Matthew Modine,
<v Speaker 3>the guy who plays doctor Brenner, Yes, who played Loud
<v Speaker 3>and Swain in Vision Quest, Yes, which I showed my daughter.
<v Speaker 3>She was like, no way, that guy is old and
<v Speaker 3>he's playing a young guy. And you know, yes, Matthew
<v Speaker 3>Modine was the second choice to play Maverick in Top Gun.
<v Speaker 1>Nice.
<v Speaker 3>I'm cruse got it, but their backup plan was Matthew MODI.
<v Speaker 2>I don't know if I'll find a way to throw
<v Speaker 2>this in later, So I'll throw it in now. We're
<v Speaker 2>going to talk about David Bowie and by gosh, eighties
<v Speaker 2>he started acting in addition to his other endeavors, and
<v Speaker 2>he in a movie called The Hunger directed by Tony Scott,
<v Speaker 2>director of Pop Gun.
<v Speaker 3>Yes, that's true.
<v Speaker 1>Terrible movie by.
<v Speaker 2>The way, horrible, not well received.
<v Speaker 3>It's a vampire movie.
<v Speaker 1>So I'm like, awesome.
<v Speaker 3>I like ready for like Friday Night or Lost Boys.
<v Speaker 3>Yea boring, my gosh boy.
<v Speaker 4>Yeah.
<v Speaker 1>Yeah.
<v Speaker 2>To finish up the episode, yeah, Elle is taking the
<v Speaker 2>boys to find him, and we cannot forget that. Joyce
<v Speaker 2>has the lights up and is convinced that Will is
<v Speaker 2>communicating with her through the lights, and then we see
<v Speaker 2>some you know more pushing through the paper stuff. Thankfully,
<v Speaker 2>it's Christmas time and she's able to go out and
<v Speaker 2>buy a whole lot of lights, and then we have
<v Speaker 2>the discovery of what appears to be Will's body at
<v Speaker 2>the end of this episode. Sorry spoiler alert, sorry for
<v Speaker 2>not telling you.
<v Speaker 3>Hey, I do want to give a quick shout out
<v Speaker 3>to my good buddy Tristan Martin, who deserves some credit
<v Speaker 3>and I haven't given him any credit yet. My kids
<v Speaker 3>actually were the final straw in making me sit down
<v Speaker 3>and actually watch Stranger Things. So I'm late to the party.
<v Speaker 3>I joined at season four, but I went back and
<v Speaker 3>started season one, got caught up. But Tristan Martin's been
<v Speaker 3>begging me for years to watch this and he was.
<v Speaker 1>Like, what about me?
<v Speaker 3>What about when I was begging you to watch it?
<v Speaker 3>So Tristan, thank you. You are one of the major
<v Speaker 3>reasons why I watched the show as well.
<v Speaker 1>So fantastic.
<v Speaker 2>It's been a great show, so well done. And I
<v Speaker 2>mentioned last last episode that was the ET episode, like
<v Speaker 2>it was very similar to the ET stuff. This one
<v Speaker 2>was totally close Encounters of the third kind, right right.
<v Speaker 2>Everybody thinks Joyce is losing it. She's thinks she's communicating
<v Speaker 2>with Will from beyond through lights. I mean, she's obviously nuts.
<v Speaker 2>So just turns out she's Richard Dreyfus, and she's right.
<v Speaker 2>It did mean something.
<v Speaker 3>You're exactly right, this means something.
<v Speaker 1>I love watching these.
<v Speaker 3>With my kids because I see, like the thing that's
<v Speaker 3>kind of bending through the walls. I'm like, that's Nightmare
<v Speaker 3>on Elm Street right there.
<v Speaker 1>Yep.
<v Speaker 3>It's like me commentating to my kids. They don't want
<v Speaker 3>to hear it, but.
<v Speaker 1>This is from Ghostbusters.
<v Speaker 3>Yeah, all right, d So it's football season, and so
<v Speaker 3>Tom Brady's forty five years old. He's out there getting
<v Speaker 3>it done. Yeah, he's basically our age. Yeah, and you know,
<v Speaker 3>one of the secrets for his success in the NFL.
<v Speaker 3>Every time he goes out onto the field, before he
<v Speaker 3>goes out of the field, he feels his balls. He
<v Speaker 3>squeezes him, he caresses them. He was actually involved in
<v Speaker 3>a scandal revolving around the pressure of his balls.
<v Speaker 2>Well, if your balls are under pressure, maybe it's because
<v Speaker 2>you got too much jungle going on down there, which
<v Speaker 2>brings us to our sponsor for the day, manscaped dot com.
<v Speaker 3>That's right, let's talk serious for just a second. Okay,
<v Speaker 3>serious twenty serious, twenty. Let's talk serious twenty right. Okay,
<v Speaker 3>your wife, your girlfriend. They want you to be clean
<v Speaker 3>and trim and looking good. They don't want a nasty jungle.
<v Speaker 1>Right.
<v Speaker 3>Manscape has these great products like the lawnmower that's there
<v Speaker 3>to make you look good.
<v Speaker 2>Right, guys, if you go to the barber every couple
<v Speaker 2>of weeks and you take care of all other hair
<v Speaker 2>on your body every year or so, you're doing it wrong.
<v Speaker 3>That's right. Nobody wants to be with a caveman, right,
<v Speaker 3>take care of yourself.
<v Speaker 2>Go to Maandscape dot com. Be sure and use our
<v Speaker 2>promo code which is serious twenty and you'll get twenty
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<v Speaker 2>for you to use. I like the kits where you
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<v Speaker 2>one package.
<v Speaker 3>Don't be a caveman.
<v Speaker 1>Whack it, wack it.
<v Speaker 2>Okay, we're ready to dive into the music. Let's dive
<v Speaker 2>into the music. We've been blathering on for long enough now.
<v Speaker 3>Okay, d So we're diving in right off the bat.
<v Speaker 3>Forty seconds into this episode. Forty seconds, forty seconds, we
<v Speaker 3>basically jump right in with Steve and Nancy who are
<v Speaker 3>under the sheets.
<v Speaker 2>Well, speaking of jump like I had, I was listening
<v Speaker 2>for the song because I knew it came right on.
<v Speaker 2>You're sitting me watching me listen for the song, and
<v Speaker 2>it turns out the first thing that you hear in
<v Speaker 2>the episode is barb goh, I jump clean out of
<v Speaker 2>my seat.
<v Speaker 1>And you died laughing. Yeah, that was funny, but yes.
<v Speaker 2>About forty seconds after that, we see Steve and Nancy
<v Speaker 2>getting down, getting with it.
<v Speaker 1>Things about to happen.
<v Speaker 3>He's checking out her new bra.
<v Speaker 2>Her new bra, and then the BRA's gone, and all
<v Speaker 2>sorts of stuff's happening.
<v Speaker 3>But you dive right in with one of the eighties
<v Speaker 3>great power ballads, a song called Waiting for a Girl
<v Speaker 3>Like You by Foreigner, And this is the perfect song
<v Speaker 3>to have in this spot because it's not only a
<v Speaker 3>huge song of the huge song of the eighties, it
<v Speaker 3>is a power ballad that when you mix a romantic
<v Speaker 3>scene in with a terrifying scene, it takes all of
<v Speaker 3>those cool synthesizers that they're doing and makes them much
<v Speaker 3>more eerie. It is a chuck the position, if you will,
<v Speaker 3>of Beauty and Horror.
<v Speaker 1>Back and back.
<v Speaker 3>Let's talk about that song for just a second. Then
<v Speaker 3>we'll talk about Foreigner for a second. Okay, So the
<v Speaker 3>song reached number two, and only number two. It actually
<v Speaker 3>has the distinct honor of being number two for ten weeks.
<v Speaker 1>Ten weeks.
<v Speaker 3>That's like some kind of record.
<v Speaker 1>It is a record.
<v Speaker 2>Actually is the longest that any song has been at
<v Speaker 2>number two and not made it to it's number one.
<v Speaker 1>Yeah, I think who did I tell you that? The
<v Speaker 1>other one was Missus Elliott. Yes.
<v Speaker 3>So Foreigner releases this song October of nineteen eighty one.
<v Speaker 3>By January of nineteen eighty two, it reaches number two,
<v Speaker 3>but it's blocked for nine weeks by a song called
<v Speaker 3>Physical by Olivia Newton John.
<v Speaker 2>Well, I like to listen in the Olivia Newton John's
<v Speaker 2>body talk.
<v Speaker 3>That song was eighties iconic. You said nine weeks though,
<v Speaker 3>and this was on the chart for ten weeks. Well,
<v Speaker 3>then you have a song by Hall of Oates called
<v Speaker 3>I Can't Go for that.
<v Speaker 2>Two icons of the eighties keeping another icon of the
<v Speaker 2>eighties out of the number one spot.
<v Speaker 3>So it leapfrogged, it went to number one, blocked it again,
<v Speaker 3>and then that last week Jay Giles band Centerfold takes
<v Speaker 3>the number one spot and Foreigner drops to number three.
<v Speaker 3>It just missed its window.
<v Speaker 2>And this song comes off of their fourth album, appropriately
<v Speaker 2>titled four. Right, it would have been a good comparison
<v Speaker 2>for us on Toto's four, which is what we did
<v Speaker 2>whenever we had our first episode and we talked about Africa.
<v Speaker 1>That's right.
<v Speaker 2>But we still have it out there to compare to
<v Speaker 2>somebody else. I'm not sure who that is yet, but
<v Speaker 2>it is an icon album. And I asked my brother,
<v Speaker 2>I'm like, how did this get by me? You know, like, hey,
<v Speaker 2>older brother that introduced me to all of the eighties bands.
<v Speaker 2>Did you ever own the four tape or anything? He
<v Speaker 2>was like, no, I always wanted it, but it was
<v Speaker 2>like something else always came up that I picked it
<v Speaker 2>over that one. So before we get into four itself,
<v Speaker 2>let's talk about how they how the band came to
<v Speaker 2>be all right, sure, okay, So Mick Jones is the man,
<v Speaker 2>like he is the founder of the band, so throwback
<v Speaker 2>to him. He was a guy who started playing music
<v Speaker 2>very early, got a ukulele, yeah, and loved it and
<v Speaker 2>played it all the time and decided to become a guitarist.
<v Speaker 2>The first band that he got involved with was a
<v Speaker 2>band called Nero and the Gladiators.
<v Speaker 3>I know, flashback to our Gladiator episode.
<v Speaker 2>I knew you were going to do that. So he
<v Speaker 2>plays with them, and their gimmick was Nero was in
<v Speaker 2>a toga and the gladiators were in gladiator gear up
<v Speaker 2>on stage.
<v Speaker 4>Right.
<v Speaker 2>Right, He ends up a secession musician in France. He
<v Speaker 2>wrote songs for Johnny Holliday, who was considered the Elvis
<v Speaker 2>of France.
<v Speaker 3>Right, I thought that I'm like the freaking French Elvis.
<v Speaker 2>Right, the French Elvis. And there's a song I want
<v Speaker 2>to butcher the pronunciation here. We need Melissa Mingle over
<v Speaker 2>here to help us pronounce this. But talk to Cassier.
<v Speaker 2>I'm guessing is the name of the song.
<v Speaker 3>Hey we wee?
<v Speaker 1>Yeah, you know who played guitar, No, Jimmy.
<v Speaker 3>Pay Jimmy Page. Jimmy Page played guitar on the French
<v Speaker 3>Elvis's song written by Mick Jones. Hey wait now the
<v Speaker 3>French ol We got the French Elvis. Yeah, and remember
<v Speaker 3>when we talked about the Minneapolis Wham. Yeah, it was
<v Speaker 3>amber one hit Wonder, right. So guys, hey, guys, if
<v Speaker 3>you want to check out our one Hit Wonder episode,
<v Speaker 3>to be sure and go to our Patreonpatreon dot com
<v Speaker 3>Backslash Shirly podcast, and you can hear all about the
<v Speaker 3>Minneapolis Wham. That's right, that's right. You talked about that
<v Speaker 3>on the Jets episode.
<v Speaker 2>So he's doing pretty well, like he's making money as
<v Speaker 2>a musician. He ends up making friends with the Beatles.
<v Speaker 2>He ends up in this band called Spooky Tooth that
<v Speaker 2>does a okay.
<v Speaker 1>For a while.
<v Speaker 2>So Luke Ematico gives him this LP from Black Sheep.
<v Speaker 2>Lugarmatico's band and Mick Jones' band is in New York
<v Speaker 2>at the time.
<v Speaker 3>Right, So just a quick thing on Spooky Tooth.
<v Speaker 1>Spooky Tooth.
<v Speaker 3>Yeah, the original singer for Spooky Tooth was a guy
<v Speaker 3>named Gary Wright. If you've seen Wayne's World, you've heard
<v Speaker 3>this guy seeing Gary Wright seeings dream Weaver. Okay, so
<v Speaker 3>here you go. I've got some stuff on Black Sheep.
<v Speaker 3>Black Sheep was a band in the early seventies. They
<v Speaker 3>were actually the first band signed by Chrysalis. Yeah, I
<v Speaker 3>was going to tell you this, Okay, So if you'll remember,
<v Speaker 3>we talked about Chrysalis a lot during the Huey Lewis
<v Speaker 3>in the News episode. Right, Huey Lewis made the album
<v Speaker 3>Sports but Chrysalis was kind of falling on bad times.
<v Speaker 3>They were calling and no one was answering in New
<v Speaker 3>York and in London, and they were not going to
<v Speaker 3>turn their album over to a company going out of business, right.
<v Speaker 2>They would sleep with the originals underneath their.
<v Speaker 3>Pillow flashback to our hear listen in his sports episode
<v Speaker 3>Black Sheep is acquiring some success. They actually become the
<v Speaker 3>opening band for Kiss and in the seventies band that's
<v Speaker 3>a huge deal.
<v Speaker 1>Absolutely.
<v Speaker 3>So they have this they're traveling and they have this
<v Speaker 3>accident where their equipment truck crashes and destroys all their equipment.
<v Speaker 2>Yes, it's the New York State Thoroughfare covered in ice.
<v Speaker 2>All of their band equipment is destroyed. And band equipment
<v Speaker 2>is expensive. It is, It is very expensive.
<v Speaker 3>And Gene Simmons and Paul Stanley are like, sorry, fellas,
<v Speaker 3>sucks to be you, good luck, see you later.
<v Speaker 2>So Mick Jones also at this around this same time,
<v Speaker 2>his band is falling apart as well, falls apart there
<v Speaker 2>while he's in New York and he's got no money,
<v Speaker 2>so he's stuck in New York. Oh wow, So he's
<v Speaker 2>working as this session musician and producer A little bit
<v Speaker 2>in New York. But he he's got all these songs
<v Speaker 2>that are coming into his head and he's like, man,
<v Speaker 2>maybe I just should start my own band instead of
<v Speaker 2>just being the guitarist for somebody else's band, I'll start
<v Speaker 2>my own band. So he gets together with Ian McDonald
<v Speaker 2>who is from King Crimson, and they decide to form
<v Speaker 2>a band together, form the band trigger right, yes, And
<v Speaker 2>so they're picking other guy's up, Al Greenwood, some other
<v Speaker 2>folks to be a part of the band, but they
<v Speaker 2>still haven't found a singer. And suddenly he remembers this guy,
<v Speaker 2>Lou Grammatico, that had given him this Black Sheep LP
<v Speaker 2>and he's like, hey, let's give that guy a call. Well,
<v Speaker 2>when Black Sheep's equipment truck wrecked and all of their
<v Speaker 2>equipment broke, he had to find another job. You know
<v Speaker 2>what lu Grammatico was doing when he got a call
<v Speaker 2>for mc jones. No, he was a janitor for a
<v Speaker 2>public service building. He was cleaning toilets and mopping floors.
<v Speaker 2>You know we've talked about in our Journey episode. When
<v Speaker 2>Steve Perry got the call, he had gone home and
<v Speaker 2>was working at his stepdad's turkey ranch.
<v Speaker 3>He was done with music.
<v Speaker 2>He's done with music. Whenever Brian Johnson got the call
<v Speaker 2>for ac DC, he was putting carmon shields in right.
<v Speaker 2>He was working as a mechanic, basically occasionally singing at
<v Speaker 2>a club here and there, and you know, doing a
<v Speaker 2>Hoover vacuum commercial every once in a while.
<v Speaker 1>Now Lugermatico gets this.
<v Speaker 2>Call, they fly him up to New York. Within the
<v Speaker 2>first two lines of him singing, they're like, this is
<v Speaker 2>our guy. But Lugermatico doesn't sound as cool as another name,
<v Speaker 2>and so he changes his name to lou Graham lu
<v Speaker 2>Graham and the band has to change their name from
<v Speaker 2>Trigger to Foreigner and they start working on their first album.
<v Speaker 2>So their first album is an incredible success. And it's
<v Speaker 2>funny because I heard Al Greenwood talking about this. He's like,
<v Speaker 2>I was so excited we were listening to these songs,
<v Speaker 2>were blown away at how good they were. So when
<v Speaker 2>the finally gets done, I take it, I have it
<v Speaker 2>at my party and play it for all of my
<v Speaker 2>friends and it gets done and they're like, that was terrible.
<v Speaker 2>Like number one, get new.
<v Speaker 3>Friends, get differends?
<v Speaker 1>What right? And number two how wrong? Could they be?
<v Speaker 3>They were so wrong.
<v Speaker 1>Not only were they rude, they were out of touch
<v Speaker 1>with what good music was.
<v Speaker 3>Because that first album blew ups up the man in Me,
<v Speaker 3>which is great, except this was a studio band, like
<v Speaker 3>Mick Jones had put this together and his whole purpose
<v Speaker 3>was to do a record, not to go out and tour.
<v Speaker 1>But when this.
<v Speaker 2>Album does as well as it does, they have to
<v Speaker 2>go tour to support the album. Well, the problem is
<v Speaker 2>they've never played live on stage before. It took a
<v Speaker 2>little bit for them to get up to steam, but
<v Speaker 2>after a while they perfected their stage act and they
<v Speaker 2>hit another couple of albums. Mick Jones kind of seemed
<v Speaker 2>to be a task master, a bit of a heart
<v Speaker 2>as if you will. He's third yeah yeah, and he
<v Speaker 2>ends up firing the bass player because he feels like
<v Speaker 2>he's not jelling. Well, I mean, we're talking about a
<v Speaker 2>band where they're having all kinds of success. He fainted.
<v Speaker 2>The bass player fainted. But they keep going and their
<v Speaker 2>third album didn't do as well, and so they decided
<v Speaker 2>to slim down the band from a sextet to a foursome.
<v Speaker 2>They got rid of Ian McDonald, who was one of
<v Speaker 2>the remorators.
<v Speaker 3>Yeah, so we're talking about classics here. Okay, So the
<v Speaker 3>first three albums, yeah, listen to this feels like the
<v Speaker 3>first time Cold as Eyes, Hot Blooded, Double Vision, Dirty
<v Speaker 3>White Boy, Head Games, those first three album I mean
<v Speaker 3>you're talking about rock and roll royalty, right.
<v Speaker 2>The monster hits. They were breaking records with how well
<v Speaker 2>their songs were doing.
<v Speaker 3>Their first eight singles cracked Billboard Top twenty.
<v Speaker 1>Nobody had done that since the Beatles, that's right.
<v Speaker 3>So in nineteen eighty one, they go to record their
<v Speaker 3>fourth album, which they.
<v Speaker 1>Call four Created.
<v Speaker 3>You know who their producer is?
<v Speaker 2>I do, And I also know how they got their
<v Speaker 2>original record deal. They signed with Atlantic. Do you remember
<v Speaker 2>who the A and R guy for Atlantic is. It's
<v Speaker 2>a guy we talked about in our White Snake episode
<v Speaker 2>and a guy that we talked about in our Aerosmith episode,
<v Speaker 2>John Kladner. John Klaudner. If you don't know who he is,
<v Speaker 2>go back and check those episodes out. But just to
<v Speaker 2>throw you a picture in the Dude looks like a
<v Speaker 2>Lady video, he's the guy dressed up in the wedding
<v Speaker 2>dress with his easy top beard.
<v Speaker 1>Right.
<v Speaker 2>He is the one of the most successful an R
<v Speaker 2>guys of all time, and he recognized Foreigner for a
<v Speaker 2>possibility to be a record breaking band, and he was
<v Speaker 2>absolutely right. And so yes, by the time we get
<v Speaker 2>to four, they're like, who do we get to produce this?
<v Speaker 2>We are looking for some singles, We're looking for something
<v Speaker 2>that's going to be chart topping hits. Who do we get, well, who,
<v Speaker 2>of course.
<v Speaker 1>Do you get?
<v Speaker 3>You call Mutt Langa, Mutt Lang, Baby, Mutt Lang, the
<v Speaker 3>guy who did Back in Black, who did ultimately he
<v Speaker 3>did Pyromania, but he did Hi and Dry with def Leppert.
<v Speaker 3>The guy is a hit maker and he's great at
<v Speaker 3>polishing stuff, make it radio friendly, making it hits. Yeah,
<v Speaker 3>and boy did he knock it out of the park
<v Speaker 3>with this album. So I think it's interesting the difference
<v Speaker 3>in philosophy between Lou Graham and Mick Jones. Yeah, okay,
<v Speaker 3>And actually Mick Jones goes on to produce an album
<v Speaker 3>where the same philosophy is rearing its ugly head in
<v Speaker 3>the mid eighties.
<v Speaker 2>Okay, you wouldn't be happy to talk about the first
<v Speaker 2>Van Hagar album, would you say?
<v Speaker 3>Yes? I am my favorite one fifty one fifty. Mick
<v Speaker 3>Jones actually is one of the producers for fifty one
<v Speaker 3>to fifty.
<v Speaker 2>Guys, if you haven't checked out our van Halen Versus
<v Speaker 2>van Hagar episode, please go check that out. It's one
<v Speaker 2>of our best three episode series. It was so fun
<v Speaker 2>to do and there's so much story in all of
<v Speaker 2>that stuff.
<v Speaker 1>But yeah, fifty one fifty, I mean.
<v Speaker 3>Eddie van Halen's like, hey, guys, I want to bring
<v Speaker 3>synthesizers into this rock band and make radio friendly hits.
<v Speaker 1>Yeah.
<v Speaker 3>Mick Jones is like, I think that's a great idea.
<v Speaker 1>I can go with that.
<v Speaker 2>Okay, So now what's interesting about this song number one?
<v Speaker 2>It was a change for him, right, yes, And it
<v Speaker 2>was a change that some of the band was behind
<v Speaker 2>and some of the band wasn't. A little bit later
<v Speaker 2>on it was eighty five, they come out with another
<v Speaker 2>song that is a power ballad, synthesizer heavy song that
<v Speaker 2>is their only number one hit, beautiful song, but the
<v Speaker 2>song that broke.
<v Speaker 3>The band, Waiting for a Girl Like You. As you mentioned,
<v Speaker 3>power ballad, I mean, one of the biggest songs of
<v Speaker 3>the eighties. How do you argue with that success? Well,
<v Speaker 3>lou Graham argued with it, right, He's like, we're a
<v Speaker 3>rock band, you know, right, And So in nineteen eighty five,
<v Speaker 3>Mick Jones calls up Lou Graham and says, hey, man,
<v Speaker 3>I've got the bones to a song that I'm working
<v Speaker 3>on and I think it's great. Once, come on over.
<v Speaker 3>So Lou Graham lives about fifteen minutes away, he drives over.
<v Speaker 3>They pound it out, they work on it, they had
<v Speaker 3>it hammered out, and the song is called I Want
<v Speaker 3>to Know What Love is?
<v Speaker 4>And there's been a hot, aching pain. Don't you fucking
<v Speaker 4>found travel so to change love? I want to know
<v Speaker 4>I wanta shove.
<v Speaker 2>Dude, Dude, it touches you in a way. I mean,
<v Speaker 2>you did say what you will about what this did
<v Speaker 2>to the band. But man, that song is movie.
<v Speaker 3>It's epic and it was a.
<v Speaker 1>Global smash, right Yeah.
<v Speaker 3>So here's the tough thing about that song. So when
<v Speaker 3>Lou Graham and Mick Johns sit down and they write
<v Speaker 3>the song together, you build it, you polish it, you
<v Speaker 3>massage it, you work on it, you arrange it, you
<v Speaker 3>compose it, you do all these things to it, and
<v Speaker 3>at the end of the day, when you're done with it,
<v Speaker 3>you have to decide what percentage did you do? What
<v Speaker 3>percentage did I do? It? Has to do with money
<v Speaker 3>and royalties and all this other stuff. It is big business, right.
<v Speaker 3>So lou Graham said, there was lots and lots and
<v Speaker 3>lots of times where it was fifty percent him, fifty
<v Speaker 3>percent meet. That's just how it went. And usually if
<v Speaker 3>there was a discrepancy, they'd kind of meet in the
<v Speaker 3>middle and they'd call it good. So after they had
<v Speaker 3>done this, when they sat down at the table, lou
<v Speaker 3>Graham wrote down his number, Mick Jones wrote down his.
<v Speaker 1>Okay.
<v Speaker 2>They were saying what they thought their percentage contributed.
<v Speaker 3>Will you write down what you think what we both did.
<v Speaker 3>I'll write down what I think we both did. So
<v Speaker 3>Lou Graham wrote down sixty five, thirty five, sixty five,
<v Speaker 3>Mick Jones thirty five Lou Graham, okay, And Mick Jones
<v Speaker 3>wrote down ninety five Mick Jones five percent Lou Graham.
<v Speaker 3>And that was super, super insulting to lou Graham. And
<v Speaker 3>he's like, you're basically saying that I did almost nothing
<v Speaker 3>on this song. He's like, man, I gave my heart
<v Speaker 3>and soul. He's like, this all this is is greed.
<v Speaker 3>So in fact, why don't you just keep it all?
<v Speaker 1>And so bick Jones.
<v Speaker 3>Said fine, I well, and he did, and he got
<v Speaker 3>all the royalties for that song. And it was a massive,
<v Speaker 3>massive song, no.
<v Speaker 1>Massive massive song.
<v Speaker 2>And ultimately Lou Graham was like, I'm not interested in
<v Speaker 2>being the lead singer for Foreigner anymore.
<v Speaker 3>Screw you, hit you and your greed. You can have
<v Speaker 3>all the royalties. I'm out of here. Yeah, I want
<v Speaker 3>to drop just a couple of nuggets on Lou Graham
<v Speaker 3>before we move on. So in nineteen eighty seven, he
<v Speaker 3>comes out with a song.
<v Speaker 1>Called Midnight Blue.
<v Speaker 4>Midnight Blue.
<v Speaker 3>That song, to me is just an epic radio friendly hit.
<v Speaker 3>I love it. It's great. Also, in nineteen eighty seven, he
<v Speaker 3>gives a song to the Lost Boys soundtrack flashback to
<v Speaker 3>Our Lost Boys Versus Friday Night episode. That song is
<v Speaker 3>called Lost in the Shadow. So and it really sets
<v Speaker 3>the tones. Great song.
<v Speaker 1>Oh it is a great song. Okay for sure.
<v Speaker 3>Now then I've got to put the end on the
<v Speaker 3>story of Lou Graham. This is incredible. You're ready for this, sure.
<v Speaker 3>So in nineteen ninety one, he realizes and I've got
<v Speaker 3>a drug problem. So he goes right from a show
<v Speaker 3>at New York City's Madison Square garden. His friend finds
<v Speaker 3>place in Minnesota, so he goes and he spends thirty
<v Speaker 3>days there and he says it's the greatest thirty days
<v Speaker 3>of his life. And it gets him clean, gets him
<v Speaker 3>off drugs, and he really grows spiritually. So he becomes
<v Speaker 3>born again Christian in the mid nineties. And I thought
<v Speaker 3>this was really interesting. He actually sang for the Christian
<v Speaker 3>rock band Petra, which any good Christian boy in the
<v Speaker 3>early eighties listened to Petra for a little bit, right,
<v Speaker 3>So he sings with Petra. But in nineteen ninety seven
<v Speaker 3>he starts to have these headaches, headaches so bad they actually,
<v Speaker 3>he said, they crossed his eyes, like he couldn't uncross
<v Speaker 3>his eyes. And this is the day before they have
<v Speaker 3>this tour with Japan. He's back with Foreigner now yea,
<v Speaker 3>and he goes in. They do a scan on his
<v Speaker 3>brain and they find a non cancerous tumor the size
<v Speaker 3>of a large egg and it has tentacles wrapped around
<v Speaker 3>his pituitary gland and his optic nerve.
<v Speaker 1>Oh my god.
<v Speaker 3>He talks to a friend who recommends a surgeon who
<v Speaker 3>is like the best in the world of brain tumors.
<v Speaker 3>So he goes and he sees this guy and the
<v Speaker 3>guy says, it's inoperable. Get your affairs in order, you're
<v Speaker 3>on your way out.
<v Speaker 1>Wow.
<v Speaker 3>So he goes home, obviously distraught, and he just happens
<v Speaker 3>to turn on the TV and he's watching twenty twenty
<v Speaker 3>and he sees a special where there's a surgeon who
<v Speaker 3>uses lasers to remove brain tumors that are previously thought
<v Speaker 3>to be inoperable.
<v Speaker 2>Shouldn't be laughing, this is really I just imagining that
<v Speaker 2>the doctor's name is doctor.
<v Speaker 1>Evil, and he uses that's okay, I know lou.
<v Speaker 2>Graham lives, so I can laugh at this point.
<v Speaker 3>Right.
<v Speaker 5>That's right.
<v Speaker 2>That's a terrifying moment for him at that stage.
<v Speaker 3>I mean, can you imagine you're at your house, You're thinking,
<v Speaker 3>I've got an inoperable brain tuber. I'm going to die,
<v Speaker 3>and I'm happen to see this TV show that mentions this.
<v Speaker 3>Two days later, he was in a surgery for eighteen hours.
<v Speaker 3>They carved it out, and he is alive and well today.
<v Speaker 1>Yeah.
<v Speaker 3>In fact, he said he believes that God supernaturally caused
<v Speaker 3>him to be in front of the television at that
<v Speaker 3>exact moment so that he would see that, so this
<v Speaker 3>his life would be spared. He said, Now then, because
<v Speaker 3>of all that, the song, I want to know what
<v Speaker 3>love is. I have special meaning, spiritual meaning.
<v Speaker 1>Nice.
<v Speaker 3>There you go. Okay, so switch back to the song
<v Speaker 3>for just a second.
<v Speaker 1>Day.
<v Speaker 3>You have that fifteen second ambient music at the very beginning,
<v Speaker 3>that strong, strong keyboard. You know who plays that keyboard?
<v Speaker 3>I do tell us who plays that keyboard.
<v Speaker 1>It's Thomas Dolby. Tomas, she blinded me with science.
<v Speaker 3>Thomas Dolby was nineteen years old, fresh off the turnip truck. Yes,
<v Speaker 3>he was recording some music and kind of playing with
<v Speaker 3>some stuff, and he knew that Mutt Lang recorded at
<v Speaker 3>this particular studio, and so he rented some time there
<v Speaker 3>in the hopes that he would bump into mut Lange,
<v Speaker 3>and sure enough he did, and because of that he
<v Speaker 3>ended up playing on the Foreigner record, and because of
<v Speaker 3>that he ended up getting his own record, and it
<v Speaker 3>gave us the one hit wonder. She'd blinded me with science.
<v Speaker 2>You you mentioned to me that like when he came in,
<v Speaker 2>that Mutt Lang liked his stuff, and so he said
<v Speaker 2>you should sing back up. What a great way to
<v Speaker 2>get a friendship developed? You know what your voice is great.
<v Speaker 2>You should sing backup on this song for a great idea.
<v Speaker 2>He also, by the way, played keyboards on one of
<v Speaker 2>our one hit wonders, the first one hit wonder.
<v Speaker 3>Video Killed the Radio Star yep. And he also played
<v Speaker 3>keyboards on def Leppard's Pyromedia.
<v Speaker 1>There you go.
<v Speaker 3>How about that suns the Muttlane connection there it is? Okay,
<v Speaker 3>So one more thing before we leave foreigner Okay. He
<v Speaker 3>was married to and Dexter Jones, who was a socialite,
<v Speaker 3>but she was the mother of three relatively famous children.
<v Speaker 3>One of them is Mark Ronson. That name any meaning
<v Speaker 3>thing to you? Yes, Mark Ronson did a Bruno's Mars
<v Speaker 3>song Uptown Funk.
<v Speaker 1>That's it.
<v Speaker 3>I got it uptown fuck no way. I felt like
<v Speaker 3>we were on Jeopardy there for a second, Lovetown Funky.
<v Speaker 3>Every Bruno Mars song that you possibly can updown for.
<v Speaker 2>So the best Bruno Mars song was produced by the
<v Speaker 2>step son of Mic Jones.
<v Speaker 1>How about that DJ for him?
<v Speaker 3>That's cool?
<v Speaker 1>Yeah.
<v Speaker 3>By the way, Mick Jones also executive producer on the
<v Speaker 3>Billy Joel album Stormfront, which had we Didn't Start the Fire?
<v Speaker 1>Oh nice, good one?
<v Speaker 3>All right? Are we done with Foreigner.
<v Speaker 2>Yeah, I think it is time to move on to
<v Speaker 2>our next song in the episode. Okay, next song in
<v Speaker 2>this episode comes in at sixteen twenty two. Joyce has
<v Speaker 2>realized that the lights mean something, okay, really something right,
<v Speaker 2>and so she's gotten out all of her Christmas lights.
<v Speaker 2>She's put them all up everywhere to give a little
<v Speaker 2>tracers for Will to communicate with her from wherever he is,
<v Speaker 2>because at this point we don't know. And then she
<v Speaker 2>runs out of Christmas lights and decides time to go
<v Speaker 2>back to her old job at the general store and
<v Speaker 2>pick up some nuance. And when she walks in, what's
<v Speaker 2>playing over BPA. Well, it's Christmas time. So it's a
<v Speaker 2>song called we Wish You a Merry Christmas. Okay, So
<v Speaker 2>this is a traditional song. This one was arranged by
<v Speaker 2>Joel Laervold and was performed, according to the records that
<v Speaker 2>I have here, was performed by the Joel Evans Quartet.
<v Speaker 2>Now I will say this. I went and tried to
<v Speaker 2>pull that up, and when I listened to it, it
<v Speaker 2>is an instrumental there's no singing. When I watched the episode,
<v Speaker 2>it's a woman singing. There's no question. It's a woman singing.
<v Speaker 2>So I don't know where the disconnect is, but there's
<v Speaker 2>something unusual going on there. But not many people are
<v Speaker 2>unfamiliar with the song, both the music and the words.
<v Speaker 2>But you got something to tell.
<v Speaker 1>Me about this?
<v Speaker 3>I've got a little bit on this one.
<v Speaker 1>Help me ouh.
<v Speaker 3>Okay, I've got some sort of bland background. And then
<v Speaker 3>I've got a punch you in the face nugget that
<v Speaker 3>I can't wait to tell you.
<v Speaker 2>Okay, Well, we don't do bland, so just get by that,
<v Speaker 2>move past the bland.
<v Speaker 1>All right.
<v Speaker 3>Well here's the deal, okay. So we wish you a
<v Speaker 3>merry Christmas is of unknown origin, okay, but it dates
<v Speaker 3>back to at least the sixteenth century, okay, okay, and
<v Speaker 3>it was sung as a Christmas carol by children going
<v Speaker 3>door to door. They would knock on your door. When
<v Speaker 3>you open the door, they would sing this to you, yes,
<v Speaker 3>in the hopes that you would give them a sweet treat,
<v Speaker 3>like pudding, like figgie pudding.
<v Speaker 1>Okay.
<v Speaker 3>And when you think this sounds a little bit odd,
<v Speaker 3>think about what we're gonna do on October the thirty
<v Speaker 3>first this year, right, you know? Yeah, it's the Christmas
<v Speaker 3>version of Halloween.
<v Speaker 6>Yeah.
<v Speaker 1>Now, then caroling for twig spars.
<v Speaker 3>So this guy named Arthur Warrel it actually kind of
<v Speaker 3>gets credit for popularizing and again in nineteen thirty five, Okay,
<v Speaker 3>this guy was a conductor and an organist for the
<v Speaker 3>University of Bristol. He had a performance and where this
<v Speaker 3>song became popular again nineteen thirty five. All right, but
<v Speaker 3>now then this is in England. This becomes popular in
<v Speaker 3>the United States because Ben Crosby records a version of
<v Speaker 3>this on his nineteen sixty three album I Wish You
<v Speaker 3>a Merry Christmas.
<v Speaker 1>I wish you a married Christmas. I wish you a
<v Speaker 1>merry Christmas. I wish you a merry Christmas and a
<v Speaker 1>happy New Year.
<v Speaker 3>Okay, now get this, this is the bomb. I'm ready
<v Speaker 3>to drop on you.
<v Speaker 1>Okay, you my seat.
<v Speaker 3>Okay, so he recorded for his nineteen sixty three album Okay, Now,
<v Speaker 3>before I get to that nugget, I gotta tell you
<v Speaker 3>one more thing. In nineteen seventy nine, John Denver sang
<v Speaker 3>this with the Muppets. Yeah right, and it's a hilarious
<v Speaker 3>version because they sing the bring us some Piggy Pudding
<v Speaker 3>and Miss Piggy is like, what what are you talking?
<v Speaker 3>About you know, they're like figgie pudding, not piggy pudding. Owing,
<v Speaker 3>that's a figgy pudding, now nodding with figs.
<v Speaker 1>Oh sorry, bacon.
<v Speaker 3>Anyway, it's really cute. But in nineteen seventy seven, Bing
<v Speaker 3>Crosby had a Christmas special that was broadcast on national television.
<v Speaker 3>He did a duet with David Bowie. Oh nice, okay, nice,
<v Speaker 3>Now wait for this. So they sang together. They sang
<v Speaker 3>a duet. They sang the Little Drummer Boy Cannon and
<v Speaker 3>it was peace on Earth. It was a mashup. Okay,
<v Speaker 3>so you got the young star, you got the old guy.
<v Speaker 1>Okay. Now.
<v Speaker 3>They released this Christmas special a month after bing Crosby died. Okay, wow,
<v Speaker 3>all right, I recorded it. But during this Christmas special
<v Speaker 3>they broadcast a video of David Bowie's of a song
<v Speaker 3>called Heroes.
<v Speaker 1>Get the Heck out of Town.
<v Speaker 3>Look at that wow? How about that?
<v Speaker 1>Wow?
<v Speaker 2>And if, dear listener, if you are not having your
<v Speaker 2>mind blown right now at what Jason has just said,
<v Speaker 2>it's because you don't know what's coming up, stay tuned
<v Speaker 2>to find out why that's a big deal.
<v Speaker 3>Yeah, wow, boom job, thank you, good job. Nice one,
<v Speaker 3>thank you, thank you.
<v Speaker 1>All right, We're done with that one. Okay.
<v Speaker 2>Next song on the episode is very subtle. You might
<v Speaker 2>overlook it because it is that diegetic music that comes
<v Speaker 2>out from the scene. You actually see the source. In
<v Speaker 2>this particular one, little Elle is wandering around the house.
<v Speaker 2>She wanders up to Nancy's room as fascinated by all
<v Speaker 2>of her stuff, and there's this pretty little music box
<v Speaker 2>like all of the girls in the eighties had, and
<v Speaker 2>she opens it up and there's a little ballery in it,
<v Speaker 2>dancing and the song that is playing is Brahms Lullaby.
<v Speaker 6>Lulab and Goodland the sadness calling Saley to blanket bag
<v Speaker 6>and return out break of.
<v Speaker 1>So.
<v Speaker 2>Our original Patreon member and longtime friend and sometime collaborator,
<v Speaker 2>James Buckley noted after listening to our first episode, there
<v Speaker 2>will be more mentions of John Peel and there will
<v Speaker 2>be more mentions of suicide as these episodes go on. Woo,
<v Speaker 2>I bet you weren't expecting it for Broms.
<v Speaker 1>No, here we go. I don't know.
<v Speaker 3>I have no idea what you're about to say.
<v Speaker 2>Okay, So, Johannes Brahms is considered one of the three
<v Speaker 2>bees Bach Beethoven, Brahms.
<v Speaker 1>That's how I knew who he was.
<v Speaker 2>When I was a little kid, we had a music
<v Speaker 2>book at our piano that was The Three Bees, and
<v Speaker 2>it had songs from all of those guys in it.
<v Speaker 2>His dad was a musician. He taught little Johannes how
<v Speaker 2>to play music, and he got good enough that he
<v Speaker 2>hired some good music teachers. His music teachers actually said
<v Speaker 2>he could really be a phenomenal player if he would
<v Speaker 2>just stop with the composing all the time and focus
<v Speaker 2>more on playing.
<v Speaker 1>How's that for a.
<v Speaker 2>Bad recommendation, right, So he gets another music teacher who
<v Speaker 2>is encouraging to him a little bit more in his composition.
<v Speaker 2>But eventually he becomes a teenager starts to kind of
<v Speaker 2>rebel a little bit. There's rumors that he started playing
<v Speaker 2>in brothels. Well that's what the action is. Just to
<v Speaker 2>imagine this, right, just imagine this, right. This is the
<v Speaker 2>eighteen hundreds, right, But I could just see this like
<v Speaker 2>this is the rock bands that we're talking about. He's
<v Speaker 2>out there playing clubs and he meets this Hungarian guy
<v Speaker 2>who's like a phenomenal He's like the one of the
<v Speaker 2>best violinists around. But He's just like, hey, man, let's
<v Speaker 2>go tour together. And that's what they do. They go
<v Speaker 2>tour together. And this Hungarian named Eddie Ramini go on
<v Speaker 2>a tour together. Okay, and their tour in Germany, right
<v Speaker 2>all over the place, going to all.
<v Speaker 3>These sold out dates. Yes, you got t shirts and everything. Yeah, groupies,
<v Speaker 3>the roupees all over Okay, keep going.
<v Speaker 1>This is great. Okay. So I say this his musical taste.
<v Speaker 2>He was a very structured guy, but then when he
<v Speaker 2>rebelled a little bit, he started investigating new types of music,
<v Speaker 2>and this Hungarian guy inspired him to write songs. Later on,
<v Speaker 2>has changed his style of music a little bit. And
<v Speaker 2>one of the songs that one of the sets of
<v Speaker 2>songs that he wrote are called the Hungarian Dances. Okay,
<v Speaker 2>so he composes all these songs called the Hungarian Dances. Right,
<v Speaker 2>but I'm gonna play this for you. This is Hungarian
<v Speaker 2>Dance number five. I think you're gonna recognize.
<v Speaker 3>It absolutely mainly because of bugs Bunny exactly. Hi, Oh
<v Speaker 3>my gosh, yes, of course.
<v Speaker 2>How many of us gen X folks had our classical
<v Speaker 2>musical education come from Looney Tunes? Absolutely right here, yes,
<v Speaker 2>zoom exactly In.
<v Speaker 3>Fact, I'm gonna throw in this nugget while you're dropping
<v Speaker 3>all this wonderful history on it.
<v Speaker 1>Yes.
<v Speaker 3>In the Looney Tunes episode back Alley Oproar, not uproar,
<v Speaker 3>oproar like opera, I got it, Sylvester is out on
<v Speaker 3>the fence post singing keeping Elmer Fudd awake. Yes, and uh,
<v Speaker 3>Elmer Fudd's finally had enough, and Sylvester starts to sing
<v Speaker 3>the lullaby song to Elmer Fudd, go to sleep, Stop,
<v Speaker 3>go to sleep, close your big bloodshot now you stop.
<v Speaker 1>I've even got a nugget for you on that, my friend.
<v Speaker 3>Oh my gosh, okay, keep going.
<v Speaker 2>So when we very first started talking about the songs
<v Speaker 2>in this one, and then you were like, broms Lullabye.
<v Speaker 3>What is that?
<v Speaker 1>I don't know that one, I'm like no, no, no,
<v Speaker 1>no no no, I'm like, oh you know it, yes,
<v Speaker 1>so we all know it.
<v Speaker 3>From those go to sleep, Go to sleep, close your
<v Speaker 3>big blood shut eyes right.
<v Speaker 1>Yes. Okay.
<v Speaker 2>So back to Brahms and his world tour or you know,
<v Speaker 2>Germany tour or whatever he's touring, and he meets franz
<v Speaker 2>List franz List franz List, who also has Hungarian rhapsody, right,
<v Speaker 2>which we all know from the bugs Bunny the piano thing, me.
<v Speaker 1>Play it for you? Yes, absolutely, you got to. Okay,
<v Speaker 1>here we go. Mm hm. He's chasing the mouse around them.
<v Speaker 3>You got it, Yes, you got it, chasing the mouse
<v Speaker 3>around the piano keyboard.
<v Speaker 2>So he meets Franz List. Now, Franz List takes one
<v Speaker 2>of like just Matt takes one of Brahms musical pieces,
<v Speaker 2>plays it perfectly from sight, like has never heard it
<v Speaker 2>or seen it before, plays a perfect, amazing talent Fran's List.
<v Speaker 2>A little bit later that day, when he's in his
<v Speaker 2>concert and he's playing his own stuff, Franz lenz List's
<v Speaker 2>own stuff Brahms false asleep, and so Eddie says, I'm
<v Speaker 2>breaking up the band. Oh wow, I'm out.
<v Speaker 3>Uh huh.
<v Speaker 2>By the way, just got to throw this in the
<v Speaker 2>Hungarian dances that we listened to just a second ago.
<v Speaker 2>That's in Pigs in a Polka, another one of the
<v Speaker 2>Looney tunes things. Yes, little porky pig looking guys, it's
<v Speaker 2>kind of the three Little Pigs. Yes thing yep, cartoon
<v Speaker 2>education right, absolutely okay. So just after this he meets
<v Speaker 2>another Hungarian violinist. But this guy is arguably the greatest
<v Speaker 2>violinist of the century. Right, his name is Joseph Jaquim. Now,
<v Speaker 2>while he was touring with Eddie, he was like, I
<v Speaker 2>really want to meet Robert Schuman. So he's I mean,
<v Speaker 2>just you can imagine this. This is Jerry Cantrell and
<v Speaker 2>Axel Rose. He sends Robert Schuman music, right, sends him
<v Speaker 2>an envelope of his music. It comes back to him unopened,
<v Speaker 2>no thank you. Well, after meeting Joseph Jacquim, Jakim's like,
<v Speaker 2>I know, Robert, I'll give you a letter of introduction.
<v Speaker 2>He gives him a letter. He shows up to Robert
<v Speaker 2>Schuman's door unannounced, uninvited, just shows up and he's like,
<v Speaker 2>who are you, what do you want? He shows in
<v Speaker 2>a letter by Jacquem and he's like, okay, come in,
<v Speaker 2>and he's like, I just if you just let me
<v Speaker 2>play for you some of my pieces, I indulge me
<v Speaker 2>for just a second. He starts to play and Robert's like, stop, stop, stop, stop,
<v Speaker 2>Clara get in here. Robert Schuman's wife is one of
<v Speaker 2>the greatest pianists of the century as well. He himself
<v Speaker 2>is this fantastic composer, which is why Brahms wanted to
<v Speaker 2>meet him. And so he's like, this is incredible. Listen
<v Speaker 2>to what this kid can do. And so little twenty
<v Speaker 2>year old Broms starts playing the piano again, and both
<v Speaker 2>Clara and Robert Schuman are blown away at how good
<v Speaker 2>he is. And so they start working together. They start
<v Speaker 2>collaborating together, and they start writing some hits.
<v Speaker 3>Hits, hit, Okay.
<v Speaker 2>Four months later, Robert Schumann tries to kill himself. What
<v Speaker 2>he has some sort of mental disorder that people, you know,
<v Speaker 2>doctors looking back in history they say it was probably
<v Speaker 2>bipolar mixed with mercury poisoning. You know, I hate it
<v Speaker 2>when that happens, but I mean, he's he's been a
<v Speaker 2>successful composer. He meets this new kid, they start doing
<v Speaker 2>great things together, and then four months later he's trying
<v Speaker 2>to commit suicide. Crazy wow, crazy enough that he commits
<v Speaker 2>himself to an asylum.
<v Speaker 3>Oh my gosh.
<v Speaker 2>So Broms is left with Clara and Schumann's eight children. Yeah,
<v Speaker 2>and he kind of is like, I'll take care of
<v Speaker 2>you guys, and he kind of acts as that runs business,
<v Speaker 2>the things that men have to do back in the
<v Speaker 2>eighteen hundreds and she was on her game, right, I mean,
<v Speaker 2>she helps support the family even when Robert was there
<v Speaker 2>with her piano plane because she was so good. But
<v Speaker 2>Clara and Johannes Brahms formed this very deep tonicle. Maybe
<v Speaker 2>at the time it had to be that way, but
<v Speaker 2>I think he had stronger feelings for her.
<v Speaker 1>Than she had for him.
<v Speaker 2>But she was married, I mean, the right way to
<v Speaker 2>be right. But they don't indulge. But they're living together.
<v Speaker 2>Her husband is in an asylum. He is taking care
<v Speaker 2>of things, and they have this very deep and meaningful
<v Speaker 2>relationship that is platonic. So what happens then is two
<v Speaker 2>years later, Robert Schuman dies of pneumonia in the asylum.
<v Speaker 2>They say, okay, we'll go on a holiday together. We'll
<v Speaker 2>see how things go, and ultimately it doesn't work out.
<v Speaker 2>She just says I will always love my husband. I
<v Speaker 2>can't love any other man. And they don't end up
<v Speaker 2>getting together, okay, And not too long after that, he's like,
<v Speaker 2>I can't stay here anymore. I need to leave, and
<v Speaker 2>she says after she leaves the train station after dropping
<v Speaker 2>him off, she says, it feels like I'm leaving a funeral,
<v Speaker 2>like it was that much of a devastation, so she
<v Speaker 2>obviously cared deeply for him as well. But I think
<v Speaker 2>they legitimately remained platonical acquaintances with very feelings for each other,
<v Speaker 2>and they remained friends for the remainder of their lives
<v Speaker 2>and neither one of them got married.
<v Speaker 3>Interesting. Yeah, interesting.
<v Speaker 2>So they actually made a movie about this, Okay, it
<v Speaker 2>was called Song of Love. Catherine Hepburn played Clara. Oh wow,
<v Speaker 2>And just to give you an idea, Clara was on
<v Speaker 2>the hundred deutsche mark, like her picture was.
<v Speaker 1>That's how big she was.
<v Speaker 2>And we're not talking about you know, some lady who
<v Speaker 2>plays piano with the local saloon.
<v Speaker 1>She was big time.
<v Speaker 2>She was on the hundred deutsche mark from like nineteen
<v Speaker 2>eighty nine until the euro took over in two thousand
<v Speaker 2>and two.
<v Speaker 1>Wow, she's big time.
<v Speaker 3>That is big time.
<v Speaker 2>And so that brings us to the song Brahms Lullaby.
<v Speaker 2>Well I didn't he didn't call it Brahms lullaby. I mean,
<v Speaker 2>that's ridiculous.
<v Speaker 4>Right.
<v Speaker 3>The name of the song is vigen lead, which I
<v Speaker 3>believe is how the Germans would pronounce it right, not
<v Speaker 3>wagen led, not wagen led no, which does mean lullaby
<v Speaker 3>or cradle song.
<v Speaker 2>This is Opus forty nine, number four. It was first
<v Speaker 2>published in eighteen sixty eight. It is one of his
<v Speaker 2>most popular pieces. You mentioned back Alley Opera, right, that
<v Speaker 2>came out in nineteen forty eight. That involves Sylvester the
<v Speaker 2>cat singing at and two. Elmer Fudd turns out that
<v Speaker 2>in nineteen forty five there was another cat singing the song,
<v Speaker 2>and that cat was Tom from Tom and Jerry. Alright,
<v Speaker 2>that is the first time that we here. Go to sleep,
<v Speaker 2>Go to sleep, close your big, bloodshot eyes. And then
<v Speaker 2>he has another verse, You're a dope and you're a lug,
<v Speaker 2>and I hope you don't wake up, and he at
<v Speaker 2>this point pours knockout drops into Spike the dog's nose
<v Speaker 2>because that's who he's trying to get to go to sleep. Yes,
<v Speaker 2>nineteen forty five. The name of the episode is Quiet
<v Speaker 2>Please to one Real Animated cartoon and is the twenty
<v Speaker 2>second Tom and Jerry short and it won the nineteen
<v Speaker 2>forty five Academy Award for Best Short Subject Cartoons, making
<v Speaker 2>it the third executive win for the Tom and Jerry series.
<v Speaker 3>And it was produced by Fred Quimby. Now three years
<v Speaker 3>later nineteen forty eight. That's when Sylvester is singing to Elmer,
<v Speaker 3>and that one was directed by Friz Friedling, who did.
<v Speaker 1>So many others.
<v Speaker 2>But also in that cartoon is the Hungarian Rhapsody by
<v Speaker 2>Franz List.
<v Speaker 1>Yes, it all comes back.
<v Speaker 3>Yes, I love Looney Tunes and I love Tom and Jerry. Yeah, Okay,
<v Speaker 3>there you go, Brams lalla By and blow Me Away
<v Speaker 3>music Box. I did not know any of that, yeah
<v Speaker 3>when we started. Okay, so we're moving on to the
<v Speaker 3>last song in the episode.
<v Speaker 2>Yea.
<v Speaker 3>It comes in at forty six minutes and fifty seven seconds.
<v Speaker 3>That song is called Heroes by Peter Gabriel.
<v Speaker 5>I wish I could swim like Dauphins, like dove fans
<v Speaker 5>can swim.
<v Speaker 2>Okay, so this song was composed and performed originally, not
<v Speaker 2>by Peter Gabriel. Right before I get there, let's talk
<v Speaker 2>about David Bowie. Yes, okay, without going into the whole history.
<v Speaker 2>He ultimately develops this persona of Zeggy Stardust, right, and
<v Speaker 2>he has this label that he is associated with that
<v Speaker 2>he's really the one that's making all the money for
<v Speaker 2>the label. Right, He's in partnership with the guy who's
<v Speaker 2>his manager, and so he keeps touring, he keeps being
<v Speaker 2>Ziggy Stardust. There's all kinds of money being made. The
<v Speaker 2>only problem is it seems like all of the employees
<v Speaker 2>of the company have like these big spending accounts, and
<v Speaker 2>they've got offices in different parts of the country. And
<v Speaker 2>David Bowie is like, why am I broke right? I'm
<v Speaker 2>doing all the work, I'm making all the money. You
<v Speaker 2>guys are even supporting other acts on the money that
<v Speaker 2>I've made. How is this happening? He finds out that
<v Speaker 2>he is not a partner in the company. He is
<v Speaker 2>an employee of the company. So he's been making a
<v Speaker 2>paycheck like he's got no profit share from the stuff
<v Speaker 2>that he's been involved in. And so at this point
<v Speaker 2>he drops the persona of Ziggy Stardust. He sues his
<v Speaker 2>manager to try to get something back off of all
<v Speaker 2>of this, and he completely changes the way that he
<v Speaker 2>is making music. Oh, by the way, he's also severely
<v Speaker 2>addicted to cocaine at this point. WHOA Like there are
<v Speaker 2>articles about his paranoia and belief in UFOs and all
<v Speaker 2>of these other things that are going on. And I
<v Speaker 2>saw an interview where he like they're doing the interview
<v Speaker 2>in the backseat of the car like they did in
<v Speaker 2>the seventies, you know, and suddenly there's a siren going
<v Speaker 2>and I mean he's he's like completely stand straight up
<v Speaker 2>and he's like, are we gonna pull over?
<v Speaker 1>I mean, they found real right. I don't know how,
<v Speaker 1>but they found me right.
<v Speaker 2>And so he decides to completely change the music that
<v Speaker 2>he's making and he moves out to la and he
<v Speaker 2>meets one of the Beatles again. The Beatles come up, yes,
<v Speaker 2>mister John Lennon who can identify with the troubles that
<v Speaker 2>come along with and so they develop a friendship. David
<v Speaker 2>Bowie goes to Philadelphia during one of his tours and
<v Speaker 2>gets involved with these soul musicians, changes his music in
<v Speaker 2>the middle of the tour, has some backup singers come in,
<v Speaker 2>one of whom is Luther Van Dross. Luther Vandross right
<v Speaker 2>a unknown at that point, and then he ultimately goes
<v Speaker 2>back to New York and John Lennons in New York
<v Speaker 2>shows up at the studio and they write a song together,
<v Speaker 2>and they write a song called Fame. You mentioned in
<v Speaker 2>our first episode that Taya yellow ribbon around the old
<v Speaker 2>Oak Tree was the number one song in May of
<v Speaker 2>nineteen seventy three, which is when you were born, right,
<v Speaker 2>A song that was number one in October of seventy
<v Speaker 2>five when I was born was fame by David Bowie.
<v Speaker 3>That's awesome.
<v Speaker 1>Yes, that's awesome. Way, So he does that.
<v Speaker 2>He ultimately wins the lawsuit or settles somehow with the company,
<v Speaker 2>gets lump some but he's still really addicted to drugs.
<v Speaker 2>But he's still trying to change his style of music,
<v Speaker 2>and he hooks up with this guy from Roxy Music
<v Speaker 2>named Brian Eno. We talked a little bit about Brian
<v Speaker 2>Eno on our YouTube episode Those Amazing Organs that you
<v Speaker 2>hear at the beginning the Joshua Tree album.
<v Speaker 1>That's Brian Eno. Yes.
<v Speaker 2>Also at this point, as he's touring and Iggy Pop
<v Speaker 2>shows up at his door and he's like, Higgy, you
<v Speaker 2>look like crap.
<v Speaker 1>He's like, I'm not doing well. He's bad, addicted to drugs.
<v Speaker 2>He's not had a successful music career, and he said,
<v Speaker 2>David Bowie says, come on tour with me. So Iggy
<v Speaker 2>Pop starts touring on stage, singing with David Bowie on stage,
<v Speaker 2>and then David Bowie produces Iggy's next album, which is
<v Speaker 2>called The Idiot. It brings Iggy Pop back. And then
<v Speaker 2>David Bowie does this album with Brian Eno called Love
<v Speaker 2>and it is totally different than anything he's done before,
<v Speaker 2>and the record company is like, there's no single on
<v Speaker 2>this album. This is and then he's like, I know,
<v Speaker 2>I don't want there to be a single. I'm not
<v Speaker 2>trying to be a pop musician. I'm trying to make
<v Speaker 2>music that I like. The album still is in the
<v Speaker 2>top ten, but there's no singles coming off of it.
<v Speaker 2>And then so the record company is like, okay, well,
<v Speaker 2>you at least have to tour to support this album,
<v Speaker 2>and he goes, no, I don't, And so what does
<v Speaker 2>he do? He tours with Iggy Pop and plays keyboards
<v Speaker 2>for Iggy Pop while he's doing his tour for The Idiot.
<v Speaker 6>Wow.
<v Speaker 2>The next album that comes out after that is The
<v Speaker 2>Is also with Brian Eno, and that brings us to
<v Speaker 2>the song that we're here to talk about today. The
<v Speaker 2>song and the album are both called Heroes.
<v Speaker 3>So awesome, good job you're dropping bombs man. So David
<v Speaker 3>Bowie is tired of being famous, right, Yeah, he's tired
<v Speaker 3>of the fame. Tired of all the trouble, so he
<v Speaker 3>moves to Berlin. Oh yeah, right, so.
<v Speaker 1>I've talked about this.
<v Speaker 2>He was like, they were in a chateau that he
<v Speaker 2>and Iggy were trying to record in a chateau in France,
<v Speaker 2>but somehow they made some sort of scheduling mistake and
<v Speaker 2>they were left without a domestic staff or food. So
<v Speaker 2>no butler, no maide, no cook and no food. So
<v Speaker 2>they're like, man, we're really messed up.
<v Speaker 3>That was starving.
<v Speaker 2>How about we go to Berlin and try to clean
<v Speaker 2>ourselves up off of the drugs. Berlin at this time
<v Speaker 2>is the heroin capital of Europe, but they decided that
<v Speaker 2>was the place to go to clean up.
<v Speaker 1>So they're in Berlin.
<v Speaker 3>So David Bowie rints a cheap apartment above a auto
<v Speaker 3>repair place, and he's just there to hold up and
<v Speaker 3>write songs and hang out and not be famous. The
<v Speaker 3>studio that he starts to record these songs at is
<v Speaker 3>five hundred yards away from the brilliant Wall. Okay, so
<v Speaker 3>the first song that he's working on, Brian E now says,
<v Speaker 3>you know what, I just really like the word heroes.
<v Speaker 3>This little piece that you've got going right here, it
<v Speaker 3>just sounds grand and heroic, and so I think maybe
<v Speaker 3>we could work the title heroes or the words heroes
<v Speaker 3>into it.
<v Speaker 4>Just one day.
<v Speaker 3>So David Bowie's like, okay, let me work on the lyrics.
<v Speaker 3>He said, everybody just get out of the studio and
<v Speaker 3>leave me alone, and that included producer Tony Visconti. Okay, okay,
<v Speaker 3>So Tony Visconti is the producer of this album, and
<v Speaker 3>he says, everybody leave, just leave me alone. Let me
<v Speaker 3>stay in here and work on the lyrics. And so
<v Speaker 3>as he's thinking in brainstorming, he looks out the window
<v Speaker 3>and he sees Tony Visconti, who's married at the time.
<v Speaker 3>He's sneaking away with this woman named Antonia Moss, who
<v Speaker 3>is a backup singer on David Bowie's album. And David
<v Speaker 3>Boye's looking out and he's like, huh, hey, there's Tony
<v Speaker 3>and Antonia. Hey they're kissing. Oh, And he's looking and
<v Speaker 3>it's like there's there're two forbidden fruit lovers stealing a moment.
<v Speaker 3>And David Bowie's like, I could just really tell that
<v Speaker 3>he was in love with her. And so this idea
<v Speaker 3>of forbidden love by the Berlin wall just really inspired him,
<v Speaker 3>and so he wrote this song about two lovers, one
<v Speaker 3>on one side of the wall and one on the
<v Speaker 3>other side of the wall, and they can't ever be
<v Speaker 3>together and it's just this forbidden love, and that gave
<v Speaker 3>birth to the song heroes Love It pretty cool now,
<v Speaker 3>then this is the thing that blows me away. Okay,
<v Speaker 3>this song about this heroic love. Whatever. David Bowie played
<v Speaker 3>this song in nineteen eighty five at Live Aid at
<v Speaker 3>Wembley Arena. We've talked about Live Aid many times. Okay,
<v Speaker 3>so massive thing. But he played it in nineteen eighty
<v Speaker 3>seven in Berlin. Okay, this is still before the wall
<v Speaker 3>came down. This is ten years after he wrote it.
<v Speaker 3>But they actually were up against the wall. Basically the
<v Speaker 3>wall was the backdrop for the stage and he got
<v Speaker 3>word that if we play it loud enough that people
<v Speaker 3>in East Berlin could hear this, and he's so he's like, well,
<v Speaker 3>let's do it. You know, this is awesome. He didn't
<v Speaker 3>know how much or how loud, or you know, what
<v Speaker 3>will be going on over there, but he said, as
<v Speaker 3>he's playing this song, he starts to hear people cheer
<v Speaker 3>and sing from the other side of the Wall said
<v Speaker 3>it was basically one big concert divided by the Wall,
<v Speaker 3>and he says it's the most emotional performance he's ever had.
<v Speaker 3>He can't even talk about it without getting choked up.
<v Speaker 3>And just the idea that Berliner's where he wrote the
<v Speaker 3>song about those people and about that divide, says, just
<v Speaker 3>an amazing experience.
<v Speaker 2>Oh my goodness, Wow, how emotional. That's incredible. Pretty cool, Yeah, fantastic.
<v Speaker 3>Now then Peter Gabriel, yeah, redoes this in twenty ten.
<v Speaker 2>Right, So this song from late seventies. Yes, we're hearing it,
<v Speaker 2>but we're not hearing the David Bowie version. We're hearing
<v Speaker 2>the Peter Gabriel version.
<v Speaker 1>That's right. So both versions are amazing.
<v Speaker 3>Yes, they are both very different, totally different. What s.
<v Speaker 1>Like, there's much more.
<v Speaker 2>Going on orchestra wise with Peter Gabriel's version. So how
<v Speaker 2>did we get here? How do we get to Peter
<v Speaker 2>Gabriel covering David Bewie?
<v Speaker 3>Okay, so this is a really cool story. So in
<v Speaker 3>twenty ten, he comes out with an album called Scratch
<v Speaker 3>My Back. Okay, all right, and it's an album full
<v Speaker 3>of covers and he just goes through and he does
<v Speaker 3>a cover of this artist and this artist and this
<v Speaker 3>artist with the idea that they will in turn cover
<v Speaker 3>one of his songs on an album that they would
<v Speaker 3>in turn call and I'll scratch yours. Okay, right, yeah,
<v Speaker 3>so this is pretty cool. So just to mention a couple.
<v Speaker 3>Randy Newman, who you may know from the song I
<v Speaker 3>Love La, Sure, he does the song Big Time, Lou
<v Speaker 3>Reed does Salisbury Hill. Brian Eno actually does a song
<v Speaker 3>called Mother of Violence.
<v Speaker 1>Okay.
<v Speaker 3>David Bowie, however, declined to cover one of Peter gabriel songs,
<v Speaker 3>which is kind of not but I thought this was interesting.
<v Speaker 3>So about that difference. So it's totally different. Peter Gabriel's
<v Speaker 3>version is completely different. This was his quote. I thought
<v Speaker 3>this was great. If you're going to reinterpret something, then
<v Speaker 3>really do something. Nail your colors to the mast and
<v Speaker 3>say this is different and it isn't everyone's cup of tea.
<v Speaker 1>Yeah.
<v Speaker 3>When I drove up here, I listened to both of these,
<v Speaker 3>I'm like, man, this song is awesome. And then I
<v Speaker 3>turned around, I'm like, well, this song is awesome, but
<v Speaker 3>they're absolutely different. Yep, but here's the kicker.
<v Speaker 1>You ready for this? Yeah?
<v Speaker 3>This is my bomb for you. Okay, yeah, all right,
<v Speaker 3>so one of these days the you and I are
<v Speaker 3>going to have to cover the album so by Peter Gabriel.
<v Speaker 1>Absolutely, I'm a huge album in nineteen eighty six. Huge, Okay.
<v Speaker 3>It has Sledgehammer, it has big Time, it has in
<v Speaker 3>your Eyes. It also has a song on there called
<v Speaker 3>Don't Give Up, which is a duet. The other singer
<v Speaker 3>in that duet is Kate Bush Get the heck out
<v Speaker 3>of Town, who has maybe the biggest song in the
<v Speaker 3>entire Stranger Things universe running up that Hill make it.
<v Speaker 1>Yeah, wow, that's wow.
<v Speaker 4>How about that?
<v Speaker 1>Yeah?
<v Speaker 3>I mean, if this goes well, we'll get to her eventually.
<v Speaker 3>I know it'd be a while. About forty more episodes.
<v Speaker 3>That's right.
<v Speaker 1>That's awesome, body, great, great out.
<v Speaker 6>Thank you.
<v Speaker 1>So that's it.
<v Speaker 2>So that's all for this episode. Be sure and go
<v Speaker 2>check us out on Facebook. Be sure you check us
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<v Speaker 2>Our episodes, go to our Patreon page, which is patreon
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<v Speaker 2>executive producer and you get access to all of our
<v Speaker 2>secret episodes where we cover one hit wonders of the eighties,
<v Speaker 2>and just some extra things that we'd decide, Hey, we're
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<v Speaker 1>Gift back to the Patreons.
<v Speaker 3>Absolutely, we've got some great episodes of our on our
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<v Speaker 3>you get all these awesome extra episodes. In fact, during
<v Speaker 3>our simple Minds episode, we actually talked a little bit
<v Speaker 3>about David Bowie, so there's a lot of crossover and
<v Speaker 3>you definitely want to check that out on Patreon.
<v Speaker 1>Yep.
<v Speaker 2>And if you're on Facebook and you want to win
<v Speaker 2>a pair of socks and not spend any money, actually one, two, three, four, five,
<v Speaker 2>six pairs of socks all devoted to Stranger Things, be
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<v Speaker 2>and then whatever other favorite part of the episode you had.
<v Speaker 2>As for everybody else, thank you guys for coming back
<v Speaker 2>or visiting us for the first time. We look forward
<v Speaker 2>to talking to you again next week and next week,
<v Speaker 2>so next week, be.
<v Speaker 3>Sure to come back for a super special song. We
<v Speaker 3>will see you guys next week for season one, episode
<v Speaker 3>four of Stranger Things.