Loading summary
Transcript132 lines
- [00:00]
A
You're listening ad free on Amazon Music.
- [00:15]
B
Hey everybody, this is Chris Melanie, host of Hit Parade, Slate's podcast of pop chart history. Welcome to the Bridge.
- [00:25]
C
I got you stuck off the railness.
- [00:28]
B
That's the Roof by Mariah Carey, a track from her 1997 album Butterfly. Carey not only built this song out of the Mobb Deep rap classic shook ones Part two, in a 1998 remix of the song, she invited Mobb Deep themselves to rap on the song's bridge. And as the Roof moved Carrie away from her earlier pop centric work to more R and B and hip hop, it represented yet another bridge in Mariah Carey's career. And these mini episodes bridge our full length monthly episodes give us a chance to catch up with listeners and enjoy some trivia. This month we're delighted to feature a special guest to help us talk about Mariah Carey. But before we bring him in, we're going to do some follow up on last month's full length Hit Parade episode. And for that I welcome back to the mic my producer for the Bridge, Asha Soludja. Hey Asha.
- [01:39]
A
Hello Chris. Happy 2020.
- [01:41]
B
Happy 2020 to you. So I got a few comments on the most recent Hit Parade episode and I wonder if you can characterize a couple of them for me.
- [01:50]
A
Yeah, you know, I was lurking in your Twitter mentions like any good producer would do, and I noticed was hitting on the exact same question. And that question is the impact of the movie Love? Actually, yes. On the trajectory of All I Want For Christmas Is yous pop stardom, do you think that Love actually had a big impact on All I Want For Christmas Is yous rise to the top?
- [02:18]
B
Here's the facts, folks. There's really very little direct evidence that the appearance of the song that in Love actually did much to help All I Want for Christmas is yous on the charts. First of all, the movie was a sizable theatrical hit in 2003, but not an American blockbuster. It grossed about $60 million here, which is nothing to sneeze at, but for a rom com that is really quite a modest hit. It was never number one at the box office, never even came close. Generally as it has been well chronicled, Love actually became kind of a sleeper hit in the United States, mostly on home cable television, a slow growing phenomenon. Also, the performance of the song in the film, let's not forget, is a cover, a very charming one, but sung by a child, But it's not by Mariah herself. Now you might argue, well yes, but then folks might go and purchase or stream the song having seen it in the movie. And while the Carrie original was a sizable digital seller in 2003, by the way, coincidentally, the year that Love actually came out was the first year Apple's itunes music store opened, and Billboard was just starting to track digital music. Its appearance on Billboard's digital songs chart that year seemed to have no connection whatsoever with the movie. It made an appearance a couple weeks before Christmas. The Love actually movie was already falling out of the top 10 by then, in mid November, when Love actually appeared on screens and was doing better. All I Want For Christmas Is yous was not selling especially well at itunes and other digital stores. So based on the lack of hard data driven evidence, I continue to believe that Love actually didn't have a whole lot to do with why All I Want For Christmas Is yous eventually rose to number one. Did it gradually put the song in the minds of more people over the years? Without question. But honestly, the story of All I Want For Christmas Is yous predates Love actually. It first appeared on the Hot 100 as early as the year 2000. It again, as I said in the episode, largely about changing technologies and changes in the way the charts have been formulated, and that is why that Mariah Carey song went to number one in 2019.
- [04:41]
A
I think that explanation will satisfy the concerned Love actually fans, but there's another subset of people in your mentions who are upset for a reason that I don't think you're going to be able to explain your way out of, and that is the Whamageddoners.
- [04:57]
B
I'm gonna say sorry, not sorry, to the Wamageddon competitors. The way Whamageddon works is you try to get from Thanksgiving to Christmas without once hearing the song Last Christmas. A song that, by the way, not unlike Mariah's All I Want For Christmas Is yous is getting more popular every year in the streaming era. This year it peaked just outside of the top 10 on the Billboard Hot 100. So that's an extremely popular song. And it was probably impossible for us to do that episode without playing Last Christmas by a Wham.
- [05:24]
A
Hit Parade listeners, thank you so much for sending us your feedback. We always appreciate it and we're here for whatever feelings you're listening to. Hit Parade brings up.
- [05:34]
B
Hear, Hear. Now that we've cleared all that up, I'm thrilled to welcome our special guest. I first encountered Rich Jeswiak more than a decade ago when we were both writing for the music blog Idolater. I have long admired his work on a range of Topics including pop music for numerous outlets. He is currently a senior writer at Jezebel, and right here at Slate, he co writes the advice column How To Do It. Perhaps most pertinent to our discussion today, Rich is a Mariah Carey fan. Not sure if he's a lamb, and he has written about Carey for the New York Times and Pitchfork. Rich, welcome to the bridge.
- [06:13]
D
Thank you. I would say I'm a lamb.
- [06:15]
B
Yeah. Would you?
- [06:16]
D
Yeah, I mean, I guess, you know, I think I fit, you know, insofar as that is an actual designation people have, I think I fit the criteria.
- [06:24]
B
Okay, good. So let's take it all the way back. Were you a fan from back in 1990? You know, how long have you loved her music?
- [06:32]
D
I was, but there's like, it's a weird thing because I was also a kid in 1990, so basically anything that was popular, I liked. Like, I liked just pop music in general. And I remember hearing Vision of Love and thinking it was Whitney Houston.
- [06:56]
B
Sure. You know, understandable.
- [06:58]
D
Yeah, yeah, totally. It's kind of funny because they do really have different voices and they do very different things with them. But just the tone was. Whitney's tone was so unique that to hear anybody even approximate, it was like, oh, this is a new Whitney Houston song. Which was weird because I think I can't remember if I'm youm Baby Tonight came out before or after.
- [07:24]
B
Later that year?
- [07:25]
D
Later that year. Okay.
- [07:26]
E
So.
- [07:26]
D
So then even more reason to be like, oh, here's Whitney's new single. So I remember that period that week or so period, when I would just hear Vision of Love and be like, oh, Whitney. And, you know, there wasn't the Internet back then to look up who's singing this song.
- [07:40]
B
Right.
- [07:41]
D
So I definitely liked her a lot. I mean, I really liked Emotions a lot, too, which was her second album. And kind of a deviation, she was able to have a little bit more creative control in that record. It was more R and B, more disco.
- [08:04]
B
Straight away. Right. I mean, Emotions in particular is basically an homage to the Emotions.
- [08:08]
D
Yes. Best of My Love. And Make Me Smile With Me. But then I kind of, like, in college in the late 90s, just was like, I don't like pop music anymore, which was really strange, which is what.
- [08:25]
B
We all go through. In college, I went through a similar phase.
- [08:27]
D
Totally. And then it wasn't until glitter was coming out that I was like, oh, I should, like, look at her. I should pay attention to her because this looks like a disaster. And I was already sort of acclimated to loving, you know, big budget disasters. I mean, Glitter wasn't super big budget, but just sort of like failed events in culture. You know, I had seen Showgirls opening weekend, so Glitter's coming out. I'm like, this could be the new Showgirls. It's not, unfortunately, but also I'm paying attention to Mariah at that point and, like, the cracks are showing, and then she just becomes this, like. I mean, she. She implodes. You know, she. She has a breakdown. Whatever it was is sort of unclear. I actually went through all of those old stories as they appeared in the Post and Daily News, and they were sort of conflicting. And I really do think the failure of Lover Boy, as well as just the album probably compounded her mental health at the time, because she had never flopped before.
- [09:26]
B
Right.
- [09:26]
D
I think that that was just devastating to her on a very fundamental level because she was such a golden child. She was this overachiever, you know, it was like. She talks a lot about her high school days and how she wasn't that great of a student, but she always clearly had it in her to be a great student. It's just that she was a great student in the world of pop music, you know, straight A' for years and years and years. And then she, like, fails with Glitter. And it takes a few years to get her. Her career back on track. But that's the most exciting stuff for me. That's the most fun.
- [10:00]
B
Do you have a favorite album? A favorite track?
- [10:02]
D
I. You know, this is like a very, very challenging opinion. This. Nobody agrees with me on. On this particular point, but E MC2, I think, is her most consistent album.
- [10:13]
B
Interesting. And that's the 2008 album.
- [10:15]
D
Yeah, that's post Emancipation of Mimi.
- [10:18]
B
Right.
- [10:18]
D
The lead single was Touch My Body, which, I mean, firstly, that song is called Touch My Body, you know, from Jump. That's the title. It's also the most like. You know, it's like the Dream and Tricky Stewart's thing of their little twinkling, like, mincing sort of, you know, bass heavy style. I think it's sort of the epitome of that. You know, the first Dream single, Shorty Is the Shit, was very much that. Just a little plunky piano.
- [10:56]
B
Right. It's an interesting moment for the sound of R B.
- [10:58]
D
Totally. Just this weird cartoonish, like. Like it's so weirdly. I don't know, it's so syrupy sweet in a way, but it's got the real sort of bass heaviness to it. I just love it. And I think Touch My Body is just the epitome of that track.
- [11:13]
B
I listened to Touch My Body in preparation for this full length December episode for the first time in years. And her vocal tone is different on that single than pretty much any hit. I'm certainly not dissing it and I think I'm praising it. It's even got a Madonna like quality in some ways and it's playful in a way that she isn't normally. I liked it better than I remembered it, honestly.
- [11:35]
D
Yeah, I think that's another major distinction that for whatever reason, probably owing to technique. I mean, she talks about nodules, but look, the fact of the matter is you cannot blare for decades and keep the same quality of voice.
- [11:51]
B
Sure.
- [11:52]
D
So around 1997 with Butterfly, she started singing differently. She started introducing the more whispery sort of thing on a grander scale. She'd have a track here and there where she would kind of whisper. But Butterfly was really this kind of like sensuous cooing. Whether she had to do that or not. It's very clear to me that in. In 2020, Mariah Carey's voice is not what it was 30 years ago. I think it's held up pretty well considering. I think though that she became more soulful when she really had.
- [12:34]
C
Now, I understand. To hold you.
- [12:38]
D
I don't know, I would rather. I would actually rather hear her sing now than then. Even though I go back and look at some of those early performances and just am totally astounded.
- [12:48]
B
So since you have great familiarity with, you know, the Lambs and Mariah's fan base, I find Mariah Carey fans are obsessed. Hahaha. With her Billboard chart records. Do you think that fandom for her vocal acrobatics mirrors that of her chart feats with these fans?
- [13:06]
D
Yeah, I think it's impossible to. To. To extricate the two. Like she's always sort of. She can't. I mean, so she comes out and she has from her first album, four singles. They all go to number one. Second album, first single, Emotions, number one as well. That's a streak of five, which I believe was the record at the time, although still is. Yeah, well, but what about for a debut.
- [13:29]
B
For a debut.
- [13:29]
D
For debut.
- [13:30]
B
Because like she broke the Jackson Fives record, which they opened their career with four. She opened with five.
- [13:34]
D
Okay. Out of the gate. Number one. Number one. Number one. The number ones, the chart statistics. As much as she sometimes pretends like it doesn't matter or she doesn't know how many number ones she has she clearly does. It's just part of her. It's just this. This whole thing. And now the fact that she will seemingly never have a number one hit ever again and then manages to do so a dozen years later. A dozen years. But, but. But we belong together as well. I mean, don't forget that people did counter out.
- [14:03]
B
That gap was crazy, too.
- [14:05]
D
Yeah, yeah. So that, like, now this is a pattern, her in her career that's sort of coming back, and not just coming back, but coming back to number one. So I don't think that you could ever delete that. And you see these fans talking. I mean, it really reminds me of sort of like sports fans or something with the statistics. And I don't. That's probably not. Well, certainly at this point, it's clearly not unique to Mariah, but I would assume that that was sort of baked in early with this fandom, more so than any. I think that people cared about this in, like, the late 90s, you know?
- [14:40]
B
Right. I would say that the Mariah Carey fans were the first set of fans I encountered online who were not only protective of their favorite. You see that with all fan groups, but they were vigilant about chart stats in a way that, as a chart nerd for myself, I was like, wow, this is new. They're not just into the music. They're like, oh, don't you forget about that number one hit.
- [15:01]
D
Yeah, yeah. And something I do want to say, too, about being protective of your favorite is there's this modern convention of fandom that I don't understand where it's like, I have to take this person so seriously. They are incapable of flaw.
- [15:20]
B
And.
- [15:21]
D
And to me, the flaws are what make a pop star fun. I don't want a perfect package. I want somebody who's going to mess up sometimes. You know, I want somebody who's ridiculous. I don't want somebody that. Who's like, hand I'm holding the entire time we're on the same page. No. Part of the fun of liking something is to deviate and appreciate it beyond its intentions. You know, totally. This. I do not understand the way that people on Twitter, I assume young kids, although sometimes it's Madonna fans and Mariah Carey fans, and it's like, you cannot be. You're too old for. I know you're too old to be behaving this way of just like, no.
- [15:59]
B
If you're above 15, you're arguably too seriously.
- [16:02]
D
It just astounds me the idea that, like, oh, my pop diva can do no wrong when to me, the wrong is more than half the fun.
- [16:12]
B
So what about All I Want For Christmas is you? I realize we're having this conversation in mid January. And by the way, for those who follow the truth charts, All I Want For Christmas Is yous just set an interesting and maybe dubious chart record. It just plummeted from number one on the Hot 100 to off the chart. The first single in Hot 100 history to go from number one to not on the chart at all. And let's not throw shade at Mariah for this. It's the end of Christmas. People are done with that record. Nonetheless, I half wonder, is this going to be her song for the vaults? It was something I even posited in the episode that, like, 30 years from now, it's entirely possible that this is the record that Mariah Carey is going to be remembered for. The way Brenda Lee, who was a hitmaker at the turn of the 60s, is now largely remembered for rocking around the Christmas Tree. Are we headed that way or where do you think her legacy falls vis a vis the Christmas record?
- [17:03]
D
I mean, it's quite possible. There's no reason really for people to remember anything when they're being bombarded with new information and so much of it all of the time. I mean, I wonder about the legacy of all of the people. You know, I wonder, will people recognize Prince's brilliance in 20, 30, 50 years? You know, so I think if you're able to have that one, that's better than most people are gonna get.
- [17:29]
B
Right. In years to come, Mariah fans are gonna be obsessively wondering whether the Christmas record's gonna go back to number one. However, and I put my chart nerd hat on when I asked this next question. That won't give her a 20th number one hit. No, it's gonna need to be a new song.
- [17:42]
D
Yeah.
- [17:43]
B
So the Beatles question. The Beatles have 20 number one hits. Mariah has now crept one song closer. She's at 19 number one hits. Do you think there's any chance at all that Mariah can capitalize this and record something new that would bring her back to number one?
- [17:56]
D
I mean, I know she'll try. I know she'll die trying. I don't. You know, it's. I don't know. I find it strange that she hasn't collaborated with some very obvious people like Drake, who. Like, why? On. Why did. Because 40 produced GTFO.
- [18:26]
B
That's an interesting point.
- [18:28]
D
And she. There was kind of rumblings about her working with Drake. To me, that song sounds like oh, this is a song with a Drake remix that goes to nothing. Cause Drake's on it.
- [18:37]
B
Right.
- [18:38]
D
You know, she campaigned pretty hard. I mean, she said on Watch what Happens Live that she wanted Cardi B on the A Nono remix. Hamid O wants to know, texted. I would love it if you collaborated with Cardi B.
- [18:50]
B
Will that ever happen?
- [18:51]
C
I would love for that to happen. The song you guys were just playing a.
- [18:54]
B
No, no.
- [18:55]
C
Which was originally Lil Kim's song. We Love Kim.
- [18:59]
B
Yeah.
- [19:00]
C
And I was hoping that the three of us could do a collaboration.
- [19:02]
D
I think Cardi B did not do that, clearly. I think it came down to Cardi B saying no. So I see Mariah going to number one as a result of a collaboration. Maybe. But I don't know. I mean, I'm incredibly doubtful that she gets another number one. I will not be surprised at all if her next record is a Christmas record.
- [19:27]
B
That is probably a pretty safe bet.
- [19:30]
D
Which would be her third.
- [19:32]
B
Yes.
- [19:32]
D
So there was Merry Christmas then. Merry Christmas to you.
- [19:35]
B
She could have with the Roman numeral two in it.
- [19:38]
D
So I'm thinking, like, Christmas three.
- [19:40]
B
Like Christmas Tree three.
- [19:43]
D
Some kind of play.
- [19:44]
B
Sure.
- [19:45]
D
It won't be surprising.
- [19:46]
B
Any woman who names a record the elusive Chanteuse is going to come up with something funny for the title of.
- [19:52]
D
Memoirs of an Imperfect Angel. She's quite a titler.
- [19:58]
B
She definitely is that. So now comes the time in Hit Parade, the Bridge, where we do some trivia. And joining me on the line from New Mexico is Josh. Josh, are you there?
- [20:08]
E
Yeah, I am. Hi, Chris.
- [20:10]
B
Hey, how are you?
- [20:11]
E
I'm great today, thanks.
- [20:12]
B
And Josh, please say hi to our guest, Rich Jeswiak, who's joining us for this episode.
- [20:17]
E
Hi, Rich. Great to be on the line with you.
- [20:18]
D
Hey, Josh. Same here.
- [20:20]
B
So thank you so much for participating. I assume you have been a Hit Parade listener for some time.
- [20:26]
E
Yeah, no, that's right. I started listening to you as soon as I found out about it in the Culture gabfest.
- [20:33]
B
Oh, that's great. Do you have a particular favorite among our Hit Parade episodes?
- [20:38]
E
Well, yeah, the Stevie Wonder episode for me was fantastic. And I learned so much. I finally figured out why Stevie Wonder's band was so incredibly tight. And that was because it was just Stevie Wonder.
- [20:52]
B
Not all the time, but a significant percentage of the time. It really was just him himself. Like on Superstition. It's mostly him and a couple of horn players. It's crazy.
- [21:08]
E
It's. Yeah. Completely amazing. Blew my mind.
- [21:12]
B
Also, I would like to ask if you are a Slate plus member?
- [21:15]
E
Yes, I am. I've been a Slate plus member since 2019.
- [21:19]
B
Fantastic. Well, this is the moment in this episode where I remind everybody that while this bridge episode is available to all Hit Parade subscribers, we only open our trivia rounds to Slate plus members. So if you are a member and would like to be a Trivia contestant, visit slate.com hitparadesignup that's slate.com hitparadesignUp so, Josh, you probably know how this works, but we're going to ask you three trivia questions. The first will be a callback to last month's full length episode of Hit Parade and the next two will be a preview of the forthcoming Hit Parade episode. Also, one little wrinkle. This month, the second question is going to be both a throwback to our last episode and a preview. Not something we normally do, but just throwing that in there to give you a little hint. Are you ready for some trivia, Josh?
- [22:07]
E
I think so.
- [22:08]
B
Here we go. Question 1 Last month we talked not only about Hot 100 holiday hits, but also the record setting chart history of Mariah Carey. One record she still holds is launching a career with the most number one songs. Which of these was not one of those five chart toppers? A Vision of Love, B Emotions C. I Don't Wanna Cry or D Can't Let Go.
- [22:40]
E
Oh geez, she had so many.
- [22:43]
B
I think it was D and that is correct. The correct answer is D Can't Let Go. When it peaked at number two in 1992, it ended Carrie's streak of five number ones which also included the three other songs yous Heard Plus Love Takes Time and Someday. Of course, Carrey would go on to score 14 more chart toppers over the next 27 years. By the way, Rich, while we're talking about these Mariah hits, I have to say that Can't Let Go, which peaked at number two, is actually one of my favorite Mariah Carey hits. It had that kind of whispery vocal that you were talking about a little bit. I don't know, I just, I thought it was an exceptional record at the time.
- [23:23]
D
Yeah, I love it too. I think it's. It kind of does the RB Quiet Storm thing in a way that she hadn't really done at that point. It's just more sort of straightforwardly R B than it is the sort of multivalent pop R B, AC kind of soupy stuff she was doing on the first record. And if I had to pick from that list, I would have let that song go to number One and Knock Off I Don't Want to Cry, which is a song I never like.
- [23:50]
B
Totally, totally agree. You're one for one. Josh, are you ready for question two?
- [23:56]
E
Let's do it.
- [23:57]
B
All right. Like I said, this is kind of a hybrid question. It is both a callback and a preview. Question 2. In last month's episode, I also took a break from discussing Christmas songs to talk about novelty songs, which were huge on the charts decades ago. Which of these comical novelty hits did not top the Hot 100 between the 1950s and the 1970s? A, David Seville, the Witch Doctor. B, Bobby Boris Pickett, the Monster Mash. C. Napoleon the 14th, they're coming to Take Me Away. Haha. Or D, Ray Stevens, the Streak.
- [24:41]
E
I really have no idea. I'm gonna guess B. I'm sorry.
- [24:46]
B
The correct answer was C. They're coming to take me away. Haha.
- [24:50]
D
Coming to take me away Haha. They're coming to take me away.
- [24:53]
B
Singer songwriter Jerry Samuels issued this manic hit under the name Napoleon XIV in 1966 and saw it reach number three on the Hot 100 that summer. The other three hits all reached number one in 1958, 1962 and 1974, respectively. All right, no worries there. Josh, we've got one more question for you. Are you ready for question three?
- [25:18]
E
Let's try. Yep.
- [25:19]
B
Okay, what two hits which peaked at number one and number two on the Hot 100 in the same week in the early 80s, when were coincidentally both parodied by novelty superstar Weird Al yankovic and became two of his earliest Hot 100 hits? A, I Love Rock and Roll and Mickey. B, Beat it and Jeopardy. C, My Sharona and Another One Bites the Dust. Or D, Like a Virgin and King of Paintings?
- [25:59]
D
I'm gonna guess C. I'm sorry, the.
- [26:02]
B
Correct answer was B. Beat it and Jeopardy. These songs by Michael Jackson and Greg Kinn, respectively, peaked together in the top two slots in May 1980. One year later, Weird Al recorded them as Eat it and I Lost on Jeopardy. Respectively, And they were both Hot 100 hits in 1984. By the way, all eight of these songs I listed in this question were parodied by Al and were Billboard chart hits. All right, Josh, you went one for three. You got the Mariah question. Nicely done. I understand you have a trivia question for me.
- [26:57]
E
Yeah, I sure do. Here we go, Chris. In October 1976, what novelty song by Memphis radio DJ Rick Dees was in the Billboard Hot 100 for 10 weeks, peaking at number one? Is it a groove gorilla Groove B, Disco Duck. C, Funky Kong or D, Boogie Bullfrog.
- [27:23]
B
Well, how could I forget this one? It's actually even played in the movie Saturday Night Fever, which came out a year later. And that of course would be the Rick D's hit Disco Duck.
- [27:32]
E
And you're right, the answer is B, Disco Duck.
- [27:37]
D
Went to a party the other night.
- [27:42]
E
And you were also correct that it was included in the movie Saturday Night Fever. Although Rick D's management decided not to allow the song on the movie's soundtrack, fearing it would compete with his own sales.
- [27:55]
B
Boy, what a mistake that was, right? Awful, man. Because you think about the artists who kind of got floated along on that Saturday Night Fever soundtrack like, you know, cool. And the gang had opened sesame on that. On that album. And every time it's sold. Right, Exactly.
- [28:10]
D
Tavares.
- [28:10]
B
Tavares. They all made bank off that soundtrack. Yeah. Being featured on a movie soundtrack is one way to make a fortune. So not a smart move by Rick D's, but you know, he's got his radio fortune, so I'm sure he's not sweating it too much. Well, Josh, thank you for giving me a trivia question I could get. I appreciate that. It's been a few months since I've gotten a question correct, so I am holding my head up high. And you at least got one of our three correct, so I hope you're holding your head up high as well.
- [28:37]
E
Well, absolutely. Glad I could be a part of this.
- [28:40]
B
Thanks so much, Josh. So, as indicated by our trivia round, the next Hit Parade episode, which will build off of our most recent full length Hit Parade episode, is going to be about comedy and novelty hits on the Billboard charts. You know, I'm using the novelty hits of 1958 as a jumping off point to talk about these goofy chart hits which really were much bigger in the early rock era than they are now. It's hard to build a career as a novelty recording artist. Some have tried, but there have been many one offs folks who have succeeded briefly and then never been heard from again. However, we're going to talk about at least one person who managed to make a whole career as a novelty recording artist. I think it's pretty obvious who that is. And in a way, the history of novelty hits on the charts tracks some of the same changes in chart methodologies that Christmas hits leverage to become bigger and bigger hits. So much the way Christmas hits had to wait for digital technology to change the way we measure a hit. Novelty recording hits are starting to come back on the charts because of technology. So we're going to talk about that in the next episode of Hit Parade. My thanks to Rich Jeswiak for joining me on this episode of the Bridge. And Rich, tell us where folks can find you.
- [29:55]
D
Well, I guess you could go to my Twitter. That would probably be the easiest, most centralized point. R I C H J U z Fantastic.
- [30:02]
B
My thanks to Asha Saluja for not only joining me, but also producing this episode of Hit Parade. The Bridge. Keep on marching on the one.