← Ongoing History of New Music
Ongoing History of New Music
The 100 Greatest Rock Moments of the Millennium So Far - Part 4: (70-61)
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- [00:00]
Alan Cross
Hey, it's Alan and I just wanted to let you know that you can now listen to the ongoing history of new music. Early and ad free on Amazon. Music included with Prime During President's Day savings at the Home Depot get up to 35% off select appliances plus save up to an extra $450 on select appliances like Whirlpool Shop, the side by side fingerprint resistant stainless steel refrigerator with an indoor can caddy or the fingerprint resistant stainless steel top control dishwasher with three 5 inch shelves. Make the most of President's Day savings and our lowest prices guaranteed at the Home Depot. How doers get more done? See homedepot.com Pricematch for details. See Store Online for details. Minimum purchase required in the mood for something crunchy, saucy and boneless, try Jack's New Crispy Boneless Wings from Jack in the Box. Get em with Honey Garlic Sriracha or Smokeshow Smoky barbecue Sauce. Enjoy so much more. You've probably noticed that time has a way of getting away from us, especially at the speed at which news cycles travel. With a firehose of information coming at us from traditional media, online sources, social media, and just life in general, it's really easy to forget where we've been and what we've done. The speed of 21st century life has either created our ultra short attention spans or just exacerbated what was already there. Me, sometimes I feel like I have a memory of a goldfish. Someone will mention something to me that happened and I'll go, yeah, that happened a couple of years ago, right? And they'll say, no, that was 21 years ago. It's been so long since the 90s, for example, that music of that era is number one for nostalgia, eclipsing the public's fascination with the 80s, the 70s and the 60s. People who weren't alive in the 90s have latched onto that music in a very fierce way. Maybe that's why to older folk, the rock from that time still seems fresh and top of mind, because to a substantial number of young music fans, it's fresh and top of mind for them. I find it really fascinating when a young generation embraces music from an older generation as their own. But time is an arrow that only points one way. We don't know where we're going, but we do know where we've been, and that's where history comes in. Remembering and analyzing the past helps us understand where we are today and where we might possibly end up tomorrow. And that's the point of this series of ongoing history programs, what has happened with music in the last 25 years? And can we use any of this history to predict the future? This is chapter four of the 100 Greatest Moments in Rock of the Millennium so far. This is the ongoing history of New Music podcast with Alan Cross. Hello again, I'm Alan Cross and we're here to continue an examination of the 100 most important moments, events, developments, advancements and people that we've seen, heard and otherwise encountered so far this century. Once again, this is a very arbitrary list put together by me through the lens of my experiences and the last quarter century of doing this radio program, amongst other things, like posting online and just basically thinking about the world of rock 24 7. If you were to put together your own list, you might come up with something different, which is totally fine. Of course, everyone has their own experiences and perspectives and opinions, but at the very least, I'm hoping my list will be a thought starter for everyone. On chapter four, we will go through another 10 items, events 70 to 61. And we'll start with something particular to the Canadian music experience, and that's the establishment of the Polaris Music Prize. I've never been a fan of awards programs simply because they're really not about musical excellence. They exist for two reasons. Number one, they provide a saleable primetime network TV show. And number two, they are designed to squeeze out the last bit of juice from last year's big releases before everybody dives headlong into the following year. This results in a lot of arm twisting and lobbying on behalf of labels and managers and stars to get their artists nominated for something. They all want that sales and PR bump, for whatever it's worth. But there are awards programs that are generally immune to that. There's the Polar Music Prize in Scandinavia, there's the Mercury prize in the UK. And since 2006, we've had the Polaris Music Prize in Canada. The goal of each of these music prizes is to determine the best album of the year without any regard to genre or commercial success. In other words, it's supposed to be all about the music and nothing more. A true meritocracy. It's a pretty noble artistic effort. In the case of Polaris, a jury of music professionals, people outside the label system from across the country, nominate albums for consideration. In the summer, those couple hundred releases get voted on, reducing everything to a long list of 40. Another round of voting brings everything down to the shortlist of 10. And then in September, a sequestered jury determines the Overall winner, the artist behind the winning album now gets $50,000, while everyone else on the shortlist gets $3,000. Because art is so subjective, there's always controversy and always discussion. But that is the point. Polaris sucks people in encouraging them to listen to records they don't know about or would have otherwise ignored. That's a good thing, right? So item number 70 on my list is the establishment of the Polaris Music Prize in 2006. And in that year, there was plenty of controversy when the winning album was He Poos Clouds. Yeah, great. Great title. By Final Fantasy, the vehicle for one time, Arcade Fire violinist Owen Pallett, which won out over records by Broken Social Scene, the New Pornographers and Metric, has it aged as well as some of the other nominated albums. Again, art is subjective. At this point, it really is just all about what you think. But hey, hey, all the boys I have ever loved have been. I've been a guest on a screen or in a book. The establishment of the Polaris Music Prize, number 70 on my list of the top 100 moments of the 2000s so far, number 69, was a watershed moment for the recorded music industry. Ever since Thomas Edison started selling music on his cylinders and Emil Berliner's rotating discs took off about 125 years ago, people obtained music for their collections by buying physical objects. Cylinders, 78s, LPs, 45s, reel to reel tapes, eight tracks, cassettes, CDs, mini discs, and so on. Billions upon billions of dollars were made selling the public pieces of plastic. But then the Internet came along and started disrupting that model in about 2000, first with illegal file sharing, then with itunes, and then with the rise of streaming. Sales of physical product cratered as people began to adopt streaming, a convenient, extremely low cost and completely legal online way of consuming music. In 2016, there was a tipping point. For the first time, streaming generated more money for the American recorded music business than all other forms of music distribution put together. As of 2023, streaming music accounts for 67% of the industry's total revenue. CDs still sell, but in ever shrinking numbers. And against all odds, vinyl has come back, adding its nice fat margins to the bottom line. But we're never, ever going back to the way things were before 2016. If we go back to that year, we'll see that one of the top streaming artists of 2016 was these guys, thanks to their blurry Face album. Wish we could turn back time to the good old days when the mom was saying I was too sleep but now we're stressed out. Wish we could turn back time 21 pilots and stressed out One of the songs that contributed to streaming taking over physical media as the biggest revenue generator for the recorded music industry. That happened in 2016, and that's number 69 on this list of the biggest rock moments of the millennium so far. As modern and as sci fi as streaming is, number 68 is a throwback to an earlier time, and it's also from 20. A fascinating phenomenon of the last 25 years has been the resurgence of interest in heritage acts or legacy bands. These are artists who began their careers in the 80s, the 70s and even the 60s, who once again began to tour in front of very, very large audiences. The hope I die before I get old mentality is long dead. Fans want to see these classic artists while they still can, and they're willing to pay for the privilege. The best example might be Desert Trip, the so called Coachella for old people in 2016. Over two weekends that October, a couple hundred thousand people paid as much as 1500 US dollars a pop to see the Rolling Stones, Neil Young, Paul McCartney, Roger Waters, Bob Dylan and the who. The event brought in $160 million, which was nearly double that of that year's Coachella, which was held in exactly the same place. There's another reason for the interest in these older acts. The recorded music industry has done a terrible job of creating the same number of arena and stadium filling acts they once did. Promoters like Live Nation and AEG have had to turn to these older acts who appeal largely to older audiences, who have more disposable income and who are more than willing to relive their youth one more time. These arenas and amphitheaters and stadiums need to be filled, and at the moment the easiest way to do that is to bring back some old names by offering them boatloads of money that offset their declining album sales. Look, nostalgia sells. And for the foreseeable future, at least until most of these acts die off, the get the band back together to help fill an arena attitude is going to continue. Even this band succumbed to the offers, although their reunion lasted all of 36 days before it fell apart. The first show, July 9, 2022 in Troy, Wisconsin Last show, August 14, 2022 at Madison Square Garden. It might have gone on longer and might have been much bigger had singer Zach De La Roca not torn his Achilles on prehistoric Ages and the days of Ancient Greece walked down through the Middle Ages. Planet Earth kept going through the concert nostalgia boom. Item 68 on this list of the most important rock moments of the 21st century so far, it's more technology for item number 67. It used to be that we had cultural gatekeepers when it came to music. It started with record labels and then extended to radio, record stores, music magazines, and cable music video channels. They only let through what they believed to be commercially viable or worthy from some kind of artistic point of view. In other words, they filtered out all the wannabes and substandard music and kept the supply of new music to a manageable amount. In the pre Internet era, we might get 2,500 new albums per year. Today though, the barrier to entry for anyone wanting to release music is so low that anyone can do it. Home recording equipment is cheap and powerful, and uploading your music to the streaming music platforms can be done with a push of a button. Same thing with an upload to YouTube or TikTok or Instagram or whatever. It's instant global distribution of your music. All the middlemen, labels, radio, magazines, record stores are cut out. Sounds great, right? Music promotion has become democratized. Yay. Well, in theory, this is a good thing, but this easy entry has led to a glut of music. In the old days, even the biggest record store stocked about 100,000 albums. Today, over 100,000 songs get uploaded to the streaming music platforms every single day. At the beginning of 2025, about 202 million songs, practically the entire library of humanity, are available instantly for free or something close to it. Not only is every musician competing against their peers and contemporaries, but with every artist ever, how can any new artist ever hope to be found, let alone heard? Well, Back to those 202 million songs, it's estimated that about 25% of them have never been heard once. 50 plus million songs that no one has ever streamed. There's even a site called Forgotify. If you have a Spotify account, you can link to Forgotify and get a stream of songs that no one has ever played before. Bottom line is that there's too much music. Compared to the pre Internet era, the music consumption experience is infinitely larger, but also infinitely diluted and infinitely cheaper. So what's the solution? Do we even need a solution? Or is this just the way of the future? I have no idea. But we're definitely never going back to the way things used to be. Walk the Earth is completely happy with this arrangement. Remember Walk the Earth and their big break after they posted a YouTube video of five members playing this song on guitar? 21 million views later, item number 67 on our list, online fame for every musician or theoretically. So thanks to social media and other online outlets. Coming up a step backwards for audio, a shift in the physical music consumption landscape, and some irrational hate. It's the 100 greatest rock moments of the millennium so far. This is chapter four in our look at the 100 greatest rock moments of the millennium so far. And when I say greatest, I guess I really mean most impactful. There is nothing great about the loudness wars. This is item number 66 on the list. This regrettable trend began decades ago, but reached its peak in the early 2000s. And the loudness wars refers to mastering songs with tons of compression, making them sound louder than they actually are. The thinking is that this technique helps songs pop more out of radios and speakers. A technological race broke out in the digital era to master songs as loud as possible. What it actually does is it squishes all the dynamic range out of the original recording. The quiet parts are boosted so they're as loud as the loudest parts. The illusion to our ears is more volume, but what we actually end up hearing is distortion, a lack of clarity and a tremendous loss of detail in the music. Mastering things loud also results in listener fatigue. Our brains and ears can only take being pummeled like this for so long. Fortunately, there has been a lot of pushback against the loudness wars. There are organizations like Dynamic Range Day trying to push all this back. Streaming platforms including Apple Music, Spotify, and YouTube do something called normalizing playback levels, and this has destroyed the incentive to master songs loudly. The loudness wars have settled down in recent years, but we're still stuck with audio atrocities like the CD editions of Californication by the Red Hot Chili Peppers, the first audioslave album, a lot of the Foo Fighters catalog, and American Idiot by Green Day. But to my ears, nothing really is quite as bad as a couple of Metallica albums, including the 2003 record St. Anger. Okay, that's enough. Yeah, and that snare sound, really. Anyway, number 66 on this list of the greatest, and in this case, the not so great moments in rock in the 21st century. So far, number 65 is the death of big chain record stores. This really was a mass extinction event as people moved away from physical media over to online access for music. If we go back to 2000, there were all kinds of big chains, some stretching around the world with big standalone stores and mall locations, and now they're practically all gone. Tower Records closed every single store except one or two. In Japan in 2006, there was the Musicland Group, featuring brands like Suncoast and Sam Goody. Bankrupt 2006, Sam the Record man, defunct except for one store. By 2007, Virgin Megastores were no longer mega or anything. By 2009, Music World Warehouse, Blockbuster Music, Camelot, Coconuts, Peaches, and a whole bunch more. Record sections also started disappearing from Best Buy in pretty much every department store. The only real bright spot was the resurrection of HMV by Canadian entrepreneur Doug Putnam, in addition to his Sunrise Records chain, which he also bought. And we also might want to throw in Rough Trade Records here, too. They have two locations in London, one in Bristol, another in Nottingham, one in Liverpool, and a couple of New York locations. So that's what, seven? But for the most part, physical record retailing belongs to independent stores. Unfortunately, a lot of them seem to be hanging in there. The mass extinction of the chain record store number 65 on our list. As for number 64, I'm gonna go with what I think was the inexplicable and irrational amount of hate and ridicule directed towards Nickelback. This started in the early 2000s, probably after comedian Colin Quinn appeared on a Comedy Central program and dropped a Nickelback insult. That appearance turned into a promo for the channel, which ran for months and months and months, and the Nickelback hate took off. This was aided by the fact that Nickelback songs, especially how youw Remind Me Someday and Photograph, were huge, huge hits. Nickelback was ubiquitous. They were everywhere, and that ubiquity fed into the attitude of those with a predilection for Nickelback hate. With the rise of social media, this became a meme. And even as Nickelback was selling millions of albums, being played on American radio, more than the Beatles, and selling hundreds of thousands of concert tickets, they were being destroyed by certain elements within popular culture. They became a punchline, an insult shorthand for bad music and the dumb fans who liked them. If you stand back and look at the situation, this level of abuse was completely unwarranted. Nickelback was a solid mainstream rock band with millions of fans around the world. But once this got ingrained in North American culture, it was really tough to turn off. It took the better part of a decade for things to settle down. The band finally addressed things head on in their 2023 documentary, Hate to Love. And if you see that doc, you can get it on Netflix. You'll hear me decrying the situation. Here's a mantra that I wish everyone would respect all music Listen to what you want. I'm gonna trade this life a fortune and fame I'd even come cut my hair and change my name Cause we all just wanna be big rock stars and living hilltop bosses driving 15 cars the girls come easy and the drugs come cheap well I'll stay skinny Cause we just won't eat the insane Everyone hates nickelback meme number 64 on my list of the 100 greatest rock moments of the millennium so far. Moving to number 63 on this list is the music world's attempts to become more eco friendly. And this is a really important thing. The music industry is a major polluter and a major devourer of energy. The number of pollutants created by a single tour is incredible. Records and CDs are made of non biodegradable plastic. And believe it or not, it takes more energy to stream an album than it does to manufacture a CD or an lp. Streaming has its own carbon footprint. Fortunately, the music industry is slowly becoming more environmentally friendly. First, we're starting to see green records, LPs made of sustainable materials. Throw them away and they'll eventually degrade and disappear back into the earth. Streaming platforms are slowly working on ways to reduce the amount of energy they consume. We're seeing more recording studios use high efficiency gear, carbon neutral practices and sustainable energy sources. And because artists can now collaborate remotely on recordings, there's no need to drive or fly to a recording studio to work. Concerts and music festivals have become more sustainable. They're powered through renewable energy like solar, wind and batteries. Organizers encourage waste reduction practices and even something like digital tickets and keepsake wristbands are being used in place of paper tickets. That helps. Artists are selling merch made from organic materials and recycled fabrics and without harmful dyes. Meanwhile, artists continue to engage fans on environmental issues through education, community action, climate related music and campaigns, and of course, benefit concerts. And then there's the touring industry. More tour buses and generators are being powered by biodiesel and other sustainable fuels. Some use electric vehicles. Artists use carbon offsets for the carbon they generate when they travel. They source as much as they can locally, negating the need to haul food and merch around the world with them. And they're finding ways to reduce energy use and waste when they play live. Which brings me to Coldplay. They have probably done more in this area than any other major act. Concerts are powered through renewable energy, not just solar panels, but they have bikes that fans can ride to generate power. They often use kinetic floors, which harness the movement of the crowd to generate power. And they've been working with BMW to develop A brand new rechargeable and renewable battery system to power their shows. For every ticket sold, Coldplay plants a tree. They give money to environmental causes. Where possible, they travel between gigs on electric trains or buses. Official merch uses as little plastic as possible. Single use plastics are being phased out at shows and their staging is always evolving to be as energy efficient as possible. If you ask me, more artists should be as committed to the future of the planet as Coldplay. You can take a little picture the environmental reckoning experienced by the music industry. Number 63 on this list. Two more to go on this show. One has to do with another reckoning and the other has to do with the change in the complexion of a couple of major music festivals. This is chapter four of the 100 Greatest Moments. Events, people, things, whatever in rock so far this millennium. And for number 62 is the evolution of two major major music festivals away from their rock roots. When Lollapalooza was First conceived in 1990, it was a full blown touring festival of weirdos, featuring the best in left of center and alternative bands. It became an essential part of 90s music culture and it rocked. Chili Pepper, Soundgarden, Rage against the Machine, Pearl Jam, Tool, Green Day, Metallica, Hole, Smashing Pumpkins, Beastie Boys, Sonic Youth, Ramones, Beck and dozens and dozens more. The concept ran out of steam at the end of the 90s, but was later reborn as a single weekend event in Chicago, which is where we are now. But the original alt rock component is long, long gone. Lollapalooza still signs up a few rock bands each year, but it's mostly a pop and hip hop thing Now. We can say the same thing about Coachella. When it began in the desert in 1999, its focus was on Lollapalooza type bands. Tool, Rage, Jane's Addiction, Oasis, Chili Peppers, the Cure, Radiohead, Nine Inch Nails, Depeche Mode, Coldplay, Killers, and so on. But that all changed starting in about 2008 when things started swinging over to pop and hip hop. Why? Same reason as Lollapalooza, the culture had shifted in America anyway and pop and hip hop are now driving things. If you need to sell 100,000 or more tickets, you gotta book a lineup that appeals to people of festival going age. And since 2008, that cohort would rather have pop and hip hop than rock and alt rock. Now of course, both festivals still have their token rock appearances, but things are far, far different than what they were at the beginning of the century. Will things tip back the other way? Nobody knows I mean, music is always driven by youth, and you have to fish where the fish are. And if young people do manage to get back into rock the way they were in, say, 1992, you bet. If not, well, these guys were one of the headliners for Coachella in 2010, along with Gorillaz and Jay will not fl and uprising, one of the songs they played during their coachella set in 2010. And finally, for this episode, item number 61. And maybe. Maybe this one should rank higher. It's the slow MeToo reckoning within the music industry. For decades, predators, sexual assaulters, and other awful people got away with the craziest and most vile things when it came to the treatment of women. Stuff that goes far beyond, you know, usual misogyny. Rarely were people properly held to account for their actions. The music business is founded, after all, on sex, drugs, and rock and roll. And the attitude was, hey, kid, what did you expect when you were let in? Civility. Respect. Listen, if you want to be included, you gotta play the game. Meanwhile, the business was populated by people living in bubbles of money, drugs, and privilege. No one ever told them no. The rules didn't apply to rock stars, and there were always fixers who knew how to make problems go away. That slowly began to change in about 2006, when the MeToo movement took root on MySpace. Women were free to tell their stories and to call out their abusers. The concept spread across other social media platforms and then into the culture at large. And attitudes finally began to change. Victims spoke out. Abusers were exposed. Some were punished in the legal system. Others saw themselves canceled and their careers snuffed out. Meanwhile, more attention was paid to the challenges of female performers and the various egregious gender balances within the industry. More attention has been placed on creating safe spaces. Smartphones also helped. The chances of someone behaving badly or illegally go way down when there's the possibility that they may end up on video and called out on social media. Now, there's still an awful long way to go. After all, this is behavior that's been ingrained in the music industry since the very beginning. But compared to where things were in the 90s and before, we're probably better off. But it's a long, difficult work in progress. Let me play you this. It's Halsey reciting a poem from a women's march in New York City in March 2018.
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Halsey
It's 2009, and I'm 14 and I'm crying. Not really sure where I am, but I'm holding The hand of my best friend Sam in the waiting room of a Planned Parenthood. The air is sterile and clean and the walls are that. Not gray, but green. And the lights are so bright they could burn a hole through the seam of my jeans. And my phone is buzzing in the pocket. My mom is asking me if I remembered my keys. Cause she's closing the door and she needs to lock it. But I can't tell my mom where I've gone. I can't tell anyone at all. You see, my best friend Sam was raped by a man that we knew because he worked in the after school program. And he held her down with her textbooks beside her and he covered her mouth and then he inside her. So now I'm with Sam at the place with a plan, waiting for the results of a medical exam. And she's praying she doesn't need an abortion. She couldn't afford it and her parents would like, totally kill her. It's 2002 and my family just moved. And the only people I know are my mom's friend sue and her son. He's got a case of Matchbox cars and he says that he'll teach me to play the guitar if I just keep quiet. And the stairwell beside apartment 1245 will haunt me in my sleep for as long as I am alive. And I'm too young to know why it aches in my thighs but. But I must lie. I must lie. It's 2012 and I'm dating a guy and I sleep in his bed and I just learned how to drive and he's older than me and he drinks whiskey neat and he's paying for everything. This adult thing, it's not cheap. We've been fighting a lot Almost ten times a week. And he wants to have sex and I just want to sleep but he says I can't say no to him this much I owe to him he buys my dinner so I have to. He's taken to forcing me down on my knees and I'm confused because he's hurting me while he says please and he's only a man and these things he just needs he's my boyfriend so why am I filled with unease? It's 2017 and I live like a queen and I follow damn near every one of my dreams I'm invincible and I'm so naive I believe I'm protected because I live on a screen Nobody would dare act that way around me I've earned my protection Eternally clean Until a man that I trust gets his hands in My pants. But I don't want none of that. I just wanted to dance. And I wake up the next morning like I'm in a trance and there's blood. Is that my blood? Hold on a minute. You see, I've worked every day since I was 18. I've toured everywhere from Japan to Mar A Lago. I even went on stage that night in Chicago when I was having a miscarriage. I mean, I Pied the piper. I put on a diaper and sang out my spleen to a room full of teens. What do you mean this happened to me? You can't put your hands on me. You don't know what my body has been through. I'm supposed to be safe now. I earned it. It's 2018, and I've realized that nobody is safe long as she is alive. And every friend that I know has a story like mine and the world tells me we should take it as a compliment. But then heroes like Ashley and Simone and Gabby, Michaela and Gaga, Rosario, Ally, remind me, this is the beginning, it is not the finale. And that's why we're here and that's why we rally. It's Olympians and a medical resident and not one word from the man who is president it's about closed doors and secrets and legs and stilettos from the Hollywood Hills to the projects and ghettos when babies are ripped from the arms of teen mothers and child brides cry globally under the covers who don't have a voice on the magazine covers they tell us take cover but we are not free until all of us are free so love your neighbor Please treat her kindly Ask her her story and then shut up and listen Black, Asian, poor, wealthy, trans cis, Muslim, Christian. Listen, listen and then yell at the top of your lungs Be a voice for all those who have prisoner tongues for the people who had to grow up way too young There is work to be done There are songs to be sung Lord knows there's a war to be won thank you.
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Alan Cross
The long overdue MeToo reckoning within the music industry. Number 61 on this list of the 100 greatest rock moments of the millennium so far. Here is a summary of the things we covered on chapter four of our look at the 100 greatest rock moments of the millennium so far. Establishment of the Polaris Music Prize streaming takes over as the revenue leader in the music industry. At number 69. 68 is the second life of legacy and heritage bands. As nostalgia becomes big business, then we move to how the barrier to entry to the music industry has fallen so low that everyone can get their music out there for better or worse. That was number 67. The Awful Loudness wars was at number 66, followed by the demise of the big chain record stores at 65. We talked about the crazy Nickelback hate at 64, the slow move of the music industry towards more eco friendly practices at 63, the derockification of Lollapalooz and Coachella at 62, and the rise of the MeToo movement within the music industry at 61. That's all pretty serious stuff. For chapter five of the series, we'll go into the studio for one of the biggest game changing outboard effects that we've ever seen. We'll look at the rise of podcasting, the closing of a legendary beloved venue, and a happy accident and a sound check that changed sports forever. If you missed the first three chapters of this series, they're all available as free podcasts. Download them wherever you'd like. Meanwhile, you might be also interested in my other podcast, Uncharted Crime and Mayhem in the Music Industry. If it has to do with true crime set in the world of music, I cover it. More information can always be found at my website, a journal of musicalthhings.com. it comes with a free daily newsletter. We can meet up on any of the social media platforms and if you have any comments or questions, drop me a line through AllenCross CA. See you next time for part five of the 100 Greatest Rock Moments of the Millennium so Far. Technical productions by Rob Johnston I'm Alan Cross. Daniel Blanchard is no ordinary thief. His heists are ingenious. His escapes defy belief, and when he sees the dazzling diamond Cici Star, he'll risk everything to steal it. His exploits set off an intercontinental manhunt. But how long can CC Star stay? Lucky for Daniel I'm Seren Jones, and this is a most audacious heist. Listen on Apple Podcasts, Spotify, Amazon Music, or wherever you get your podcasts.