WEBVTT 00:00:00.000 --> 00:00:04.120 Welcome back to the Deep Dive. Today we are putting 00:00:04.120 --> 00:00:07.299 on our musical archaeologist hats. We're going 00:00:07.299 --> 00:00:09.539 digging. Digging is definitely the right word. 00:00:09.619 --> 00:00:11.419 Yeah. Because usually when we talk about music 00:00:11.419 --> 00:00:13.859 history, we look at the skyscrapers. Yeah. The 00:00:13.859 --> 00:00:16.280 massive, undeniable pillars. We talk about the 00:00:16.280 --> 00:00:18.460 explosion of Saturday Night Fever and disco in 00:00:18.460 --> 00:00:20.780 the late 70s. Then we, you know, fast forward 00:00:20.780 --> 00:00:23.980 and talk about Run DMC and the golden age of 00:00:23.980 --> 00:00:25.980 hip hop. It's like we just skip a whole chapter. 00:00:26.079 --> 00:00:27.960 We assume one just died and the other was born 00:00:27.960 --> 00:00:31.199 from the ashes, like instantly. Exactly. history 00:00:31.199 --> 00:00:33.100 doesn't work like a light switch. There's a dusk 00:00:33.100 --> 00:00:35.820 and a dawn. There's this fascinating, murky, 00:00:35.920 --> 00:00:39.179 incredibly creative gray area in the middle. 00:00:39.299 --> 00:00:41.479 The hidden bridge. The hidden bridge. And to 00:00:41.479 --> 00:00:43.539 walk across that bridge, we aren't going to do 00:00:43.539 --> 00:00:47.100 some dry lecture on, you know, the socioeconomics 00:00:47.100 --> 00:00:49.740 of 1980s New York. We're going to look at one 00:00:49.740 --> 00:00:52.759 guy, one song, and one very specific moment in 00:00:52.759 --> 00:00:55.240 1981. We're talking about the track Catch the 00:00:55.240 --> 00:00:59.020 Beat by Teesky Valley. I love this track. But 00:00:59.020 --> 00:01:01.560 I have to admit, Until we started pulling these 00:01:01.560 --> 00:01:05.079 sources, the chart data from Cashbox, the archives 00:01:05.079 --> 00:01:08.099 from Record Mirror, I didn't realize just how 00:01:08.099 --> 00:01:11.260 pivotal this song was. Well, it's essentially 00:01:11.260 --> 00:01:14.060 the DNA of what historians call the post -Disco 00:01:14.060 --> 00:01:16.719 Bronx era of rap. It's the Rosetta Stone for 00:01:16.719 --> 00:01:19.140 that specific time. It is. It connects two worlds 00:01:19.140 --> 00:01:20.879 that really weren't supposed to fit together. 00:01:21.120 --> 00:01:23.609 And the craziest part. The guy who built this 00:01:23.609 --> 00:01:26.030 bridge wasn't some mogul or a big celebrity. 00:01:26.049 --> 00:01:28.930 He was a stock boy. Just a guy moving boxes. 00:01:29.269 --> 00:01:32.370 So our mission today is to figure out how a stock 00:01:32.370 --> 00:01:34.829 boy named Tyrone went from the back of a store 00:01:34.829 --> 00:01:37.629 to the top of the charts and why this one track 00:01:37.629 --> 00:01:40.450 is the perfect time capsule of 1981. Let's get 00:01:40.450 --> 00:01:42.170 into it. All right, so set the scene for us. 00:01:42.209 --> 00:01:45.689 It's 1981, the Bronx. Who is Tyrone before he 00:01:45.689 --> 00:01:47.629 becomes Teesky Valley? Well, at this point, he's 00:01:47.629 --> 00:01:50.200 literally just Tyrone. He's working at a record 00:01:50.200 --> 00:01:52.519 store run by a guy named Brad Osborne. And this 00:01:52.519 --> 00:01:54.500 isn't, you know, some generic retail gig at the 00:01:54.500 --> 00:01:56.379 mall. This is a neighborhood hub. And Osborne 00:01:56.379 --> 00:01:58.439 gives him a very specific job, right? He's not 00:01:58.439 --> 00:02:01.060 just dusting shelves. No. And this is where you 00:02:01.060 --> 00:02:04.700 see the first real spark of genius. Osborne tasks 00:02:04.700 --> 00:02:08.139 Tyrone with setting up a, quote, breakbeat section 00:02:08.139 --> 00:02:10.960 at the back of the shop. Wait, pause right there. 00:02:11.039 --> 00:02:15.060 A breakbeat section in 1981. Yeah. Was that even 00:02:15.060 --> 00:02:17.900 a common thing? Yeah. Because I feel like breakbeats. 00:02:18.270 --> 00:02:21.169 as a genre you could buy, didn't really exist 00:02:21.169 --> 00:02:23.370 on retail shelves yet. That's a great catch. 00:02:23.650 --> 00:02:25.870 It was incredibly forward -thinking. You have 00:02:25.870 --> 00:02:28.090 to remember, hip -hop was still very much a live 00:02:28.090 --> 00:02:32.069 thing. DJs in parks, block parties. Right. But 00:02:32.069 --> 00:02:34.629 Osbourne realized these DJs were coming in and 00:02:34.629 --> 00:02:37.569 hunting for very specific records. Old funk, 00:02:37.770 --> 00:02:40.939 rock, soul. just to get that five -second drum 00:02:40.939 --> 00:02:43.199 break. So instead of making the DJs dig through 00:02:43.199 --> 00:02:45.379 the whole rock section for one Billy Squire record, 00:02:45.719 --> 00:02:48.340 Tyrone was basically curating the ingredients. 00:02:48.719 --> 00:02:50.939 Precisely. Tyrone was doing market research without 00:02:50.939 --> 00:02:53.360 even knowing it. He's organizing the raw materials 00:02:53.360 --> 00:02:55.159 of hip hop. He's handling the vinyl, talking 00:02:55.159 --> 00:02:57.039 to the DJs, seeing what makes the floor move. 00:02:57.180 --> 00:02:59.139 He's soaking it all in just by supplying it. 00:02:59.219 --> 00:03:01.340 Exactly. So he's surrounded by the music. He's 00:03:01.340 --> 00:03:03.539 got the ear. And eventually, looking at all these 00:03:03.539 --> 00:03:06.439 records, he decides, hey, I can do this. He wants 00:03:06.439 --> 00:03:08.620 to go from the guy selling the bricks to the 00:03:08.620 --> 00:03:11.599 guy building the house. Yes. And that leads to 00:03:11.599 --> 00:03:14.599 the pivotal moment, the ask. I always wonder 00:03:14.599 --> 00:03:17.120 about the confidence it takes for that, to walk 00:03:17.120 --> 00:03:20.800 up to your boss, Brad Osborne, and say, what? 00:03:20.919 --> 00:03:23.699 He basically just asks, can I record some hip 00:03:23.699 --> 00:03:26.319 -hop songs? Okay, be cynical for a second. Brad 00:03:26.319 --> 00:03:28.539 Osborne is a businessman. He's running a store. 00:03:29.120 --> 00:03:31.400 Why didn't he just say, kid, get back to work? 00:03:31.759 --> 00:03:34.240 Why take that risk? That's the million -dollar 00:03:34.240 --> 00:03:37.150 question. I think Osborne saw two things. One, 00:03:37.330 --> 00:03:40.250 he saw the hunger in Tyrone. But two, Osborne 00:03:40.250 --> 00:03:42.409 was already releasing music on his own labels. 00:03:42.509 --> 00:03:45.150 He was an entrepreneur. He probably saw that 00:03:45.150 --> 00:03:47.949 this breakbeat section was the busiest part of 00:03:47.949 --> 00:03:50.289 his entire store. So he knew there was a market 00:03:50.289 --> 00:03:53.030 there. He knew the demand was real. But he didn't 00:03:53.030 --> 00:03:55.090 just give Tyrone a pat on the back and a cassette 00:03:55.090 --> 00:03:57.289 recorder. This is where the story takes a sharp 00:03:57.289 --> 00:04:00.090 left turn from your typical garage rapper origin 00:04:00.090 --> 00:04:02.469 story. He booked professional studio time. And 00:04:02.469 --> 00:04:04.509 we're not talking about some budget studio in 00:04:04.509 --> 00:04:07.330 a basement. He sent him to Blank Tape Studios. 00:04:07.849 --> 00:04:10.169 Okay, for all the gearheads and audiophiles listening, 00:04:10.370 --> 00:04:13.590 why does Blank Tape Studios matter? The name 00:04:13.590 --> 00:04:17.560 sounds so unassuming. It sounds generic I know 00:04:17.560 --> 00:04:19.980 but the place was legendary. It was run by Bob 00:04:19.980 --> 00:04:22.579 Blank. This was the studio of choice for the 00:04:22.579 --> 00:04:25.959 absolute disco elite. We're talking heavy hitters. 00:04:26.060 --> 00:04:29.250 Like who? Groups like Music recorded there. The 00:04:29.250 --> 00:04:31.990 Sol Sol Orchestra recorded there. The Sol Sol 00:04:31.990 --> 00:04:34.490 Orchestra. Seriously. I mean, that's the absolute 00:04:34.490 --> 00:04:38.209 pinnacle of like lush, expensive, high production 00:04:38.209 --> 00:04:41.850 disco, full string sections, horns, polished 00:04:41.850 --> 00:04:44.110 engineering. Exactly. So just imagine the atmosphere. 00:04:44.310 --> 00:04:46.430 You have this studio that is calibrated for the 00:04:46.430 --> 00:04:49.089 cleanest, most vibrant sound money can buy. Top 00:04:49.089 --> 00:04:51.709 tier everything. And in walks Tyrone, the stock 00:04:51.709 --> 00:04:54.800 boy, to record a rap track. That contrast is 00:04:54.800 --> 00:04:57.500 just wild. Usually early hip hop has that grit. 00:04:57.779 --> 00:05:00.120 You know, it sounds raw, maybe a little muffled 00:05:00.120 --> 00:05:01.939 because it's made on a four track or something. 00:05:02.040 --> 00:05:03.680 Right. And that's why Catch the Beat hits you 00:05:03.680 --> 00:05:05.199 differently, especially with headphones. It has 00:05:05.199 --> 00:05:08.339 that studio sheen. It sounds expensive. Osbourne 00:05:08.339 --> 00:05:10.439 brought the whole infrastructure of disco and 00:05:10.439 --> 00:05:13.120 just applied it to this new street sound. He 00:05:13.120 --> 00:05:15.720 did. So you have Brad Osbourne producing. You 00:05:15.720 --> 00:05:18.800 have Tyrone on the mic. But digging into the 00:05:18.800 --> 00:05:21.600 credits, there's a third person, right? A kind 00:05:21.600 --> 00:05:23.699 of mystery man. Yes, uncredited on the label, 00:05:23.779 --> 00:05:27.379 but crucial to the whole vibe. Glenn Adams. Glenn 00:05:27.379 --> 00:05:29.259 Adams. And now why do I know that name? If you're 00:05:29.259 --> 00:05:30.939 a reggae fan, you definitely know him. He was 00:05:30.939 --> 00:05:33.720 a keyboardist for the Upsetters' Lee Scratch 00:05:33.720 --> 00:05:36.139 Perry's house band. No way! So you have a Bronx 00:05:36.139 --> 00:05:39.300 stock boy, a record store owner, and a legendary 00:05:39.300 --> 00:05:42.740 reggae keyboardist all in a high -end disco studio. 00:05:43.139 --> 00:05:46.300 It's the ultimate New York melting pot. And Adams 00:05:46.300 --> 00:05:48.980 brought that Caribbean feel, that sense of rhythm 00:05:48.980 --> 00:05:52.439 and space. But the real anchor of the song, the 00:05:52.439 --> 00:05:54.279 thing that makes you move the second it starts, 00:05:54.379 --> 00:05:57.579 is the sample. You have to talk about the sample. 00:05:57.699 --> 00:05:59.519 Because Catch the Beat is the beat. It's built 00:05:59.519 --> 00:06:02.040 on the instrumental of Heartbeat by Tana Gartner. 00:06:02.199 --> 00:06:04.259 Which was a monster club track in its own right. 00:06:04.300 --> 00:06:07.079 A huge hit. It was. But here's the critical distinction. 00:06:07.439 --> 00:06:10.180 Most disco at the time think Born to Be Alive 00:06:10.180 --> 00:06:13.079 or something was fast. It was 120 beats per minute 00:06:13.079 --> 00:06:15.600 or higher. It was frantic. Heartbeat is slow. 00:06:15.860 --> 00:06:19.480 It's around 98 to 100 BPM. It's a strut. It's 00:06:19.480 --> 00:06:22.399 not a sprint. Exactly. It's funky. It breathes. 00:06:22.399 --> 00:06:25.720 And for a rapper, that tempo is a luxury. How 00:06:25.720 --> 00:06:29.639 so? Well, when a beat is 120 BPM, you almost 00:06:29.639 --> 00:06:31.980 have to shout to keep up. You have to be percussive 00:06:31.980 --> 00:06:35.720 with your words. But at 100 BPM, you can slide 00:06:35.720 --> 00:06:38.579 into the pocket. You can be conversational. You 00:06:38.579 --> 00:06:41.399 can have swagger. That makes total sense. T -Ski 00:06:41.399 --> 00:06:43.220 Valley doesn't sound like he's panicking on the 00:06:43.220 --> 00:06:45.839 track. He sounds cool. He sounds like he's just 00:06:45.839 --> 00:06:47.980 leaning against a wall talking to you. That's 00:06:47.980 --> 00:06:50.399 the post -disco sound. It took the instruments 00:06:50.399 --> 00:06:53.160 of disco, the bass lines, the hand claps, but 00:06:53.160 --> 00:06:55.290 slowed it all down to a hip -hop pace. It's the 00:06:55.290 --> 00:06:57.709 Trojan horse approach. How do you mean? Come 00:06:57.709 --> 00:06:59.949 for the familiar disco beat. Stay for the brand 00:06:59.949 --> 00:07:03.069 new rap flow. That is perfectly put. So they 00:07:03.069 --> 00:07:05.569 wrap up a blank tape. They press the record on 00:07:05.569 --> 00:07:09.850 Grand Groove Records. Catalog GG 7701. Does the 00:07:09.850 --> 00:07:12.509 world notice? Or does it just sit in the boxes 00:07:12.509 --> 00:07:14.670 Tyrone used to pack? It definitely did not sit 00:07:14.670 --> 00:07:17.069 in the boxes. It became what we'd call a bona 00:07:17.069 --> 00:07:19.509 fide underground phenomenon. Okay, define underground 00:07:19.509 --> 00:07:21.829 here. Because sometimes that's just code for 00:07:21.829 --> 00:07:24.800 it sold five copies to his friends. Not in this 00:07:24.800 --> 00:07:27.660 case. Underground means it wasn't being played 00:07:27.660 --> 00:07:30.060 on the pop radio stations next to Rick Springfield. 00:07:30.420 --> 00:07:33.899 But in the ecosystem that mattered, the clubs, 00:07:34.000 --> 00:07:36.100 the block parties, the urban centers, it was 00:07:36.100 --> 00:07:39.019 absolutely inescapable. We have some quotes from 00:07:39.019 --> 00:07:41.339 the time. Stuart Baker, writing in Hot Stuff 00:07:41.339 --> 00:07:43.959 magazine, called it a groundbreaking rap song. 00:07:44.660 --> 00:07:47.000 Groundbreaking, that's a heavy word for a debut 00:07:47.000 --> 00:07:50.779 track. And he wasn't alone. Critics started putting 00:07:50.779 --> 00:07:54.279 it up against the brakes. Which is basically 00:07:54.279 --> 00:07:55.839 the gold standard. If you're getting compared 00:07:55.839 --> 00:07:58.920 to Curtis Blow in 1981, you have definitely made 00:07:58.920 --> 00:08:01.180 it. For sure. Piccadilly Records even described 00:08:01.180 --> 00:08:04.360 it as capturing that specific post -Disco Bronx 00:08:04.360 --> 00:08:08.000 era of rap. It's so interesting that even then 00:08:08.000 --> 00:08:10.720 people knew this was a specific era. They knew 00:08:10.720 --> 00:08:12.740 the sound was shifting in real time. Exactly. 00:08:12.740 --> 00:08:14.720 Let's look at the numbers, though. You mentioned 00:08:14.720 --> 00:08:17.079 Cashbox earlier. Why look at Cashbox instead 00:08:17.079 --> 00:08:19.879 of just, say, the Billboard Hot 100? Well, Cashbox 00:08:19.879 --> 00:08:21.959 was often more granular for these specific genres. 00:08:22.180 --> 00:08:24.439 They tracked jukebox play and local independent 00:08:24.439 --> 00:08:27.079 sales way more aggressively than the majors did. 00:08:27.259 --> 00:08:29.240 Okay, so what did they say? In the August 31, 00:08:29.540 --> 00:08:33.840 1981 issue, Cashbox listed Catch the Beat. in 00:08:33.840 --> 00:08:36.620 the East Coast Dance Music Top Ten. Top Ten. 00:08:36.740 --> 00:08:38.320 So by the end of that summer, it's one of the 00:08:38.320 --> 00:08:40.059 biggest tracks in New York. And it stayed there. 00:08:40.320 --> 00:08:42.659 Record World reported in December, that's four 00:08:42.659 --> 00:08:44.799 months later, that it was still selling well 00:08:44.799 --> 00:08:46.759 in the New York area. That kind of longevity 00:08:46.759 --> 00:08:49.500 is rare for dance music. Usually it's churn and 00:08:49.500 --> 00:08:52.159 burn, a new track every week. Why do you think 00:08:52.159 --> 00:08:54.279 this one stuck around? I think it goes back to 00:08:54.279 --> 00:08:56.179 that production quality we talked about. It wasn't 00:08:56.179 --> 00:08:58.360 just a novelty record. It was a great piece of 00:08:58.360 --> 00:09:00.419 music. You could play it at 10 p .m. to start 00:09:00.419 --> 00:09:03.639 the party or at 2 a .m. to keep the vibe going. 00:09:03.799 --> 00:09:06.519 It had utility. It's funny. We often judge success 00:09:06.519 --> 00:09:09.779 now by, like, did it go platinum? But for an 00:09:09.779 --> 00:09:13.259 independent label in 1981, a record selling consistently 00:09:13.259 --> 00:09:16.340 for five months in the tri -state area. That's 00:09:16.340 --> 00:09:18.919 a massive financial win. Huge. It completely 00:09:18.919 --> 00:09:21.919 validated Brad Osborne's gamble. The stock boy 00:09:21.919 --> 00:09:24.700 could actually move units. But the story doesn't 00:09:24.700 --> 00:09:27.639 end in 1981. And it doesn't stay in the Bronx. 00:09:27.840 --> 00:09:29.980 This is the part that really surprised me. The 00:09:29.980 --> 00:09:32.340 second life of Teesky Valley. The European vacation, 00:09:32.639 --> 00:09:35.120 so to speak. Right. We jump forward to 1984. 00:09:35.919 --> 00:09:40.460 Three years later, in music years, that is an 00:09:40.460 --> 00:09:43.289 eternity. Why does this song pop up again? Well, 00:09:43.350 --> 00:09:45.409 the UK was having its own hip hop awakening, 00:09:45.490 --> 00:09:49.370 but on a delayed timeline. By 84, electro and 00:09:49.370 --> 00:09:52.549 breakdancing were just exploding in London. So 00:09:52.549 --> 00:09:55.129 a new version was released, Catch the Beat, Scratch 00:09:55.129 --> 00:09:58.309 the Beat, on the Master Mix and BMC labels. Scratch 00:09:58.309 --> 00:10:00.529 the Beat, of course. They had to add that turntable 00:10:00.529 --> 00:10:02.750 element to make it sound current for 84. Exactly. 00:10:02.809 --> 00:10:04.889 And the British audience devoured it. It spent 00:10:04.889 --> 00:10:08.009 10 weeks on the Record Mirror disco chart. 10 00:10:08.009 --> 00:10:11.399 weeks. 10 weeks. peaking at number 33. It even 00:10:11.399 --> 00:10:14.019 came back later on the Disco Top 85 chart. It 00:10:14.019 --> 00:10:16.480 was a zombie record that just would not die. 00:10:16.700 --> 00:10:18.919 Every time a new wave of kids discovered hip 00:10:18.919 --> 00:10:21.340 -hop, they discovered Kiski Valley. And that 00:10:21.340 --> 00:10:23.620 brings us to the modern era. Because the ultimate 00:10:23.620 --> 00:10:25.840 sign of respect in hip -hop is getting sampled, 00:10:25.879 --> 00:10:28.259 right? You borrow from the best. The DNA test. 00:10:28.580 --> 00:10:30.580 How many times has Catch the Beat been sampled? 00:10:30.960 --> 00:10:34.779 Documented. At least 82 times. 82. Wow. And that's 00:10:34.779 --> 00:10:37.440 across all kinds of genres. But the most high 00:10:37.440 --> 00:10:39.559 profile example has to be the Black Eyed Peas 00:10:39.559 --> 00:10:42.179 connection. Break that down for us. Will .i .am 00:10:42.179 --> 00:10:45.639 sampled Catch the Beat for his song Over, which 00:10:45.639 --> 00:10:48.139 is on his solo album Songs About Girls. So you 00:10:48.139 --> 00:10:50.399 have a direct sonic line from a record store 00:10:50.399 --> 00:10:54.200 backroom in the Bronx to a global pop superstar 00:10:54.200 --> 00:10:57.039 in the 2000s. And Will .i .am is a student of 00:10:57.039 --> 00:10:58.860 the game. He didn't kick that sample by accident. 00:10:58.960 --> 00:11:01.980 He picked it because that groove, that... Heartbeat 00:11:01.980 --> 00:11:05.100 bass line with Kiski's flow is timeless. It just 00:11:05.100 --> 00:11:07.840 works. There was also a remix in 2002 that I 00:11:07.840 --> 00:11:09.759 think is worth mentioning with Dimitri from Paris. 00:11:09.919 --> 00:11:13.379 Yes. On the Peppermint Jam label. Now, Dimitri 00:11:13.379 --> 00:11:15.879 from Paris is a master of the re -edit. He takes 00:11:15.879 --> 00:11:18.340 these old disco tracks and just tightens them 00:11:18.340 --> 00:11:20.460 up. He doesn't ruin them. He just polishes the 00:11:20.460 --> 00:11:22.120 silver. So what did he do to catch the beat? 00:11:22.340 --> 00:11:24.740 He and Moose T gave it what Billboard called 00:11:24.740 --> 00:11:28.019 an old school contemporary feel. They cleaned 00:11:28.019 --> 00:11:30.500 up the low end, punched up the drums for modern 00:11:30.500 --> 00:11:33.059 club systems, but kept the soul of it completely 00:11:33.059 --> 00:11:35.559 intact. And Billboard liked it. They loved it. 00:11:35.899 --> 00:11:38.440 The beatbox column called it cleverly reworked. 00:11:38.440 --> 00:11:40.720 And that's the trick, isn't it? To rework something 00:11:40.720 --> 00:11:43.659 without losing the ghost in the machine. It really 00:11:43.659 --> 00:11:46.279 just reinforces this idea of the bridge. The 00:11:46.279 --> 00:11:49.259 song started as a bridge between disco and rap. 00:11:49.480 --> 00:11:51.659 Yeah. Then the remix became a bridge between 00:11:51.659 --> 00:11:54.720 the analog 80s and the digital 2000s. It's a 00:11:54.720 --> 00:11:57.259 unifier. So let's zoom out. We've looked at the 00:11:57.259 --> 00:11:59.299 chart data, the studio specs. We've tracked the 00:11:59.299 --> 00:12:02.500 samples. What's the big takeaway? Why does Tisky 00:12:02.500 --> 00:12:05.179 Valley matter today? I think Teesky Valley represents 00:12:05.179 --> 00:12:08.360 the power of that transitional moment. We always 00:12:08.360 --> 00:12:10.360 try to categorize history into these neat little 00:12:10.360 --> 00:12:13.019 boxes. This is the disco box. This is the rap 00:12:13.019 --> 00:12:16.759 box. But catch the beat. proves that the most 00:12:16.759 --> 00:12:19.220 interesting art happens when the boxes spill 00:12:19.220 --> 00:12:21.740 over into each other. It was a laboratory. It 00:12:21.740 --> 00:12:24.480 was. And it validated the idea that hip -hop 00:12:24.480 --> 00:12:27.820 didn't have to sound gritty or lo -fi to be authentic. 00:12:27.960 --> 00:12:31.059 It could be polished. It could be melodic. It 00:12:31.059 --> 00:12:33.120 could be recorded in the same room as an orchestra. 00:12:33.419 --> 00:12:35.759 It broadened the whole palette. Exactly. It gave 00:12:35.759 --> 00:12:38.299 permission for rap to be musical in that traditional 00:12:38.299 --> 00:12:40.600 sense. I keep going back to Tyrone and that record 00:12:40.600 --> 00:12:42.299 store. I'm just thinking about the hidden talent 00:12:42.299 --> 00:12:44.539 aspect of all this. The human element. Yeah. 00:12:44.580 --> 00:12:45.919 I mean, think about it. about it you have this 00:12:45.919 --> 00:12:48.820 guy stocking shelves he has this vision for a 00:12:48.820 --> 00:12:51.759 breakbeat section he has the flow but he's just 00:12:51.759 --> 00:12:56.259 there part of the scenery until he's not it's 00:12:56.259 --> 00:12:58.480 a reminder that talent is distributed equally 00:12:58.480 --> 00:13:01.659 but opportunity is not but also that opportunity 00:13:01.659 --> 00:13:06.019 can be created he asked can i record that's a 00:13:06.019 --> 00:13:08.139 scary question to ask your boss and credit to 00:13:08.139 --> 00:13:11.049 brad osborne for saying yes History turns on 00:13:11.049 --> 00:13:13.669 those yes moments. If Osborne says, no, get back 00:13:13.669 --> 00:13:15.769 to work, we probably aren't talking about this. 00:13:15.850 --> 00:13:17.710 That bridge might never have been built. And 00:13:17.710 --> 00:13:19.509 that's the thought I want to leave all of you 00:13:19.509 --> 00:13:23.370 with today. We walk past people every day, baristas, 00:13:23.570 --> 00:13:26.730 bus drivers, stock boys, interns. We see the 00:13:26.730 --> 00:13:29.210 function they perform for us. We don't see the 00:13:29.210 --> 00:13:31.269 symphony playing in their head. Somewhere right 00:13:31.269 --> 00:13:33.409 now, the next genre -defining artist is probably 00:13:33.409 --> 00:13:35.850 scanning groceries or answering a customer support 00:13:35.850 --> 00:13:38.149 email. Just waiting for the moment to ask the 00:13:38.149 --> 00:13:40.659 question. or waiting for someone to give them 00:13:40.659 --> 00:13:43.200 the keys to the studio. It makes you look at 00:13:43.200 --> 00:13:45.419 the world a little differently. It sure does. 00:13:45.940 --> 00:13:48.899 Teesky Valley. Catch the beat. Go listen to it. 00:13:48.940 --> 00:13:51.379 Listen to that tempo. Listen to the confidence. 00:13:51.759 --> 00:13:54.340 And remember where it all came from. From the 00:13:54.340 --> 00:13:56.840 back of the store to the history books. Thanks 00:13:56.840 --> 00:13:58.500 for diving in with us. We'll see you on the next 00:13:58.500 --> 00:13:59.620 one. Goodbye, everyone.