WEBVTT 00:00:00.000 --> 00:00:02.180 Welcome to today's deep dive. I'm your host. 00:00:02.580 --> 00:00:05.799 And today we are unpacking a really incredible 00:00:05.799 --> 00:00:08.480 story. Hey, everyone. I'm our resident expert 00:00:08.480 --> 00:00:11.259 for today. And yeah, this one is it's honestly 00:00:11.259 --> 00:00:13.279 kind of mind blowing once you start looking at 00:00:13.279 --> 00:00:16.559 the details. It really is. So I want to ask you, 00:00:16.660 --> 00:00:19.000 the listener, a quick question. Have you ever 00:00:19.000 --> 00:00:23.059 felt like pressured to pick just one career path? 00:00:23.059 --> 00:00:25.870 Oh, right. Like, you have to specialize in just 00:00:25.870 --> 00:00:27.929 one thing. Exactly. Society always says pick 00:00:27.929 --> 00:00:31.920 a lane, you know? But today's subject proves 00:00:31.920 --> 00:00:35.179 that embracing seemingly totally unrelated passions 00:00:35.179 --> 00:00:38.039 can, well, make you a legend in both. We are 00:00:38.039 --> 00:00:40.200 looking at the source material on Peter E. Kleine, 00:00:40.259 --> 00:00:42.759 who most people know as Sneaky Pete. Sneaky Pete. 00:00:42.859 --> 00:00:44.759 And to give you a sense of why this is so wild, 00:00:44.820 --> 00:00:47.700 just imagine a guy who composed the theme song 00:00:47.700 --> 00:00:50.079 for Gumby, right? Yeah. Then he goes and plays 00:00:50.079 --> 00:00:52.219 on John Lennon and Stevie Wonder records. Which 00:00:52.219 --> 00:00:55.280 is already a crazy jump. Right. And then he provides 00:00:55.280 --> 00:00:57.579 visual effects for the Terminator. It's like, 00:00:57.579 --> 00:00:59.700 what? It sounds like a glitch in The Matrix. 00:01:00.009 --> 00:01:03.609 You're looking at two highly specialized, completely 00:01:03.609 --> 00:01:06.390 walled off industries. Blockbuster visual effects 00:01:06.390 --> 00:01:09.409 on one side, and elite rock and roll session 00:01:09.409 --> 00:01:11.670 music on the other. Okay, let's unpack this, 00:01:11.849 --> 00:01:13.890 because my initial instinct is to think, okay, 00:01:13.909 --> 00:01:16.549 he's just a dabbler, like a creative Clark Kent. 00:01:16.750 --> 00:01:19.650 Right, like by day he's painstakingly animating 00:01:19.650 --> 00:01:23.129 clay figures, and by night he's this honky tonk 00:01:23.129 --> 00:01:26.379 superhero. Exactly, moonlighting in clubs. But 00:01:26.379 --> 00:01:29.200 on the surface, moving a piece of clay and playing 00:01:29.200 --> 00:01:31.680 a pedal steel guitar have absolutely nothing 00:01:31.680 --> 00:01:35.459 in common. So where do we even start? Well, we 00:01:35.459 --> 00:01:37.400 start by looking at his background because it 00:01:37.400 --> 00:01:39.620 lays the groundwork for this bizarre double life. 00:01:40.319 --> 00:01:42.579 And the connective tissue here is actually mechanical 00:01:42.579 --> 00:01:45.260 precision. Okay, mechanical precision. How so? 00:01:45.400 --> 00:01:48.260 So he's born in South Bend, Indiana in 1934. 00:01:48.560 --> 00:01:51.379 He hears this legendary player named Jerry Bird 00:01:51.379 --> 00:01:53.459 and picks up the pedal steel in high school. 00:01:53.579 --> 00:01:55.480 And he doesn't just run off to LA immediately, 00:01:55.540 --> 00:01:58.620 right? No, not at all. For over a decade, he 00:01:58.620 --> 00:02:00.500 works as a maintenance worker for the Michigan 00:02:00.500 --> 00:02:02.560 Department of Transportation. Wait, a decade 00:02:02.560 --> 00:02:04.719 of highway maintenance? Yeah, exactly. That is 00:02:04.719 --> 00:02:07.040 like the farthest thing from Hollywood Glitz 00:02:07.040 --> 00:02:10.000 or a rock star lifestyle. It is, but think about 00:02:10.000 --> 00:02:12.520 what a maintenance worker actually does. You're 00:02:12.520 --> 00:02:15.639 troubleshooting complex, heavy machinery. You're 00:02:15.639 --> 00:02:20.120 dealing with hydraulics, cables, tension. Diagnosing 00:02:20.120 --> 00:02:22.099 mechanical failures. Right, and fixing them with 00:02:22.099 --> 00:02:25.539 your bare hands. That decade basically wired 00:02:25.539 --> 00:02:28.419 his brain for a very specific type of problem 00:02:28.419 --> 00:02:32.039 solving. So when he finally moves to LA in 1963, 00:02:32.780 --> 00:02:34.780 he doesn't go there to be a session guitarist. 00:02:34.900 --> 00:02:37.199 Oh, right. He goes to work in visual effects, 00:02:37.740 --> 00:02:40.759 stop -motion animation. Exactly. He gets uncredited 00:02:40.759 --> 00:02:43.139 work on films like The Outer Limits, Seven Faces 00:02:43.139 --> 00:02:45.960 of Dr. Lau, and then he famously animates and 00:02:45.960 --> 00:02:49.449 even composes the theme for Gumbi. Which, I mean, 00:02:49.550 --> 00:02:51.550 we have to talk about the brutal reality of stop 00:02:51.550 --> 00:02:53.830 -motion animation. It sounds fun, but it's not. 00:02:53.990 --> 00:02:55.770 It is an agonizing medium. Yeah, you're dealing 00:02:55.770 --> 00:02:58.310 with this internal metal armature, right? Like 00:02:58.310 --> 00:03:01.110 a skeleton with tiny ball and socket joints covered 00:03:01.110 --> 00:03:04.449 in clay. And to get one second of film? 24 individual 00:03:04.449 --> 00:03:06.949 frames. You have to reach in, adjust a limb by 00:03:06.949 --> 00:03:09.090 maybe a millimeter, make sure the center of gravity 00:03:09.090 --> 00:03:11.050 hasn't shifted. So the puppet doesn't fall over. 00:03:11.710 --> 00:03:14.550 Exactly. Check the studio lighting, take a picture, 00:03:14.969 --> 00:03:18.000 and do it again. It requires like this mathematical 00:03:18.000 --> 00:03:20.919 level of spatial mapping. You're holding an entire 00:03:20.919 --> 00:03:24.379 fluid motion in your head while focusing on microscopic 00:03:24.379 --> 00:03:27.560 static adjustments. And now apply that exact 00:03:27.560 --> 00:03:30.139 same brain to the pedal steel guitar. Right, 00:03:30.139 --> 00:03:32.159 because he's doing both at the same time. Yeah, 00:03:32.159 --> 00:03:34.139 while he's animating during the day, he's hitting 00:03:34.139 --> 00:03:36.639 the L .A. country clubs at night, playing with 00:03:36.639 --> 00:03:38.919 Smokey Rogers and the Western Caravan. Which 00:03:38.919 --> 00:03:41.159 is where he gets the nickname Sneaky Pete, right? 00:03:41.259 --> 00:03:43.639 Yep, and he's subbing for players in the detours. 00:03:44.379 --> 00:03:47.409 And here's the thing. The pedal steel is arguably 00:03:47.409 --> 00:03:50.569 the most mechanically complex acoustic instrument 00:03:50.569 --> 00:03:52.669 ever designed. Because you're not just holding 00:03:52.669 --> 00:03:55.389 a guitar, you're sitting at a console. Exactly. 00:03:56.069 --> 00:03:58.129 Both hands are working, picking and sliding a 00:03:58.129 --> 00:04:01.030 heavy metal bar. But underneath, your knees are 00:04:01.030 --> 00:04:03.050 pushing levers left and right, and your feet 00:04:03.050 --> 00:04:05.050 are pressing multiple pedals. It's an entire 00:04:05.050 --> 00:04:07.909 machine. Right. Pushing a knee lever might raise 00:04:07.909 --> 00:04:10.370 one string a half step, while lowering another 00:04:10.370 --> 00:04:12.770 a whole step. You're basically a human transmission 00:04:12.770 --> 00:04:16.660 system. Wow. So moving a metal armature for Gumby 00:04:16.660 --> 00:04:19.800 and pulling a cable on a pedal steel. They require 00:04:19.800 --> 00:04:22.560 the exact same micro coordination and patience. 00:04:23.339 --> 00:04:25.540 Okay, so this brings us to his gear, which is 00:04:25.540 --> 00:04:27.379 where things get really interesting. Because 00:04:27.379 --> 00:04:30.279 this mechanical mind of his actually alters the 00:04:30.279 --> 00:04:32.959 course of rock history. Yeah, 1968 is the turning 00:04:32.959 --> 00:04:36.129 point. Right. He meets Chris Hellman and Graham 00:04:36.129 --> 00:04:39.370 Parsons, who are in The Birds at the time, and 00:04:39.370 --> 00:04:41.550 they're trying to, you know, bring country music 00:04:41.550 --> 00:04:43.350 into rock. And Klinehouse starts sitting in with 00:04:43.350 --> 00:04:45.569 them at local club. Which causes huge drama. 00:04:45.990 --> 00:04:48.750 Roger McGuinn, who is basically leading The Birds, 00:04:49.170 --> 00:04:52.410 flat out refuses to let Sneaky Pete replace their 00:04:52.410 --> 00:04:55.389 banjoist, Doug Dillard, for a European tour. 00:04:55.709 --> 00:04:58.829 Right. And that specific friction is the catalyst 00:04:58.829 --> 00:05:00.990 that hastens Hellman and Parsons leaving The 00:05:00.990 --> 00:05:03.230 Birds entirely. They quit one of the biggest 00:05:03.240 --> 00:05:05.120 rock bands in the world over this guy. Yeah, 00:05:05.180 --> 00:05:07.120 they formed the Flying Burrito Brothers, signed 00:05:07.120 --> 00:05:09.920 to A &M, and bring Sneaky Pete on board. And 00:05:09.920 --> 00:05:13.019 when they record their 1969 debut, The Gilded 00:05:13.019 --> 00:05:15.079 Palace of Sin, he brings this very specific, 00:05:15.220 --> 00:05:18.180 totally weird piece of hardware, the Fender 400, 00:05:18.480 --> 00:05:21.420 which was completely outmoded by the late 60s. 00:05:21.720 --> 00:05:24.279 Modern pedal steels were using rod case systems. 00:05:24.639 --> 00:05:27.660 They were smoother. But the Fender 400, it was 00:05:27.660 --> 00:05:30.699 cable operated, right? Right. Eight strings relying 00:05:30.699 --> 00:05:33.319 on physical wires, pulling the bridge to change 00:05:33.319 --> 00:05:37.019 pitch, like brake cables on a bicycle. That sounds 00:05:37.019 --> 00:05:39.819 horribly prone to braking. It was. It had friction. 00:05:39.879 --> 00:05:41.660 It would slip if you didn't know how to calibrate 00:05:41.660 --> 00:05:44.279 it. But because of his background, he knew how 00:05:44.279 --> 00:05:46.639 to manage that mechanical tension. And then he 00:05:46.639 --> 00:05:48.879 combined that with a tuning that just baffled 00:05:48.879 --> 00:05:51.160 everyone. Oh, the tuning is fascinating. Yeah, 00:05:51.220 --> 00:05:54.259 his bandmate, Bernie Luden, said most country 00:05:54.259 --> 00:05:58.740 players used a standard C6 or E9 tuning. But 00:05:58.740 --> 00:06:02.060 Sneaky Pete tuned his eight strings to B6. Which 00:06:02.060 --> 00:06:04.480 completely changes the harmonic landscape. If 00:06:04.480 --> 00:06:07.199 you're playing rock in the key of E, which is 00:06:07.199 --> 00:06:09.800 the root of so much rock and roll tuning to B, 00:06:10.180 --> 00:06:12.139 means you're tuned to the dominant five chord. 00:06:12.259 --> 00:06:14.839 Tension chord. Precisely. B naturally wants to 00:06:14.839 --> 00:06:17.860 pull back and resolve to E. So he built a machine 00:06:17.860 --> 00:06:19.939 where the baseline state was musical tension. 00:06:20.040 --> 00:06:22.279 So he's not playing happy country licks. No. 00:06:22.439 --> 00:06:25.980 He's applying jazz and swing voicings to a rock 00:06:25.980 --> 00:06:29.439 context. Bernie leading actually said no one 00:06:29.439 --> 00:06:31.639 else thinks like him anyway because his instrument 00:06:31.639 --> 00:06:34.139 was literally mapped differently and he doesn't 00:06:34.139 --> 00:06:37.480 stop there He runs this country instrument through 00:06:37.480 --> 00:06:40.699 rock pedals He uses a fuzz box which clips the 00:06:40.699 --> 00:06:43.100 signal makes it gritty an echo plix for tape 00:06:43.100 --> 00:06:46.379 delay and Most famously the Leslie speaker which 00:06:46.379 --> 00:06:49.100 was made for Hammond organs, right? Yeah inside 00:06:49.100 --> 00:06:51.079 the cabinet There's a physical horn that literally 00:06:51.079 --> 00:06:54.060 spins in circles driven by a motor throwing the 00:06:54.060 --> 00:06:56.329 sound around the room Like a sonic lighthouse? 00:06:56.689 --> 00:07:00.029 Exactly. It creates a Doppler effect. Pitch goes 00:07:00.029 --> 00:07:02.009 up as it spins towards you, drops as it spins 00:07:02.009 --> 00:07:05.089 away. By plugging in his pedal steel, he basically 00:07:05.089 --> 00:07:07.790 built an experimental rock synthesizer. Taking 00:07:07.790 --> 00:07:10.350 that weeping country glide and giving it this 00:07:10.350 --> 00:07:13.350 swirling psychedelic texture, and it immediately 00:07:13.350 --> 00:07:15.410 influences everyone. Jerry Garcia, Buddy Cage, 00:07:15.470 --> 00:07:17.470 they all start doing it. They essentially invented 00:07:17.470 --> 00:07:19.189 country rock. But wait, here's where I have to 00:07:19.189 --> 00:07:22.149 push back. He invents this new genre. He's the 00:07:22.149 --> 00:07:25.139 musical anchor. They're super influential. Why 00:07:25.139 --> 00:07:28.560 on earth does he quit by 1971? Barely three years 00:07:28.560 --> 00:07:31.060 later. Yeah. Why walk away from the house you 00:07:31.060 --> 00:07:34.259 just built? Well, because the very mechanical 00:07:34.259 --> 00:07:36.579 perfectionism that made him a great animator 00:07:36.579 --> 00:07:39.540 made him absolutely despise being in a chaotic 00:07:39.540 --> 00:07:42.959 rock band. Ah, right. Graham Parsons and that 00:07:42.959 --> 00:07:46.860 whole late 60s LA excess. Exactly. They were 00:07:46.860 --> 00:07:49.379 deeply embedded in that substance -heavy lifestyle. 00:07:49.480 --> 00:07:52.300 They were notoriously sloppy life. And Sneaky 00:07:52.300 --> 00:07:55.240 Pete was not about that. No. The sources say 00:07:55.240 --> 00:07:58.060 he favored a relatively abstemious and reclusive 00:07:58.060 --> 00:08:00.860 lifestyle. I mean, he wasn't a total shut -in. 00:08:01.100 --> 00:08:03.180 Right. Bassist Chris Etheridge said he loved 00:08:03.180 --> 00:08:05.579 wine. Yeah. And he hosted sci -fi movie nights 00:08:05.579 --> 00:08:08.500 at Burrito Manor in Rosetta. He had a rich social 00:08:08.500 --> 00:08:11.290 life, but professionally. He was a meticulous 00:08:11.290 --> 00:08:13.370 technician. And dealing with an unpredictable 00:08:13.370 --> 00:08:15.750 stage show night after night was just offensive 00:08:15.750 --> 00:08:17.589 to his work ethic. Plus, he was being pushed 00:08:17.589 --> 00:08:19.689 out creatively. Yeah, his intricate parts were 00:08:19.689 --> 00:08:21.930 being diminished in the studio mixes. And his 00:08:21.930 --> 00:08:24.389 songwriting was being rejected. So chaotic live 00:08:24.389 --> 00:08:26.750 shows and his precision work is buried on the 00:08:26.750 --> 00:08:29.569 records. So he leaves. But, and this is crucial, 00:08:29.930 --> 00:08:32.830 his exit wasn't a failure. It was an emancipation. 00:08:33.070 --> 00:08:35.029 Because he had the burrito stamp of approval. 00:08:35.429 --> 00:08:38.620 Right, the imprimatur. Suddenly, the entire LA 00:08:38.620 --> 00:08:41.059 music industry realizes there's a guy who can 00:08:41.059 --> 00:08:43.539 make a pedal steel sound like a Moog synthesizer. 00:08:43.700 --> 00:08:46.759 And the resume he builds in the 70s is just staggering. 00:08:47.019 --> 00:08:50.220 Pure whiplash. Like in 69, he's on Joe Cocker. 00:08:50.320 --> 00:08:52.559 By 71, he's playing on Joni Mitchell's Blue. 00:08:52.700 --> 00:08:55.139 Which is an acoustic masterpiece. Then in 72, 00:08:55.480 --> 00:08:57.879 he's with Little Richard, Little Feet, and Frank 00:08:57.879 --> 00:09:00.120 Zappa. The adaptability is genius. Look at the 00:09:00.120 --> 00:09:02.200 mechanics of those sessions. On Joni Mitchell's 00:09:02.200 --> 00:09:04.940 Blue, it's sparse folk. He can't use heavy fuzz 00:09:04.940 --> 00:09:08.179 there. Right, he uses the volume pedal, smooth 00:09:08.179 --> 00:09:10.899 glides to make these ethereal ambient pads behind 00:09:10.899 --> 00:09:14.259 her voice. But then jump to 74 and 76, he's on 00:09:14.259 --> 00:09:16.559 Stevie Wonder's Fulfillingness's first finale 00:09:16.559 --> 00:09:19.440 and Songs in the Key of Life. A completely different 00:09:19.440 --> 00:09:22.799 universe. Dense, syncopated R &B chord progressions. 00:09:23.399 --> 00:09:25.220 A traditional country player would be totally 00:09:25.220 --> 00:09:28.139 lost. But because of his B6 jazz tuning and the 00:09:28.139 --> 00:09:30.080 Leslie speaker, He punches right through the 00:09:30.080 --> 00:09:32.629 mix. Exactly. He treats the pedal steel like 00:09:32.629 --> 00:09:35.370 a brass section playing staccato hits or a funky 00:09:35.370 --> 00:09:38.070 electric guitar. He stripped the country twang 00:09:38.070 --> 00:09:40.470 out and placed it with pure texture. I mean he 00:09:40.470 --> 00:09:43.230 also played on John Lennon's mind games in 73, 00:09:43.710 --> 00:09:48.070 Fleetwood Mac in 74, Leonard Cohen in 77. He 00:09:48.070 --> 00:09:50.889 took this regional instrument and reverse engineered 00:09:50.889 --> 00:09:53.190 it into a universal tool. And he kept his own 00:09:53.190 --> 00:09:56.309 projects going too. formed Cold Steel in 74, 00:09:56.889 --> 00:09:59.090 co -founded a reconstituted Flying Greedo Brothers, 00:09:59.570 --> 00:10:02.149 released solo albums. But then, just as he compers 00:10:02.149 --> 00:10:04.669 the session world, he pivots again. and goes 00:10:04.669 --> 00:10:07.309 back to visual effects. Which, if we connect 00:10:07.309 --> 00:10:09.570 the dots, isn't really a pivot at all. He's just 00:10:09.570 --> 00:10:11.330 going back to a different kind of mechanical 00:10:11.330 --> 00:10:13.929 manipulation. Precisely. In 72, he does a second 00:10:13.929 --> 00:10:16.929 stint animating Davian Goliath. Then from 74 00:10:16.929 --> 00:10:19.250 to 76, he's animating stop motion for Land of 00:10:19.250 --> 00:10:22.269 the Lost. Oh, wow, yeah. And in 1981, he creates 00:10:22.269 --> 00:10:24.950 the dinosaurs for the movie Caveman. And the 00:10:24.950 --> 00:10:27.470 industry recognizes his precision. Sure. He wins 00:10:27.470 --> 00:10:30.389 a 1983 Emmy for The Winds of War. But the uncredited 00:10:30.389 --> 00:10:32.330 blockbuster stuff is where it really blows my 00:10:32.330 --> 00:10:34.990 mind. The Empire Strikes Back. Great stuff. Gremlins. 00:10:35.169 --> 00:10:39.250 And then The Terminator in 1984 and T2 in 1991. 00:10:39.490 --> 00:10:41.610 Think about the stop motion in the original Terminator, 00:10:41.769 --> 00:10:44.769 when the T800 is just a metal endoskeleton limping 00:10:44.769 --> 00:10:47.529 through the factory. Yeah, that terrifying stripped 00:10:47.529 --> 00:10:50.289 down robot. That requires an animator to convey 00:10:50.289 --> 00:10:53.970 weight, menace, and mechanical friction. If you 00:10:53.970 --> 00:10:56.090 move the puppet too much, it looks weightless 00:10:56.090 --> 00:10:58.580 and silly. If you move it too little. It looks 00:10:58.580 --> 00:11:01.480 frozen. You have to understand how metal joints 00:11:01.480 --> 00:11:03.899 bear weight. Which is exactly what you have to 00:11:03.899 --> 00:11:06.620 understand to keep a cable -operated Fender 400 00:11:06.620 --> 00:11:09.940 pedal steel in tune while bending a dominant 00:11:09.940 --> 00:11:13.120 chord. It's all about physical tension. He was 00:11:13.120 --> 00:11:15.700 fundamentally a mechanical artist, translating 00:11:15.700 --> 00:11:18.320 his meticulous nature into sound and sight. He 00:11:18.320 --> 00:11:21.120 even worked on Starship Troopers in 97, all while 00:11:21.120 --> 00:11:23.419 continuing to play music. He never stopped chasing 00:11:23.419 --> 00:11:26.669 the craft. In 2000, he formed Burrito Deluxe 00:11:26.669 --> 00:11:29.429 with Garth Hudson from the band. And their 2007 00:11:29.429 --> 00:11:31.909 album, Disciples of the Truth, has his final 00:11:31.909 --> 00:11:34.269 studio recordings. His last live performance 00:11:34.269 --> 00:11:37.710 was in 2005 at a Graham Parsons tribute in Joshua 00:11:37.710 --> 00:11:40.299 Tree. It's so fitting that he ended his stage 00:11:40.299 --> 00:11:42.919 career honoring Graham Parsons, the guy who basically 00:11:42.919 --> 00:11:44.440 pulled him out of the honky tonks. Definitely. 00:11:44.620 --> 00:11:46.820 And, you know, he was married to his wife, Ernestine, 00:11:46.840 --> 00:11:49.860 for 54 years. They had five children. But tragically, 00:11:50.000 --> 00:11:52.299 he suffered from Alzheimer's in his later years. 00:11:52.779 --> 00:11:54.899 He had to move to a skilled nursing facility 00:11:54.899 --> 00:11:58.120 in California in 2006, and he passed away there 00:11:58.120 --> 00:12:02.080 in January 2007 at the age of 72. But there's 00:12:02.080 --> 00:12:04.679 this deeply touching detail from the source material. 00:12:04.840 --> 00:12:07.080 about his final days. Yeah, just three months 00:12:07.080 --> 00:12:10.379 before his death. Yeah. Two local musicians, 00:12:10.639 --> 00:12:13.240 Jan White and Pat Campbell, visited his facility. 00:12:13.639 --> 00:12:16.000 They set up in the garden and played a private 00:12:16.000 --> 00:12:18.539 concert just for him. Playing Graham Parsons 00:12:18.539 --> 00:12:21.580 songs. Exactly. And even in the grip of Alzheimer's, 00:12:21.639 --> 00:12:23.919 the music broke through. It brought him to tears, 00:12:23.980 --> 00:12:26.200 and he expressed just immense joy in that moment. 00:12:26.360 --> 00:12:29.059 What a profound full circle moment, the man who 00:12:29.059 --> 00:12:31.440 spent his life meticulously manipulating strings 00:12:31.440 --> 00:12:33.840 to make us feel something, having that exact 00:12:33.840 --> 00:12:36.740 same gift return to him. It really synthesizes 00:12:36.740 --> 00:12:39.379 why his life is so important to study. It proves 00:12:39.379 --> 00:12:41.940 that human capability isn't a zero sum game. 00:12:42.019 --> 00:12:44.460 Right. The patients required to animate a dinosaur 00:12:44.460 --> 00:12:46.820 did not steal energy from his ability to play 00:12:46.820 --> 00:12:49.200 guitar. They actively cross trained his brain. 00:12:49.419 --> 00:12:51.879 Which leaves you, the listener, with this final 00:12:51.879 --> 00:12:54.500 thought to mull over. We live in a world that 00:12:54.500 --> 00:12:57.289 constantly tells us to pick a lane. to specialize. 00:12:57.549 --> 00:13:00.789 Brand yourself as just one thing. Exactly. But 00:13:00.789 --> 00:13:03.149 looking at Sneaky Pete's invisible fingerprints 00:13:03.149 --> 00:13:05.690 all over the 20th century, from the music we 00:13:05.690 --> 00:13:08.509 listen to to the movies we watch, what incredible 00:13:08.509 --> 00:13:11.009 innovations are we missing out on today by forcing 00:13:11.009 --> 00:13:13.289 creative minds to choose between their passions?