[music]

Alison Stewart: This is All Of It, I'm Alison Stewart live in the WNYC studios in Soho. Thanks for sharing part of your day with us. On tomorrow's show, I'm excited to tell you that we'll be in conversation with Writer Margaret Atwood. Yes, she has authored novels like Handmaid's Tale and The Blind Assassin, but she also writes short stories, and surprisingly-- not surprisingly, they're wonderful. She'll be in studio to discuss her latest collection, which is called Old Babes in the Woods. That's Margaret Atwood tomorrow. Today, let's talk about Daisy Jones & The Six.

[music]

The new streaming series Daisy Jones & The Six is based on a novel of the same name by Taylor Jenkins Reid, who says the book was inspired by live Fleetwood Mac performances. The story revolves around a 1970s band from its inception to its peak to its big fiery crash. There's sex, drugs, and of course soft rock and roll. Fun fact, since the series' first episode was released, Jenkins Reid’s book made it once again to the top of Amazon's bestseller list. That happens sometimes with an adaptation like this, but more interestingly, the project included an album of original music based on lyrics from the novel.

It was released under the name of the fictional band Daisy Jones & The Six and it's titled Aurora, and it just became the first ever album by a fictional band to hit number one on iTunes. Let's hear an excerpt from that album. Here's a song called Look At Us Now.

[music]

I don't know who I am

Baby, baby, baby

Do you know who you are?

Is it out of our hands?

Tell me, tell me, tell me

How we made it this far

Did we unravel a long time ago?

Is there too much we don't wanna know?

I wish it was easy, but it isn't so

Oh, we could make a good thing bad

Oh, we could make a good thing bad.

Alison Stewart: The creator and showrunner of the series Daisy Jones & The Six, Scott Neustadter, is known for his work on the films 500 Days of Summer, which has a lot of music, and The Fault in Our Stars, also based on the book. Executive producer on the series, Lauren Neustadter. Yes, we'll explain the names in a second. Here's the plot. In Daisy Jones, Billy Dunne, the band's frontman is sufficiently convinced of his high school band's chops. They all, as they say, get in the van and drive from Pittsburgh to California, where they find a music scene bound up strongly in the influence of bigwigs in the music industry.

We follow Billy through substance abuse brought on by the pressure of the biz and a pregnant new wife. At the same time, Daisy Jones played by Riley Keough escapes her privileged but emotionally chilly home to pursue her true love of the music, not the fame, at least not at first. Her friend Simone helps turn her from an only-in-the-shower singer into an artist who knows that her place is center stage and all that's left is to make it happen. A review on rogerebert.com calls the cast of the series, quote, "uniformly excellent," and goes on to compare it with Cameron Crowe's iconic rock movie classic, Almost Famous in that it, quote, "echoes the film's joyous creative spirit at its best in these first chapters."

The series dropped its first three episodes on Amazon Prime last Friday, the next three come out this Thursday, so here to talk about it is showrunner Scott Neustadter. Hi, Scott.

Scott Neustadter: Hi.

Alison Stewart: And Executive Producer Lauren Neustadter. Hi, Lauren.

Lauren Neustadter: Hello, hi.

Alison Stewart: Lauren, the echoes of Fleetwood Mac are clear in this and you've been really upfront it's even woven into the promotion of the series. When you think about the connective tissue between Fleetwood Mac and everything we know about Fleetwood Mac and this band that we follow on this series, what are some of the connective tissue, and then what are some things you just really wanted to differentiate and make sure that Daisy Jones & The Six had to itself?

Lauren Neustadter: Well, I know that Taylor Jenkins Reid when she was writing this book really did ample research. I think she was completely fascinated with Fleetwood Mac, but she also was researching so many different bands of the era and she really wanted to make this, in many ways, an amalgam of a bunch of different things in different bands but also really infuse a healthy dose of her own imagination and these beautiful, beautiful characters that she's known for creating. I feel like Scott is actually the one who's been in really deep conversation with Taylor through the whole thing and through the adaptation. Scott, I feel like you can probably talk with greater detail about exactly what the influences were and where they hid in the adaptation.

Scott Neustadter: Sure. I think the Fleetwood Mac is an obvious reference mostly because it's the best example we have of artists putting their heart and soul into the music and all of the turmoil that they were going through emotionally in their relationships. It's kind of a soap opera. Listening to that album, we love the music because it's so great, but also you listen to the lyrics and you hear the barbs that they're saying to each other, and it's just an extra level. For us, that was the impetus for what the show could be. It's going to have amazing music, it's also going to have a lot of relationship turmoil and characters that you're interested in finding out how they overcome their obstacles with each other.

Alison Stewart: Scott, as someone, and part of your credits are adapted by Scott Neustadter, what were threads from the book that were challenging to adapt?

Scott Neustadter: The book is lovely, and I was an early fan of it. I got it before it had been published when it was still just a manuscript and I flipped for the characters. I loved how it was taking a new lens to '70s rock and roll. There's a really amazing kind of female-centric situation that you don't often see where it's crazy to have one female in a rock band at this time, but to have two that aren't in competition with each other or they just support one another, I thought that was really lovely. It's really about this family and all the relationships are different kinds of love stories.

There's a love story between the collaborators, there's a love story between the brothers, there's a love story between obviously, the husband and wife, and how that gets complicated. I always just love writing about relationships, and this was a plethora of great stuff to write about.

Alison Stewart: Lauren, you mentioned Taylor Jenkins Reid, and she's listed as a producer on the series. What is something from the conversations that the Daisy Jones series creative team had with Taylor that proved to be really useful and helpful?

Lauren Neustadter: Well, one of the things that we talked about, just talking about useful and helpful in the evolution of book to series, which I always think is really interesting, is that Taylor had written lyrics in her novel and they were excellent, and they tied really beautifully into the story that she was telling there. Obviously, one of the challenges in bringing it to life on screen is you want to find incredible music producers who I think you're going to be talking to in a little bit. You want to find really brilliant music producers who are going to feel inspired to do the best work of their lives on the series.

We really got Taylor's blessing to take new songs that were produced by Blake Mills and in conjunction with Tony Berg who you're going to be talking with and also Frankie Pine, our music supervisor worked very, very closely with the band and also with us as producers, and we architected an entirely original album. There are 24 original songs in the show which was the privilege of our lifetime to get to do this in addition to making the show which was a big dream come true, but also working with Taylor and making sure that we had her blessing as we were doing it and seeing her excitement.

I remember a day very early on when we brought Taylor, and the folks from Amazon over, to Sound City, and we listened to a couple of songs for the first time, and just seeing her reaction and being able to talk about it was really just an extraordinary experience and a once-in-a-lifetime moment for us.

Alison Stewart: We're talking about the series Daisy Jones & The Six. My guests are Scott Neustadter and Lauren Neustadter. Daisy, this character played by Riley Keough when she first meets the singer Simone, she says she could tell that she wasn't like the phonies and that Daisy was really there for the music. Working on this character of Daisy, how did you want to show us her love for music rather than tell us her love for music?

Scott Neustadter: I think it's a really amazing time where she's discovering music. It becomes a little bit of a respite from some of the stuff that's going on in her life. I really related to that as somebody who just found music as a kid-- wasn't great at sports, I just love to sit in the room with my headphones on, and I still do. Just seeing that Daisy starts as a fan and as somebody who wants to contribute but doesn't really have the confidence to think that she could do that and then having her experience change over time so that she does gain the confidence and does take the risk. That was something that was really exciting.

Then I think you watch over the course of the series someone who was pretending to have confidence, someone who was pretending to have that kind of "I'm not the muse, I'm the somebody" attitude turning into someone who actually believes in it. Then the music that comes out of that is the stuff you're going to hear on the radio and is the album that Blake wrote. I just think that's a really great story to tell.

Alison Stewart: Lauren, Riley Keough, who was so great in Zola, so good in Zola, and in The Girlfriend Experiment, is, for the people who don't know, Elvis Presley's granddaughter. I'm curious if that came up in the casting process or even after, how to handle this pretty big connection to a legend.

Lauren Neustadter: Well, I would not want to speak for Riley, but I will say I think she knew she had it in her. We certainly knew she had it in her. We had this incredibly awesome conversation with her after she read the book. She came in and really said she connected so deeply with this character and wanted so much to play her, but she definitely said to us, much like Daisy, that she had done most of her singing in the shower up until that point. She did a beautiful audition for us, and we could tell that she had an incredible singing voice. Blake and Tony worked with her, and they came back to us, and they said, "She's really got it." None of us were surprised.

Obviously, given her incredible lineage, it felt very natural, but also, just seeing how hard she worked. Actually, the whole band. Sam Claflin really transformed himself and became a true rockstar. Each of the members of the band became musicians and they really, over COVID, learned how to play their instruments and became a real band. We say Daisy Jones & the Six is a real band. They're not a fake band. They're a real band. It's an exciting thing. It was our privilege to get to watch it all happen.

Alison Stewart: I'm curious, Scott, about Billy Dunne, about the actor who's playing Billy Dunne, because most people know him from The Hunger Games, Sam Claflin. He's terribly British, Royal Academy of Arts and Drama British. [laughs] What drew you to casting him as a Pittsburgh kid with rock and roll dreams?

Scott Neustadter: Well, we've seen Sam do so many things in his career. He's a bit of a chameleon. He always disappears into the role. He's such a gifted actor. I don't know if it's the British training thing or what it is, but there's just something about his ability to do anything and do it with so much talent and just charm. This is an interesting character. He's not the easiest to love. He makes a lot of mistakes, but the whole time you have to feel the humanity there. That's something that Sam can't help but do in everything.

I feel like even though he wasn't a trained singer, one of the fascinating things is that when he started to sing, he was really imitating Blake's voice to the point where you would listen to it and you would say, "Oh, it's Blake's voice," but no, it's the British training actor thing that Sam has that enabled him to do it exactly and to make you believe it. It was fascinating.

Alison Stewart: Lauren, did you want to add anything? I saw you nodding.

Lauren Neustadter: When he came in, he had a hilarious audition. He sang Elton John. Tony Berg asked him to sing something different. We should let Tony tell you that story because it's a pretty great one when he comes on. We all again knew that he had it in him, but he really dug in and he worked so hard. As Scott says, I'm sure that a lot of it can be attributed to his incredible training and discipline, but he transformed his voice, he transformed his body. He had a different physique when he came in and auditioned than he did when we actually shot. He really became a '70s rockstar. He learned how to play guitar, and he really immersed himself in the character. It was incredible to watch.

Alison Stewart: By episode three - I'm not giving anything away - Daisy comes to work with the band. The first two episodes were selling each of their origin stories. By episode three, Daisy comes to work with the band after being tasked with upgrading the lyrics and helping a song be the best it could be, the song we just heard. It's the first signs of artistic discord, but maybe sexual tension with Billy. Let's listen to a clip from episode three. This is Daisy taking an editor's pen to some of Billy's lyrics from Daisy Jones & the Six.

Billy: Her version's like a completely different song, Teddy.

Daisy: Can I ask you a question? What do you think the song's about?

Billy: What do I think the song is about? What, the song that I wrote?

Daisy: Yes, what is the song about?

Billy: What do I think the song that I wrote is about? It's about starting a new life, Daisy.

Daisy: Okay.

Billy: It's about redemption.

Daisy: Redemption from what?

Billy: From letting people down.

Daisy: So, guilt. It's about guilt.

Billy: No, it's not about guilt.

Daisy: I'm sorry, I'm not trying to pry or anything. I'm just trying to get us on the same page and understand the story better so that I can help, which is-- I think that's why I'm here. I'm assuming it's about you?

Billy: [scoffs]

Daisy: Okay, so you let somebody down, right, and now you're saying, "Everything's fine. Look at us now, everything's in the past. Nothing we did--"

Billy: Yes, what's wrong with that?

Daisy: I don't believe it. It doesn't sound honest, and it sounds simple. I don't know you very well. You don't seem simple to me.

Billy: Well, thank you.

Daisy: Also, why did you call it "Honeycomb"? You know that that's a Ricky Nelson song, right?

Alison Stewart: That's from Daisy Jones & the Six. Scott, in writing, what is the secret, if you will share it, of that fine line between, we see it in so many of the old great romantic comedies that love-hate rolling? What is the secret of the love-hate moment between two characters?

Scott Neustadter: Well, I think trying to make it as believable as you can is important. It's the kind of thing that we definitely recognize in our own lives. Sometimes you meet somebody and you butt heads, but they challenge you. That might make you uncomfortable, but it also is interesting. You want to lean into that. I just love relationships where the people themselves are the obstacle to their own happiness. This was one of those. It was lovely on the page in the novel. Our jobs was just to translate it so that when you watch it, you got the same experiences as you would when you read the book.

Alison Stewart: Lauren, what's something you know about the '70s music scene that you didn't know before entering this project?

Lauren Neustadter: I'll be very honest and say, Scott, is the total music lover and encyclopedia in our family. Very simply, I would say almost everything. [laughter] I knew so many of the stereotypes and stories on a broad canvas, but this gave us the opportunity to really immerse ourselves in the world. Whether it was going on music tours and learning things about Hollywood that we didn't know before to actually physically for production, taking the Sunset Strip and bringing it back to the 1970s. We shut down the Sunset Strip. Our production design team did the most amazing job of actually restoring The Viper Room and making it Filthy McNasty's, bringing us back to the Whisky.

We went to the Troubadour, just incredible things. There was a huge amount of research done by the writers and the production team. I had the privilege of being on the sidelines of all of it. It was really cool.

Alison Stewart: Lauren, before we say goodbye, can you talk a little bit about the episode release schedule? One in three came out on March 3rd in a block. Then four through six are dropping on Thursday. Then there'll be two episodes after that. In your mind, why does that work for this show, to drop them in these blocks?

Lauren Neustadter: Well, I think it makes a lot of sense. This is a music show. It's a symphony. This is movements. The first three episodes we're really bringing Daisy and Billy together. Then the next three episodes-- I don't want to do too many spoilers for you, but we're going to see this band take flight, but we're also going to get a sense of how very complicated it can be. Then in the third batch of episodes, we're going to see some twists and turns. Then in the final batch, which is 9 and 10, we're going to build towards Soldier Field, which is the thing that we're anticipating from the pilot. Hopefully, all of the things that we were setting up in episodes one, two, and three are going to pay off beautifully. We hope there will not be a dry eye in the house as it were.

Alison Stewart: Scott, we're going to ask you to stick around as we bring in your music team to talk a little bit more about Daisy Jones & the Six. Lauren, thank you for being with us.

Lauren Neustadter: Thank you.

Alison Stewart: The music show's musical consultant Tony Berg and music supervisor Frankie Pine worked together to weave the real-life hits of the '70s with an original album created for this series. We'll talk with them after a quick break. More about Daisy Jones & the Six. Stay with us.

[music]

Alison Stewart: You're listening to all of it on WNYC. I'm Allison Stewart. We'll continue our conversation about the new streaming series, Daisy Jones & the Six, a rocky drama that follows a '70s band, Fleetwood Mac, from obscurity to stardom. You heard before the break about the making of the show itself. Now we're going to take a closer look or rather a closer listen to the music in this series. You can imagine, of course, what a dramatized Laurel Canyon of the '70s might sound like, a little CSN, Joni, The Mamas & the Papas, but rather than mimic the laid back breeze rock sound, the show's music team brought in some well-known musicians like Blake Mills, who wrote and produced the album

There are contributions from Marc Mumford and Matt Sweeney, among others. The result is an entire album of original music under the band's name Daisy Jones & The Six. The real album from the not-so-real band is called Aurora and over the past three days, it became the first album by a, quote-unquote, "fictional band," to hit number one on iTunes. Let's hear a little bit from the first track on the album, the title track, this is Aurora.

[music]

You found me in flames

It's the daylight of change

Baby, all that stuff is done

You're my morning sun

Aurora, you're my morning sun

When I was away

You called from a fever dream

The crazy ways are done

You're my morning sun

Aurora, you're my morning sun

Alison Stewart: Joining us now to talk about how they thought about bringing this to Amazon Prime's rocky drama Daisy Jones & The Six. Please welcome music consultant Tony Berg. Hi, Tony.

Tony Berg: Hello, how are you, Alison?

Alison Stewart: I'm terrific. Music supervisor Frankie Pine. Hi, Frankie.

Frankie Pine: Hi, Alison.

Alison Stewart: We made Scott Neustadter stick around for a little bit. Scott, thank you for sticking around.

Scott Neustadter: Suprise. Hi, guys.

Frankie Pine: We got to have Scott. [laughs]

Alison Stewart: We got have Scott. Scott, in your job as showrunner adapting this novel for screen, we know that the novel had lyrics. What were your guard rails or your guidance that you gave to the music team about how to use the source material?

Scott Neustadter: Definitely the narrative functions of the songs in the book had to be the same as in the show, which means that this is basically a diegetic musical in a way. We have a lot of the songs are telling the stories of the show. Taylor wrote lyrics, but when we were trying to find people who we could work with to make this album as amazing as it keeps being described as in the novel, which is they're using words like classic and unforgettable and all of these very intimidating words, we found Blake and Tony.

We didn't want to handcuff them any more than we already were by saying, "It has to be a song written from this perspective. It had to be a song made with '70s instruments. It had to sound like a lost '70s classic." We weren't going to say, "Oh, and you also have to use all these words." When you deal with people of this caliber, we wanted them to surprise us with their gifts, and that's what we got.

Alison Stewart: Tony, when you got all this information from Scott and his team, what was the first thing you did?

Tony Berg: The first thing I did was read the book, which I thought I did a valiant job of trying to capture an ethos, a time gone by while at the same time depicting a relationship between two principles that was fraught with drama and love and prepare myself, as Blake did, to engage on the long-term.

Alison Stewart: Frankie, when you're thinking about curating music and sounds from the real-life '70s, how did you think about, how do we do this so it feels organic? Not so suddenly people think, "Oh, I just heard Aerosmith."

Frankie Pine: Well, I think overall we wanted all of the music to have an authenticity. I think that's one of the things that Blake and Tony brought to the table was this authentic sound from that time period but also gave it a fresh and new perspective. All of the source music was then just pulled to make us reminisce about that time period and bring us back into that world.

Alison Stewart: Tony, when you're thinking about creating a sound of a time period - I guess it's the appreciate versus appropriate question - how do you not fall into mimicking?

Tony Berg: When Frankie uses the word authentic, it's her code for very old when describing me. I was in fact making records at Sound City in the '70s. There was nothing about this that was unfamiliar to me. As Blake and I have worked together for 20 years, we have a very good shorthand and were able to communicate very easily, and to his great credit, he was able to write and produce tracks that evoked an era without, as you suggest, mimicking it. I think it gives that music a contemporary life at the same time.

Alison Stewart: Frankie, you've been in this space before working on the show Nashville, which is very much about a sound of a place. The sound and the place or and concert - oh, bad pun - work together. When you were listing about this show - Tony said he read the book, I'm sure you read the book - what else did you listen to just to get yourself ready to do this work?

Frankie Pine: I was a child of the '70s, so I was very well aware of all of the music from that time period and my dad was a DJ. There were just boatloads of records that I grew up with that most people probably don't know of. Really digging and trying to find those '70s gems that really evoke that place and that time, I think was really important on this project.

Alison Stewart: What's a gem? What should we go looking for?

Frankie Pine: Scott, do you want to comment on what your gems are?

Scott Neustadter: Of that era, I love Big Star. That's one of my gems, for sure, that people should listen to more. Frankie, we have so many great needle drops in our show independent of the original music that Blake and Tony gave us. I think it's going to be really fun for people to discover all these things. Some of them are very well-known to evoke the time, and then other ones are less well known that I think people will want to seek out.

Alison Stewart: Scott, was there any track that you knew you wanted to have in this series?

Scott Neustadter: The first episode is definitely built around some Carole King stuff, which I thought was important for Daisy and also for Billy because The Birds were a big influence on the Dunne brothers, and Carole King is a big influence on Daisy, and we're watching them on the road coming together. There's a lot more coming that I don't want to spoil because the '70s is such a fertile decade of music. You start with The Birds and Carole King and you end with television and punk rock and disco, and just all of the things that come at the end of the decade. Just to know that that's a 10-year period is so exciting and cool.

Alison Stewart: When I heard this track, Aurora, for the first time, I heard Elvis Costello's Pump It Up in there a little bit. Even though I know it's very Fleetwood Mac, I heard Elvis. Just my two cents. My guests are Tony Berg and Frankie Pine, as well as Scott Neustadter. We're talking about Daisy Jones & The Six. Tony, I don't know if you heard earlier, but Scott and Lauren were talking about the work that you did with these actors, specifically Riley and Sam. Can you describe a little bit some of the process of turning these two very good actors into believable rock singers?

Tony Berg: I can. I should practice it by telling you that when I was dropped into this Zoom call, I heard a very animated and heated argument going on and I thought, "What the hell kind of interview with this?" You were playing something from the soundtrack, a scene with Daisy. I thought it was you yelling at Scott, and I thought, "I don't think I want to be a part of this."

Alison Stewart: [laughs] That shows you how believable this is, what you created, Scott.

Tony Berg: Exactly. Getting back to your question, I'll be candid when we began work on this, Blake and I were quite adamant that it would have to be a seasoned singer filling these roles as Daisy and Billy. We met Riley and Sam, and the two of them are such good actors, and we're so clearly dedicated to the idea that they could do this. That, we got on board. To their great credit, they did the work. A little help from COVID, which extended our schedule significantly. We had guitar, keyboard, vocal, drum lessons going on eight hours a day in our complex and we would do a lot of recording on microphones for our singers to acclimate so that they were familiar with that process because that then informs how you stand in front of a mic on stage. It was an intensive immersion much as if you were learning a new language.

Alison Stewart: Obviously, Taylor Jenkins Reid says this is Fleetwood Mac. There's some fleet with Mac DNA in her story, and you can hear it in the album a little bit. I want to play first few seconds of Rhiannon.

[music]

Alison Stewart: Let's listen to a riff from Daisy Jones & The Six Let Me Down Easy.

[music]

Alison Stewart: You can hear it. You can hear it a little bit, Tony. Tell me a little bit about the instrumentation. Did you--

Tony Berg: I actually don't know what you're talking about. That first song I've never heard before, but that second one sounds great. What I would say is-

Alison Stewart: You're funny.

Tony Berg: -that ironically, these 50 years later, instruments, microphones, recording equipment from that era and before are still what you find in studios today because it was a golden age of instrument manufacture and equipment manufacture. We were doing what we always do. It just happens that the musicians involved, the writers and producers were attuned to what we were trying to get. I should add that that particular song, my daughter walked in with that song. That was a source of great pride for me and I think what Blake did with it was terrific. We were mindful of the era without being burdened by it.

Alison Stewart: That's Z Berg by the way if people want to check her out. Frankie, you were a musician and artist yourself, how does that help you do your job?

Frankie Pine: I don't know if I was a musician and an artist. [chuckles]

Alison Stewart: I'm going to say you were. [laughs]

Frankie Pine: I just know what I want to visually see and what I want to feel. I think that's the crux of being a really good music supervisor in the sense that being in that position of being an artist, and being on a stage, I know what that feels like and I want to be able to make sure that what we visually see on camera is how it feels.

Alison Stewart: Scott, when you think about a piece of music in Daisy Jones & The Six, which is not just great music, but really advances the narrative and is really necessary for the storytelling, what's a piece of music that you can think of?

Scott Neustadter: I think that's the piece you just played. The song that she wrote with Blake, Let Me Down Easy, there's an entire episode basically centered around the writing of that. You don't see that process very much in television because it's hard to make it interesting, but that's what this whole show is about. I remember we brought Riley and Sam in to watch Blake and Z work on it and we just sat in the corner and watched the process. I got my notebook out and started jotting down some stuff. Trying to replicate that experience for viewers and to make it fascinating was a real challenge, but by the end of the episode when the song comes together, I feel like the emotions really come through. I'm excited for the audiences to check it out.

Alison Stewart: Tony, I'm the vintage. I remember The Partridge Family and The Monkees. I was going through I was researching I'm like, "Okay, music series," and there hasn't been one that's really survived in a long time. Flight of the Conchords, but that was also comedy and those guys were so funny. Already the reviews are really good, I should say. What makes you believe that this is going to work?

Tony Berg: Just from a musical standpoint, I would say this, Scott and his partner, Will Graham, the co-showrunner and Lauren could easily have gone to publishers, and said, "Give me what you think are hit songs that sound like the '70s." Instead, they went to Blake, whose history isn't as a hit songwriter. It's a history as a great songwriter. That was the prevailing expectation that these songs would be excellent. Without advancing the story like a musical would at least reinforce or complement the story. I think these songs stand out very well and it's no coincidence because you've got co-writers like Jackson Browne and Marcus Mumford and Phoebe Bridgers and Z Berg and that's a good list.

Alison Stewart: Daisy Jones & The Six is dropping on Amazon Prime. The first three have already dropped. The next three come on Thursday. My guests have been Tony Berg, Frankie Pine, and Scott Neustadter. Thank you so much for spending time with us. It's a lot of fun.

Scott Neustadter: Thank you.

Tony Berg: Thank you.

Alison Stewart: Let's go [unintelligible 00:35:08] Regret Me from Daisy Jones & The Six.

[music]

You regret me and I'll regret you

Except I don't care what you feel and I totally already do

I'm the slippage in the system with a natural gift, how I move

 

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