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I could share my fears, I could be vulnerable, the Irish Cancer Society nurses helped me right through my breast cancer journey. I'm Sarah and I'm asking you to host a virtual coffee morning this October to fund vital breast cancer services. Please sign up now at Khonsari and get your keepsakes for a great cause, kindly supported by CENTERA.


The chuckling costs of your husband's boat rescue howling Vincent's. How are you getting on it? September, God bless you all. Haryono, Lessner. Are you a new listener? Are you listening because you saw me on the geography show talking to him about religion, talking shit about God. Well, you're welcome if you are a new listener. That was actually it was received quite well. I didn't get much online abuse, which I was expecting, because that's generally what happens when you go on T1.


You get quite a lot of angry right wing people and conservative people attacking you. I think what I said, honest. It must have been so common sense that even Contrarian's could agree, so I'm happy with that. Also, I've been nominated for quite a large award this week, which was a really pleasant piece of news to receive. But BBC series Blown by Undestroyed The World, which can still see on the BBC a player that's been nominated for a broadcast award, which is.


It's like a bathtub, but it's an industry award in the U.K.. And that's just a lovely feeling, reviews don't really matter, but awards do awards create more work. Awards creates a TV series. So a huge amount of work went into that TV show, not just from myself, but from a massive team of journalists, from my co-writer James Carter. So it's lovely to get that and I'm receiving this. Ten years to the week this week, 10 years ago, I did my first ever professional TV script.


On Republik, Italy, I was a young fella in my early 20s and I wrote the guide to Limerick for a public Italy, which is my first ever script, and I didn't know what I was going to be, good or bad or whatever. And James Carter would have been the person who commissioned that script and helped me with it. So it's great that 10 years later, both of us are still working on a show and now getting nominated for a pretty significant award over in the U.K. And it's one of them awards where obviously, if I win it, that's fantastic.


But it does. It's one of those ones where it doesn't matter. It's like a nomination is as good. So that's pleasant news to receive this week. I've also been thinking a lot about crazy frogs, Dick. Right. So do you remember Crazy Frog? He was like a cartoon frog from our own 2004, he was you know, I don't like the term novelty music because novelty music and novelty tune, it's disparaging and it's a label that gets used against the rubber bands a lot.


I don't like it, but I think Crazy Frog was actually novelty music, and that's OK to call it that. And I think the makers of Crazy Frog would also be comfortable saying that it's novelty music. Crazy Frog was a digital frog who started off doing ringtones for phones. He used to go ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, like that. And then he released a song which was a cover version of Axl F, so there's not a lot of creativity going on in there.


It's a cover version of a song. And then you just have this frog wanting the ring over. Dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun. And that was the song in 2004, but I always remember Crazy Frog. This little green frog on a motorbike with a pixellated dick, he clearly had genitals, but they were all was pixellated back in 2004. And I remember thinking, like, first off, why did you give him a dick in the first place and who pixellated him?


And what was that conversation like? You know, here's this. Digital frog is a digital green frog and he has a small frog. Frogs don't even have brakes and frogs don't have dicks. Real frogs don't have dicks. Put Crazy Frog is an anthropomorphic frog and he's got a dick and balls. But they were blurred out in 2004 and someone had to have that conversation. Someone had to have that conversation and say, you know, why do we blow out his dick?


Because it's it's obviously flaccid. It's not. So any sexualization happens and it happens in the eyes of the viewer. So why are we blurring out his dick? And it's probably someone gone? Well, then you have to imagine. Like crazy frog having sex. You know, and people in 2004, I don't I just don't think people were ready for that thought. And we heard nothing from Crazy Frog for years, and then this week, a Twitter account of official Crazy Frog Twitter account shows up in the middle of a fucking pandemic.


And all it is, is one image of crazy frog lying on a bed with his little dick. No pixelation his penis and genitals is balls out and. It took me a back because I'm going OK. Someone has now decided. That the world is ready for crazy frogs, Dick, you know what I mean? It's like someone said. You know what? Nearly 20 years ago, we pixilated his penis. But like, just look at the state of the world, just look at the world, you've got Donald Trump telling people to drink bleach.


There's a global pandemic that the half the world is literally on fire. Like we can deal with a Frogs' pixellated. People have got bigger fish to fry. There's the Internet. Look at what ISIS were doing. They were beheading people like we can do with his little bit, his dick. And they did so crazy. Frog got his dick out last week.


And I thought about it for a longer than I should have been thinking about a digital frogs dick. And then that got me thinking about. Like fucking Donald Darkman. Like Donald Duck, right? So Donald Duck never wore pants, right? That's a we all know that. I think that was even in an episode of Friends. Donald Duck never wore pants. But then he goes to the shower and he wears he wears a fuckin towel when he's in the shower.


And it's like, what's the point? But most importantly, Donald Duck never wore pants. He had no evidence of genitals whatsoever. Right. And you kind of got caught up in the 50s, the 60s, and you're like, OK, granted he doesn't need a dick, it's children's cartoon. He doesn't need a penis. But then what, Ron, that was Donald Duck has a lot of nephews, right, and you're going to see why does he have nephews like that?


What a strange thing to do. What an odd thing. Like, why can't they just be his sons? Why do they have to be his nephews? And then someone have to go. Do you really want to think a Donald Duck Falcon, is that what you want? So they had to give Donald Duck nephews so that you did so that if he had sons, if those three dogs were his sons, then you had to think about Donald Duck, Fokin, you know what I mean?


So they removed they made him a eunuch, they made him without any sexual desire or sex, and instead he's just his uncle with no penis, you know, and that always stuck with me. But then goofy. Goofy has a son, so that means Disney or like, I don't know why, but if you find out Goofy has a son, well, then Goofy Fox go with his and and here's the thing. I. I'd rather have.


Donald Duck having sex, then goofy. Because we're cofee. I don't know, there's something to say about Goofy, I can't imagine goofy engaging in the act of coitus. Plus, I don't want to imagine a Donald Duck engaging in the act of coitus, but. I can, I can, and I'll get over it, but not goofy. But as soon as he hears goofy son. All right. A goofy Foxton, he. OK, great.


Thanks for that. So I thought about that a lot this week. All because a crazy frog and his his strange cock and. I was trying to think, you know, it is crazy frog and crazy frog dick and the feelings that come up around this. Is it in any way relevant to the theme of this week's podcast? And I thought it wasn't I thought it wasn't, but it kind of is it kind of is in a roundabout way.


And so I've done a series of podcasts about the history of disco. I've done three of them. I urge you to check them out if you haven't heard them, just type into Google playing by podcast history of disco. They're possibly my favorite series of podcasts that I've done. OK, this is part of that series, the first one I tried to make the case as to why disco is the real punk rock music. Right, because disco comes from the marginalized communities of gay, Latino, transgender, African-American people in New York stemming directly from the Stonewall riots of 1969.


OK, so this podcast is kind of within that series. I want to talk about disco as the real punk rock, but about a specific song. This podcast is about a specific disco song that I that would have been considered a novelty. And I think this song is punk rock as fuck. OK, so this week's podcast is kind of the theme is accidental. And I'm kind of exploring the theme as I go along. There are certain songs, OK, there are certain songs I adore music, I fucking love music when I hear a song, if it's a good song, if the songwriting is good, if the production is good, I will like it.


I don't give a shit about the genre. I don't care whether it's cool, whether it's uncool. I just like good fuckin music. OK, but there are certain songs. That's become so that are played so ubiquitously that they cease to become music in your head that you can appreciate, and usually it's what happens when a song gets used heavily in an advertising campaign, when a song becomes used heavily in an advertising campaign and you hear it so much that it starts to become annoying and then it loses meaning.


Write those songs like. Most of Abbott, ABBA's music, most of ABBA's music, ABBA's music, you hear it everywhere, you hear it on the radio, right. And you often need to if you're a fan of music, you need to set time for yourself to actually read. Listen to ABBA with a fresh set of ears. And go, wow, this is fucking amazing because Abha are incredible about are ridiculous, Abbott invented having multiple hooks in a song.


OK, the modern songwriting style that you hear today, you can trace right back to ABBA. So there's a lot of ABBA songs that you can just completely overlook a big one for me. I'll tell you, when I had the moment and ABBA song called S.O.S., everyone knows S.O.S., right? You can't not know it. I'd heard it my entire childhood. It had been drummed into my ear so much that it existed in my brain as a non song.


I didn't hear it as a piece of music anymore. I heard it as background music and I never appreciated it. And then one day, about six years ago. I actually listened to S.O.S with earphones and I removed the Abner's from all the cultural connections, I listened to the fucking song, I'm like, shit. This is as good as it is, as good as David Bowie at the height of his career. Holy fuck. And you need to do that with music sometimes.


And there's so many of these hard notes to an extent. The Beatles music that is so ubiquitous, you need to really listen to it again, to truly and deeply appreciate that you're dealing with an absolute work of genius. So I had this moment recently with a song where. It came on my Spotify by accident. The song came on my Spotify by accident, and I nearly I nearly just like skip this because I'm like, fuck, I can't listen to this.


I can't listen to this. But then I listened and it blew my fucking socks off this song that I'd heard my entire life and it blew my fucking socks off. I'll play it for. So you know that song, you know that track really, really well, I wrote that song for me when I was growing up. There was an advert on television. I can't remember what the fuck it was. I think it was like an Argos catalogue advert, but literally.


That song, more and more and more, it was on TV every single day, at least seven or eight times a day when I was a young kid and it just hammered into my head as not be in music. When you hear something like that and it's used as a jingle and it's completely ubiquitous, it stops being music in your head and it becomes background noise and you stop recognizing it as something you could listen to and it can be triggering. So when I came on my Spotify, I wanted to turn it off, but I stuck with it.


And when I did stick with this, I was out running, you know, as you can hear there, it's like, yeah, you know, the fucking song, but it's cracking. It's banging, it's really, really good, it's catchy, it's incredibly well produced, the musicianship is good. And then for me as a producer and someone who's a massive nerd about disco music and obsessed with audio fidelity. When I. It's you know, but it's a bit like fucking that this is a heartache, no, but listening to music like this, it's like how Christians describe being born again.


Like if you meet a Christian, not like a Catholic or a Protestant, but someone who is like a Christian, they could be raised in Catholicism, raised in Protestantism. They've known the teachings of Jesus their entire life. And then they get born again. They have a baptism and it's like they truly rediscover Christ. It's like, yeah, he was there my whole life, but I was only taught about them through organized religion. But then I found them and I was born again.


And he was revealed to me, even though he's been there all along, that's what this is like. I was born again with that song. I heard it with fresh ears and was like, fuck. And of a disco on music ignored and I knew I was like something about the size of this song, something about how big the drums are. Something about how warm the bass is. How well makes the guitars are. How I can hear what you describe as saturation and compression on it, knowing that this is a song from the 70s immediately that kind of got my spider senses tingling.


And I went, this is not just a catchy song, but someone important is behind this because I can tell my ears can tell someone important is behind this. So I look it up. The song, by the way, it's more and more and more by an artist called Andrea. True. But I didn't give a fuck about that, I was like, who produced it? So I went to find out who produced this. And then, of course, Tom Moulton.


Now, Tom Moulton is someone who I have mentioned on one of the earliest Disko podcasts. Tom Moulton is. A hugely important person, not just in disco music, but all modern music, because Tom Moulton is credited with inventing what's known as the 12 inch single. OK, now here's the crack. Disco music, just a really, if you want to hear the full history disco music, go back and listen to those disco podcasts I did. But disco music, it was early 70s, mostly at the gay scene, the African-American scene, the Latino scene.


It was music that was made for dancing. It was music that was to be played on discs in venues where they didn't serve drink, usually gay bars. And there were places where people would do coke and speed instead of drinking because drink wasn't available in New York and Chicago. Detroit disco is early. Disco is specifically the New York scene. Early disco is New York from the Stonewall Inn to gaffes around there. But like. The patrons weren't drinking, they were dancing to this music.


There was no band, people were playing Vinals But your standard vinyl back then, which was was it six inch, six or seven inch vinyl? I think it was seven inch a single that a deejay biplane. It was three minutes long. And what would happen is. Three minutes wasn't working for people who are dancing, for people who are out there dancing something and then after three minutes are just having a little. Every song has a break down and a break.


Beachport everyone wants to dance to. And this wasn't working. So Tom Moulton wanted to make these songs longer. And there's two stories as to why this needed to happen. The first story is, quite simply, the song needs to be Fokin longer. Some deejays were getting to seven inch singles and two decks and trying to mix them together when one start the finishes. But that wasn't working. They needed longer music. One story is that it was simple, Tom.


It needed longer music to discourse. The second story is Tom Morton was a chain smoker. He wasn't allowed to smoke in the DAJA box, so he needed to leave DAJA box to go and smoke. But if the song if he left the seven inch record on and the song is four minutes long, then he has to rush his cigarette. Or maybe he wants to cigarettes. So apparently Tom Morton was like, how can I make a record that's 12 minutes long?


How can I make a one song that's twelve minutes long? I can fuck off away from the danger box. Everyone's still dancin. No one's mind in the record. And I'm smoking two cigarettes. How can I do that? So, Tom Molton. Figured out how can I put one song on 12 inch vinyl, so 12 inch vinyl is the large vinyl. That's what an album traditionally comes on a 12 inch vinyl bottom. Morton wanted to mix songs.


He was he was getting songs. He was he's the inventor of the remix. He was taking music remix in for elongated versions of it for 12 inch large records, which meant the song would be 11 minutes long, 15 minutes long, which was unprecedented at the time that singles were three minutes for radio. He didn't have a single that was 15 minutes long. That was like suicide for sales. But these sales were fucking deejays before deejays and discos and people dancing.


So anyway, Tom Morton makes a 12 inch song, which is 11 minutes long. I can't remember the first one ever, but a happy accident occurred, which he didn't predict. If you think of a record, a record, the music goes in and little grooves. So if you've got an entire album, like six songs on one 12 inch record, that's loads of information that you're putting into one space. But instead, if you put one song.


That's 11 minutes long. If you put it like as opposed to one half of a record being 30 minutes long now, one half of a record is 11 minutes long. What naturally happened is you've got less data being put onto the vinyl. And what it louder to do was that the grooves that were being cut into the record had much larger spaces. So what this did, it increased the fidelity of the music tenfold. Now, all of a sudden, what a 12 inch vinyl single.


The loudness of the music was increased massively and the clarity of all of the instruments, it gave a degree of audio fidelity that had never been hard in music before, which also perfectly suited these massive sound systems that were coming about in discos. And Tom Morton did that. And Tom Morton was the father of Fuck and remix. And when I heard that song more and more and more, and then I look it up and I find out that Tom Moulton is making it.


And of course, that makes sense. That's why there's so much presence on the bass drum. That's why even though it's banging, I can hear every piano perfectly. I can hear every guitar perfectly. When you're with that level of fidelity not and get squashed, everything can be loud, but you can still hear things. There's no compromise. So I left it at that and was really listening to more and more and more on my runs going. This is my new favorite fucking song.


Can't get enough of this man, can't fucking get enough of this. And like I said, I didn't give a shit who was singing it. All I cared about was Tom Molton made this. He produced this. This is amazing. And then I started listening to the lyrics. And the lyrics, because I don't when it comes to disco music and shit like that, I don't usually listen to the lyrics. I don't really care about them because to me, I would have heard that as a novelty type song.


You have to remember that song is 1976, which would have been the end disco. A guy hits in Nevada is not fair. What I mean is the lyrics would have been throwaway for me. It's just more and more and more. How do you like it?


It means nothing. It means nothing. But then I'm listening to him and I'm going. Some of these lyrics are fucking strange. What's going on here with these lyrics? Oh, how do you like your love? But if you want to know how I really feel. Get the camera rolling. Get the action going, baby. You know, my love for you is real. Tell me what you want then. My heart. You still more and more and more.


How do you like it? How do you like it? More and more.


How do you like it? And I just gone 1976 disco. Get the camera rolling. Get the action action girl. What's she talking about. The Tom Molton write these lyrics. What's the story. And I'd foolishly written off the singer. It's like my own. Misogyny, Blindspot had come up and I'd assumed throwaway lyrics, they may not I don't even know who the singer is. Tom Moulton is the talent here. He's the producer. But I'm listening to the lyrics on Get the camera roll and get the action going.


That's strange as fuck. What the fuck is this? So then I start. Start Googling, who the fuck is Andrea true? Who was this woman singing and that's when things got really spicy and really interesting. And before I get on to Andrea Troh and how that lovely little rabbit hole that it took me down, let's do the ocarina pause so that I'm uninterrupted for pacta. I don't have the agreement this week, I don't have the shaker, I have the flexitime.


So if your notes, the podcast, the ocarina parse is what a digital advertising started, I don't want these adverts coming out of nowhere surprising. You don't know what the ad is for. So instead, I give you a little warning and you may or may not hear an advert. So here is the flexitime DPAs. And this is a quiet little instrument, it's a Latin instrument. This episode of the podcast is brought to you by now TV, which is without question my favorite streaming service, right.


There's the now TV Sky Cinema Past and the now TV entertainment press. Basically, the entertainment part gives you a lot of TV shows. This guy, Cinema Pass will give you a lot of films and movies. I'm for August and September. They've got some lovely new additions. What I'm personally enjoying at the moment on the new TV Entertainment Past 10-15, it's an American comedy set in the year 2000. It's about the two maskin and they're comedians right in their 30s, but it's about their teenage years in school in the year 2000.


And they play themselves as teenagers surrounded by actual teenagers. It's. Here's the thing for me, in the year 2000, I was a teenager and I used to watch comedies like that 70s Show, and I used to feel a nostalgia for a time I never existed. And now it's the year 2020. And I'm watching a comedic nostalgia show about the year 2000 when I was a teenager.


And the nostalgia that I feel just reminds me that I'm dying, you know? I mean, it's a different type of nostalgia. It's there's a wholesomeness there and there's a memory.


But there's also the tragedy of you're getting old and for that feeling alone, the uniqueness of that feeling. I recommend watching Pain 15, like someone on Twitter said, they tried to watch it and their wife had to turn it off because the nostalgia was so extreme. So get a look at pain, 15 for that reason alone that nothing else would give you that feeling, assuming you're over the age of 25. So that's pain 15 and it's on the No TV entertainment pass.


Also, what's on it right now as well, Watchmen season one, which is absolutely cracking. And then undisguised cinema pass for August and September.


You've got classics like Goodfellas and then if you want some just and light entertainment, Jumanji, the next level, Terminator, Dark Face.


So just such for now TV led for no TV and look up the Sky Cinema Past and the entertainment press.


I'm looking at it here. It's gone a bit rusty. Disappointing.


Rossley flexitime, I could do without that. No, that's a shame. So that was the flexitime past, there was an advert, their support for this podcast comes from you, the listener. I write via the Patreon page. This podcast is a huge amount of work.


And so if you're enjoying the podcast and you're listening to it regularly, just consider paying me for that work. If you're a consumer and all I'm asking for is the price of a pint or a cup of coffee once a month. That's all I want. Patreon dot com forward slash the Blind by podcast, become a patron of this podcast, and it's a model that's based on Sounness. So the thing is, if you're someone who can afford to if you're listening to this podcast and you can afford to give me that coffee or a pint once a month, then I invite you to become a patron.


But if you can't afford it, if you've lost your job, if you don't have a job and you're enjoying the podcast, don't be feeling guilty about that because someone else is paying for you. It's a model that's based on Sounness. What it also means is because this podcast is listener funded. It means I've got full editorial control. All right, I get the occasional advertiser, but they have to do it on my terms if I don't want them advertised and they can go fuck themselves because this is a funded by the listener podcast that gives me full editorial control.


This is a podcast. Which started off with me talking about crazy frogs, Dick, you know, a digital frogs fucking take and now I'm talking about disco music and some advertisers just wouldn't be cool with that. That'd be too strange. Will go fuck yourself advertisers. This is what we do here because of the patrons of the podcasts or patron that come forward to playing by podcast. Give it a crack if you can afford that. And what else?


Or you leave a review for the podcast. Right. Like the podcast level review. That stuff's important because it means more people see the podcast. So whatever app you're using, if it's in Spotify, fucking subscribe to it. Apple podcasts, go and leave that review and give it five stars if you enjoy it. I've been getting I went and looked at the fucking reviews last week and I've been getting a lot of one star reviews from decades now.


If you if you don't like the podcast and you think it's shit, then by all means you're entitled to a one star review. But I've been getting one star reviews from conspiracy theorists who take issue with me promoting people wearing masks because a covid. So people who are covered conspiracy theorists give me one or two fuckin one star reviews, which is I hate that. That's not fair. That pushes my podcast down. And that's not a real one. Star review.


That's you disagree. You disagree with me and you're a conspiracy theorist, but that's not good enough for one star. If you think I'm talking shit and you hate my podcast, fine. OK, you can have it. So catch me on Twitch as well, twitch that TV forward, slash the blind by podcast and I'm not gegen. I don't think I'm going to gig for a long, long time because of the pandemic. So what I'm doing instead is filling up my time with live streams three or four times a week.


Twitch that TV Fiberglas to blame the podcast. It's great Krak play video games, a chat. Witchey, I make live music. It's great fun. Wednesday, Thursday, Friday, usually a little bit at the weekends. Won't be doing it this Friday because I have to be somewhere. But other than that, come along. Pacto. All right, so. Back to the song more and more and more by Andrea True. So, like I said, I was listening to us and kind of patting myself on the back, I was patting myself on the back because here's this song and I was able to tell.


Holy fuck, someone important is behind this, this sounds too good, one of the greats is responsible. So pat myself in the back because I was right. It was like sometimes that if I walk into an art museum, right, I go to art museum, like one of the ones that have in in London, like the National Portrait Gallery or something one or the National Gallery. One of my favorite things to do when I walk into a gallery is to walk into a room full of paintings and I can spot what I would what I would even ever having seen the painting.


I'm really good at knowing which one is from one of the masters, right, by which I mean there's loads of paintings in the room, but I can walk in and I can spot the Caravaggio's a bit obvious. I can spot a Rubins, I can walk in and I can there can be a lot of patterns that look like Rubins, but I can go. That's the Rubins that the Dega. I can I'm able to spot what I call the glow paintings that are made by the Masters, by the names that you know.


Every other painting in the gallery is as good technically, but a painting by one of the masters, it has something extra and that it I can only explain it is that it feels alive. It has the glow. It's the difference between a fuckin corpse and a human. A Karp's corpses don't look like people have gone very dark now. It's going to necessarily dark. You know, the difference between a Karp's and someone who's asleep, basically, and that thing.


Some people call it a soul, whatever that thing, that makes something alive. That's what's present in the painting of a master, and it's what it's what's present in the work of masters in any genre. And when I say master, I know Masters sounds gendered to mean male. I don't mean it like that. Certain artists who are peak, peak, peak at their game, their work contain the glow. And this song contain the glow. And that's how I knew when I looked it up, I wasn't surprised to find out that it was Tom Moulton, inventor of the Falcon 12 inch inventor of the remix, making this tune and why it had so much fidelity.


And I overwrote I wrote off the female singer I was going to give Fogo she is because Tamilians legend, but then I looked into her and there was the lyrics. I'm like, why is she talking about cameras? What's that about? That's a strange lyric for a fucking disco song, which is supposed to be about dancing. Turns out that Andrea TROL is. The Tom Morton of Parn, New York, in the 1970s, right around Manhattan, the Stonewall in Times Square.


You not only had the emerging discoursing, right, which, like I said, it's almost coming out of the same fork and there was quite restrictive laws around around Manhattan at the time, the disco scene that was very anti-gay laws. There was laws about I think I think it was illegal for men to dance together, but laws that had tried to shut down certain businesses selling liquor. Those spaces, which were often run by the fucking mafia, those spaces became the gay discos that pioneered electronic music, right?


They couldn't buy drink in there. They had to go to these places, the mafia, Ranum. Similarly, what also came out of that New York Manhattan Times Square scene was the emergence of the porn industry and those areas where there were no notorious for vice and for sex work and for pimping in the 70s around Times Square law. Today, that area of Manhattan and the noise that made Manhattan that's made Manhattan, I believe it wasn't like what it is now.


Times Square in the area around it in the 70s was a really rundown area. It reminds you a little bit of of O'Connell Street in Dublin now. It wasn't particularly safe. There was a lot of drugs, a lot of sex work and a lot of homelessness. All the problems that would go along with that type of those type of Arbain problems were present in the folk and 70s. So you had the emergence of disco music and the gay scene, but you also had from the amount of sex work that was happening in that area, the emergence of pornography.


But pornography starting to be seen as a legitimate art. If by which and again, it was funded and run by the Mafia, Parn, in those days. They used to be called stag films, right? If you want to see a good portrayal of this, watch David Simon's TV series The Deuce. Did you see an incredible fucking TV series which covers all of this early New York kerri-ann especially around the sex work, but. Hourly porn films were called stag films, they weren't easily accessible.


They were kind of shared around in like men's clubs and stuff. But with the 70s and with the involvement of the Mafia, what happened was they had peep shows and they had slot machines and they had like these little these little boats that would play shark loops of pornography films. And men would go in and look at these a little boat and see a shark loop of pornography. But then. They started I think Andy Warhol was responsible for it. I think Andy Warhol aired the first ever film, which could be considered pornography.


It was called a blue movie. I think it was actually called the Blue Movie. But a lot of pornography was being put on in theaters, but it was being called art. It's like this isn't porn. This is art where people happen to be having full sexual intercourse in the film. And this was being shown in New York. And from that New York scene, sex workers who are who were direct contact sex workers on the street started to appear in pornographic films.


Then the films by the mid 70s, alongside with Disco, start to become more legitimized and you start to see premieres of films. And by 1976. America was becoming quite liberal, like cities like New York anywhere, were being very liberal and relaxed their attitude towards sex, and it had gotten to the point before VHS, and it's known as the golden age of porn or pornography was being shot on film. I'm talking hardcore pornography was being shot on film.


The production values were getting better and it was starting to be perceived as a legitimate artistic form. Right. And you had really fucking famous porn stars like Linda Lovelace, Marilyn Chambers, and you had. Andrea, true. Who sings the song more and more and more, Andrea True was also an incredibly famous porn star in the New York scene of the Golden Age of Pornography. That's why I say she was the Tom Molton of porn. But then I'm going, wow, what the fuck is she doing?


Singing a song? But the lyrics start to make a lot more sense than. But if you want to know how I really feel, get the cameras roll and get the action going, baby, you know, my love for you is real. Tell me where to take me, where you want to. Then my heart you still more and more and more. How do you like it? How do you like it? That's Andrea. True. Not talking about sex.


She's talking about porn. She's talking about filming fucking porn on this song more and more and more, which became an incredibly mainstream breakthrough. Disco hit a huge fucking song. And I kind of just was like, I don't need to know what this is, this is this is interesting stuff. This is unorthodox. These are taken are the boxes for me. Of something that seems like an interesting piece of art you've got, on the one hand, you've got fuckin Tom Moulton being a fucking legend makes.


This is an early days coatrack and 12 inch. And then you've got Andrea Tru, who's a sex worker, a porn star writing these lyrics, clearly wrote herself about her experience in sex work. This is now stops being the radio friendly jingle and now becomes an important piece of art that reflects the culture that I came from. So Andrea Troas kind of origin story, it's almost archetypal, classic what you'd expect from that era. She's from Nashville. She was born Anne-Marie Tradin born in Nashville, Tennessee.


Which is a pretty conservative foreign place and from down south in America, went to Catholic school, Catholic girls school. And then gets to like 18 and decides, I want to be fucking famous, I'm going to New York. So she arrives in New York to be an actress, to be whatever, and then finds herself in sex work, finds herself working in porn and becomes a huge porn star in the golden age of pornography. And she'd studied like piano when she was a teenager, but from what I can tell, she didn't really there's no real musical aspirations.


So the way that the song more and more and more came about. Is really, really strange. OK, so while she was a porn star and had a pretty big name, like it would have been porn in 76. I think it had just become legal in New York. It was still associated with the Mafia, but there was money to be made because it was being shown in theaters and films. The films were being shown in theaters, and you had middle class people.


Now Koppel's going to see porn films to see Andrea TROs porn films and. She would have done other work outside of Parn, and one of it, she got hired by a real estate company in Jamaica to appear in adverts. Right, so to appear in some adverts for real estate for a Jamaican company.


So in 1975 or 76, she fucks off down to Jamaica to do an advert for a real estate company. Now, the thing is, with Jamaica at the time, like Jamaica is in the Caribbean and 1975 is. It's almost 15 years for 13 years after the Cuban missile crisis. All right, so Nixon is president as well at the time, like. Cuba and all that shit and the Cuban Missile Crisis and Fidel Castro, the Caribbean was a pretty fucking hot place politically, OK?


And Cuba would have been at the height of U.S. foreign fucking sanctions. Cuba was run by Fidel Castro, communist country and relationship with Russia. So the Yanks were basically crushing Cuba with huge economic sanctions and punishing any Central American, Caribbean, South American nation that would appear to be even remotely sympathetic towards Cuba because the Yanks were terrified of we can't have any more communist countries in the Caribbean and South America because communism means a relationship with Russia. And then Russia would put strategic missiles there.


And that creates an imbalance in the Cold War. So it was hot as fuck politically in Jamaica. So, Andrea, True goes to Jamaica. To film her commercial and as she's there, this new prime minister gets elected. Michael Manley and Michael Manley was at. I think he was very left leaning, very left leaning socialist prime minister, he was he was a white man, Jamaicans mostly, mostly black country, but he was a white man.


He was seen as a real fuckin we call DOD young prime minister, left leaning. But he was a friend of Fidel Castro and he was a supporter of Fidel Castro. So America's like, what the fuck? So Michael Manley is now democratically elected as the president of Jamaica, but he's a friend of Castro's and his left leaning. But we can't have that. So America is like, fuck you, Jamaica, how dare you elect the socialist? We're going to come down hard.


So. To punish Michael Manley and to punish Jamaica for electing someone who's left wing and supports Fidel Castro, the US just go, OK, sanctions. There you go, Jamaica. We're going to introduce some strict economic sanctions that make it difficult for your country to be prosperous. Not as bad as what we've done to Cuba, but how dare you elect a socialist here, some fucking sanctions. So then Jamaica get a bit pissed off that the US, US have introduced sanctions.


So Jamaica in order to show that it's not that it's been abused, essentially that's not fair. Like you were a democratically elected socialist. And then you go, well, fuck you, you can't trade. Fuck that. That's US imperialism. So Jamaica go all right. US fuck you. So Jamaica, 1975, just as Andrea and Andrea, who's an American citizen, she entered Jamaica and then Jamaica, introduced sanctions on the US that basically stop the transfer of assets by U.S. citizens from Jamaica to America, which meant Andrea Tranel is stuck in Jamaica.


She's doing this commercial for a Jamaican company making a nice bit of cash, but she now can't take her cash and send it back to the US. So she's like, fuck, I'm stuck in Jamaica with a lot of money and I can only spend it here, what the fuck am I going to do? What am I going to do? So she decides. I'm going to use the money that I've made in Jamaica because Jamaica, you have to realize there was reggae music.


Let's Jamaica is world famous and important for its contributions to the fidelity of music because of Jamaican sound systems. That's where hip hop comes from. There was a lot of recording studios in Jamaica. A lot of music was being made and some of the best music in the world. So, Andrea, True has the brilliant idea of I'm going to write a fucking song, I'm going to write a song and I'm going to use the money that I can only spend in Jamaica to record a fucking song in Jamaica.


That's what I'm going to do. Right. And it sounded that sounds mad. It's like you're a porn star. You're a porn star. What are you doing? But she's obviously the type of person that's very forward thinking, very brave, very courageous, incredibly smart instead of panic. And she goes, I'm going to make some fucking hay while the sun is shining great. Like she got a fucking it. She could have partied with it. No, I'm not.


I'm writing a song. So she writes the lyrics to more and more and more, which is. A celebration, it's an honor, polished, unapologetic celebration of sex work and her job in the pornographic industry, it's hard. Take an ownership. This is what I do. Get the camera roll and turn me on more and more and more. How do you like it? How do you like it? That's her speaking to the director. That's her speaking to the person watching it on celebration of sex work.


Now, one of the fucking podcasts I did before I tried to make the case about how disco is the real punk rock because disco gave a voice to the most marginalized members of society, the gay population, African-American, Latino, transgender people and now sex workers. So this song that I thought was a fucking crazy frog novelty song is now punk rock is folk punk. You've got a porn star taken ownership celebratin no shame. Here's my fucking song about sex work.


Here's my song about my job, my legitimate industry that I work in. This is what I do more and more and more. How do you like it? Turn on the cameras, get me horny. This is what I fucking do. That's your shame. This is what I do. And she writes this in Jamaica because fucking Michael Manley is after getting elected and she can put the money back up to New York.


She she wrote the lyrics and the music, I believe was written by her boyfriend at the time, who was a producer called Greg Diamond. The demo was recorded in Jamaica. That's how she's invested her money and. She's she's a porn star. So in the late 70s, the likelihood like wanted one of the historically toughest things ever is porn stars crossing over into what's seen as legitimate entertainment. There's not not a lot of those stories exist often because of the shame that's attached around sex work.


Once someone is a porn star, they can't then find themselves in legitimate entertainment, especially in America. You're talking late 70s here. It's about to turn into rage and the absolute moral panic of the 1980s and the end of the sexual liberalization of the 70s. So even though she's recorded this incredible demo in Jamaica, the chances of her having a hit with it are quite slim. So Greg Diamond happens to know Tom Moulton. So they go up to New York with the fucking demo and then it's like, right, give it to Molton.


Tom fucking Morton, the genius inventor of the 12 inch record. The master of Fidelity rerecords this demo with Andrea singing Tom himself said he didn't even know what the fucking song was about. He didn't know she was a porn star. He said that when he was listening to the song, he thought more and more and more just meant like more music. Do you want more music? Do you want more dancing? And that's what I always thought it was until I listened to the fuckin song.


And I'm like, shit, this is a punk rock fucking song about sex work. This is someone celebrating their sexuality. This is someone saying this is not why would I be ashamed? This is what I do. I'm going to talk about it, you know, and understand. Then that makes the song. Art, it's art now. Now it's a piece of vital fucking art, and I want it reminds me of to right now in the charts, there's this song by Cardi B and Megan, the stallion called Webapp, whereas Posse, which is an incredibly sexually explicit rap song, everyone went fucking apeshit over.


It's given out about this. You can't do this. You can't do that. I fucking love it. I think it's fantastic. It's two women rapping about I want to fuck and I love Fokin. And I've been listening to Dirty Songs my whole life through rap music. I've been listening to rappers singing about sexually explicit Fokin their entire careers. So to me it's not a shock. But what I loved about whereas Posi, the song was it's the first time I heard a fuckin explicit rap song where the person isn't been absolutely selfish.


All the male rap songs that I've heard about sex over there over the years, it's all about pleasure. My pleasure. My pleasure. Me whereas possie, it's like how about it goes both ways.


How about I enjoy pleasure and you as well. Fucking fantastic song celebrates sex, celebrates explicit sex. It removes stigma. Doesn't say that conversations about explicit sex are exclusively male. Fantastic song. But more and more and more is the same. It's the same fucking shit, I don't think people know it at the time like. With the Carolee song, it's about a celebration of mutual pleasure, mutual sex for the act of sex for relaxation. More and more.


More. It's sex as a service and it's an unapologetic celebration, an acknowledgement of it. It opens with, oh, how do you like your love? But if you want to know how I really feel, get the cameras roll and get the action going, baby, you know my love for you is real. Take me where you want to take my then my heart. You will steal more and more and more. How do you like it?


This is my job. This is the service that I'm doing. It's it's. Sex work, it's celebrating sex work. And that, to me, is phenomenal. So. She ends up getting nominated for two Grammys for more and more and more, it becomes a huge hit, a huge fucking international hit, but then it breaks. She's a porn star. So now this incredible piece of songwriting is overshadowed and this is it becomes crazy. Frog like disco by 76 was already in danger of being a novelty music.


But now all people care about is it's a catchy song and she's a porn star. It's it's that it stops being about empowerment and it becomes about boldness and novelty and cheekiness and. Urban myth and and the audience then strip the value and importance from a piece of punk rock art and make it kitsch, they make it camp, they make it bold. And every interview that Andrea TROL does about the song. The interviews at the start. She's saying, I'm a porn star, I'm not doing it anymore, but that's what this song is about then, because the interviews, every interview, I was just asking about porn, just asking about porn, ignoring the fact that she's just written a good song, not paying attention to it.


What's the story with the porn then? Like the song was being played everywhere. But even when she tried to do a tour of America because she released an album, then afterwards with with Greg Diamond, I don't know if Tom wrote and produced it, but she went to release an album and then a tour with us. And it became really difficult for her to tour because whatever about New York being sexually liberal and Los Angeles and San Francisco. Like small town, America was not sexually liberal in the 70s, it wasn't happening, right.


So when she tried to tour what her song, what would just happen is the news gets an advance that the porn star is here to do her song, then the local church or Baptist or whatever the fuck go apeshit. It's reported about in the paper. There's a moral panic whenever she's to do a gig and the gig usually then gets shut down and she's not doing it, so. She didn't have a huge fucking career after that, but. Anyone who can rise.


Those lyrics. That air about her out there, about her authentic experience as a sex worker there. They started the line between being authentic while also being fun. They have. A cheeky ambiguity, which means that they're not in your face, you have to search for it and the more and more and more can mean anything, it's pure and utter fuckin desire. Like I said, I wonder that when I was a child and I heard that song all the time on the radio for fuckin Argus or whatever shit it was the day, know what what that song was about?


They know that this song was actually about. More and more and more, shoot more Fokin, Parn, give more pleasure to the audience. No, they didn't, because what it gets to is human fuckin desire. And if you're dancing to it, it can mean more and more dance if you're in a disco in 1976, it can mean more and more coke, more and more poppers, more and more fucking sex. In Studio 52, it means everything and anything at the same time.


It's a work of genius and that is fucking genius. That is fucking genius at songwriting terms to have something that. Is ambiguous and fun and also authentic and empowering to exist alongside each other perfectly is fucking genius. And if someone can do that once, they can do it several times over. But I don't think she was really given that opportunity. The world wasn't ready. The world wasn't ready for. Empowering punk rock about sex work, the world wasn't ready for it, and I don't think she had much of a career into the into the 80s, so.


How did that start from Crazy Frog? Novelty songs, Crazy Frogs, Dick, it's a tenuous connection, let's it's a tenuous connection, but I'm just being honest with you. It led to that train of thought which which led to this by podcast. I enjoyed doing that. Four in the morning here, this is what happens all the time. I spent three, four days researching the podcast, I'd be researching five or six different podcasts, not knowing what's it going to be about, and then just when it gets to Tuesday night.


A beam of light comes in to me and it's like, I know what it's going to be about, it has arrived, the idea has arrived. So I don't care that I'm up late. I don't care. Any time I get to speak about something. What I'm deeply passionate about is and I care about it, and I'm really, really excited. To share that passion with Jay, anytime I do that, I'm a happy camper. All right, so there you go.


The story of more and more and more by Andrea. True. And why it's quite an important piece of art, uncompromising fuckin art. Go and listen to a properly or I can listen to it properly, be born again with fresh ears to that great, great song. You got a catch you next week. Don't know what it's going to be about, but I'll catch you next week.


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Kindly supported by Centera, this bid is sponsored by Discover Loch Durgahee. And as part of this raid, I'm contractually obligated to say make a break for the lake. And also to mention that Loch Darg is part of Ireland's hidden ends. I'm being sponsored by a lake. I'm a shill to Big Lake. Big Lake has gotten me. And I'm OK with that, but for a lucky dog is an absolutely gorgeous place and discover Lakhtar Dorothy want you to consider going there for like a weekend getaway.


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