Moby

32:02I brought some friends. I think it was like a Youth of Today show, maybe H2O were on the bill, these straight edge vegan bands. And I brought some friends to the show and my friends were horrified because they'd never been to a hardcore show before. and they were genuinely taken aback. Like it was so loud and screaming and stage diving. And I tried to tell my friends, I was like, no, those musicians are the most principled ethical musicians I've ever met. And the lyrics are all about, you know, supporting your community and doing the right thing. And it's almost like 1950s cliches about straight edge, you know, about like clean living.

32:45But my friends were like, no, they're just screaming and jumping off the stage. So I understand how it's very hard to get past the screaming and the stage diving to realize that like a youth of today lyric is like beautiful and extolling and exalting the virtue of compassion. Yeah. And it's funny with the vegan in the community and squats and stuff like that. I always associated that more with hippies and jam bands and that type of lifestyle. And the connection between punk rock and maybe that hippie scene, other than maybe veganism, vegetarianism. And I realize this watching your movie is a Hare Krishnas.

33:24It's like they were showing up everywhere. I mean, yeah. Youth of Today with, you know, Ray and Purcell and the Cro-Mags and then Shelter. There was a lot, like the Krishna connection, especially in the East Village in the 80s, you know, you had prana foods. The word prana, I believe, is Sanskrit for life force or breath. So, yeah, there was definitely, and I don't know anything about Krishna or I've never read the Bhagavad Gita. My friend Eddie and Mike D are very much into the Hindu yoga world. I don't know anything about it. But that definitely was a fertile ground for getting people like John Joseph from the Cro-Mags and Ray and Purcell and some other people interested in, yeah, philosophical, compassionate living.

34:18And I don't know. Yeah, honestly, without that encouragement, it's possible that the punk rock vegan connection wouldn't have been as strong. Yeah, because I remember seeing them in like Washington Square Park or, you know, I used to live on First and First and there was some sort of like Krishna Temple right there, like near East Village Radio. Oh, yeah, that's where I got sober. Really? When I say that's where I got sober, I mean, literally specifically in that building, there was an AA meeting on the third floor of that temple. And so when I finally bottomed out as an alcoholic and a drug addict, I went to the 1 p.m.

34:57Living Now AA meeting. And it was non-denominational, nothing to do with Krishna or Krishnamurti or any of the people they venerated. But it was every day for about two years, I went to that temple and had to take off my shoes and sit to go to this AA meeting. Was there any feeling of I don't belong here? Well, that's funny. I've gone to some 12-step groups that I don't belong in because there's so many different types of 12-step groups and some of which I just I don't identify as being a part of them. But when I went to AA, it was a puzzle piece. It was the Rosetta Stone. It was, you know, I was like, oh, yep.

35:38Because from the first drink I had, I kind of knew I was an alcoholic. I had never once in my life drank in moderation. my father killed himself drunk everybody my grandfather drank every day of his life like i don't remember being around sober adults until i was maybe in my 20s so you know when i finally really sat down in a you know at that living now meeting where you used to live i was like yep this is me i wish it wasn't i wish i wasn't i wish there was a way around this i wish there was a way I could keep drinking and doing drugs and not bottoming out. I was like, no, the last 20 years have proven to me just I'm just an old timey alcoholic.

36:23But that feeling of finding a puzzle piece must just be incredible. It's terrible when that puzzle piece means you can no longer go out and be a drunk. You know, like, in some ways, I'm glad because there's no wiggle room. Like, I know a lot of people, as I'm sure you do as well, who spend years trying to figure out if they're an alcoholic or a drug addict or an addict of some sort. So there's something nice in having the certainty around that, just knowing like, yep, I'm an alcoholic. So when I go to meetings and raise my hand and say, yep, I'm Obey, I'm an alcoholic, there's no doubt. So I have decades of evidence proving that I'm an alcoholic, so I never have to question it, which is there's a great comfort in that.

37:14But for years, I was like, oh, isn't there some way around this? Isn't there some way I can keep going to Max Fish every night until four o 'clock in the morning? But the interesting thing I found was that you, in all your years making music, you always made music sober. I tried once and only once to write music drunk because I thought to myself, well, some of my favorite musicians pretty much only made music when they were drunk. I mean, some of the best records anyone's ever made are records that were made, you know, fueled by cocaine, fueled by heroin, whether it's, you know, The Velvet Underground or Station to Station or Exile on Main Street, Physical Graffiti.

37:57I guess all the gun club records on and on and on these amazing alcohol fueled, drug fueled records. And I was like, you know what? I'm going to try and write a song drunk. And it was bad. and it was bad in a way that made me nauseous. It was just, it had a mediocrity that was like sludgy. Yeah, I was a falling down, bottomed out alcoholic drug addict, but I would never profane my studio by being drunk or high in my studio. Other people like Oasis on and on, like made amazing drug fueled, alcohol fueled records. I just could never be that person. It sounds like you wanted to protect the thing that was the most important to you and not bring the sludge into the thing you cared about the most.

38:46Yeah, that and veganism. Like from 1987, I went vegan and there was never a question. Like that was never compromised. So those two things, like working on music and being a vegan, those the only two things that never got compromised during all the years of egregious compromise. Was there a period of time where you made a jump from making punk rock music to electronic music or did they overlap? You know, and I think if you were to talk to Rick or anyone in the Beastie Boys or even Madonna or anyone who used to hang out in Danseteria, it's the Danseteria eclecticism of, you know, when I first went to Danseteria, I went there to see the Bad Brains or I went there to see Mission of Burma.

39:35But by being in this incredible space, this super cool space, you were exposed to hip hop, to burgeoning house. And this was 1982. So five years before house music, but electronic music and all this eclecticism. You know, New York in the early 80s almost went out of its way to be eclectic. You know, you'd go to see a punk rock band and beforehand they'd be playing Johnny Cash and reggae. and that eclecticism was so cool and so interesting and it didn't come naturally to me but it was so interesting and so appealing that I embraced it and it just sort of wove its way into my musical DNA so then from that point on it never made sense to me to focus on one style of music exclusively when there was so much to be gained from being weirdly eclectic.

40:33Totally. So let's talk a little bit about the new album. So the new album, Resound NYC. So the little PR line that I have about it is it reimagines and orchestrates 15 of your most iconic tracks. Even though half of them no one's ever heard before, but yeah. Yeah. Recorded in New York between 94 and 2010. And looking at the liner notes, a lot of the songs, if not every song, you play percussion, keys, bass, guitar, add vocals on a lot of them. You recorded a lot of them yourself. So when you were sitting down to reimagine the songs, did you have to put yourself in sort of like the headspace of being back in New York in the 90s?

41:21I mean there's that and the same thing with writing those memoirs it's a really odd contrast like for example the first memoir like I was writing about like these as you read it's like these really grimy degenerate experiences while I was like sitting in my living room sober drinking organic white tea on a beautiful Los Angeles day like it was so odd comparing and contrasting here and now with there and then yeah and with music like one of the most wonderful things and it's not just my music for me but the idea of music as it's like a time portal it's like a little sonic wormhole and revisiting who we were when like in my case when i wrote something when I release something, but even hearing songs from a certain period to state the obvious, whether it's the 70s, the 80s, the 90s, whenever, remembering what we were wearing, what the world looked like, who was president.

42:33And it's such an almost somatic, tactile way of actually revisiting the past. I don't know about you, but if I listen to one of my favorite songs from 1987,

42:50it's not academic. It's not a description of 1987. It's a physical memory. Yeah. And that's even enhanced when it's a song that you've written. And, you know, I remember like what was going on in the world, what my studio looked like. And it's such an interesting way of gaining perspective on who we are now. But there is, and this is the sad part, if I'm being really honest, there's a very depressing aspect to it, which is not just being old and one day closer to death. But the fact that, and this is so depressing, it's almost even like hard to address that in the 90s, everything was optimistic.

43:40And it was so optimistic, we didn't even know it was optimistic. But like I look back at it and like Bill Clinton was president and like the Soviet Union had ended and Russia was thinking of joining the EC and China was enacting democratic reforms and the Internet was going to be this wonderful force that brought us together and enabled the communication of great ideas. Climate change at that point wasn't even an Al Gore book. Like the world was so optimistic and culture was interesting. and sure there were bad things but it seemed like history had gotten to the point where like we had learned from the old mistakes and we were going to move past them and we were going to have young smart progressive educated leaders and we were moving into this new future and boy oh boy were we wrong so i don't know even if you talk to gen z people and millennials like there just doesn't seem to be so depressing, but there doesn't seem to be much optimism, if any, you know?

44:46Yeah. Yeah. I'm really glad that we grew up at a time when optimism was actually sort of empirically supported. I was going to ask you, like, are you happy that you were born when you were? Yes. I'm very glad I was born in 1965 because being nine years old in the seventies and listening to am radio in the morning and hearing every from the eagles to elton john to queen to led zeppelin to paul mccartney to on and on and on i'm like wow it's insane that was great and like of course getting older is a little challenging but at the same time you know to be in new york in the late 70s when hip-hop and punk rock and indie rock and electronic music were all being invented.

45:36Like that's, and I feel bad for young people today for many reasons, like dealing with pandemics, climate change, the pressures of social media, et cetera, et cetera, et cetera. But the other is like, when I was growing up and you experienced this as well, like we got to experience things as they were being invented. Like, I mean, hip hop was invented. House music was invented. Techno and rave culture. It never existed before. Or it hasn't always been here. Yeah. And another thing that makes me so grateful for, I'll include you, even though you're so very young. But like the fact that we, when we became adults, you know, 20, 21, we could move to any city in the world because every city was so inexpensive.

46:25You know, like when I was 20 years old, I was like, wow, you can move to any city in the world. and not even have to worry about paying the rent. Like my first rent in New York was$130 a month rent on 14th and 3rd. And that was true for everybody. And as a result, there was no pressure. You're like, oh, if you want to be a filmmaker, spend five years figuring it out because guess what? Your rent is so cheap. Or a writer or a musician or a playwright or whatever. You had that time. It was almost like apprenticeships. Like we all had extended creative apprenticeships facilitated by a lack of financial pressure because cost of living was so cheap.

47:08And it breaks my heart that like a 21 year old today, there's nowhere in the world for them to live. We'll be back after another quick break with more from Leah Rose and Moby. I firmly believe when it comes to the holidays, you fall into one of two camps. someone who loves holiday music or someone who won't admit they love holiday music. There's something about a voice you love singing that familiar opening phrase, maybe it's Donny Hathaway, maybe it's Mariah Carey, that just flips a switch and you're instantly back into that warm and cozy headspace only the holidays can bring. For me, that feeling pairs perfectly with a cup of Starbucks caramel brulee latte.

47:46That's their signature espresso with steamed milk and a rich caramel brulee flavor topped with whipped cream and a crunchy caramel brulee topping. It's like the sound of the season, but in drink form. And that's really what this season's about. Little moments of pairing, little moments of connection. Sharing a song, sharing a story, sharing a caramel brulee latte. Because this season and every season, together is the best place to be. Come together over your holiday favorites at Starbucks. If you've ever hired for your small business, you know how important it is to find the right person. That's why LinkedIn Jobs is stepping things up with their new AI assistant so you can feel confident you're finding top talent that you can't find anywhere else.

48:26The best part is those great candidates are already on LinkedIn. In fact, employees hired through LinkedIn are 30 % more likely to stick around for at least a year compared to those hired through the leading competitor. That's a big deal when every hire counts. Hiring doesn't have to be complicated. With LinkedIn Jobs AI Assistant, you can skip the confusing steps in recruiting jargon. It filters through applicants based on criteria you've set for your role and surfaces only the best matches so you're not stuck sorting through a mountain of resumes. When you have a business to run, you don't have hours to spend on hiring and you don't want to just wait around hoping the right person stumbles upon your job.

49:03That's why LinkedIn Jobs AI Assistant suggests 25 great fit candidates daily so you can invite them to apply and keep things moving. Hire right the first time. Post your job for free at linkedin.com slash broken, then promote it to use LinkedIn Jobs' new AI Assistant, making it easier and faster to find top candidates. That's linkedin.com slash broken to post your job for free. Terms and conditions apply.

49:31Every December, we start singing. At church, around the fire, in our cars, with the radio turned up. But have we ever stopped to ask, where did our favorite Christmas carols come from? And what makes them so magical? I think it's probably one of the most perfect tunes to play and to sing. The voices are converging. They're adding this more complex and chromatic harmony. And it gives us that climactic arrival point. Hark is a podcast about the meaning and the making of Christmas carols. Get into the spirit of the season and listen to Hark, the stories behind our favorite Christmas carols. Available now on Apple Podcasts, Spotify, and at americamagazine.org.

50:23We're back with the rest of Leah Rose's conversation with Moby. I wanted to ask you about a couple of the songs on the new album. When it's cold, I'd like to die. So there's a new vocalist on this song. It's so beautiful. It's so moving. It's sad, but it's so triumphant. So how did you find the vocalist and what usually draws you to a vocalist? Well, when I was really little, I desperately wanted to be a great singer. Like it was my goal when I was seven years old, you know, being in post-corner pizza, listening to Queen on the jukebox. I was like, wow, what a great life that would be to sing like Freddie Mercury or Paul McCartney.

51:08And then I started playing in bands and I learned very quickly, I'm not a great singer. I'm a solid B, B minus white guy singer. And I learned in the early 90s, if I want to have beautiful voices on my records, I have to learn how to work with singers. And so that forced me to work with singers on my records and also produce and remix other people. I mean, I got to work with everyone from David Bowie to Ozzy Osbourne to Britney Spears to Chris Cornell, like, you know, everybody from Chuck D to the Beastie Boys. And that exposure to voices made me fall in love with the process. It's frustrating because like with technology, you can make technology do what you want it to do.

51:58The human voice is not technological. Like that's why it is so compelling and powerful because it expresses that vulnerability and strength. And it's such a challenge getting great vocal performances from people. But when you do, it's sublime and transcendent. So the original version of When It's Cold I'd Like to Die came out in 1995 with this amazing woman named Mimi Gacy who had been in a band called Hugo Largo. And it was an obscure song that was at the end of a record that very few people had listened to. But somehow, weirdly, people kept discovering that song. Like it was used in The Sopranos when Tony Soprano, spoiler alert, when Tony Soprano goes into a coma.

52:49And people kept finding it. And then, lo and behold, last summer, it was used in the season finale of Stranger Things. So cool. For about four minutes. And I had the very strange, disconcerting experience of watching Stranger Things. my song started playing and I started crying because I don't know if you've seen this last episode, but it's really intense and so emotional. And it created this very strange phenomena of really young kids on TikTok listening to this song and crying into their cameras. Wow. So it's this bizarre zeitgeist moment for an old guy like me, where like suddenly 15 year old kids in New Zealand are having these emotional moments into their phones on TikTok.

53:38So long-winded way of saying I really wanted to find a great singer to sing the version of When It's Cold I'd Like to Die for this album. And I worked with a bunch of different people, you know, honestly, like quite a few people who great singers who couldn't do it. They could deliver the technical perfection, but they couldn't deliver the emotion, the vulnerability. Yeah. And then so I just thought like, OK, well, I guess that means it's not going to be on the record. But then last minute Hail Mary, even though I don't know really what that means. And as someone who doesn't know sports, I shouldn't use sports analogies.

54:19But my friend Jonathan went to a wedding in Texas and he heard the wedding singer, this guy named Paul Banks, same name as the singer from Interpol. and he thought he might be good on When It's Cold, I'd Like to Die. So he brought this wedding singer, Paul, into his studio and Paul the wedding singer nailed it. Like so much better than anybody else I had worked with. And I was like, wow, so P.T. Banks, this wedding singer from the middle of Texas ended up delivering the most vulnerable, beautiful vocal performance on When It's Cold, I'd Like to Die. Oh my gosh, it is so moving. And I was wondering if you have any tricks as a producer for making a song anthemic.

55:07Like, is there anything that you can add or anything in your toolkit that you go back to that you know if you add a little bit of this, it's going to make it huge? You know, the tricky thing there is it all depends on what type of song, what's the genre, what's the instrumentation. But like with When It's Cold, I'd Like to Die, like especially the version on Resound NYC, like there are no electronic elements. so in a weird way it's chord voicings it's chord progressions but it's also it's it's the juxtaposition between restraint and bombast you know and whether that's a hip-hop track or a techno track or in this case like a piece of classical music with vocals on top of it it's the restraint it's it's letting the restraint be achingly vulnerable and letting the bombast be incredibly grand and creating the dynamic tension between those two things.

56:07But also, ultimately, using myself as the first sounding board. Like if I'm working on a piece of music and I have a profound emotional reaction to it, that increases the chances that it might be worth playing for other people in the hope that they'd have an emotional reaction to it. Do you listen to music really, really loud when you're making it? do you know what's funny i hate loud music i've worn earplugs since 1982 maybe 1981 i saw the misfits play in bridgeport connecticut my ears were ringing the next day and so i've always worn earplugs because i maybe shouldn't even admit this i just don't like loud music i love when i'm working in my studio i can hear outside sounds way louder than i can hear anything i'm working on.

56:57So interesting. So how would you handle that if you were DJing a huge party or a rave or something big and loud? I would wear, I wear those yellow foam earplugs that the guys wear who do jackhammers. Yeah. And so you would put your headphones over those? I try to. Yeah. I mean, And like for a while, and this is something I also shouldn't admit, my dad was a sharpshooter in the military. And I hate guns and I think guns should be outlawed and banned. But nonetheless, I sort of grew up around a little bit of gun sport, not shooting animals, but like target shooting. And when I used to do target shooting a little bit competitively, I would wear those yellow foam earplugs with shooters earphones on top of them because the noise is just like loud noises make my brain explode.

57:57Yeah. I read that for the new album, you built bespoke orchestration around a lot of the tracks. Do you have to know music theory to do that? Like, how do you write orchestral parts? Yeah, I mean, when I was very young, before I discovered punk rock, I actually studied music theory in a very idiosyncratic way with a weird music teacher in Connecticut. From the time I was nine until around 13. So, oddly enough, a degree of rudimentary music theory is kind of baked into my musical DNA. So when it came time to make the first record with Deutsche Grammophon, which is a much more traditional orchestral record, I wrote the basic orchestral parts.

58:42And then I didn't trust myself enough, so I handed them over to an orchestrator who turned them into something that could be played by an orchestra. And when I listened to what he did and when I watched the process, I realized, oh, I can do that. I can't conduct. Like I wouldn't know how to conduct an orchestra, but I can write, I'd say I can get orchestral parts to 95 % finished where they can be presented to an orchestra to be performed. And I love that process. Like writing orchestration and doing orchestral arrangement is so satisfying and so much fun. And what the use of the word bespoke in that press release, what that means is traditionally an orchestral album would have a conventional orchestra for each song.

59:37And what I did with this record, and the pandemic definitely encouraged this as well, is each song got its own orchestral approach. So in some instances, that was just working with a quintet, maybe augmented with a mellotron. and other times it was actually working with a full 85 piece orchestra but that's clearly a bit hard during the pandemic so we we weren't able to do that much of that whereas the first record was a lot of that big 85 piece orchestra yeah so that's the bespoke aspect of that like even in some songs like the version of helpless that's on the record the neil young song yeah it's beautiful Oh, thank you.

1:00:17But like the orchestration there at times, it's so pulled back because I was working with a quintet and, you know, a French horn player and an English horn player as opposed to that full 85 piece orchestra. because when you have an 85 or larger piece orchestra, you kind of want them all to be doing something, which is great for bombast, but not so great for austere vulnerability. Yeah. Is it possible to capture the thrill of an 85-piece orchestra on a recording? That's a great question. I mean, because you could almost expand it to say like recording and mixing it's to state the obvious it's trickery like john bonham how did they make john bonham's drums sound so like with just a couple of microphones how do you make them sound so big you know yeah it's a lot of trickery taking you know john bonham's drums or taking a giant orchestra or a gospel choir and getting it down to a little file that's going to sound wonderful on two speakers or two earbuds on the L train during morning commute.

1:01:37Like, yeah, it makes me feel a little bit like a liar that like part of my job is, you know, you start with something big, you make it really small and then figure out how to try and make it big again. Speaking of trickery, does Ozzy Osbourne, you said you worked with Ozzy Osbourne. Did he, with those Black Sabbath albums, did they do something to his voice in post-production? Or is it doubled? Or is that just the way he sounds? His trick is very straightforward. It's doubling his voice. So when you say it's, because when we were recording his vocals, and really no one ever needs to listen to the song we did.

1:02:15I hate to say it. It's not either one of our best moments. It was on the Beavis and Butthead soundtrack. But I was just thrilled to be working with Ozzy. And at that point, he had this amazing band. But when he recorded his first vocal take, the engineer and I looked at each other. We're like, uh-oh, that was kind of, we're going to have to work with that. It was not perfect, I say diplomatically. And then he said, okay, now let me double it. And when he doubled it, the engineer and I looked at each other and was like, oh my God, now it's Ozzy. So that doubling of the vocal, that I believe he, I don't know at what point, whether it was Geezer Butler or whomever, encouraged him to do that.

1:03:02But that is the Aussie sound that immediately registers as Aussie. And taking it sort of a little bit full circle back to the punk rock vegan movie, there is one original hard rock vegan musician, which is Geezer Butler. Geezer has been vegan longer than anybody on the planet. He's been vegan since the late 60s. Very cool. And unfortunately, now I do have to get going in just a minute, but can I leave with a story about one of my favorite musical, personal, professional, spiritual, existential anecdotes about the greatest singer who's ever lived? Yes, please. And it's actually in the memoir, so I apologize for plagiarizing myself.

1:03:50But David Bowie, in the late 90s, became my neighbor. He was on Lafayette and Mulberry, and I was on Mott Street. And we would wave to each other from our balconies. We became friends. And we agreed to play a fundraiser for Philip Glass for his Tibet house. And so David Bowie came over to my apartment one morning and brought coffee from Giton. and just the two of us sitting in my living room and I worked up all my nerve and I asked him, I said, what if we do an acoustic version of Heroes? And I really thought he was going to finally spit on me or something. Like I was like, have I crossed a line?

1:04:34And but because he was so delightful, he said, yeah, sure, let's give it a try. So the two of us sitting in my living room on Mott Street on a Saturday morning, drinking Café Gitane coffee, playing Heroes on acoustic guitar. And it was very special. But then towards the end, he brought his voice up an octave. It was so transcendent. And it's possible that on my deathbed, that's what I'm going to try and when I go out, that's what I'm going to try and remember. yeah that's beautiful wow well thank you so much for taking the time i know i've held you way too long oh no this has been great like i i feel like this has been like like a gestalt therapy session like i i need to venmo you a couple hundred dollars for therapy no need thank you and congratulations on the album it sounds fantastic oh thanks and um yeah this was really wonderful and thank you for taking the time.

1:05:34And please say hi to Rick for me if you see him or speak to him. Thanks to Moby for his thoughtful consideration of all aspects of his career. You can hear all of our favorite Moby songs on a playlist at brokenrecordpodcast.com. You can subscribe to our YouTube channel at youtube.com slash brokenrecordpodcast where you can find all of our new episodes. Broken Record is produced with help from Leah Rose, Jason Gambrell, Ben Tallade, Nisha Vencut, Jordan McMillan, and Eric Sandler. Our editor is Sophie Cran. Broken Record is a production of Pushkin Industries. If you love this show and others from Pushkin, consider subscribing to Pushkin+.

1:06:18Pushkin Plus is a podcast subscription service that offers bonus content and uninterrupted ad-free listening for only$4.99 a month. Look for Pushkin Plus on Apple Podcasts subscriptions. And if you like the show, remember to share, rate, and review us on your podcast app. Our theme music is by Kenny Beats. I'm Justin Richman.

1:06:45This is an ad by BetterHelp. We've all had that epic rideshare experience. Halfway through, you're best friends, and they know your aspirations to go find yourself in Portugal. It's human. We're all looking for someone to listen. but not everyone is equipped to help. With over a decade of experience, BetterHelp matches you with the right therapist. See why they have a 4.9 rating out of 1.7 million client session reviews. Visit betterhelp.com for 10 % off your first month. This episode of Broken Record is brought to you by Chase Sapphire Reserve. Traveling is one of life's greatest joys. Honestly, can anything be more exhilarating?

1:07:25Well, actually, yeah, with Chase Sapphire Reserve. It's your gateway to the world's most captivating destinations. First, you will earn eight times points on all purchases through Chase Travel. And the card gets you into Sapphire Lounge by the club at select airports nationwide and access to one-of-a-kind experiences. Whether you are booking a once-in-a-lifetime trip or your next week in escape, discover more with Chase Sapphire Reserve at chase.com slash sapphire reserve. Cards issued by JPMorgan Chase Bank and a member FDIC. Subject to credit approval, terms apply. If a Lenovo computer for your business is on your holiday list, don't shop around.

1:08:04Just go directly to the source, Lenovo.com. It's your last chance to get exclusive deals on the PCs you want for your business, like the ThinkPad X914 Aura Edition and Yoga 7i 2-in-1. So avoid all that shopping chaos and price comparing, and just go directly to the source, Lenovo.com, where PCs are up to 35 % off. That's Lenovo.com. Lenovo, Lenovo. This is an iHeart Podcast. Guaranteed human.