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0:58

Hey, Sam, what can we help you with? So I'm

1:01

calling about a question that I've been

1:03

plagued with for many years now. I've

1:05

been a runner since my teenage years.

1:07

And regardless of where I run,

1:09

I run into this similar issue of, if

1:12

I'm coming behind someone who's either walking

1:14

or running more slowly than I

1:16

am, I get a little

1:18

bit nervous about passing them without scaring

1:20

them. And sometimes I'll stop my

1:23

feet really loudly or try to clear my throat a little

1:25

bit to see if they can hear me. But I would

1:27

say at least half the time they don't. And then

1:29

when I pass them, they act a little bit upset

1:31

as if it were my fault. I

1:34

don't like that. Is there

1:36

a time you remember startling somebody that

1:38

stands out in your memory? There

1:40

was a time that I was running on a trail, which

1:43

I feel like on a trail you should be especially

1:45

aware of your surroundings. And I

1:47

did a lot of throat clearing and trying to make

1:49

some noise and ended up going around

1:52

this person and just got a little bit,

1:54

they kind of jumped and then acted

1:56

as if they were very, very scared.

1:58

And then I thought maybe there was a bear or

2:00

something because the shock that they exhibited

2:03

was much higher than I

2:05

would have expected for just seeing another human being.

2:07

Yeah. Have you ever

2:09

had it, Sam, where you're running and

2:11

someone passes you and they indicate they're

2:13

coming in a clever way? Oh never.

2:15

Never. No, because people don't pass me.

2:17

You're pretty fast. We

2:19

get it. Kidding, kidding. It raises

2:21

the question, what is the friendliest sound?

2:23

Like if you're gonna choose a sound,

2:26

what would be the friendliest sound you

2:28

could possibly make to a

2:30

stranger you were approaching from behind? Mm-hmm.

2:34

I've got candy. Would

2:37

that work? I don't think that's

2:39

it. I have an 18 month

2:41

old child who says move in a very

2:43

cute way. I think if

2:46

I just had a recording of

2:48

him saying move. Move like a

2:50

cow. Mm-hmm. Yeah. It is the

2:52

first part of move aside too.

2:54

Move over. Yeah. Don't you

2:56

feel like that's the solution though? We should come up

2:58

with like a surefire way to

3:01

indicate your presence that is not

3:03

threatening, that it's almost it's excited.

3:05

You're like happy to hear that

3:08

noise. All right. We're gonna

3:10

try and help out Sam in a couple

3:12

ways here. Someone who passes a

3:15

lot of people while running is

3:17

Olympic bronze medalist marathoner Molly Seidel.

3:20

Molly, is this something you've dealt with? Well

3:22

this is the problem too is because I've

3:24

had a couple times where I've like really

3:26

freaked people out and then I feel terrible

3:28

because they literally will like jump and scream

3:30

as if I've like tried to

3:32

attack them as I'm like a barely

3:35

above five foot tall woman. I think

3:39

also tell me if this is

3:41

true whenever I've watched the New

3:44

York marathon when the

3:46

elite runners go by they're

3:48

so much quieter than the

3:50

normal people. Yeah definitely

3:53

a little bit less clomping and maybe

3:55

not breathing quite as heavy. So yeah

3:57

it's especially at night

3:59

it gets pretty easy to unintentionally

4:01

sneak up on people. I

4:04

typically like to announce myself wherever I

4:06

go. So when I'm coming up behind,

4:08

I'm like, excuse me Olympic bronze medalist

4:10

coming up behind. Yeah. It

4:12

does feel like maybe that's a use for

4:14

your Olympic medal, is that you could clang

4:17

it as you run by people. Trust

4:19

me, I like anything that plays on my

4:21

own narcissism. So I feel like I could

4:23

use that like a cowbell coming up behind

4:25

people and just clink it a little bit.

4:27

Yeah. And be like, oh my gosh, I'm

4:29

so sorry. My medal is so loud. So

4:33

I run a little bit and I have

4:36

a baby that I push in a jog stroller. And

4:40

something I have encountered recently

4:42

is there is a species

4:44

of running male that

4:46

cannot handle being passed by

4:48

someone pushing a baby in

4:50

a jog stroller. I

4:53

imagine being an elite female marathoner,

4:55

you are constantly passing men who

4:57

have a hard time with this.

4:59

You are completely right. The species

5:02

of man who hates being overtaken

5:04

by a jogging stroller equally

5:06

hates being overtaken by a woman. And

5:10

so I've had many times specifically

5:12

on the river path in Boston

5:14

of passing these alpha males.

5:17

And then you start a

5:19

subtle yo-yo effect where they

5:21

then start sprinting in

5:23

order to pass you again until they inevitably

5:25

collapse in a heap. So yeah, I would

5:27

definitely say it can be annoying sometimes, but

5:30

it's also fun. Do they

5:32

ever say anything to you at the very end? Like, you

5:34

got me. No, they'll sometimes

5:36

I am not even joking with this one.

5:38

I had a guy who

5:40

said out loud, I'm done with

5:43

my run here. Like obviously not

5:45

because we were at least two

5:47

miles from any like realistic

5:50

stopping or starting point.

5:53

But just that he felt the need to

5:55

have to say, I'm like, oh yeah, I'm

5:57

actually was planning on stopping here rather than

5:59

just. of

8:00

the Delta, but relevant to

8:02

Sam's question, Mike composed

8:04

this sound. Hello.

8:08

Hey, is this Mike? Yep.

8:11

Hey, it's Mike and Ian from NPR calling. How are

8:13

you? Well, I'm doing great. How are

8:15

you guys? We're terrific. Where are you?

8:18

Where are you on your journey? I'm

8:20

in Southern California. I'm actually just trying

8:22

not to get killed here on a

8:24

101 driving north to Santa Barbara to

8:27

have lunch with Dick

8:29

Wolf. That's

8:32

I guess if we were to imagine what Mike

8:34

Post would be doing, that's what we would imagine

8:36

he'd be doing. Well, yeah. Well,

8:39

so we come to you because

8:41

you wrote the theme to Law and

8:43

Order, one of the great iconic themes.

8:46

And then as we

8:48

understand, Dick Wolf then comes back to

8:50

you and wants something to mark transitions

8:53

between scenes. That's correct. Do

8:56

I have that right? Precisely correct. At

8:59

the 11th hour just before the dub

9:02

is finished, I've already completed all

9:04

my work. Everybody's real happy with what I

9:06

did. Then he calls me up and says,

9:08

hey, I'm going to date stamp

9:11

scene changes and I

9:13

need a sound to

9:16

mark that. And I said, great. Call sound

9:18

effects because I'm your composer. I don't do

9:20

sounds. I do music. And

9:25

he and I are dear friends, we go, hey,

9:27

come on, I need a favor. God, why do

9:29

you come on? I

9:31

said, all right. All right. So

9:34

I got a bunch of samples of a

9:36

jail door slamming and a guy hitting an

9:38

anvil with a ball peeking hammer and a

9:41

bunch of men in Japan stomping

9:43

on a wood floor. I mean, all

9:45

these weird sounds. And it

9:47

took us about five, six hours to come

9:49

up with that ching, ching, dun, dun, dong,

9:51

ding, ding, whatever the hell you want to

9:53

call it down. And so so

9:56

I sent it over to the dub stage and

9:58

Dick goes, man, this is perfect. I've never

10:00

heard anything like this, exactly right. And

10:02

about a year later, he sends me

10:05

a note. He goes, isn't it funny?

10:07

All the great music you've written and

10:09

on your tombstone will be gun,

10:11

gun, or ding, ding, or anything. And he

10:14

goes, you know, if you didn't even want

10:16

to do it, you stupid idiot. And I

10:18

went, yeah, you're right about that. You know,

10:20

I had to do it. So

10:23

yeah, that's how the sound came about.

10:26

And you know, I don't know if anybody

10:29

cares or anything, but I was a runner for

10:31

a long time, for 30 years. And

10:34

you know, I guess you could carry

10:36

a little device on

10:40

your phone. You could play back, dun,

10:42

dun, ching, ching, whatever you call that thing.

10:45

I guess you could do that except I

10:48

think that because of law and order and

10:50

the darkness of the subject matter,

10:53

I mean, I don't know

10:55

if that would calm. It has the

10:57

opposite effect. Yeah, I'm not sure that

10:59

would calm anybody. I will tell you

11:01

this, about the third or fourth year

11:04

of law and order, the original,

11:06

I got the sweetest, kindest note

11:08

from a principal from a high

11:10

school in Cleveland, Ohio. And

11:13

she writes me this note. And she

11:15

says, I'm writing this note

11:17

to thank you from the bottom of my

11:19

heart. I work in an

11:21

urban environment. It's a pretty tough school. And

11:25

she goes, there's a lot of discipline problems.

11:27

And she goes, when I have to

11:29

call Johnny

11:31

or Sarah to the

11:34

principal's office, she goes, it was always

11:36

over the intercom. Johnny

11:39

Jones, please come to the principal's office.

11:41

And you know, she

11:43

goes, since law and order, I

11:45

preface all those calls to the

11:48

principal's office and talk down. And

11:50

she goes, my discipline problems have

11:54

gotten exponentially better because

11:56

it strikes beer into their

11:58

hearts. Yes, right. I

12:01

just I cracked up. I thought I thought

12:03

that was one of the nicest

12:05

notes I've ever received That's

12:08

amazing So you mentioned

12:10

that the the dun-dun sound is

12:12

I think you said Like

12:15

a prison door slam or slamming.

12:17

Yeah. Yeah It's

12:19

a bunch of different things put together. Yeah,

12:22

and I think you said a bunch of men jumping

12:25

up and down in Japan No,

12:28

it's stomping on a hardwood

12:30

floor in a gym these young and

12:32

a guy hitting a nanville with a

12:34

hammer Okay, so if

12:36

we were to take a similar

12:38

approach to Composing

12:40

a new sound for Sam

12:43

where we're gonna we're

12:45

gonna get some samples of different sounds and we want

12:47

it to be as friendly as possible Yes,

12:50

what what are some sounds you might

12:52

suggest? To come up

12:54

with a little sonic theme for for Sam

12:58

You know one of the sweetest

13:00

things to me in my mind you

13:02

could do is birds

13:04

chirping Right or

13:07

or or the sound of a little

13:09

kids Bell on

13:12

his tricycle thinking that sound yeah

13:15

Right or simply

13:17

simply hello. Okay. Mm-hmm.

13:20

Yeah a soft greeting

13:23

Yes, it's off green. Yeah, okay

13:25

laughter. Okay. Yeah after that's good

13:29

On the other on the other hand,

13:31

that's not so friendly when you're passing

13:33

somebody. Yeah. Yeah. Yeah Yeah,

13:36

let me ask you this question.

13:38

My understanding is that is a

13:41

song that sound effect or sound

13:43

That little five-second bit is actually a song. Is

13:46

that right? Well, it's not

13:48

a song but it is a piece of music

13:50

in the if you're asking do I get paid

13:52

or a royalty every time? Any piece of

13:54

music plays? Yeah. Yeah every time every

13:57

time any piece of my music is

13:59

played even second of it there's

14:01

a small little royalty that's paid

14:04

through a performing rights

14:06

organization I happen to be a

14:08

BMI writer so yes. Fantastic. So

14:11

there is a royalty. So

14:13

Mike does that then that five

14:15

minute piece does it have a

14:17

name on the that's registered at

14:20

BMI? Yes we

14:22

call it a card standing. Oh

14:25

that's kind of boring it doesn't have like a cool

14:27

name? No it

14:29

has a cool name on a t-shirt has

14:31

a cool name when people you know talk

14:34

to me about it yeah or

14:36

ching-ching because I'm making a little money on

14:38

it but yeah. Well Mike thank

14:43

you so much for talking to us about this this has been so

14:45

much fun. I'm glad

14:47

to do it I you know I'm a big

14:49

fan of what you guys do

14:51

radio wise that's for darn sure. Alright

14:56

here we go we're gonna take these sounds

14:58

we have birds chirping

15:00

you say tricycle bell. I saw

15:03

some kind of laughter. So Sam or

15:05

anybody out there who's running and wants

15:07

to warn somebody you're passing in a

15:09

friendly way that won't freak them out

15:12

we give you this. And

15:22

then here again just just because we want to

15:24

see what it sounds like here it is again

15:26

but this time with a

15:28

hundred men in Japan stomping

15:31

on a wooden floor. If

15:43

you have a question you'd like us to answer

15:46

you can email us

15:48

at howto at npr.org

15:51

and at this point also

15:53

we've probably solved questions you

15:56

have you just haven't heard the episode so we

15:58

we would encourage you to go

16:00

backwards through our catalog. Maybe

16:02

you have a song in your head, you can't get it

16:04

out, we've addressed that. Or

16:07

maybe you're a zippers down, or you see

16:09

somebody who zippers down and you wanna know

16:11

how to tell them that. We can help

16:13

you with that. So step

16:15

one, listen to everything we've ever

16:17

done, and if you still have

16:19

the problem you have, send us

16:21

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16:23

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first month. Well,

19:10

we want to check in on the You

19:12

Guys fast. That is a thing we just

19:15

started where we are trying to excise

19:17

You Guys and Hey Guys from our

19:19

vocabularies. We invited you all to do

19:21

this with us, and we've heard from

19:24

a ton of people who are joining

19:26

us who've already started doing it and

19:28

even have some tips. Hello. Hello,

19:30

Carol. Yes. We're just calling to

19:33

check in on you on the You Guys fast.

19:35

How are you doing with that? Well, I've

19:37

actually been trying to avoid it for years.

19:39

It still pops out because my family uses

19:41

it, but for the most part, I try

19:43

not to. Yeah, so what solutions have you

19:45

come up with? I generally say

19:48

friends. I am a

19:50

choir director by profession, so

19:53

I often say singers instead. Oh,

19:55

sure. Oh, that's nice. I

19:58

would try that. Just, I mean, I'm... I

20:00

have no involvement with any choir, but just

20:02

approaching your group of people and saying, hey

20:05

singers, that feels good. Yeah.

20:08

Everybody sings, everybody has a voice.

20:10

Yeah. I

20:12

will say we heard from a couple of you, Lon

20:16

for instance said, we need to solve

20:18

real problems instead. Basically this

20:20

is why are we doing this? Which fair

20:23

point, there are bigger problems in the world. We

20:26

are incapable of solving them. Hello.

20:29

So Joe, you wrote in about

20:32

your journey with you guys. Can you tell us about

20:34

it? Yes. So when I

20:36

was in the army with email

20:38

communications, I noticed that people

20:40

are using Alcon, which said

20:43

we're all concerned. And I

20:45

really liked that. So I adopted that

20:47

to it. Alcon? Yes, we're all concerned.

20:49

Okay. That's really cool. I'm

20:52

just trying to think if we could use that in

20:54

our work emails, how much

20:56

effort it would take to get everybody on board. I'm

20:59

going to try it. All right. Lynn, Lynn

21:01

wrote in, she said, I have not said

21:03

you guys in the years since my son's

21:05

friend from high school transitioned. She pointed it

21:07

out to me after I addressed

21:09

the group of friends as guys. Since that

21:11

I've chosen to use folks. I like the

21:14

casual and friendly sound of it. No, thank

21:16

you, Lynn. Hi, this is

21:18

Steve. Hey Steve, how are you? Good. We're

21:21

calling to check in on you and your, you guys

21:23

fast. Well, that's great.

21:25

Have you, Steve had any incidents

21:27

where you've slipped and

21:29

it's bitten you? Yeah,

21:31

yeah. I've been called out a few

21:34

times by the, mainly

21:36

by my family, you know? And they say, hey, I thought

21:38

you weren't going to say that anymore. Yeah,

21:40

I mean, once you, we're finding this too,

21:42

once you kind of declare that you're doing

21:45

this, you really have a spotlight on you.

21:47

Yeah, that's true. And you notice it so

21:49

much more when other people do it now

21:51

too. I'm a member of the

21:54

Church of Jesus Christ of Latter-day Saints and we

21:56

have missionaries in our area. We had a couple

21:58

of young men. 20

22:00

year olds that were missionaries in our area.

22:02

And they said it so much. And it

22:05

was so obvious to me that I

22:07

actually pulled them aside and gave them

22:09

a little talk on why I don't

22:11

use that. And maybe

22:14

they ought to think about using a different

22:16

term also. Yeah. And it

22:18

actually went over really well. Wow, you

22:20

are a missionary for you guys, or

22:23

for anti-you guys, I guess. I

22:25

guess so, yeah. Steve, when you pulled those

22:27

two aside, did you say to them,

22:29

hey, you guys. Here's

22:32

Eunice from Philly. Eunice has

22:34

some ideas of what you might replace

22:36

you guys with. Hello, everybody. Hello, party

22:39

people. Oh, there

22:41

you go. Or my wife teaches pottery,

22:43

so she uses high potters.

22:46

That's her approach. Oh, I like

22:48

that one. And here's Ari. Ari

22:50

has even more ideas. So I

22:52

like to approach a conversation with people

22:54

I'm casual with. I might say team

22:56

to be like,

22:58

oh, hey, team, how's it going? Sort

23:01

of that soccer coach vibe. I

23:03

like to be overly formal on

23:06

purpose sometimes by saying, oh, compatriots,

23:08

esteemed colleagues. Oh,

23:10

yeah. Well, thank you,

23:13

Ari. Thanks for all these ideas. This is great. Yeah,

23:15

thanks for the work you guys do, and thanks

23:17

for making a great show. We

23:19

consider you a true compatriot. Thank

23:22

you. So we're going to keep trying. Let

23:26

us know if you're doing this. Let

23:29

us know when you fail. We'll let

23:31

you know when we fail. Hina,

23:33

is your mic open? Hina,

23:35

how have you done? I've

23:39

done pretty bad. Really? I would say, yeah,

23:41

I've done a lot of, I

23:43

go back to my texts and edit it, and then

23:45

I would say edit it underneath, and everyone knows that

23:47

it used to be you guys, and then I'd just

23:49

be like, you all. And I think that I'm making

23:52

my life a little harder. It's

23:54

possible in those edited texts, Hina

23:56

called us something worse, that

23:58

she then edited to you. and

24:01

she's covering it up as

24:03

if it was part of the You Guys Fast,

24:05

when really it was something very offensive. She's on

24:07

a, yeah, what is the opposite of a fast?

24:10

Rampage. Yeah, she's on a you'd

24:12

rampage. Well

24:17

that does it for today's show. What we learned today, Mike.

24:20

Well I learned that that sound, the dun-dun

24:22

sound from Law and Order, is

24:25

actually a bunch of sounds smashed together.

24:27

One of which is is

24:29

a hundred men in Japan stomping

24:32

on a wooden floor? Yeah. How

24:34

is that an effect that is just

24:37

like available for use? And

24:39

what are those men doing now? Was

24:41

that the peak of those men's life?

24:44

Is Law and Order a thing in Japan? Do those men

24:46

know how woven they

24:48

are into the fabric of

24:50

our culture? Do you think

24:53

that those people are like with their friends

24:55

or with their family and they're like, hold

24:57

on, hold on, listen, this is it, this

24:59

is me, this is me right here. Or

25:01

a bug walks by, they stomp it. Do

25:04

people on the street recognize them? I

25:06

know that stomp. Wait a minute, do

25:08

that again. How

25:12

to Do Everything is produced by

25:14

Hines Hrivastava, technical direction

25:16

from Lorna White. Our

25:19

intern is Mark Arthon. Mark,

25:23

I can't say enough about

25:26

the work you did this week. Yeah,

25:28

Mark, we really appreciate everything, everything

25:31

you've done. That's why some

25:33

of you, when you heard the sound

25:36

we made for Sam, you may have

25:38

heard Mark Arthon's name underneath it and

25:40

wondered, what was that? That was not

25:42

mentioned. Well, we went back in because

25:45

there is no happier sound than the

25:47

name Mark Arthon. You

25:49

can send us your questions,

25:51

send them to us at

25:53

howto at npr.org. We promise

25:55

we read all our emails

25:57

obsessively. It's honestly, it's weird. I'm

26:00

Ian. And I'm Mike. Thanks.

26:03

Thanks. Support

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