Good afternoon, hey, and welcome everybody! This would be the Jeff Cameron show, right here on 933 Real Talk, right here on the Wharton Chat TV, great to be with ya! Happy Balls, McWin's Day, everybody!

Come on in here, let's talk it up, that's a fun, I'm Jeff, that's Tom Frick, Matthew, and the House on Twitter, that's a Cameron show, don't forget that if you're watching on Wharton TV, I love you!

Just share all that love with everybody else, just hand it out, there you go everybody, you should be watching this, I know you're at work, Dan!

Anyhow, that's how that should work. Remember when I used to give that email back in the day at the start of the show Tom, that I never checked, except for on Flag Day?

I gotta do that again, we're gonna have to create one man.

It'd be really hilarious and I really should do it, and then that way I could give it out there, and the people who are insiders on the show would be like, oh I remember when I used to do this, and it was that guy that I sent an email to seven years after he sent me an email, and he was like, this is awesome, you did, you responded seven years later!

I didn't think I was like, this is gonna get rejected, it's gonna come back, this guy's moved on, there's no chance, and he was like, hey man, it's Flag Day, thanks!

Oh, that's great, I'm a man of my word. Well, what was funny about it was I used to go and it'd be a day where it's like pouring outside, I've got jazz on my speaker at the House of Sip and Coffee, I'm like, you know what?

I'm going into work today, I'm gonna check the Flag Day emails, let's go see what we got, oh man, this one's from 2011!

How do you define jazz, the kind that you like? Of course it's not smooth jazz, but I'm just saying do you like the busier sound, do you like the slower sound, do you like your instruments?

I like both an awful lot, I don't need, there's not like vocals?

Oh no, okay, no, no, I don't, hmm.

So, no, you know, you think about the old bebop sound, like the early jazz, like that kind of stuff, that's a different thing than you would compare that to like a downtown San Francisco Dawn Club type thing where it's very 1950s or something,

you're nice like Scaven Hat, there's Bragg, New Orleans kind of sound, which is, you know, Rack Time-ish.

Yeah, no, it's weird because it's improvisational, so it's hard to define the jazzes in that way, I mean there's some clear parameters obviously, but yeah, I don't, no, I like all of them, it depends on the mood, all of the styles, that is, you know, it depends on the mood.

If I want to relax, if, you know, if I'm sitting back, I'm not here, I'm not listening to something, I'm not doing that big band, yeah, yeah, big band is very different, you know.

By the way, as a side note, if you didn't watch the Ken Burns documentary on jazz, it's phenomenal, you like that, you can find that anyway, I'm not Ken Burns agent, but I'm just letting you know.

No, but I'm sure it's comprehensive and good, it's thorough, that's what he does, it is thorough, that where hair pieces, the worst, the worst hair pieces of all time, you know, he accomplished something, I'm gonna say this before I get into answering these questions, it's like the Lego piece that just snap onto the head, he accomplished something though, and this is what it is, it's akin to the big lie, so if you make it so absurd, as to not be believable, as to be believable, I suppose.

Then you'll go, oh, okay, well, that's gotta be his real hair, it's just a bad style because nobody would actually wear that as a wig, given how obvious it is.

He accomplished that, like I saw Ken Burns, I'm like, well, Jesus, Ken, I mean, there's no effort being made here, that must be your real hair, which makes you a terrible, terrible decision maker when it comes to style.

And then people are like, no, that's a wig, I'm like, well, come on, you can't do it that way, I mean, it's so over the top.

So I don't know, he left me kind of like, I don't know, it would be like showing up in the bozo, the clown wig, and just saying, how you doing?

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