Zencaster is going. We're good. Pre-flight check has ended.

Ladies and gentlemen, this is your captain speaking. This is your fucking podcast about a concert

hole. Yes. Hello, and welcome to Well, there's your problem. It's a podcast about engineering

disasters with slides. I'm Justin Rosnick. I'm the person who's talking right now. My

pronouns are he and him. Okay, go. I am Alice Codewa Kelly. I'm the person who's talking now.

My pronouns are she and her Liam. Liam. I'm the colony of bacteria piloting Liam Anderson.

I'm the corpse of Liam Anderson. Yes, I am sick. My pronouns are he and him. I'm going to

spend most of this episode on mute simply so you don't hear we stifle every 30 seconds. Nice.

I know the people love their sniffles, but yeah, I'm not going to do that to you. I'm not

going to Alice Codewa Kelly. And we have a guest. Hello, yes, we have a guest. Hello, I'm Kate

Wagner. An architecture critic. My pronouns are she, her. And you know a lot about architectural

acoustics. Why is that Kate? Tell us tell us. Yeah, I went to grad school. Oh, I'll keep a

stake. So true about grad school. I was very close to doing that, but I finished and I wrote

my thesis on concert halls from mid-century. Uh, so yeah, I know this is one subject. This

is this, this concert hall changed everything in architectural acoustics. Uh, I mean, that's

like kind of an understatement. It was yes, for the better, I would say like this was kind

of like the prud I go, or I guess not even really like the, but like, you know what I mean?

Like this was like the thing that like initiated an entire discourse that changed a field

that happened around the same time. And modernism was like a subject in that field, even though

like with prud I go, for example, uh, like there were other factors involved that for the failure

that almost none of them were architectural actually, like public funding and racism, not

kind of things, but every Fisher hall, the long on a call, David Geffen Hall, you know,

...