In C

Episode Summary

Executive Summary: The episode revisits Radiolab’s prior “Numbers” segment by remaking Terry Riley’s minimalist 1964 piece “In C” through the lens of counting, parenting, and remix culture. Jad and Robert compare multiple reworks—by Michael Lowenstern, Zoe Keating, and Jad’s own version—showing how a structured, iconic composition can be transformed by personal life, improvisation, and playful experimentation.

Main Topics: Revisiting the 'Numbers' tape of Mina counting (Priority: 5/5): The hosts return to raw audio of toddler Mina learning to count, which becomes the emotional and conceptual seed for the episode’s later musical remix experiment. Terry Riley’s 'In C' as a foundational minimalist work (Priority: 5/5): They explain the historical significance of 'In C,' framing it as a joyful corrective to darker avant-garde classical music and a precursor to minimalism, techno, and film scoring. Commissioned remix project around 'In C' (Priority: 4/5): A new recording project by the Grand Valley State New Music Ensemble invited multiple artists to remix the piece, turning a canonical composition into a collaborative reinterpretation. Michael Lowenstern’s structurally randomized remix (Priority: 4/5): Lowenstern describes building a remix around randomness—especially in the drums—using computer-based shuffling to create variability while preserving an underlying structure. Zoe Keating’s 'Zinc' and the emotional key of C (Priority: 4/5): Keating reflects on the accessibility and childlike optimism of C major, aiming for a flowing, waterfall-like sound that contrasts with the structure of the original piece. Jad Abumrad’s fatherhood-inspired remix 'Counting in C' (Priority: 5/5): Jad explains that paternity leave and counting to his own baby fused with the 'In C' ostinato, producing a playful, intimate remix that includes Mina’s counting and his son Emil.

Key Arguments: 'In C' matters historically because it helped catalyze minimalism and influenced later musical forms, despite being a single piece many listeners have never heard. Remixing a canonical work can reveal how structure and randomness coexist; different artists emphasize different facets of the same composition. Parenting and everyday speech rhythms can become musical material, turning a baby’s counting into a composition concept. Jad’s remix is not just novelty; it shows how personal life can shape creative interpretation in a meaningful, audible way. The project demonstrates that classical music can be made accessible and alive through collaborative reinterpretation rather than reverent preservation.

Data Points: Year of 'In C' composition: 1964 - Terry Riley’s original minimalist piece is introduced as the source material for the remix project. Number of remix participants: 16 or 18 people - Jad says the ensemble asked “18 people, or maybe it’s 16” to remix the piece, indicating a large collaborative project. Child age: About 2 years old - Mina, the child whose counting tape is featured, is described as being about two years old. User demographic: Half of OMGS users are men - A sponsorship message at the start cites this statistic about the sexual wellness platform OMGS.

Pivotal Quotes: "“a completely new context”" — Jad Abumrad: Jad explains he will replay Mina’s counting tape within the very different framework of a remix of 'In C'. "“the original Philip Glassy kind of thing”" — Robert Krulwich: The hosts describe Terry Riley’s 'In C' as an early minimalist work that influenced later composers and styles. "“I wanted it to feel like it was washing over me, like it was sort of a rushing waterfall.”" — Zoe Keating: Keating describes the emotional image guiding her remix, emphasizing flow and immersion.

Implications: The episode suggests that iconic art stays alive when reinterpreted through personal experience, new technology, and collaboration. For listeners, it reframes classical music as playful, accessible, and adaptable rather than distant or fixed.