1 00:00:00,920 --> 00:00:04,720 Speaker 1: Look mad oh, I see you? Why why? And look 2 00:00:04,760 --> 00:00:13,039 Speaker 1: over there? How is that culture? Yes, goodness, culture. This 3 00:00:13,119 --> 00:00:17,320 Speaker 1: is going one of the great weeks of life for 4 00:00:17,360 --> 00:00:19,880 Speaker 1: many reasons. I wouldn't even chalk it up to one 5 00:00:20,280 --> 00:00:23,880 Speaker 1: single reason. And you'll notice I didn't. You'll actually notice 6 00:00:23,960 --> 00:00:26,680 Speaker 1: I didn't even chalk it up to one single major 7 00:00:26,960 --> 00:00:31,280 Speaker 1: tay orrific reason. But there is so much to talk 8 00:00:31,320 --> 00:00:34,159 Speaker 1: about bowing at the gate. Let me just say we 9 00:00:34,320 --> 00:00:37,960 Speaker 1: need to savor times like these. There's a lot of 10 00:00:38,000 --> 00:00:40,400 Speaker 1: bad stuff going on in the world. You might have 11 00:00:40,400 --> 00:00:44,560 Speaker 1: had a personally rough week yourself. I'm talking to the readers, 12 00:00:44,600 --> 00:00:47,680 Speaker 1: the katies, the publicists by however you identify out there. 13 00:00:47,720 --> 00:00:51,000 Speaker 1: However you identify out there, weeks like these where we 14 00:00:51,040 --> 00:00:56,800 Speaker 1: can all have fun talking about art. Shall we say? 15 00:00:57,080 --> 00:01:00,720 Speaker 1: Is that rest assle? Oh my god? Do you your 16 00:01:00,800 --> 00:01:07,720 Speaker 1: word could have shoulda freaka? What is a song and 17 00:01:07,760 --> 00:01:10,320 Speaker 1: a half? Not to jump ahead, but I feel like, 18 00:01:10,480 --> 00:01:13,840 Speaker 1: spiritually are this generation of Taylor this is are all 19 00:01:13,880 --> 00:01:18,000 Speaker 1: too well period. Wow, it's getting disrespected by being on 20 00:01:18,040 --> 00:01:21,240 Speaker 1: bonus tracks. But also if that doesn't matter, well, let's 21 00:01:21,280 --> 00:01:23,120 Speaker 1: we can talk about this later. But but the three 22 00:01:23,120 --> 00:01:28,800 Speaker 1: Am songs have a specific intention in DNA behind them 23 00:01:28,840 --> 00:01:32,720 Speaker 1: and we'll talk about that later. Anyway, lots of great reasons. Um, 24 00:01:32,760 --> 00:01:37,120 Speaker 1: my nephew's briss was on Thursday. How was the brist? 25 00:01:37,280 --> 00:01:40,720 Speaker 1: Everything go? Well? Okay, can I tell you? Mr Aaron 26 00:01:40,800 --> 00:01:47,200 Speaker 1: Weiss is his name? Champ screamed. I was expecting something 27 00:01:47,240 --> 00:01:54,640 Speaker 1: like this during during, but it was actually this is this, 28 00:01:54,640 --> 00:01:58,680 Speaker 1: this was this was what this boy did. Yeah, let's see. 29 00:01:58,720 --> 00:02:01,760 Speaker 1: If I had to imagine my penis getting clipped, I 30 00:02:01,800 --> 00:02:06,200 Speaker 1: think it would just sort of feel like this, No, 31 00:02:06,600 --> 00:02:12,560 Speaker 1: are you kidding me? Your your foreskin getting circumcised. I 32 00:02:12,639 --> 00:02:15,600 Speaker 1: think if you get it into adulthood, like it's apparently 33 00:02:15,680 --> 00:02:18,800 Speaker 1: like you're knocked out and you're on your damn back 34 00:02:18,880 --> 00:02:22,480 Speaker 1: for like a week. Yeah, forget it. This kid was 35 00:02:22,560 --> 00:02:24,800 Speaker 1: just on tailan all for the next day and that 36 00:02:24,880 --> 00:02:27,560 Speaker 1: was that, even the next day, the next twelve hours. Anyway, 37 00:02:27,560 --> 00:02:32,320 Speaker 1: it's a beautiful, beautiful thing. Um, welcome to the world, Aaron, 38 00:02:32,919 --> 00:02:38,080 Speaker 1: Mr WAMR. He's he's so sweet. He broke his collarbone 39 00:02:38,080 --> 00:02:41,920 Speaker 1: on the way out. What I know, because he's a 40 00:02:41,919 --> 00:02:45,120 Speaker 1: big boy. I think that that happens. I think that happens. No, 41 00:02:45,240 --> 00:02:47,799 Speaker 1: and he's he's doing great. And um, the family is 42 00:02:47,880 --> 00:02:51,880 Speaker 1: very happy. Anyway. Christmas Thursday, I wrapped on Nora from Queen's. 43 00:02:51,919 --> 00:02:55,400 Speaker 1: I brought a whole damn. I say about how much 44 00:02:55,440 --> 00:02:57,840 Speaker 1: I loved that, and um, it's been a good week. 45 00:02:57,840 --> 00:03:00,440 Speaker 1: And then and then Midnights and then when and you 46 00:03:00,520 --> 00:03:04,560 Speaker 1: also saw Tar And you've had a reaction to Tar 47 00:03:04,680 --> 00:03:06,280 Speaker 1: that I couldn't have even dreamed about. I knew you 48 00:03:06,320 --> 00:03:09,320 Speaker 1: would enjoy it, but you're you're saying big things. I 49 00:03:09,360 --> 00:03:10,880 Speaker 1: think this is one of my favorite movies of all time, 50 00:03:11,440 --> 00:03:14,960 Speaker 1: period period. And he said the same thing. I've now 51 00:03:15,000 --> 00:03:17,240 Speaker 1: seen it again. I've seen it twice. I am about 52 00:03:17,280 --> 00:03:19,200 Speaker 1: to see it again with Josh and Aaron because we 53 00:03:19,800 --> 00:03:22,079 Speaker 1: went out to the club. We went to six six, 54 00:03:23,280 --> 00:03:26,079 Speaker 1: which is a monthly hyper pop party in Brooklyn by 55 00:03:26,280 --> 00:03:29,839 Speaker 1: the amazing DJ the Limit doesn't exist. Yes, it's such 56 00:03:29,880 --> 00:03:31,880 Speaker 1: a fun party. And every song that came on me, 57 00:03:32,000 --> 00:03:34,600 Speaker 1: Aaron and Josh were going, this was what Lydia wanted, 58 00:03:35,040 --> 00:03:39,560 Speaker 1: This what Lydia want. The Grammy for that and but then, 59 00:03:39,640 --> 00:03:41,840 Speaker 1: but our theory now is that Lydia's egot wins are 60 00:03:41,880 --> 00:03:44,240 Speaker 1: all for acting. Yeah, well that makes sense because she 61 00:03:44,320 --> 00:03:48,400 Speaker 1: certainly was doing a convincing portrayal someone who was safe 62 00:03:48,440 --> 00:03:51,600 Speaker 1: to be around. Oh my god, I'm so happy you 63 00:03:51,640 --> 00:03:53,840 Speaker 1: liked it so much. I loved it. For for more 64 00:03:53,840 --> 00:03:56,880 Speaker 1: on Tar. For Matt Rodgers and Guy Brandham's thoughts on Tar, 65 00:03:57,040 --> 00:03:59,440 Speaker 1: please listen to the last week's episode. They said everything 66 00:03:59,440 --> 00:04:02,720 Speaker 1: that that need be said. I loved the movie. I'm 67 00:04:02,760 --> 00:04:04,240 Speaker 1: so happy that you didn't. I also don't want to 68 00:04:04,240 --> 00:04:06,040 Speaker 1: take anything away from you. So at any point during 69 00:04:06,040 --> 00:04:08,360 Speaker 1: the discourse today, you feel like you absolutely have to 70 00:04:08,360 --> 00:04:13,040 Speaker 1: get out your terrific million dollar pun right there responses 71 00:04:13,080 --> 00:04:15,200 Speaker 1: to the film, You just stop everything and say, wait, 72 00:04:15,240 --> 00:04:17,839 Speaker 1: hold on this scene and you can go off. Okay, 73 00:04:17,880 --> 00:04:22,000 Speaker 1: thank you so much, But look, how did you experience 74 00:04:22,040 --> 00:04:24,080 Speaker 1: the album? And let's just be real. Let's just be 75 00:04:24,160 --> 00:04:27,200 Speaker 1: very real. It makes it's time to be real and 76 00:04:27,200 --> 00:04:31,120 Speaker 1: a by him for sure, deleting um. But did you 77 00:04:31,279 --> 00:04:33,920 Speaker 1: know because I was with people on Thursday night at 78 00:04:33,960 --> 00:04:36,840 Speaker 1: Halloween Horror Knight's, and of course the album was out. 79 00:04:36,880 --> 00:04:38,920 Speaker 1: We were all like, oh my god, we're so so excited. 80 00:04:39,000 --> 00:04:41,680 Speaker 1: And so then I was with some people that were like, 81 00:04:41,760 --> 00:04:43,800 Speaker 1: there's rumors of a sister album, and I was like, 82 00:04:43,880 --> 00:04:45,839 Speaker 1: you're you've got to be fucking kidding me, and they 83 00:04:45,880 --> 00:04:49,440 Speaker 1: were like, yes, Midnight's East Coast Midnight is getting an album. 84 00:04:49,680 --> 00:04:53,960 Speaker 1: West Coast Midnight is people. That That's what was. That's 85 00:04:54,000 --> 00:04:56,159 Speaker 1: what the rumor was, the heavy rumor on the streets 86 00:04:56,200 --> 00:04:59,760 Speaker 1: of Halloween horror Knights, which were as spooky and OOKI 87 00:05:00,000 --> 00:05:03,080 Speaker 1: as ever. By the way, and the Weekend has a 88 00:05:03,160 --> 00:05:05,960 Speaker 1: hunted house, and I was literally screaming running from the 89 00:05:06,000 --> 00:05:11,280 Speaker 1: Weekend from Able from Abel himself, so thinking in my 90 00:05:11,320 --> 00:05:14,680 Speaker 1: head while I'm running away from Able an amazed theme 91 00:05:14,720 --> 00:05:16,600 Speaker 1: to him and his music. I was like, is there 92 00:05:16,640 --> 00:05:19,080 Speaker 1: about to be a three Am drop? And then lo 93 00:05:19,240 --> 00:05:22,799 Speaker 1: and behold at midnight there was the Midnight's three Am version, 94 00:05:23,160 --> 00:05:25,840 Speaker 1: and I was like, oh my god, the seven new 95 00:05:25,920 --> 00:05:27,920 Speaker 1: songs because of course she had to stop at thirteen 96 00:05:27,920 --> 00:05:30,440 Speaker 1: for the regular album. We all know, America, that's the girl, 97 00:05:31,120 --> 00:05:33,159 Speaker 1: and then these seven songs. When I tell you I 98 00:05:33,160 --> 00:05:37,560 Speaker 1: went home that night. For me, two out of my 99 00:05:37,680 --> 00:05:40,479 Speaker 1: three favorite songs are in the three Am section. Let's 100 00:05:40,680 --> 00:05:43,200 Speaker 1: we could talk about this, but let's just say the 101 00:05:43,240 --> 00:05:47,560 Speaker 1: fact that you heard this at Universal Studios. Let's just 102 00:05:48,640 --> 00:05:52,520 Speaker 1: established here now. If you want your swifty news first, 103 00:05:53,400 --> 00:05:56,800 Speaker 1: the place to be is city Walk what you mad? 104 00:05:57,360 --> 00:06:00,280 Speaker 1: City Walk is the source for swifty news. Well, city 105 00:06:00,279 --> 00:06:03,599 Speaker 1: Walk is the center of Hollywood. It's actually why city 106 00:06:03,600 --> 00:06:06,359 Speaker 1: Walk was nominated one of the best um neighborhoods in 107 00:06:06,480 --> 00:06:08,480 Speaker 1: L A in the last school ESA's Culture Awards. And 108 00:06:08,520 --> 00:06:12,880 Speaker 1: actually I believe, I believe it did not win. Oh no, CityWalk, 109 00:06:12,960 --> 00:06:15,839 Speaker 1: CityWalk did win. City Walk did win Best Neighborhood in 110 00:06:15,839 --> 00:06:17,520 Speaker 1: Los Angeles. That makes a lot of sense because it 111 00:06:17,560 --> 00:06:21,280 Speaker 1: really is. It's where the interesting artists are, I would say, 112 00:06:21,320 --> 00:06:22,960 Speaker 1: and the people who are really plugged in with their 113 00:06:22,960 --> 00:06:25,240 Speaker 1: ear to the ground of the entertainment industry are at 114 00:06:25,240 --> 00:06:31,200 Speaker 1: city Walk, absolutely, and at really renowned restaurants of great 115 00:06:31,440 --> 00:06:34,080 Speaker 1: esteem and repute. What was it. They're having dinner at 116 00:06:34,120 --> 00:06:37,520 Speaker 1: Bubba Gump, They're getting a post dinner drink at Margarita Ville. 117 00:06:37,880 --> 00:06:40,440 Speaker 1: These are where the movers and shakers go. They picking 118 00:06:40,480 --> 00:06:42,080 Speaker 1: up a little they're picking up a fortune cookie at 119 00:06:42,080 --> 00:06:46,920 Speaker 1: Panda Express. They really are, they really are. And so like, yes, 120 00:06:47,000 --> 00:06:48,760 Speaker 1: I'm there, I'm hearing it. And then the three a 121 00:06:48,880 --> 00:06:51,080 Speaker 1: M version rolls around and wow, And to find that 122 00:06:51,080 --> 00:06:53,359 Speaker 1: that also had a concept which you alluded to earlier. 123 00:06:53,400 --> 00:06:56,320 Speaker 1: Would you do you want to get into that, okay. 124 00:06:56,400 --> 00:07:00,279 Speaker 1: So I would say thirteen tracks on the Coreman Night's 125 00:07:00,320 --> 00:07:08,200 Speaker 1: album are very sonically and thematically tight. It's contemplative, it's quiet, 126 00:07:08,520 --> 00:07:12,520 Speaker 1: it's subdued, and I would say the three AM tracks 127 00:07:12,560 --> 00:07:16,360 Speaker 1: are at the witching hour of three am, where your 128 00:07:16,440 --> 00:07:20,080 Speaker 1: mind truly goes to some wild places. That is the 129 00:07:20,160 --> 00:07:25,920 Speaker 1: more emotionally um on wheel dy time of the night, 130 00:07:26,360 --> 00:07:29,080 Speaker 1: and you really your your mind goes to the extremes. 131 00:07:29,280 --> 00:07:33,320 Speaker 1: Midnight is actually a pretty chill time of day. That's 132 00:07:33,360 --> 00:07:35,360 Speaker 1: the thing too. It's like you know, when you're a 133 00:07:35,440 --> 00:07:38,200 Speaker 1: baby and they tell you, oh, it's exciting to stay 134 00:07:38,240 --> 00:07:40,080 Speaker 1: up till midnight on New Year's you sort of get 135 00:07:40,080 --> 00:07:43,200 Speaker 1: this thing in your head that the most thrilling moment 136 00:07:43,480 --> 00:07:46,240 Speaker 1: as your cognition is forming, you think it's a feat 137 00:07:46,280 --> 00:07:48,040 Speaker 1: to stay up till midnight. But then you get to 138 00:07:48,080 --> 00:07:50,920 Speaker 1: be an older person and you find out that midnight 139 00:07:51,000 --> 00:07:53,080 Speaker 1: is not so late. So the things you're thinking about 140 00:07:53,200 --> 00:07:56,239 Speaker 1: about at midnight you can find in these first thirteen tracks. 141 00:07:56,280 --> 00:07:59,440 Speaker 1: Definitely contemplative. Definitely it's me by myself sort of thinking 142 00:07:59,480 --> 00:08:02,920 Speaker 1: to myself. But three Am, I mean, these are the 143 00:08:02,920 --> 00:08:06,240 Speaker 1: the issues that arise and cause a restless mind. The 144 00:08:06,360 --> 00:08:09,080 Speaker 1: three AM is where you go. I think there's been 145 00:08:09,080 --> 00:08:12,640 Speaker 1: a glitch. Three AM is basically when you go. Did 146 00:08:12,640 --> 00:08:15,640 Speaker 1: you see the photos? No? I didn't. But thanks though. 147 00:08:15,800 --> 00:08:18,640 Speaker 1: First of all, like you're so right about the chaotic 148 00:08:18,720 --> 00:08:21,840 Speaker 1: nature of the three AM tracks because that first verse 149 00:08:21,840 --> 00:08:25,800 Speaker 1: of Paris, I am obsess bone. I've never heard something 150 00:08:25,840 --> 00:08:27,560 Speaker 1: to Taylor in my life. By the way, we should 151 00:08:27,600 --> 00:08:29,920 Speaker 1: just say a lot of people have been asking is 152 00:08:29,920 --> 00:08:32,800 Speaker 1: this a Taylor album or a Taylor album. I have 153 00:08:32,840 --> 00:08:34,200 Speaker 1: an opinion on this, and I want to know if 154 00:08:34,240 --> 00:08:37,280 Speaker 1: you share it. This is a Taylor album, But this 155 00:08:37,360 --> 00:08:40,360 Speaker 1: album is Taylor having taken a breath, And this is 156 00:08:40,480 --> 00:08:44,800 Speaker 1: this is Taylor having said, you know what, I'm certainly Taylor, 157 00:08:44,840 --> 00:08:48,120 Speaker 1: I'm certainly on my ship, but I'm taking a breath 158 00:08:48,200 --> 00:08:51,960 Speaker 1: so I can collect my thoughts. This is Taylor with 159 00:08:53,000 --> 00:08:57,959 Speaker 1: sound mind. This is Taylor saying, let me use my talent, 160 00:08:58,120 --> 00:09:04,439 Speaker 1: my gifts for a contemplative end. This is Taylor energy 161 00:09:04,640 --> 00:09:09,440 Speaker 1: with Taylor lyrics. Truly brov Tay Laura again. But I 162 00:09:09,520 --> 00:09:11,520 Speaker 1: just want to leave that in the folklore Everymore era 163 00:09:11,600 --> 00:09:15,480 Speaker 1: because this is something different. This is this is a culmination. 164 00:09:16,040 --> 00:09:20,400 Speaker 1: I agree, I think I'm just gonna come out with 165 00:09:20,440 --> 00:09:24,080 Speaker 1: it right away. Okay, I don't think this is Taylor. 166 00:09:24,760 --> 00:09:27,720 Speaker 1: I don't think this is Taylor. I think this is 167 00:09:27,760 --> 00:09:30,240 Speaker 1: something entirely new. And it just came to me. You know, 168 00:09:30,400 --> 00:09:35,439 Speaker 1: I proposed to you a new sort of binary breaking persona. 169 00:09:35,600 --> 00:09:39,560 Speaker 1: And I'm actually not going to present that here tonight, 170 00:09:39,640 --> 00:09:42,439 Speaker 1: at this time. Okay, what I am going to present 171 00:09:42,640 --> 00:09:51,920 Speaker 1: is Allison. Oh. This album is the first Allison album. Oh, 172 00:09:52,200 --> 00:09:58,720 Speaker 1: this is this album is Alley with one L with 173 00:09:58,960 --> 00:10:01,920 Speaker 1: one L. My god, and and and I not not 174 00:10:02,000 --> 00:10:07,400 Speaker 1: a y and I this is a I. Um, I'm 175 00:10:07,559 --> 00:10:09,920 Speaker 1: sitting in this. First of all, let me tell you 176 00:10:09,960 --> 00:10:13,280 Speaker 1: something bouting. It's you, Hi. You are not the problem. 177 00:10:13,280 --> 00:10:16,040 Speaker 1: It's not it's not with this, with this assessment, you 178 00:10:16,080 --> 00:10:18,679 Speaker 1: have really killed a girl. I never stare directly at 179 00:10:18,679 --> 00:10:21,840 Speaker 1: the sun only in the movie. Wait, so let's go 180 00:10:21,880 --> 00:10:24,520 Speaker 1: track by track and I can't do hold on, well, 181 00:10:25,000 --> 00:10:26,520 Speaker 1: can I can I actually explain? Okay, let me just 182 00:10:26,600 --> 00:10:28,160 Speaker 1: quickly before we do track by track, let me just 183 00:10:28,240 --> 00:10:31,640 Speaker 1: quickly explain, Ali, I got my notes out, Allison. Yeah, 184 00:10:31,720 --> 00:10:34,880 Speaker 1: go ahead. Tell us the readers, which, by the way, 185 00:10:34,880 --> 00:10:38,000 Speaker 1: oh my god, dear reader, keep on yet there's a 186 00:10:38,040 --> 00:10:39,600 Speaker 1: lot of less culch in this out on this album, 187 00:10:39,640 --> 00:10:44,960 Speaker 1: and we'll get into it. The Taylor Swift theory, the 188 00:10:45,080 --> 00:10:48,120 Speaker 1: unifying theory of Taylor Swift is this is someone who 189 00:10:50,080 --> 00:10:57,520 Speaker 1: is constantly making the self. She's constantly figuring out the identity. 190 00:10:57,559 --> 00:11:00,640 Speaker 1: This is the difference between Taylor Swift and let's say, Beyonce. 191 00:11:01,440 --> 00:11:05,680 Speaker 1: Beyonce is thinking about her legacy in terms of a 192 00:11:05,760 --> 00:11:09,160 Speaker 1: community and in terms of the greater sort of experience 193 00:11:09,160 --> 00:11:12,120 Speaker 1: of her music, which is that we all love and 194 00:11:12,160 --> 00:11:15,840 Speaker 1: are obsessed with a Beyonce drop, right, and we can 195 00:11:15,840 --> 00:11:18,000 Speaker 1: all sort of get behind a Beyonce album when it 196 00:11:18,040 --> 00:11:21,880 Speaker 1: comes out. And her music is about a collectivism. It's 197 00:11:21,920 --> 00:11:24,440 Speaker 1: about like my community, let me give the spotlight away 198 00:11:24,480 --> 00:11:28,040 Speaker 1: from me and put it on a big frieda on 199 00:11:28,679 --> 00:11:31,280 Speaker 1: the house of aubionce on like I'm just and this 200 00:11:31,320 --> 00:11:33,440 Speaker 1: is just renaissance. Okay, Yeah, that's just gonna say this. This 201 00:11:33,360 --> 00:11:37,199 Speaker 1: This feels like a renaissance like assessment. Yes, yes, with Taylor, 202 00:11:37,880 --> 00:11:40,679 Speaker 1: it is about an individualism. And I don't even mean 203 00:11:40,720 --> 00:11:44,120 Speaker 1: this in a pejorative way, but Taylor Swift's music is 204 00:11:44,160 --> 00:11:48,720 Speaker 1: all is usually only about one person, and usually at 205 00:11:48,760 --> 00:11:51,600 Speaker 1: the time it's about her. Yeah, this is really interesting 206 00:11:51,600 --> 00:11:53,880 Speaker 1: because actually I was walking to get coffee earlier and 207 00:11:53,920 --> 00:11:57,160 Speaker 1: I was thinking that in the same regard, it's really 208 00:11:57,240 --> 00:12:02,160 Speaker 1: interesting to see her lyrics start to turn inward as 209 00:12:02,200 --> 00:12:05,440 Speaker 1: opposed to outwards. So the younger Taylor was always like 210 00:12:05,679 --> 00:12:08,599 Speaker 1: the problem is with other people, like the issue my 211 00:12:08,679 --> 00:12:11,320 Speaker 1: issues are with other people. I've been wronged, I want 212 00:12:11,400 --> 00:12:14,240 Speaker 1: something I can't have. It was very much connecting with 213 00:12:14,280 --> 00:12:17,680 Speaker 1: her audience in the regard of like we are externalizing. 214 00:12:18,480 --> 00:12:20,760 Speaker 1: And then in the last few albums, and I think 215 00:12:21,080 --> 00:12:23,280 Speaker 1: it's been really interesting to see her sort of bring 216 00:12:24,280 --> 00:12:28,280 Speaker 1: this like Taylor performance energy, this like fresh, poppy, fun 217 00:12:28,360 --> 00:12:31,920 Speaker 1: performance energy, and this vibe to what is now I 218 00:12:31,960 --> 00:12:35,240 Speaker 1: think the first time that we're seeing her in a 219 00:12:35,320 --> 00:12:38,720 Speaker 1: consistent block of like the last three albums turn inward, 220 00:12:39,120 --> 00:12:41,000 Speaker 1: you know what I mean, and she like, for example, 221 00:12:41,080 --> 00:12:45,560 Speaker 1: with Anti Hero that to me is self consciousness anxiety, 222 00:12:45,600 --> 00:12:50,439 Speaker 1: like anthem this is and honestly it's Taylor being aware 223 00:12:50,480 --> 00:12:53,920 Speaker 1: of Taylor and being like, sometimes I'm so humiliated by 224 00:12:53,920 --> 00:12:56,440 Speaker 1: myself and you know what I mean, Like if someone 225 00:12:56,480 --> 00:12:59,840 Speaker 1: at her stature, that's like pretty bold and for us 226 00:12:59,840 --> 00:13:03,280 Speaker 1: to ill understand and get on a certain level that 227 00:13:03,400 --> 00:13:05,840 Speaker 1: this is a pop song that we all can enjoy, 228 00:13:05,960 --> 00:13:08,440 Speaker 1: but it's very much about the individual. I don't think 229 00:13:08,440 --> 00:13:11,640 Speaker 1: we've seen that since like thank You next where we're like, 230 00:13:11,720 --> 00:13:14,760 Speaker 1: this is this artist's song and probably no one else 231 00:13:14,800 --> 00:13:16,920 Speaker 1: can ever do it in a way that's going to 232 00:13:17,000 --> 00:13:20,160 Speaker 1: hit on this scale that means such a specific thing 233 00:13:20,160 --> 00:13:23,440 Speaker 1: for a specific person, and that is a feat one 234 00:13:23,480 --> 00:13:26,120 Speaker 1: thousand percent. I've said this before. I'm like, oh, my 235 00:13:26,160 --> 00:13:29,560 Speaker 1: thing with Taylor's music is that like you can't really 236 00:13:29,600 --> 00:13:32,719 Speaker 1: throw it on at the club right like and so 237 00:13:32,800 --> 00:13:35,880 Speaker 1: it's not so it is like because it's this confessional 238 00:13:36,040 --> 00:13:39,600 Speaker 1: song singer songwriter tradition. But the thing Okay, so I 239 00:13:39,640 --> 00:13:42,240 Speaker 1: listened to Into It by Sam Sanders. We love Sam. 240 00:13:42,720 --> 00:13:44,680 Speaker 1: He did in an episode about Taylor Swift. He had 241 00:13:44,720 --> 00:13:47,760 Speaker 1: on and powers from NPR. An amazing music writer and 242 00:13:47,800 --> 00:13:50,160 Speaker 1: she has all these wonderful insights and her idea of 243 00:13:50,160 --> 00:13:52,439 Speaker 1: like the unifying theory of Taylor Swift is that it's 244 00:13:52,520 --> 00:13:56,720 Speaker 1: someone who kind of like a Bob Dylan was able 245 00:13:56,760 --> 00:14:01,680 Speaker 1: to marry singer songwriter, confessional person with um writing about 246 00:14:02,360 --> 00:14:06,640 Speaker 1: a persona and kind of even more so than Bob Dylan, 247 00:14:07,200 --> 00:14:12,040 Speaker 1: like is writing about the way she is perceived in 248 00:14:12,080 --> 00:14:14,800 Speaker 1: a way that not that many people have really done 249 00:14:15,360 --> 00:14:19,720 Speaker 1: in like modern recorded music. And so Auntie here is 250 00:14:19,760 --> 00:14:23,520 Speaker 1: a perfect thing where it's Taylor Swift writing about Taylor Swift, 251 00:14:23,520 --> 00:14:25,920 Speaker 1: which we can't really even blank Space, which is like 252 00:14:25,960 --> 00:14:31,480 Speaker 1: her other self aware Bob is like pure Taylor, pure 253 00:14:31,840 --> 00:14:34,600 Speaker 1: because there there is one intent behind it, and it's 254 00:14:34,640 --> 00:14:39,520 Speaker 1: to tenttalize totally. And so with Midnights you kind of 255 00:14:39,560 --> 00:14:43,320 Speaker 1: realize as a listener that her whole career has been 256 00:14:43,360 --> 00:14:47,600 Speaker 1: like the painter painting a self portrait. It's it's van Gogh. 257 00:14:47,600 --> 00:14:50,560 Speaker 1: It's like every now and then she'll paint a starry night, 258 00:14:50,880 --> 00:14:54,800 Speaker 1: you know, a still life, a vase or something, but 259 00:14:54,920 --> 00:14:58,480 Speaker 1: like the most impactful work, and and not in like 260 00:14:58,560 --> 00:15:03,120 Speaker 1: a vain reason, not her vain sort of motivation. Is 261 00:15:03,200 --> 00:15:07,280 Speaker 1: her painting herself at different stages in her life. And 262 00:15:07,280 --> 00:15:09,160 Speaker 1: then you go, wow, this is really interesting and then 263 00:15:09,200 --> 00:15:11,120 Speaker 1: it gets everyone talking. And so the reason why, like 264 00:15:11,480 --> 00:15:14,320 Speaker 1: I do think that the online discourse is a little divided. 265 00:15:14,360 --> 00:15:17,880 Speaker 1: People are like, it's not her best album. I don't 266 00:15:17,960 --> 00:15:21,000 Speaker 1: understand it. I think it's because it is again the 267 00:15:21,080 --> 00:15:24,720 Speaker 1: individualist thing where it's like this is about me, and 268 00:15:24,760 --> 00:15:28,280 Speaker 1: so that's harder for people to get behind because no 269 00:15:28,280 --> 00:15:32,640 Speaker 1: one else's Taylor Swift exactly. And I also think lyrically 270 00:15:33,240 --> 00:15:36,680 Speaker 1: it's dense and in this type of music that can 271 00:15:36,760 --> 00:15:39,840 Speaker 1: sometimes be a little bit hard to find lyrically, Like 272 00:15:39,840 --> 00:15:42,600 Speaker 1: I feel like it took me. I loved it instantly, 273 00:15:42,600 --> 00:15:44,360 Speaker 1: but it took me about two or three listens on 274 00:15:44,360 --> 00:15:47,720 Speaker 1: each song to really figure out what everything was about, 275 00:15:48,080 --> 00:15:51,240 Speaker 1: because there's there's both a lot going on and also 276 00:15:51,440 --> 00:15:56,440 Speaker 1: it is weirdly minimalist too. But what I loved is like, 277 00:15:56,480 --> 00:15:59,320 Speaker 1: and what I've always noted about her is she is 278 00:15:59,440 --> 00:16:03,320 Speaker 1: so good. It at just very simply getting an emotion across, 279 00:16:03,360 --> 00:16:05,800 Speaker 1: like I always walking all the way back to you 280 00:16:05,840 --> 00:16:08,080 Speaker 1: belong with me. You're on the phone with your girlfriend. 281 00:16:08,160 --> 00:16:10,120 Speaker 1: She's upset, she's going off about something that you said 282 00:16:10,120 --> 00:16:12,560 Speaker 1: because she doesn't get your humor like I do. Like 283 00:16:12,680 --> 00:16:16,200 Speaker 1: this is what every girl thinks about. The guy that 284 00:16:16,240 --> 00:16:19,600 Speaker 1: doesn't look at her is wow, like there there and 285 00:16:19,640 --> 00:16:22,480 Speaker 1: it's specifically like lashing into she doesn't get your humor 286 00:16:22,560 --> 00:16:25,200 Speaker 1: like I do, you immediately know you are that girl, 287 00:16:25,280 --> 00:16:28,560 Speaker 1: You are her, like we're experiencing it and to see 288 00:16:28,560 --> 00:16:30,840 Speaker 1: her sort of get more intelligent with the way that 289 00:16:30,880 --> 00:16:34,080 Speaker 1: she wields words and uses and just like becomes more 290 00:16:34,120 --> 00:16:38,560 Speaker 1: emotionally intelligent. Over time, she has maintained that talent, but 291 00:16:38,720 --> 00:16:42,320 Speaker 1: now it is her lyrics are this lyrically is her 292 00:16:42,400 --> 00:16:45,720 Speaker 1: her best album and literally like there's something in every 293 00:16:45,840 --> 00:16:48,680 Speaker 1: single song where I have to be like, what did 294 00:16:48,720 --> 00:16:52,320 Speaker 1: she just say? Like ultimately an anti hero like, um, 295 00:16:52,560 --> 00:16:54,480 Speaker 1: I'll stare directly at the sun but never in the 296 00:16:54,520 --> 00:16:58,360 Speaker 1: mirror like that is really you know, And what's going 297 00:16:58,400 --> 00:17:01,960 Speaker 1: to be a Billboard number one hot one hit like 298 00:17:02,280 --> 00:17:07,040 Speaker 1: that is some ship m hmm, totally, it's all truism. 299 00:17:07,119 --> 00:17:13,879 Speaker 1: Mariah carry is clapping, you're so verbos queens recognized verboas queens. Literally, 300 00:17:13,920 --> 00:17:16,080 Speaker 1: Maria is gonna write Taylor a letter about this one. 301 00:17:16,280 --> 00:17:18,960 Speaker 1: For sure, She's gonna say, hey girl, I just want 302 00:17:18,960 --> 00:17:21,119 Speaker 1: to say what you did there? I know, I know 303 00:17:21,200 --> 00:17:38,760 Speaker 1: that the tourist was out period, and definitely it's time 304 00:17:38,760 --> 00:17:40,359 Speaker 1: for it's time for the track by, It's time for 305 00:17:40,359 --> 00:17:43,480 Speaker 1: the track by track and um, so we hit play 306 00:17:43,560 --> 00:17:45,240 Speaker 1: And first of all, can I just say something because 307 00:17:45,240 --> 00:17:47,000 Speaker 1: a lot of people are going to be like rolling 308 00:17:47,040 --> 00:17:49,199 Speaker 1: their eyes. I know a lot of the Sorry but 309 00:17:49,400 --> 00:17:51,679 Speaker 1: fags that listen to this are gonna be rolling our 310 00:17:51,720 --> 00:17:54,440 Speaker 1: eyes because we didn't mention Carly Rae. Let me say 311 00:17:54,480 --> 00:17:58,200 Speaker 1: two things I went to. I went to the Carly 312 00:17:58,280 --> 00:18:00,959 Speaker 1: Ray concert at the Greek the other night. She was 313 00:18:01,240 --> 00:18:04,800 Speaker 1: so much fun. She puts on an incredible show, hits 314 00:18:04,800 --> 00:18:08,680 Speaker 1: so great live. She looked stunning. Her backup dancers looked 315 00:18:08,720 --> 00:18:10,480 Speaker 1: like Heather Gay and Whitney Rose from the real house 316 00:18:10,680 --> 00:18:14,520 Speaker 1: of Salt Lake City. It was so shocking. But her also, 317 00:18:14,560 --> 00:18:16,920 Speaker 1: her set was amazing. The moon was talking to us 318 00:18:17,520 --> 00:18:21,080 Speaker 1: katam in life so headman life, and she knew what 319 00:18:21,119 --> 00:18:22,440 Speaker 1: she was doing because she stopped one song in the 320 00:18:22,480 --> 00:18:24,760 Speaker 1: middle and said, wait, wait, I want to take you 321 00:18:24,800 --> 00:18:28,040 Speaker 1: into my fantasy. And I was like, this nymph is 322 00:18:28,080 --> 00:18:33,280 Speaker 1: going off like it was giving tinker Bell vibes and 323 00:18:33,680 --> 00:18:39,240 Speaker 1: Julia Roberts could never wow. Her album is fab but 324 00:18:39,480 --> 00:18:41,840 Speaker 1: I'm sorry, my my all, my time and energy was 325 00:18:41,880 --> 00:18:43,600 Speaker 1: taken up by this one thing. I did give car 326 00:18:43,800 --> 00:18:46,440 Speaker 1: carle right a couple of spins. You have, but you 327 00:18:46,560 --> 00:18:51,479 Speaker 1: got everyone's everything. Go listen. Shooting Star bends as an 328 00:18:51,680 --> 00:18:55,240 Speaker 1: excellent album. My favorite is the first track, Surrender My 329 00:18:55,280 --> 00:18:58,080 Speaker 1: Heart surrender my heart. That's what I want from Carly, right, 330 00:18:58,240 --> 00:19:01,920 Speaker 1: you know what I mean, like just really solid song. 331 00:19:02,040 --> 00:19:04,080 Speaker 1: I mean, I like that she's trying to do something 332 00:19:04,680 --> 00:19:07,000 Speaker 1: a little bit like a beach house. I'm always like, 333 00:19:07,240 --> 00:19:09,919 Speaker 1: I don't I can't really currently connect with this, but 334 00:19:10,000 --> 00:19:13,040 Speaker 1: I like that she's taking a rest. Beach house is 335 00:19:13,080 --> 00:19:16,240 Speaker 1: really giving Cobra starship to me, it's giving good girls 336 00:19:16,320 --> 00:19:23,120 Speaker 1: go in Maliboon, probably gonna hood you. I mean, that's 337 00:19:23,200 --> 00:19:25,520 Speaker 1: a great hook. That's a good hook. Listen to Betty 338 00:19:25,560 --> 00:19:29,720 Speaker 1: who big. Really, God, we're so spoiled right now, We're 339 00:19:29,720 --> 00:19:37,040 Speaker 1: so we're really up to the neck in pop girly time. God. 340 00:19:37,280 --> 00:19:38,840 Speaker 1: And then the other day in the car, I just 341 00:19:38,880 --> 00:19:40,920 Speaker 1: like was I was like, you know what, we're putting 342 00:19:40,920 --> 00:19:43,160 Speaker 1: on renaissance from my ride to therapy and back, and 343 00:19:43,440 --> 00:19:45,479 Speaker 1: that one's always going to be right there too. This 344 00:19:45,520 --> 00:19:49,240 Speaker 1: has been a year, a wonderful year, forget about it. 345 00:19:49,280 --> 00:19:51,080 Speaker 1: You know where I'm going on Wednesday? I'm going to 346 00:19:51,119 --> 00:19:52,720 Speaker 1: see the Moona concert. And if you're going to be 347 00:19:52,720 --> 00:19:54,679 Speaker 1: there tonight, I guess so, So tonight I will be 348 00:19:54,680 --> 00:19:58,600 Speaker 1: at the Moona Concert getting my life. Um, alright, so 349 00:19:59,000 --> 00:20:01,600 Speaker 1: are we going from traqua. Let's go from track one 350 00:20:01,640 --> 00:20:05,439 Speaker 1: and we're doing all twenty period period. Okay, track one, 351 00:20:05,520 --> 00:20:09,080 Speaker 1: Lavender Hayes this to me when this started. When when 352 00:20:09,119 --> 00:20:12,479 Speaker 1: I heard me I'm Midnight, I was excited. I was like, 353 00:20:12,560 --> 00:20:16,760 Speaker 1: I'm sorry, but confirmed this is a Taylor album. The 354 00:20:16,800 --> 00:20:20,920 Speaker 1: way that she introduced herself, I was just I was 355 00:20:21,000 --> 00:20:24,960 Speaker 1: already smiling big and then you knew that that was 356 00:20:24,960 --> 00:20:28,520 Speaker 1: just gonna be giving us vibes. Her vocalizations, her random 357 00:20:28,560 --> 00:20:32,440 Speaker 1: vocalizations are popping on this album. Okay, speak on this. 358 00:20:33,280 --> 00:20:40,399 Speaker 1: I'm just saying, oh nothing, which I also love, and 359 00:20:40,440 --> 00:20:42,359 Speaker 1: that's getting a race. Like I'm just saying like things 360 00:20:42,359 --> 00:20:45,359 Speaker 1: that she found vocally here, like non lyrically. I just 361 00:20:45,440 --> 00:20:48,520 Speaker 1: think they're up there with her best. Yeah, okay, I 362 00:20:48,600 --> 00:20:51,280 Speaker 1: trust this. Okay. My. The thing that I always think 363 00:20:51,320 --> 00:20:53,640 Speaker 1: about when I listened to this is the j sweet 364 00:20:55,080 --> 00:20:58,880 Speaker 1: who wonderful writer, producer, has done a lot of stuff 365 00:20:58,880 --> 00:21:01,760 Speaker 1: with Drake did heat it to on Renaissance, and I 366 00:21:01,800 --> 00:21:04,679 Speaker 1: saw when they dropped the credits like days before the release, 367 00:21:04,720 --> 00:21:06,920 Speaker 1: I was like, this is going to be interesting because 368 00:21:06,960 --> 00:21:08,639 Speaker 1: I thought maybe it was gonna be a Drake collab. 369 00:21:09,119 --> 00:21:10,680 Speaker 1: I thought maybe I was gonna be a surprise Drake 370 00:21:10,680 --> 00:21:12,320 Speaker 1: clab because there was a bunch of rumors that there 371 00:21:12,359 --> 00:21:16,560 Speaker 1: was a Taylor Drake collab which didn't happen, but also 372 00:21:16,640 --> 00:21:18,840 Speaker 1: who maybe it existed, we haven't heard it yet. Sure 373 00:21:18,640 --> 00:21:23,680 Speaker 1: sure this one. I didn't really know what to make 374 00:21:23,720 --> 00:21:26,560 Speaker 1: of it. On first listen, it was like interest, like 375 00:21:26,640 --> 00:21:32,760 Speaker 1: she she's kind of um. The track ones are always 376 00:21:32,800 --> 00:21:36,000 Speaker 1: always interesting with her, interesting with her And I don't 377 00:21:36,000 --> 00:21:38,359 Speaker 1: mean that in a in a bad way either, I 378 00:21:38,400 --> 00:21:41,760 Speaker 1: mean like it's a it's a very deliberate thing every 379 00:21:41,760 --> 00:21:44,760 Speaker 1: single time. Yeah, Like to me, the one on Folklore 380 00:21:44,960 --> 00:21:47,240 Speaker 1: is a choice for the first yeah, you know, and 381 00:21:47,280 --> 00:21:49,760 Speaker 1: this was giving me the one like I'm doing good, 382 00:21:49,800 --> 00:21:52,240 Speaker 1: I'm on, I'm on some new ship like that to 383 00:21:52,359 --> 00:21:55,040 Speaker 1: me was giving like it was the same vibe as 384 00:21:55,359 --> 00:21:59,720 Speaker 1: I've been under scrutiny. Yeah, yeah, beautifully. Yeah Yeah. I 385 00:21:59,760 --> 00:22:01,960 Speaker 1: was like, Okay, so we're talking about the things that 386 00:22:02,040 --> 00:22:04,399 Speaker 1: she's going through publicly. Here we go, and I was like, 387 00:22:04,440 --> 00:22:07,000 Speaker 1: this is Taylor, And I thought, oh, I hope this 388 00:22:07,080 --> 00:22:10,320 Speaker 1: isn't too indulgent in this regard. But but then it 389 00:22:10,440 --> 00:22:13,000 Speaker 1: was really just again she brought it back to the 390 00:22:13,040 --> 00:22:15,280 Speaker 1: safety that she feels in this new feeling in the 391 00:22:15,280 --> 00:22:18,320 Speaker 1: new relationship. The Lavender Hayes, which I don't know if 392 00:22:18,320 --> 00:22:20,880 Speaker 1: you saw her interview about this, but she was watching 393 00:22:20,880 --> 00:22:23,240 Speaker 1: mad Men and someone mentioned being in the Lavender Hays 394 00:22:23,280 --> 00:22:25,040 Speaker 1: which is feelings of new love. That's sort of like 395 00:22:25,359 --> 00:22:28,159 Speaker 1: hazy feeling of new love, that nice comfort in a 396 00:22:28,200 --> 00:22:31,840 Speaker 1: new um emotion that's positive. And I love that she 397 00:22:32,800 --> 00:22:34,719 Speaker 1: used this because the really the whole album to me 398 00:22:34,800 --> 00:22:36,880 Speaker 1: is like starting end ending book ending as a love 399 00:22:36,960 --> 00:22:40,600 Speaker 1: letter to Joe Um and so in that way, like 400 00:22:40,680 --> 00:22:42,359 Speaker 1: by the time I got to the end, I was like, 401 00:22:42,640 --> 00:22:46,200 Speaker 1: Lavendar Hayes is gonna hit really hard on second listen totally. 402 00:22:46,280 --> 00:22:49,440 Speaker 1: I think it's a sensitive song for Glor's for sure. 403 00:22:49,560 --> 00:22:54,040 Speaker 1: I think glors are incredibly betrayed because they see the 404 00:22:54,040 --> 00:22:56,960 Speaker 1: word lavender, they go, she's gonna come out, She's gonna 405 00:22:57,000 --> 00:23:00,360 Speaker 1: come out. And now she doubled down on the head 406 00:23:00,480 --> 00:23:03,639 Speaker 1: row life. She's simply not queer. That's what she was 407 00:23:03,640 --> 00:23:09,080 Speaker 1: saying with Lavender Hayes. And that's okay, swift ease, it's 408 00:23:09,119 --> 00:23:12,400 Speaker 1: okay to be straight. It's actually real culture number forty 409 00:23:12,520 --> 00:23:17,240 Speaker 1: nine swift sweets okay to be pretty straight. I've been 410 00:23:17,240 --> 00:23:20,280 Speaker 1: saying that for months now. I'm gonna start saying it 411 00:23:20,280 --> 00:23:22,360 Speaker 1: today and then every day going forward for the rest 412 00:23:22,400 --> 00:23:25,480 Speaker 1: of my life. Hey, everyone, readers, if you go up 413 00:23:25,520 --> 00:23:27,080 Speaker 1: to a straight person today, I just put your hand 414 00:23:27,080 --> 00:23:29,520 Speaker 1: on the shoulder and just say it's okay to be straight. 415 00:23:29,760 --> 00:23:32,280 Speaker 1: It's okay, and you can tell if they're straight. Let 416 00:23:32,280 --> 00:23:35,879 Speaker 1: me go because the outfits are terrible. Oh my god, 417 00:23:36,480 --> 00:23:40,639 Speaker 1: I dragged. Well, it's interesting that you say meet me 418 00:23:40,680 --> 00:23:44,160 Speaker 1: at midnight. You understood that it was Taylor immediately. This 419 00:23:43,880 --> 00:23:45,760 Speaker 1: is this is the period that I meant to put 420 00:23:45,800 --> 00:23:49,199 Speaker 1: on the end of my thought earlier, which is Ali Allison. 421 00:23:50,040 --> 00:23:54,119 Speaker 1: This is Taylor singing about Taylor and vice versa, and 422 00:23:54,160 --> 00:23:57,919 Speaker 1: therefore it is the middle ground. It is collapsing the 423 00:23:57,920 --> 00:24:03,479 Speaker 1: binary into the middle name, which is Allison. Yeah, are 424 00:24:03,520 --> 00:24:06,040 Speaker 1: you ready to say that Miss big girl who we 425 00:24:06,080 --> 00:24:08,960 Speaker 1: meet in the anti Hero video is big Al. That's 426 00:24:09,000 --> 00:24:13,399 Speaker 1: big Al. You gave her the name Tad for me 427 00:24:13,760 --> 00:24:18,359 Speaker 1: for me, it's all caps like the wind. Hey, I 428 00:24:18,359 --> 00:24:23,720 Speaker 1: don't think the girl is Ali. Ali is Ali is 429 00:24:23,840 --> 00:24:29,080 Speaker 1: the person with the Zippo lighter. Damn. Ali is like 430 00:24:30,040 --> 00:24:35,119 Speaker 1: I'm peering into the plasma. I'm peering into this really, 431 00:24:35,800 --> 00:24:39,240 Speaker 1: because if you can't touch fire right, it's absolutely can't 432 00:24:39,359 --> 00:24:43,600 Speaker 1: get burnt, getned lyric from like Red Yeah, that's definitely 433 00:24:43,640 --> 00:24:47,080 Speaker 1: Red era, but it's like that's Ali. Ali is someone 434 00:24:47,119 --> 00:24:53,040 Speaker 1: who is like, I Am everything everywhere, all at once. 435 00:24:53,600 --> 00:24:56,919 Speaker 1: Shout out to MICHELLEO and the Daniels. Let's just make 436 00:24:56,960 --> 00:24:59,320 Speaker 1: sure that we constantly keep their name in the conversation. 437 00:24:59,600 --> 00:25:06,960 Speaker 1: One directed episodes or one episode of North Queens. Let's 438 00:25:07,000 --> 00:25:10,640 Speaker 1: bring it back to that. Thank you. Let's move on, 439 00:25:10,840 --> 00:25:14,600 Speaker 1: speaking of excellence, Maroon Baby, the way we moved from 440 00:25:14,680 --> 00:25:18,560 Speaker 1: Lavender this, Can I say when an album gives colors, 441 00:25:19,600 --> 00:25:22,680 Speaker 1: I can really see that and I can really you're 442 00:25:22,720 --> 00:25:26,280 Speaker 1: not color blind anymore? No, this album actually cured my 443 00:25:26,320 --> 00:25:28,960 Speaker 1: color blindness. And can I say maroon is actually a 444 00:25:29,000 --> 00:25:32,879 Speaker 1: tough color for me because everyone, I'm sorry, I mean 445 00:25:32,880 --> 00:25:35,400 Speaker 1: the raised, It's just I never know if what I'm 446 00:25:35,440 --> 00:25:39,400 Speaker 1: seeing is actually maroon. In fact, last night I really 447 00:25:39,400 --> 00:25:41,240 Speaker 1: wanted to wear a Maroon shirt because I knew I 448 00:25:41,280 --> 00:25:42,920 Speaker 1: was going to be around some Swifties at the party 449 00:25:42,960 --> 00:25:46,040 Speaker 1: I was at, and I really have a hard time 450 00:25:46,080 --> 00:25:49,560 Speaker 1: with that color. I often think maroon is. I think 451 00:25:49,600 --> 00:25:53,040 Speaker 1: brown is sometimes brown, purple, red. It's a really tough 452 00:25:53,080 --> 00:25:56,159 Speaker 1: color for me. But when I heard this song, I 453 00:25:56,240 --> 00:25:59,119 Speaker 1: opened my eyes for really, I think the first time, 454 00:25:59,440 --> 00:26:02,399 Speaker 1: and some roon and bowen. I went out yesterday and 455 00:26:02,440 --> 00:26:07,960 Speaker 1: I bought a Maroon shirt. Congratulations, thank you, sitting that 456 00:26:07,960 --> 00:26:10,360 Speaker 1: that is so powerful to me, that my friend who 457 00:26:10,400 --> 00:26:14,080 Speaker 1: has been afflicted with color blindness, this whole life goes. 458 00:26:15,240 --> 00:26:18,400 Speaker 1: I bought a Maroon shirt. Yeah, one of the vaguest 459 00:26:18,440 --> 00:26:21,919 Speaker 1: colors there is. And now my color blindness is just 460 00:26:21,960 --> 00:26:27,520 Speaker 1: a memory, Wick Wick, the memory. M that's a real 461 00:26:27,760 --> 00:26:34,879 Speaker 1: fucking legacy to leave. Can you get out of here? No? No, no, 462 00:26:35,840 --> 00:26:39,960 Speaker 1: not absolutely not to talk about Maroon. I mean, my 463 00:26:40,080 --> 00:26:44,040 Speaker 1: thing with Maroon is it's just like it's giving me, Lord, 464 00:26:44,119 --> 00:26:46,400 Speaker 1: it's giving me pure heroine earra Lord, which is really 465 00:26:46,440 --> 00:26:48,080 Speaker 1: my favorite Lord, to be honest with you, when I 466 00:26:48,119 --> 00:26:51,120 Speaker 1: first experienced her, like no, no, no, no, no, no no no, no, 467 00:26:51,000 --> 00:26:54,160 Speaker 1: non me, she's digging in. I'm just like everything about 468 00:26:54,160 --> 00:26:57,440 Speaker 1: this song is just rich, just like the color sonically, 469 00:26:57,480 --> 00:27:01,119 Speaker 1: this matches what's happening lyrically in a very full, complete 470 00:27:01,119 --> 00:27:06,080 Speaker 1: way to me, the definition of a vibe. Okay, And 471 00:27:06,119 --> 00:27:09,760 Speaker 1: when you said you texted me this is if Dress 472 00:27:10,040 --> 00:27:14,280 Speaker 1: exploded into a regular album, And honestly, Dress, to me 473 00:27:14,480 --> 00:27:16,600 Speaker 1: is a highlight of one of my favorite Taylor albums 474 00:27:16,880 --> 00:27:20,679 Speaker 1: reputation or should I say Taylor and to watch Dress explode, 475 00:27:20,680 --> 00:27:23,240 Speaker 1: to watch that Seed become this garden, as you said 476 00:27:23,280 --> 00:27:27,960 Speaker 1: on Instagram story, like a fucking poet. You said that, Taylor, 477 00:27:28,600 --> 00:27:33,760 Speaker 1: I really, really really I heard you say that, and 478 00:27:33,800 --> 00:27:35,560 Speaker 1: I was like, God, damn it, what a time to 479 00:27:35,600 --> 00:27:40,080 Speaker 1: be alive. I love this vibe. Maroon is in my 480 00:27:40,119 --> 00:27:44,280 Speaker 1: top five. It is of all Taylor, of oh No, 481 00:27:44,840 --> 00:27:49,000 Speaker 1: of this album. I'm not ready. I can't like. But 482 00:27:49,119 --> 00:27:51,240 Speaker 1: you're saying Dress. I know for a fact that Dress 483 00:27:51,280 --> 00:27:53,760 Speaker 1: is one of your favorites. It is in the whole 484 00:27:53,840 --> 00:27:58,080 Speaker 1: of and if Maroon is sort of like this sort 485 00:27:58,119 --> 00:28:03,439 Speaker 1: of evolved or maybe Atter really the sibling of Dress, 486 00:28:03,680 --> 00:28:07,639 Speaker 1: I feel like it really has a shot at landing it. 487 00:28:07,840 --> 00:28:11,000 Speaker 1: It does because Dress is definitely in my top twenty 488 00:28:11,280 --> 00:28:13,520 Speaker 1: of all time. I'll say that it's definitely in my 489 00:28:13,560 --> 00:28:16,240 Speaker 1: top twenty, like it makes it makes the greatest hits, 490 00:28:16,680 --> 00:28:19,679 Speaker 1: non single version like deluxe album for me, like on 491 00:28:19,760 --> 00:28:22,119 Speaker 1: Taylor's if I had to compile everything, I think it 492 00:28:22,240 --> 00:28:26,119 Speaker 1: says it clearly is important, like in terms of her discography, 493 00:28:26,119 --> 00:28:30,320 Speaker 1: because it is. It is really like a basis for 494 00:28:30,400 --> 00:28:33,760 Speaker 1: what happened with this album. I love Maroon, I love 495 00:28:33,840 --> 00:28:38,400 Speaker 1: that you love Maroon. I love Maroon, and I this 496 00:28:38,480 --> 00:28:42,840 Speaker 1: might segue perfectly into the next track. The album made 497 00:28:43,040 --> 00:28:45,560 Speaker 1: sense for me once you got to Anti Hero. Anti 498 00:28:45,600 --> 00:28:50,760 Speaker 1: Hero made Lavender Hays in Maroon work for me. Does 499 00:28:50,800 --> 00:28:54,080 Speaker 1: that make sense? I'm I love that we can disagree 500 00:28:54,320 --> 00:28:59,080 Speaker 1: in this way. Maroon was is the bridge or is 501 00:28:59,120 --> 00:29:02,120 Speaker 1: the ramp up to I think the thesis of the album, 502 00:29:02,120 --> 00:29:05,560 Speaker 1: which is Anti Hero. But I'm happy Anti Hero comes 503 00:29:05,560 --> 00:29:07,280 Speaker 1: in the three spot, you know what I mean. I 504 00:29:07,280 --> 00:29:09,000 Speaker 1: feel like it would have been tough to open up 505 00:29:09,040 --> 00:29:12,120 Speaker 1: with Anti Hero because it's just so it's just such 506 00:29:12,160 --> 00:29:14,400 Speaker 1: a moment, like, okay, so get this, let's just play 507 00:29:14,440 --> 00:29:18,080 Speaker 1: baseball for a second. In a in a lineup, you 508 00:29:18,120 --> 00:29:20,320 Speaker 1: don't put your strongest girl first. You put the girl 509 00:29:20,360 --> 00:29:22,800 Speaker 1: who's gonna get you on base first, who can steal 510 00:29:22,840 --> 00:29:24,960 Speaker 1: some bases and make sure that we get her home. 511 00:29:25,520 --> 00:29:29,920 Speaker 1: Miss number three, three and four are really your power hitters. Okay, 512 00:29:30,080 --> 00:29:32,080 Speaker 1: So for Anti Hero to come out doing what it 513 00:29:32,120 --> 00:29:36,000 Speaker 1: does in the three spot, that's giving baseball down. It's 514 00:29:36,000 --> 00:29:40,000 Speaker 1: giving most Valuable Player vibes, it's giving the Silver Slugger, 515 00:29:40,600 --> 00:29:43,520 Speaker 1: It's giving Don't worry, girls, we're scoring runs on tonight 516 00:29:43,800 --> 00:29:46,880 Speaker 1: because I'm up at bat because Anti Hero and Snow 517 00:29:46,880 --> 00:29:49,920 Speaker 1: on the Beach are three and four and they're gonna 518 00:29:50,000 --> 00:29:54,000 Speaker 1: knock it out of the park. Anti Hero is her 519 00:29:54,040 --> 00:29:59,160 Speaker 1: best lyrics maybe ever. I simply, like I said before, 520 00:29:59,240 --> 00:30:03,800 Speaker 1: self Consciousness anxiety album, and it's such a specific thank God, 521 00:30:03,880 --> 00:30:06,840 Speaker 1: Like I mean, just like this is one that I 522 00:30:06,880 --> 00:30:09,920 Speaker 1: cannot stop listening to and to see the video. I 523 00:30:09,960 --> 00:30:12,360 Speaker 1: texted you. I was like, she is now. I mean, 524 00:30:12,400 --> 00:30:17,000 Speaker 1: now we're actually visualizing Taylor and Taylor and I love it. 525 00:30:17,040 --> 00:30:19,920 Speaker 1: I mean, just like the analysis here of self. I 526 00:30:20,960 --> 00:30:23,400 Speaker 1: have to take my hat off. Your hat is on. 527 00:30:23,480 --> 00:30:25,160 Speaker 1: You don't have to take still on. But my hair 528 00:30:25,240 --> 00:30:26,440 Speaker 1: is a mess right now. But you don't want to 529 00:30:26,440 --> 00:30:29,920 Speaker 1: see it. That's okay, don't worry. I love you at 530 00:30:29,920 --> 00:30:33,040 Speaker 1: any hair. That's a real fucking legacy to leave. It's 531 00:30:33,080 --> 00:30:36,960 Speaker 1: a real fucking legacy. Now, God, she was able to 532 00:30:38,760 --> 00:30:44,080 Speaker 1: capture this, which is very I'm gonna say, Kate Bush 533 00:30:49,360 --> 00:30:51,600 Speaker 1: like that is like such a I'm never gonna say, 534 00:30:51,600 --> 00:30:55,560 Speaker 1: like I want guard, but it's very like like like 535 00:30:55,600 --> 00:30:59,720 Speaker 1: it's just very like something she really went for, something 536 00:31:00,120 --> 00:31:02,960 Speaker 1: she hasn't done before. I think the Anti Hero is 537 00:31:03,760 --> 00:31:07,360 Speaker 1: kind of a standout, and like her whole discography because 538 00:31:07,400 --> 00:31:10,720 Speaker 1: it just yeah, it's expansive and tight at the same time. 539 00:31:11,200 --> 00:31:14,320 Speaker 1: And also for nothing, yes, and also to to endeavor 540 00:31:14,360 --> 00:31:16,280 Speaker 1: to write a song that's going to do all of 541 00:31:16,320 --> 00:31:20,120 Speaker 1: the work it's doing, it better be good, you know 542 00:31:20,160 --> 00:31:22,560 Speaker 1: what I mean? Like, and also like I just I 543 00:31:22,560 --> 00:31:25,680 Speaker 1: don't know, I'm just obsessed, especially nowadays that a song 544 00:31:25,800 --> 00:31:28,600 Speaker 1: this good is a Billboard Hot one hit if we're 545 00:31:28,640 --> 00:31:30,480 Speaker 1: to look at the cannon of songs in the past 546 00:31:30,480 --> 00:31:32,680 Speaker 1: couple of years, just because of the way music pops 547 00:31:32,720 --> 00:31:36,160 Speaker 1: off with charts wise, like lately, you don't always get, like, 548 00:31:36,360 --> 00:31:40,800 Speaker 1: you know, actual important music being number one because it's 549 00:31:40,840 --> 00:31:43,040 Speaker 1: like I don't know the TikTok of it all, etcetera. 550 00:31:43,520 --> 00:31:48,600 Speaker 1: But this just like feels I feel grateful for it. Well, 551 00:31:48,760 --> 00:31:51,960 Speaker 1: I think Taylor is also she's not writing for TikTok, 552 00:31:52,080 --> 00:31:54,640 Speaker 1: but she knows that it's this force in music now, 553 00:31:54,680 --> 00:31:57,320 Speaker 1: and she goes and she understands that she enjoys being 554 00:31:57,400 --> 00:32:01,480 Speaker 1: on it. Obviously, and she's who knows what her f 555 00:32:01,680 --> 00:32:05,920 Speaker 1: y p is, but she's she understands how things get surfaced, 556 00:32:06,360 --> 00:32:09,600 Speaker 1: and she understands what makes certain songs take off on it. 557 00:32:09,720 --> 00:32:13,080 Speaker 1: So I have a suspicion that she goes, what is 558 00:32:13,080 --> 00:32:16,480 Speaker 1: a lyric that lends itself to like a TikTok thing, 559 00:32:18,120 --> 00:32:20,320 Speaker 1: it's me High, I'm the problem. It's me, And then 560 00:32:20,360 --> 00:32:24,320 Speaker 1: like people feeling exactly, you know immediately that that would 561 00:32:24,320 --> 00:32:26,400 Speaker 1: I was like, okay, well that's going to be in 562 00:32:26,440 --> 00:32:28,800 Speaker 1: a few hours, that's going to be the only thing 563 00:32:28,920 --> 00:32:32,440 Speaker 1: you see on TikTok on The problem is Me on 564 00:32:32,600 --> 00:32:35,560 Speaker 1: Holy found Dead on Holy was the only song on 565 00:32:35,600 --> 00:32:40,239 Speaker 1: TikTok that and the Beyonce challenge that's fit and like 566 00:32:40,400 --> 00:32:43,400 Speaker 1: now it's like you put on TikTok, it's only it's 567 00:32:43,440 --> 00:32:45,480 Speaker 1: me High, I'm the problem. It's me. I was gonna 568 00:32:45,520 --> 00:32:48,120 Speaker 1: compared to it like bad Habit by Steve Lacy, which 569 00:32:48,480 --> 00:32:52,240 Speaker 1: again like number one great song, but it's like a 570 00:32:52,360 --> 00:32:55,400 Speaker 1: perfect like way for anyone to be like, what's my 571 00:32:55,520 --> 00:32:58,200 Speaker 1: bad habit this? And let me let me put that 572 00:32:58,240 --> 00:33:00,680 Speaker 1: truck on it for Auntie here, it's like, what's my 573 00:33:01,800 --> 00:33:06,280 Speaker 1: problematic thing about myself that I'm gonna like display and 574 00:33:06,480 --> 00:33:09,040 Speaker 1: go to the world and it's cute, it's innocent where 575 00:33:09,040 --> 00:33:10,320 Speaker 1: you can get dark with it. You can like you 576 00:33:10,320 --> 00:33:13,320 Speaker 1: can kind of go any direction. And I don't know, 577 00:33:13,360 --> 00:33:17,440 Speaker 1: I feel like Taylor She's never gonna like sacrifice herself 578 00:33:17,520 --> 00:33:20,760 Speaker 1: to a social media platform in that way, Like she 579 00:33:20,840 --> 00:33:23,160 Speaker 1: will always be about the songwriting, like the story will 580 00:33:23,200 --> 00:33:25,719 Speaker 1: always do the work in her music. But like I 581 00:33:25,760 --> 00:33:28,400 Speaker 1: think she knows how to like dial it up just 582 00:33:28,600 --> 00:33:31,320 Speaker 1: enough for her to be like this is gonna fucking explode. 583 00:33:31,920 --> 00:33:34,400 Speaker 1: I mean it also happens like again and again and 584 00:33:34,440 --> 00:33:36,280 Speaker 1: again on the album where it just feels like and 585 00:33:36,320 --> 00:33:38,880 Speaker 1: that's kind of always been She's always had these like 586 00:33:38,960 --> 00:33:41,440 Speaker 1: little turns of phrase and like funny, little weird specific 587 00:33:41,520 --> 00:33:43,479 Speaker 1: things she said that would pop off. But like you know, 588 00:33:43,560 --> 00:33:46,160 Speaker 1: you can literally see in your mind's eye, how many 589 00:33:46,200 --> 00:33:49,320 Speaker 1: girls are gonna do Lally. I've been dressing for revenge 590 00:33:49,680 --> 00:33:53,200 Speaker 1: and look like a fucking stunning home, you know what 591 00:33:53,240 --> 00:33:56,360 Speaker 1: I mean, Like I just my hats are off, like 592 00:33:56,480 --> 00:33:59,560 Speaker 1: honestly anti hero. I also love the video and I 593 00:33:59,560 --> 00:34:01,680 Speaker 1: love when she sat on the roof with herself that 594 00:34:01,720 --> 00:34:05,880 Speaker 1: was giving me fly Ryland vibes um lost coaches all 595 00:34:05,880 --> 00:34:08,440 Speaker 1: over this album. Say that. And I said to you, 596 00:34:08,520 --> 00:34:09,839 Speaker 1: I was like, I think you need to text her 597 00:34:09,880 --> 00:34:12,880 Speaker 1: girl and say that. We saw Taylor and Taylor in 598 00:34:12,880 --> 00:34:14,399 Speaker 1: the video. We saw it, and we know that she's 599 00:34:14,400 --> 00:34:16,520 Speaker 1: aware of the binary. Now, so is this a is 600 00:34:16,520 --> 00:34:19,000 Speaker 1: this a lost Culch album? She did not text me back? 601 00:34:19,320 --> 00:34:22,799 Speaker 1: You texted her? I texted her. I did, and I 602 00:34:22,840 --> 00:34:26,440 Speaker 1: think maybe she she's busy. It's busy. She's busy. She's 603 00:34:26,440 --> 00:34:29,880 Speaker 1: gonna get back. She's gonna get back. But um, I said, 604 00:34:30,760 --> 00:34:33,760 Speaker 1: I'm just gonna say, I'm choosing to believe that Burbig 605 00:34:33,800 --> 00:34:38,000 Speaker 1: says Tay Taylor Taylor in the video. And also, Matt 606 00:34:38,000 --> 00:34:40,839 Speaker 1: and I have decided that Giant You is named Tay. 607 00:34:42,640 --> 00:34:44,919 Speaker 1: And I don't know if she'll see it, but she's 608 00:34:44,920 --> 00:34:48,120 Speaker 1: gonna see it. Honestly. She know she's getting so many texts. 609 00:34:48,160 --> 00:34:50,320 Speaker 1: You know that. Wow. Can you imagine what Taylor swift 610 00:34:50,400 --> 00:34:53,280 Speaker 1: phone is like when she when maybe she puts it away. 611 00:34:53,600 --> 00:34:56,360 Speaker 1: I don't think so. I don't think so. Can I 612 00:34:56,400 --> 00:34:59,360 Speaker 1: tell you she's looking at her phone and that's okay, 613 00:34:59,480 --> 00:35:04,359 Speaker 1: and she and she should She's worked hard. Now let's 614 00:35:04,360 --> 00:35:08,280 Speaker 1: move on on the beach. On the beach, Girl Girl, 615 00:35:09,160 --> 00:35:13,400 Speaker 1: this one. First of all, weird but fucking beautiful. My 616 00:35:13,440 --> 00:35:16,160 Speaker 1: girl's cursing on this album. Let's talk about the curse thing. 617 00:35:16,600 --> 00:35:19,279 Speaker 1: We hear fucking with a hard c K, you know 618 00:35:19,320 --> 00:35:22,440 Speaker 1: what I mean, like really digging into my favorite way 619 00:35:22,480 --> 00:35:25,839 Speaker 1: I hear people say the word fuck, like fucking beautiful. 620 00:35:25,920 --> 00:35:29,040 Speaker 1: You really like gave you that U c K energy 621 00:35:30,960 --> 00:35:34,160 Speaker 1: As much as being made about the history of the cursing, 622 00:35:35,320 --> 00:35:38,400 Speaker 1: and I will say and admit that it has always 623 00:35:38,719 --> 00:35:41,840 Speaker 1: kind of thrown me off, just for a micro second 624 00:35:42,000 --> 00:35:45,680 Speaker 1: until maybe Midnight's where I'm like, she's she's got it. 625 00:35:46,040 --> 00:35:48,080 Speaker 1: It is not getting in the way of my listening 626 00:35:48,080 --> 00:35:52,000 Speaker 1: experience because even on the one I'm like, oh, I'm 627 00:35:52,040 --> 00:35:55,480 Speaker 1: on some new ship, like okay, let me just get back, 628 00:35:55,560 --> 00:35:58,360 Speaker 1: let me just get back into this. But I'm teetering 629 00:35:58,400 --> 00:36:02,520 Speaker 1: just a little on the balance beam. And now I go, 630 00:36:02,520 --> 00:36:05,000 Speaker 1: good for her. Yeah, now we say, thirty two year 631 00:36:05,000 --> 00:36:09,080 Speaker 1: old woman who I believe curses, but I feel like 632 00:36:09,640 --> 00:36:11,319 Speaker 1: I'm with you. But every step of the way, by 633 00:36:11,320 --> 00:36:13,000 Speaker 1: the way, I guess what you're saying, it's like when 634 00:36:13,040 --> 00:36:15,800 Speaker 1: you're it's been her, it's been part of her journey. Yeah. Literally, 635 00:36:15,840 --> 00:36:18,399 Speaker 1: it's gonna be like when Ellie says to you one day, yeah, 636 00:36:18,440 --> 00:36:20,319 Speaker 1: I'm dating this guy. You're gonna be like, you don't 637 00:36:20,360 --> 00:36:24,560 Speaker 1: say that. And it's not fair for us to like 638 00:36:24,640 --> 00:36:27,799 Speaker 1: think of Taylor Swift that way, honey, we don't. We 639 00:36:27,800 --> 00:36:31,719 Speaker 1: should never gate keep Taylor from of all things language. 640 00:36:31,840 --> 00:36:34,120 Speaker 1: Are you fucking crazy? Who do we think we are? 641 00:36:34,800 --> 00:36:37,439 Speaker 1: She literally on a meta level, she says the word 642 00:36:37,640 --> 00:36:41,120 Speaker 1: slur on this album. When she said later on in 643 00:36:41,160 --> 00:36:43,200 Speaker 1: the album, you were doing lines, I was like, tell her, 644 00:36:43,200 --> 00:36:46,440 Speaker 1: where is the pre name? What you were doing lines? 645 00:36:46,760 --> 00:36:48,640 Speaker 1: Maybe I'll say this for my don't think so, honey. 646 00:36:48,680 --> 00:36:55,320 Speaker 1: But everybody on Twitter, especially gay Twitter, saying that she's 647 00:36:56,080 --> 00:36:59,200 Speaker 1: she did poppers in the studio. I'm like, no, how 648 00:36:59,280 --> 00:37:02,000 Speaker 1: brand new is that thought? Way to go? Everybody, Well, 649 00:37:02,040 --> 00:37:05,600 Speaker 1: I go, it's not a poppers album. No, I will 650 00:37:05,640 --> 00:37:07,799 Speaker 1: say it is a funk album though it to me, 651 00:37:07,880 --> 00:37:09,919 Speaker 1: it's a funk album. It's a fun album. It's not 652 00:37:10,200 --> 00:37:13,480 Speaker 1: it's not poppers at the club. Let's say no, And 653 00:37:13,560 --> 00:37:16,640 Speaker 1: like everyone's going this is kind of meane this is poppers. 654 00:37:16,680 --> 00:37:19,719 Speaker 1: I'm like, can we just leave the only drug that's 655 00:37:19,719 --> 00:37:23,400 Speaker 1: referenced is cocaine. Maybe she's doing lines of K. I 656 00:37:23,440 --> 00:37:26,200 Speaker 1: don't know, but like it's a lot of K. It's 657 00:37:26,200 --> 00:37:28,960 Speaker 1: a lot of K. And the nasal spray is now 658 00:37:29,000 --> 00:37:32,680 Speaker 1: what's in fashion. Actually, I recently encountered the nasal spray 659 00:37:32,719 --> 00:37:34,720 Speaker 1: and I do think it's a game change. It's it's efficient, 660 00:37:34,719 --> 00:37:37,320 Speaker 1: it's very efficient. Yeah, I'm sure she'd be proud of 661 00:37:37,400 --> 00:37:39,879 Speaker 1: us for using snow on the beach to transition into 662 00:37:39,880 --> 00:37:42,840 Speaker 1: this nose drug land. But what do you make what 663 00:37:42,880 --> 00:37:45,080 Speaker 1: do you make it? The Lawna the Lawna feature, because 664 00:37:45,120 --> 00:37:47,200 Speaker 1: it is. I loved it. To me, The Lawna feature 665 00:37:47,239 --> 00:37:49,279 Speaker 1: was giving atmosphere in the same way that like the 666 00:37:49,280 --> 00:37:51,520 Speaker 1: Dicky checks were we're giving it on soon, you'll get better, 667 00:37:51,560 --> 00:37:53,160 Speaker 1: you know what I mean, Like and Maaron Morris giving 668 00:37:53,160 --> 00:37:56,000 Speaker 1: it on you all over me. You know, it's like 669 00:37:56,239 --> 00:38:00,799 Speaker 1: so good. But everyone's like she funked over Launa. No, no, no. 670 00:38:00,920 --> 00:38:04,600 Speaker 1: I feel like Laana probably was even preferring to be 671 00:38:05,320 --> 00:38:09,520 Speaker 1: an ambient force on the track. It's also like, can 672 00:38:09,560 --> 00:38:11,600 Speaker 1: you be fucked over when you're on a track that's 673 00:38:11,600 --> 00:38:13,120 Speaker 1: now going to be number four on the Hot one 674 00:38:13,600 --> 00:38:15,279 Speaker 1: just from being on there? You went and hung out 675 00:38:15,320 --> 00:38:17,680 Speaker 1: in the studio with Taylor Swift. You gave ambiance and 676 00:38:17,800 --> 00:38:20,440 Speaker 1: energy and atmosphere because she was inspired by what you do. 677 00:38:20,560 --> 00:38:22,640 Speaker 1: Taylor Swift said that she believes Lana del Rey is 678 00:38:22,680 --> 00:38:25,319 Speaker 1: one of the greatest artists of our time. This came 679 00:38:25,320 --> 00:38:27,799 Speaker 1: from the horse's mouth, and that she was so honest 680 00:38:27,800 --> 00:38:29,120 Speaker 1: to be able to work with her on this. Like 681 00:38:29,239 --> 00:38:32,319 Speaker 1: obviously Taylor has been inspired by Laana vibes, like let's 682 00:38:32,480 --> 00:38:35,480 Speaker 1: let's be real, Like I mean, Lana's huge, Lord is huge. 683 00:38:35,640 --> 00:38:38,759 Speaker 1: Like there's other like little references here and there like 684 00:38:38,800 --> 00:38:40,520 Speaker 1: that have been there since the beginning of her career, 685 00:38:40,560 --> 00:38:43,600 Speaker 1: but like they're big influences in terms of her move 686 00:38:43,680 --> 00:38:45,400 Speaker 1: towards the type of music. So I thought it was 687 00:38:45,440 --> 00:38:48,920 Speaker 1: actually fucking kind of rad that Lana was on this 688 00:38:49,000 --> 00:38:51,600 Speaker 1: track because it says, it says to people that are 689 00:38:51,640 --> 00:38:54,920 Speaker 1: like ash, she's just making a lot of music. It's like, no, Mama, 690 00:38:54,960 --> 00:38:58,439 Speaker 1: I have actually mother Teresa's blessing. She's here on the track. 691 00:38:58,520 --> 00:39:01,520 Speaker 1: She's giving atmosphere, So shut up. I think this sort 692 00:39:01,520 --> 00:39:06,880 Speaker 1: of is the full circle and too wild. It's dreams 693 00:39:06,880 --> 00:39:10,600 Speaker 1: like you wrote a lot of song and for I 694 00:39:10,640 --> 00:39:13,680 Speaker 1: guess years now people are like, she's writing too much lunch, 695 00:39:13,760 --> 00:39:17,239 Speaker 1: She's just kind of cribbing Laana. But now it's like no, no, no, 696 00:39:17,960 --> 00:39:20,000 Speaker 1: I get like people ripping the feeling that there's a 697 00:39:20,000 --> 00:39:23,000 Speaker 1: lot of reference in the Let's get out of this 698 00:39:23,200 --> 00:39:26,080 Speaker 1: how I I understand why people feel that, But then 699 00:39:26,200 --> 00:39:28,040 Speaker 1: like the rest of the song and the energy of 700 00:39:28,080 --> 00:39:30,799 Speaker 1: the song is so Taylor Swift like that, And then 701 00:39:30,800 --> 00:39:33,279 Speaker 1: I'm like, I don't that was not fair. I think 702 00:39:33,320 --> 00:39:36,279 Speaker 1: for people to be like that, but I disagree to 703 00:39:37,360 --> 00:39:39,399 Speaker 1: that bridge. I'm sorry. I'm thinking about all the streams 704 00:39:39,400 --> 00:39:41,440 Speaker 1: were getting. The streams is my number one of all time. 705 00:39:41,440 --> 00:39:44,680 Speaker 1: It's it still stands but um but but yeah, so 706 00:39:44,800 --> 00:39:47,319 Speaker 1: on the Beach, I just love the way that the 707 00:39:47,400 --> 00:39:50,560 Speaker 1: chorus ends like snow on the beach, Like I just 708 00:39:50,600 --> 00:39:54,440 Speaker 1: love that, like like weird. It's like very weird and downward. 709 00:39:54,600 --> 00:40:00,640 Speaker 1: It's like very sultry. It's it's very evocative like and yeah, 710 00:40:00,680 --> 00:40:03,000 Speaker 1: I mean the weird but fucking beautiful again, Like I 711 00:40:03,040 --> 00:40:05,239 Speaker 1: can't wait to see the girls tick top that one. 712 00:40:05,320 --> 00:40:08,920 Speaker 1: I might do. Yeah, why not, let's move on. You're 713 00:40:08,960 --> 00:40:11,239 Speaker 1: on your own, kid, This one's getting lost in It's 714 00:40:11,239 --> 00:40:13,680 Speaker 1: a gem because you know why. I think people are 715 00:40:13,719 --> 00:40:16,360 Speaker 1: feeling confused because they're like, this is not a track five. 716 00:40:16,480 --> 00:40:19,600 Speaker 1: And at first I agree very much. I was like, this, 717 00:40:19,600 --> 00:40:21,799 Speaker 1: this doesn't sound like a track five. It's not like 718 00:40:22,480 --> 00:40:24,960 Speaker 1: it's not her spilling her guts in that way that 719 00:40:25,000 --> 00:40:27,520 Speaker 1: we're accustomed to at this point in her albums. But 720 00:40:27,719 --> 00:40:30,839 Speaker 1: I think it's a track five with distance. I think 721 00:40:30,840 --> 00:40:33,839 Speaker 1: it's her. It's very much like um the Lucky One 722 00:40:34,840 --> 00:40:38,080 Speaker 1: of Red. It's like her sort of from a different 723 00:40:38,120 --> 00:40:42,080 Speaker 1: point of view, singing about someone who is going through 724 00:40:42,120 --> 00:40:45,680 Speaker 1: a very transformative time in their life. For me, this 725 00:40:45,800 --> 00:40:49,799 Speaker 1: was very specifically about her. Oh absolutely, it is about her, 726 00:40:50,200 --> 00:40:53,440 Speaker 1: But I think it's her like looking back on herself. 727 00:40:53,520 --> 00:40:56,040 Speaker 1: I think maybe it's like national era, like which you 728 00:40:56,160 --> 00:40:59,440 Speaker 1: just moved there, or just like definitely a time in 729 00:40:59,480 --> 00:41:02,400 Speaker 1: her career in life when she was like succumbing to 730 00:41:02,600 --> 00:41:06,080 Speaker 1: whatever pressure she felt from the industry. Yeah, to me, 731 00:41:06,200 --> 00:41:08,640 Speaker 1: this is about that thing of you felt it was 732 00:41:08,640 --> 00:41:10,880 Speaker 1: gonna be one thing and now it's another. And also 733 00:41:10,960 --> 00:41:13,040 Speaker 1: wherever you go, there you are, you know what I mean? 734 00:41:13,120 --> 00:41:15,520 Speaker 1: Like that those are the vibes for me. Lyrically with this, 735 00:41:15,840 --> 00:41:18,040 Speaker 1: I mean scanning the room of better bodies just to 736 00:41:18,080 --> 00:41:20,600 Speaker 1: find out that my dream wasn't rare like whatever. That 737 00:41:20,600 --> 00:41:23,040 Speaker 1: that that I mean, that to me is just like 738 00:41:23,360 --> 00:41:28,279 Speaker 1: that's that's that's for real, because honest, she's this is 739 00:41:28,280 --> 00:41:31,160 Speaker 1: her honesty's own song, very much so. And I also 740 00:41:31,160 --> 00:41:35,080 Speaker 1: think it's a perfect track five for midnights because it's 741 00:41:35,160 --> 00:41:37,480 Speaker 1: I'm up thinking about this. The whole thing is like 742 00:41:37,600 --> 00:41:41,200 Speaker 1: basically one long track five already, and so why not 743 00:41:41,320 --> 00:41:43,960 Speaker 1: like give it a little accent in that spot where 744 00:41:43,960 --> 00:41:46,440 Speaker 1: you go, this is something a little bit different than 745 00:41:46,480 --> 00:41:50,200 Speaker 1: what you're used to. That's my theory. Yeah, I would agree, 746 00:41:50,360 --> 00:41:52,919 Speaker 1: And I think it's just watching this one get lost 747 00:41:52,920 --> 00:41:55,759 Speaker 1: in the conversation. I think it's because any track five 748 00:41:55,840 --> 00:41:57,600 Speaker 1: is going to have a high bar or people are 749 00:41:57,600 --> 00:41:59,640 Speaker 1: gonna feel like they want to be wowed by it 750 00:41:59,680 --> 00:42:01,960 Speaker 1: by the time it's over. And I think because it's 751 00:42:02,160 --> 00:42:05,320 Speaker 1: it's been preceded by these these tracks like an anti 752 00:42:05,360 --> 00:42:07,920 Speaker 1: hero like feels like on another album, maybe that's the 753 00:42:07,960 --> 00:42:11,040 Speaker 1: track five, but then we have this one. And I 754 00:42:11,160 --> 00:42:14,799 Speaker 1: just also musically, I really really like it. It's just 755 00:42:14,880 --> 00:42:16,319 Speaker 1: it's getting lost, and I think it's going to be 756 00:42:16,320 --> 00:42:18,439 Speaker 1: a grower for people. And I think by the time 757 00:42:18,520 --> 00:42:21,439 Speaker 1: she plays this in the Midnight Stadium tour, We're gonna 758 00:42:21,440 --> 00:42:31,920 Speaker 1: we're all gonna be singing every word, you know. I 759 00:42:31,920 --> 00:42:33,640 Speaker 1: don't think if this means anything, but I feel like 760 00:42:33,680 --> 00:42:36,200 Speaker 1: I was sort of taken by the fact that there's 761 00:42:36,280 --> 00:42:39,720 Speaker 1: not much guitar, almost no guitar on the thirteen tracks 762 00:42:39,760 --> 00:42:43,959 Speaker 1: on the Core Midnight's Interesting album, except for I Think 763 00:42:44,080 --> 00:42:47,160 Speaker 1: You're on Your Own Kid, where it's like like it's 764 00:42:47,320 --> 00:42:51,160 Speaker 1: but it's just like not that many chords, Like the 765 00:42:51,160 --> 00:42:54,759 Speaker 1: progression is just like one note for the most part, 766 00:42:55,200 --> 00:42:59,279 Speaker 1: and as in like it's one like it's just her yes, 767 00:42:59,400 --> 00:43:03,279 Speaker 1: one note, um, And so I think that's just it's 768 00:43:03,280 --> 00:43:05,480 Speaker 1: a really I think she knows to like switch it 769 00:43:05,560 --> 00:43:07,479 Speaker 1: up at this point in her career for album ten. 770 00:43:07,560 --> 00:43:10,040 Speaker 1: It's like, let me actually do something else. I like, 771 00:43:10,320 --> 00:43:12,160 Speaker 1: I love it so much, no notes coming from me 772 00:43:12,239 --> 00:43:13,600 Speaker 1: on Your On your Own Kid. I just think we 773 00:43:13,640 --> 00:43:16,759 Speaker 1: need to, you know, have some respect for it. I 774 00:43:16,800 --> 00:43:20,360 Speaker 1: really do. Now let's get to this is a really 775 00:43:20,360 --> 00:43:26,120 Speaker 1: important one. This is I love Midnight Rain. I love 776 00:43:26,360 --> 00:43:30,600 Speaker 1: Midnight Rain. Mm hmm. First listen, I was like, this 777 00:43:30,640 --> 00:43:34,040 Speaker 1: is this is a huge one for me. I love 778 00:43:34,080 --> 00:43:37,000 Speaker 1: the in the like octave jump like man the same. 779 00:43:38,000 --> 00:43:44,520 Speaker 1: I just I love that ship. The choice to modulate 780 00:43:44,560 --> 00:43:46,680 Speaker 1: it down for the first two times you hear that 781 00:43:47,200 --> 00:43:51,200 Speaker 1: chorus God first of all to me say, imagen is 782 00:43:51,200 --> 00:43:56,120 Speaker 1: all over this album. M that's that's also a huge influence. Clearly, clearly, 783 00:43:56,239 --> 00:44:01,160 Speaker 1: And did you readers, did Matt Rodder's not call it 784 00:44:01,160 --> 00:44:05,520 Speaker 1: when he said I'm expecting death cab postal service. I 785 00:44:05,560 --> 00:44:08,400 Speaker 1: don't know what to say esthetic you are a seer, 786 00:44:08,480 --> 00:44:13,160 Speaker 1: you are I don't want to vision I literally this 787 00:44:13,239 --> 00:44:16,200 Speaker 1: is chaos magic because I didn't. I didn't even like, honestly, 788 00:44:16,239 --> 00:44:18,040 Speaker 1: it hasn't even been top of mind because I'm not 789 00:44:18,080 --> 00:44:21,120 Speaker 1: thinking about like me being right this ship. I'm just 790 00:44:21,239 --> 00:44:24,399 Speaker 1: enjoying it. But I was right, and it literally gave 791 00:44:24,440 --> 00:44:25,640 Speaker 1: the vibes that I said I was going to give. 792 00:44:25,640 --> 00:44:27,160 Speaker 1: And I was texting with friends about it and they 793 00:44:27,160 --> 00:44:29,879 Speaker 1: were like, they screenshot at early texts, being like, how 794 00:44:29,880 --> 00:44:32,000 Speaker 1: did you know when when you said the death cab thing, Like, 795 00:44:32,040 --> 00:44:35,480 Speaker 1: how did you know? I was like, bitch, bitch, I 796 00:44:35,520 --> 00:44:38,600 Speaker 1: feel I'm Taylor. I really do. I sometimes like I 797 00:44:38,640 --> 00:44:41,839 Speaker 1: feel I'm Taylor. I feel that way too about you 798 00:44:41,960 --> 00:44:45,319 Speaker 1: fucking love this song and I literally like it's it's 799 00:44:45,360 --> 00:44:47,320 Speaker 1: just like you think, like in the in this middle 800 00:44:47,320 --> 00:44:49,440 Speaker 1: section of the album, like all right, now, are these 801 00:44:49,480 --> 00:44:51,120 Speaker 1: the ones that are signed up sort of hanging out 802 00:44:51,120 --> 00:44:54,000 Speaker 1: here because they're the ones that like ostensibly like maybe 803 00:44:54,040 --> 00:44:56,800 Speaker 1: we're not loving as much like this it never drops 804 00:44:56,800 --> 00:44:59,640 Speaker 1: for me, like Midnight Rain and then into Question. I 805 00:44:59,719 --> 00:45:03,759 Speaker 1: FU love Question. I think, thank God for this conversation 806 00:45:03,760 --> 00:45:05,799 Speaker 1: because I'm realizing the more we talk about it, the 807 00:45:05,880 --> 00:45:10,640 Speaker 1: more I love it. Because I will say, even after 808 00:45:10,719 --> 00:45:12,480 Speaker 1: day one, I was like, I don't know where to 809 00:45:12,520 --> 00:45:16,320 Speaker 1: place this album in the in the great ranking. Yeah, 810 00:45:16,920 --> 00:45:20,279 Speaker 1: um wow. But Midnight right into Question, which is like 811 00:45:20,600 --> 00:45:23,000 Speaker 1: where you turn the damn vinyl around on side B, 812 00:45:24,920 --> 00:45:29,959 Speaker 1: A great little schism, a great break in the progression 813 00:45:30,120 --> 00:45:31,879 Speaker 1: of this album and the story it's trying to tell. 814 00:45:32,080 --> 00:45:34,239 Speaker 1: It's not even it's telling the story I think as 815 00:45:34,239 --> 00:45:36,520 Speaker 1: an album, but I think it's also just like vignettes. 816 00:45:36,640 --> 00:45:39,440 Speaker 1: It's like in a similar way to folklore and everymore, 817 00:45:39,480 --> 00:45:43,120 Speaker 1: like it's just little stories and thematically linked by this thing. 818 00:45:43,160 --> 00:45:45,840 Speaker 1: But it's I think it's a stronger theme than those 819 00:45:46,640 --> 00:45:48,759 Speaker 1: you know what's funny too, Like so when when I 820 00:45:48,800 --> 00:45:51,080 Speaker 1: first heard this album was being announced. I had heard 821 00:45:51,120 --> 00:45:53,760 Speaker 1: this weird random rumor that what was supposed to happen 822 00:45:53,800 --> 00:45:56,920 Speaker 1: this year was that the rerelease was supposed to happen 823 00:45:56,920 --> 00:45:58,520 Speaker 1: this year, and then I think she ran into some 824 00:45:58,560 --> 00:46:00,959 Speaker 1: maybe legal stuff or like something happened with it where 825 00:46:01,000 --> 00:46:04,280 Speaker 1: she pivoted, and then it was gonna be the whatever 826 00:46:04,320 --> 00:46:05,799 Speaker 1: album it was. And then when I heard it was 827 00:46:05,840 --> 00:46:08,400 Speaker 1: Midnights and it was a concept album or was presented 828 00:46:08,440 --> 00:46:11,400 Speaker 1: as a concept album, I almost thought to myself, is 829 00:46:11,440 --> 00:46:14,799 Speaker 1: this going to be songs from the entire span of 830 00:46:14,840 --> 00:46:16,920 Speaker 1: her career that she's going to repurpose and like make 831 00:46:16,960 --> 00:46:20,799 Speaker 1: into like, you know, feel new. I thought maybe it 832 00:46:20,880 --> 00:46:22,560 Speaker 1: was it a concept album that way, like and that 833 00:46:22,640 --> 00:46:25,719 Speaker 1: she was literally reaching back throughout her life. But like 834 00:46:25,800 --> 00:46:28,440 Speaker 1: lo and behold, like I'm so happy that and she 835 00:46:28,480 --> 00:46:30,640 Speaker 1: has said it herself, she has debunked the rumor like 836 00:46:30,680 --> 00:46:33,279 Speaker 1: this is all new work. She has said that. But 837 00:46:33,360 --> 00:46:36,839 Speaker 1: like that I think I'm really happy about because she 838 00:46:36,960 --> 00:46:40,480 Speaker 1: has the like peace of mind and also ability to 839 00:46:40,520 --> 00:46:42,799 Speaker 1: look back on the things that she's gone through and 840 00:46:42,840 --> 00:46:45,560 Speaker 1: like also assessed where she was so that it doesn't 841 00:46:45,600 --> 00:46:50,280 Speaker 1: feel like necessarily you know, so it doesn't feel super 842 00:46:50,400 --> 00:46:53,120 Speaker 1: super Taylor in the lyrics. It feels Taylor in the 843 00:46:53,200 --> 00:46:55,560 Speaker 1: lyrics with Taylor energy because she's had the time in 844 00:46:55,600 --> 00:46:58,240 Speaker 1: the space. But still the things that she's singing about 845 00:46:58,320 --> 00:47:02,120 Speaker 1: you can tell still real, still probably keep her up. 846 00:47:02,400 --> 00:47:04,520 Speaker 1: I mean, you know, like by the by the time 847 00:47:04,520 --> 00:47:05,759 Speaker 1: we get to what it could have shout, I'll have 848 00:47:05,880 --> 00:47:09,080 Speaker 1: more to say about this. But like, there are certain 849 00:47:09,120 --> 00:47:14,600 Speaker 1: things that you don't ever really come to terms with, 850 00:47:15,040 --> 00:47:17,160 Speaker 1: And it feels like there are certain things in her 851 00:47:17,200 --> 00:47:19,319 Speaker 1: life that like pop up and she drops things like 852 00:47:19,520 --> 00:47:21,960 Speaker 1: you know, her age when she is talking about a 853 00:47:21,960 --> 00:47:25,080 Speaker 1: certain thing or you know, easter eggs for Tailor fans, 854 00:47:25,400 --> 00:47:27,440 Speaker 1: that like only we would know that we know exactly 855 00:47:27,440 --> 00:47:29,440 Speaker 1: where to place this in terms of her emotional and 856 00:47:29,560 --> 00:47:31,520 Speaker 1: public life, so that we can sort of have a 857 00:47:31,560 --> 00:47:34,479 Speaker 1: better glimpse in. But I'm really happy that she wrote 858 00:47:34,520 --> 00:47:37,080 Speaker 1: new work about things that she's gone through in her 859 00:47:37,160 --> 00:47:39,959 Speaker 1: life and not like reached back and like it didn't 860 00:47:39,960 --> 00:47:42,400 Speaker 1: feel vaulty, you know what I mean. I get what 861 00:47:42,440 --> 00:47:46,680 Speaker 1: you're saying. Totally, no shade to the Vault tracks ever, 862 00:47:47,160 --> 00:47:50,600 Speaker 1: never ever, but they're Vault tracks. But they're Vault tracks. 863 00:47:51,080 --> 00:47:55,160 Speaker 1: They were not the front facing works that like she 864 00:47:55,320 --> 00:47:59,320 Speaker 1: like initially released and so like that's its own little narrative. Anyway, 865 00:48:00,080 --> 00:48:01,480 Speaker 1: night Rain. I mean, I really don't know what to 866 00:48:01,480 --> 00:48:06,400 Speaker 1: say other than I love it perfect, I mean question perfect. 867 00:48:06,480 --> 00:48:09,000 Speaker 1: That's just fun. And also the thing about being kissed 868 00:48:09,000 --> 00:48:10,839 Speaker 1: in a crowded room with all your friends, I was like, 869 00:48:10,880 --> 00:48:13,040 Speaker 1: you better go off tailor and explain a situation that 870 00:48:13,120 --> 00:48:16,719 Speaker 1: you and very few people. Now have you ever been 871 00:48:16,719 --> 00:48:19,120 Speaker 1: in a crowded room and someone kisses you and everyone's 872 00:48:19,160 --> 00:48:24,160 Speaker 1: making funny without a clap fifteen seconds later? They're relatable, Queen. 873 00:48:25,600 --> 00:48:31,080 Speaker 1: I can't tell you're saying that is relatable, but okay, 874 00:48:31,080 --> 00:48:33,480 Speaker 1: for me, the only way I related to this, and 875 00:48:33,480 --> 00:48:35,399 Speaker 1: I'm going to get a little honest zone is like 876 00:48:35,840 --> 00:48:37,960 Speaker 1: it's like I get I get a little embarrassed anytime 877 00:48:38,000 --> 00:48:41,960 Speaker 1: I'm like making out with someone's club and then you're 878 00:48:42,040 --> 00:48:43,640 Speaker 1: you're you went with your friends and they're all going, 879 00:48:43,680 --> 00:48:46,520 Speaker 1: oh my god, who is going with? I know? And 880 00:48:46,600 --> 00:48:48,879 Speaker 1: sometimes they even see you do it and they yell out, 881 00:48:49,120 --> 00:48:52,920 Speaker 1: someone's not discerning, who has done that? You did that 882 00:48:52,960 --> 00:48:57,719 Speaker 1: to me on New Year's Eve, bitch, when New Years 883 00:48:57,840 --> 00:49:00,200 Speaker 1: in Mexico City, I made out with that guy and 884 00:49:00,239 --> 00:49:05,000 Speaker 1: you said someone's not discerning. I didn't say that. I 885 00:49:05,040 --> 00:49:10,840 Speaker 1: could I make that up. I'm so sorry. That's so awful, 886 00:49:11,000 --> 00:49:15,480 Speaker 1: and I'm so sorry, but Bohen, I'm really not that discerning. 887 00:49:17,200 --> 00:49:18,719 Speaker 1: I thought it was funny, and I also thought I 888 00:49:18,719 --> 00:49:20,960 Speaker 1: brought it up to you. I have such amnesia about 889 00:49:20,960 --> 00:49:24,000 Speaker 1: this ship. That is so mean. I'm a mean, I'm 890 00:49:24,000 --> 00:49:27,400 Speaker 1: a bit you were being a fun bitch. And also 891 00:49:27,480 --> 00:49:29,120 Speaker 1: in the grand scheme, it didn't really matter, but I 892 00:49:29,120 --> 00:49:31,000 Speaker 1: did remember it, and I did think to myself, like, 893 00:49:31,040 --> 00:49:32,799 Speaker 1: could I could make an issue of this, But I'm 894 00:49:32,800 --> 00:49:38,799 Speaker 1: an issue. Okay, you call no, no, no, that's not 895 00:49:38,840 --> 00:49:42,000 Speaker 1: what I meant. I just meant because I'm certainly not discerning. 896 00:49:43,440 --> 00:49:46,000 Speaker 1: You all know this to be true, and and you 897 00:49:46,120 --> 00:49:49,319 Speaker 1: have been see. That is the difference between you and 898 00:49:49,360 --> 00:49:55,359 Speaker 1: I is anytime I am with someone that who does 899 00:49:55,400 --> 00:49:58,680 Speaker 1: not meet your standard, tell me. You tell me in 900 00:49:58,680 --> 00:50:04,360 Speaker 1: a very clear, thoughtful way, and I might do it 901 00:50:04,400 --> 00:50:09,920 Speaker 1: in a way to you that is just vitriol Taylor, 902 00:50:10,080 --> 00:50:13,200 Speaker 1: and I'm more Taylor in that regard. I'm sorry. You 903 00:50:13,239 --> 00:50:15,800 Speaker 1: don't have to apologize to me, ever, I thought ultimately, 904 00:50:15,800 --> 00:50:20,000 Speaker 1: I okay, well anyway, but okay, so so so then 905 00:50:20,000 --> 00:50:21,319 Speaker 1: the thing that I guess we don't relate to is 906 00:50:21,320 --> 00:50:23,640 Speaker 1: the fifteen seconds later they're all clapping to like what 907 00:50:23,640 --> 00:50:26,279 Speaker 1: what happened in those fifteen seconds? I wonder? I think 908 00:50:26,280 --> 00:50:28,239 Speaker 1: probably that you know, it's that moment of like you 909 00:50:28,320 --> 00:50:30,120 Speaker 1: kissed someone at a party or whatever, and then like 910 00:50:30,160 --> 00:50:31,920 Speaker 1: they go away, and then you turn to your friends 911 00:50:31,920 --> 00:50:34,440 Speaker 1: and they're like what, and then you go, girl, I 912 00:50:34,480 --> 00:50:36,880 Speaker 1: don't know, And in that fifteen seconds, everyone's like, oh 913 00:50:36,960 --> 00:50:39,200 Speaker 1: my god, isn't life funny? And then everyone's clapping like this, 914 00:50:40,000 --> 00:50:42,600 Speaker 1: We're all clapping for the situation and the way we'll 915 00:50:42,600 --> 00:50:45,480 Speaker 1: look back on it later and then all can take 916 00:50:45,480 --> 00:50:49,960 Speaker 1: place in fifteen seconds. A beautiful time capsule, a beautiful period. 917 00:50:50,239 --> 00:50:55,600 Speaker 1: Shall we talk about vigilante ship? Yes? And I am 918 00:50:55,680 --> 00:50:58,880 Speaker 1: still on a journey with this one. I like that 919 00:50:58,960 --> 00:51:01,600 Speaker 1: she kind of has like a Billie Eilish song, like 920 00:51:01,600 --> 00:51:05,840 Speaker 1: an FKA Twigs early FKA Twigs type song. I feel 921 00:51:05,840 --> 00:51:09,600 Speaker 1: like this is peaked Taylor in the album period. Yeah. 922 00:51:09,640 --> 00:51:11,960 Speaker 1: To me, this is this is like a reputation track. 923 00:51:12,480 --> 00:51:14,919 Speaker 1: This to me is like more blatantly I can see 924 00:51:14,960 --> 00:51:17,520 Speaker 1: on another album for me, if if there was a 925 00:51:17,560 --> 00:51:19,400 Speaker 1: one that I was on the longest journey with it 926 00:51:19,480 --> 00:51:21,680 Speaker 1: was this one. But then there is some ship here 927 00:51:21,719 --> 00:51:24,560 Speaker 1: that I really really really like. I mean, I like 928 00:51:24,560 --> 00:51:27,560 Speaker 1: like the fucking line about the doing lines like it's 929 00:51:27,640 --> 00:51:31,560 Speaker 1: essentially like she will never take her photoph scooter bronze neck, 930 00:51:32,000 --> 00:51:34,880 Speaker 1: and also and why should she know she she shouldn't. 931 00:51:34,880 --> 00:51:37,200 Speaker 1: And also it sort of connects later to Karma Tube, 932 00:51:37,320 --> 00:51:39,840 Speaker 1: which because because you can tell Scooter is one of 933 00:51:39,880 --> 00:51:42,520 Speaker 1: those things she will never fully let go love it, 934 00:51:42,719 --> 00:51:45,440 Speaker 1: and she probably will make music about this forever no 935 00:51:45,480 --> 00:51:47,920 Speaker 1: matter where she stands on or how she views it. 936 00:51:47,920 --> 00:51:51,000 Speaker 1: It feels like we're always going to get content about 937 00:51:51,000 --> 00:51:54,839 Speaker 1: this because it was a betrayal on a scale that 938 00:51:55,000 --> 00:51:57,040 Speaker 1: needed to be and in a weird way, like she 939 00:51:57,200 --> 00:52:01,040 Speaker 1: made it public explicitly in a way that that truly 940 00:52:01,120 --> 00:52:03,560 Speaker 1: really bothered her. And then to hear her, you know, 941 00:52:03,600 --> 00:52:06,279 Speaker 1: talk about his white collar crimes because he really is 942 00:52:06,320 --> 00:52:10,439 Speaker 1: like a flop. Yeah, I I respect it so much 943 00:52:10,480 --> 00:52:14,719 Speaker 1: from her, because this is someone who values work and 944 00:52:14,800 --> 00:52:18,279 Speaker 1: her art so much that if you come after that, 945 00:52:18,760 --> 00:52:22,040 Speaker 1: she will kill you. Cad I drawn so sharp to 946 00:52:22,080 --> 00:52:25,399 Speaker 1: could kill him. Man, I'm gonna bring in Mandy Moore 947 00:52:25,440 --> 00:52:27,759 Speaker 1: into this conversation because she gives a line reading in 948 00:52:28,320 --> 00:52:33,399 Speaker 1: Tangled that I think is so impactful and I don't 949 00:52:33,400 --> 00:52:35,600 Speaker 1: know why I'm thinking about this. I need to hear it. 950 00:52:35,600 --> 00:52:38,120 Speaker 1: It's at the very end when Mother Gothel played by 951 00:52:38,320 --> 00:52:41,480 Speaker 1: the incredible Dona Murphy, it's actually about to kill Eugene. 952 00:52:41,520 --> 00:52:45,880 Speaker 1: She's about to kill Zachary Levi's character, and then Rapunzel 953 00:52:46,000 --> 00:52:48,520 Speaker 1: is begging Mother Gothel to not kill him, and then 954 00:52:48,560 --> 00:52:51,439 Speaker 1: she goes, but if you kill him, then I will 955 00:52:51,560 --> 00:52:55,680 Speaker 1: never stop trying to run away from you. Wow. And 956 00:52:55,719 --> 00:52:58,960 Speaker 1: I'm like, Dad, oh my god, I have do you 957 00:52:59,040 --> 00:53:03,200 Speaker 1: really well? Mandy's vocal performance and that was absolutely stunning, stunning, 958 00:53:03,200 --> 00:53:07,960 Speaker 1: Oh my god, can we talk everything? Finally feeling that's 959 00:53:08,040 --> 00:53:14,960 Speaker 1: when my voice is so. I've been partying a lot, 960 00:53:15,000 --> 00:53:17,280 Speaker 1: so I'm not going to be singing, certainly not belting 961 00:53:17,280 --> 00:53:20,000 Speaker 1: out tunes from Tangled the Heart amount can ever sing 962 00:53:20,840 --> 00:53:24,279 Speaker 1: Sondheim found Dad. But Mandy with that line reminds me 963 00:53:24,480 --> 00:53:27,080 Speaker 1: of m Taylor with Scooter. It's like she will never 964 00:53:27,520 --> 00:53:30,839 Speaker 1: stop coming for this man. Now her foot is on 965 00:53:30,880 --> 00:53:36,759 Speaker 1: his neck forever. We respect the jewels. I love the 966 00:53:36,840 --> 00:53:38,640 Speaker 1: jeweled to me, like the first time I listened to it, 967 00:53:38,640 --> 00:53:43,280 Speaker 1: I was like, Bejeweled really stands out fun, really fun. 968 00:53:44,600 --> 00:53:46,399 Speaker 1: It's I think it's like the closest thing to like 969 00:53:47,120 --> 00:53:50,560 Speaker 1: club bangery that we have on the album. Right, Is 970 00:53:50,600 --> 00:53:52,399 Speaker 1: that fair to say? Yeah, I would throw this one 971 00:53:52,440 --> 00:53:57,279 Speaker 1: back to almost It's very like, you know, you know what, 972 00:53:58,120 --> 00:54:01,920 Speaker 1: I'm having fun tonight? Is this the one where she's 973 00:54:01,960 --> 00:54:04,040 Speaker 1: looking by the way I'm going out tonight? Yeah? Yeah, yeah, 974 00:54:04,040 --> 00:54:06,279 Speaker 1: I love it. I love it perfect She's throwing this 975 00:54:06,320 --> 00:54:08,360 Speaker 1: one over her shoulder. I love it. I love it. 976 00:54:08,400 --> 00:54:10,160 Speaker 1: Oh my god, we may have to move faster because 977 00:54:10,239 --> 00:54:13,600 Speaker 1: then we're we're doing doing it, really digging into labyrinth. 978 00:54:13,680 --> 00:54:17,280 Speaker 1: It's giving vibes, it's giving a it's giving taking a breath, 979 00:54:17,600 --> 00:54:20,040 Speaker 1: it's giving that point in the album where we're just like, okay, now, 980 00:54:20,120 --> 00:54:21,839 Speaker 1: let's it's a cool down, you know what I mean, 981 00:54:22,320 --> 00:54:26,240 Speaker 1: let's stretch before we kind of do the home stretch. 982 00:54:27,719 --> 00:54:36,640 Speaker 1: I really really really like, oh oh none in yeah, 983 00:54:36,719 --> 00:54:41,200 Speaker 1: m hmmm, Yeah, it's really good. There's just there's a 984 00:54:41,239 --> 00:54:43,759 Speaker 1: lot you know what this gives treacherous in a way. 985 00:54:43,840 --> 00:54:48,560 Speaker 1: I was just gonna say, wow, the way my sister understands, 986 00:54:48,760 --> 00:54:52,279 Speaker 1: it's so like you self surrender, You surrender to the 987 00:54:52,320 --> 00:54:56,160 Speaker 1: thing that you're already going through. And yeah, I'm obsessed 988 00:54:56,200 --> 00:54:59,160 Speaker 1: with that as a concept when Taylor writes about it, well, 989 00:54:59,200 --> 00:55:02,640 Speaker 1: because that emotion is so core and Taylor this thing 990 00:55:02,680 --> 00:55:05,680 Speaker 1: of like being at the precipice of a big emotional 991 00:55:05,719 --> 00:55:08,080 Speaker 1: decision and deciding to take the leap, that is so 992 00:55:08,480 --> 00:55:11,440 Speaker 1: her and so like, it's nice to have a spiritual 993 00:55:11,520 --> 00:55:15,319 Speaker 1: big sister to Treacherous now in this way, because you know, 994 00:55:15,360 --> 00:55:17,680 Speaker 1: in all of these ways we've heard Taylor update herself 995 00:55:18,000 --> 00:55:20,759 Speaker 1: and like call back to herself. But also it's sort 996 00:55:20,760 --> 00:55:22,440 Speaker 1: of that same idea of wherever you go, there you 997 00:55:22,440 --> 00:55:24,560 Speaker 1: are like, she's still that same girl, but now we 998 00:55:24,600 --> 00:55:26,920 Speaker 1: get to hear her express that in such an interesting 999 00:55:26,960 --> 00:55:31,080 Speaker 1: way from Treacherous to Labyrinth. I mean, there's a dissertation there. 1000 00:55:31,800 --> 00:55:33,760 Speaker 1: I wonder if they're teaching it in that Taylor Swift 1001 00:55:33,800 --> 00:55:38,080 Speaker 1: songwriting college course that exists. Can we just do one 1002 00:55:38,160 --> 00:55:40,840 Speaker 1: day in that class where we get to lead. I 1003 00:55:40,840 --> 00:55:42,440 Speaker 1: would like to go. I would like to go in, 1004 00:55:42,520 --> 00:55:44,719 Speaker 1: and honestly, I want to do two days. I want 1005 00:55:44,719 --> 00:55:46,440 Speaker 1: to go one day where we go sit in on 1006 00:55:46,480 --> 00:55:50,719 Speaker 1: a class, and then the second day where we lecture. Well, no, 1007 00:55:50,880 --> 00:55:53,040 Speaker 1: I want to do lecture one day, and then I 1008 00:55:53,080 --> 00:55:57,120 Speaker 1: want to literally t a god, what do you call 1009 00:55:57,600 --> 00:56:01,560 Speaker 1: it's the class after the lecture? What a coloquium recitation? 1010 00:56:01,719 --> 00:56:03,399 Speaker 1: I want to do the lecture, and then I want 1011 00:56:03,400 --> 00:56:05,520 Speaker 1: to do the recitation where it's smaller groups and you 1012 00:56:05,560 --> 00:56:07,520 Speaker 1: and I, you and I split the class in two 1013 00:56:07,880 --> 00:56:10,279 Speaker 1: and we each lead a smaller recitation where we all 1014 00:56:10,280 --> 00:56:12,799 Speaker 1: like discuss, like just like a little discussion. I'm sad 1015 00:56:12,880 --> 00:56:16,360 Speaker 1: that we're split up. I I think we what what 1016 00:56:16,400 --> 00:56:18,560 Speaker 1: do you mean? I don't want to. I don't want 1017 00:56:18,600 --> 00:56:19,960 Speaker 1: you to be over there teaching with them and me 1018 00:56:20,040 --> 00:56:22,680 Speaker 1: over there teaching with them. You're gonna have the funner group. 1019 00:56:23,000 --> 00:56:26,359 Speaker 1: I don't think. So. You're the more everyone I wish 1020 00:56:26,360 --> 00:56:29,239 Speaker 1: I were. Do you know they won't say that, Yes, 1021 00:56:29,320 --> 00:56:33,760 Speaker 1: they will. Yeah, I think I don't think you understand 1022 00:56:33,800 --> 00:56:39,120 Speaker 1: that you are. You are the shining Star. Karma is 1023 00:56:39,120 --> 00:56:42,000 Speaker 1: the next song on the album, And don't you feel 1024 00:56:42,160 --> 00:56:44,600 Speaker 1: that people are gravitating towards this one? Like it feels 1025 00:56:44,640 --> 00:56:48,440 Speaker 1: like the energy is with Karma. Do you understand the 1026 00:56:48,480 --> 00:56:54,080 Speaker 1: backstory behind this? No? So there is a theory that 1027 00:56:55,000 --> 00:57:04,840 Speaker 1: October Taylor Swift six was gonna be um an album 1028 00:57:04,880 --> 00:57:08,640 Speaker 1: called Karma. Correct, Oh yes, yes, I did hear about this, Yes, 1029 00:57:08,680 --> 00:57:11,520 Speaker 1: And it got tossed because her public image was in 1030 00:57:11,680 --> 00:57:16,200 Speaker 1: danger because because of the whole like you know, Kim tape. 1031 00:57:16,920 --> 00:57:20,120 Speaker 1: So then they had to scrap most of it, and 1032 00:57:20,120 --> 00:57:22,120 Speaker 1: I'm sure some of the songs kind of got sprinkled 1033 00:57:22,120 --> 00:57:27,400 Speaker 1: throughout lover and reputation, maybe even folklore and evermore, but doubtful. 1034 00:57:27,560 --> 00:57:31,920 Speaker 1: But Karma was supposed to be the sixth album and 1035 00:57:31,960 --> 00:57:33,400 Speaker 1: then yeah, and then they had to like sort of 1036 00:57:33,440 --> 00:57:35,240 Speaker 1: push the calendar like because it was just every two 1037 00:57:35,320 --> 00:57:38,960 Speaker 1: years in October that was the release window. And in 1038 00:57:39,040 --> 00:57:43,000 Speaker 1: some way, releasing this album in October two is like 1039 00:57:43,000 --> 00:57:45,920 Speaker 1: her like getting back to that timeline, the original timeline 1040 00:57:46,240 --> 00:57:51,840 Speaker 1: and October two, Taylor Swift twelve thousand days old. What 1041 00:57:52,440 --> 00:57:54,240 Speaker 1: do you think she knows that? Do you think that's intentional? 1042 00:57:54,320 --> 00:57:55,960 Speaker 1: I don't know, but it is intentional that it's also 1043 00:57:56,080 --> 00:58:01,080 Speaker 1: Kim's birthday. There's a lot of closed loops here, Okay, 1044 00:58:01,480 --> 00:58:03,520 Speaker 1: I love it, And with Karma, I feel like it 1045 00:58:03,600 --> 00:58:06,000 Speaker 1: is closing the loop on that in a way where 1046 00:58:06,040 --> 00:58:09,160 Speaker 1: it is oh God, a song that was meant to 1047 00:58:09,160 --> 00:58:11,160 Speaker 1: be on that album, I think because I feel like 1048 00:58:11,200 --> 00:58:13,240 Speaker 1: Karma is a little bit of a departure because like 1049 00:58:13,320 --> 00:58:17,680 Speaker 1: Karmen is my boyfriends, my boyfriend, Like, here's the god 1050 00:58:17,880 --> 00:58:20,920 Speaker 1: I love it, doesn't it feel kind of like it 1051 00:58:21,040 --> 00:58:24,080 Speaker 1: kind of stands out a little bit, and even sticking 1052 00:58:24,080 --> 00:58:27,120 Speaker 1: out a little bit, you want to know what it's more, um, 1053 00:58:27,280 --> 00:58:30,040 Speaker 1: because we've also we we've heard her talk about this 1054 00:58:30,080 --> 00:58:33,439 Speaker 1: a little bit in the album already, and and vibe wise, 1055 00:58:33,440 --> 00:58:34,959 Speaker 1: it is a little bit more. It is a little 1056 00:58:34,960 --> 00:58:38,040 Speaker 1: bit more fun and like more intentionally like you know, 1057 00:58:38,120 --> 00:58:40,520 Speaker 1: like I feel like I'm like, you know, skipping down 1058 00:58:40,560 --> 00:58:42,840 Speaker 1: the road when I but just this idea like I 1059 00:58:42,920 --> 00:58:45,680 Speaker 1: love what I Love is like the lyric rub against 1060 00:58:46,080 --> 00:58:47,640 Speaker 1: the type of song it is because it is like 1061 00:58:47,680 --> 00:58:49,760 Speaker 1: a fun pop song that's probably the most straight up 1062 00:58:49,800 --> 00:58:52,400 Speaker 1: pop song on the album. I would say maybe until 1063 00:58:52,400 --> 00:58:54,520 Speaker 1: we until later when we get to my truly my 1064 00:58:54,520 --> 00:58:57,240 Speaker 1: favorite song, which we haven't yet spoken about. But um, 1065 00:58:58,040 --> 00:59:02,200 Speaker 1: I feel like to end this song with the idea 1066 00:59:02,320 --> 00:59:06,400 Speaker 1: of Karma's a relaxing thought like that she's really letting 1067 00:59:06,440 --> 00:59:10,160 Speaker 1: us into the darkness there because she's like, you know what, actually, 1068 00:59:10,320 --> 00:59:12,360 Speaker 1: maybe this doesn't make me a good person. And you 1069 00:59:12,360 --> 00:59:14,720 Speaker 1: can judge me if you want, but it actually makes 1070 00:59:14,720 --> 00:59:18,760 Speaker 1: me feel good to know that Karma will get these people, Like, no, 1071 00:59:18,960 --> 00:59:20,919 Speaker 1: these people are not going to get away with this ship, 1072 00:59:21,240 --> 00:59:23,240 Speaker 1: you know what I mean. And here we are sitting 1073 00:59:23,240 --> 00:59:28,440 Speaker 1: here this week and Kanye is there's there's no coming back. 1074 00:59:29,680 --> 00:59:34,320 Speaker 1: It's I mean, he's he's completely done, and it is 1075 00:59:34,400 --> 00:59:37,880 Speaker 1: it's now crossed over whatever line you were waiting at 1076 00:59:37,880 --> 00:59:40,200 Speaker 1: to cross, it's crossed. Like not to even give him 1077 00:59:40,200 --> 00:59:43,600 Speaker 1: any more space on this, but like I'm sure everyone knows, 1078 00:59:43,720 --> 00:59:46,160 Speaker 1: like what he's been saying, the fucking anti Semitics should 1079 00:59:46,200 --> 00:59:49,320 Speaker 1: he's been saying, he's a complete maniac and a monster 1080 00:59:49,400 --> 00:59:51,240 Speaker 1: and if he needs help, he needs to go get 1081 00:59:51,280 --> 00:59:54,080 Speaker 1: it outside of the public guy, because unfortunately people are 1082 00:59:54,080 --> 00:59:56,920 Speaker 1: still fucking listening and it's sick and he's bad for 1083 00:59:56,960 --> 01:00:02,040 Speaker 1: the world and Karma got him. Period. The closed loop here, 1084 01:00:02,160 --> 01:00:06,200 Speaker 1: I think is really apparent. Yeah again, I'll say, just 1085 01:00:06,280 --> 01:00:10,160 Speaker 1: on a lot of levels. And there is some chatter 1086 01:00:10,240 --> 01:00:15,000 Speaker 1: about how like why is she still singing about her grudges? 1087 01:00:15,920 --> 01:00:20,600 Speaker 1: And I think it's just like part of it. I 1088 01:00:20,600 --> 01:00:22,640 Speaker 1: think you have to embrace that as part of her 1089 01:00:22,720 --> 01:00:27,600 Speaker 1: like musical motif. There's something about her that's a little vindictive. 1090 01:00:27,720 --> 01:00:30,400 Speaker 1: And I also think that she she would not hesitate 1091 01:00:30,480 --> 01:00:32,439 Speaker 1: to say that. I mean, she's admitting to it here, 1092 01:00:32,480 --> 01:00:36,400 Speaker 1: like she says, Karma's are relaxing thought. I am relaxed. 1093 01:00:36,840 --> 01:00:40,479 Speaker 1: I am at ease thinking of you, someone who's hurt 1094 01:00:40,560 --> 01:00:43,480 Speaker 1: me being in pain. You know what I mean? That is, 1095 01:00:43,560 --> 01:00:47,360 Speaker 1: that is vindictive anthem, and that is something that non 1096 01:00:47,440 --> 01:00:49,160 Speaker 1: a yone would admit to, you know what I mean, 1097 01:00:49,240 --> 01:00:52,200 Speaker 1: And especially like in this fun, little cute song sonically, 1098 01:00:52,440 --> 01:00:55,240 Speaker 1: you know what I mean, It's just it's almost really 1099 01:00:55,640 --> 01:00:59,840 Speaker 1: interesting that that thought, which is really deep dark thought, 1100 01:01:00,560 --> 01:01:04,520 Speaker 1: comes in this like song. She's like Scoo's in her 1101 01:01:04,560 --> 01:01:06,760 Speaker 1: head voice. You know what I mean. I just love it. 1102 01:01:06,880 --> 01:01:12,360 Speaker 1: I know, I know it's way more interesting than you think. Okay, um, 1103 01:01:12,600 --> 01:01:17,640 Speaker 1: next song, Sweet Nothing, I'm obsessed. It's the closest aesthetic 1104 01:01:18,480 --> 01:01:21,280 Speaker 1: match to like the promo materials of this album leading 1105 01:01:21,320 --> 01:01:25,760 Speaker 1: up to seventies folcusing a songwriter Judy Still, you know, 1106 01:01:27,000 --> 01:01:29,680 Speaker 1: Carol King, like Lauren Eiro, that kind of thing. It's 1107 01:01:29,720 --> 01:01:33,240 Speaker 1: so sweet. It's just it's beautiful, and I mean Mr 1108 01:01:33,320 --> 01:01:36,600 Speaker 1: William Bowery appears on this one. Yes, yes, And if 1109 01:01:36,600 --> 01:01:39,160 Speaker 1: that's him playing the piano, you better go off that 1110 01:01:39,160 --> 01:01:42,320 Speaker 1: that he's electric keyboard you very yeah, um oh the 1111 01:01:42,360 --> 01:01:44,640 Speaker 1: electric keyboard. Yes, whatever, that's what I meant. Whatever, Yeah, 1112 01:01:44,680 --> 01:01:48,040 Speaker 1: you know, totally totally. I wasn't correcting. Um, it was no, no, no, 1113 01:01:48,840 --> 01:01:54,000 Speaker 1: sweet nothing. And then this is just can't fire give. 1114 01:01:54,080 --> 01:01:56,720 Speaker 1: It's giving, it's giving. We're writing this song and we're 1115 01:01:56,720 --> 01:01:58,360 Speaker 1: having fun and we had a great time writing it, 1116 01:01:58,400 --> 01:02:00,919 Speaker 1: and it's sweet and it's just like a nice, little, 1117 01:02:01,000 --> 01:02:04,960 Speaker 1: sweet little offering. I just love it. I'm I love 1118 01:02:05,000 --> 01:02:09,320 Speaker 1: sweet nothing. It's a it's very um New Year's Day 1119 01:02:09,360 --> 01:02:12,800 Speaker 1: without like the circumstance around it. You know, it's just 1120 01:02:12,840 --> 01:02:16,640 Speaker 1: like it's just like a mundane beauty. It's not like 1121 01:02:16,680 --> 01:02:18,720 Speaker 1: it's not it's not even like the morning after a party. 1122 01:02:18,760 --> 01:02:21,960 Speaker 1: It's just this is our everyday life. And I also 1123 01:02:22,000 --> 01:02:24,600 Speaker 1: love that it's so clearly like a collaboration between them 1124 01:02:24,600 --> 01:02:29,440 Speaker 1: that then leads into Mastermind, which is about like the 1125 01:02:29,480 --> 01:02:36,240 Speaker 1: totality of the courtship. Yeah, what a great closure the 1126 01:02:36,240 --> 01:02:39,080 Speaker 1: way that it goes into Mastermind, just like and also 1127 01:02:39,160 --> 01:02:41,600 Speaker 1: how plainly it ends like it just like and now 1128 01:02:41,680 --> 01:02:45,560 Speaker 1: your mind, Like I just I think, Yeah, it's that 1129 01:02:45,640 --> 01:02:49,040 Speaker 1: thing of like when you see someone or you feel 1130 01:02:49,120 --> 01:02:52,360 Speaker 1: like that pulled towards someone, and like you know, she's 1131 01:02:52,360 --> 01:02:55,160 Speaker 1: saying like yeah, I say, I'm calculated, but guess what, 1132 01:02:55,440 --> 01:02:57,360 Speaker 1: Like it actually got me quite the prize at the 1133 01:02:57,400 --> 01:02:59,160 Speaker 1: end of the day. Someone I've been with for like 1134 01:02:59,280 --> 01:03:03,160 Speaker 1: six years out at this point. And like the fact 1135 01:03:03,200 --> 01:03:06,000 Speaker 1: that she she sounds relaxed on this track, you know 1136 01:03:06,040 --> 01:03:08,520 Speaker 1: what I mean, Like it's like the track drives, but 1137 01:03:08,600 --> 01:03:12,120 Speaker 1: she sounds like vocally she sounds very happy and relaxed. 1138 01:03:12,160 --> 01:03:14,520 Speaker 1: And I also want to compliment her vocals on on 1139 01:03:14,520 --> 01:03:18,920 Speaker 1: on this album, she's really really really lived in And 1140 01:03:18,960 --> 01:03:20,960 Speaker 1: I was talking to someone, my friend Darren, who said 1141 01:03:21,200 --> 01:03:24,400 Speaker 1: he was he was missing some big vocal moments. But 1142 01:03:24,480 --> 01:03:29,400 Speaker 1: for me, it's like the intention here, like especially like 1143 01:03:29,600 --> 01:03:32,560 Speaker 1: um at the end of Anti Hero when she lets 1144 01:03:32,600 --> 01:03:35,680 Speaker 1: it get really like ugly sounding, And I mean that, 1145 01:03:35,720 --> 01:03:38,479 Speaker 1: and I mean that in like a in a complimentary way, 1146 01:03:38,520 --> 01:03:42,040 Speaker 1: but like to me, there's so many colors to her 1147 01:03:42,120 --> 01:03:45,200 Speaker 1: voice in this album, just as a lyricist and as 1148 01:03:45,200 --> 01:03:47,800 Speaker 1: a vocalist, I think this is a peak. I think 1149 01:03:47,800 --> 01:03:53,160 Speaker 1: she understands that her vocal singularity is that it's sharp. 1150 01:03:53,240 --> 01:03:57,280 Speaker 1: She's a sharp voice as in not like it cuts through, 1151 01:03:57,320 --> 01:04:01,040 Speaker 1: like not the accidentals it cuts through. And she doesn't 1152 01:04:01,120 --> 01:04:03,240 Speaker 1: need to belt in order to make the impact. You know, 1153 01:04:03,320 --> 01:04:05,680 Speaker 1: she doesn't need to do like the big vocal turns 1154 01:04:05,720 --> 01:04:08,280 Speaker 1: in order to like get you to pay attention. You're 1155 01:04:08,280 --> 01:04:11,600 Speaker 1: paying attention because she is like making a choice that 1156 01:04:11,720 --> 01:04:16,560 Speaker 1: doesn't really go big on the sort of melody necessarily 1157 01:04:16,560 --> 01:04:19,040 Speaker 1: even though she is this like incredible songwriter. I was 1158 01:04:19,040 --> 01:04:21,480 Speaker 1: gonna say with like elaborate, it's like, um, she goes 1159 01:04:22,080 --> 01:04:26,640 Speaker 1: like she's singing in the head boys, and then oh, 1160 01:04:26,720 --> 01:04:30,600 Speaker 1: I felt like she she knows what she's yeah, like 1161 01:04:30,720 --> 01:04:35,560 Speaker 1: leveraging in each thing. She's very accurate and resonant and 1162 01:04:35,600 --> 01:04:38,400 Speaker 1: evocative in that way like she she and I think 1163 01:04:38,400 --> 01:04:41,240 Speaker 1: that probably also does come with her being the songwriter, 1164 01:04:41,440 --> 01:04:43,760 Speaker 1: is like she knows exactly where her voice is going 1165 01:04:43,800 --> 01:04:45,800 Speaker 1: to fit into the structure of what she's doing to 1166 01:04:45,840 --> 01:04:48,240 Speaker 1: make people feel a certain way. And also she she 1167 01:04:48,280 --> 01:04:51,080 Speaker 1: knows where to place things totally, even calling back to 1168 01:04:51,240 --> 01:04:54,680 Speaker 1: Anti Hera with the tell Us all this time, like 1169 01:04:54,760 --> 01:04:56,920 Speaker 1: just like the atmosphere that that gives that in the 1170 01:04:57,360 --> 01:04:59,760 Speaker 1: place in her voice that she uses she's really good 1171 01:04:59,800 --> 01:05:02,840 Speaker 1: at creating atmosphere with her voice. That's what the whole 1172 01:05:02,880 --> 01:05:05,360 Speaker 1: album is. That is a compliment I would give this 1173 01:05:05,600 --> 01:05:08,840 Speaker 1: entire album is that it feels like, you know, there 1174 01:05:08,920 --> 01:05:12,680 Speaker 1: is actually a real range there because it's almost like 1175 01:05:13,000 --> 01:05:15,560 Speaker 1: two or three different people, you know what I mean, 1176 01:05:15,640 --> 01:05:17,760 Speaker 1: Like when she's down here, it feels like one thing, 1177 01:05:17,800 --> 01:05:21,080 Speaker 1: and then that it feels like another person, like and 1178 01:05:21,120 --> 01:05:23,880 Speaker 1: it's almost just like oftentimes in the same song, and 1179 01:05:23,960 --> 01:05:26,440 Speaker 1: especially in Anti Hero as well, you hear these different 1180 01:05:26,440 --> 01:05:29,400 Speaker 1: people saying these different things. It's like, that's what makes 1181 01:05:29,440 --> 01:05:32,760 Speaker 1: it interesting. Yeah, while we're talking about this, and as 1182 01:05:32,760 --> 01:05:35,480 Speaker 1: we're ending the thirteen tracks, there's a lot being made 1183 01:05:35,520 --> 01:05:38,680 Speaker 1: about how people can't tell the songs apart from each other, 1184 01:05:39,480 --> 01:05:41,800 Speaker 1: how they all sort of blend together, and I feel 1185 01:05:41,800 --> 01:05:45,240 Speaker 1: like that is also intentional. That is also like she's 1186 01:05:45,280 --> 01:05:48,720 Speaker 1: creating like the closest thing to ambient music that she's 1187 01:05:48,760 --> 01:05:53,080 Speaker 1: done folklon never more. I feel like maybe, but I 1188 01:05:53,160 --> 01:05:57,440 Speaker 1: think those are supposed to be differentiated projects and each 1189 01:05:57,520 --> 01:06:00,600 Speaker 1: song has its own sound. With men Nights, I feel 1190 01:06:00,640 --> 01:06:04,640 Speaker 1: like she is going after something a patchwork of different 1191 01:06:05,080 --> 01:06:07,400 Speaker 1: midnights in her life, as we know, and how there 1192 01:06:07,400 --> 01:06:10,760 Speaker 1: should be some sonic threat kind of ties them all together, 1193 01:06:10,920 --> 01:06:13,400 Speaker 1: you know. Yeah, I mean I think that's a very 1194 01:06:13,440 --> 01:06:16,040 Speaker 1: easy thing to say about something that has a high expectator, 1195 01:06:16,360 --> 01:06:18,160 Speaker 1: you know what I mean when when you turn something 1196 01:06:18,160 --> 01:06:20,480 Speaker 1: on initially and you're like, oh, these sound the same, 1197 01:06:20,560 --> 01:06:22,520 Speaker 1: or like this is this is more vibe, which I 1198 01:06:22,560 --> 01:06:24,520 Speaker 1: think a lot of people were sort of saying, and 1199 01:06:24,600 --> 01:06:27,800 Speaker 1: it was. I mean, of course it is a viby album, 1200 01:06:27,840 --> 01:06:29,800 Speaker 1: but I I hear a little bit of like an 1201 01:06:29,800 --> 01:06:32,520 Speaker 1: insult in that. To be honest with you, I can't 1202 01:06:32,560 --> 01:06:35,640 Speaker 1: explain why. Um almost like she caved into doing what 1203 01:06:35,680 --> 01:06:37,479 Speaker 1: all the girls are doing, which is like vibe music, 1204 01:06:37,520 --> 01:06:40,200 Speaker 1: which if you really listen to this, like yeah, maybe 1205 01:06:40,240 --> 01:06:42,360 Speaker 1: she is, maybe it's a viby album, but there's like 1206 01:06:42,560 --> 01:06:45,360 Speaker 1: tons of peaks and valleys here. It's not you know 1207 01:06:45,440 --> 01:06:50,800 Speaker 1: that sameness is not is not negative against that. But 1208 01:06:50,960 --> 01:06:53,920 Speaker 1: my thing is like when you were listening to something 1209 01:06:54,000 --> 01:06:57,440 Speaker 1: like right away and it's that event diese type album 1210 01:06:57,760 --> 01:06:59,760 Speaker 1: and you need a pull, I just feel like that's 1211 01:06:59,760 --> 01:07:03,040 Speaker 1: a very easy things and like we're not giving this 1212 01:07:03,680 --> 01:07:06,520 Speaker 1: enough space because it's of the biggest album of the 1213 01:07:06,600 --> 01:07:08,920 Speaker 1: year obviously, Like whenever she releases an album it is 1214 01:07:09,400 --> 01:07:10,960 Speaker 1: or it's up there at least in the top three 1215 01:07:11,000 --> 01:07:14,000 Speaker 1: of this year, and I feel like, you know, it's 1216 01:07:14,040 --> 01:07:16,760 Speaker 1: just that's a little knee jerk for me, that that comment, 1217 01:07:18,240 --> 01:07:23,320 Speaker 1: And I hope we've matured as like listeners in the 1218 01:07:23,400 --> 01:07:28,280 Speaker 1: streaming era. I was telling all of us, like everybody, um, 1219 01:07:28,320 --> 01:07:30,760 Speaker 1: because I think like we all sort of understood like 1220 01:07:30,920 --> 01:07:33,400 Speaker 1: with the other biggest album of the year, Renaissance, it's 1221 01:07:33,440 --> 01:07:37,080 Speaker 1: like this is this is dense, this is amazing. Let's 1222 01:07:37,120 --> 01:07:40,040 Speaker 1: like really sink our teeth into us. Yea. I was 1223 01:07:40,160 --> 01:07:44,360 Speaker 1: kind of soothed by the fact that there people were 1224 01:07:44,400 --> 01:07:49,160 Speaker 1: not like jumping to a conclusion with Renaissance necessarily like 1225 01:07:49,200 --> 01:07:51,040 Speaker 1: it was obviously well. I did hear that a lot, 1226 01:07:51,080 --> 01:07:53,000 Speaker 1: though I did hear a lot of people being like 1227 01:07:53,040 --> 01:07:55,600 Speaker 1: I wish I felt like, you know, the song's um 1228 01:07:55,760 --> 01:07:57,680 Speaker 1: jumped out in different ways, like it wasn't just a 1229 01:07:57,680 --> 01:08:00,240 Speaker 1: piece of collective work, which I actually think it's actually 1230 01:08:00,320 --> 01:08:03,040 Speaker 1: strong in both regards, like you can turn that on 1231 01:08:03,120 --> 01:08:05,320 Speaker 1: at the club and let it play and have a 1232 01:08:05,360 --> 01:08:08,480 Speaker 1: great fucking night, but also like there and those skips, 1233 01:08:08,600 --> 01:08:12,600 Speaker 1: but also those songs are all extremely cherry pick. Yeah, 1234 01:08:12,640 --> 01:08:14,680 Speaker 1: you're each chair the ones that you want in the mood, 1235 01:08:15,000 --> 01:08:17,360 Speaker 1: which is happening now you see people starting to like, 1236 01:08:17,400 --> 01:08:20,120 Speaker 1: now that renaissance has been out for it's like people 1237 01:08:20,160 --> 01:08:22,280 Speaker 1: are you know, there's there are tracks that people like, 1238 01:08:22,280 --> 01:08:24,320 Speaker 1: like it's people are saying that less now that they've 1239 01:08:24,320 --> 01:08:26,160 Speaker 1: had time to marinate, and and so I would say, 1240 01:08:26,240 --> 01:08:29,200 Speaker 1: let's afford Taylor the same thing. I just think maybe 1241 01:08:29,240 --> 01:08:31,160 Speaker 1: that is like the shift in the listening habit for 1242 01:08:31,160 --> 01:08:34,160 Speaker 1: everybody and at least our generation where it's like, this 1243 01:08:34,200 --> 01:08:36,519 Speaker 1: is gonna be the thing with all big albums going forward. 1244 01:08:36,600 --> 01:08:39,920 Speaker 1: Is that like we're gonna have the poll first and 1245 01:08:39,960 --> 01:08:43,240 Speaker 1: then it's gonna be a grower or it's not, and 1246 01:08:43,280 --> 01:08:46,280 Speaker 1: then that's it's, it's whatever, it's it's sort of part 1247 01:08:46,280 --> 01:08:57,800 Speaker 1: of it. Let's do the three M. So three AM 1248 01:08:57,880 --> 01:08:59,880 Speaker 1: rolls around Eastern Standard time. Where you did you say 1249 01:09:00,120 --> 01:09:03,120 Speaker 1: for it? I woke up the next day to your 1250 01:09:03,160 --> 01:09:05,519 Speaker 1: Instagram story of a song called Paris and I go 1251 01:09:06,080 --> 01:09:11,760 Speaker 1: this and I immediately immediately listened to Paris um saw 1252 01:09:11,880 --> 01:09:15,360 Speaker 1: Dear Reader and my blood went cold. He has a track. 1253 01:09:15,520 --> 01:09:18,960 Speaker 1: I was like, what, And again, we're not saying that, 1254 01:09:19,080 --> 01:09:21,840 Speaker 1: like we wouldn't dare say that it's not it's not 1255 01:09:21,880 --> 01:09:25,160 Speaker 1: a reference to us, but wow, what a thing to 1256 01:09:25,200 --> 01:09:29,360 Speaker 1: wake up too for me, that's all. What a gift 1257 01:09:29,439 --> 01:09:31,320 Speaker 1: for the readers and all of us like that. There's 1258 01:09:31,360 --> 01:09:33,920 Speaker 1: a song called Dear Reader on an album that very 1259 01:09:34,000 --> 01:09:39,880 Speaker 1: much explores the dichotomy of Taylor and Taylor literally is 1260 01:09:39,880 --> 01:09:42,720 Speaker 1: all over this culture, is all over this album. She's 1261 01:09:42,760 --> 01:09:45,559 Speaker 1: coming on. Taylor's coming on. She wants to do the pod. Taylor, 1262 01:09:46,320 --> 01:09:48,240 Speaker 1: please come on the pod. We will give you the 1263 01:09:48,280 --> 01:09:52,360 Speaker 1: best interview. Zane Low will fucking shake in his boots 1264 01:09:52,400 --> 01:09:54,320 Speaker 1: after he listens to this interview that you, me and 1265 01:09:54,320 --> 01:09:57,080 Speaker 1: Matt will have. I mean, this is an open invitation 1266 01:09:57,120 --> 01:10:00,000 Speaker 1: for Taylor Swift to get on the podcast Last Cultures. Let' 1267 01:10:00,000 --> 01:10:03,520 Speaker 1: just say two accepted two awards at the Lost Culturesta's 1268 01:10:03,520 --> 01:10:06,519 Speaker 1: Culture Awards. Did not have to send in videos. Thank 1269 01:10:06,600 --> 01:10:08,599 Speaker 1: you so much for doing that, Taylor Swift. We will 1270 01:10:08,680 --> 01:10:11,639 Speaker 1: never thank you enough. That's a real fucking legacy to leave. 1271 01:10:12,200 --> 01:10:15,280 Speaker 1: That's a real fucking legacy. Anyway, Um, okay, the Great 1272 01:10:15,320 --> 01:10:20,120 Speaker 1: War enter Mr Desner, Enter, Mr Desner. I love. I 1273 01:10:20,280 --> 01:10:21,680 Speaker 1: was a little bummed at first when I was like, 1274 01:10:21,720 --> 01:10:26,120 Speaker 1: there's no Destner on this album Great War Lovely sort 1275 01:10:26,200 --> 01:10:28,640 Speaker 1: of because he is on this track right, he's the 1276 01:10:28,720 --> 01:10:31,240 Speaker 1: most three. What I mean to say is like if 1277 01:10:31,280 --> 01:10:33,160 Speaker 1: we thought we were getting one of him. I remember 1278 01:10:33,240 --> 01:10:35,080 Speaker 1: I was with Jared and he opened his phone and 1279 01:10:35,160 --> 01:10:37,320 Speaker 1: immediately to the song credits and he we saw Aaron 1280 01:10:37,360 --> 01:10:39,519 Speaker 1: Desner and we were like yes, we were like, okay, 1281 01:10:39,560 --> 01:10:41,439 Speaker 1: So she was just holding this back a little bit. 1282 01:10:41,520 --> 01:10:47,479 Speaker 1: But we are still collaborating with our new pal. Yes, yes, um, 1283 01:10:48,400 --> 01:10:51,960 Speaker 1: great War, wonderful, Um. A lot of historical allegory here. 1284 01:10:52,120 --> 01:10:56,559 Speaker 1: We love it. She likes her history. She's a history buff. Yeah, 1285 01:10:57,040 --> 01:11:01,280 Speaker 1: she'll be telling you, oh my, what a mother whistle 1286 01:11:03,320 --> 01:11:10,680 Speaker 1: um and dynasty like she she knows to like intentionally 1287 01:11:10,760 --> 01:11:13,439 Speaker 1: dip her toe into like quote unquote for lack of 1288 01:11:13,479 --> 01:11:16,800 Speaker 1: a better word, Americana, a p U S history, a 1289 01:11:16,960 --> 01:11:19,679 Speaker 1: p U S history. You know, she got a five. 1290 01:11:20,400 --> 01:11:25,280 Speaker 1: I would imagine um bigger than the whole sky. This 1291 01:11:25,479 --> 01:11:28,759 Speaker 1: is a sweet, little, sad little song. And I people 1292 01:11:28,800 --> 01:11:32,480 Speaker 1: are sort of speculating that it may be about a miscarriage, 1293 01:11:32,920 --> 01:11:35,360 Speaker 1: that it may be about some sort of loss of 1294 01:11:35,479 --> 01:11:38,800 Speaker 1: some kind, not necessarily her own. But of course we 1295 01:11:38,960 --> 01:11:42,599 Speaker 1: see lately Taylor has been exploring the concept and really 1296 01:11:42,680 --> 01:11:45,400 Speaker 1: it's been for longer than people think or say, but 1297 01:11:45,960 --> 01:11:49,920 Speaker 1: definitely more vividly lately of writing from the perspective of others. 1298 01:11:50,640 --> 01:11:54,120 Speaker 1: Um and I think this possibly could be that. But 1299 01:11:54,960 --> 01:11:59,080 Speaker 1: what a lovely song. I mean, it really is just 1300 01:11:59,200 --> 01:12:02,479 Speaker 1: so sweet, Sam Sanders and Powers we're talking about something 1301 01:12:02,600 --> 01:12:07,320 Speaker 1: else on this episode of Into It where Sam quotes 1302 01:12:07,400 --> 01:12:09,640 Speaker 1: Taylor and Mrs Americana and is like, Taylor says this 1303 01:12:09,680 --> 01:12:12,640 Speaker 1: amazing thing or she like references this this, this, this 1304 01:12:12,760 --> 01:12:14,519 Speaker 1: thing and about fame, which is that like you are 1305 01:12:14,680 --> 01:12:19,200 Speaker 1: frozen as a woman, especially you're you're frozen at the 1306 01:12:19,280 --> 01:12:22,559 Speaker 1: age that you were famous, that you become famous in right, 1307 01:12:23,280 --> 01:12:25,800 Speaker 1: And And Sam is like, is that why like people 1308 01:12:25,880 --> 01:12:28,400 Speaker 1: still sort of like talk about Taylor and think about 1309 01:12:28,400 --> 01:12:31,120 Speaker 1: Taylor as this teenage girl. Is this why people are 1310 01:12:31,160 --> 01:12:34,320 Speaker 1: having trouble moved like growing up with her or think 1311 01:12:34,479 --> 01:12:37,240 Speaker 1: or like understanding her to be a woman, you know, 1312 01:12:37,400 --> 01:12:40,680 Speaker 1: like a like an adult person. Um And then and 1313 01:12:41,040 --> 01:12:45,040 Speaker 1: Powers goes, I think it's because she has not had 1314 01:12:45,080 --> 01:12:49,120 Speaker 1: a child. The childless woman in America or in the 1315 01:12:49,240 --> 01:12:53,360 Speaker 1: world is something that is uncomfortable for people. They don't 1316 01:12:53,360 --> 01:12:55,519 Speaker 1: know what to make of a woman who does not 1317 01:12:55,640 --> 01:12:58,360 Speaker 1: have a child, and so therefore she's even more locked 1318 01:12:58,360 --> 01:13:01,839 Speaker 1: into teenage self hood to other people, like the persona 1319 01:13:02,040 --> 01:13:05,080 Speaker 1: is sort of like snagged in that for better or worse. 1320 01:13:05,680 --> 01:13:06,880 Speaker 1: And I don't know, this might be a little more 1321 01:13:06,920 --> 01:13:08,200 Speaker 1: bit to tie into BIGG than the whole guy if 1322 01:13:08,240 --> 01:13:10,200 Speaker 1: it is about in miscarriage, even if it's not her own. 1323 01:13:10,520 --> 01:13:13,200 Speaker 1: But like I think she understands how that feeds into 1324 01:13:13,240 --> 01:13:18,200 Speaker 1: the meaning of her now. I think that's really interesting. Yeah, 1325 01:13:18,360 --> 01:13:20,680 Speaker 1: I mean tossing all the way back to Rohnan like 1326 01:13:20,880 --> 01:13:24,880 Speaker 1: she's she's a great actress in her music. I mean, 1327 01:13:24,960 --> 01:13:26,760 Speaker 1: like she really she really is. And this to me 1328 01:13:26,920 --> 01:13:29,400 Speaker 1: like it might be a spiritual sister to that. I 1329 01:13:29,479 --> 01:13:33,360 Speaker 1: mean in that it does feel like it's about something 1330 01:13:33,439 --> 01:13:35,840 Speaker 1: heavy and specific and that that that's like something like 1331 01:13:35,920 --> 01:13:37,400 Speaker 1: on the other side of the fence that you know 1332 01:13:37,520 --> 01:13:40,920 Speaker 1: not to ask about. But the song is evocative and 1333 01:13:41,000 --> 01:13:44,160 Speaker 1: I think could match up with anything, you know what 1334 01:13:44,200 --> 01:13:45,600 Speaker 1: I mean. Like when I first listened to it, I 1335 01:13:45,680 --> 01:13:47,480 Speaker 1: was like, this is about a loss of a relationship, 1336 01:13:47,840 --> 01:13:49,800 Speaker 1: and then I feel like, no, I think it's it 1337 01:13:49,880 --> 01:13:51,960 Speaker 1: might even be like Ray Shocky and like, you know, 1338 01:13:52,200 --> 01:13:54,519 Speaker 1: this could be whatever. Obviously it might be something to her, 1339 01:13:54,600 --> 01:13:56,280 Speaker 1: but I wonder if she'll ever comments on what this 1340 01:13:56,439 --> 01:13:59,080 Speaker 1: is about. I would like to hear it. Yeah, but 1341 01:13:59,160 --> 01:14:02,479 Speaker 1: if she wants to keep it private then and the 1342 01:14:02,520 --> 01:14:05,000 Speaker 1: fact that it's at three, I am track, you know, like, 1343 01:14:05,640 --> 01:14:08,320 Speaker 1: where is this existing in the file cabinets of her mind? 1344 01:14:08,800 --> 01:14:12,760 Speaker 1: Totally okay, talk about Paris because I need to maybe 1345 01:14:13,200 --> 01:14:15,200 Speaker 1: get on board with Paris because it's it's the one 1346 01:14:15,240 --> 01:14:18,280 Speaker 1: that I glossed over. I don't know why you're kidding me. 1347 01:14:18,880 --> 01:14:21,080 Speaker 1: First of all, I want to tell everyone I'm now 1348 01:14:21,160 --> 01:14:24,200 Speaker 1: on TikTok and I was eventually able to figure out 1349 01:14:24,240 --> 01:14:26,200 Speaker 1: my TikTok so but when I did alive last week 1350 01:14:26,240 --> 01:14:28,000 Speaker 1: where I couldn't figure out how to make my TikTok 1351 01:14:28,080 --> 01:14:30,760 Speaker 1: videos public, which is very Matt Rogers, very calling back 1352 01:14:30,800 --> 01:14:33,760 Speaker 1: to when I thought my computer didn't make PDFs because 1353 01:14:33,800 --> 01:14:35,800 Speaker 1: you had because I thought I had a porn virus 1354 01:14:35,880 --> 01:14:37,880 Speaker 1: that made my computer unable to make PDFs. And I 1355 01:14:37,960 --> 01:14:40,160 Speaker 1: was sort of experiencing that narrative the other day when 1356 01:14:40,160 --> 01:14:41,920 Speaker 1: I couldn't get my tiktoks to go public, and I 1357 01:14:42,040 --> 01:14:44,320 Speaker 1: was frustrated because I thought I was actually kind of slaying. 1358 01:14:44,920 --> 01:14:46,840 Speaker 1: So the more I'm on TikTok, the more I sort 1359 01:14:46,840 --> 01:14:49,320 Speaker 1: of realized, like, oh, this might not be good for me, 1360 01:14:49,360 --> 01:14:51,439 Speaker 1: because I think it's eventually going to reveal who I am, 1361 01:14:51,520 --> 01:14:54,160 Speaker 1: which is sort of like a basic little boy who 1362 01:14:54,240 --> 01:14:57,200 Speaker 1: loves Taylor Swift. So I hear the song Paris, I 1363 01:14:57,360 --> 01:15:01,360 Speaker 1: absolutely lose my fucking mind. I couldn't believe the rhyme 1364 01:15:01,439 --> 01:15:05,000 Speaker 1: scheme of Paris and somewhere else. I loved that. Like 1365 01:15:05,120 --> 01:15:07,080 Speaker 1: some people are taking issue with that, I think those 1366 01:15:07,120 --> 01:15:12,640 Speaker 1: people should go to jail. I am so obsessed with 1367 01:15:12,800 --> 01:15:15,719 Speaker 1: this song that I got on my TikTok and Bowen, 1368 01:15:16,720 --> 01:15:23,040 Speaker 1: I did a humorless basic ass TikTok to Paris like 1369 01:15:23,240 --> 01:15:26,679 Speaker 1: I was a gen z Ere. The comments are so funny. 1370 01:15:26,840 --> 01:15:29,760 Speaker 1: The comments are like millennial jumped out, like okay, the 1371 01:15:29,840 --> 01:15:33,040 Speaker 1: millennial Taylor. One person comments on my thing, I need 1372 01:15:33,160 --> 01:15:35,720 Speaker 1: to see less white t fags on my on my 1373 01:15:36,160 --> 01:15:39,800 Speaker 1: on my timeline, and I literally I almost respired. I 1374 01:15:39,960 --> 01:15:43,439 Speaker 1: agree because I was so sick watching this TikTok that 1375 01:15:43,520 --> 01:15:48,200 Speaker 1: I created. But the earnestness I felt it was because 1376 01:15:48,240 --> 01:15:52,840 Speaker 1: of what this song did to me. I unapologetically keep 1377 01:15:52,920 --> 01:15:55,679 Speaker 1: that TikTok up and also my transitions are fucking good, 1378 01:15:56,280 --> 01:15:59,840 Speaker 1: so get get into it. This song has taken me 1379 01:16:00,360 --> 01:16:03,080 Speaker 1: like out of who I am and brought me somewhere else. 1380 01:16:03,320 --> 01:16:06,560 Speaker 1: The first verse it's so chaotic to me in the 1381 01:16:06,800 --> 01:16:13,200 Speaker 1: best way and just the the way that it's so verbose, 1382 01:16:13,560 --> 01:16:15,880 Speaker 1: and then the chorus just drops you on the song 1383 01:16:16,200 --> 01:16:19,600 Speaker 1: like we're in Paris, like unless you sit and like 1384 01:16:19,840 --> 01:16:22,000 Speaker 1: be in that new atmosphere. I'm like, come on, this 1385 01:16:22,320 --> 01:16:26,000 Speaker 1: is a evocative pop song. This is what I love. 1386 01:16:26,080 --> 01:16:31,280 Speaker 1: This is an emotional, evocative pop song. It is kind 1387 01:16:31,280 --> 01:16:33,240 Speaker 1: of giving me Carly Ray in a in a way, 1388 01:16:33,280 --> 01:16:36,599 Speaker 1: in a way like it's given me light, romantic, fun, 1389 01:16:37,200 --> 01:16:40,760 Speaker 1: effervescent I would I would say, is the word, um, 1390 01:16:41,400 --> 01:16:45,800 Speaker 1: I just I absolutely love it to me, like, this 1391 01:16:46,040 --> 01:16:48,559 Speaker 1: is the song I keep listening to for me, It's 1392 01:16:48,720 --> 01:16:50,600 Speaker 1: it's the super base of the album. It is that 1393 01:16:50,720 --> 01:16:54,680 Speaker 1: bonus track that pops it is it is that that 1394 01:16:55,000 --> 01:16:58,080 Speaker 1: girl on the back half that was revealed later that 1395 01:16:58,240 --> 01:17:00,559 Speaker 1: we will remember this one and what a could have shot, 1396 01:17:00,680 --> 01:17:02,400 Speaker 1: which we'll get to. But you gotta get on board 1397 01:17:02,439 --> 01:17:05,000 Speaker 1: with Paris Bone because it's also an opportunity for us 1398 01:17:05,040 --> 01:17:07,920 Speaker 1: to be really stupid singing it. I was gonna say, 1399 01:17:07,960 --> 01:17:10,200 Speaker 1: before you you even said that part, before you invited 1400 01:17:10,240 --> 01:17:12,839 Speaker 1: me in, I was like, I'm sold. You've never assused. 1401 01:17:13,120 --> 01:17:15,680 Speaker 1: You said super base of the album, I said it, 1402 01:17:16,360 --> 01:17:18,560 Speaker 1: and that was the beginning of our friend Chap And 1403 01:17:19,320 --> 01:17:22,360 Speaker 1: when have you ever led me wrong? I love this song. 1404 01:17:22,720 --> 01:17:26,080 Speaker 1: I am obsessed and I don't want this song to 1405 01:17:26,120 --> 01:17:28,640 Speaker 1: get lost because again, like I don't think it is. 1406 01:17:28,720 --> 01:17:30,679 Speaker 1: And I've been posting this song a lot and people 1407 01:17:30,720 --> 01:17:33,760 Speaker 1: are being like, my favorite, yes, and we need this song, 1408 01:17:34,080 --> 01:17:37,400 Speaker 1: And I was like, what puts this? I guess the 1409 01:17:37,479 --> 01:17:40,439 Speaker 1: three I AM distinction, like whatever this was for her 1410 01:17:40,520 --> 01:17:42,519 Speaker 1: that made it a three AM song. But I was like, 1411 01:17:43,360 --> 01:17:47,000 Speaker 1: this because it's big, because it's big grand, and I 1412 01:17:47,080 --> 01:17:49,439 Speaker 1: feel like there was too big for the first thirteen. 1413 01:17:49,760 --> 01:17:53,720 Speaker 1: I was gonna say, like there was a choice to 1414 01:17:53,880 --> 01:17:57,639 Speaker 1: kind of subdue the core album, which I respect. Yeah, 1415 01:17:57,760 --> 01:17:59,560 Speaker 1: I got that. I got that, and I respect that. 1416 01:17:59,680 --> 01:18:03,720 Speaker 1: This is this is sweeping, This is like whoa this 1417 01:18:03,920 --> 01:18:08,200 Speaker 1: is you know what, it's giving state of grace. It's 1418 01:18:08,240 --> 01:18:11,599 Speaker 1: like expansive in the way that it is, like it's up, 1419 01:18:11,760 --> 01:18:14,760 Speaker 1: it's down, it's out. It's like you saying that it 1420 01:18:14,800 --> 01:18:17,000 Speaker 1: takes you there. We were in Paris and you're there. 1421 01:18:17,439 --> 01:18:21,320 Speaker 1: I believe that I see it. This is it's very 1422 01:18:21,520 --> 01:18:24,040 Speaker 1: like New Romantics, which by the way, came on the 1423 01:18:24,120 --> 01:18:26,800 Speaker 1: other day. I said, God damn, this is a good song, 1424 01:18:27,120 --> 01:18:29,360 Speaker 1: a song and a half. She's a great actress in 1425 01:18:29,520 --> 01:18:35,639 Speaker 1: that song. She's a great actress in that like it's 1426 01:18:35,920 --> 01:18:38,680 Speaker 1: it's poker. He can't see it in my face, but 1427 01:18:38,840 --> 01:18:43,080 Speaker 1: I'm about to play my ace, like, whoa, what did 1428 01:18:43,120 --> 01:18:44,760 Speaker 1: you do there? Why did you do that to me? 1429 01:18:45,160 --> 01:18:47,200 Speaker 1: And that's what I love about Paris, Like Paris this 1430 01:18:47,360 --> 01:18:54,720 Speaker 1: first verse, yeah, your ex friends sister. I just love it. 1431 01:18:54,800 --> 01:18:57,880 Speaker 1: And the outfits were terrible. I loved it. I was like, 1432 01:18:58,160 --> 01:19:03,280 Speaker 1: first of all, it's giving sondheime in that the notes 1433 01:19:03,400 --> 01:19:07,479 Speaker 1: are the emotion. Everybody laughed. It had to be sad. Yeah, yeah, yeah, 1434 01:19:07,520 --> 01:19:10,160 Speaker 1: it had to be sad. And I'm saying, Paris revolution, 1435 01:19:10,439 --> 01:19:14,200 Speaker 1: friend revolution, That's how I feel about Paris. Wow, it 1436 01:19:14,479 --> 01:19:17,680 Speaker 1: is actually you know, it is giving son died. I 1437 01:19:17,800 --> 01:19:20,280 Speaker 1: said it, and I'll still say it. It is very 1438 01:19:20,400 --> 01:19:23,080 Speaker 1: like it's not the same song obviously, but yeah, like 1439 01:19:24,240 --> 01:19:27,920 Speaker 1: on their own behalf, it's very a lane stretch. It's 1440 01:19:28,200 --> 01:19:35,559 Speaker 1: very okay, high in fidelity, love love love this one. 1441 01:19:36,320 --> 01:19:42,759 Speaker 1: Destner is back and also just again, like it's it's weird, 1442 01:19:42,960 --> 01:19:45,760 Speaker 1: like what would preoccupy her about this, you know, but 1443 01:19:45,880 --> 01:19:47,960 Speaker 1: it's just again. I feel like this takes place outside 1444 01:19:47,960 --> 01:19:50,760 Speaker 1: of herself as well, Yes yes, yes, yes, which I 1445 01:19:50,840 --> 01:19:52,760 Speaker 1: love and makes it fun for a Destiner track too, 1446 01:19:52,840 --> 01:19:54,640 Speaker 1: because it's like that's it feels like that's where she 1447 01:19:54,760 --> 01:19:57,920 Speaker 1: really started exploring that, like writing from the perspectives of others, 1448 01:19:58,000 --> 01:20:01,400 Speaker 1: Like this feels like that to be honest, totally, Um, 1449 01:20:02,720 --> 01:20:07,920 Speaker 1: I am big, big, big into glitch. You have been 1450 01:20:07,960 --> 01:20:13,360 Speaker 1: a glitch, stand that's been a glitch, But it's this 1451 01:20:13,680 --> 01:20:18,720 Speaker 1: is maybe since like and I might be wrong on this, 1452 01:20:18,880 --> 01:20:22,800 Speaker 1: but I feel like since sad, beautiful, tragic her most 1453 01:20:24,000 --> 01:20:28,400 Speaker 1: textured vocal, you can hear the years on her in 1454 01:20:28,439 --> 01:20:31,600 Speaker 1: a way that I love. Yeah, and also like you 1455 01:20:31,680 --> 01:20:33,920 Speaker 1: can hear her like working things out, you know what 1456 01:20:33,960 --> 01:20:35,679 Speaker 1: I mean. Like it's like like the way this doesn't 1457 01:20:35,720 --> 01:20:38,799 Speaker 1: really make sense for me, like emotionally, why is this happening? 1458 01:20:38,960 --> 01:20:40,519 Speaker 1: You know what I mean? Like it's and it's just 1459 01:20:41,120 --> 01:20:42,560 Speaker 1: this to me, I feel like maybe you could have 1460 01:20:42,640 --> 01:20:46,320 Speaker 1: been on the regular album. I agree, but I understand 1461 01:20:46,360 --> 01:20:49,519 Speaker 1: why it's here because it's it's a complicated lyrical emotion, 1462 01:20:50,360 --> 01:20:51,880 Speaker 1: and so I feel like it belongs on the three. 1463 01:20:51,880 --> 01:20:56,959 Speaker 1: I am in that way absolutely, And like the guitar, 1464 01:20:57,680 --> 01:21:00,880 Speaker 1: there's something really bold about the production on that, where 1465 01:21:00,960 --> 01:21:04,759 Speaker 1: like the guitar is getting like dialed, it's being wiggled. 1466 01:21:04,800 --> 01:21:07,879 Speaker 1: It's literally like it's it's not even like a vibrato 1467 01:21:07,960 --> 01:21:10,560 Speaker 1: or anything. It's but there's something really anyvative about it. 1468 01:21:11,240 --> 01:21:14,960 Speaker 1: Like if you really listen to the soundscape of this, 1469 01:21:15,240 --> 01:21:19,360 Speaker 1: like it's really really cool. It's experimental and doesn't really 1470 01:21:19,439 --> 01:21:23,040 Speaker 1: make sense but works. Yeah, totally, um okay what it 1471 01:21:23,080 --> 01:21:28,040 Speaker 1: could have shout up, let's talk about this is a moment. 1472 01:21:29,400 --> 01:21:34,880 Speaker 1: This is I mean, I damn sure would it never 1473 01:21:35,040 --> 01:21:37,559 Speaker 1: dance with? When I heard that, I was like, how 1474 01:21:37,720 --> 01:21:46,000 Speaker 1: dare she like that hook? The pain? I love it? 1475 01:21:46,360 --> 01:21:48,559 Speaker 1: It really just it all pays off in the end, 1476 01:21:48,600 --> 01:21:50,080 Speaker 1: the way the way it just built and built and 1477 01:21:50,120 --> 01:21:55,680 Speaker 1: builds and builds, and you're like, damn ye, chrisms I 1478 01:21:55,760 --> 01:21:57,280 Speaker 1: used to be honestly, And then when she takes it 1479 01:21:57,400 --> 01:22:00,160 Speaker 1: up at the end into her her big register her, 1480 01:22:00,240 --> 01:22:03,920 Speaker 1: I'm like, first of all, one of the great tailorisms 1481 01:22:04,080 --> 01:22:06,840 Speaker 1: on this album that's like a timeless one. Is I 1482 01:22:07,000 --> 01:22:11,439 Speaker 1: regrat you all that you all the time? First of all, 1483 01:22:11,520 --> 01:22:13,280 Speaker 1: let's just say, let's call U Spacebay. This is about 1484 01:22:13,320 --> 01:22:18,760 Speaker 1: John Mayor. This is about whatever trauma she experienced. Yes, 1485 01:22:18,960 --> 01:22:22,280 Speaker 1: this is about however that formative relationship, whether it was 1486 01:22:22,439 --> 01:22:26,320 Speaker 1: romantic sexual however. I mean, you can read Jessica Simpsons book. 1487 01:22:26,680 --> 01:22:29,799 Speaker 1: She talks about the way this man works in detail. 1488 01:22:30,200 --> 01:22:32,680 Speaker 1: You can listen to Dear John. I mean, there was 1489 01:22:32,840 --> 01:22:36,920 Speaker 1: something that happened here at her age that didn't jibe, 1490 01:22:37,320 --> 01:22:40,000 Speaker 1: which she I think still looks back on and it 1491 01:22:40,120 --> 01:22:42,519 Speaker 1: is like, fuck, why did I let that person funk 1492 01:22:42,600 --> 01:22:46,400 Speaker 1: with me like that? Because it messed me up? Like 1493 01:22:46,680 --> 01:22:49,960 Speaker 1: and and also not for nothing. But when I say 1494 01:22:50,000 --> 01:22:52,000 Speaker 1: it's like all too well, it's because that song and 1495 01:22:52,080 --> 01:22:54,519 Speaker 1: its bigness about Jake and the way that she had 1496 01:22:54,560 --> 01:22:59,120 Speaker 1: to return to it because of how big that relationship looms, 1497 01:22:59,160 --> 01:23:01,679 Speaker 1: how large it looms in her life, and how emotionally 1498 01:23:01,720 --> 01:23:04,000 Speaker 1: it's such a marker for her that she came out 1499 01:23:04,080 --> 01:23:06,600 Speaker 1: with it and like ten minute ized it and like 1500 01:23:06,720 --> 01:23:10,720 Speaker 1: gave it its moment. This song can't help but get 1501 01:23:10,840 --> 01:23:13,960 Speaker 1: bigger and bigger and bigger as it goes, and I 1502 01:23:14,040 --> 01:23:16,080 Speaker 1: think it might be the best song in this work, 1503 01:23:16,439 --> 01:23:18,960 Speaker 1: Like Anti Hero is incredible. It makes sense for the album. 1504 01:23:19,000 --> 01:23:21,160 Speaker 1: It is the single. It is the thesis statement what 1505 01:23:21,320 --> 01:23:24,280 Speaker 1: it could have should have. This is like this would 1506 01:23:24,320 --> 01:23:27,880 Speaker 1: exist on any album that she put out. This is 1507 01:23:28,000 --> 01:23:32,160 Speaker 1: just like Capital t Capital asked Taylor Swift in this 1508 01:23:32,439 --> 01:23:37,880 Speaker 1: album that stands on its own island, and I I 1509 01:23:37,960 --> 01:23:42,080 Speaker 1: am thrilled that we got it. And the melodies the 1510 01:23:42,160 --> 01:23:45,479 Speaker 1: core of the hooks. The song is made of hooks again, 1511 01:23:45,600 --> 01:23:48,400 Speaker 1: like her voice is the ranges. There just might be 1512 01:23:48,479 --> 01:23:51,600 Speaker 1: her rangingest song. It drives. By the end of it, 1513 01:23:51,720 --> 01:23:54,800 Speaker 1: you're like, wow, I mean the thoughts she leaves you with, 1514 01:23:55,120 --> 01:23:58,320 Speaker 1: like this is a song. This is a song. It's 1515 01:23:58,360 --> 01:24:01,839 Speaker 1: the longest song on the album, yep. And it moves 1516 01:24:02,720 --> 01:24:05,880 Speaker 1: in spite of that like it's um, you're right, like 1517 01:24:06,640 --> 01:24:08,560 Speaker 1: I didn't think long enough about the John Mayory of 1518 01:24:08,600 --> 01:24:12,040 Speaker 1: it all. And the reason it builds and it's fully 1519 01:24:12,120 --> 01:24:16,200 Speaker 1: like unleashed, un bridled by the end is because it's 1520 01:24:16,280 --> 01:24:19,840 Speaker 1: like she has been sitting on this. She's not like 1521 01:24:20,040 --> 01:24:24,760 Speaker 1: really exercised it from her her mind in the in 1522 01:24:24,840 --> 01:24:28,639 Speaker 1: like the thirteen years since it's happened. Oh my god, yep, 1523 01:24:29,320 --> 01:24:34,960 Speaker 1: thirteen You know, I alright, just being personal. I dated 1524 01:24:35,000 --> 01:24:37,320 Speaker 1: an older guy when I was nineteen, and it was 1525 01:24:37,360 --> 01:24:40,400 Speaker 1: a formative relationship from me in positive and negative ways, 1526 01:24:40,479 --> 01:24:42,960 Speaker 1: and I still talk about it in therapy, like and 1527 01:24:43,080 --> 01:24:46,360 Speaker 1: when when someone gets you at that age, it's like 1528 01:24:46,439 --> 01:24:48,679 Speaker 1: there's a before and and after. She says, I miss 1529 01:24:48,720 --> 01:24:51,679 Speaker 1: who I used to be. It's that person that thought 1530 01:24:52,760 --> 01:24:57,360 Speaker 1: like love and sex and romance all meant one thing. 1531 01:24:57,479 --> 01:24:59,840 Speaker 1: And then you have a relationship where you realize like 1532 01:25:00,040 --> 01:25:02,880 Speaker 1: there's so many layers to all of that, and I 1533 01:25:03,000 --> 01:25:05,200 Speaker 1: wish you would have kept me wondering, you know what 1534 01:25:05,280 --> 01:25:08,519 Speaker 1: I mean? Like, fuck, I hate that you are going 1535 01:25:08,560 --> 01:25:11,920 Speaker 1: to be the person that is existing in my mind's 1536 01:25:11,960 --> 01:25:14,120 Speaker 1: eye from now on forever when I think about who 1537 01:25:14,160 --> 01:25:16,280 Speaker 1: I used to be and who I am regarding love 1538 01:25:16,680 --> 01:25:20,439 Speaker 1: something that I fixated on and really care about and 1539 01:25:20,680 --> 01:25:24,679 Speaker 1: want so badly, And now I've achieved, but I still 1540 01:25:25,240 --> 01:25:27,960 Speaker 1: have you in my head. He still has real estate 1541 01:25:28,120 --> 01:25:31,080 Speaker 1: in her mind. In a song that can't help but 1542 01:25:31,280 --> 01:25:35,000 Speaker 1: be bigger than it even should be on this album 1543 01:25:35,280 --> 01:25:37,240 Speaker 1: give Me Back My Girlhood of his mind first, like 1544 01:25:37,320 --> 01:25:40,600 Speaker 1: it is that kind of says it all for you 1545 01:25:40,640 --> 01:25:42,360 Speaker 1: and and if and if you can relate to it 1546 01:25:42,439 --> 01:25:47,840 Speaker 1: in that way, I mean this, this one, this one 1547 01:25:48,080 --> 01:25:49,560 Speaker 1: means a lot to me, to be honest with you, 1548 01:25:49,720 --> 01:25:52,200 Speaker 1: like because you know, like and readers know, if you've 1549 01:25:52,280 --> 01:25:57,080 Speaker 1: had that relationship where you gave the power up, you 1550 01:25:57,240 --> 01:26:01,360 Speaker 1: understand like what it is and how you know that person, 1551 01:26:01,560 --> 01:26:05,160 Speaker 1: like the person that delivers the first you know what 1552 01:26:05,280 --> 01:26:08,680 Speaker 1: I mean, they will always be there and not for 1553 01:26:08,840 --> 01:26:12,280 Speaker 1: not it's not for everyone that that results in happy 1554 01:26:12,360 --> 01:26:15,920 Speaker 1: feelings or and it always results in at least complicated feelings. 1555 01:26:16,400 --> 01:26:20,320 Speaker 1: And her still mulling over this, and she's like, the 1556 01:26:20,360 --> 01:26:23,439 Speaker 1: pain was heaven. There's a compromise here because she understands that, 1557 01:26:23,560 --> 01:26:27,080 Speaker 1: like it was enjoyable because it was the first and 1558 01:26:27,160 --> 01:26:30,080 Speaker 1: it was this thing that like created the blueprint for 1559 01:26:30,120 --> 01:26:33,400 Speaker 1: everything else going forward. Yeah, um, I keep talking about 1560 01:26:33,400 --> 01:26:36,439 Speaker 1: this and powers interview with Sam Sanders, but it's it's 1561 01:26:36,520 --> 01:26:39,080 Speaker 1: so you have to listen to it. Everyone should like it. 1562 01:26:39,560 --> 01:26:41,599 Speaker 1: But she says, and this is where I disagree with her, 1563 01:26:42,040 --> 01:26:44,400 Speaker 1: And Paris says that Taylor Swift is a super ego 1564 01:26:44,439 --> 01:26:47,120 Speaker 1: of an artist, right like like her whole her work 1565 01:26:47,200 --> 01:26:49,760 Speaker 1: is super ego. Her work is so okay between the 1566 01:26:50,040 --> 01:26:51,640 Speaker 1: the ego and the super ego, like the it is 1567 01:26:51,720 --> 01:26:54,639 Speaker 1: like all like the impulses. So it's what happens when 1568 01:26:54,640 --> 01:26:56,920 Speaker 1: you have knee ruk reactions. Yes, yes, your super ego 1569 01:26:57,040 --> 01:26:59,000 Speaker 1: is like the person who's trying to corral it all 1570 01:26:59,040 --> 01:27:01,800 Speaker 1: into morality, and the ego is the one that like 1571 01:27:02,000 --> 01:27:04,560 Speaker 1: is compromising, is going well, maybe there's a way to 1572 01:27:05,040 --> 01:27:08,800 Speaker 1: have both impulses and the sort of inner morals that 1573 01:27:08,840 --> 01:27:12,040 Speaker 1: you set with yourself trying to organize it, maybe even 1574 01:27:12,080 --> 01:27:15,120 Speaker 1: for other people to totally. I think early on in 1575 01:27:15,160 --> 01:27:18,599 Speaker 1: her career, up until I would say reputation, Taylor, Taylor 1576 01:27:18,680 --> 01:27:25,400 Speaker 1: was all about. It was all about impulses, um conflict, 1577 01:27:26,640 --> 01:27:31,840 Speaker 1: her interests superseding anyone else's. And I think with folklore 1578 01:27:32,000 --> 01:27:35,640 Speaker 1: and evermore, that's when like the ego came in and 1579 01:27:35,760 --> 01:27:37,760 Speaker 1: was like I have I can take some accountability for 1580 01:27:37,920 --> 01:27:41,320 Speaker 1: my own stuff, you know, or even maybe lover. But 1581 01:27:41,400 --> 01:27:43,680 Speaker 1: I think on what it could have showed it. It 1582 01:27:43,920 --> 01:27:46,960 Speaker 1: is like so for it to be so passionate and 1583 01:27:47,120 --> 01:27:52,760 Speaker 1: big and yet still like unsure of itself. I think 1584 01:27:52,800 --> 01:27:54,600 Speaker 1: she she used to be an id artist first and 1585 01:27:54,720 --> 01:27:56,360 Speaker 1: now I think she is ego. Now I think she's 1586 01:27:56,360 --> 01:27:59,360 Speaker 1: someone who's like, m I need to refile, I need 1587 01:27:59,400 --> 01:28:01,719 Speaker 1: to resort all of this stuff in my mind. Yeah, 1588 01:28:02,160 --> 01:28:04,519 Speaker 1: you know what, there's also this genuine feeling I get 1589 01:28:04,560 --> 01:28:09,160 Speaker 1: when I listened to what which is I'm piste off. 1590 01:28:09,160 --> 01:28:10,920 Speaker 1: I even had to write this sign, you know what 1591 01:28:11,000 --> 01:28:13,600 Speaker 1: I mean, Like I regret you all the time, Like 1592 01:28:13,760 --> 01:28:16,280 Speaker 1: I just want to let you know, like you really 1593 01:28:16,320 --> 01:28:18,760 Speaker 1: took me for a ride, and I wish I hadn't 1594 01:28:18,840 --> 01:28:22,120 Speaker 1: gotten on it. But like this song will be what 1595 01:28:22,360 --> 01:28:26,439 Speaker 1: I I'm left with and I'm leaving everyone with and 1596 01:28:26,560 --> 01:28:30,240 Speaker 1: honestly like and not to not to be like cheering 1597 01:28:30,320 --> 01:28:33,479 Speaker 1: on her, you know, toxic relationship at nineteen with this man, 1598 01:28:33,600 --> 01:28:36,760 Speaker 1: But like I'm happy and happy forget this song. We 1599 01:28:36,920 --> 01:28:40,120 Speaker 1: all hope, we all hope every person that's a creator 1600 01:28:40,600 --> 01:28:43,479 Speaker 1: hopes that they can take what they've been through like 1601 01:28:43,680 --> 01:28:46,240 Speaker 1: this and externalize it in a way that helps not 1602 01:28:46,400 --> 01:28:49,439 Speaker 1: only them but everyone else. And and and like I 1603 01:28:49,600 --> 01:28:51,760 Speaker 1: hope that she feels helped by writing this, Like I 1604 01:28:51,880 --> 01:28:54,439 Speaker 1: hope that it gives her some closure to be able 1605 01:28:54,479 --> 01:28:56,720 Speaker 1: to get this out because the dear John of it all, 1606 01:28:56,840 --> 01:29:00,240 Speaker 1: I feel like, yes, she was externalizing, but that's is 1607 01:29:00,280 --> 01:29:02,960 Speaker 1: also in because a little bit of that song is 1608 01:29:03,000 --> 01:29:05,679 Speaker 1: I'm gonna get this guy. I'm gonna call it Dear John, 1609 01:29:06,560 --> 01:29:08,320 Speaker 1: And I almost feel like there might even be a 1610 01:29:08,360 --> 01:29:11,360 Speaker 1: little bit of self consciousness and embarrassment about how bald 1611 01:29:11,479 --> 01:29:14,920 Speaker 1: that is. And now she's looking back and she's saying, like, 1612 01:29:15,280 --> 01:29:17,639 Speaker 1: you made me feel and look stupid in so many ways, 1613 01:29:17,680 --> 01:29:20,160 Speaker 1: even though Dear John is an incredible so you you 1614 01:29:20,280 --> 01:29:22,280 Speaker 1: humiliated me the fact that I had to go where 1615 01:29:22,280 --> 01:29:24,800 Speaker 1: it is. And also, let's face it, the entire thing 1616 01:29:24,880 --> 01:29:30,240 Speaker 1: with Katie was really about John. Like that fucked Taylor 1617 01:29:30,800 --> 01:29:33,400 Speaker 1: up to the point where it was like it spun 1618 01:29:33,479 --> 01:29:38,160 Speaker 1: off into all different types of directions. But that's, you know, 1619 01:29:38,320 --> 01:29:41,280 Speaker 1: not not to say he caused her trauma, but that's 1620 01:29:41,400 --> 01:29:45,200 Speaker 1: what formative relationships do, you know what I mean? They 1621 01:29:45,280 --> 01:29:47,400 Speaker 1: spin you out, they change you for a few years, 1622 01:29:47,920 --> 01:29:50,360 Speaker 1: you know what I mean. Like it's very real, and 1623 01:29:50,439 --> 01:29:53,680 Speaker 1: I think it's important to note that, like, let's just 1624 01:29:53,760 --> 01:29:57,479 Speaker 1: keep it to John, like a confessional musician, singer, songwriter 1625 01:29:57,920 --> 01:30:00,599 Speaker 1: who was very famous and so of horse. She's going 1626 01:30:00,680 --> 01:30:06,240 Speaker 1: to spend the next thirteen years or however long playing 1627 01:30:06,320 --> 01:30:10,280 Speaker 1: all this out publicly putting it in her songwriting, like 1628 01:30:10,920 --> 01:30:15,120 Speaker 1: making some of her persona, which she is acutely aware 1629 01:30:15,200 --> 01:30:18,880 Speaker 1: of the entire time she's working centering that persona on 1630 01:30:19,800 --> 01:30:23,240 Speaker 1: this kind of wrong illness. It all makes sense. And 1631 01:30:23,479 --> 01:30:25,560 Speaker 1: if you're one of those people who is not a 1632 01:30:25,600 --> 01:30:27,639 Speaker 1: swift ee or as someone who is like a little 1633 01:30:27,720 --> 01:30:31,840 Speaker 1: tired of like the rehashing, like I think, I think 1634 01:30:31,880 --> 01:30:35,360 Speaker 1: it is just the human artistic way to do this 1635 01:30:36,360 --> 01:30:39,200 Speaker 1: is for her to process this. Does that make sense 1636 01:30:39,240 --> 01:30:41,679 Speaker 1: because because again, like you're not going to get clarity 1637 01:30:41,760 --> 01:30:44,680 Speaker 1: on this type of thing soon afterwards, you know, you know, 1638 01:30:44,840 --> 01:30:47,040 Speaker 1: like what she was able to put out was Dear John, 1639 01:30:47,120 --> 01:30:50,120 Speaker 1: which was basically telling on him and letting people know 1640 01:30:50,240 --> 01:30:53,400 Speaker 1: she was hurt. But this is years later, and this 1641 01:30:53,600 --> 01:30:56,080 Speaker 1: is the song she's released, and it's clear that it 1642 01:30:56,160 --> 01:30:59,519 Speaker 1: still sucks her up, because that is how powerful that 1643 01:30:59,640 --> 01:31:04,320 Speaker 1: relation and chip is in your life a moment a moment. 1644 01:31:05,080 --> 01:31:06,880 Speaker 1: And then I love that it's the second and last 1645 01:31:07,040 --> 01:31:09,880 Speaker 1: track because she takes a breath and then gives us, 1646 01:31:09,960 --> 01:31:12,680 Speaker 1: dear reader, here's what I've learned. Here's what I'm telling you. 1647 01:31:12,760 --> 01:31:14,800 Speaker 1: Whether or not she's going back and telling herself in 1648 01:31:14,880 --> 01:31:17,639 Speaker 1: the past, or she's letting people know for the future. 1649 01:31:17,720 --> 01:31:20,320 Speaker 1: This is what I've learned. These are my notes, like 1650 01:31:21,000 --> 01:31:23,120 Speaker 1: and the dear reader of it all, Like I mean, 1651 01:31:24,240 --> 01:31:26,479 Speaker 1: she it's a love letter to us and to herself. 1652 01:31:27,120 --> 01:31:29,960 Speaker 1: It is, Yes, it is, it is, it is. We 1653 01:31:30,040 --> 01:31:32,160 Speaker 1: can't make too much of this except that it's a 1654 01:31:32,240 --> 01:31:36,000 Speaker 1: wonderful song, wonderful closer. Never take advice from someone who's 1655 01:31:36,040 --> 01:31:39,000 Speaker 1: falling apart. Wow, Like what a great pithy line or 1656 01:31:39,000 --> 01:31:41,800 Speaker 1: not pithy, but it's like, it's it's pretty, it's saying 1657 01:31:41,800 --> 01:31:45,360 Speaker 1: a lot. That sentence is saying so much. And that's Taylor, 1658 01:31:45,880 --> 01:31:50,160 Speaker 1: that's Ali. That is out Okay are people I hope? 1659 01:31:50,200 --> 01:31:52,720 Speaker 1: I hope. I'm not like stabbing in the dark with this. 1660 01:31:52,960 --> 01:31:55,680 Speaker 1: Like I think Allison is a new persona is or 1661 01:31:55,880 --> 01:31:59,599 Speaker 1: just a new identity through which we can understand. Taylor 1662 01:31:59,680 --> 01:32:03,960 Speaker 1: Swift is this person who is finally like marrying Taylor 1663 01:32:04,040 --> 01:32:08,720 Speaker 1: and Taylor together to become Taylor Allison Swift. Yeah, there 1664 01:32:08,800 --> 01:32:12,280 Speaker 1: you go, Alison, Ali, Ali a l I an album 1665 01:32:12,360 --> 01:32:19,160 Speaker 1: and a half literally truly, I love Midnights. I'm happy 1666 01:32:19,240 --> 01:32:21,519 Speaker 1: to be in the Midnight's era. I don't know what 1667 01:32:21,720 --> 01:32:23,720 Speaker 1: I'm doing in terms of where I'm ranking and the 1668 01:32:23,760 --> 01:32:26,720 Speaker 1: grander scheme, but it's it's close to number one for me, 1669 01:32:27,000 --> 01:32:29,120 Speaker 1: I mean just because of the way I feel like 1670 01:32:29,200 --> 01:32:32,400 Speaker 1: it improves lyrically on the albums of hers that I love, 1671 01:32:32,600 --> 01:32:34,760 Speaker 1: you know what I mean, Like I think, I think 1672 01:32:34,800 --> 01:32:37,920 Speaker 1: if if reputation is my favorite vibe that she has 1673 01:32:37,960 --> 01:32:40,800 Speaker 1: out there, like this is reputation but with incredible like 1674 01:32:41,160 --> 01:32:44,720 Speaker 1: folklore evermore type lyrics where she actually became, you know, 1675 01:32:44,840 --> 01:32:47,400 Speaker 1: the realized version of who she is as a songwriter. 1676 01:32:47,479 --> 01:32:50,599 Speaker 1: And she was always brilliant because she was always really, 1677 01:32:50,720 --> 01:32:54,840 Speaker 1: really really good at expressing. And so now you see, 1678 01:32:56,120 --> 01:32:59,479 Speaker 1: like it's self expression and also self assessment in a 1679 01:32:59,560 --> 01:33:01,960 Speaker 1: way that works as pop music and vibes, and it's 1680 01:33:01,960 --> 01:33:07,559 Speaker 1: a funk album period period. Maybe it's time to move 1681 01:33:07,600 --> 01:33:09,960 Speaker 1: on to I don't think so, honey, It's time to 1682 01:33:10,040 --> 01:33:11,559 Speaker 1: move on to I don't think so, honey. I don't 1683 01:33:11,600 --> 01:33:13,280 Speaker 1: think we can say much more than all of this. 1684 01:33:13,640 --> 01:33:17,760 Speaker 1: I mean, we we have, we've enjoyed, we've licked it, 1685 01:33:17,960 --> 01:33:23,120 Speaker 1: snorted it, fucked it, resuscitated it brought it back to life, 1686 01:33:23,800 --> 01:33:27,679 Speaker 1: and we're being buried with it. This is I don't 1687 01:33:27,720 --> 01:33:29,120 Speaker 1: think so, honey, it's where we take one minute to 1688 01:33:29,160 --> 01:33:31,240 Speaker 1: real against something in culture that's pissing us the funk 1689 01:33:31,280 --> 01:33:34,120 Speaker 1: off and something is and it's it's totally separate from Taylor. 1690 01:33:34,160 --> 01:33:36,479 Speaker 1: I just have to say it, Okay, this is Matt Rodgers. 1691 01:33:36,479 --> 01:33:38,320 Speaker 1: I don't think so many time starts now. I don't 1692 01:33:38,360 --> 01:33:41,040 Speaker 1: think so, honey, in the mid term era. The amount 1693 01:33:41,080 --> 01:33:43,880 Speaker 1: of emails that we get from these democratic politicians and 1694 01:33:43,920 --> 01:33:47,120 Speaker 1: these organizations. I'm sorry that the other day I received 1695 01:33:47,320 --> 01:33:53,680 Speaker 1: in one period, twelve emails from Val Demmings. I have 1696 01:33:53,880 --> 01:33:58,040 Speaker 1: to tell you something. You need to cool it. This 1697 01:33:58,240 --> 01:34:02,960 Speaker 1: can't possibly help, like to bother someone so so so 1698 01:34:03,160 --> 01:34:07,400 Speaker 1: so so much, and also state literally every single subject 1699 01:34:07,560 --> 01:34:10,760 Speaker 1: and it's like we're in trouble. We need help. Never 1700 01:34:10,880 --> 01:34:14,280 Speaker 1: felt this bad. It's going badly, Matt. Like it's all 1701 01:34:14,320 --> 01:34:17,200 Speaker 1: in all lower case, like there Ariana Grande albums. It's 1702 01:34:17,240 --> 01:34:20,800 Speaker 1: like our songs. I'm just like Val. I actually had 1703 01:34:20,840 --> 01:34:23,920 Speaker 1: to unsubscribe, and I did donate because I thought maybe 1704 01:34:23,960 --> 01:34:26,200 Speaker 1: if I donate, it will like no, no, not attacked 1705 01:34:26,240 --> 01:34:29,439 Speaker 1: me as much. It's still came. And it's everyone across 1706 01:34:29,479 --> 01:34:32,920 Speaker 1: the board, the amount of desperation and how they're asking 1707 01:34:32,960 --> 01:34:35,320 Speaker 1: for money, is not helping. It's making me really scared. 1708 01:34:35,640 --> 01:34:38,880 Speaker 1: I don't think so, honey, And that's one minute. Um No, 1709 01:34:39,040 --> 01:34:43,519 Speaker 1: there's there's no such thing as like feeling good about 1710 01:34:44,760 --> 01:34:48,720 Speaker 1: I would say politicians, not even like I'm not I'm 1711 01:34:48,720 --> 01:34:51,519 Speaker 1: not gonna say politics because obviously, but like, let me, 1712 01:34:51,640 --> 01:34:54,799 Speaker 1: let's just say that, like thinking of politician is cool, 1713 01:34:55,040 --> 01:34:57,240 Speaker 1: is like so dangerous that it's the reason why we're 1714 01:34:57,280 --> 01:35:01,720 Speaker 1: in this fucking nightmare now anyway, like some sort of congressman. 1715 01:35:02,680 --> 01:35:04,120 Speaker 1: You know what, I love it. I love that she 1716 01:35:04,200 --> 01:35:07,840 Speaker 1: did that. I just the energy from these people is 1717 01:35:08,000 --> 01:35:13,120 Speaker 1: so panicked and frenetic that it just it really, my 1718 01:35:13,240 --> 01:35:15,760 Speaker 1: anxiety is through the roof, and I'm like, it's not 1719 01:35:15,840 --> 01:35:17,760 Speaker 1: even Yeah, It's like it's like when you do like 1720 01:35:18,080 --> 01:35:21,360 Speaker 1: a donation, Let's say you donate to a local candidate 1721 01:35:21,439 --> 01:35:27,560 Speaker 1: in your distruct you get emails from fucking like Warnock 1722 01:35:27,960 --> 01:35:33,120 Speaker 1: in Georgia. It's crazy. It's crazy. It's from politicians who, yeah, 1723 01:35:33,120 --> 01:35:37,040 Speaker 1: sure need your donations. But it's crazy that I keep 1724 01:35:37,120 --> 01:35:40,160 Speaker 1: getting Yeah that we all just keep from from every 1725 01:35:40,720 --> 01:35:44,280 Speaker 1: corner of the country. It's like you're being and then 1726 01:35:44,320 --> 01:35:47,000 Speaker 1: I'm like, where where did I sign up for this? One, 1727 01:35:47,120 --> 01:35:48,439 Speaker 1: you know what I mean? Of course I want to 1728 01:35:48,680 --> 01:35:51,960 Speaker 1: support and celebrate like everyone that's trying to take these 1729 01:35:52,000 --> 01:35:55,400 Speaker 1: Republicans down, like I needed to happen. But the thing is, 1730 01:35:55,520 --> 01:35:58,760 Speaker 1: just like I wish the energy if we could find 1731 01:35:58,840 --> 01:36:03,200 Speaker 1: a way to make it seem already like a defeat. 1732 01:36:04,200 --> 01:36:06,439 Speaker 1: I only ever get emails that are like it's going 1733 01:36:06,720 --> 01:36:10,120 Speaker 1: really bad, and and then I I genuinely wonder if 1734 01:36:10,160 --> 01:36:13,800 Speaker 1: that works on people, because because it got me to unsubscribe. 1735 01:36:13,880 --> 01:36:17,120 Speaker 1: I donated, but I unsubscribed, And is that what they wanted? 1736 01:36:17,439 --> 01:36:18,800 Speaker 1: What do you think is gonna happen when you send 1737 01:36:18,840 --> 01:36:21,960 Speaker 1: me eleven I swear to God, eleven emails in one day. 1738 01:36:22,600 --> 01:36:24,519 Speaker 1: I can't even see what's going on in my own life. 1739 01:36:25,520 --> 01:36:28,920 Speaker 1: Every Like, literally, I'm missing things because the amount of 1740 01:36:29,320 --> 01:36:36,320 Speaker 1: political donation emails I get are out of control. Now 1741 01:36:36,439 --> 01:36:39,240 Speaker 1: we have Bowen Yangs, I don't think so honey. Are 1742 01:36:39,240 --> 01:36:44,200 Speaker 1: you're ready girl, girl? I think I'm ready. This is 1743 01:36:44,240 --> 01:36:46,320 Speaker 1: Bowen Yanks. I don't think so honey. As time starts now, 1744 01:36:46,960 --> 01:36:49,720 Speaker 1: I don't think so honey. Us all moving on from 1745 01:36:50,160 --> 01:36:54,519 Speaker 1: Charlie the self titled album by Charlie Pooth, I feel 1746 01:36:54,560 --> 01:36:59,800 Speaker 1: like we have not as a listenership really admired, appreciated 1747 01:37:00,040 --> 01:37:05,559 Speaker 1: this wonderful album, A tightly written and produced album from 1748 01:37:05,840 --> 01:37:08,920 Speaker 1: a great talent that we cannot yet take for granted. 1749 01:37:08,960 --> 01:37:13,560 Speaker 1: And Charlie Pooth, this man has earned our attention. I 1750 01:37:13,800 --> 01:37:17,240 Speaker 1: mean it, He's written some of your favorite songs. You 1751 01:37:17,479 --> 01:37:20,200 Speaker 1: need to give this the time. I'm talking to even 1752 01:37:20,280 --> 01:37:23,080 Speaker 1: my sister Matt Rodgers, who has not really given this 1753 01:37:23,240 --> 01:37:26,840 Speaker 1: guy a chance on his new album. It's but really 1754 01:37:27,360 --> 01:37:29,840 Speaker 1: give the songs to listen. Um, well, I haven't listened 1755 01:37:29,840 --> 01:37:32,200 Speaker 1: to the album yet. I listened to Midnights and Charlie 1756 01:37:32,240 --> 01:37:34,120 Speaker 1: in the same day on the same flight, and both 1757 01:37:34,200 --> 01:37:38,160 Speaker 1: were wonderful experiences. There is a place to let those 1758 01:37:38,240 --> 01:37:41,040 Speaker 1: things co exist. You don't have to only listen to 1759 01:37:41,160 --> 01:37:43,840 Speaker 1: Midnights this week. You don't have to only listen to 1760 01:37:43,920 --> 01:37:46,479 Speaker 1: your favorite arts. You can't expand outwardly if you want 1761 01:37:46,520 --> 01:37:48,479 Speaker 1: to listen to Charlie And that's one minute, and that's 1762 01:37:48,479 --> 01:37:51,720 Speaker 1: a great advertisement for him. And honestly, here's the thing 1763 01:37:51,760 --> 01:37:55,960 Speaker 1: about Charlie Pooth. With me, I always am so excited 1764 01:37:56,040 --> 01:37:58,280 Speaker 1: to listen to what he's doing. And actually on TikTok 1765 01:37:58,320 --> 01:38:00,320 Speaker 1: and like on Instagram, where he like makes his songs. 1766 01:38:00,400 --> 01:38:03,639 Speaker 1: I think he's truly brilliant. I guess I'm just really 1767 01:38:03,800 --> 01:38:07,479 Speaker 1: still waiting to hear like the song from him that 1768 01:38:07,560 --> 01:38:10,320 Speaker 1: I really connect with, really you haven't found it yet, 1769 01:38:11,080 --> 01:38:13,800 Speaker 1: not really, I mean, like it's but also I appreciate 1770 01:38:13,880 --> 01:38:15,400 Speaker 1: who he is as an artist because there's like a 1771 01:38:15,439 --> 01:38:18,800 Speaker 1: lot of natural like anxiety and like almost like a 1772 01:38:18,960 --> 01:38:20,840 Speaker 1: d D energy and what he does that I think 1773 01:38:20,880 --> 01:38:24,080 Speaker 1: really matches him as like a character, and I really 1774 01:38:24,120 --> 01:38:27,400 Speaker 1: appreciate that. And I I have enjoyed tons of songs 1775 01:38:27,479 --> 01:38:30,320 Speaker 1: that he's written for other people, I mean, but with him, 1776 01:38:30,400 --> 01:38:33,120 Speaker 1: it's just like and I understand he's so great. I'm 1777 01:38:33,200 --> 01:38:35,519 Speaker 1: just waiting to stand. I'm really waiting to stand. But 1778 01:38:35,640 --> 01:38:37,360 Speaker 1: after I listen to this album, I will let you know, 1779 01:38:37,640 --> 01:38:39,439 Speaker 1: and I'm open to it. You're waiting to stand, You're 1780 01:38:39,439 --> 01:38:42,800 Speaker 1: not You're not engaging with the material. I know, I know, 1781 01:38:43,000 --> 01:38:44,920 Speaker 1: But I'm just saying, like in the years that he's 1782 01:38:44,960 --> 01:38:47,759 Speaker 1: been a thing, like none of them have like really 1783 01:38:48,000 --> 01:38:49,960 Speaker 1: punched me in the gut, like I fucking love that song, 1784 01:38:50,080 --> 01:38:52,240 Speaker 1: Like it just hasn't really happened for me yet. I'm 1785 01:38:52,280 --> 01:38:58,120 Speaker 1: not saying it won't. Okay, empty cups. Attention, Um that 1786 01:38:58,240 --> 01:38:59,840 Speaker 1: this this is this is old stuff by the way, 1787 01:39:00,200 --> 01:39:03,800 Speaker 1: Um how long? I mean, it's it's really good, It's 1788 01:39:03,840 --> 01:39:05,680 Speaker 1: really good. And then every every song on this new 1789 01:39:05,720 --> 01:39:09,120 Speaker 1: album is a plus, A plus I mean. And also 1790 01:39:09,280 --> 01:39:12,720 Speaker 1: let's not erase Megan Trainer major. Well, we end every 1791 01:39:12,760 --> 01:39:15,639 Speaker 1: episode with the song. This has been a fabulous episode. 1792 01:39:15,640 --> 01:39:16,720 Speaker 1: First of all, I just want to say now, but 1793 01:39:16,720 --> 01:39:18,280 Speaker 1: I want us to go somewhere because it's two PM. 1794 01:39:18,640 --> 01:39:20,519 Speaker 1: But we're gonna end every episode with a song. But 1795 01:39:20,560 --> 01:39:22,040 Speaker 1: I want to say to my sister, we had a 1796 01:39:22,080 --> 01:39:24,479 Speaker 1: fabulous episode. We had a fabulous episode. I was looking 1797 01:39:24,479 --> 01:39:27,559 Speaker 1: forward to this all week and it did not disappoint 1798 01:39:27,600 --> 01:39:31,040 Speaker 1: and you delivered, and you deliver. I I always want 1799 01:39:31,080 --> 01:39:33,479 Speaker 1: to know what you have to say about culture, and 1800 01:39:33,520 --> 01:39:38,559 Speaker 1: now you know it's true. Okay, what's the song somebody 1801 01:39:38,600 --> 01:39:48,880 Speaker 1: to choose from? Like we were in Paris, we were 1802 01:39:49,160 --> 01:39:57,280 Speaker 1: so where else? M hmmm, we were in Paris. To 1803 01:39:57,400 --> 01:39:59,840 Speaker 1: listen to more. Make sure you listen to the three. 1804 01:40:00,000 --> 01:40:08,200 Speaker 1: An addition of Midnight of Midnight by Alison m