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Speaker 1: Give it a chance, give it a chance, give it

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Speaker 1: a chant. Good morning, give it a chance, Give it

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Speaker 1: a chance, give it a chance, Give it a chance morning,

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Speaker 1: give it a you want to give it a chance,

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Speaker 1: Give it a chance, Give it a chance, just give

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Speaker 1: Everybody who saw the name of this episode, I think

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Speaker 1: instantly has the song stuck in their head.

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Speaker 2: You know it's cool about that, Casey. I don't know

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Speaker 2: what it's going to be yet, I know, so that

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Speaker 2: is actually kind of awesome. The people who see.

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Speaker 1: This, they know more right now than you know right now.

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Speaker 2: Of course by then I'll know, but right now, right now,

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Speaker 2: that's all that they shave. By the way, sorry, please

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Speaker 2: contend looking very nice.

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Speaker 1: It's actually not. It's not a clean shave it. I

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Speaker 1: don't know if there's like a processor going on through

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Speaker 1: the Zoom account. I think I might have like the

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Speaker 1: beautify thing on here, like I have a.

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Speaker 2: Full beard somehow it's gone, yeah, that's like, it's it's CG.

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Speaker 2: I also don't have a beard, but why I have

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Speaker 2: a filter on on mine.

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Speaker 1: It's a beardfelt, it's a beardfilt.

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Speaker 2: Please contind. I'm sorry.

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Speaker 1: People know this song. Everyone sort of knows the song,

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Speaker 1: but it started regional.

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Speaker 2: It started regional, okay, and he guesses any it could

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Speaker 2: be any region.

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Speaker 1: It was in the New York region.

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Speaker 2: It started regionally in New York.

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Speaker 1: Oh my god, it's the eeriest of earworms, the wormiest

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Speaker 1: of your worms. People hate it.

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Speaker 2: Presently hate it.

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Speaker 1: I don't think I've ever met a person that's like,

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Speaker 1: that's great, that's a that's a great.

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Speaker 2: Well, I really that's a great I really have no idea.

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Speaker 1: Open your mind to what a song can be. Take

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Speaker 1: it away from like a radio. Oh well, keep it

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Speaker 1: in radio, but take it away from what. Okay, a song,

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Speaker 1: like a true song is. It's a version of a song,

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Speaker 1: and it is a song.

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Speaker 2: Okay, But I mean that's the specific. It's like a riddle.

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Speaker 2: You're speaking of me in a riddle.

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Speaker 1: Mm hm.

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Speaker 2: Take it away from a version of what a song

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Speaker 2: it takes. It's a version of a song. Take it

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Speaker 2: away from your definition of a song. Regional, New York,

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Speaker 2: the spookiest of earworms. People hate it.

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Speaker 1: Radio, think radio, think radio.

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Speaker 2: Oh my god, I mean it's it's amazing. If you

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Speaker 2: can see the inside of my brain, it's like a

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Speaker 2: cartoon of like like out to lunch.

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Speaker 1: I think if I say this word, you'll you'll say it,

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Speaker 1: all right, try it jingle, think of jingles, So is

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Speaker 1: it jigging very close, very close? And is that regional

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Speaker 1: dominic donkey?

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Speaker 2: Growing up we heard it Grandma got run over by

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Speaker 2: a reindeer.

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Speaker 1: So take it a jingle, but don't but take a jingles,

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Speaker 1: like take a Christmas out of.

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Speaker 2: It, all right, take it.

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Speaker 1: It's the most it's probably the most hated jingle of

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Speaker 1: all time, the most hated.

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Speaker 2: This is amazing. I hope there's this should be the

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Speaker 2: whole episode. Is Kevin nowhere close? Like playing darts completely

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Speaker 2: You've nailed.

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Speaker 1: It so many times like an other ways, you know,

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Speaker 1: like I'm like actual song.

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Speaker 2: Most hated, oh one eight seven seven cars with that Yeah, yeah, boy,

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Speaker 2: fucking amazing pull by you. That's an outstanding over.

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Speaker 1: I actually don't even want to take credit because my

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Speaker 1: wife Lisa was like, you have to give me credit

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Speaker 1: for this when you do it.

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Speaker 2: She's got to get who if it's Lisa's Lisa, full

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Speaker 2: credit is due because that is that's like we might

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Speaker 2: have to retire after this.

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Speaker 1: She said, you're a series finale should be this, but

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Speaker 1: I yeah, it was.

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Speaker 2: Likely going to start singing the Sopranos for some reason,

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Speaker 2: you said season finale. I was like, oh, we already

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Speaker 2: did that one.

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Speaker 1: All right, it's funny if they use that instead of

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Speaker 1: don't stop believing these cars are good.

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Speaker 2: Oh, I want some intrepid chancer to make a video

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Speaker 2: of the last thirty seconds of the Sopranos with this

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Speaker 2: song instead. If somebody does that, yeah, you'll be our

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Speaker 2: first external social media.

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Speaker 1: Send it out, send it, put it into the eight.

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Speaker 1: Oh my god, all right, well that is it. I

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Speaker 1: just texted you the version. Here's the big here's the discrepancy.

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Speaker 1: I just texted you the version is that I think

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Speaker 1: the original version. We could listen to the other version,

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Speaker 1: so and to tell everyone the difference. The original version,

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Speaker 1: which was sort of New York based, first, was like

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Speaker 1: a kid sings first, and then a guy. And what

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Speaker 1: I remember the most is the guy that's like, woon, yeah.

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Speaker 2: Yeah, I have some interesting Yeah, we will get into this.

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Speaker 1: We'll get into it. And then the second version is

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Speaker 1: a bunch of kids. They re recorded it and with

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Speaker 1: a bunch of kids, and there's a music video and

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Speaker 1: most people know that one. Yes, yes, let's play this

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Speaker 1: original one first and then we'll talk about it. We'll be

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Speaker 1: right one seven cars kids, krs cars.

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Speaker 2: Your kids amazing.

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Speaker 1: I see that you've stopped before they got into the

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Speaker 1: we're a real weal organization.

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Speaker 2: I've heard. Yeah, I did stop. I thought it was over.

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Speaker 2: That's really amazing.

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Speaker 1: The song parts over, but then it's like the music

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Speaker 1: plays and then there's a guy that's like, like.

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Speaker 3: We're legal.

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Speaker 1: We're a real legal thing.

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Speaker 2: Give you that's Seleno reading that Seleno and Barnes. Actually

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Speaker 2: that's what Selena's up to these days. Yo, since Seleno

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Speaker 2: like die in a plane crash or something.

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Speaker 1: I heard they I know they broke up.

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Speaker 2: There's some dark web conspiracy stuff about what's going on

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Speaker 2: with Selena and Barnes. Fight the Chancers to explore at

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Speaker 2: your own Silk Road.

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Speaker 1: But it's now Here's another question, is Seleno and Barnes

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Speaker 1: is that regional because I grew up knowing but.

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Speaker 2: Injury attorneys incredible and graive.

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Speaker 1: Okay, so obviously this song is so hated, but I

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Speaker 1: think there's obvious merit to it.

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Speaker 2: I love that we're talking about this. I can't handle

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Speaker 2: this at all.

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Speaker 1: Yeah, it's been stuck in people's heads as soon as

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Speaker 1: it came out, like I think they actually wanted to

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Speaker 1: have like psychologists study it and like why it like

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Speaker 1: infected people's brains so much. That's true. People felt like

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Speaker 1: it was playing all day in their head. They thought

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Speaker 1: the CIA created it to like.

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Speaker 2: Wait, what that's real that there was like actual studies

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Speaker 2: that were going to be done about the degree to

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Speaker 2: which this was a successful earworm.

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Speaker 1: From the brief reading I read before this, I might

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Speaker 1: be paraphrasing, Yeah, I had to look it up because

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Speaker 1: I couldn't find the original version for a little while,

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Speaker 1: and so I was looking for it. It's it's really wild,

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Speaker 1: And I remember when it came out and hearing it

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Speaker 1: and being like, why are they spelling it cars with

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Speaker 1: a K? When kids songs are kids things do the

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Speaker 1: thing wrong, Like we're trying to teach them the right way,

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Speaker 1: and they're like, let's mess it up.

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Speaker 2: But it's also like some weird cheap like, uh, look

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Speaker 2: at us, We're being real, is right, kids? Yeah? Cars

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Speaker 2: with a K? Yeah, it's kind of like, come on,

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Speaker 2: be better than that. Seleno. Sorry.

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Speaker 1: The guy's voice is really amazing in it. It's that

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Speaker 1: really also gets under your skin. It's funny he's got

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Speaker 1: some like so have.

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Speaker 2: You heard have you ever heard? Are we? Do you

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Speaker 2: know about the the there is a rumor about who's

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Speaker 2: doing that?

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Speaker 1: No, is this like how Marilyn Manson was the kid

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Speaker 1: from Wonder Years.

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Speaker 2: And he could remove his ribs to give himself LBJ. Yeah, yeah,

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Speaker 2: Marilyn Mansonier's favorite pres of course is self. LBJ is

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Speaker 2: lb J. Yeah, Well, like the l like Espanol lb

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Speaker 2: oh l oh, oh.

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Speaker 1: You're trying to make it like the president like LBJ.

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Speaker 2: I mean I was. He was from Texas, which is

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Speaker 2: right on the board of Mexico where the primary spoop

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Speaker 2: spoken languages Spio, and so it's LBJ. Anyway, all I'm

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Speaker 2: saying is Paul Fife plus Marilyn man equals LBJ. But

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Speaker 2: getting back to the bupkuss at hand, there is a

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Speaker 2: room that Sorry, I'm especially unhinged right now. I think

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Speaker 2: because of what you've chosen, you've like unlocked some My

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Speaker 2: brain is like a festival of pop rocks and nonsense

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Speaker 2: right now.

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Speaker 1: Oh, this is what the deep state wanted.

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Speaker 2: This is what the deep this is what LBJ wanted most.

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Speaker 1: It started with LBJ first and for most.

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Speaker 2: Which is a case thing I feel like first and

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Speaker 2: for most is from first. Yeah, it's rumored that it's

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Speaker 2: Jonathan Richmond.

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Speaker 1: Oh wild, and if you listen.

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Speaker 2: To it with that in your brain, you're like, yo,

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Speaker 2: is it Jonathan Richmond? And I don't know that it is.

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Speaker 2: But I love the idea of somebody being like that

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Speaker 2: dude is you know, a iconoclassed, idiosyncratic, like you know,

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Speaker 2: underground lifer who then has had that weird moment and

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Speaker 2: something about Mary where hopefully that made him a whole

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Speaker 2: mess of money because he's still that dude, still tours

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Speaker 2: sometimes on greyhound buses.

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Speaker 1: Well that's his whole He has a whole song about it,

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Speaker 1: and he feels like he needs to keep doing that.

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Speaker 2: Yeah, and he's and he's like, I, you know, I

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Speaker 2: love and respect him a great deal. I also love

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Speaker 2: the idea of somebody being like, listen, the CIA being like,

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Speaker 2: we have this god forsaken jingle that we've concocted in

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Speaker 2: a lab that's going to be an earworm to the

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Speaker 2: nth degree, and we were wondering, would you like to

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Speaker 2: be the adult voice on the song, and Jonathan Richmond

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Speaker 2: being like okay, and then going and recording it but

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Speaker 2: if you listen to it.

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Speaker 1: It's amazing that you even bring that up, because just

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Speaker 1: recently I've been like on a deep dive of Jonathan

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Speaker 1: Richmond and Modern Lovers, and so it's really kind of crazy.

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Speaker 1: It's funny. I'm on such a kick right now. I'm

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Speaker 1: kind of like, no, because I don't I think he's

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Speaker 1: so unhinged in a good way, like he would divert

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Speaker 1: from the melody, like.

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Speaker 2: Well, that's part of what I wonder when you hear it.

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Speaker 1: Feels like a gun is to his head, yes, but he's.

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Speaker 2: Also like Okay's colors with kids. That almost feels to

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Speaker 2: me like that's him being like putting some stink on it,

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Speaker 2: like some Jonathan. I don't know if it's it's probably

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Speaker 2: not him, but I love the idea. And also when

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Speaker 2: you hear that rumor, you can hear why in the

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Speaker 2: vocal delivery song.

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Speaker 1: If it's not him, it's definitely somebody who's trying to

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Speaker 1: channel him.

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Speaker 2: So what I don't remember, though, is in the the

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Speaker 2: visual for this, for anyone who has not seen it,

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Speaker 2: the one that Casey mentioned before with the kids like

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Speaker 2: playing fake instruments. Oh, that's kind of popping back and forth.

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Speaker 2: What did they do with the adult voice in that?

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Speaker 2: Because there wasn't a grown up in the picture. It

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Speaker 2: was just like four kids and like almost like a

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Speaker 2: Robert Palmer background girls in that.

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Speaker 1: In his beetles, like there's I'm looking at it now.

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Speaker 1: There's like three different little stages. Yes, exactly, like a

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Speaker 1: nineteen sixties sort of like the aspect is.

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Speaker 2: So like there's something kind of like weird and it's

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Speaker 2: a creepy visual. Actually do they get rid of his voice?

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Speaker 1: They got rid of it. He's not in it. So

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Speaker 1: I actually don't mind if we if we listen to

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Speaker 1: it now, because it'll just give us more fodder. I

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Speaker 1: still think, you know, we haven't.

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Speaker 2: There's so much more. Okay, so we're watching.

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Speaker 1: Oh yeah, we're gonna watch that real quick.

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Speaker 2: There's a violin keyboards, a real like a heavy metal

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Speaker 2: looking electric bass. All right, cool, here we go.

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Speaker 1: And maybe we'll maybe we'll do some commercials coming back.

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Speaker 2: Wanton freaking Okay.

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Speaker 1: It's funny because they're all the same, but there's little differences.

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Speaker 1: It's so overproduced. Sorry, it's confusing. But the one we

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Speaker 1: listened to seconds is the most modern one, and it's

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Speaker 1: like they left the auto tune fully on. They didn't

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Speaker 1: blend it. Yeah yeah, yeah, And the drums are like

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Speaker 1: these like eight o eight. But then there's also like

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Speaker 1: country guitar.

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Speaker 2: It actually fits with so many things we've talked about

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Speaker 2: on the great funneling of everything into just this one,

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Speaker 2: you know, weird homogenous. Yeah, yeah, I will say that

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Speaker 2: when it's just the kids, it makes me miss the

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Speaker 2: Jonathan Richmond clone. Oh I actually think he points, he

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Speaker 2: offers counterpoint. He like grounds it in something. Also, though

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Speaker 2: I did it, I forgot about the While they're giving

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Speaker 2: the legal ease. In those last two the kids are talking,

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Speaker 2: there's this like boom bum bum bum boom bum boom bum.

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Speaker 2: It's like this weird little melodic thing. Yes, it is

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Speaker 2: an absolutely perfect earworm. Yeah, I mean it is, so

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Speaker 2: it makes sense that it would drive people I've never

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Speaker 2: had like a it's funny. I feel like, me, this

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Speaker 2: is a weird thing to do. Now. I feel like

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Speaker 2: I'm slightly embarrassed to admit this. I've never had like

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Speaker 2: a deep well of contempt for this. I've always just

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Speaker 2: felt like it was like I'm like I thought it

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Speaker 2: was what I thought was really interesting, And this has

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Speaker 2: nothing to do with maybe this does. I don't know

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Speaker 2: if this chance anti chance or neither. I still don't

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Speaker 2: understand what this organization is, even though I've been hearing

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Speaker 2: their song for probably fifteen years. So you donate your

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Speaker 2: car and somehow, Actually that's as far as I can go.

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Speaker 2: How does it? What then happens to benefit kids?

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Speaker 1: And kids can't drive cars as far as I know,

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Speaker 1: especially in the you know, the the Tri state area

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Speaker 1: at least where it started. Definitely not dog you know,

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Speaker 1: I mean, they can drive a car illegally.

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Speaker 2: Which is cool as hell. Actually, yeah, I don't want

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Speaker 2: to send mixed messages. But on the first hand, definitely

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Speaker 2: a PSA. If you see a kid driving a car,

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Speaker 2: definitely report it to the authorities. But on the second hand,

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Speaker 2: if you see a kid driving a car, that's fucking

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Speaker 2: sick and just like, let that kid just dap them up,

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Speaker 2: dap them yeah, yeah, yeah, yeah, dap them off. Donkey.

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Speaker 1: So it's funny because I'm trying, I'm pulled up a

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Speaker 1: wiki of this, and it's so Cars for Kids takes

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Speaker 1: donations of cars, boats, yachts, and real estate, which is

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Speaker 1: so funny.

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Speaker 2: What the fuck?

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Speaker 1: It's like they can't get anything right. They spell fucking k.

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Speaker 2: Spelled in real estate like r E E L L

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Speaker 2: s e E real estate.

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Speaker 1: Yeah, yachts is just y.

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Speaker 2: I T yes, okay, but then what do they do

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Speaker 2: with those things?

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Speaker 1: They and then it says, then it skips and says

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Speaker 1: Cars for Kids reported revenue of sixty five million dollars

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Speaker 1: and expenses of fifty nine million, So they made six mill.

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Speaker 1: They made six mill. But it's so funny that I

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Speaker 1: hope the fifty nine million just goes to the kids

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Speaker 1: made this music.

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Speaker 2: Yeah, like what is I'm sorry, I'm still not crystal

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Speaker 2: clear on the overall mission and execution of the Cars

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Speaker 2: slash yachts slash real Estate for Kids Empire.

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Speaker 1: This actually might help. I found the section on the

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Speaker 1: Wikipedia of the line. By the way, I'm sorry.

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Speaker 2: We need the listeners to appreciate the degree to which

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Speaker 2: Casey has this is like Casey's JFK, Like you are

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Speaker 2: really really locked in From a research.

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Speaker 1: Perspeci one hundred percent, I take this serious, and I'm

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Speaker 1: going to read the lyrics and maybe that we could

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Speaker 1: sort of figure out what it so one eight seven

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Speaker 1: seven Cars for Kids that's what said. Yeah, the Kars

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Speaker 1: Cars for Kids one, eight seven seven, Cars for Kids.

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Speaker 1: Oh here it is donate your car today.

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Speaker 2: Oh god, I was right there the whole time.

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Speaker 1: It was It's like.

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Speaker 2: Those college classes about Bob Dylan, because you know, what

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Speaker 2: exactly does it mean when he says the ghost of

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Speaker 2: electricity howls and the bones of her face. Hmm. You

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Speaker 2: need a teacher to tell you that, and I did

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Speaker 2: need to be teached by Casey Joes teached. Okay, so

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Speaker 2: you donate your car today, fifty nine mil. Take that

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Speaker 2: away from sixty five mili six mil left. I can

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Speaker 2: give him real estate or a yacht. The kids, we

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Speaker 2: don't know when they come into the picture, don't Cia

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Speaker 2: was involved in writing the song. Jonathan Richmond may or

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Speaker 2: may not have gotten off a Greyhound bus to record

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Speaker 2: his vocal. There are definitely multiple sets of kids on

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Speaker 2: multiple stages doing multiple versions of this song.

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Speaker 1: Because when you don't change the formula too much, right,

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Speaker 1: they already changed the formula that they took Jonathan Richmond off. Yeah,

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Speaker 1: and whoever that was.

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Speaker 2: Sucks, which I think is it was Jimathan Richmus.

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Speaker 1: That's the biggest issue for me is that they change

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Speaker 1: that guy, because I think that guy is the one

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Speaker 1: that really got it in your head. Like when I

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Speaker 1: close my eyes and think of the song, it's that

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Speaker 1: cars we cud.

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Speaker 2: Yeah, it's because it's such a weird choice. It's a

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Speaker 2: really strange like there's vulnerability in his vocal delivery, like

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Speaker 2: for an ad camp it's a really odd Never I

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Speaker 2: would hear that. It was always listening to sports talk radio,

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Speaker 2: usually driving somewhere, usually like a Mets or a Knicks

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Speaker 2: game on when they when those teams were both on

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Speaker 2: at the time w f A N in New York,

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Speaker 2: and they would play that every ad break, every single

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Speaker 2: ad break, you'd hear it. If you were listening for

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Speaker 2: four hours, you'd hear it like thirty times.

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Speaker 1: And you're saying it never never bothered you, you loved it.

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Speaker 1: Every time.

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Speaker 2: I didn't say that, I would I say. I mean,

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Speaker 2: I didn't.

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Speaker 1: Say what I like is they give you a little.

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Speaker 2: No. I just felt I felt like I just felt

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Speaker 2: like I thought it was funny, like it was something

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Speaker 2: that I like. It would come on and I'd be like,

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Speaker 2: there's a ludicrousness to it that I just sort of

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Speaker 2: was like the rapper, Yeah, like the way Ludacris did it, like,

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Speaker 2: do you have the ludicrous version? Can we call that out?

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Speaker 1: Yeah, let's call that out.

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Speaker 2: Yeah, move car, Go for a kid, Go for a kid,

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Speaker 2: Go for a kid, car, go for Oh my diamonds

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Speaker 2: are reckless. It does feel like a munchkin is hanging

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Speaker 2: off of my neck piece. No, it feels like it

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Speaker 2: just felt like when there's these little moments of absurdity

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Speaker 2: that rend the fabric of reality, I'm on board. And

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Speaker 2: so anytime that would come on, especially the Jonathan Richmond version,

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Speaker 2: would be like, this is objectively fucking crazy.

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Speaker 1: All commercials like jingles, Like any anytime you're on the

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Speaker 1: radio and there's like a commercial, it is made to

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Speaker 1: like get your attention. It's louder everything, it's loud louder.

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Speaker 1: It's always some like race Way Park, right, it's always

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Speaker 1: some like the North.

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Speaker 2: Stayerville Yeah yeah yeah exact.

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Speaker 1: Radio radio is always like extremes like TV is just

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Speaker 1: like a person talking about radio and worri'd owt like

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Speaker 1: it's always like the craziest. So they have to compete

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Speaker 1: with that. So you gotta throw Jonathan Richmond Junior in

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Speaker 1: there to be like, oh it's real good.

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Speaker 2: Yeah yeah, yeah. Vulnerable shaking. What's funny is, as you're

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Speaker 2: saying it, it actually is invoking kind of nostalgia because

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Speaker 2: what you're describing is like a non visual medium attempting

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Speaker 2: to compete for attention at the time, in particular something

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Speaker 2: like this this is still exists, but I'm thinking about

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Speaker 2: in those contexts and stuff you described to like Raceway Park.

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Speaker 2: These regional ads like that the Wiz nobody beats the Wiz.

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Speaker 2: That Crazy Eddie was one when I was a kid.

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Speaker 2: These are like, it's almost in a weird way, like

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Speaker 2: uh Vaudvillion or something. It's so broad that they have

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Speaker 2: because you have to get the attention and you don't

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Speaker 2: have the visual component that can like like lights and

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Speaker 2: you know, it's just all sonic, and so it's like, yeah,

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Speaker 2: these like crazy like exaggerated voice actors doing these like elasticity,

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Speaker 2: these elastic things with their voices and these like weird

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Speaker 2: sound effects and.

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Speaker 1: Like, well, the history of radio also is like radio plays,

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Speaker 1: right where they had like a person with like tap

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Speaker 1: shoes hitting a block.

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Speaker 2: Fully artists and shit, yeah, yeah, yeah, absolutely.

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Speaker 1: And I used to love I was a big like

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Speaker 1: hot ninety seven person and instead of like commercials they'd

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Speaker 1: also obviously the radio hosts do ads and so funk

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Speaker 1: Master Flex used to do Western Beef, a commercial for

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Speaker 1: Western Beef, which is like a regional chain. There's one

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Speaker 1: in Staten Island.

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00:20:16,119 --> 00:20:18,080
Speaker 2: Yeah, he'd be like Western Beef, Baby.

401
00:20:18,119 --> 00:20:21,199
Speaker 1: He's like, yeah, yeah about Western Beef. And I like

402
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Speaker 1: loved it, Like it was it's so fun to listen.

403
00:20:23,600 --> 00:20:27,480
Speaker 1: You're like laughing, that's actually so funny. Prices it's amazing,

404
00:20:27,560 --> 00:20:28,639
Speaker 1: and that's a carryover.

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Speaker 2: It does feel like I guess radio's closest analog in

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Speaker 2: not the radio doesn't still exist, but obviously, like terrestrial television,

407
00:20:35,560 --> 00:20:37,120
Speaker 2: it's diminished to.

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Speaker 1: A degree in the medium evolved. Yeah, it's yeah, it's pod.

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Speaker 2: I mean really, the the closest analog for most people,

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Speaker 2: like generation younger than us and younger is podcast. Radio

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Speaker 2: is looked at as like an antiquated kind of like

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Speaker 2: almost like I don't know, if I was just getting

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Speaker 2: a conversation with a sixteen year old about like what

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Speaker 2: radio do you listen to? I would be fascinated to

415
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Speaker 2: find out what they'd say. But I do think even

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00:21:02,840 --> 00:21:05,679
Speaker 2: with podcasts it's funny, like I mean, maybe this is

417
00:21:05,720 --> 00:21:07,960
Speaker 2: the next frontier for you and I with this pod,

418
00:21:08,280 --> 00:21:11,000
Speaker 2: but so many times you hear the host doing the

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Speaker 2: ad breaks, you know what I mean, like celebritized.

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Speaker 1: Oh for sure, stamps dot com or whatever, you know,

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Speaker 1: like Mark.

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00:21:17,119 --> 00:21:20,280
Speaker 2: Maarn doing that exactly one. Yeah, yeah, but yeah, I

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Speaker 2: feel like yeah, and I feel like so it is.

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Speaker 2: There was something though that that thought process about the

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Speaker 2: like kind of absence of visual you know, dazzle. They

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Speaker 2: have to get you somehow, and that does inform how

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Speaker 2: these these things.

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Speaker 1: And let's talk about jingles, right because jingles is a

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Speaker 1: lost art form, and maybe this was the nail in

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Speaker 1: the coffin for jingles, like it became like they got

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Speaker 1: like warning or something. Obviously, like eighties and nineties had

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Speaker 1: incredible jingles, you know, like bed.

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Speaker 2: With big red. Oh yeah yeah, like yeah, all these

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00:21:55,640 --> 00:21:58,080
Speaker 2: actually eighty was my daughter was telling me. One was

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00:21:58,320 --> 00:22:01,159
Speaker 2: telling me that there's like a series of memes now around,

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Speaker 2: like the Nesley Crunch one from from the commercials, in

437
00:22:05,080 --> 00:22:07,920
Speaker 2: which now I got, of course, terrible timing in the.

438
00:22:07,800 --> 00:22:11,760
Speaker 1: Moment, tastes better nasty crunch. That's that was what It's

439
00:22:11,800 --> 00:22:13,080
Speaker 1: not it No, no, no.

440
00:22:12,560 --> 00:22:14,640
Speaker 2: That that better men.

441
00:22:15,680 --> 00:22:19,639
Speaker 1: Yeah, but I can't remember crunch.

442
00:22:19,400 --> 00:22:21,160
Speaker 2: There was one when she was doing it, I was like, oh,

443
00:22:21,200 --> 00:22:23,720
Speaker 2: that was a commercial in like the nineties. But now

444
00:22:23,720 --> 00:22:26,280
Speaker 2: it's like a series of memes for Gen Alpha kids

445
00:22:26,280 --> 00:22:29,120
Speaker 2: where it's like like nesle Crunch and then it'll make

446
00:22:29,200 --> 00:22:32,200
Speaker 2: someone like a stick figure falling and breaking their neck

447
00:22:32,359 --> 00:22:34,679
Speaker 2: or something and you're like, oh, that's funny.

448
00:22:35,080 --> 00:22:38,520
Speaker 1: But so so, yeah, was this the end of jingles?

449
00:22:38,520 --> 00:22:41,160
Speaker 1: Because at this point, like so this came out from

450
00:22:41,280 --> 00:22:43,840
Speaker 1: the ree the deep deep research I did five minutes

451
00:22:43,840 --> 00:22:47,119
Speaker 1: before this podcast. It was the company started around like

452
00:22:47,200 --> 00:22:49,959
Speaker 1: ninety nine or ninety five maybe, and the jingle came

453
00:22:49,960 --> 00:22:52,600
Speaker 1: out around ninety nine, two thousand and like it was.

454
00:22:52,680 --> 00:22:55,919
Speaker 1: It was sort of that Richmond version for five to

455
00:22:56,000 --> 00:22:58,520
Speaker 1: ten years and then it switched I think twenty fourteen

456
00:22:58,560 --> 00:23:03,439
Speaker 1: it switched over to one of the modern ones. Now. Yeah, yeah,

457
00:23:03,480 --> 00:23:07,240
Speaker 1: and but but so so that would make sense to me,

458
00:23:07,440 --> 00:23:10,040
Speaker 1: like ninety nine to two thousand and five ish is

459
00:23:10,080 --> 00:23:13,639
Speaker 1: sort of when we stopped hearing those like iconic jingles

460
00:23:14,359 --> 00:23:16,400
Speaker 1: of the past few.

461
00:23:16,840 --> 00:23:18,600
Speaker 2: The Mento's one was around then.

462
00:23:18,560 --> 00:23:21,960
Speaker 1: Right or early that was early nineties, I think, And

463
00:23:22,000 --> 00:23:26,000
Speaker 1: I think big Red, that big.

464
00:23:25,119 --> 00:23:28,640
Speaker 2: Red, your big Red fresh Nest last right through it Yeah,

465
00:23:28,680 --> 00:23:30,160
Speaker 2: fresh breath goes on and on.

466
00:23:30,680 --> 00:23:35,600
Speaker 1: Well, they're they're written so well, they're perfect, they're perfect.

467
00:23:35,840 --> 00:23:38,840
Speaker 1: So kiss a little longer, Yeah, stay close a little

468
00:23:38,920 --> 00:23:41,240
Speaker 1: long Oh yeah yeah, it's it's so.

469
00:23:41,160 --> 00:23:44,320
Speaker 2: Little racy not racist.

470
00:23:44,480 --> 00:23:47,560
Speaker 1: Yeah, but you have said racey for racist, which is fun.

471
00:23:47,920 --> 00:23:50,880
Speaker 2: I do I've said that on this podcast.

472
00:23:51,320 --> 00:23:54,280
Speaker 1: No, I just I'm sure you like, yeah that you

473
00:23:54,280 --> 00:23:56,399
Speaker 1: can't wear that Halloween costume. It's a little race.

474
00:23:56,280 --> 00:23:59,040
Speaker 2: It's a little racy. Yeah, sure, I've said something like that.

475
00:23:59,080 --> 00:24:02,040
Speaker 1: Absolutely Full Bulgers is a great one.

476
00:24:02,080 --> 00:24:04,720
Speaker 2: Did you ever see the Folgers thing with Paul Stanley

477
00:24:04,720 --> 00:24:09,040
Speaker 2: from Kiss? Oh? No, he did a he there's a

478
00:24:09,080 --> 00:24:12,600
Speaker 2: Folgers jingle where he sings the Folgers jingle. It's like

479
00:24:12,640 --> 00:24:15,440
Speaker 2: a must have been late eighties, mid to late eighties,

480
00:24:15,440 --> 00:24:18,240
Speaker 2: and there's like it's a weird commercial that has like, uh,

481
00:24:18,400 --> 00:24:21,680
Speaker 2: trapeze artists, like a circus theme. He's no makeup, it's

482
00:24:21,720 --> 00:24:24,960
Speaker 2: just him, it's not all of Kiss. He's vocalizing the

483
00:24:25,080 --> 00:24:29,080
Speaker 2: Bolger's theme. And it's about these like Trepezars waking up

484
00:24:29,119 --> 00:24:33,880
Speaker 2: and doing doing having this Bulgiers and then going into

485
00:24:33,920 --> 00:24:37,080
Speaker 2: their morning routine. It's worth looking up that could.

486
00:24:36,920 --> 00:24:40,080
Speaker 1: So such an interesting time because I always kind of

487
00:24:40,080 --> 00:24:43,040
Speaker 1: remember Folgers with like a cowboy on a or something

488
00:24:43,080 --> 00:24:46,360
Speaker 1: like that, like wake up and have Another one that's

489
00:24:46,720 --> 00:24:49,160
Speaker 1: iconic that I always think of is the chiliest baby

490
00:24:49,200 --> 00:24:49,680
Speaker 1: back ribs.

491
00:24:49,800 --> 00:24:52,520
Speaker 2: Well, of course that was. That was I feel what's

492
00:24:52,560 --> 00:24:55,640
Speaker 2: funny is as a forty four year old, I feel

493
00:24:55,720 --> 00:24:59,480
Speaker 2: like that one even at the time felt like later

494
00:24:59,640 --> 00:25:03,919
Speaker 2: general ration like that was two thousands. Remember like in

495
00:25:04,160 --> 00:25:07,800
Speaker 2: sync did it as a joke somewhere, not on not

496
00:25:08,080 --> 00:25:13,840
Speaker 2: for Chilis, but like on something Yeah, yeah, yeah, like

497
00:25:13,880 --> 00:25:16,399
Speaker 2: it's a joke or something that's fun. And wasn't it

498
00:25:16,440 --> 00:25:19,959
Speaker 2: in Austin Powers isn't it a joke in Austin? Yes?

499
00:25:20,680 --> 00:25:23,160
Speaker 2: It was. Yeah.

500
00:25:23,359 --> 00:25:26,160
Speaker 1: He's doing because he wants to eat a baby. Yeah,

501
00:25:26,200 --> 00:25:28,520
Speaker 1: which is that character that's named fat Bastard?

502
00:25:28,600 --> 00:25:30,280
Speaker 2: Yeah, yeah, yeah, and he says.

503
00:25:31,840 --> 00:25:33,320
Speaker 1: And he's got that Scottish accent.

504
00:25:44,200 --> 00:25:46,919
Speaker 2: That was way who knows where we are now? I

505
00:25:47,000 --> 00:25:50,159
Speaker 2: was watching again anyone with any I feel like I

506
00:25:50,359 --> 00:25:53,639
Speaker 2: defy anyone to tell me differently. I'm like, my feet

507
00:25:53,720 --> 00:25:55,800
Speaker 2: is poisoned. I don't know what I clicked on at

508
00:25:55,800 --> 00:25:57,960
Speaker 2: some point, but the okay, I.

509
00:25:57,920 --> 00:26:00,760
Speaker 1: Mean it might have to go to hospital get.

510
00:26:03,800 --> 00:26:05,639
Speaker 2: But every time I might have to donate it to

511
00:26:05,800 --> 00:26:10,560
Speaker 2: cosmic kids. But every time I like, like the for

512
00:26:10,840 --> 00:26:14,840
Speaker 2: you thing on Instagram, the arrangement of ship.

513
00:26:14,960 --> 00:26:17,560
Speaker 1: Oh it's a mess, my algo. My algo is a mess.

514
00:26:17,560 --> 00:26:20,320
Speaker 2: To malgo is ft. But there was something that was

515
00:26:20,320 --> 00:26:24,040
Speaker 2: like Rob Low talking about like, well, when I was

516
00:26:24,040 --> 00:26:26,240
Speaker 2: on the set with I mean, by the way, I'm sorry,

517
00:26:26,280 --> 00:26:26,600
Speaker 2: I can't.

518
00:26:26,640 --> 00:26:27,360
Speaker 1: I just can't.

519
00:26:28,840 --> 00:26:32,280
Speaker 2: I can't revel impressions. The thing where like the seriousness

520
00:26:32,359 --> 00:26:36,119
Speaker 2: with which I'm sorry, I'm gonna like, lambasta whole whatever.

521
00:26:36,160 --> 00:26:39,080
Speaker 2: I'm gonna stop now. The way actors sometimes talk about

522
00:26:39,119 --> 00:26:42,600
Speaker 2: what they do is very hard. He's like, well, when

523
00:26:42,600 --> 00:26:46,399
Speaker 2: I was on set with them, Mike Myers and Austin Powers,

524
00:26:46,400 --> 00:26:48,199
Speaker 2: and I'm immediate like, why are you talking with the

525
00:26:48,240 --> 00:26:50,160
Speaker 2: tone of voice you're talking about any of what you're

526
00:26:50,160 --> 00:26:52,400
Speaker 2: talking about, like this didn't have fun, this is amazing.

527
00:26:52,720 --> 00:26:54,399
Speaker 2: But he was like, that's when I realized I was

528
00:26:54,440 --> 00:26:59,240
Speaker 2: really in the presence of like true genius because and

529
00:26:59,280 --> 00:27:02,280
Speaker 2: then he quotes He's like, none of that baby back

530
00:27:02,359 --> 00:27:04,200
Speaker 2: ribs thing was in the script. It was all ad

531
00:27:04,240 --> 00:27:06,960
Speaker 2: lib And I was like, I what am I watching?

532
00:27:07,040 --> 00:27:09,080
Speaker 2: I'm forty four. I have a life, I have a job,

533
00:27:09,080 --> 00:27:10,959
Speaker 2: I have a kid. I can't believe I'm spending any

534
00:27:11,000 --> 00:27:16,720
Speaker 2: amount of time watching Rob Blow talk about Austin Austin Myers.

535
00:27:17,000 --> 00:27:20,159
Speaker 2: But anyway, it was Baby back Ribs was such an

536
00:27:20,240 --> 00:27:24,160
Speaker 2: effective jingle. It made it that deep into the pop

537
00:27:24,200 --> 00:27:27,440
Speaker 2: culture consciousness, not just an hour totally. It was in

538
00:27:27,520 --> 00:27:29,680
Speaker 2: a movie that probably made like two hundred million dollars

539
00:27:29,760 --> 00:27:30,240
Speaker 2: or something.

540
00:27:30,480 --> 00:27:33,240
Speaker 1: Yeah, it's really wild that I think it really sold

541
00:27:33,280 --> 00:27:36,399
Speaker 1: a lot of product to a lot of ribs, a

542
00:27:36,400 --> 00:27:37,560
Speaker 1: lot of ribs.

543
00:27:37,280 --> 00:27:41,080
Speaker 2: Contributing to America's obesity epidemic, dogy, which is a weird

544
00:27:41,119 --> 00:27:46,280
Speaker 2: full circle moment given the f bastard true and kids.

545
00:27:46,640 --> 00:27:48,520
Speaker 2: Yeah yeah, which you then have to sell the baby

546
00:27:48,600 --> 00:27:50,399
Speaker 2: back ribs to the cars for kids.

547
00:27:50,440 --> 00:27:52,879
Speaker 1: That's probably they need to. They need the cars to

548
00:27:52,960 --> 00:27:54,960
Speaker 1: get to Chili's to get it. They mix.

549
00:27:55,040 --> 00:27:58,040
Speaker 2: Yeah, but they shouldn't have cars to be bicycles to

550
00:27:58,119 --> 00:28:03,160
Speaker 2: deal with the open Give break. That's that's a good one,

551
00:28:03,240 --> 00:28:06,000
Speaker 2: great one. Break me off a piece of that bar,

552
00:28:06,200 --> 00:28:09,800
Speaker 2: Give me a break, Give me a break, break, you.

553
00:28:09,720 --> 00:28:14,640
Speaker 1: Know, trying to do it in the baby baby beg ribs. Baby,

554
00:28:17,200 --> 00:28:21,200
Speaker 1: I won't look anyway, all to say that I think

555
00:28:21,320 --> 00:28:27,639
Speaker 1: jingles were very the efficacy of jingles shown itself and

556
00:28:27,720 --> 00:28:29,639
Speaker 1: being in getting all of like you know, like the

557
00:28:29,680 --> 00:28:31,480
Speaker 1: oh the Foo Fighters video that does them.

558
00:28:31,560 --> 00:28:34,800
Speaker 2: Yeah Mentos thing, right, so everyone knew what they were referencing.

559
00:28:34,920 --> 00:28:37,040
Speaker 2: Everyone who saw that video did enough to think they

560
00:28:37,040 --> 00:28:38,640
Speaker 2: were like, oh, that's the Mento's thing.

561
00:28:38,960 --> 00:28:40,960
Speaker 1: But I think I think when we're coming back to

562
00:28:41,280 --> 00:28:44,240
Speaker 1: cars for kids, I think people were at peak. I

563
00:28:44,240 --> 00:28:47,040
Speaker 1: think we were at peak jingles, but they came in

564
00:28:47,160 --> 00:28:48,920
Speaker 1: and knocked it out of the park, but maybe knocked

565
00:28:48,920 --> 00:28:50,880
Speaker 1: the whole genre out of the park. Yeah, what is

566
00:28:50,920 --> 00:28:53,760
Speaker 1: I'm trying to think of a modern jingle? Yeah, you

567
00:28:53,760 --> 00:28:57,480
Speaker 1: know to boat they is the place making.

568
00:28:59,120 --> 00:29:01,400
Speaker 2: Like well, I'm trying to think of them. Like it's

569
00:29:01,400 --> 00:29:03,880
Speaker 2: not like there's like an Amazon jingle.

570
00:29:03,560 --> 00:29:05,520
Speaker 1: Oh oh I got I got one, but it's still

571
00:29:05,560 --> 00:29:09,040
Speaker 1: not they. I think they still use it and it's newer,

572
00:29:09,200 --> 00:29:11,440
Speaker 1: but it's from the nineties. I think, like like or

573
00:29:11,480 --> 00:29:13,080
Speaker 1: to early two thousand is bought.

574
00:29:14,200 --> 00:29:15,920
Speaker 2: Oh yeah, yeah they' and they've like made that a

575
00:29:15,920 --> 00:29:22,480
Speaker 2: little cooler sometimes. But yeah, and they spell it wrong

576
00:29:24,000 --> 00:29:27,840
Speaker 2: B for Bob They use Q somehow. Yeah. Yeah, uh no,

577
00:29:27,880 --> 00:29:29,680
Speaker 2: I feel like I'm also trying to think, what are

578
00:29:29,680 --> 00:29:31,880
Speaker 2: some like enormous And I wonder if that's got something

579
00:29:31,880 --> 00:29:35,360
Speaker 2: to do also with like the faceless enormity of the

580
00:29:35,400 --> 00:29:38,960
Speaker 2: brands that are as that exists now, Like what would

581
00:29:39,000 --> 00:29:43,000
Speaker 2: an Amazon jingle even be, like the like Darth Vader's

582
00:29:43,120 --> 00:29:49,400
Speaker 2: theme from stares right, like we have imperially destroyed everything everything.

583
00:29:50,120 --> 00:29:52,080
Speaker 2: Let's see, I'm glitching and as they say it, because

584
00:29:52,080 --> 00:29:56,080
Speaker 2: Bezos is in this hod, you must hear me. If

585
00:29:56,120 --> 00:29:59,080
Speaker 2: you can hear me. Uh, they glitched me out on

586
00:29:59,120 --> 00:29:59,840
Speaker 2: the VID.

587
00:30:00,240 --> 00:30:02,560
Speaker 1: They are, but you sound good, So that's all it matters.

588
00:30:02,760 --> 00:30:09,080
Speaker 2: You know, Amazon own Zoom Race, Amazon Amazons cars for kids. Yeah,

589
00:30:09,080 --> 00:30:12,400
Speaker 2: that's where that six mill went, was into Bezos niece.

590
00:30:12,760 --> 00:30:17,240
Speaker 1: How mad would you be if you found out, honestly,

591
00:30:17,320 --> 00:30:19,760
Speaker 1: be honest, you find out in a few days or

592
00:30:19,840 --> 00:30:21,840
Speaker 1: like when this after this comes out that I got

593
00:30:21,880 --> 00:30:25,760
Speaker 1: paid a quarter mill to do cars for kids as

594
00:30:25,840 --> 00:30:27,240
Speaker 1: like a commercial word.

595
00:30:27,200 --> 00:30:29,640
Speaker 2: Of a million dollars and you gave me zero zero,

596
00:30:29,840 --> 00:30:31,720
Speaker 2: I would be of course I'd be. I would actually

597
00:30:31,720 --> 00:30:34,640
Speaker 2: be more on the order of like I'd be devastated.

598
00:30:34,720 --> 00:30:34,960
Speaker 3: Dog.

599
00:30:35,240 --> 00:30:36,160
Speaker 1: You would think like.

600
00:30:36,120 --> 00:30:40,120
Speaker 2: Our whole compact was I misunderstood everything about everything about

601
00:30:40,120 --> 00:30:41,680
Speaker 2: our whole relationships ends.

602
00:30:41,720 --> 00:30:44,280
Speaker 1: It all ends, it gotta end it.

603
00:30:44,280 --> 00:30:45,560
Speaker 2: It's a quarter mill.

604
00:30:45,920 --> 00:30:49,120
Speaker 1: But I give you. But but you confront me and

605
00:30:49,160 --> 00:30:55,680
Speaker 1: I give you five k. Now, now that's a little

606
00:30:55,920 --> 00:31:00,000
Speaker 1: a little nervous, give me slippy, five k slippy.

607
00:31:00,120 --> 00:31:03,240
Speaker 2: So in this scenario, in this scenario, Bezos has come

608
00:31:03,280 --> 00:31:07,320
Speaker 2: to you and said, I'll give you two hundred and

609
00:31:07,320 --> 00:31:10,040
Speaker 2: fifty thousand dollars if you make the next EP. And

610
00:31:10,320 --> 00:31:14,360
Speaker 2: actually he says if you do the next Omar of Chance.

611
00:31:14,480 --> 00:31:16,880
Speaker 2: And you're like, well, you're a fan, and Bethis is like,

612
00:31:16,920 --> 00:31:20,719
Speaker 2: I know everything, like he knows everything. And then he's like, well,

613
00:31:20,840 --> 00:31:23,480
Speaker 2: Kevin talks, I'll glitch him out. I'll give you two

614
00:31:23,520 --> 00:31:27,120
Speaker 2: fifty K. And then you could do whatever you want

615
00:31:27,160 --> 00:31:28,960
Speaker 2: with that. But my advice would be give him nothing.

616
00:31:29,120 --> 00:31:31,480
Speaker 2: And then you said, and then he said, and in exchange,

617
00:31:31,560 --> 00:31:33,440
Speaker 2: you can keep your beard, but i'll give it. I'll

618
00:31:33,440 --> 00:31:35,520
Speaker 2: make it look in the video like you have no beard.

619
00:31:35,560 --> 00:31:36,720
Speaker 2: And you're like, all right, I'm in.

620
00:31:37,040 --> 00:31:39,640
Speaker 1: That's a deal. You had me at the money, but

621
00:31:39,800 --> 00:31:42,080
Speaker 1: beer was just a nice little benefit.

622
00:31:41,800 --> 00:31:43,840
Speaker 2: Yeah, bonus. In fact, he gave you an extra twenty

623
00:31:43,840 --> 00:31:46,120
Speaker 2: five hundred dollars to take the beard off somehow, So

624
00:31:46,240 --> 00:31:49,440
Speaker 2: you made two hundred and fifty two five hundred dollars.

625
00:31:50,000 --> 00:31:52,040
Speaker 2: And then I come to you and I say, Casey,

626
00:31:52,080 --> 00:31:55,200
Speaker 2: I thought we had a different relationships. I wanted to

627
00:31:55,240 --> 00:31:59,160
Speaker 2: do something different. And you say, I'll give you five pous.

628
00:31:59,160 --> 00:32:00,280
Speaker 1: I'll slide you.

629
00:32:00,440 --> 00:32:03,360
Speaker 2: Okay, I'll slide you five.

630
00:32:03,200 --> 00:32:05,200
Speaker 1: Five k on the side piece.

631
00:32:05,520 --> 00:32:07,280
Speaker 2: And then you say, now can we talk?

632
00:32:07,400 --> 00:32:08,360
Speaker 1: Now? Talk?

633
00:32:09,320 --> 00:32:09,640
Speaker 2: Yeah?

634
00:32:10,280 --> 00:32:11,240
Speaker 1: Yeah? Are we good?

635
00:32:11,360 --> 00:32:13,440
Speaker 2: Are we? What are we talking about?

636
00:32:13,560 --> 00:32:17,040
Speaker 1: The next Makay Pfiffer, Oh my god, did I tell you?

637
00:32:17,080 --> 00:32:18,000
Speaker 2: This is my life?

638
00:32:18,720 --> 00:32:21,840
Speaker 1: So we we call it omar omars because they're apps

639
00:32:22,000 --> 00:32:24,880
Speaker 1: right right each episode? But did I I don't know.

640
00:32:24,920 --> 00:32:26,520
Speaker 1: I can't remember if we talked about this. But there's

641
00:32:26,520 --> 00:32:29,640
Speaker 1: a Kanye lyric where he gets the wrong he gets

642
00:32:29,680 --> 00:32:32,080
Speaker 1: the wrong person in the movie. He has a line

643
00:32:32,080 --> 00:32:34,760
Speaker 1: that's just like because I was in Too Deep, like

644
00:32:34,840 --> 00:32:36,760
Speaker 1: I was Mackay Pfeiffer.

645
00:32:37,200 --> 00:32:38,200
Speaker 2: And he's not in that movie.

646
00:32:38,200 --> 00:32:39,680
Speaker 1: But he's not in it. It's omar apps.

647
00:32:40,240 --> 00:32:42,640
Speaker 2: Oh he confused the two of them, right. Oh, So

648
00:32:42,680 --> 00:32:45,200
Speaker 2: then it's layered when you if you go back to Makay.

649
00:32:45,400 --> 00:32:47,640
Speaker 1: But I'm saying, if we're start calling our episodes makay

650
00:32:47,720 --> 00:32:50,560
Speaker 1: five's start today done, Thank you, Joe.

651
00:32:51,040 --> 00:32:53,360
Speaker 2: I don't yeah, I don't think I can. I mean

652
00:32:53,400 --> 00:32:56,560
Speaker 2: I think no, I would need a little more than that.

653
00:32:56,640 --> 00:32:59,040
Speaker 1: This was the one of our greatest tangies of all time.

654
00:32:59,240 --> 00:33:02,600
Speaker 2: Yeah, no doubt, I do. I do think it would

655
00:33:02,680 --> 00:33:04,760
Speaker 2: need to be at least sixty forty.

656
00:33:05,200 --> 00:33:07,440
Speaker 1: At least sixty forty. Oh, because I brought it sort

657
00:33:07,440 --> 00:33:09,720
Speaker 1: of like I said, yeah, fine, so nice that you'd

658
00:33:09,760 --> 00:33:11,400
Speaker 1: even give me the sixty.

659
00:33:11,280 --> 00:33:14,600
Speaker 2: Finders Keepers losers weepers for that, I give you seven

660
00:33:14,640 --> 00:33:17,440
Speaker 2: cars for keepers.

661
00:33:16,360 --> 00:33:18,360
Speaker 1: For that, For even just saying that I can have

662
00:33:18,400 --> 00:33:20,400
Speaker 1: the sixty, I give you forty nine and I get

663
00:33:20,440 --> 00:33:22,720
Speaker 1: fifty one.

664
00:33:22,640 --> 00:33:24,440
Speaker 2: One percent finders fee.

665
00:33:24,360 --> 00:33:26,480
Speaker 1: One hundred percent. I need it one hundred.

666
00:33:26,200 --> 00:33:28,040
Speaker 2: Percent finders fee. Wait a minute, that went back to

667
00:33:28,080 --> 00:33:28,480
Speaker 2: the beginning.

668
00:33:30,400 --> 00:33:36,520
Speaker 1: Yeah, we didn't really talk about the music of it.

669
00:33:36,760 --> 00:33:40,400
Speaker 1: I love that it starts with boom boom boom, because then, like,

670
00:33:40,520 --> 00:33:42,200
Speaker 1: let's say you do hate the song, you're like, oh

671
00:33:42,320 --> 00:33:44,360
Speaker 1: you could, It gives you like a second to turn

672
00:33:44,400 --> 00:33:44,680
Speaker 1: it off.

673
00:33:44,800 --> 00:33:46,800
Speaker 2: I wonder if that was on purpose, if they were like,

674
00:33:46,960 --> 00:33:50,320
Speaker 2: let's make sure they have a little warning. They have

675
00:33:50,360 --> 00:33:52,840
Speaker 2: the opportunity to be like can't do it, m m,

676
00:33:53,400 --> 00:33:56,520
Speaker 2: but boom. I also think that roots it. It's supposed

677
00:33:56,560 --> 00:34:01,960
Speaker 2: to feel I think like like a class sick. Yeah. Yeah,

678
00:34:02,000 --> 00:34:05,720
Speaker 2: it's almost like it's like slow almost or something.

679
00:34:06,120 --> 00:34:13,399
Speaker 1: Yeah boom, yeah it's it's it's definitely folky. That's that's

680
00:34:13,400 --> 00:34:13,880
Speaker 1: like a focus.

681
00:34:14,360 --> 00:34:16,960
Speaker 2: There's like an upstroke thing that's also trying to go

682
00:34:17,040 --> 00:34:20,160
Speaker 2: towards them weird like little Jamaican petois or something.

683
00:34:20,239 --> 00:34:20,479
Speaker 3: Yeah.

684
00:34:20,560 --> 00:34:26,640
Speaker 2: Yeah yeah. And then like those done done done done,

685
00:34:26,719 --> 00:34:30,040
Speaker 2: yeah done. It's supposed almost be like steel drum or

686
00:34:30,080 --> 00:34:30,960
Speaker 2: something I feel like.

687
00:34:31,000 --> 00:34:36,640
Speaker 1: And then the version that's got just like yeah, like

688
00:34:36,680 --> 00:34:38,000
Speaker 1: it throws like electric.

689
00:34:38,080 --> 00:34:38,879
Speaker 2: That's yeah.

690
00:34:38,920 --> 00:34:41,640
Speaker 1: That those versions are too much like they it lose

691
00:34:41,760 --> 00:34:45,440
Speaker 1: it lost all that's like character by like Pathan Richmond

692
00:34:45,920 --> 00:34:50,480
Speaker 1: lost him, but it lost a lot of the the

693
00:34:50,480 --> 00:34:53,680
Speaker 1: the simple that it was also stark, like the original

694
00:34:53,719 --> 00:34:55,640
Speaker 1: version is a little stark, and it's racing.

695
00:34:55,920 --> 00:34:58,520
Speaker 2: It was like a movie. It was really fucked up.

696
00:35:00,239 --> 00:35:04,799
Speaker 2: The word you said before was racy about racy?

697
00:35:06,000 --> 00:35:06,799
Speaker 1: Was that vulnerable?

698
00:35:07,120 --> 00:35:10,680
Speaker 2: Yeah? Well when he's when he's like one E's seven

699
00:35:10,800 --> 00:35:15,640
Speaker 2: seven cars for kids, it's not Connor Oberst, it's Jonathan Richmond.

700
00:35:15,719 --> 00:35:18,520
Speaker 1: But there's like a warbles and what's the what's the

701
00:35:18,600 --> 00:35:19,560
Speaker 1: Connor warble?

702
00:35:19,640 --> 00:35:22,880
Speaker 2: You love? I mean I love a lot of it.

703
00:35:23,160 --> 00:35:25,360
Speaker 1: No, no, I know, but there's one that you.

704
00:35:24,960 --> 00:35:27,080
Speaker 2: Oh, there's well, he kind of ends a lot of

705
00:35:27,160 --> 00:35:30,359
Speaker 2: lines by saying like I remember Dola pointing this out

706
00:35:30,400 --> 00:35:36,040
Speaker 2: to me, like like like there's always like an on

707
00:35:36,040 --> 00:35:39,200
Speaker 2: the very last syllable, which actually helps him a lot

708
00:35:39,200 --> 00:35:40,320
Speaker 2: with his rhyming.

709
00:35:40,680 --> 00:35:45,759
Speaker 1: Cars for kids. Oh, Connor OBErs is doing. It's pretty great.

710
00:35:46,000 --> 00:35:48,719
Speaker 2: Connor overs, please do a version of this if you

711
00:35:48,800 --> 00:35:51,600
Speaker 2: hear a chancy, which I know you will obviously, you

712
00:35:51,680 --> 00:35:55,120
Speaker 2: and Bezos sitting together in a Satanic circle listening to

713
00:35:55,160 --> 00:35:56,120
Speaker 2: this editing the.

714
00:35:56,120 --> 00:35:59,399
Speaker 1: Version of the Sopranos with us on it. Okay, long

715
00:35:59,440 --> 00:36:01,719
Speaker 1: story short, Carson gets rules. I'm a fan.

716
00:36:01,920 --> 00:36:04,640
Speaker 2: I'm a fan. I'm in If more music was like this,

717
00:36:04,880 --> 00:36:06,280
Speaker 2: I'd listen to more music.

718
00:36:06,400 --> 00:36:10,799
Speaker 3: Baby, God bless Jeffie Bezos, Thank you, and I will

719
00:36:11,040 --> 00:36:14,520
Speaker 3: I will slide you that five piece soon and then

720
00:36:14,560 --> 00:36:18,200
Speaker 3: we can talk, and then we we can chat.

721
00:36:18,480 --> 00:36:23,600
Speaker 1: GPT