1 00:00:02,279 --> 00:00:04,840 Speaker 1: Give it a chance, Give it a chance, Give it 2 00:00:04,880 --> 00:00:05,200 Speaker 1: a chance. 3 00:00:05,280 --> 00:00:07,560 Speaker 2: Come morning, give it a chance. Give it a chance, 4 00:00:07,840 --> 00:00:09,280 Speaker 2: Give it a chance, Give. 5 00:00:09,160 --> 00:00:10,960 Speaker 1: It a chance. Good morning, Give it a Do you 6 00:00:10,960 --> 00:00:12,040 Speaker 1: want to give it a chance? 7 00:00:12,280 --> 00:00:14,720 Speaker 2: Give it a chance, give it a chance. Just give 8 00:00:14,760 --> 00:00:18,760 Speaker 2: it a Hi, everybody, we're here. 9 00:00:18,880 --> 00:00:22,000 Speaker 1: And we were actually just talking right before this podcast started, 10 00:00:22,000 --> 00:00:23,880 Speaker 1: and I thought, hey, let's start rolling. 11 00:00:24,200 --> 00:00:29,160 Speaker 3: Yeah, he actually steamrolled what was a pretty promising private convo. Yep, 12 00:00:30,040 --> 00:00:33,280 Speaker 3: just to give the pub what it need. 13 00:00:35,560 --> 00:00:38,479 Speaker 1: We were talking about how Bob Dylan might be a 14 00:00:38,560 --> 00:00:42,680 Speaker 1: good choice because he's divisive, meaning like he uses a 15 00:00:42,720 --> 00:00:44,760 Speaker 1: couple of different devices in his house. 16 00:00:45,600 --> 00:00:50,720 Speaker 4: He's vice. Yeah, he uses his device. He's like, hey, 17 00:00:50,960 --> 00:00:56,680 Speaker 4: lecks tune on the bed. 18 00:00:56,960 --> 00:01:03,800 Speaker 3: Though, if you are at home listening and you do 19 00:01:04,000 --> 00:01:06,240 Speaker 3: use Alexa to turn on your bath, so please write 20 00:01:06,280 --> 00:01:09,160 Speaker 3: us it gave it a chance at Gmail dot part. 21 00:01:10,240 --> 00:01:13,440 Speaker 2: Any Hitzel No, I thought that was interesting. 22 00:01:13,440 --> 00:01:16,080 Speaker 1: I wanted to talk about it because I have somebody 23 00:01:16,080 --> 00:01:20,640 Speaker 1: today who's divisive, and in fact, I have like a 24 00:01:20,720 --> 00:01:23,319 Speaker 1: list and sometimes I'll talk to my wife Lisa about 25 00:01:23,319 --> 00:01:25,200 Speaker 1: what song to do, and today she was like, yeah, 26 00:01:25,280 --> 00:01:25,720 Speaker 1: do that one. 27 00:01:26,440 --> 00:01:30,000 Speaker 2: And this sense that we started this was a song 28 00:01:30,920 --> 00:01:31,280 Speaker 2: that was. 29 00:01:31,240 --> 00:01:34,960 Speaker 1: On my list to do because to pull back to 30 00:01:35,440 --> 00:01:37,160 Speaker 1: do list to do list y. 31 00:01:37,360 --> 00:01:39,039 Speaker 2: Yeah, but reverse. 32 00:01:41,760 --> 00:01:44,199 Speaker 3: A list do you too? A list do too would 33 00:01:44,200 --> 00:01:45,360 Speaker 3: be reverse. 34 00:01:46,240 --> 00:01:46,640 Speaker 2: List you to. 35 00:01:49,160 --> 00:01:51,480 Speaker 1: But this is a it's sort of a I don't 36 00:01:51,480 --> 00:01:53,840 Speaker 1: know if if she's really a divisive figure anymore. 37 00:01:54,200 --> 00:01:57,360 Speaker 2: Okay, maybe it was at one point, is she okay? 38 00:01:57,840 --> 00:01:58,360 Speaker 2: Mm hmmm. 39 00:01:59,040 --> 00:02:01,400 Speaker 1: When the song came out, which was maybe a decade 40 00:02:01,720 --> 00:02:04,320 Speaker 1: or more ago, I haven't done the research I usually do. 41 00:02:04,520 --> 00:02:07,919 Speaker 3: Which is a bummer for everybody, myself especially. 42 00:02:08,360 --> 00:02:11,600 Speaker 1: But sometimes I do the research as we're taking the 43 00:02:11,600 --> 00:02:13,239 Speaker 1: mid term, which I kind of love. 44 00:02:13,280 --> 00:02:15,239 Speaker 3: Also actually, yes, you see. 45 00:02:15,000 --> 00:02:19,120 Speaker 2: My eyes go. But this is a so that when 46 00:02:19,120 --> 00:02:19,880 Speaker 2: the song came out. 47 00:02:20,200 --> 00:02:22,040 Speaker 1: So it's one of these people that doesn't make music 48 00:02:22,080 --> 00:02:23,480 Speaker 1: and then suddenly like released as a. 49 00:02:23,440 --> 00:02:27,000 Speaker 3: Song, Oh, but is famous in another capacity. 50 00:02:27,080 --> 00:02:29,360 Speaker 2: Uh huh okay, and even. 51 00:02:29,240 --> 00:02:32,720 Speaker 3: Doesn't make music. Oh is it that Anna Kendrick song 52 00:02:32,800 --> 00:02:33,639 Speaker 3: with the percussion? 53 00:02:34,000 --> 00:02:38,120 Speaker 1: Oh that's a good one. But no, no, it's not that. Okay, 54 00:02:38,480 --> 00:02:40,400 Speaker 1: that's like from a movie, right, I. 55 00:02:40,320 --> 00:02:46,400 Speaker 3: Think so, like Up in the Air. Jason Rightman directed 56 00:02:46,400 --> 00:02:48,520 Speaker 3: the video. No, I think it is from something. 57 00:02:48,680 --> 00:02:50,520 Speaker 2: Yeah, No, this is not she. 58 00:02:52,080 --> 00:02:55,960 Speaker 1: It is a person that really doesn't I had not 59 00:02:56,080 --> 00:02:59,280 Speaker 1: really done any music stuff, not even singing, not really 60 00:02:59,280 --> 00:03:02,720 Speaker 1: even as a Hilton It is Paris Hilton Wood. 61 00:03:02,880 --> 00:03:04,519 Speaker 2: What was it that gave it away? I thought this 62 00:03:04,560 --> 00:03:05,960 Speaker 2: would be really hard to get. 63 00:03:06,120 --> 00:03:09,959 Speaker 3: I think when you said, who hasn't like I think 64 00:03:10,000 --> 00:03:13,880 Speaker 3: of again, this is probably shows both my age and 65 00:03:13,919 --> 00:03:19,560 Speaker 3: my like cultural blind spots slash over emphasis when I 66 00:03:19,600 --> 00:03:22,680 Speaker 3: think of a person who is kind of almost like 67 00:03:22,880 --> 00:03:25,200 Speaker 3: maybe prototypical is not fair. I'm sure if you dug 68 00:03:25,240 --> 00:03:28,520 Speaker 3: further back, there's examples way back, you know, into the 69 00:03:28,560 --> 00:03:32,280 Speaker 3: sixties or something of this. But she's definitely a person 70 00:03:32,320 --> 00:03:34,880 Speaker 3: who I think of as being like almost like a 71 00:03:34,960 --> 00:03:39,440 Speaker 3: mold setter for like being famous, for being famous, like 72 00:03:39,600 --> 00:03:43,280 Speaker 3: no discernible. I don't want to sound like a hater, 73 00:03:43,440 --> 00:03:45,360 Speaker 3: because I'm sure, you know, people will tell us now 74 00:03:45,400 --> 00:03:48,200 Speaker 3: that Paris Sultan's like they're like spirit animal or something. 75 00:03:48,480 --> 00:03:50,960 Speaker 3: But I do think she's kind of like a person 76 00:03:51,000 --> 00:03:56,160 Speaker 3: who's her status as like a scion of a socialite 77 00:03:56,720 --> 00:04:00,360 Speaker 3: family class whatever kind of that's what she was for, 78 00:04:00,520 --> 00:04:04,840 Speaker 3: and then for being like conventionally attractive and rich, and 79 00:04:04,880 --> 00:04:07,920 Speaker 3: then also for you know, having an s e x 80 00:04:08,160 --> 00:04:08,680 Speaker 3: V I. 81 00:04:08,880 --> 00:04:11,960 Speaker 1: D which is I think there are a lot of them 82 00:04:12,000 --> 00:04:15,160 Speaker 1: have these like a night in there, you know, like 83 00:04:15,920 --> 00:04:17,640 Speaker 1: it's always like the a night in. 84 00:04:18,120 --> 00:04:20,839 Speaker 3: Well, her name's Paris and her dad's or her family's 85 00:04:20,880 --> 00:04:26,279 Speaker 3: an accommodation master lord or whatever. So yeah, yeah, I think. 86 00:04:26,160 --> 00:04:28,640 Speaker 2: The wrestler China had one as well that was like 87 00:04:28,680 --> 00:04:29,640 Speaker 2: a night in China. 88 00:04:29,480 --> 00:04:31,320 Speaker 3: Or her name is China, you know what I mean. 89 00:04:31,520 --> 00:04:33,320 Speaker 2: It's like if your name is a place, you're gonna 90 00:04:33,360 --> 00:04:34,600 Speaker 2: have to make a sex tape. 91 00:04:34,560 --> 00:04:36,200 Speaker 3: Like when yours comes out. I'm not going to say 92 00:04:36,200 --> 00:04:37,560 Speaker 3: like a night in Casey. 93 00:04:38,080 --> 00:04:39,360 Speaker 2: Yes, you definitely will. 94 00:04:39,600 --> 00:04:42,400 Speaker 3: Actually it could say Justin Casey. 95 00:04:42,680 --> 00:04:45,320 Speaker 2: Just and the guy who is in me should name 96 00:04:45,360 --> 00:04:46,080 Speaker 2: be named Justin? 97 00:04:47,240 --> 00:04:47,680 Speaker 3: Got it? 98 00:04:48,120 --> 00:04:49,560 Speaker 2: We got it, We got my sex. 99 00:04:49,360 --> 00:04:50,280 Speaker 3: Tape, nailed it. 100 00:04:51,000 --> 00:04:54,680 Speaker 1: So yeah, so yeah, but Paris Hilton, it's it's I 101 00:04:54,760 --> 00:04:56,800 Speaker 1: understand that, you know, she could be a tough pill 102 00:04:56,800 --> 00:04:59,279 Speaker 1: to swallow. There's also this like she made it through 103 00:04:59,320 --> 00:05:03,280 Speaker 1: these like hard times and of like you know, the 104 00:05:03,320 --> 00:05:07,000 Speaker 1: press and sextap leaking, and so I give her points 105 00:05:07,000 --> 00:05:10,240 Speaker 1: on both sides, but it is it's an interesting it's 106 00:05:10,240 --> 00:05:11,040 Speaker 1: an interesting thing. 107 00:05:11,200 --> 00:05:14,360 Speaker 3: Actually, didn't she like recently have a like a reassessment. 108 00:05:14,440 --> 00:05:16,320 Speaker 3: I feel like there was like she wrote a documentary 109 00:05:16,320 --> 00:05:18,160 Speaker 3: where there was a documentary, yes, And I mean then 110 00:05:18,200 --> 00:05:19,640 Speaker 3: it was like all of a sudden, you were hearing 111 00:05:19,680 --> 00:05:24,279 Speaker 3: Paris Hilton interviewed on like the kind of NPR like 112 00:05:24,800 --> 00:05:27,799 Speaker 3: that it became Yeah, there was a kind of reassessment 113 00:05:28,120 --> 00:05:33,080 Speaker 3: of her her experience. And I remember hearing one of 114 00:05:33,080 --> 00:05:36,159 Speaker 3: those interviews and being like, yeah, that that also makes sense. 115 00:05:36,320 --> 00:05:40,280 Speaker 3: It is a like, you know, to be that immersed 116 00:05:40,480 --> 00:05:44,240 Speaker 3: in media is kind of a nightmare. So it does 117 00:05:44,320 --> 00:05:46,760 Speaker 3: make sense that would have like a on a human 118 00:05:46,880 --> 00:05:49,239 Speaker 3: level that did make her like more of a character 119 00:05:49,320 --> 00:05:50,800 Speaker 3: to root for for sure. 120 00:05:51,279 --> 00:05:53,640 Speaker 1: For me, yeah, it's a mixed because it is like 121 00:05:53,680 --> 00:05:56,039 Speaker 1: a it's a it's a monster of your own creation 122 00:05:56,240 --> 00:05:58,960 Speaker 1: right in some ways, like not one hundred percent. You're 123 00:05:58,960 --> 00:06:01,480 Speaker 1: born into a certain family that has a certain amount 124 00:06:01,480 --> 00:06:04,520 Speaker 1: of gravitas and celebrity. 125 00:06:04,080 --> 00:06:07,640 Speaker 3: And visibility and money and yeah, yeah. 126 00:06:06,920 --> 00:06:08,960 Speaker 1: And then you're a kind of person that likes nightlife 127 00:06:08,960 --> 00:06:11,239 Speaker 1: and goes out and there's the people that are built 128 00:06:11,279 --> 00:06:14,080 Speaker 1: into that system that are taking photos and maybe you 129 00:06:14,160 --> 00:06:15,880 Speaker 1: like it a little bit, maybe you don't. Maybe it's 130 00:06:15,920 --> 00:06:20,280 Speaker 1: a mix probably is. And then because your celebrity is 131 00:06:20,320 --> 00:06:23,200 Speaker 1: something like a sex tape leaks. That's a lot, that's 132 00:06:23,200 --> 00:06:26,400 Speaker 1: a lot on you. There's so so it's it's heavy, 133 00:06:26,480 --> 00:06:30,080 Speaker 1: like you're not really you're thrust into this thrust into 134 00:06:30,080 --> 00:06:30,640 Speaker 1: this world. 135 00:06:30,920 --> 00:06:33,400 Speaker 3: I really feel like there's been five things you've said 136 00:06:33,400 --> 00:06:35,400 Speaker 3: that I've been like, don't, don't say it, don't touch it. 137 00:06:36,520 --> 00:06:37,360 Speaker 2: Yeah, yeah, I can't. 138 00:06:38,839 --> 00:06:41,120 Speaker 3: It's impossible. Yeah yeah, I know, I know, I know. 139 00:06:41,200 --> 00:06:43,360 Speaker 1: So the song in question today because we're going to 140 00:06:43,400 --> 00:06:45,400 Speaker 1: talk about Paris as. 141 00:06:45,560 --> 00:06:47,320 Speaker 3: Her music, her art musician. 142 00:06:47,839 --> 00:06:50,400 Speaker 1: Yeah, yeah, And I have pulled up a Paras Hilton 143 00:06:50,440 --> 00:06:52,600 Speaker 1: Stars are Blind music video because. 144 00:06:52,400 --> 00:06:55,280 Speaker 3: I Stars are Blind. I forgot about Yes. 145 00:06:55,040 --> 00:06:57,279 Speaker 2: Are Blind, which is a great it's a great name. 146 00:06:57,480 --> 00:06:59,400 Speaker 3: That's what's that's that single? 147 00:06:59,480 --> 00:07:02,320 Speaker 2: Right, Yeah, it's a really funny name. And Stars are Blind. 148 00:07:03,600 --> 00:07:07,480 Speaker 1: Stars Are Blind because it's actually like it is pretty 149 00:07:07,480 --> 00:07:09,920 Speaker 1: deep in a lot of ways, because it's like it's got. 150 00:07:09,760 --> 00:07:16,360 Speaker 2: A astrological Yeah yeah, it's got actually astronomy, astronomy not. 151 00:07:16,360 --> 00:07:22,760 Speaker 3: As astronomical, but also maybe it's astrological. 152 00:07:23,760 --> 00:07:24,320 Speaker 2: Sick stars. 153 00:07:24,440 --> 00:07:29,000 Speaker 3: Wow, this is twenty years old. Oh wow, that's crazy. 154 00:07:28,920 --> 00:07:31,600 Speaker 2: Twenty years old. I wouldn't have guessed that. Yeah, well 155 00:07:31,920 --> 00:07:33,559 Speaker 2: it's ten fifteen times. 156 00:07:33,600 --> 00:07:35,960 Speaker 3: I think that speaks to also what happens as we 157 00:07:36,080 --> 00:07:39,800 Speaker 3: age and also the rapidity of cultural movement. Like she's 158 00:07:39,840 --> 00:07:42,840 Speaker 3: she was peak famous in the early two thousand or 159 00:07:43,040 --> 00:07:45,320 Speaker 3: like turn of the century, mid two thousands. That's like 160 00:07:45,360 --> 00:07:47,720 Speaker 3: when she was at her height, which, by the way, 161 00:07:47,720 --> 00:07:52,800 Speaker 3: I've ever heard someone say hythe No, that's multiple people 162 00:07:52,880 --> 00:07:56,320 Speaker 3: say that in like like not joking, And I'm always like, 163 00:07:56,360 --> 00:07:57,960 Speaker 3: i feel like it's like I'm on like in like 164 00:07:58,360 --> 00:08:01,600 Speaker 3: Charlie Kaufman movie or something. I'm like looking around for 165 00:08:01,720 --> 00:08:05,080 Speaker 3: cracks and like I'm like, can't is that a thing? 166 00:08:05,520 --> 00:08:08,920 Speaker 3: It's not, and it's not a thing, but I've heard it. 167 00:08:09,400 --> 00:08:11,280 Speaker 1: I don't think that is something that you're going to 168 00:08:11,360 --> 00:08:14,440 Speaker 1: start doing because it's like subconsciously or not, because you 169 00:08:14,560 --> 00:08:17,400 Speaker 1: just like the way it sounds at the height of 170 00:08:17,920 --> 00:08:19,040 Speaker 1: you know, I was. 171 00:08:19,000 --> 00:08:25,720 Speaker 3: Watching In the Heights from Lynn Pranwell that's good heightening. 172 00:08:26,800 --> 00:08:29,160 Speaker 1: Yeah, so yeah, yeah, so that era is pretty wild. 173 00:08:29,200 --> 00:08:32,600 Speaker 1: Remember she was she was doing it's like dirty jobs, 174 00:08:32,600 --> 00:08:35,080 Speaker 1: but it was her in the simple life, right, which 175 00:08:35,080 --> 00:08:37,960 Speaker 1: I think is a great, great think that's I think 176 00:08:38,080 --> 00:08:40,760 Speaker 1: I think all the things she's put out that's the 177 00:08:40,840 --> 00:08:41,360 Speaker 1: height of it. 178 00:08:43,559 --> 00:08:44,320 Speaker 2: I think that's good. 179 00:08:44,400 --> 00:08:47,120 Speaker 3: I also she was also in that Hawthorne Heights video 180 00:08:47,640 --> 00:08:50,800 Speaker 3: that's not. 181 00:08:49,600 --> 00:08:52,280 Speaker 1: There's a there's a burger thing to write, like for 182 00:08:52,360 --> 00:08:54,600 Speaker 1: maybe Carls Junior or something. She like ate a burger 183 00:08:54,640 --> 00:08:56,360 Speaker 1: on the on the on the like while sitting on 184 00:08:56,400 --> 00:08:57,079 Speaker 1: a car. 185 00:08:58,000 --> 00:08:59,600 Speaker 3: That was supposed to be like a kind of like 186 00:08:59,600 --> 00:09:01,760 Speaker 3: like a eighties hair were almost like because she was 187 00:09:01,760 --> 00:09:03,599 Speaker 3: like supposed to be looking sexy, right, and she like 188 00:09:03,760 --> 00:09:04,320 Speaker 3: ate the burger. 189 00:09:04,440 --> 00:09:07,400 Speaker 1: Yeah, yeah, which I I don't have an issue with that. 190 00:09:07,440 --> 00:09:12,320 Speaker 2: I think that's th man. I couldn't get enough of that. 191 00:09:13,120 --> 00:09:17,640 Speaker 2: Tell you who is who do we just meet? 192 00:09:17,679 --> 00:09:17,959 Speaker 3: There? 193 00:09:18,120 --> 00:09:18,640 Speaker 2: You mean me? 194 00:09:19,120 --> 00:09:19,800 Speaker 3: That's Justin? 195 00:09:20,559 --> 00:09:23,600 Speaker 2: That's Justin. And that's the thing. That's the that's the 196 00:09:23,640 --> 00:09:27,400 Speaker 2: plot twist of my porn. It's been me the whole time. 197 00:09:27,640 --> 00:09:32,079 Speaker 1: Yeah, that's the that's the the m night Semlan, who 198 00:09:32,200 --> 00:09:34,840 Speaker 1: is signed on to direct and. 199 00:09:34,760 --> 00:09:40,520 Speaker 3: He did produce this record He's Blind, which we're gonna 200 00:09:40,880 --> 00:09:50,160 Speaker 3: play now for I See Dead People Crazy. 201 00:09:50,800 --> 00:09:54,320 Speaker 2: All right, all right, talk to me, idiot. 202 00:09:57,880 --> 00:10:03,000 Speaker 3: I mean you know that's that is a perfectly inoffensive, 203 00:10:04,480 --> 00:10:08,480 Speaker 3: perfectly Having never heard the song, I don't remember that. 204 00:10:09,000 --> 00:10:11,520 Speaker 3: I don't remember that at all. I do totally remember, 205 00:10:11,559 --> 00:10:18,920 Speaker 3: like the album cover. I guess you've been to Jamaica. Listen, 206 00:10:19,240 --> 00:10:19,960 Speaker 3: that's true. 207 00:10:20,440 --> 00:10:23,559 Speaker 2: That is actually true reggae right there, my friends. Even 208 00:10:23,640 --> 00:10:25,440 Speaker 2: if you don't know it, then you don't know it. 209 00:10:25,760 --> 00:10:29,800 Speaker 3: Yeah, then it does. I'm exposing a blind spot in 210 00:10:29,840 --> 00:10:37,000 Speaker 3: this lily white consciousness. I would say I was aware 211 00:10:37,000 --> 00:10:38,920 Speaker 3: when this happened. I was aware of that had happened. 212 00:10:38,920 --> 00:10:41,320 Speaker 3: I was aware that I remember the album cover. I 213 00:10:41,360 --> 00:10:43,959 Speaker 3: remember that she was like doing the circuit. I kind 214 00:10:43,960 --> 00:10:47,120 Speaker 3: of remember like seeing it in a record store somewhere 215 00:10:47,160 --> 00:10:49,600 Speaker 3: on tour because that was that came out summer we 216 00:10:49,600 --> 00:10:51,959 Speaker 3: were torn a lot. I don't remember ever hearing the 217 00:10:52,080 --> 00:10:58,400 Speaker 3: music roots reggae joke aside, that is a perfectly credible 218 00:10:59,240 --> 00:11:03,800 Speaker 3: approximate of Tide is high core. That Blondie song that 219 00:11:03,800 --> 00:11:05,960 Speaker 3: that that I feel like, that's this that is like 220 00:11:06,040 --> 00:11:09,199 Speaker 3: the uh white girl reggae thing that like launched a 221 00:11:09,240 --> 00:11:12,080 Speaker 3: thousand ships. And then I would say, like one of 222 00:11:12,120 --> 00:11:18,800 Speaker 3: which the prime ship in that fleet being Gwen Stefani's career. Yeah, totally, 223 00:11:19,520 --> 00:11:22,800 Speaker 3: and this is this is prime, Like this is a decent 224 00:11:22,840 --> 00:11:26,240 Speaker 3: approximation of like Gwen Stefani's whole solo thing too, like 225 00:11:26,280 --> 00:11:27,640 Speaker 3: her especially. 226 00:11:27,760 --> 00:11:29,400 Speaker 2: Was offered to Gwen. It had to have been offered 227 00:11:29,440 --> 00:11:30,440 Speaker 2: to Gwen first, right. 228 00:11:30,360 --> 00:11:37,400 Speaker 3: No doubt, no bough. But what I will say is 229 00:11:38,360 --> 00:11:41,880 Speaker 3: I don't have like savage criticisms of this. It's sort 230 00:11:41,920 --> 00:11:45,520 Speaker 3: of just like we've talked about this phenomenon on here 231 00:11:45,559 --> 00:11:48,040 Speaker 3: before where there's like a you hear a thing and 232 00:11:48,080 --> 00:11:50,080 Speaker 3: it just makes you want to hear the better versions 233 00:11:50,120 --> 00:11:53,000 Speaker 3: of that thing. This definitely like I was like, within 234 00:11:53,040 --> 00:11:55,240 Speaker 3: the first thirty seconds, You're like, I'd rather kind of 235 00:11:55,280 --> 00:11:59,319 Speaker 3: hear like Tide is High or like, you know, one 236 00:11:59,360 --> 00:12:04,960 Speaker 3: of Gwen's funny, superior singles. But it wasn't like a 237 00:12:05,000 --> 00:12:07,360 Speaker 3: shit show. And I don't know again, I don't know 238 00:12:07,400 --> 00:12:09,240 Speaker 3: the degree to which because two thousand and six is 239 00:12:09,240 --> 00:12:11,320 Speaker 3: in twenty twenty five where she wouldn't even need to 240 00:12:11,360 --> 00:12:13,400 Speaker 3: show up to record this. At this point, they could 241 00:12:13,400 --> 00:12:16,320 Speaker 3: like be like in some sort of AI generator, like 242 00:12:16,320 --> 00:12:18,160 Speaker 3: what does Paris Hilton sound like? And they could just 243 00:12:18,200 --> 00:12:18,720 Speaker 3: make a single. 244 00:12:18,880 --> 00:12:20,640 Speaker 2: No, they're like, we took every word you've ever said 245 00:12:20,640 --> 00:12:21,320 Speaker 2: and made a song. 246 00:12:21,600 --> 00:12:26,320 Speaker 3: Yeah, but she I mean, she's not, That's she part 247 00:12:26,360 --> 00:12:29,400 Speaker 3: of her appeal as a sex symbol as a figure 248 00:12:29,480 --> 00:12:33,760 Speaker 3: has always been this kind of like coquettish, like bored 249 00:12:33,880 --> 00:12:37,360 Speaker 3: baby thing that she does, you know, and and which 250 00:12:37,520 --> 00:12:39,839 Speaker 3: you know, I think if you wanted to give her 251 00:12:40,000 --> 00:12:42,560 Speaker 3: a ton of credit, you could say, is a way 252 00:12:42,600 --> 00:12:44,800 Speaker 3: that like to like hold up a mirror to the 253 00:12:44,800 --> 00:12:48,199 Speaker 3: culture about what it finds attractive. If you didn't want 254 00:12:48,240 --> 00:12:49,760 Speaker 3: to give her a ton of credit, you would just 255 00:12:49,960 --> 00:12:52,400 Speaker 3: land on she realized that was some weird thing that 256 00:12:52,440 --> 00:12:55,559 Speaker 3: could titillate people or something. But it's yeah, it's a 257 00:12:55,679 --> 00:12:56,079 Speaker 3: very like. 258 00:12:56,400 --> 00:12:57,600 Speaker 2: Beautiful on board. 259 00:12:58,040 --> 00:12:59,800 Speaker 3: I'm sort of a baby. 260 00:12:59,440 --> 00:13:01,840 Speaker 2: And I'm bored, but I'm baby. 261 00:13:02,080 --> 00:13:06,240 Speaker 3: Yeah, I'm drunk, but I'm chicken shit. But yeah, there's 262 00:13:06,679 --> 00:13:10,280 Speaker 3: there's that. But she does. But but I do think, 263 00:13:10,320 --> 00:13:12,880 Speaker 3: like so she has this like kind of like if 264 00:13:12,920 --> 00:13:16,880 Speaker 3: you transplant that into a song and the person can 265 00:13:17,040 --> 00:13:21,520 Speaker 3: sort of hold pitch and also can be aided by whatever, 266 00:13:21,880 --> 00:13:24,120 Speaker 3: and maybe there was no aid needed. Maybe that's how 267 00:13:24,160 --> 00:13:26,200 Speaker 3: she sings. She might she might have like a decent 268 00:13:26,320 --> 00:13:30,120 Speaker 3: enough delivery. But like that's like, you know, it's a 269 00:13:30,240 --> 00:13:32,760 Speaker 3: perfectly nice pop song that if you didn't know it 270 00:13:32,800 --> 00:13:35,040 Speaker 3: was Paris Hilton, I mean, you just heard that in 271 00:13:35,080 --> 00:13:38,800 Speaker 3: the supermarket or wherever this music might be played, you 272 00:13:38,840 --> 00:13:42,440 Speaker 3: would be like, yeah, that's an inoffensive little pop song. 273 00:13:43,040 --> 00:13:46,160 Speaker 1: It's not a risk in a good way. It's not 274 00:13:46,240 --> 00:13:49,440 Speaker 1: like when Little Wane's like, I'm gonna make a rock song. 275 00:13:49,600 --> 00:13:52,040 Speaker 3: Yeah right, I can't play guitar, but I'm gonna play guitar. 276 00:13:52,640 --> 00:13:55,680 Speaker 1: Yeah yeah, Which is kind of cool somebody doing something 277 00:13:55,840 --> 00:14:00,400 Speaker 1: so outlandish or like I think other I I definitely 278 00:14:00,400 --> 00:14:02,920 Speaker 1: think other actors have tried music. 279 00:14:03,120 --> 00:14:06,440 Speaker 3: Oh dude, many, Yeah didn't. Bruce Willis have like a 280 00:14:06,480 --> 00:14:08,960 Speaker 3: whole recording career in the eighties. I think he did 281 00:14:09,000 --> 00:14:10,440 Speaker 3: the Bacon Brothers. 282 00:14:11,160 --> 00:14:12,880 Speaker 2: Macho Man is the person I'm thinking of. 283 00:14:13,080 --> 00:14:16,520 Speaker 3: I love that you go first for actors to. 284 00:14:18,200 --> 00:14:21,080 Speaker 2: He acted in the movie Spider Man was. 285 00:14:21,080 --> 00:14:28,880 Speaker 3: Acting, I mean wrestling there pricality, but the Ultimate Warrior 286 00:14:28,960 --> 00:14:34,040 Speaker 3: really was from parts unknown warl Lord. 287 00:14:36,520 --> 00:14:44,840 Speaker 2: He did speak to the thousands of Native Americans. He no, 288 00:14:44,960 --> 00:14:47,200 Speaker 2: But Macho Man put out this rap album. 289 00:14:47,240 --> 00:14:49,800 Speaker 1: If you don't know it, I know the problem song. 290 00:14:49,920 --> 00:14:50,280 Speaker 3: I know that. 291 00:14:50,400 --> 00:14:53,920 Speaker 2: Yeah, be a man Hulk. It's incredible. 292 00:14:54,240 --> 00:14:56,720 Speaker 1: So like that's a bigger It's like when you're like 293 00:14:56,800 --> 00:14:59,880 Speaker 1: Macho Man's rapping versus Paris Hilton is singing it. 294 00:15:00,240 --> 00:15:10,640 Speaker 2: This is a that's it's an easier sell totally. Maybe 295 00:15:16,400 --> 00:15:20,480 Speaker 2: I want to break down what this song is about, 296 00:15:20,640 --> 00:15:21,400 Speaker 2: because that's. 297 00:15:21,320 --> 00:15:22,920 Speaker 3: What I was going to. Yeah, let's go there. 298 00:15:22,960 --> 00:15:27,560 Speaker 1: And I'm sure very excited because you're very good at lyrics. 299 00:15:28,160 --> 00:15:30,280 Speaker 1: I think also you've you've probably done some sessions with 300 00:15:30,280 --> 00:15:31,720 Speaker 1: people to help them write a song, right. 301 00:15:32,040 --> 00:15:35,760 Speaker 3: Yeah, I have. I mean, uh, and we've done we do. 302 00:15:35,800 --> 00:15:39,360 Speaker 3: We do a thing that's like a workshop with people. 303 00:15:39,400 --> 00:15:41,560 Speaker 3: And then I've also done like co writes with other 304 00:15:41,680 --> 00:15:42,520 Speaker 3: artists as well. 305 00:15:42,880 --> 00:15:45,760 Speaker 1: Yeah, I want to do that today with you, and 306 00:15:45,800 --> 00:15:47,400 Speaker 1: I want to talk about some of these lyrics. 307 00:15:47,600 --> 00:15:48,720 Speaker 3: Has it going to open it up? 308 00:15:49,120 --> 00:15:51,680 Speaker 1: I'm Paris Helton and I'm coming in and here in 309 00:15:51,760 --> 00:15:55,359 Speaker 1: my lyrics I jotted down on a receipt. 310 00:15:55,080 --> 00:15:58,000 Speaker 3: I have a shot. Okay, first of all, Okay, here 311 00:15:58,040 --> 00:15:58,280 Speaker 3: we go. 312 00:16:00,160 --> 00:16:02,600 Speaker 1: Okay, Yeah, I'm working on this. I don't mind spending 313 00:16:02,640 --> 00:16:05,040 Speaker 1: some time just hanging here with you because I don't 314 00:16:05,040 --> 00:16:07,440 Speaker 1: find too many guys that treat me the way you do. 315 00:16:08,160 --> 00:16:11,000 Speaker 1: Those other guys all want to take me for a ride, 316 00:16:11,080 --> 00:16:13,800 Speaker 1: but when I walk they talk of suicide. 317 00:16:14,240 --> 00:16:16,840 Speaker 3: Can I pause for a minute here? To talking to 318 00:16:16,960 --> 00:16:21,440 Speaker 3: case slash Pair, I will say that when that happened 319 00:16:21,440 --> 00:16:25,280 Speaker 3: in the song, my ears did perk up, And not 320 00:16:25,440 --> 00:16:29,440 Speaker 3: just because I'm such a famous fan of suicidal artists, 321 00:16:30,080 --> 00:16:33,360 Speaker 3: but because I'm on the record in this pod about 322 00:16:33,400 --> 00:16:38,680 Speaker 3: a lot of my deep feelings for you know, some 323 00:16:38,720 --> 00:16:42,840 Speaker 3: suicidal people. But I do think I kind of thought 324 00:16:42,920 --> 00:16:46,560 Speaker 3: that was, you know, in the way that there's a 325 00:16:46,600 --> 00:16:48,360 Speaker 3: way like a great pop lyric doesn't have to be 326 00:16:48,400 --> 00:16:50,280 Speaker 3: a great lyric, it has to be something that like 327 00:16:50,320 --> 00:16:54,760 Speaker 3: turns your head right, like for a premier instance of 328 00:16:54,800 --> 00:16:58,720 Speaker 3: this in the more recent culture is the Espresso song 329 00:16:58,840 --> 00:17:01,840 Speaker 3: Sabrina Carpenter song, Like there are aspects of that song 330 00:17:01,920 --> 00:17:05,560 Speaker 3: lyrically that are actually if you really sat with them, 331 00:17:05,680 --> 00:17:10,680 Speaker 3: that are like kind of comically insane, but the delivery 332 00:17:10,960 --> 00:17:13,199 Speaker 3: and the confidence and to put them in there like 333 00:17:13,440 --> 00:17:15,080 Speaker 3: what is it like I'm going to get them all wrong, 334 00:17:15,160 --> 00:17:17,479 Speaker 3: but just even the core conceit of that song, like 335 00:17:17,800 --> 00:17:21,440 Speaker 3: that's that me Espresso. It's basically like I'm the thing 336 00:17:21,480 --> 00:17:23,960 Speaker 3: that like perks you up, picks you up, caffemates, it 337 00:17:24,040 --> 00:17:26,040 Speaker 3: turns you on, like walked in the room and I 338 00:17:26,160 --> 00:17:28,439 Speaker 3: brand nwede it for you, like all of these lyrics 339 00:17:28,440 --> 00:17:30,840 Speaker 3: that are like taking these that is something like when 340 00:17:30,880 --> 00:17:33,280 Speaker 3: I walk they talk of suicide, and that context six 341 00:17:33,359 --> 00:17:36,520 Speaker 3: lines into a like breezy Like there's a whole other 342 00:17:36,520 --> 00:17:38,679 Speaker 3: thing we could possibly get into about her using the 343 00:17:38,800 --> 00:17:42,160 Speaker 3: patois of like a Jamaican thing for her, at least 344 00:17:42,200 --> 00:17:44,640 Speaker 3: she doesn't sing it, though she doesn't sing an adopted 345 00:17:44,680 --> 00:17:48,199 Speaker 3: pachuas she sang in Baby Paris cuckoo coquette voice. But 346 00:17:48,920 --> 00:17:52,080 Speaker 3: I do feel like that was at least something where 347 00:17:52,119 --> 00:17:54,359 Speaker 3: I was like, whoa, what did she just say? 348 00:17:54,520 --> 00:17:57,240 Speaker 1: I know, especially since the first rhyming couplet is like 349 00:17:58,119 --> 00:18:02,359 Speaker 1: you know you and do your price first first sign 350 00:18:02,440 --> 00:18:06,880 Speaker 1: and suicide you know totally couplet is a pretty interesting yeah, 351 00:18:06,880 --> 00:18:09,080 Speaker 1: I agree with you, and then she goes on. So 352 00:18:09,280 --> 00:18:10,600 Speaker 1: I want to skip the chorus. I want to come 353 00:18:10,600 --> 00:18:11,600 Speaker 1: back to it because I want to go to the 354 00:18:11,720 --> 00:18:12,400 Speaker 1: second verse. 355 00:18:12,560 --> 00:18:14,680 Speaker 3: I also do have a question, though, please we can't 356 00:18:14,680 --> 00:18:17,439 Speaker 3: about that first want, I think, And maybe we'll get 357 00:18:17,480 --> 00:18:19,000 Speaker 3: into this as you get into the second verse. And 358 00:18:19,040 --> 00:18:21,199 Speaker 3: again maybe someone listening to this is like, what's the 359 00:18:21,240 --> 00:18:23,040 Speaker 3: point of you trying to do like some kind of 360 00:18:23,040 --> 00:18:26,360 Speaker 3: graduate level lyrical exegesis with a fucking Paris Hilton song. 361 00:18:26,400 --> 00:18:28,480 Speaker 3: But I think if you put it out there, you 362 00:18:28,600 --> 00:18:31,720 Speaker 3: deserve to have it be scrutinized to some degree. My 363 00:18:31,840 --> 00:18:34,760 Speaker 3: question is, I feel like there's like a mixed messaging 364 00:18:34,840 --> 00:18:37,680 Speaker 3: that waffles back and forth throughout this song, same way 365 00:18:38,080 --> 00:18:41,280 Speaker 3: but with the narrators really so it's like, I don't 366 00:18:41,359 --> 00:18:44,240 Speaker 3: mind spending some time that's a little non committal. I 367 00:18:44,280 --> 00:18:46,719 Speaker 3: feel like right away you're sort of like, but I 368 00:18:46,760 --> 00:18:49,000 Speaker 3: also think I don't mind spending some time just hanging 369 00:18:49,000 --> 00:18:52,240 Speaker 3: here with you. That's pretty like non committal the lange 370 00:18:52,280 --> 00:18:55,640 Speaker 3: of the verb to hanging here, I don't mind. It's 371 00:18:55,720 --> 00:18:58,919 Speaker 3: kind of like she's not fully committing to like I 372 00:18:59,000 --> 00:19:01,800 Speaker 3: really want to be here, you know. But I think 373 00:19:01,880 --> 00:19:05,959 Speaker 3: for what we know contextually about Paris Hilton is actually 374 00:19:05,960 --> 00:19:07,959 Speaker 3: that is meant to be read as some kind of 375 00:19:07,960 --> 00:19:10,280 Speaker 3: indication that she does kind of want to be there 376 00:19:10,320 --> 00:19:12,680 Speaker 3: with the person. That's about as committed as two thousand 377 00:19:12,720 --> 00:19:15,200 Speaker 3: and six. Paris Hilton allows herself to get about much 378 00:19:15,200 --> 00:19:17,960 Speaker 3: of anything because I don't find too many guys to 379 00:19:18,040 --> 00:19:19,440 Speaker 3: treat me like you do. It's not that I don't 380 00:19:19,480 --> 00:19:22,600 Speaker 3: find any, but it is rare. There are some, but 381 00:19:22,720 --> 00:19:25,359 Speaker 3: you're one of a select group who treats me well. 382 00:19:25,480 --> 00:19:27,639 Speaker 3: And then they all want to take me for a 383 00:19:27,760 --> 00:19:31,720 Speaker 3: ride wink wink sex vid. But when I walk, they 384 00:19:31,760 --> 00:19:34,800 Speaker 3: talk of suicide, meaning like when she inevitably does decide 385 00:19:34,880 --> 00:19:37,399 Speaker 3: I'm out of here, it affects them so much that 386 00:19:37,440 --> 00:19:40,520 Speaker 3: they want to leave this shuffle off, this mortal coil, 387 00:19:40,600 --> 00:19:41,840 Speaker 3: as the Bard once wrote. 388 00:19:43,359 --> 00:19:47,199 Speaker 2: But she's also doing some like some rhyming within the 389 00:19:47,320 --> 00:19:48,120 Speaker 2: lines as well. 390 00:19:48,280 --> 00:19:49,840 Speaker 3: That's because Eminem was a writer on this. 391 00:19:51,080 --> 00:19:55,200 Speaker 1: Yeah, ghosts, I don't mind time because I don't find 392 00:19:55,680 --> 00:19:58,360 Speaker 1: right And then she drops it for a little bit. 393 00:19:58,400 --> 00:19:59,920 Speaker 1: Those other guys all want to take me for a ride, 394 00:20:00,160 --> 00:20:02,919 Speaker 1: but when I walk, they talk yeah. Right, so like 395 00:20:03,119 --> 00:20:07,840 Speaker 1: she this this paris Is, Paris. 396 00:20:07,560 --> 00:20:11,000 Speaker 3: Is burning right here. Yeah, some people never get beyond 397 00:20:11,000 --> 00:20:13,240 Speaker 3: their stupid pride. There's a little bit of again, we're 398 00:20:13,240 --> 00:20:15,840 Speaker 3: playing with this idea that like that to me, feels 399 00:20:15,880 --> 00:20:18,520 Speaker 3: like that, you know, stereotypical fragile dude that wants to 400 00:20:18,560 --> 00:20:21,480 Speaker 3: own the hot girl and the hot girls like you 401 00:20:21,560 --> 00:20:26,159 Speaker 3: don't own me. And and but then there's this giveaway, 402 00:20:26,440 --> 00:20:30,840 Speaker 3: but you can see the real meat inside, and I'm satisfied. 403 00:20:31,000 --> 00:20:31,480 Speaker 2: It's still. 404 00:20:33,800 --> 00:20:37,240 Speaker 3: A really good. 405 00:20:37,840 --> 00:20:40,120 Speaker 2: Yeah, I mean, and I'm satisfied, and. 406 00:20:40,080 --> 00:20:42,480 Speaker 3: I'm satisfied, and I think like she is playing with 407 00:20:42,720 --> 00:20:46,000 Speaker 3: like you know, it's interesting. I think context does so 408 00:20:46,080 --> 00:20:49,399 Speaker 3: much in like artistic context, or maybe the word is 409 00:20:49,440 --> 00:20:53,159 Speaker 3: like a character context. Just maybe paras Siltan's something of 410 00:20:53,200 --> 00:20:55,760 Speaker 3: a construct, especially when she steps outside of being just 411 00:20:55,800 --> 00:21:01,800 Speaker 3: like Parasiltan celebrity. Now she's Parasiltan singer, songwriter, musician. There's 412 00:21:01,840 --> 00:21:03,919 Speaker 3: all of these things that are also like sex. It 413 00:21:03,960 --> 00:21:07,960 Speaker 3: could be like like light double on tendras, Like satisfaction 414 00:21:08,080 --> 00:21:10,320 Speaker 3: is a word that's used often from at least you know, 415 00:21:10,440 --> 00:21:13,040 Speaker 3: in songs as far back as The fucking Rolling Stones, 416 00:21:13,080 --> 00:21:17,280 Speaker 3: where like satisfaction as a even like referencing like inside 417 00:21:17,320 --> 00:21:20,440 Speaker 3: you can see the real me inside, like going into it. Yeah, 418 00:21:20,560 --> 00:21:23,560 Speaker 3: take me for a ride. There's all this, like there's 419 00:21:23,600 --> 00:21:25,640 Speaker 3: stuff that's in here that's kind of like I feel 420 00:21:25,640 --> 00:21:29,040 Speaker 3: like her winking at how she's perceived and how that 421 00:21:29,160 --> 00:21:34,000 Speaker 3: perception might impact her ability to have relationships with people 422 00:21:34,080 --> 00:21:38,080 Speaker 3: like that. What role that plays in I don't know. 423 00:21:38,119 --> 00:21:40,399 Speaker 3: I mean, there's whoever her and who the people that 424 00:21:40,400 --> 00:21:43,000 Speaker 3: wrote this with her. I think we're playing with persona, 425 00:21:43,280 --> 00:21:47,160 Speaker 3: which is you know some points for that. It's like interesting. 426 00:21:47,240 --> 00:21:48,720 Speaker 3: She could have just been like, I'm. 427 00:21:48,560 --> 00:21:54,080 Speaker 1: A baby, I'm a bay Bee, I'm the bay by right. 428 00:21:54,160 --> 00:21:55,399 Speaker 2: She could just do that for four minutes. 429 00:21:56,720 --> 00:21:58,439 Speaker 1: So I want to tek the first two because this 430 00:21:58,680 --> 00:22:01,639 Speaker 1: continues what we're talking about, and this I really have 431 00:22:01,760 --> 00:22:05,359 Speaker 1: issues with, or I questions for Paris for myself. I 432 00:22:05,359 --> 00:22:08,840 Speaker 1: could be your confidant, just one of your girlfriends, just 433 00:22:09,000 --> 00:22:11,080 Speaker 1: one of your girlfriend. 434 00:22:10,680 --> 00:22:11,639 Speaker 3: Yeah, Polly cool. 435 00:22:11,840 --> 00:22:14,639 Speaker 1: Yeah, yeah, but she's like just letting him, you know, 436 00:22:14,720 --> 00:22:16,920 Speaker 1: like she she's maybe hen't even asked this, and she 437 00:22:17,119 --> 00:22:19,840 Speaker 1: she's like whatever, Like I want to seal the deal. 438 00:22:20,119 --> 00:22:21,440 Speaker 2: I'll say what I think you. 439 00:22:21,440 --> 00:22:24,639 Speaker 1: Might want ss sex stuff. Yeah, but I know that's 440 00:22:24,720 --> 00:22:27,080 Speaker 1: not what you want. Okay, wait a second. I could 441 00:22:27,080 --> 00:22:29,879 Speaker 1: be your confident just one of your girlfriends, but I 442 00:22:29,920 --> 00:22:32,880 Speaker 1: know that's not what you want. If tomorrow the world ends, 443 00:22:33,000 --> 00:22:35,160 Speaker 1: why shouldn't we be with the one we. 444 00:22:35,040 --> 00:22:36,879 Speaker 3: Read A girlfriend's world ends? 445 00:22:37,880 --> 00:22:39,640 Speaker 2: There we go and we did that one too. 446 00:22:39,840 --> 00:22:43,840 Speaker 1: Yeah, now tell me who have you been dreaming of? 447 00:22:43,960 --> 00:22:46,240 Speaker 2: I and I alone. I'm confused by this worse talk 448 00:22:46,280 --> 00:22:47,640 Speaker 2: to me keV totally. 449 00:22:47,680 --> 00:22:49,280 Speaker 3: I mean, when I was listening through, it was funny 450 00:22:49,359 --> 00:22:51,840 Speaker 3: was I and I alone maybe think it's what will 451 00:22:51,880 --> 00:22:57,120 Speaker 3: and she is. Let's let's remember this is a slightly degraded, 452 00:22:57,720 --> 00:23:02,320 Speaker 3: tied is high Stefani tableau we're working in here. I 453 00:23:02,440 --> 00:23:05,320 Speaker 3: and I alone made me think of like Rastafari religion, 454 00:23:05,600 --> 00:23:08,399 Speaker 3: Like there is no like, there is no you and me, 455 00:23:08,520 --> 00:23:12,000 Speaker 3: it's I and all one consciousness. Yeah, yeah, like there's 456 00:23:12,000 --> 00:23:15,040 Speaker 3: a funny maybe would be for anyway, there's there's a 457 00:23:15,240 --> 00:23:17,639 Speaker 3: there's a song like that in the indie rock canon 458 00:23:17,680 --> 00:23:20,440 Speaker 3: that I think could be a great, could be a great, 459 00:23:20,480 --> 00:23:23,760 Speaker 3: give a chance someday, But yeah, there is there is 460 00:23:23,880 --> 00:23:25,840 Speaker 3: That's what I thought of. I thought of like not. 461 00:23:26,080 --> 00:23:28,800 Speaker 3: But but what's interesting is I don't think. 462 00:23:28,760 --> 00:23:31,000 Speaker 2: It's it's I know it's all over the place too. 463 00:23:31,040 --> 00:23:32,679 Speaker 3: It's always that's when you say I. 464 00:23:32,640 --> 00:23:34,439 Speaker 2: Could be a confident, like you know, you talk to 465 00:23:34,480 --> 00:23:35,119 Speaker 2: me and I. 466 00:23:35,119 --> 00:23:36,760 Speaker 3: Could be one confident. 467 00:23:37,920 --> 00:23:40,560 Speaker 2: Yeah, it could just be one of your girlfriends. But 468 00:23:40,600 --> 00:23:43,160 Speaker 2: you know it's you know, like that. 469 00:23:43,080 --> 00:23:45,879 Speaker 3: No you want and if tomorrow, why shouldn't we be 470 00:23:45,920 --> 00:23:47,760 Speaker 3: with the one we really love? So you don't want 471 00:23:47,760 --> 00:23:49,280 Speaker 3: to be one. You don't want me to be one 472 00:23:49,280 --> 00:23:52,920 Speaker 3: of your girlfriends. Confidence an elevated position. But it also 473 00:23:52,920 --> 00:23:54,920 Speaker 3: almost is like a constantieri, like we're in the mafia 474 00:23:55,000 --> 00:23:57,680 Speaker 3: or something. It's like a home frind, like I would 475 00:23:57,720 --> 00:24:02,040 Speaker 3: confide something in you and I love you, don't fucking 476 00:24:02,240 --> 00:24:02,920 Speaker 3: mistake it. 477 00:24:03,080 --> 00:24:04,400 Speaker 1: But you don't want to take that to the next 478 00:24:04,440 --> 00:24:06,840 Speaker 1: level romantically. That is what you're saying. 479 00:24:07,200 --> 00:24:10,560 Speaker 3: I'm saying, like you got at least I have my situation. 480 00:24:12,720 --> 00:24:14,520 Speaker 2: And like, Paris, what do you want? 481 00:24:14,880 --> 00:24:16,879 Speaker 3: That's what I'm saying, But I think so it's what 482 00:24:16,960 --> 00:24:20,440 Speaker 3: I feel like she wants. What she wants it sounds 483 00:24:20,480 --> 00:24:26,680 Speaker 3: like is to be told that this person wants her 484 00:24:27,119 --> 00:24:30,560 Speaker 3: and her alone. That is not the same thing as 485 00:24:30,640 --> 00:24:34,080 Speaker 3: her saying that is also what she wants. If you 486 00:24:34,119 --> 00:24:36,760 Speaker 3: read it through, I could be your confidante, just one 487 00:24:36,760 --> 00:24:40,160 Speaker 3: of your girlfriends. But I know that's not what you want. 488 00:24:40,520 --> 00:24:43,760 Speaker 3: No indication there is you want more. If tomorrow the 489 00:24:43,760 --> 00:24:46,680 Speaker 3: world ends, this is almost like the snake in the grass. 490 00:24:46,840 --> 00:24:49,320 Speaker 3: If tomorrow the world ends, why shouldn't we be with 491 00:24:49,359 --> 00:24:52,159 Speaker 3: the one we really love? Now? Tell me who have 492 00:24:52,320 --> 00:24:56,879 Speaker 3: you been dreaming of? And try alone. If she's not 493 00:24:56,920 --> 00:25:00,199 Speaker 3: saying I've been dreaming of you, she's not saying I 494 00:25:00,440 --> 00:25:03,400 Speaker 3: want to be, she says earlier, you're one of the 495 00:25:03,440 --> 00:25:06,879 Speaker 3: guys who whatever. So she's kind of wants What it 496 00:25:06,920 --> 00:25:11,120 Speaker 3: seems like is she wants something that's a little imbalanced 497 00:25:11,600 --> 00:25:15,359 Speaker 3: and that maybe makes her feel safe. And because because 498 00:25:15,359 --> 00:25:17,280 Speaker 3: you wanted to skip the chorus before, but when she 499 00:25:17,320 --> 00:25:18,360 Speaker 3: goes to the chorus, this. 500 00:25:18,359 --> 00:25:19,760 Speaker 2: Is what I want to talk about now, it's time. 501 00:25:20,000 --> 00:25:22,600 Speaker 3: Even though the gods are crazy and that's scary, right, 502 00:25:22,640 --> 00:25:24,639 Speaker 3: this is almost freak pathology to be the whole thing, 503 00:25:26,200 --> 00:25:29,959 Speaker 3: to be, to be an arbitrary tool in the hands 504 00:25:30,760 --> 00:25:35,000 Speaker 3: of the gods who are crazy and unreliable. Reality is unpredictable. 505 00:25:35,960 --> 00:25:39,159 Speaker 3: Even though the stars are blind. She is legally blind. 506 00:25:39,200 --> 00:25:41,159 Speaker 3: People don't know that about parasl No, she's not. 507 00:25:41,280 --> 00:25:44,400 Speaker 2: Actually that'spoon oh right, okay. 508 00:25:45,600 --> 00:25:49,040 Speaker 3: And renee Zell Wigger is legally has no taked. 509 00:25:49,440 --> 00:25:54,080 Speaker 2: That's legally blond. 510 00:25:52,840 --> 00:25:56,560 Speaker 1: Legallyless, okay, legally tasteless. 511 00:25:56,680 --> 00:26:00,199 Speaker 3: The buds she got covid long covid. Renee Zel why 512 00:26:00,280 --> 00:26:02,240 Speaker 3: she's always making that little. 513 00:26:02,880 --> 00:26:05,720 Speaker 2: Yeah, right, you're so true. That's so true. 514 00:26:05,880 --> 00:26:09,560 Speaker 3: And by the way, which people don't know because Parasiltan's 515 00:26:09,640 --> 00:26:14,520 Speaker 3: father big telling for Sario big Hotel, Wigger's dad Zell 516 00:26:14,920 --> 00:26:17,680 Speaker 3: invented the payment methodology of Zell. 517 00:26:18,200 --> 00:26:23,720 Speaker 2: Yeah, renee Zell. If that's from the fortune, the Zell fortune. Yes, whoa, 518 00:26:23,800 --> 00:26:27,640 Speaker 2: We're just from these little lyrics and that's why. 519 00:26:27,480 --> 00:26:34,760 Speaker 3: It's both Greek and also it's like divinis. Oh so sorry. 520 00:26:34,520 --> 00:26:36,600 Speaker 2: So yeah, this is the height of our podcast. 521 00:26:36,720 --> 00:26:40,720 Speaker 3: This is definitely New Heights. 522 00:26:48,080 --> 00:26:51,280 Speaker 2: Question. What is stars are blind? In your opinion? 523 00:26:52,880 --> 00:26:55,240 Speaker 3: I think that both even though the gods are crazy, 524 00:26:55,240 --> 00:26:57,639 Speaker 3: even though the stars are blind. I actually think that 525 00:26:57,800 --> 00:27:03,760 Speaker 3: is almost saying like relying on things like higher order 526 00:27:04,359 --> 00:27:09,200 Speaker 3: faith faith, yes, and even though and even whether it's 527 00:27:09,280 --> 00:27:14,520 Speaker 3: religion or whether it's astrology, right, Like, saying like this 528 00:27:14,600 --> 00:27:18,800 Speaker 3: is almost Werner Herzogi, and she's basically saying like there 529 00:27:18,880 --> 00:27:23,200 Speaker 3: is no reason, there is no order, it's all chaos, 530 00:27:23,720 --> 00:27:29,680 Speaker 3: and even though we live in this unreliable superstructure, if 531 00:27:29,760 --> 00:27:35,160 Speaker 3: you show me your real love, I'll show you mine. 532 00:27:35,480 --> 00:27:39,320 Speaker 3: Because but she's very clear in that second verse, I 533 00:27:39,480 --> 00:27:45,240 Speaker 3: need you to show me first, because maybe she's been burned, 534 00:27:45,480 --> 00:27:48,240 Speaker 3: maybe she's These guys wanted. They want to take me 535 00:27:48,280 --> 00:27:50,920 Speaker 3: for a ride. They never get beyond their stupid pride. 536 00:27:51,320 --> 00:27:54,480 Speaker 3: When I walk, they talk of suicide and this is 537 00:27:54,600 --> 00:27:56,360 Speaker 3: about Kurt. She did date. 538 00:27:56,280 --> 00:28:02,080 Speaker 1: Kurt so so yeah, so she's got She's basically saying. 539 00:28:01,800 --> 00:28:03,919 Speaker 3: Gods, sorry, go ahead. 540 00:28:04,480 --> 00:28:08,440 Speaker 1: She's saying God's crazy. Stars they signed Yeah, but love 541 00:28:09,280 --> 00:28:11,400 Speaker 1: love that's real, that's a real thing. 542 00:28:12,200 --> 00:28:14,080 Speaker 2: And then she's you know, she throws in the innuend. 543 00:28:14,920 --> 00:28:15,960 Speaker 2: I'll show you mine. 544 00:28:16,359 --> 00:28:17,399 Speaker 3: Yeah, I could be nice. 545 00:28:19,440 --> 00:28:19,879 Speaker 2: And naughty. 546 00:28:19,960 --> 00:28:22,720 Speaker 1: I could be the devil and the angel to Yeah, 547 00:28:22,840 --> 00:28:25,520 Speaker 1: got a heart and soul and body and body. 548 00:28:25,520 --> 00:28:28,040 Speaker 3: Don't ever forget. This isn't just some sweet love song. 549 00:28:28,080 --> 00:28:31,160 Speaker 3: I've got a body. It will not quit, it will not. 550 00:28:31,359 --> 00:28:35,720 Speaker 1: Rise low rise. This was still the height of low 551 00:28:35,800 --> 00:28:42,000 Speaker 1: rise genes. And she's letting you know, yes, let's see 552 00:28:42,000 --> 00:28:44,720 Speaker 1: what this love can do. Maybe I'm perfect for you. 553 00:28:45,040 --> 00:28:47,000 Speaker 1: And then let's talk bridge, because we always talk bridge. 554 00:28:47,120 --> 00:28:49,600 Speaker 3: I just want to say what point. I had two 555 00:28:49,640 --> 00:28:53,800 Speaker 3: thoughts about the bridge. First, I said out loud and 556 00:28:54,240 --> 00:28:57,440 Speaker 3: just so, just to give a little bts for the listeners, 557 00:28:57,480 --> 00:29:03,120 Speaker 3: not K pop, just bts behind the scenes. We mute 558 00:29:03,160 --> 00:29:05,960 Speaker 3: when we listen to this. We don't communicate. We do 559 00:29:06,120 --> 00:29:07,760 Speaker 3: it on So there's something I got up this time. 560 00:29:07,800 --> 00:29:09,560 Speaker 1: And I did eat a few sweet potatoes while the 561 00:29:09,600 --> 00:29:10,720 Speaker 1: song play you moved away. 562 00:29:11,560 --> 00:29:12,880 Speaker 2: I'll reveal I'll reveal that. 563 00:29:13,040 --> 00:29:15,800 Speaker 3: And I was desperately trying to communicate with you and 564 00:29:15,840 --> 00:29:20,800 Speaker 3: you were gone. But I will say I said out 565 00:29:20,880 --> 00:29:23,560 Speaker 3: loud when the bridge started, I went, oh, a bridge, 566 00:29:24,160 --> 00:29:26,200 Speaker 3: Like I always give some points for in a song 567 00:29:26,280 --> 00:29:29,120 Speaker 3: like this when there was an actual bridge today. Actually, 568 00:29:29,160 --> 00:29:31,200 Speaker 3: I just came back right before a little BTS before 569 00:29:31,200 --> 00:29:32,120 Speaker 3: we did this pod I. 570 00:29:32,320 --> 00:29:34,240 Speaker 2: Second BT BTS within the BTS. 571 00:29:34,320 --> 00:29:37,320 Speaker 3: Yeah, it's like a nesting dolls of BTS I did 572 00:29:38,680 --> 00:29:42,280 Speaker 3: Tuesday mornings. I do a little like songwriting creativity class 573 00:29:42,320 --> 00:29:44,080 Speaker 3: with the first and second grade at my daughter's school. 574 00:29:44,080 --> 00:29:49,480 Speaker 3: Two classes, and we wrote songs. In each class. We 575 00:29:49,520 --> 00:29:52,520 Speaker 3: wrote a song today and we let people choose. Each 576 00:29:52,600 --> 00:29:55,040 Speaker 3: student in the class gets to choose like an aspect 577 00:29:55,080 --> 00:29:58,080 Speaker 3: of the song, the key, the tempo, the dynamics, the whatever, 578 00:29:58,280 --> 00:30:00,680 Speaker 3: the subject. And one of the things was does the 579 00:30:00,720 --> 00:30:02,720 Speaker 3: song have a bridge or not a bridge? And both 580 00:30:02,760 --> 00:30:04,800 Speaker 3: classes chose a bridge and we got to write some 581 00:30:04,800 --> 00:30:05,800 Speaker 3: pretty sweet bridges. 582 00:30:06,560 --> 00:30:10,080 Speaker 1: Anyway, this, I actually did see your face when the 583 00:30:10,080 --> 00:30:12,240 Speaker 1: bridge came, because I was looking because I knew there 584 00:30:12,240 --> 00:30:14,360 Speaker 1: was a bridge. Yeah, I mean I was looking for 585 00:30:14,440 --> 00:30:17,320 Speaker 1: your face. But then I thought you were reacting, and 586 00:30:17,720 --> 00:30:20,000 Speaker 1: I made me check into this, and I really like 587 00:30:20,040 --> 00:30:21,400 Speaker 1: the lyric Excuse me. 588 00:30:21,360 --> 00:30:24,480 Speaker 2: For feeling Yeah, yeah, yeah, I like that. Excuse me 589 00:30:24,560 --> 00:30:25,120 Speaker 2: for feeling. 590 00:30:25,760 --> 00:30:27,760 Speaker 1: That feels like something she would actually say some of 591 00:30:27,760 --> 00:30:29,600 Speaker 1: these lyrics, like, I don't really think she would. 592 00:30:29,440 --> 00:30:32,000 Speaker 2: Say, like I could be your confidante, but I could. 593 00:30:31,800 --> 00:30:34,719 Speaker 1: See her going, Okay, excuse me for feeling excuse me 594 00:30:34,800 --> 00:30:35,480 Speaker 1: for feeling. 595 00:30:36,000 --> 00:30:37,800 Speaker 3: I also think I don't know that I would hear 596 00:30:37,800 --> 00:30:39,760 Speaker 3: her say even though the gods are crazy, even though 597 00:30:39,760 --> 00:30:42,080 Speaker 3: the stars are blind in any context ever. But we're 598 00:30:42,080 --> 00:30:44,720 Speaker 3: in pop music, we're in a song. Maybe Leonard Cohen 599 00:30:44,760 --> 00:30:47,120 Speaker 3: doesn't sit there. Maybe he does, maybe when he's sitting there. 600 00:30:47,000 --> 00:30:49,120 Speaker 2: Talking just for people playing at home. I got Kurt 601 00:30:49,160 --> 00:30:50,040 Speaker 2: and Leonard Cohen. 602 00:30:50,560 --> 00:30:53,200 Speaker 3: We have not mentioned. There's there's two others that always 603 00:30:53,200 --> 00:30:53,680 Speaker 3: get mentioned. 604 00:30:53,680 --> 00:30:56,160 Speaker 2: We have not mentioned him yet, and the fifth is Janet. 605 00:30:56,560 --> 00:30:59,120 Speaker 3: Yeah, Janet, there's there's Yeah, we know the stars, we 606 00:30:59,160 --> 00:31:01,920 Speaker 3: know the stars of and they are blind, Yeah they 607 00:31:01,920 --> 00:31:05,160 Speaker 3: are no, But I think I do think that's true. 608 00:31:05,160 --> 00:31:07,640 Speaker 3: It does sound like something she would say, and also like, 609 00:31:08,520 --> 00:31:11,720 Speaker 3: but I actually do feel like this bridge for me, 610 00:31:12,320 --> 00:31:15,880 Speaker 3: So credit for its existence. Credit for that first lyric 611 00:31:15,960 --> 00:31:19,160 Speaker 3: actually sounding like something the singer would say. I did 612 00:31:19,160 --> 00:31:21,680 Speaker 3: feel like it fell apart pretty quickly for me. I 613 00:31:21,680 --> 00:31:26,000 Speaker 3: think the last two lyrics are like kind of almost 614 00:31:26,040 --> 00:31:27,800 Speaker 3: like they were like it was like we had the 615 00:31:27,800 --> 00:31:31,720 Speaker 3: studio for two more minutes, right, have to finish. Yeah, 616 00:31:32,040 --> 00:31:36,040 Speaker 3: excuse me for feeling this moment is critical fire. Yeah, yeah, 617 00:31:36,120 --> 00:31:39,680 Speaker 3: if we might, if we it might be we feel it, 618 00:31:39,880 --> 00:31:43,760 Speaker 3: we could get physical. Oh no, no, no, I don't 619 00:31:43,840 --> 00:31:44,200 Speaker 3: like that. 620 00:31:44,400 --> 00:31:47,200 Speaker 1: Wait, I have excuse me for feeling this moment is critical. 621 00:31:47,320 --> 00:31:49,360 Speaker 1: It might be revealing we could get physical. 622 00:31:49,440 --> 00:31:52,080 Speaker 3: Oh I have it might be we feel it in 623 00:31:52,160 --> 00:31:55,920 Speaker 3: the streaming platform of my choice. 624 00:31:56,120 --> 00:31:58,400 Speaker 1: No, no, no, I'm on genius dot com because these 625 00:31:58,440 --> 00:32:02,240 Speaker 1: are rap lyrics. Wow ah, okay, it differently, so it 626 00:32:02,320 --> 00:32:05,720 Speaker 1: might be revealing, might be revealing we could get physical, 627 00:32:05,880 --> 00:32:08,720 Speaker 1: and which is going back to sexuals and land and 628 00:32:08,760 --> 00:32:14,000 Speaker 1: then it's also a throwback to physical physical another blonde actor, 629 00:32:14,520 --> 00:32:17,920 Speaker 1: legal actor turned musician. That's right too, Yeah, you are 630 00:32:17,920 --> 00:32:21,240 Speaker 1: okay a little head nod to that we want to physical. 631 00:32:21,360 --> 00:32:23,360 Speaker 3: Oh no, no no. And also she's kind of like 632 00:32:23,480 --> 00:32:25,200 Speaker 3: she as as is, And then I do want to 633 00:32:25,200 --> 00:32:27,680 Speaker 3: hear what you're gonna say. As is indicated, I do 634 00:32:28,200 --> 00:32:32,000 Speaker 3: as is indicated through this whole song. There is I 635 00:32:32,040 --> 00:32:34,720 Speaker 3: also think we are meant to sort of read not 636 00:32:34,840 --> 00:32:37,800 Speaker 3: an ambivalence about the role of physicality plays in her 637 00:32:37,920 --> 00:32:42,320 Speaker 3: romantic life, but like a almost like a tie, like 638 00:32:42,040 --> 00:32:45,720 Speaker 3: a like a almost like a tie, a wariness or 639 00:32:45,760 --> 00:32:48,320 Speaker 3: weird like she's there's like both weary and weary, like 640 00:32:48,600 --> 00:32:51,120 Speaker 3: she she does want to be a physical creature and 641 00:32:51,160 --> 00:32:54,040 Speaker 3: that's there's nothing wrong with that, but also she sees 642 00:32:54,080 --> 00:32:57,400 Speaker 3: the ways in which that's been complicated in her So 643 00:32:57,440 --> 00:33:01,440 Speaker 3: she's almost saying, like this moment's critical. It might be 644 00:33:01,480 --> 00:33:04,320 Speaker 3: we feel it and we could get physical, or sorry, yeah, 645 00:33:04,360 --> 00:33:07,560 Speaker 3: it might be revealing and we could get physical. There's 646 00:33:07,600 --> 00:33:10,400 Speaker 3: ambivalence to that. What might be revealed is like we 647 00:33:10,440 --> 00:33:13,920 Speaker 3: should get physical, or it might be revealed that in 648 00:33:13,960 --> 00:33:16,160 Speaker 3: getting physical, you're just another guy who's going to be 649 00:33:16,320 --> 00:33:19,240 Speaker 3: subject to his false his stupid pride and walk away 650 00:33:19,280 --> 00:33:21,800 Speaker 3: and maybe kill himself, just like Kurt and Elliott Smith 651 00:33:21,840 --> 00:33:22,880 Speaker 3: once upon a Time too. 652 00:33:23,160 --> 00:33:23,920 Speaker 2: Okay, there he is. 653 00:33:25,440 --> 00:33:28,440 Speaker 1: I like the that she has set up this lore. 654 00:33:29,120 --> 00:33:34,120 Speaker 1: There's this there's this folk almost like folklore going on 655 00:33:34,520 --> 00:33:36,960 Speaker 1: in this. There's a lot to Digest more tailor, there's 656 00:33:36,960 --> 00:33:40,320 Speaker 1: more there. Yeah, there's more there that meets the eye, 657 00:33:40,640 --> 00:33:43,400 Speaker 1: Battle Beasts, a Transformer, Transformers, that's what it. 658 00:33:43,360 --> 00:33:44,760 Speaker 2: Was, Transformers. 659 00:33:44,800 --> 00:33:47,680 Speaker 1: But I really like that she that there's this this 660 00:33:48,000 --> 00:33:52,120 Speaker 1: you know, myth mythology she's referencing it. I'm confused by it. 661 00:33:52,200 --> 00:33:54,640 Speaker 1: But a lot of those, you know, those stories from 662 00:33:54,680 --> 00:33:57,120 Speaker 1: the Greek myths, You're like, what was the story here? 663 00:33:57,440 --> 00:33:57,680 Speaker 3: Yeah? 664 00:33:57,720 --> 00:34:00,080 Speaker 1: I like that when this is on, when I'm I 665 00:34:00,120 --> 00:34:04,440 Speaker 1: met my seatown a convenience store and I'm gonna shake 666 00:34:04,520 --> 00:34:07,160 Speaker 1: my tush and enjoy it, that's where it belongs, and 667 00:34:07,240 --> 00:34:09,320 Speaker 1: that's what you set out to make that, And I 668 00:34:09,400 --> 00:34:10,080 Speaker 1: think they did it. 669 00:34:10,280 --> 00:34:12,960 Speaker 3: Yeah, I honestly think. Look, there's a whole other pod 670 00:34:13,200 --> 00:34:15,600 Speaker 3: to be done, which we have twenty seven seconds. We 671 00:34:15,640 --> 00:34:17,239 Speaker 3: can't do it now, But there's a whole other pod 672 00:34:17,280 --> 00:34:20,279 Speaker 3: about like whether or not anyone like Parasilton should be 673 00:34:20,280 --> 00:34:21,920 Speaker 3: singing a reggae song. I don't know. 674 00:34:24,360 --> 00:34:26,360 Speaker 2: Love your chancers, See you next week.