1 00:00:00,040 --> 00:00:02,800 Speaker 1: Hello, Hello, this is George, and this is your final 2 00:00:02,880 --> 00:00:05,040 Speaker 1: reminder if you live in Philly, Boston, or in New 3 00:00:05,120 --> 00:00:07,520 Speaker 1: York City, that this is your last chance to see 4 00:00:07,560 --> 00:00:10,760 Speaker 1: me do stand up comedy before I record my special 5 00:00:10,800 --> 00:00:13,840 Speaker 1: on April first. If you are in Philly, the show 6 00:00:13,920 --> 00:00:16,880 Speaker 1: is tomorrow. I repeat tomorrow. If you are listening to 7 00:00:16,880 --> 00:00:20,720 Speaker 1: this on Tuesday, the show is Wednesday, March twelfth at Philamocha, 8 00:00:20,880 --> 00:00:24,200 Speaker 1: featuring Sam Ruddy, who is one of my absolute faves. 9 00:00:24,360 --> 00:00:27,920 Speaker 1: If you are in Boston March twentieth, there are two shows, 10 00:00:27,920 --> 00:00:30,200 Speaker 1: an early show and a late show. And if you're 11 00:00:30,200 --> 00:00:32,560 Speaker 1: in New York, I'm doing Joe's Pub on Monday, March 12 00:00:32,680 --> 00:00:35,680 Speaker 1: twenty fourth, and I hope to see you there. I 13 00:00:35,680 --> 00:00:38,000 Speaker 1: love Philly, I love Boston, I love New York City. 14 00:00:38,280 --> 00:00:41,479 Speaker 1: And after April first, you will never hear from me 15 00:00:41,520 --> 00:00:46,800 Speaker 1: again for like a month or two. Well, enjoy the show. 16 00:00:46,840 --> 00:00:54,800 Speaker 1: This is a special one. Bye. 17 00:01:06,760 --> 00:01:09,280 Speaker 2: Okay, Okay, Now I'm rethinking what if we start out 18 00:01:09,520 --> 00:01:14,040 Speaker 2: sort of with our maybe Okay, So first of all, 19 00:01:14,080 --> 00:01:17,479 Speaker 2: I think format wise, it's you know, discussing the time 20 00:01:17,480 --> 00:01:20,319 Speaker 2: that has passed, you know, how we were here for CHROMATICA, 21 00:01:20,319 --> 00:01:21,800 Speaker 2: what has come what has passed? 22 00:01:21,959 --> 00:01:24,120 Speaker 1: Did Sam tell you that I like, I really like 23 00:01:24,200 --> 00:01:26,560 Speaker 1: your idea, Sam of so, the first time you were 24 00:01:26,680 --> 00:01:29,120 Speaker 1: on for Gaga, it was Lady Gaga in the Passage 25 00:01:29,120 --> 00:01:30,680 Speaker 1: of Time, and this is going to be Lady Gaga 26 00:01:30,680 --> 00:01:33,600 Speaker 1: in the Passage of Time part two that I love. 27 00:01:34,480 --> 00:01:36,760 Speaker 1: And so I actually think the fact that she said 28 00:01:37,120 --> 00:01:42,440 Speaker 1: her age on SNL, which is insane, like, oh, I 29 00:01:42,480 --> 00:01:46,320 Speaker 1: think our way in is like the passage of time. 30 00:01:46,600 --> 00:01:47,240 Speaker 1: You don't like that. 31 00:01:47,760 --> 00:01:48,680 Speaker 3: I don't want to. 32 00:01:54,920 --> 00:01:55,840 Speaker 1: I don't want to. 33 00:01:56,200 --> 00:02:00,360 Speaker 2: We're keeping this in by the way, Okay, so, and 34 00:02:00,400 --> 00:02:01,840 Speaker 2: then I think we will have to do a track 35 00:02:01,840 --> 00:02:02,960 Speaker 2: by track and then. 36 00:02:04,360 --> 00:02:06,680 Speaker 3: Where we list our health conditions with each one or 37 00:02:10,000 --> 00:02:11,920 Speaker 3: since the since twenty twenty. 38 00:02:12,080 --> 00:02:15,680 Speaker 2: I'm crying. Okay, let's just start. 39 00:02:16,520 --> 00:02:18,799 Speaker 1: But I do actually think it would be funny to 40 00:02:18,880 --> 00:02:21,080 Speaker 1: keep in the last like two minutes. 41 00:02:21,560 --> 00:02:31,200 Speaker 2: Fine, okat podcast starts now. Welcome little monsters, like big monsters. 42 00:02:31,639 --> 00:02:35,120 Speaker 2: More like big monsters. So we are here today with 43 00:02:35,160 --> 00:02:39,000 Speaker 2: a very very special episode because you know, we're throwing 44 00:02:39,000 --> 00:02:41,240 Speaker 2: our whole framework out the window and we're saying enough, 45 00:02:41,720 --> 00:02:43,840 Speaker 2: it's time for us to become what we were meant 46 00:02:43,840 --> 00:02:47,919 Speaker 2: to be, which is a Lady Gaga Stand Podcast. 47 00:02:47,760 --> 00:02:51,560 Speaker 1: Goga Recap podcast, The Week in Gaga. 48 00:02:51,639 --> 00:02:55,240 Speaker 2: So, last time on Lady Gaga, it was twenty twenty 49 00:02:56,080 --> 00:02:57,160 Speaker 2: and oh. 50 00:02:57,160 --> 00:02:59,120 Speaker 1: My god, what is it? Twenty twenty? Not even twenty one. 51 00:02:59,639 --> 00:03:03,760 Speaker 2: It was twenty twenty. The vaccine was nowhere to be found. 52 00:03:04,080 --> 00:03:06,919 Speaker 2: We were locked in our homes and we had Amy 53 00:03:07,000 --> 00:03:10,360 Speaker 2: Zimmer on to discuss the release of not Chromatica, but 54 00:03:10,520 --> 00:03:13,600 Speaker 2: rain on me, just rain on me. Chromatica had not 55 00:03:13,639 --> 00:03:14,160 Speaker 2: come out yet. 56 00:03:14,200 --> 00:03:15,200 Speaker 1: Oh I didn't even know that. 57 00:03:15,440 --> 00:03:19,280 Speaker 2: And so that episode was titled Lady Gaga in the 58 00:03:19,280 --> 00:03:21,760 Speaker 2: Passage of Time. And so now you are entering Lady 59 00:03:21,760 --> 00:03:24,239 Speaker 2: Gaga in the Passage of Time, Part two with our 60 00:03:24,280 --> 00:03:27,640 Speaker 2: guest Amy Zimmer. Welcome to the podcast, Amy Zimmer, Hi. 61 00:03:27,800 --> 00:03:28,760 Speaker 3: Thank you for having me. 62 00:03:29,160 --> 00:03:30,600 Speaker 1: I do want to say one thing, which is that 63 00:03:30,639 --> 00:03:36,200 Speaker 1: podcast episode produced one of Amy's big, biggest ideas of 64 00:03:36,280 --> 00:03:40,000 Speaker 1: many there are many things Amy says that kind of 65 00:03:40,280 --> 00:03:43,160 Speaker 1: I put away in the in the library of my mind, 66 00:03:43,200 --> 00:03:45,400 Speaker 1: and I say, in the spank bank, in this in 67 00:03:45,400 --> 00:03:48,600 Speaker 1: this bank bank, in my intellectual spank bank, and I say, 68 00:03:48,600 --> 00:03:51,680 Speaker 1: when you need to jerk it intellectually, you can always 69 00:03:51,720 --> 00:03:54,120 Speaker 1: reach for these. You can always go into the Amy folder. 70 00:03:54,720 --> 00:03:58,560 Speaker 1: And one of those things is when Amy said lady 71 00:03:58,840 --> 00:04:02,240 Speaker 1: like respect Lady Gaga, something along the lines of like 72 00:04:03,680 --> 00:04:06,600 Speaker 1: Lady Gaga means the twenty tens meant something like to 73 00:04:07,560 --> 00:04:10,400 Speaker 1: let go of Lady Gaga completely, to be like, you're 74 00:04:10,600 --> 00:04:13,720 Speaker 1: hopeless means that the twenty tens were for nothing. So 75 00:04:13,800 --> 00:04:16,159 Speaker 1: like you have to respect Lady Gaga. If you think 76 00:04:16,200 --> 00:04:20,240 Speaker 1: the twenty tens had any significance and can be salvageable 77 00:04:20,240 --> 00:04:22,320 Speaker 1: in any way, well, I. 78 00:04:22,200 --> 00:04:25,080 Speaker 3: Think that is hung in high relief now when you 79 00:04:25,120 --> 00:04:26,480 Speaker 3: say yeah, and. 80 00:04:26,480 --> 00:04:29,040 Speaker 1: It actually is funny to think now now I think 81 00:04:29,080 --> 00:04:31,000 Speaker 1: of that as so long ago, but you said that 82 00:04:31,160 --> 00:04:34,200 Speaker 1: in twenty twenty, so it really was about the decade 83 00:04:34,200 --> 00:04:36,800 Speaker 1: that had just ended. I mean, this was very kind of, 84 00:04:37,400 --> 00:04:40,360 Speaker 1: you know, a New York Times opinion section, like, let's 85 00:04:40,400 --> 00:04:41,760 Speaker 1: take stock of the last decade. 86 00:04:42,520 --> 00:04:46,920 Speaker 3: It's amazing because I completely black out eighty five percent 87 00:04:47,000 --> 00:04:50,840 Speaker 3: of that episode. And to hear what I said back 88 00:04:50,880 --> 00:04:55,440 Speaker 3: to me about twenty years later, it's really profound. But 89 00:04:55,480 --> 00:04:57,640 Speaker 3: I agree with that. Yeah, sure, and I think you 90 00:04:57,680 --> 00:05:02,560 Speaker 3: know what a what a tragic patina it has now come. 91 00:05:03,400 --> 00:05:07,400 Speaker 1: The patina feeling tragic. First of all, the feeling when 92 00:05:07,400 --> 00:05:10,680 Speaker 1: the Patina is tragic. Second of all that Patina, it's 93 00:05:10,720 --> 00:05:12,839 Speaker 1: like it's like The Titanic. It's the first scenes of 94 00:05:12,839 --> 00:05:15,039 Speaker 1: The Titanic where the little camera is under the water 95 00:05:15,400 --> 00:05:17,400 Speaker 1: and they're finding things and they're all covered in that 96 00:05:17,520 --> 00:05:21,200 Speaker 1: sort of like chunky, chunky substance where. 97 00:05:21,080 --> 00:05:23,839 Speaker 3: Little cameras are under the water. That's pretty much where 98 00:05:23,839 --> 00:05:28,560 Speaker 3: we're at, I would say, I think, I. 99 00:05:28,440 --> 00:05:32,000 Speaker 1: Mean, I guess the twenty tens are sort of you know, 100 00:05:32,080 --> 00:05:36,040 Speaker 1: the Titanic main narrative Leo Rose and in the twenty 101 00:05:36,120 --> 00:05:40,520 Speaker 1: twenties are more little camera under the water finding chunky substance. 102 00:05:41,440 --> 00:05:44,760 Speaker 2: I mean, no more than ever. I I almost want 103 00:05:44,760 --> 00:05:46,920 Speaker 2: to start with just so listeners. I don't know if 104 00:05:46,960 --> 00:05:52,400 Speaker 2: they know with all of our relationships with Lady Gaga. Yeah, 105 00:05:53,600 --> 00:05:58,640 Speaker 2: Amy Abe, please kick this off really even if if 106 00:05:58,680 --> 00:06:01,240 Speaker 2: it because since we talked, Chramatica has come out, there 107 00:06:01,279 --> 00:06:03,200 Speaker 2: was a tour, there's been a whole and then now 108 00:06:03,279 --> 00:06:06,120 Speaker 2: a new album. I want to know if anything of 109 00:06:06,240 --> 00:06:09,159 Speaker 2: your relationship with her has changed in the last five years. 110 00:06:11,640 --> 00:06:16,839 Speaker 3: Yeah. I think it would be a little a little 111 00:06:17,000 --> 00:06:20,359 Speaker 3: uh distressing if it hadn't. I actually think this entire 112 00:06:21,680 --> 00:06:23,960 Speaker 3: what it seems to be like her sort of promotional 113 00:06:24,080 --> 00:06:28,520 Speaker 3: cycle around this album. Is that how much things have changed, 114 00:06:29,040 --> 00:06:30,800 Speaker 3: you know, which is a big part of time. I 115 00:06:30,839 --> 00:06:33,960 Speaker 3: don't know if you know about this, but I would 116 00:06:33,960 --> 00:06:37,719 Speaker 3: say yeah. I mean there's always something that changes in 117 00:06:37,760 --> 00:06:40,840 Speaker 3: your relationship to a mega pop star in the course 118 00:06:40,880 --> 00:06:45,200 Speaker 3: of a life. And I also think, who who I 119 00:06:45,240 --> 00:06:47,240 Speaker 3: am since I even said that, has changed a lot. 120 00:06:47,279 --> 00:06:50,120 Speaker 1: So yeah, since you just said that, like since you said. 121 00:06:49,880 --> 00:06:52,719 Speaker 3: Yeah, yeah, well that's yeah, the Mayhem of my mystery. 122 00:06:53,279 --> 00:06:56,320 Speaker 3: Oh but there is something eternal I think to being 123 00:06:56,720 --> 00:07:01,320 Speaker 3: interested in her work, which is too like constantly sort 124 00:07:01,360 --> 00:07:04,719 Speaker 3: of not know how you're feeling at any given moment 125 00:07:05,480 --> 00:07:06,159 Speaker 3: until you do. 126 00:07:06,360 --> 00:07:08,560 Speaker 1: Yeah, there's a productive ambiguity there. 127 00:07:08,760 --> 00:07:09,160 Speaker 3: Mm hmm. 128 00:07:10,040 --> 00:07:14,360 Speaker 2: Yeah. So as I want to know, like as Mayhem 129 00:07:14,440 --> 00:07:16,960 Speaker 2: is coming out, you know, tell us what's going through 130 00:07:17,080 --> 00:07:19,880 Speaker 2: your brain? Tell us if it's sort of the emotions 131 00:07:19,880 --> 00:07:23,240 Speaker 2: that it's sparking as she's promoting. I want to know, like, 132 00:07:23,400 --> 00:07:26,160 Speaker 2: are you like, is it fear, is it wonder? Is 133 00:07:26,200 --> 00:07:28,840 Speaker 2: it excitement? Is an anxiety? What are you feeling as 134 00:07:28,840 --> 00:07:32,760 Speaker 2: she is, you know, debuting her black hair and her 135 00:07:33,320 --> 00:07:35,600 Speaker 2: this font. And I want to know. I want to 136 00:07:35,640 --> 00:07:36,000 Speaker 2: know it all. 137 00:07:36,280 --> 00:07:37,760 Speaker 1: Yeah, how do you feel about the font? 138 00:07:38,760 --> 00:07:42,000 Speaker 3: About the orange font? Yeah, it's the last thing on 139 00:07:42,040 --> 00:07:44,840 Speaker 3: my mind. I guess when I come to everything. I mean, 140 00:07:44,920 --> 00:07:46,720 Speaker 3: I've been seeing a lot of these things where it's 141 00:07:46,760 --> 00:07:49,600 Speaker 3: like compare Lady Gaga's fonts over the years, which I 142 00:07:49,600 --> 00:07:54,480 Speaker 3: think is symptomatic of something much darker in the culture. 143 00:07:56,880 --> 00:08:00,680 Speaker 3: To go over the font of a of a of 144 00:08:00,720 --> 00:08:05,440 Speaker 3: a business is kind of crazy. But I was really excited. 145 00:08:05,600 --> 00:08:11,240 Speaker 3: I have been excited to see her going dark dark pop. 146 00:08:11,240 --> 00:08:14,000 Speaker 3: I think I was part of the majority or like 147 00:08:15,040 --> 00:08:18,160 Speaker 3: a lot of people who suspected it would be a 148 00:08:18,200 --> 00:08:25,400 Speaker 3: hardcore return to dark pop, and then I think I was. 149 00:08:26,240 --> 00:08:29,000 Speaker 3: I was in for a surprise when the album dropped, 150 00:08:31,160 --> 00:08:34,160 Speaker 3: not entirely unpleasant surprise, but I did. It takes some 151 00:08:34,240 --> 00:08:35,640 Speaker 3: adjusting or something to it. 152 00:08:35,960 --> 00:08:39,760 Speaker 1: Yeah, yeah, yeah, So when we say dark pop, because 153 00:08:39,800 --> 00:08:41,920 Speaker 1: I have to say I'm very much on the outskirts 154 00:08:41,960 --> 00:08:42,360 Speaker 1: of this. 155 00:08:43,040 --> 00:08:45,400 Speaker 3: By the way, that's not a genre that kind of exists. 156 00:08:45,480 --> 00:08:49,800 Speaker 1: But is that we're talking like Alejandro, I. 157 00:08:49,720 --> 00:08:51,920 Speaker 3: Think we're talking well, I think that obviously the two 158 00:08:52,760 --> 00:08:56,240 Speaker 3: the two lead singles that came out were featuring like 159 00:08:56,280 --> 00:08:59,959 Speaker 3: a really more goth heavy sound, a more industrial sound, 160 00:09:00,040 --> 00:09:03,400 Speaker 3: which everybody came to know her for. And I felt 161 00:09:03,400 --> 00:09:08,319 Speaker 3: that the visuals in Disease in particular were exciting. I 162 00:09:08,360 --> 00:09:15,720 Speaker 3: love the choreo with Paris, the new direction. I thought, 163 00:09:15,800 --> 00:09:19,640 Speaker 3: you know, okay, there's there's there's effort, energy, and momentum, 164 00:09:19,679 --> 00:09:21,960 Speaker 3: which I think, as you if you're going to chart 165 00:09:22,000 --> 00:09:26,400 Speaker 3: anything through the discography, those three things are. It's hard 166 00:09:26,400 --> 00:09:27,920 Speaker 3: when those three things are aligned. 167 00:09:28,120 --> 00:09:30,400 Speaker 1: But you know, what are the three things again? 168 00:09:31,600 --> 00:09:32,120 Speaker 3: I don't know. 169 00:09:33,640 --> 00:09:34,920 Speaker 1: I wasn't going to catch that. 170 00:09:35,760 --> 00:09:38,079 Speaker 3: I just think it's effort, energy and momentum. 171 00:09:38,160 --> 00:09:41,800 Speaker 2: Effort, energy, momentum, energy and momentum. Yeah, that's our sort 172 00:09:41,800 --> 00:09:43,560 Speaker 2: of chrisma, uniqueness, neurve in talent. 173 00:09:43,640 --> 00:09:47,720 Speaker 1: Effort, energy and momentum is huge, Amy, is it really it's. 174 00:09:47,600 --> 00:09:51,120 Speaker 2: Huge effort, energy momentum. Because I do agree, because actually, 175 00:09:51,120 --> 00:09:54,320 Speaker 2: when Disease first dropped, it was like there was just 176 00:09:54,400 --> 00:09:57,240 Speaker 2: the single, no music video, and I was like, is 177 00:09:57,320 --> 00:10:00,320 Speaker 2: there effort, energy and momentum? Like I was like, there's 178 00:10:00,480 --> 00:10:02,640 Speaker 2: a little effort, like you did put the song out, 179 00:10:02,679 --> 00:10:04,800 Speaker 2: but is it energy? Is it momentum? 180 00:10:04,920 --> 00:10:07,400 Speaker 1: You felt Disease was not energy or momentum. 181 00:10:07,679 --> 00:10:11,240 Speaker 2: I did. I felt like it was okay, effort, yeah, 182 00:10:11,280 --> 00:10:13,360 Speaker 2: and then once the video came out, then I was like, okay, 183 00:10:13,400 --> 00:10:15,800 Speaker 2: now we have energy, effort, momentum. Yeah. 184 00:10:15,840 --> 00:10:18,280 Speaker 1: What's interesting about those three is that it's not quite that. 185 00:10:19,120 --> 00:10:20,920 Speaker 1: You know, you have one that's one third, you have 186 00:10:20,960 --> 00:10:23,320 Speaker 1: two that's two thirds. It's not like that at all, actually, 187 00:10:23,440 --> 00:10:25,880 Speaker 1: because if you have effort but not energy and momentum, 188 00:10:25,880 --> 00:10:29,160 Speaker 1: that actually is a self defeating effort, because then an 189 00:10:29,200 --> 00:10:32,120 Speaker 1: effort without energy and momentum just seems desperate, and it's 190 00:10:32,120 --> 00:10:35,280 Speaker 1: almost worse than not having effort at all. It's worse 191 00:10:35,360 --> 00:10:38,440 Speaker 1: than being just static. You know, effort without energy and 192 00:10:38,440 --> 00:10:41,120 Speaker 1: momentum is someone on the street just sort of like 193 00:10:41,200 --> 00:10:44,000 Speaker 1: slapping themselves and being like notice me, notice me. 194 00:10:45,160 --> 00:10:47,520 Speaker 3: Yeah, well that's a key part. That's a key part 195 00:10:47,520 --> 00:10:49,840 Speaker 3: of this anyway. But I'm interested what you said, Sam, 196 00:10:49,880 --> 00:10:52,319 Speaker 3: you weren't sort of excited by disease when it happened, 197 00:10:52,400 --> 00:10:53,840 Speaker 3: or you didn't feel all three were happening. 198 00:10:54,240 --> 00:10:56,160 Speaker 2: I didn't feel all three were happening, So my. 199 00:10:56,240 --> 00:10:58,120 Speaker 3: Really, whereas I did, I was like, all right, I 200 00:10:58,120 --> 00:10:58,839 Speaker 3: did two I did. 201 00:10:59,040 --> 00:11:02,040 Speaker 2: That's awesome. I was jealous of that, as as you know, 202 00:11:02,880 --> 00:11:07,320 Speaker 2: chromatica was nearly a mental illness for me. I think it's. 203 00:11:08,720 --> 00:11:12,959 Speaker 3: Unilaterally that for almost everybody involved. I can't imagine a 204 00:11:13,040 --> 00:11:15,920 Speaker 3: universe where it was, you know, like a tranquil amber 205 00:11:15,960 --> 00:11:16,760 Speaker 3: where you're healthy. 206 00:11:16,880 --> 00:11:18,600 Speaker 1: You're just sort of like, oh, yeah, I'm just having 207 00:11:18,640 --> 00:11:20,880 Speaker 1: a sip of wine listening to Chromatica. 208 00:11:21,000 --> 00:11:24,640 Speaker 2: I listened to it so much. I bought over five 209 00:11:24,760 --> 00:11:26,080 Speaker 2: T shirts your merch. 210 00:11:26,440 --> 00:11:30,480 Speaker 1: I didn't know that addiction was actually crazy, Sam, And 211 00:11:30,559 --> 00:11:32,800 Speaker 1: I'm still finding out about new T shirts that you 212 00:11:32,880 --> 00:11:34,200 Speaker 1: own from the CHROMATICA. 213 00:11:33,800 --> 00:11:35,840 Speaker 2: Currently wearing the Dawn of CHROMATICA shirt. 214 00:11:36,160 --> 00:11:39,439 Speaker 1: And can I ask something all of these you paid for. 215 00:11:39,800 --> 00:11:43,160 Speaker 1: It was not the Goga team. Gaga didn't send them 216 00:11:43,160 --> 00:11:46,559 Speaker 1: to you as an LGBTQ plus influencer. You didn't maybe 217 00:11:46,559 --> 00:11:49,520 Speaker 1: get the meta concert like as a free promotional GID. 218 00:11:50,120 --> 00:11:53,000 Speaker 2: I was lost. I was lost, and I think I 219 00:11:53,120 --> 00:11:56,040 Speaker 2: needed it so bad. Yeah, So I was buying merch 220 00:11:56,120 --> 00:11:57,880 Speaker 2: lenchon right, and I was sort of like, well, this 221 00:11:58,000 --> 00:12:00,240 Speaker 2: is the only time I can buy Chromatic emerges this 222 00:12:00,280 --> 00:12:03,360 Speaker 2: moment in time, the summer of twenty twenty, when they're 223 00:12:03,640 --> 00:12:06,160 Speaker 2: when we are all locked in our homes. 224 00:12:07,120 --> 00:12:09,800 Speaker 1: Of course, except all the various people that completed your order. 225 00:12:11,600 --> 00:12:16,240 Speaker 2: Say that, so, yeah, pretty much. I had to buy 226 00:12:16,280 --> 00:12:17,520 Speaker 2: as many shirts as I could. 227 00:12:18,280 --> 00:12:21,040 Speaker 1: And do you feel and you when disease came out, 228 00:12:21,080 --> 00:12:23,840 Speaker 1: you didn't feel the need to let's say, google Gaga 229 00:12:24,040 --> 00:12:25,079 Speaker 1: disease T shirt. 230 00:12:26,120 --> 00:12:28,920 Speaker 3: Yeah, where's your merch stance. Now that we can leave 231 00:12:28,920 --> 00:12:32,040 Speaker 3: our homes freely and sort of we'll go about in 232 00:12:32,120 --> 00:12:35,120 Speaker 3: the political social climate that is, you know, reaching a 233 00:12:35,240 --> 00:12:35,880 Speaker 3: fever pitch. 234 00:12:36,120 --> 00:12:39,400 Speaker 2: I mean I literally have I did look up you know, 235 00:12:39,480 --> 00:12:41,480 Speaker 2: I said, I can't wait for the Mayhem March to drop. 236 00:12:41,880 --> 00:12:43,520 Speaker 2: Then I went to the website. It turns out it 237 00:12:43,559 --> 00:12:46,240 Speaker 2: already did. And it's just sort of not exciting to me, 238 00:12:47,400 --> 00:12:49,640 Speaker 2: which I think is growth, Like I think is like 239 00:12:49,760 --> 00:12:53,040 Speaker 2: a good sign. It's a sign that I'm healthier at least. 240 00:12:53,480 --> 00:12:55,640 Speaker 2: And I think when disease came out, I was sort 241 00:12:55,640 --> 00:12:58,760 Speaker 2: of like sort of expecting to go into a psychosis 242 00:12:58,880 --> 00:13:02,720 Speaker 2: once again totally, and instead I was like, oh, okay, 243 00:13:03,040 --> 00:13:07,599 Speaker 2: like okay, and that was healthy. And I think, you know, 244 00:13:07,640 --> 00:13:09,559 Speaker 2: we talked about a relationship with her. I think in 245 00:13:09,640 --> 00:13:11,679 Speaker 2: twenty twenty, I was like literally like this is the 246 00:13:11,800 --> 00:13:13,360 Speaker 2: only thing I'm looking forward to, and this is the 247 00:13:13,400 --> 00:13:16,360 Speaker 2: only thing that is fun to me, and now I'm like, 248 00:13:16,640 --> 00:13:17,800 Speaker 2: there's more in my life. 249 00:13:19,600 --> 00:13:20,160 Speaker 1: That's odd. 250 00:13:20,440 --> 00:13:22,240 Speaker 2: Yeah, yeah, yeah, yeah. 251 00:13:22,520 --> 00:13:26,200 Speaker 3: I think a big part of this album subtextually actually 252 00:13:26,360 --> 00:13:31,840 Speaker 3: is like a really noble millennial embracing of getting older, 253 00:13:31,920 --> 00:13:35,600 Speaker 3: at least on Goga's part. Yeah, which I really respect. 254 00:13:35,720 --> 00:13:40,800 Speaker 1: Because you want to talk about that, I'll talk When did. 255 00:13:40,720 --> 00:13:41,880 Speaker 3: I say I didn't want to talk about that? 256 00:13:42,640 --> 00:13:45,640 Speaker 1: Remember at the very beginning when I was like, you know, 257 00:13:45,720 --> 00:13:47,439 Speaker 1: a big part of the help of Cycle is the 258 00:13:47,480 --> 00:13:49,600 Speaker 1: passage of time. And I was actually very struck by 259 00:13:49,640 --> 00:13:52,920 Speaker 1: the fact that on SNL she said specifically her age. 260 00:13:54,760 --> 00:13:56,439 Speaker 2: Yeah, we said, do you want to talk about it? 261 00:13:56,480 --> 00:13:59,719 Speaker 1: No, coward, No, You literally were like, I can't talk 262 00:13:59,720 --> 00:14:00,000 Speaker 1: about it. 263 00:14:00,400 --> 00:14:02,240 Speaker 3: I didn't want to be like, I'm forty two and 264 00:14:02,280 --> 00:14:05,800 Speaker 3: I have sinocidist since Chromatica came out, you know what 265 00:14:05,880 --> 00:14:08,800 Speaker 3: I mean, Like, I do want to talk about you know. 266 00:14:09,040 --> 00:14:11,760 Speaker 1: Okay, you want to talk about her embracing aging as 267 00:14:12,160 --> 00:14:13,599 Speaker 1: an elder millennial. 268 00:14:13,440 --> 00:14:16,200 Speaker 3: Well as a pop star specifically, I think that's an 269 00:14:16,400 --> 00:14:20,680 Speaker 3: incredibly it's a beautiful moment. I think in a larger 270 00:14:20,760 --> 00:14:23,200 Speaker 3: recording artist, of course, it's the way of like Rear 271 00:14:23,560 --> 00:14:24,800 Speaker 3: and it's critical. 272 00:14:24,480 --> 00:14:24,920 Speaker 1: To their. 273 00:14:26,360 --> 00:14:29,680 Speaker 3: Artistry, which is a favorite word I think of Stephanie, 274 00:14:31,600 --> 00:14:35,400 Speaker 3: and I think like her. It just seems like in 275 00:14:35,480 --> 00:14:43,760 Speaker 3: the promotional efforts, she's pretty dead set on being grounded 276 00:14:43,920 --> 00:14:46,760 Speaker 3: an adult, or at least a presentation of like stability 277 00:14:46,960 --> 00:14:50,320 Speaker 3: after and that, like, you know, I think she's trying 278 00:14:50,360 --> 00:14:53,240 Speaker 3: to make it pretty clear that like this is about 279 00:14:53,280 --> 00:14:57,680 Speaker 3: her enjoying making Lady Gaga music again, and that she 280 00:14:58,120 --> 00:15:02,880 Speaker 3: is thirty eight. I don't know, I don't know. 281 00:15:05,000 --> 00:15:10,480 Speaker 1: Do you think I think, yeah, so, because I'm obviously Gaga. 282 00:15:10,560 --> 00:15:14,920 Speaker 1: Whenever she's promoting anything, there is a certain character she's playing, 283 00:15:15,680 --> 00:15:18,640 Speaker 1: and uh, you know, for our Pop it was like Mermaid. 284 00:15:20,000 --> 00:15:24,360 Speaker 1: For Stars Born, it was Angenu in her first big 285 00:15:24,440 --> 00:15:27,520 Speaker 1: starring role. For Joker Too, she was like on the 286 00:15:27,640 --> 00:15:28,360 Speaker 1: verge of murdering. 287 00:15:29,160 --> 00:15:29,280 Speaker 2: Uh. 288 00:15:30,000 --> 00:15:32,520 Speaker 1: And for this one, I find it interesting that she 289 00:15:32,840 --> 00:15:38,080 Speaker 1: is actually choosing to be kind of like sort of normal. Yeah. 290 00:15:38,120 --> 00:15:41,080 Speaker 3: It's like down tempo grunge like Tampa Girl, which I can. 291 00:15:41,320 --> 00:15:44,640 Speaker 1: Do exactly, and she's it's actually crazy how she's you know, 292 00:15:44,760 --> 00:15:47,720 Speaker 1: you think of her as someone who is inherently, and 293 00:15:47,800 --> 00:15:50,240 Speaker 1: I say this in a positive way, inherently weird. Inherently 294 00:15:50,360 --> 00:15:55,120 Speaker 1: theater kid esque. Inherently there's something a little bit off, 295 00:15:55,320 --> 00:15:57,400 Speaker 1: and the way that she has managed to just turn 296 00:15:57,440 --> 00:15:59,640 Speaker 1: that off completely and be just like charming doing her 297 00:15:59,680 --> 00:16:04,760 Speaker 1: a monologue like you know, like kind of talking very 298 00:16:04,800 --> 00:16:08,080 Speaker 1: matter of factly about embracing joy and finding love. There 299 00:16:08,240 --> 00:16:10,000 Speaker 1: is one part of me that's like, so has it 300 00:16:10,040 --> 00:16:11,160 Speaker 1: all been a lie at this point? 301 00:16:11,960 --> 00:16:12,360 Speaker 2: Up until? 302 00:16:12,400 --> 00:16:15,320 Speaker 3: That's critical? I mean, I mean, to wonder about what 303 00:16:15,520 --> 00:16:17,920 Speaker 3: if anything's been a lie or not is to like, 304 00:16:19,000 --> 00:16:22,240 Speaker 3: is to fool yourself in this, you know, the whole 305 00:16:22,880 --> 00:16:25,480 Speaker 3: the lie of Lady Gaga is the essential core of 306 00:16:25,600 --> 00:16:26,240 Speaker 3: Lady Gaga. 307 00:16:26,560 --> 00:16:27,880 Speaker 2: No, I fully agree. 308 00:16:28,080 --> 00:16:31,480 Speaker 3: I don't think it's about whether or not she means 309 00:16:31,960 --> 00:16:33,880 Speaker 3: anything or not. I don't think this it's like some 310 00:16:34,040 --> 00:16:36,560 Speaker 3: kind of trickster album rollout either. I think it's like 311 00:16:36,920 --> 00:16:39,880 Speaker 3: I think she's simply saying like I mean, maybe it's 312 00:16:39,880 --> 00:16:42,240 Speaker 3: a good segue into perfect celebrity. And I don't know 313 00:16:42,240 --> 00:16:43,520 Speaker 3: if you want to go track by track or what, 314 00:16:43,880 --> 00:16:44,880 Speaker 3: but let's go track by. 315 00:16:44,840 --> 00:16:53,920 Speaker 2: Track starting now. Okay, okay, let's start with disease. We've 316 00:16:53,920 --> 00:16:57,200 Speaker 2: discussed it briefly personally. It really grew on me and 317 00:16:57,240 --> 00:17:01,760 Speaker 2: I'm obsessed with it. I also love how Zellia Banks 318 00:17:01,800 --> 00:17:04,600 Speaker 2: is obsessed with it, and that has informed me a lot. 319 00:17:04,880 --> 00:17:08,320 Speaker 3: We'll talk about the passage of time to see literally 320 00:17:08,720 --> 00:17:14,400 Speaker 3: to see to see some beautiful things blooming from from 321 00:17:14,480 --> 00:17:18,200 Speaker 3: twenty thirteen to now is really nice to see. But yeah, 322 00:17:18,280 --> 00:17:21,920 Speaker 3: I was excited by the grit and the grist of it, 323 00:17:22,080 --> 00:17:26,480 Speaker 3: and I really liked I have always liked when she's 324 00:17:28,880 --> 00:17:32,200 Speaker 3: doing something a little more sledgehammery, and so I really 325 00:17:32,400 --> 00:17:35,560 Speaker 3: liked the base in this and the visuals and I 326 00:17:35,680 --> 00:17:37,879 Speaker 3: was like, all right, you know, nothing that would make me, 327 00:17:38,119 --> 00:17:40,240 Speaker 3: you know, buy five or six T shirts or something 328 00:17:40,359 --> 00:17:42,760 Speaker 3: like that. But I was certainly really excited. 329 00:17:43,080 --> 00:17:45,240 Speaker 2: And I give Disease three T shirts. 330 00:17:45,600 --> 00:17:48,240 Speaker 1: I give Disease three T shirts. I'm excited it will 331 00:17:48,280 --> 00:17:49,240 Speaker 1: get more into this later. 332 00:17:49,960 --> 00:17:50,879 Speaker 2: Four T shirts for. 333 00:17:52,760 --> 00:17:54,200 Speaker 1: M I give it three and a half. 334 00:17:54,800 --> 00:17:55,080 Speaker 2: Okay. 335 00:17:55,320 --> 00:17:57,600 Speaker 1: What something I like about this album is that it 336 00:17:57,800 --> 00:18:03,960 Speaker 1: really solidified a lot of the Gaga themes and motifs. 337 00:18:04,359 --> 00:18:06,720 Speaker 1: There's like a real world building element to it, Like 338 00:18:07,119 --> 00:18:13,679 Speaker 1: there are these themes of illness, murder, fame as a prison, 339 00:18:13,840 --> 00:18:16,280 Speaker 1: a lot of the stuff that we've seen before but 340 00:18:17,480 --> 00:18:20,960 Speaker 1: re examined in slightly different ways, and I really do 341 00:18:21,480 --> 00:18:25,760 Speaker 1: appreciate that. I also something about the passage of time 342 00:18:25,920 --> 00:18:28,800 Speaker 1: aging and also her being normal. I actually sort of 343 00:18:28,880 --> 00:18:32,560 Speaker 1: think it's not that the passage of time is like 344 00:18:34,280 --> 00:18:37,000 Speaker 1: this linear thing where it ends with her being normal 345 00:18:37,040 --> 00:18:39,760 Speaker 1: at thirty eight. I actually think for a pop star, 346 00:18:40,160 --> 00:18:42,520 Speaker 1: the ages of approximately thirty eight to forty two are 347 00:18:42,640 --> 00:18:45,679 Speaker 1: when they almost like transcend in this way. It's kind 348 00:18:45,720 --> 00:18:48,200 Speaker 1: of like when Madonna had Ray of Light, and I 349 00:18:48,280 --> 00:18:50,880 Speaker 1: actually think after that you almost have permission to get 350 00:18:50,960 --> 00:18:53,760 Speaker 1: even weirder if you want. But it's like this is 351 00:18:53,840 --> 00:18:57,000 Speaker 1: almost the peak of something where you have to make 352 00:18:57,080 --> 00:19:00,240 Speaker 1: your grand statement of like, Okay, we have now seen 353 00:19:00,720 --> 00:19:03,480 Speaker 1: what I've done the last twenty years. This is who 354 00:19:03,480 --> 00:19:04,680 Speaker 1: I am as an artist. Yeah. 355 00:19:04,720 --> 00:19:09,639 Speaker 3: Well, that's always the hope I have with with artists 356 00:19:09,720 --> 00:19:13,560 Speaker 3: at the peak of their popularity, while they're approaching that 357 00:19:13,680 --> 00:19:17,280 Speaker 3: age range which I think you're you know, by force 358 00:19:17,440 --> 00:19:20,800 Speaker 3: or by decision, you have to kind of release the 359 00:19:20,880 --> 00:19:26,120 Speaker 3: trappings of ngenew you know, an ingenue persona or really 360 00:19:26,240 --> 00:19:30,640 Speaker 3: just any youth of the pop star and hopefully push 361 00:19:30,760 --> 00:19:33,159 Speaker 3: your vision as far as it can go. I'm always 362 00:19:33,240 --> 00:19:36,880 Speaker 3: wanting like huge stars to go as experimental as possible, 363 00:19:37,080 --> 00:19:39,880 Speaker 3: and there are examples of that, but I find there's 364 00:19:41,320 --> 00:19:44,960 Speaker 3: a lot less I don't know, risk taking nowadays, but yeah, 365 00:19:45,000 --> 00:19:46,719 Speaker 3: I agree. I think it's a moment where you can 366 00:19:47,560 --> 00:19:52,640 Speaker 3: you can reach like an apotheosis of of your talents 367 00:19:52,920 --> 00:19:55,520 Speaker 3: and charms and also just really do things out of 368 00:19:55,640 --> 00:19:58,880 Speaker 3: left field, like a Ray of Light or something something 369 00:19:58,920 --> 00:20:01,000 Speaker 3: like this, or some of Prince's albums from that time 370 00:20:01,160 --> 00:20:02,040 Speaker 3: those years. 371 00:20:02,920 --> 00:20:04,680 Speaker 1: And I do think this isn't quite a ray of 372 00:20:04,880 --> 00:20:06,920 Speaker 1: This isn't quite out of left field. I will say 373 00:20:07,080 --> 00:20:10,399 Speaker 1: as well as I am enjoying it. It's a return. 374 00:20:10,920 --> 00:20:12,680 Speaker 2: It's a return with a twist. 375 00:20:13,040 --> 00:20:16,960 Speaker 1: It's a return with a twist, but it isn't it 376 00:20:17,119 --> 00:20:19,440 Speaker 1: isn't a left swing in the way that art pop 377 00:20:19,680 --> 00:20:21,080 Speaker 1: was after Born this way. 378 00:20:22,800 --> 00:20:26,520 Speaker 2: Yeah, well, I think we should move on to Abrica. Okay, 379 00:20:26,840 --> 00:20:31,280 Speaker 2: the second track, the second single even well, I guess third. 380 00:20:31,280 --> 00:20:35,240 Speaker 2: If you can't die with a smile but to die 381 00:20:35,359 --> 00:20:38,119 Speaker 2: for I feel like I give this five T shirts. 382 00:20:38,720 --> 00:20:42,399 Speaker 2: When this came out, I said, oh my god, like 383 00:20:43,000 --> 00:20:44,720 Speaker 2: I'm going to be so taken care of for the 384 00:20:44,800 --> 00:20:48,240 Speaker 2: next few months, right, And I said, I want to 385 00:20:48,240 --> 00:20:50,920 Speaker 2: hear this out and about I said, you know, talk 386 00:20:50,920 --> 00:20:54,120 Speaker 2: about return to form, but with a twist. It felt 387 00:20:54,240 --> 00:20:56,320 Speaker 2: like a combo sort of all of the eras in 388 00:20:56,440 --> 00:20:59,560 Speaker 2: one song. And I was so and continue to be 389 00:20:59,800 --> 00:21:03,720 Speaker 2: so into it. It's so fun and I love the choreo. 390 00:21:04,400 --> 00:21:06,399 Speaker 2: That's my thoughts. Five T shirts. 391 00:21:07,160 --> 00:21:10,280 Speaker 1: That's awesome. You hate it, I don't hate it. 392 00:21:10,440 --> 00:21:12,280 Speaker 3: I don't hate it. I think I had this one 393 00:21:12,359 --> 00:21:15,600 Speaker 3: moment because she what was it, like the super Bowl 394 00:21:15,800 --> 00:21:19,080 Speaker 3: or the Grammys or something. She like dropped the video 395 00:21:19,240 --> 00:21:21,520 Speaker 3: as a commercial, but as. 396 00:21:21,400 --> 00:21:22,880 Speaker 1: An American Express commercial. 397 00:21:23,080 --> 00:21:25,160 Speaker 3: It was like a MasterCard commercial, mister card commercial. 398 00:21:25,200 --> 00:21:27,720 Speaker 1: Excuse me, sorry, sorry to the master Card team. It 399 00:21:27,800 --> 00:21:28,880 Speaker 1: was a master Card commercial. 400 00:21:29,200 --> 00:21:31,680 Speaker 3: If you really want to, you know, throw me back 401 00:21:31,720 --> 00:21:33,840 Speaker 3: to my youth. It's like, let me get excited about 402 00:21:33,840 --> 00:21:34,880 Speaker 3: a MasterCard commercial. 403 00:21:35,240 --> 00:21:39,480 Speaker 1: Yeah, but yeah, lady got got dropping a video iceless. Yeah. 404 00:21:41,840 --> 00:21:43,800 Speaker 3: Well, I think the twenty tens idea that I said 405 00:21:44,720 --> 00:21:48,080 Speaker 3: seven years ago holds up here, which is like, you know, 406 00:21:48,480 --> 00:21:54,560 Speaker 3: her music is sort of dovetails with a liberal ideology 407 00:21:54,680 --> 00:21:57,639 Speaker 3: that we you know, will unspool for it seems the 408 00:21:57,680 --> 00:21:58,359 Speaker 3: rest of our lives. 409 00:21:58,680 --> 00:22:01,520 Speaker 1: You are completely there. And I actually think that, like 410 00:22:02,440 --> 00:22:05,920 Speaker 1: the fact that it's all these things that she's doing 411 00:22:06,200 --> 00:22:11,080 Speaker 1: are hearkening back to the kind of majesty of the 412 00:22:11,119 --> 00:22:14,879 Speaker 1: bad Romance era but are also sponsored by MasterCard. Is 413 00:22:15,400 --> 00:22:17,560 Speaker 1: part of the wistfulness of it. 414 00:22:17,680 --> 00:22:20,119 Speaker 3: Like I know, and well, I guess my my like 415 00:22:20,920 --> 00:22:23,080 Speaker 3: my joke and also my feeling, which is just like 416 00:22:23,680 --> 00:22:25,720 Speaker 3: let her cook, so to speak. I don't know, it's 417 00:22:25,760 --> 00:22:28,280 Speaker 3: sort of like, uh, this is sort of what she does. 418 00:22:28,560 --> 00:22:32,040 Speaker 3: And I I was like, wow, it's in. I like 419 00:22:32,119 --> 00:22:36,280 Speaker 3: the song the sort of like spark of recognition where 420 00:22:36,320 --> 00:22:38,640 Speaker 3: you're like, oh my god. I think I like the song, 421 00:22:38,880 --> 00:22:41,720 Speaker 3: like to to be like brought out of some kind 422 00:22:41,760 --> 00:22:45,119 Speaker 3: of slumber whenever, like Gaga has like it like an 423 00:22:45,160 --> 00:22:49,040 Speaker 3: inkling of something. It's a it's a it's a bond 424 00:22:49,160 --> 00:22:53,640 Speaker 3: between listener and star that's like, I think, ultimately kind 425 00:22:53,680 --> 00:23:01,120 Speaker 3: of unhealthy. But I'm here, there and everywhere. 426 00:23:01,640 --> 00:23:04,160 Speaker 2: But I'm really trying to like parse out your headspace 427 00:23:04,240 --> 00:23:05,000 Speaker 2: right now. I know me too. 428 00:23:05,119 --> 00:23:08,359 Speaker 1: It's actually really fascinating. It's like listening to a public intellectual. 429 00:23:09,680 --> 00:23:12,639 Speaker 3: It shouldn't ben't be like that, I guess, is what 430 00:23:12,720 --> 00:23:15,160 Speaker 3: I'm trying to say. Here's something I will say about 431 00:23:15,400 --> 00:23:18,320 Speaker 3: about abracadabra where And I don't want to say this 432 00:23:18,440 --> 00:23:22,240 Speaker 3: phrase anymore than need be, But I did want to 433 00:23:22,240 --> 00:23:26,160 Speaker 3: ask your guys opinion about this, this sentiment of rep 434 00:23:26,640 --> 00:23:31,000 Speaker 3: it we need say once now let me let me finish. Okay, yes, 435 00:23:31,600 --> 00:23:35,000 Speaker 3: of course, let me finish. We're obviously that's a phrase 436 00:23:35,040 --> 00:23:35,840 Speaker 3: that's going around. 437 00:23:36,880 --> 00:23:39,280 Speaker 2: It's the new epidemic. It's the new COVID. 438 00:23:39,119 --> 00:23:43,639 Speaker 3: Nineteen, certainly. And I think you can always argue that 439 00:23:44,560 --> 00:23:49,919 Speaker 3: that an artist pulls references and re originates things, recontextualizes 440 00:23:50,000 --> 00:23:54,439 Speaker 3: things into a new form, or like things of this nature. 441 00:23:54,520 --> 00:23:58,000 Speaker 3: But I find it a little distressing that the oh 442 00:23:58,160 --> 00:24:01,919 Speaker 3: currant kind of phrase at the moment is literally pointing 443 00:24:01,960 --> 00:24:05,760 Speaker 3: to a culture of leftovers. Do you know what I mean? 444 00:24:06,280 --> 00:24:08,879 Speaker 2: Yes, I do know what you mean. I think we 445 00:24:09,040 --> 00:24:14,160 Speaker 2: are I think the nachosification of pop music has gone 446 00:24:15,080 --> 00:24:18,159 Speaker 2: really far. I know everyone's always pulling, I know everyone's 447 00:24:18,160 --> 00:24:23,320 Speaker 2: always referencing, but I am sort of like, like this album, 448 00:24:23,520 --> 00:24:26,560 Speaker 2: Like so for Disease, for example, I was sort of like, 449 00:24:26,720 --> 00:24:28,800 Speaker 2: I think what originally didn't spark with me is I 450 00:24:28,920 --> 00:24:31,440 Speaker 2: was like, this sounds like the Kim Petress Halloween album, 451 00:24:31,840 --> 00:24:34,199 Speaker 2: Like it sounds the production sounds identical to the Kim 452 00:24:34,200 --> 00:24:37,560 Speaker 2: Petress Halloween album. So this doesn't excite me because I'm like, 453 00:24:37,640 --> 00:24:41,160 Speaker 2: this happened like five years ago. This wasn't this isn't 454 00:24:41,280 --> 00:24:43,760 Speaker 2: like old news, and it's like, wow, she brought back 455 00:24:43,800 --> 00:24:46,560 Speaker 2: this sound. It's like this is so recent. But I 456 00:24:46,680 --> 00:24:48,720 Speaker 2: do think the more I've listened to this album in general, 457 00:24:48,960 --> 00:24:51,600 Speaker 2: it is I would say it's nachos the album. It 458 00:24:51,800 --> 00:24:54,920 Speaker 2: is like, fully every song reminds me of another song 459 00:24:55,800 --> 00:24:57,840 Speaker 2: and in ways that at first I was annoyed by 460 00:24:57,880 --> 00:24:58,639 Speaker 2: it and now I'm liking. 461 00:24:59,600 --> 00:25:02,159 Speaker 3: Yeah. Well, I actually don't think like I'm faulting her 462 00:25:02,320 --> 00:25:04,560 Speaker 3: for any of that. I just think it's interesting in 463 00:25:04,920 --> 00:25:08,119 Speaker 3: the way we talk about popular music now, which is 464 00:25:08,240 --> 00:25:12,119 Speaker 3: just like if somebody is to successfully kind of you 465 00:25:12,280 --> 00:25:15,000 Speaker 3: just have to sort of successfully reference something and not 466 00:25:17,880 --> 00:25:20,760 Speaker 3: recontextualize it too much for it to be enjoyable. 467 00:25:21,600 --> 00:25:26,480 Speaker 1: And this goes back to my big idea, Right, it's 468 00:25:26,560 --> 00:25:31,760 Speaker 1: not content creators, it's context creators at all. All we're 469 00:25:31,840 --> 00:25:36,320 Speaker 1: doing is recycling the same things but giving them slightly 470 00:25:36,359 --> 00:25:37,160 Speaker 1: different context. 471 00:25:38,240 --> 00:25:42,240 Speaker 2: Well. For example, also Useexua, which I loved, I stand, 472 00:25:43,119 --> 00:25:45,400 Speaker 2: but there are songs on there where it's literally Ray 473 00:25:45,440 --> 00:25:49,040 Speaker 2: of Light. Like it sounds like identical to songs on 474 00:25:49,160 --> 00:25:53,440 Speaker 2: Ray of Light, which you know is having its flowers 475 00:25:53,480 --> 00:25:56,840 Speaker 2: once again. But it is just like a big ray of. 476 00:25:56,920 --> 00:26:00,479 Speaker 3: Lights, like, uh, you know what can be said, it's 477 00:26:00,480 --> 00:26:03,760 Speaker 3: a it's a pinnacle album in music in music history, 478 00:26:03,800 --> 00:26:06,920 Speaker 3: and those sounds are are still futuristic, I think, is 479 00:26:07,000 --> 00:26:09,360 Speaker 3: what you're saying. Like they're still leading edge, they're still 480 00:26:09,400 --> 00:26:13,359 Speaker 3: cutting edge, and I think that's an album where the 481 00:26:13,520 --> 00:26:17,960 Speaker 3: core of it is about huge experimentation and huge experimentation 482 00:26:18,160 --> 00:26:23,120 Speaker 3: into the into the like iconography of Madonna herself. It's 483 00:26:23,160 --> 00:26:27,280 Speaker 3: like a huge it's like an integration of sorts for her, 484 00:26:27,480 --> 00:26:33,680 Speaker 3: you know, NU mean where she's introspective, she's spiritual, she's futuristic. 485 00:26:34,359 --> 00:26:36,399 Speaker 1: Well also in terms of the integration of it, it 486 00:26:36,560 --> 00:26:40,680 Speaker 1: is literally her artificial celebrity self and her quote unquote 487 00:26:40,720 --> 00:26:44,760 Speaker 1: real authentic self integrating that is a big part of 488 00:26:44,920 --> 00:26:48,439 Speaker 1: the of the kind of theme of Ray of Light. 489 00:26:49,040 --> 00:26:55,240 Speaker 3: Mm hmm. So so talk to me, So talk to me. 490 00:26:55,560 --> 00:27:01,760 Speaker 1: I'm struggling with I I'm struggling with the Nacho's conversation 491 00:27:01,920 --> 00:27:06,359 Speaker 1: because here's one take, here's one way into it. I 492 00:27:07,240 --> 00:27:11,600 Speaker 1: want to just reject wholesale the language of TikTok. I 493 00:27:11,760 --> 00:27:15,719 Speaker 1: don't just because three people said this phrase and then 494 00:27:15,760 --> 00:27:18,560 Speaker 1: people saw it and thought it was, you know, pleasing 495 00:27:18,640 --> 00:27:20,080 Speaker 1: to the ear in some way, thought it was like 496 00:27:20,119 --> 00:27:22,320 Speaker 1: an interesting lens through which to view pop cultures. Then 497 00:27:22,359 --> 00:27:24,680 Speaker 1: they repeated it, and the other ones repeated it. It 498 00:27:24,800 --> 00:27:28,120 Speaker 1: gives you this idea that somehow that is how everyone 499 00:27:28,280 --> 00:27:31,600 Speaker 1: is talking currently, And actually I am not talking like that, 500 00:27:34,840 --> 00:27:37,280 Speaker 1: you know what I mean? Yeah, Well, I'm like, I'm not. 501 00:27:37,880 --> 00:27:41,800 Speaker 1: You don't have to accept the terms set by the 502 00:27:42,119 --> 00:27:43,479 Speaker 1: dumbest people on the planet. 503 00:27:44,720 --> 00:27:47,160 Speaker 3: Well, when you're talking about popular music, though, I kind 504 00:27:47,200 --> 00:27:48,560 Speaker 3: of feel like you have to hear it out. 505 00:27:48,440 --> 00:27:49,959 Speaker 1: Almost completely, right. 506 00:27:50,320 --> 00:27:52,640 Speaker 3: I don't think you can avoid you can't. 507 00:27:52,680 --> 00:27:53,000 Speaker 2: You're right. 508 00:27:53,359 --> 00:27:56,760 Speaker 3: It's like sort of saying like, I mean, would James 509 00:27:56,880 --> 00:28:01,600 Speaker 3: Joyce refuse the language of his day? I just don't 510 00:28:01,640 --> 00:28:02,360 Speaker 3: think that's real? 511 00:28:02,600 --> 00:28:05,440 Speaker 1: Yeah, yeah, I guess what I'm I'm still holding onto 512 00:28:05,480 --> 00:28:09,520 Speaker 1: this nostalgic feeling that Internet language, language native to the 513 00:28:09,600 --> 00:28:13,960 Speaker 1: Internet is less substantial and less real than language that 514 00:28:14,160 --> 00:28:18,119 Speaker 1: is created in real time and space, and that is 515 00:28:18,280 --> 00:28:20,280 Speaker 1: just the It's it's over, it's over. 516 00:28:20,880 --> 00:28:22,359 Speaker 3: Yeah, I would I hate to say it, but I 517 00:28:22,640 --> 00:28:25,840 Speaker 3: think language is going the way of the Dodo. 518 00:28:27,280 --> 00:28:30,520 Speaker 1: I don't want, I mean phrase my. 519 00:28:30,600 --> 00:28:33,199 Speaker 3: Whole deal on on words. And I think it might 520 00:28:33,280 --> 00:28:36,160 Speaker 3: be time to Nacho reheat. 521 00:28:37,119 --> 00:28:38,840 Speaker 1: Reheat, Hello, reheat. 522 00:28:40,400 --> 00:28:41,160 Speaker 2: Do we want to move to. 523 00:28:41,200 --> 00:28:43,400 Speaker 1: Track three, Garden of Eden? 524 00:28:45,720 --> 00:28:48,640 Speaker 2: Yeah, I'll take to take you to the Garden of Eden. 525 00:28:48,800 --> 00:28:52,640 Speaker 3: Well, this feels like a you know, a return to 526 00:28:52,760 --> 00:28:55,800 Speaker 3: a variety of Gaga's past. It really, I do think 527 00:28:55,880 --> 00:29:00,400 Speaker 3: overall Mayhem is is is a Brunette album, not just 528 00:29:00,480 --> 00:29:03,560 Speaker 3: because she's met in this album cycle, but it's it's 529 00:29:03,640 --> 00:29:06,560 Speaker 3: the two thousand and seven sort of situation and it's 530 00:29:06,680 --> 00:29:09,960 Speaker 3: like this is you know, one of the story demos 531 00:29:10,080 --> 00:29:12,640 Speaker 3: or something. And it took me, of course, it took 532 00:29:12,680 --> 00:29:15,560 Speaker 3: me by surprise. On first listen, I was, I know, 533 00:29:15,720 --> 00:29:17,560 Speaker 3: she said that she was going to sort of this 534 00:29:17,640 --> 00:29:19,600 Speaker 3: would be full of twists and turns, but I really 535 00:29:19,720 --> 00:29:22,400 Speaker 3: was like, whoa, it is kind of like an art 536 00:29:22,440 --> 00:29:25,120 Speaker 3: pop track. It's like a two thousand and seven track. 537 00:29:25,920 --> 00:29:26,320 Speaker 3: It's fun. 538 00:29:26,920 --> 00:29:29,320 Speaker 2: I was taken aback in a positive but then in 539 00:29:29,400 --> 00:29:31,440 Speaker 2: a positive way, like I was like it was like 540 00:29:31,480 --> 00:29:34,000 Speaker 2: seeing someone wear like a von Dutch hat, Like when 541 00:29:34,040 --> 00:29:36,440 Speaker 2: that came back and I was like, whoa, whoa, whoa, whoa, whoa. Yeah, 542 00:29:36,440 --> 00:29:37,400 Speaker 2: I didn't know where you could do that. 543 00:29:37,720 --> 00:29:41,600 Speaker 3: I do think there's something like kind of really truthful 544 00:29:41,800 --> 00:29:44,840 Speaker 3: about I mean, she's really going back to two thousand 545 00:29:44,840 --> 00:29:46,360 Speaker 3: and seven in a way if you can understand in 546 00:29:46,440 --> 00:29:49,920 Speaker 3: this moment, because she was there and so and so. 547 00:29:50,080 --> 00:29:52,560 Speaker 3: I think the dynamism that she brings to like her 548 00:29:53,160 --> 00:29:56,200 Speaker 3: the songs, it's like, it's got true two thousand and 549 00:29:56,400 --> 00:29:58,640 Speaker 3: six vibes in a way that's shocking. It's not just 550 00:29:58,720 --> 00:29:59,920 Speaker 3: sort of cherry pick. 551 00:30:00,800 --> 00:30:03,120 Speaker 1: Yeah, it's true because actually so many of the people 552 00:30:03,240 --> 00:30:05,760 Speaker 1: referencing that era are in fact twenty three and named 553 00:30:05,840 --> 00:30:11,080 Speaker 1: Tate McCrae or something. Yeah, and so it is very 554 00:30:11,280 --> 00:30:14,920 Speaker 1: different when she does it, as it almost makes you, well, 555 00:30:14,920 --> 00:30:16,040 Speaker 1: I don't know what I was ioud to say, is 556 00:30:16,080 --> 00:30:18,320 Speaker 1: that it almost makes you wish that is what Madonna 557 00:30:18,480 --> 00:30:20,320 Speaker 1: was doing. Like how fun would it be if Madonna 558 00:30:20,480 --> 00:30:23,960 Speaker 1: was referencing the eighties or nineties or like the material 559 00:30:24,040 --> 00:30:27,520 Speaker 1: Girl era in a fun way? But on the other hand, 560 00:30:27,560 --> 00:30:30,480 Speaker 1: I'm like, I don't know, I don't someone to look 561 00:30:30,560 --> 00:30:31,520 Speaker 1: back like, yeah. 562 00:30:31,360 --> 00:30:34,479 Speaker 3: I think it's a weird. It's a different delineation. I mean, 563 00:30:34,520 --> 00:30:37,160 Speaker 3: I'm thinking about like MJ and Prince and Madonna and 564 00:30:37,400 --> 00:30:40,880 Speaker 3: now not just Gaga, but like that this is I 565 00:30:40,920 --> 00:30:42,560 Speaker 3: guess that's what I mean. And so I don't want 566 00:30:42,560 --> 00:30:44,680 Speaker 3: to say nachos again. But when I brought up that point, 567 00:30:45,120 --> 00:30:47,440 Speaker 3: the whole point being that like this is a demand 568 00:30:47,640 --> 00:30:51,600 Speaker 3: now of of our current pop stars that I think 569 00:30:51,800 --> 00:30:55,840 Speaker 3: it's like transcends like reinvention, which was like kind of 570 00:30:55,880 --> 00:30:59,480 Speaker 3: the eighties and nineties demand. Oh interesting, you had to 571 00:31:00,240 --> 00:31:02,440 Speaker 3: reinvent and change, and now it's like you have to 572 00:31:02,520 --> 00:31:07,720 Speaker 3: reinvent and change and successfully reference this thing that we 573 00:31:07,880 --> 00:31:12,320 Speaker 3: all remember that we loved and to like infuse that 574 00:31:12,520 --> 00:31:17,640 Speaker 3: nostalgia into your current project successfully, whether or not. It's 575 00:31:17,720 --> 00:31:22,600 Speaker 3: sort of like presented in a new way. Is a 576 00:31:22,680 --> 00:31:26,600 Speaker 3: demand of the moment that I think is like I 577 00:31:26,640 --> 00:31:28,320 Speaker 3: don't know if I've worked out how I feel about it. 578 00:31:28,360 --> 00:31:31,200 Speaker 1: But it's Yeah. It used to be that the demand 579 00:31:31,400 --> 00:31:34,840 Speaker 1: was originality, and you were judged based on how innovative 580 00:31:34,960 --> 00:31:38,760 Speaker 1: you were being, and now the demand is the reheating. Yeah, 581 00:31:38,800 --> 00:31:42,400 Speaker 1: that's right, and you are judged by how successfully it 582 00:31:42,560 --> 00:31:47,560 Speaker 1: has maintained its crunch, its flavors and potentially if you're 583 00:31:47,600 --> 00:31:50,880 Speaker 1: adding maybe some fresh parsley or something or solantro on top, 584 00:31:51,000 --> 00:31:54,720 Speaker 1: you know what new twist you are bringing to it exactly. 585 00:31:55,160 --> 00:31:59,880 Speaker 2: This is like, unfortunately, why nachos is an effective flightwork. 586 00:32:00,080 --> 00:32:02,520 Speaker 2: I can't no, it is an effective framework. It like 587 00:32:02,640 --> 00:32:07,040 Speaker 2: gives you language to talk about, like like how things 588 00:32:07,200 --> 00:32:12,280 Speaker 2: are repackaged, because like some stuff it is it is bad. 589 00:32:12,400 --> 00:32:15,280 Speaker 2: Sometimes you're like, I reheated these and they're soggy and horrible. 590 00:32:15,560 --> 00:32:17,480 Speaker 2: Sometimes you reheat it and you're like, oh, this is 591 00:32:17,520 --> 00:32:20,840 Speaker 2: actually to die for. I'm loving these reheated nachos. There 592 00:32:20,920 --> 00:32:22,000 Speaker 2: is an art to reheating. 593 00:32:22,800 --> 00:32:24,520 Speaker 1: Can I say something about reheating? By the way, and 594 00:32:24,600 --> 00:32:26,560 Speaker 1: Lady Gaga, you know a lot of people forget this. 595 00:32:27,080 --> 00:32:29,880 Speaker 1: When she first came out. One of the big accusations 596 00:32:29,920 --> 00:32:35,200 Speaker 1: which was that she was reheating Prince Bowie Madonna. That 597 00:32:35,640 --> 00:32:39,400 Speaker 1: was the accusation from the skeptics was that she was 598 00:32:39,520 --> 00:32:43,880 Speaker 1: pastiche It was that there wasn't the new thing that 599 00:32:44,000 --> 00:32:47,760 Speaker 1: you got from like a Janet Jackson, the new thing, 600 00:32:48,160 --> 00:32:52,880 Speaker 1: the Quinte essentially, even even Brittany or something like the 601 00:32:53,000 --> 00:32:57,960 Speaker 1: Quinte essentially someone thing was not Gaga. She literally had 602 00:32:58,120 --> 00:33:04,040 Speaker 1: a the like what's it called on her face, like Bowie, 603 00:33:04,480 --> 00:33:06,760 Speaker 1: the lightning, the lightning, but like she literally has the 604 00:33:06,880 --> 00:33:11,720 Speaker 1: lightning bolt referencing Bowie. I mean imagine if I don't 605 00:33:11,760 --> 00:33:14,800 Speaker 1: know when Brittany had debuted, she had been wearing a 606 00:33:14,880 --> 00:33:15,440 Speaker 1: cone bra. 607 00:33:16,640 --> 00:33:16,880 Speaker 2: Yeah. 608 00:33:18,360 --> 00:33:23,959 Speaker 1: Right, So the point being, it's actually very interesting. Gaga 609 00:33:24,080 --> 00:33:30,240 Speaker 1: reheating her own past is almost the fuck you to 610 00:33:30,920 --> 00:33:35,080 Speaker 1: the accusations that she was reheating that of others, because 611 00:33:35,120 --> 00:33:37,360 Speaker 1: now she's saying, there is enough that I have contributed 612 00:33:37,400 --> 00:33:39,280 Speaker 1: here that I can reheat it over and over and 613 00:33:39,360 --> 00:33:45,640 Speaker 1: over again and the stench of the initial reheating is gone. 614 00:33:46,440 --> 00:33:48,600 Speaker 2: But you say that, but that's only this song. Then 615 00:33:48,720 --> 00:33:51,880 Speaker 2: as we move forward, it's so many reheated nachos. Okay, okay, 616 00:33:52,000 --> 00:33:55,320 Speaker 2: let's move on. Let's move by the way. I love 617 00:33:55,600 --> 00:33:57,480 Speaker 2: Garden of Eden and I want that on the record. 618 00:33:57,880 --> 00:33:59,480 Speaker 2: I love and I want that on the record. 619 00:33:59,560 --> 00:34:02,920 Speaker 1: Okay, fixed celebrity. Now I want to know what everyone thinks. 620 00:34:03,600 --> 00:34:07,440 Speaker 2: Well, first of all, the Gaga not reference being a 621 00:34:07,480 --> 00:34:09,880 Speaker 2: plastic doll challenge, but. 622 00:34:09,920 --> 00:34:13,600 Speaker 3: Again, that's another event that damn If you want that 623 00:34:13,800 --> 00:34:15,960 Speaker 3: kind of challenge, I question your fandom. 624 00:34:16,600 --> 00:34:20,160 Speaker 1: Yeah no, it's ill question what you believe about. 625 00:34:20,080 --> 00:34:21,200 Speaker 3: The woman we're talking about. 626 00:34:22,200 --> 00:34:23,920 Speaker 1: I think this is great art plastic. 627 00:34:24,200 --> 00:34:27,759 Speaker 2: Yes, I love the song. But when I was close 628 00:34:27,840 --> 00:34:30,719 Speaker 2: listening all my first listen, I heard like that first 629 00:34:30,880 --> 00:34:33,239 Speaker 2: verse that's about being a plastic doll, and I was like, 630 00:34:33,440 --> 00:34:37,600 Speaker 2: we cannot literally say the phrase plastic doll again, but 631 00:34:38,360 --> 00:34:41,640 Speaker 2: nevertheless she persisted, and then when it gets to the chorus, 632 00:34:41,719 --> 00:34:43,480 Speaker 2: I am standing and I love this song. 633 00:34:43,960 --> 00:34:46,160 Speaker 1: The first time I listened to it, I thought this 634 00:34:46,440 --> 00:34:50,759 Speaker 1: is like a quote unquote bad Gaga song, but bad 635 00:34:50,840 --> 00:34:53,160 Speaker 1: in a fun Gaga way. But the more I listen 636 00:34:53,239 --> 00:34:54,879 Speaker 1: to it, the more I actually think it's a good song. 637 00:34:55,320 --> 00:34:56,319 Speaker 2: No, this is a great one. 638 00:34:56,480 --> 00:34:59,480 Speaker 1: Actually it actually isn't. It's not plastic doll, which I 639 00:34:59,560 --> 00:35:02,239 Speaker 1: think is a bit of a kind of like fun 640 00:35:02,400 --> 00:35:04,759 Speaker 1: Gaga flop and like, of course I like it, but 641 00:35:04,800 --> 00:35:07,319 Speaker 1: it's because I'm a fan. You think you don't think 642 00:35:08,840 --> 00:35:12,920 Speaker 1: I think plastic doll is like it's like smore, I 643 00:35:13,080 --> 00:35:16,200 Speaker 1: don't think plastic I don't. I don't think plastic dolls 644 00:35:16,320 --> 00:35:18,439 Speaker 1: the song you're going to show someone to be like, look, 645 00:35:18,520 --> 00:35:19,759 Speaker 1: this is a good Gaga sog. 646 00:35:19,760 --> 00:35:22,640 Speaker 3: I think, like I said, it's it's really hard, I mean, 647 00:35:22,840 --> 00:35:25,160 Speaker 3: to discuss whether a song is good or bad, and 648 00:35:25,600 --> 00:35:28,480 Speaker 3: in this conversation, I feel like it's besides the point that. 649 00:35:30,160 --> 00:35:31,960 Speaker 1: Being said, Yeah, that being said, I. 650 00:35:33,560 --> 00:35:36,239 Speaker 3: Love how her voice sounds in this. I wish sort 651 00:35:36,239 --> 00:35:38,680 Speaker 3: of the last ten seconds of the song we're in 652 00:35:38,840 --> 00:35:42,320 Speaker 3: more of the song itself, you know, there was I 653 00:35:42,440 --> 00:35:45,120 Speaker 3: feel like the grungy thing was like turned up a 654 00:35:45,120 --> 00:35:48,080 Speaker 3: little bit more at the end. But yeah, I like, 655 00:35:49,000 --> 00:35:51,200 Speaker 3: I also want the This is my personal thing that 656 00:35:51,280 --> 00:35:53,480 Speaker 3: I like of all pop stars, and I think it's 657 00:35:53,840 --> 00:35:56,799 Speaker 3: really hard and maybe impossible to do, but I would 658 00:35:56,920 --> 00:35:59,359 Speaker 3: love if more pop stars talked about how much they 659 00:35:59,440 --> 00:36:00,719 Speaker 3: hate their hands. 660 00:36:04,000 --> 00:36:04,440 Speaker 2: Her friends. 661 00:36:04,960 --> 00:36:08,560 Speaker 3: Yeah, I mean, because I think I don't think it's 662 00:36:08,600 --> 00:36:11,800 Speaker 3: like a hateful or vitriolic thing to talk about this 663 00:36:12,920 --> 00:36:17,120 Speaker 3: very unnatural, like symbiotic thing, which I think is like 664 00:36:17,200 --> 00:36:20,560 Speaker 3: a sort of I think it's a beautiful evolution of 665 00:36:22,640 --> 00:36:26,720 Speaker 3: human human connection, but I think it's like flawed and crazy, 666 00:36:26,800 --> 00:36:29,279 Speaker 3: you know what I mean, Like you become such an 667 00:36:29,360 --> 00:36:33,320 Speaker 3: intimate figure in somebody's life and you're a stranger, and 668 00:36:33,440 --> 00:36:38,840 Speaker 3: to talk about how upsetting and demanding and strange it 669 00:36:39,080 --> 00:36:41,520 Speaker 3: is and how much you want to fulfill on that promise, 670 00:36:41,800 --> 00:36:44,040 Speaker 3: and how you fail at it or how you succeed 671 00:36:44,360 --> 00:36:47,359 Speaker 3: is like really really interesting to me, So I would 672 00:36:47,440 --> 00:36:48,760 Speaker 3: love and she is sort. 673 00:36:48,560 --> 00:36:50,240 Speaker 1: Of reheating Jesus as nachos. 674 00:36:50,719 --> 00:36:54,440 Speaker 3: George, promise me we'll never say that phrase again for 675 00:36:54,520 --> 00:36:55,040 Speaker 3: the rest of this. 676 00:36:56,640 --> 00:36:56,680 Speaker 2: That. 677 00:36:56,880 --> 00:36:58,600 Speaker 3: Oh well, I do like what you said. If you 678 00:36:58,719 --> 00:37:00,520 Speaker 3: had said that sort of normally, I think I would 679 00:37:00,520 --> 00:37:02,680 Speaker 3: have had a different Yeah, but I do. 680 00:37:02,920 --> 00:37:03,120 Speaker 1: Yeah. 681 00:37:03,200 --> 00:37:06,080 Speaker 3: I mean the Christ's narrative is inherent in the in 682 00:37:06,160 --> 00:37:07,200 Speaker 3: the American pop star. 683 00:37:07,880 --> 00:37:09,840 Speaker 2: I mean that feeling when the Christ's narrative is inherent. 684 00:37:10,040 --> 00:37:14,480 Speaker 1: I yeah, yeah. I also like what I was thinking 685 00:37:14,480 --> 00:37:16,520 Speaker 1: about perfect a celebrity is it. It's almost like she's 686 00:37:16,600 --> 00:37:21,319 Speaker 1: actually tried to give this message in for God got 687 00:37:21,400 --> 00:37:24,480 Speaker 1: standards more subtle ways. It's like you she had paparazzi, 688 00:37:24,560 --> 00:37:27,359 Speaker 1: she had plastic doll, and with this one she's like, Okay, guys, 689 00:37:27,480 --> 00:37:29,960 Speaker 1: I'm gonna say this one last time. I feel like 690 00:37:30,040 --> 00:37:33,120 Speaker 1: a plastic doll and you're all ruining my life. Capeche 691 00:37:33,760 --> 00:37:35,560 Speaker 1: like that is it's sort of like it's. 692 00:37:35,400 --> 00:37:36,600 Speaker 3: Like she has the last time. 693 00:37:37,320 --> 00:37:40,920 Speaker 2: I don't time last time, but there. 694 00:37:40,840 --> 00:37:43,960 Speaker 1: Is something about it, even the title being so literal, like, 695 00:37:44,120 --> 00:37:47,319 Speaker 1: it's so it's not even trying to be like metaphorical 696 00:37:47,400 --> 00:37:50,280 Speaker 1: at least plastic doll. She's she's doing a metaphor. 697 00:37:50,760 --> 00:37:53,320 Speaker 2: She's just I think I really appreciated that because I 698 00:37:53,440 --> 00:37:55,640 Speaker 2: was expecting when I saw the title, I was like, Oh, 699 00:37:55,719 --> 00:37:57,879 Speaker 2: it's gonna be like tongue in cheek and it's gonna 700 00:37:57,880 --> 00:37:59,880 Speaker 2: be like a glossy pop song about how she's a 701 00:38:00,040 --> 00:38:03,600 Speaker 2: perfect celebrity and it's gonna be like commenting. And then 702 00:38:03,680 --> 00:38:06,160 Speaker 2: it was like, oh no, she's just like complaining in 703 00:38:06,239 --> 00:38:07,040 Speaker 2: a positive way. 704 00:38:07,360 --> 00:38:08,440 Speaker 3: Yeah, I like it. 705 00:38:09,719 --> 00:38:12,680 Speaker 2: I like it. I'm in next track, Vanish into You. 706 00:38:14,000 --> 00:38:16,280 Speaker 2: This is this I enjoyed. 707 00:38:16,400 --> 00:38:20,360 Speaker 1: I will say this is look Amy, here we go, 708 00:38:22,080 --> 00:38:22,520 Speaker 1: Here we go. 709 00:38:24,080 --> 00:38:27,719 Speaker 2: Look. This is where the nachos thing gets complex. This, 710 00:38:27,920 --> 00:38:32,040 Speaker 2: I would argue, is Gaga reheating her nachos, but she 711 00:38:32,200 --> 00:38:34,400 Speaker 2: added treaded chicken that she found at the store. 712 00:38:35,080 --> 00:38:38,960 Speaker 3: I think I feel punished. I feel punished, and I 713 00:38:39,200 --> 00:38:42,680 Speaker 3: feel wounded, and I feel like a plastic doll pretty much. 714 00:38:43,160 --> 00:38:47,520 Speaker 2: Yeah, this song is literally the chorus sounds like bad Romance, 715 00:38:47,719 --> 00:38:50,399 Speaker 2: like she just does Bad Romance again, but slowed down 716 00:38:50,560 --> 00:38:51,440 Speaker 2: with like a different like. 717 00:38:51,520 --> 00:38:53,960 Speaker 3: Last because she does a couple I I eyes, you're 718 00:38:54,000 --> 00:38:56,040 Speaker 3: gonna you're gonna falter on that. 719 00:38:56,680 --> 00:38:59,520 Speaker 2: I'm not faulting her. I'm saying I'm crediting her and 720 00:38:59,640 --> 00:39:06,000 Speaker 2: saying she is doing that. Did Jesus you don't feel 721 00:39:06,040 --> 00:39:06,279 Speaker 2: this way? 722 00:39:06,440 --> 00:39:09,920 Speaker 1: Is it the ultimate? Is it the ultimate? Sorry to 723 00:39:10,040 --> 00:39:14,640 Speaker 1: use this term flex to reference yourself? 724 00:39:15,280 --> 00:39:16,560 Speaker 3: I have to take time with that. 725 00:39:16,840 --> 00:39:18,040 Speaker 1: Is it the ultimate flex? 726 00:39:18,120 --> 00:39:19,160 Speaker 3: To reference yourself? 727 00:39:19,360 --> 00:39:21,919 Speaker 1: Rather than referencing You're saying, like, look at me, I'm 728 00:39:21,920 --> 00:39:25,160 Speaker 1: referencing the classics? What are the classics? My old tracks? 729 00:39:25,600 --> 00:39:28,160 Speaker 2: I think the ultimate flex is to pretend you have 730 00:39:28,280 --> 00:39:30,840 Speaker 2: a limp with a cane and then fall and do 731 00:39:30,960 --> 00:39:33,240 Speaker 2: a flip and then stand up and walk normal. 732 00:39:33,680 --> 00:39:38,680 Speaker 1: But ultimate physical like hymn artistic, artistic physical. 733 00:39:38,920 --> 00:39:40,680 Speaker 2: I think, really wonga eight with that. But I think 734 00:39:40,719 --> 00:39:42,680 Speaker 2: this is a close second. I think referencing yourself is 735 00:39:42,719 --> 00:39:44,480 Speaker 2: a close second. I do. 736 00:39:46,120 --> 00:39:49,600 Speaker 1: Do we think originality on its own is over completely? 737 00:39:49,800 --> 00:39:51,279 Speaker 1: I mean, did we just leave that behind in the 738 00:39:51,320 --> 00:39:54,600 Speaker 1: twentieth century? Is it a modernist or has existed? 739 00:39:54,920 --> 00:39:58,160 Speaker 2: This is my mi Okay, here's what I was thinking. Okay, 740 00:39:58,280 --> 00:40:01,400 Speaker 2: it still exists in the sort indie sphere, Like I 741 00:40:01,520 --> 00:40:04,960 Speaker 2: was thinking about originality and whether or not it exists. 742 00:40:05,040 --> 00:40:07,279 Speaker 2: And then I was like, okay, what about like Okay Lou, 743 00:40:07,560 --> 00:40:10,759 Speaker 2: Like I was like, that's that's original right or am 744 00:40:10,760 --> 00:40:12,160 Speaker 2: I just un informed? Sam? 745 00:40:12,680 --> 00:40:16,440 Speaker 1: Okay Lou is the most reference heavy. Well, but this 746 00:40:16,560 --> 00:40:20,719 Speaker 1: is like early aughts like europop I've ever heard. It's 747 00:40:20,760 --> 00:40:23,919 Speaker 1: literally like it's like a period piece. It's like kirea 748 00:40:24,040 --> 00:40:26,000 Speaker 1: Nightly in Bend. It like Beckham dancing with a going 749 00:40:26,080 --> 00:40:26,520 Speaker 1: out top. 750 00:40:27,239 --> 00:40:30,040 Speaker 2: But it's so like subdued. It feels fresh, it feels 751 00:40:30,120 --> 00:40:30,520 Speaker 2: new to me. 752 00:40:31,239 --> 00:40:33,360 Speaker 3: Yeah, I think you have to argue what the the 753 00:40:33,480 --> 00:40:38,560 Speaker 3: quality of freshness means, because I think you can always 754 00:40:38,640 --> 00:40:42,560 Speaker 3: argue endlessly that an artist's job is to reference or 755 00:40:42,640 --> 00:40:43,280 Speaker 3: not reference. 756 00:40:45,239 --> 00:40:45,720 Speaker 2: We can. 757 00:40:47,320 --> 00:40:48,279 Speaker 1: Keep going, keep going. 758 00:40:48,680 --> 00:40:50,560 Speaker 3: Yeah, it's a reference or not reference to. 759 00:40:52,360 --> 00:40:52,560 Speaker 2: God. 760 00:40:52,600 --> 00:40:55,120 Speaker 3: I wish I remember the rest of that video, but yeah, 761 00:40:55,400 --> 00:40:58,200 Speaker 3: I'm sort of meditextually doing it even right now. I 762 00:40:58,600 --> 00:41:01,839 Speaker 3: think an artist job is always to learn about things 763 00:41:01,880 --> 00:41:06,279 Speaker 3: that happened before them, decide what it means to their work, 764 00:41:06,560 --> 00:41:10,680 Speaker 3: and to either integrate it, change it or not in 765 00:41:10,800 --> 00:41:15,320 Speaker 3: their in their in their work, and so you know, 766 00:41:17,320 --> 00:41:20,879 Speaker 3: it's I don't think you can avoid avoid being referential, 767 00:41:21,560 --> 00:41:27,440 Speaker 3: but you can ask yourself how much uh, your references 768 00:41:27,480 --> 00:41:30,600 Speaker 3: are buried or sewn into the things that you're doing. 769 00:41:30,719 --> 00:41:33,319 Speaker 3: And how how you do that, I think is how 770 00:41:33,360 --> 00:41:37,560 Speaker 3: you be an artist in one sense, you know, how 771 00:41:37,680 --> 00:41:42,600 Speaker 3: you fold things into into your own into your own thing. 772 00:41:45,080 --> 00:41:46,840 Speaker 2: Did you guys listen to the new Pandaba album? 773 00:41:47,200 --> 00:41:52,560 Speaker 3: You're completely shutting me down. Not yet, but I have 774 00:41:52,680 --> 00:41:54,080 Speaker 3: heard the single and I really liked it. 775 00:41:55,160 --> 00:41:57,520 Speaker 2: Well, it's really good. I really like it. But it's 776 00:41:57,520 --> 00:42:00,920 Speaker 2: also nachos. It's fully just like it's like a very 777 00:42:00,960 --> 00:42:04,080 Speaker 2: straightforward like I'm gonna make music from the sixties again, 778 00:42:06,040 --> 00:42:07,839 Speaker 2: and in a way that I'm like, well, no one's 779 00:42:07,920 --> 00:42:10,480 Speaker 2: doing that right now, I guess, so that's cool. I 780 00:42:10,840 --> 00:42:14,360 Speaker 2: really enjoy it. But it's like, is this am I allowed? 781 00:42:14,520 --> 00:42:16,759 Speaker 2: Is this like lazy that I even like this? Like yeah, 782 00:42:17,560 --> 00:42:19,560 Speaker 2: so I'm torn on this is what I mean. I'm 783 00:42:19,560 --> 00:42:20,680 Speaker 2: thinking a lot about nachos. 784 00:42:21,480 --> 00:42:23,480 Speaker 1: I mean, you know that famous essay we read Sam 785 00:42:23,560 --> 00:42:26,480 Speaker 1: that said the last unique thing was Amy Winehouse. 786 00:42:28,200 --> 00:42:29,279 Speaker 3: You guys read that. 787 00:42:31,040 --> 00:42:31,680 Speaker 2: The syllabus. 788 00:42:32,480 --> 00:42:34,279 Speaker 1: It was on the syllabus Amy. We forgot to send 789 00:42:34,320 --> 00:42:41,640 Speaker 1: it over. I actually I almost have a different Okay, 790 00:42:41,840 --> 00:42:45,520 Speaker 1: here's my all right, get ready for this theory. I 791 00:42:45,920 --> 00:42:50,120 Speaker 1: think there was a break in culture when Taylor Swift 792 00:42:50,200 --> 00:42:53,840 Speaker 1: and I Knew you were Trouble included a drop that 793 00:42:54,040 --> 00:43:01,440 Speaker 1: that was like, oh oh, trouble, trouble dubstep from the 794 00:43:01,920 --> 00:43:06,520 Speaker 1: step Taylor Swift. Dubstep I think actually was the that 795 00:43:06,760 --> 00:43:09,160 Speaker 1: was the It was the big bang that produced the 796 00:43:09,239 --> 00:43:12,640 Speaker 1: microwave that was then used to reheat all nachos. 797 00:43:12,640 --> 00:43:14,960 Speaker 3: From that point, well, maybe we're touching on something that 798 00:43:15,120 --> 00:43:19,120 Speaker 3: is terrifying to realize, which is like dubstep was a truly. 799 00:43:20,719 --> 00:43:22,879 Speaker 1: So literally amy That is exactly what I was leading 800 00:43:22,920 --> 00:43:24,880 Speaker 1: to because I'm trying to think, you know, think of 801 00:43:24,920 --> 00:43:28,800 Speaker 1: the twentieth century, how much innovation hip hop? Uh, just 802 00:43:28,960 --> 00:43:33,360 Speaker 1: like all the various chapters of rock and roll innovations 803 00:43:33,400 --> 00:43:38,400 Speaker 1: and jazz whatever, What was the in our young adulthood 804 00:43:38,440 --> 00:43:39,279 Speaker 1: and adolescence. 805 00:43:39,360 --> 00:43:41,080 Speaker 2: What was the last new thing? 806 00:43:41,200 --> 00:43:42,080 Speaker 1: It was dubstep. 807 00:43:42,440 --> 00:43:44,440 Speaker 2: It was dumbstep and. 808 00:43:44,520 --> 00:43:46,520 Speaker 1: It was literally, like I swear to god, it was 809 00:43:46,560 --> 00:43:47,920 Speaker 1: also like l M f AO. 810 00:43:50,120 --> 00:43:55,240 Speaker 2: Is pretty singular, well, I would argue is in tandem 811 00:43:55,360 --> 00:43:59,759 Speaker 2: with early goga. It was just like yeah, the loudest, danciest, 812 00:43:59,880 --> 00:44:01,839 Speaker 2: like no moment of quiet. 813 00:44:01,600 --> 00:44:04,600 Speaker 1: At all, just like yeah, and this is something that 814 00:44:04,760 --> 00:44:07,640 Speaker 1: is forgotten I think by the by potentially some younger 815 00:44:07,719 --> 00:44:12,720 Speaker 1: fans of Gaga is that the initial glam was Indie glam. 816 00:44:13,239 --> 00:44:16,879 Speaker 1: Gaga was Santa Goold, but then took it a step further. 817 00:44:17,640 --> 00:44:18,719 Speaker 3: I can't follow you there. 818 00:44:19,160 --> 00:44:24,000 Speaker 1: It was you mean like the visual sequence, it's sequence, 819 00:44:24,080 --> 00:44:27,080 Speaker 1: but it's dirty. Mm hm, you know what I mean. 820 00:44:27,200 --> 00:44:28,400 Speaker 1: It's a reaction. 821 00:44:28,719 --> 00:44:30,080 Speaker 2: It was American apparel. 822 00:44:30,239 --> 00:44:31,200 Speaker 1: It was American apparel. 823 00:44:31,320 --> 00:44:34,640 Speaker 3: Yes, it was a reaction to the previous couple of 824 00:44:34,719 --> 00:44:36,560 Speaker 3: years of like intense folkdom. 825 00:44:37,080 --> 00:44:39,120 Speaker 1: Yes, you know, it was like a folk. 826 00:44:39,239 --> 00:44:42,760 Speaker 3: Folk heavy Bush years led way to kind of glitterphonic 827 00:44:43,400 --> 00:44:44,280 Speaker 3: Obama years. 828 00:44:45,320 --> 00:44:48,360 Speaker 1: Yes, and then but yeah, but then the glitter was 829 00:44:49,600 --> 00:44:53,399 Speaker 1: not it's not worth dwell on it. No, I think 830 00:44:53,440 --> 00:44:56,520 Speaker 1: we have to. I think there was a chance to 831 00:44:56,640 --> 00:45:01,440 Speaker 1: embrace the glitter. But but people were R two. I 832 00:45:01,480 --> 00:45:04,040 Speaker 1: don't think Obama was glitter. I think Obama on the. 833 00:45:04,200 --> 00:45:07,960 Speaker 3: I didn't say that Obama was glitter. 834 00:45:08,080 --> 00:45:10,120 Speaker 1: I said I don't think Obama. You know, there's on 835 00:45:10,200 --> 00:45:12,360 Speaker 1: the one side of things, you have a just a 836 00:45:12,440 --> 00:45:15,320 Speaker 1: single leather boot, and on the other side, you have 837 00:45:15,400 --> 00:45:17,480 Speaker 1: a budget of glitter, and I think Obama went for 838 00:45:17,560 --> 00:45:24,040 Speaker 1: the boot more than the glitter. Well, so that we 839 00:45:24,120 --> 00:45:31,600 Speaker 1: get here, the next track is Killer Killer, so Killer. 840 00:45:33,040 --> 00:45:37,480 Speaker 2: Is obviously the next single. Yeah, because she performed on SNL. 841 00:45:38,000 --> 00:45:40,719 Speaker 2: I personally, you know, here's what I'm gonna say. I 842 00:45:40,800 --> 00:45:42,560 Speaker 2: think every time I talk about a song, I'm gonna 843 00:45:42,560 --> 00:45:47,120 Speaker 2: start by saying I personally really like it. So you know, 844 00:45:47,280 --> 00:45:50,160 Speaker 2: I think fans may think I'm not critical enough, and 845 00:45:50,239 --> 00:45:55,000 Speaker 2: that's okay. But this song is sort of Prince Bowie 846 00:45:56,160 --> 00:46:00,640 Speaker 2: and but with classic little Gaga isms, and I think 847 00:46:00,840 --> 00:46:04,200 Speaker 2: it At first I was like, jaw on the floor, 848 00:46:04,480 --> 00:46:08,440 Speaker 2: this is so corny, and then it's really won me over. 849 00:46:08,480 --> 00:46:11,280 Speaker 2: I'm addicted now. I think the breakdown is so genius. 850 00:46:11,480 --> 00:46:16,600 Speaker 2: I do wish it started there and stayed there, But 851 00:46:17,040 --> 00:46:20,839 Speaker 2: I like outro. I wish the outro was like way 852 00:46:21,040 --> 00:46:24,120 Speaker 2: more prominent and it would like have breaks of the 853 00:46:24,880 --> 00:46:27,440 Speaker 2: like little funky part and then I would go back 854 00:46:27,480 --> 00:46:28,160 Speaker 2: to being kookie. 855 00:46:29,080 --> 00:46:32,600 Speaker 3: I respect that. I yeah, I mean, well, the Fame 856 00:46:32,719 --> 00:46:35,399 Speaker 3: reference is so hardcore in it that it really took 857 00:46:35,480 --> 00:46:42,360 Speaker 3: me by surprise, I gotta say. But I like the 858 00:46:42,520 --> 00:46:45,520 Speaker 3: S and L performance. I thought it was cool and 859 00:46:46,040 --> 00:46:48,840 Speaker 3: like I liked the CCTV kind of moment of it, 860 00:46:49,120 --> 00:46:53,520 Speaker 3: and yeah, I give it a couple of T shirts. 861 00:46:54,080 --> 00:46:55,839 Speaker 1: Yeah, I give it a couple of T shirts. Once again, 862 00:46:55,920 --> 00:47:00,800 Speaker 1: she's going back to themes of murder and death and killing, 863 00:47:02,520 --> 00:47:03,680 Speaker 1: and yeah, I. 864 00:47:03,719 --> 00:47:08,480 Speaker 2: Think kill a h is quite funny. I think I 865 00:47:08,640 --> 00:47:12,880 Speaker 2: love so who is that? So? Who is that? I mean, 866 00:47:12,960 --> 00:47:15,239 Speaker 2: I just love the name. I love the saying featuring. 867 00:47:14,960 --> 00:47:16,680 Speaker 1: Gas and he's French. 868 00:47:17,000 --> 00:47:24,000 Speaker 2: He's a French DJ producer. So pretty much do you 869 00:47:24,080 --> 00:47:25,919 Speaker 2: know who Gin is? Amy? 870 00:47:27,320 --> 00:47:27,560 Speaker 1: Amy? 871 00:47:27,680 --> 00:47:30,640 Speaker 3: I know they're a legendary producer, French producer. 872 00:47:31,960 --> 00:47:32,880 Speaker 1: Are they legendary? 873 00:47:34,680 --> 00:47:35,279 Speaker 3: That's what I hear. 874 00:47:36,160 --> 00:47:39,799 Speaker 2: Okay, many many of my sources are saying that Gasoppelstein 875 00:47:39,880 --> 00:47:43,560 Speaker 2: is quite legendary mm hmm in the French DJing and 876 00:47:43,640 --> 00:47:51,800 Speaker 2: producing space. Okay, yeah, So Amy, I feel almost that 877 00:47:51,840 --> 00:47:53,640 Speaker 2: you're beating around the bush. Do you not enjoy the song? 878 00:47:54,280 --> 00:47:58,520 Speaker 1: And also, Amy, can I ask something like, yeah, what, 879 00:47:58,600 --> 00:48:02,000 Speaker 1: I don't know? There is something deeper about this album? 880 00:48:02,200 --> 00:48:08,440 Speaker 1: And I actually there is something. Here's what it seems, 881 00:48:08,520 --> 00:48:11,920 Speaker 1: here's what all right, Here's how I feel about Gaga 882 00:48:11,960 --> 00:48:17,000 Speaker 1: at this stage. All right, I almost feel like that 883 00:48:17,280 --> 00:48:20,000 Speaker 1: moment when things are so dire that you're not allowed 884 00:48:20,000 --> 00:48:21,279 Speaker 1: to criticize the Democrats. 885 00:48:22,040 --> 00:48:24,160 Speaker 2: Oh my god, I think that it is. 886 00:48:24,560 --> 00:48:29,120 Speaker 1: There is something culturally speaking, I have to we our 887 00:48:29,200 --> 00:48:31,480 Speaker 1: community has to hold on to Gaga so much right 888 00:48:31,560 --> 00:48:34,640 Speaker 1: now that it feels unethical even if I do have 889 00:48:34,719 --> 00:48:36,600 Speaker 1: an issue with one of these songs Drift, and if 890 00:48:36,640 --> 00:48:41,880 Speaker 1: I potentially have an opinion regarding the reheating of Nachos, 891 00:48:42,160 --> 00:48:44,759 Speaker 1: that this is not the time to be critical in 892 00:48:44,840 --> 00:48:47,239 Speaker 1: the same way that when it is time to be 893 00:48:47,400 --> 00:48:50,879 Speaker 1: united and resistant coalition build, I shouldn't be making fun 894 00:48:50,920 --> 00:48:51,880 Speaker 1: of Nancy Pelosi. 895 00:48:53,160 --> 00:48:55,279 Speaker 2: Wow, I think that's scaring me. 896 00:48:56,719 --> 00:48:57,600 Speaker 1: What do you think of that? 897 00:48:58,320 --> 00:49:01,840 Speaker 3: I think, I, well, I think that's probably true. I 898 00:49:01,920 --> 00:49:04,960 Speaker 3: think I'm going back and forth with this thing where 899 00:49:05,000 --> 00:49:09,520 Speaker 3: it's like we're talking about getting older and talking about 900 00:49:09,560 --> 00:49:13,040 Speaker 3: this album, and I think I keep going back and 901 00:49:13,160 --> 00:49:16,960 Speaker 3: forth about what it means for a pop album to 902 00:49:17,080 --> 00:49:21,240 Speaker 3: be resonant to me or not at this stage in life, 903 00:49:21,480 --> 00:49:31,080 Speaker 3: and I don't think that the album's note this is 904 00:49:31,120 --> 00:49:32,000 Speaker 3: why I don't open up. 905 00:49:32,560 --> 00:49:34,319 Speaker 2: Come on, this is why I don't up. 906 00:49:34,960 --> 00:49:43,479 Speaker 1: We were getting somewhere, getting I'm getting amy to say 907 00:49:43,560 --> 00:49:45,839 Speaker 1: that to address the elephant in the room and you're 908 00:49:45,840 --> 00:49:52,000 Speaker 1: gonna go and do that life am ignoring Amy? 909 00:49:53,120 --> 00:49:57,239 Speaker 3: What's after Killa Zombie Boy and see Zombie Boy? 910 00:49:57,239 --> 00:49:58,759 Speaker 1: I love I love Zombie Boy. 911 00:49:58,880 --> 00:50:00,439 Speaker 2: I love Zombie Boy. I love. 912 00:50:02,800 --> 00:50:06,719 Speaker 3: So it reminds me of nights I've had at the Standard. 913 00:50:07,680 --> 00:50:07,919 Speaker 1: Wow. 914 00:50:08,040 --> 00:50:10,319 Speaker 2: Yeah yeah, I mean, you know, Lady Gaga grew up 915 00:50:10,320 --> 00:50:11,959 Speaker 2: in the Standard, like pretty much. 916 00:50:11,920 --> 00:50:13,760 Speaker 3: That was her whole life from the Standard Hotel. 917 00:50:14,600 --> 00:50:16,960 Speaker 2: Yeah, you know, going to the Standard, going to the 918 00:50:17,040 --> 00:50:18,560 Speaker 2: bar at the Standard. 919 00:50:18,200 --> 00:50:20,160 Speaker 1: I do like a twenty tens version of the Chelsea 920 00:50:20,239 --> 00:50:22,360 Speaker 1: Hotel where instead of you know, Patty Smith, it's like 921 00:50:22,920 --> 00:50:25,120 Speaker 1: it's literally like all the people that were at Pitchfork Fest, 922 00:50:25,200 --> 00:50:27,640 Speaker 1: but they're like being put up at the Standard. Well, 923 00:50:28,800 --> 00:50:31,839 Speaker 1: they're all like honestly doing fine financially. They're just sort 924 00:50:31,880 --> 00:50:32,879 Speaker 1: of like partying at the bar. 925 00:50:33,320 --> 00:50:34,960 Speaker 2: Yeah, I mean if you weren't. What's the bar called 926 00:50:35,000 --> 00:50:35,960 Speaker 2: at the Standard. 927 00:50:35,760 --> 00:50:38,320 Speaker 1: Top of the the boom Boom Rooms, the Boo. 928 00:50:38,200 --> 00:50:39,239 Speaker 2: Boom Boom Room. Yeah. 929 00:50:39,320 --> 00:50:40,960 Speaker 3: Yeah, it made me think of the Boom Boom Room. 930 00:50:46,520 --> 00:50:50,600 Speaker 2: Yeah. I'm I think some the funny thing about like 931 00:50:50,840 --> 00:50:54,600 Speaker 2: kill a Zombie Boy disease, Like, I think it is funny. 932 00:50:55,120 --> 00:50:56,440 Speaker 2: Part of me is like did you intend for this 933 00:50:56,520 --> 00:50:58,960 Speaker 2: to be a Halloween album? And just like, uh, well 934 00:50:59,000 --> 00:51:00,359 Speaker 2: that is the dark pop it all. 935 00:51:01,080 --> 00:51:07,360 Speaker 3: Yeah, and also literal yeah, and well she's literal pretty literal. 936 00:51:07,440 --> 00:51:09,279 Speaker 3: I mean for her fantasy in front of me, like 937 00:51:09,400 --> 00:51:09,799 Speaker 3: you know you. 938 00:51:09,760 --> 00:51:12,799 Speaker 1: Even die with a smile, that is also Halloween. Even 939 00:51:13,040 --> 00:51:17,040 Speaker 1: it's much more of a you know, uber song, target song, 940 00:51:17,840 --> 00:51:21,920 Speaker 1: Uh brand it like abric is magic. 941 00:51:24,560 --> 00:51:24,880 Speaker 2: Album. 942 00:51:25,000 --> 00:51:27,040 Speaker 1: I'm holy realizing it's a Halloween album. 943 00:51:27,480 --> 00:51:30,120 Speaker 3: Well, I do think that the part of the the 944 00:51:30,520 --> 00:51:33,440 Speaker 3: imagery around the album is talking about this thing. I 945 00:51:33,480 --> 00:51:37,960 Speaker 3: think we're maybe struggling to articulate it, and maybe we're not, 946 00:51:38,160 --> 00:51:42,880 Speaker 3: but it's just sort of like this the resuscitation of Gaga, 947 00:51:42,960 --> 00:51:49,640 Speaker 3: it's itself herself, like the the the Gaga of her 948 00:51:49,760 --> 00:51:54,600 Speaker 3: life is like this sort of like endless combative resuscitation, 949 00:51:55,040 --> 00:51:57,279 Speaker 3: this like coming back from the dead and all this 950 00:51:57,480 --> 00:52:00,360 Speaker 3: kind of stuff. It's it's this seems to be like 951 00:52:00,440 --> 00:52:03,320 Speaker 3: her struggle, which I always find that stuff kind of 952 00:52:03,719 --> 00:52:07,000 Speaker 3: very interesting want pop stars to write all about it. 953 00:52:07,200 --> 00:52:10,520 Speaker 3: So I do think, like, obviously the imagery is pretty 954 00:52:10,560 --> 00:52:12,719 Speaker 3: literal in the songs, but I do think she's trying 955 00:52:12,760 --> 00:52:16,800 Speaker 3: to pepper that in there to be like what happens 956 00:52:16,880 --> 00:52:20,160 Speaker 3: in this like rebirth is actually like constant death also, 957 00:52:20,640 --> 00:52:23,239 Speaker 3: and it's really exhausting on me, who's like actually an 958 00:52:23,239 --> 00:52:28,080 Speaker 3: alive woman in a relationship and wanting to be wanting 959 00:52:28,160 --> 00:52:29,120 Speaker 3: to be a woman. 960 00:52:29,360 --> 00:52:30,040 Speaker 1: Do you know what I mean? 961 00:52:30,239 --> 00:52:35,120 Speaker 3: Like and wanting to be like a alive you are, so. 962 00:52:35,360 --> 00:52:38,239 Speaker 1: Rebirth is constant death is so true. It's not like 963 00:52:38,360 --> 00:52:40,640 Speaker 1: you are reborn and you're stronger than ever. You're still 964 00:52:40,719 --> 00:52:43,480 Speaker 1: carrying the weight of having just died. 965 00:52:44,080 --> 00:52:47,000 Speaker 3: Well or yeah, you're meant to sort of ask what 966 00:52:47,120 --> 00:52:47,520 Speaker 3: you take. 967 00:52:47,440 --> 00:52:49,960 Speaker 1: With you exactly. And also you know, a rebirth can 968 00:52:50,320 --> 00:52:53,200 Speaker 1: doesn't can be a zombiefide rebirth, I mean a zombie 969 00:52:53,400 --> 00:52:57,680 Speaker 1: is in a sense undead, is in a sense alive. 970 00:52:59,400 --> 00:53:02,480 Speaker 1: And you know, to go from colors in chromatica to 971 00:53:02,560 --> 00:53:05,920 Speaker 1: black and white in Mayhem, there's a symbolism there as well. 972 00:53:06,200 --> 00:53:08,879 Speaker 2: And what do you think that is that we've lost 973 00:53:08,960 --> 00:53:13,600 Speaker 2: the color, that we've lost the color, folks, we've lost 974 00:53:13,680 --> 00:53:14,080 Speaker 2: the color. 975 00:53:14,280 --> 00:53:16,240 Speaker 3: Well, I wonder if there's kind of like an inverse. 976 00:53:16,400 --> 00:53:19,200 Speaker 3: It makes me think of you know, I think this 977 00:53:19,320 --> 00:53:22,560 Speaker 3: album we're talking about how referential it is. It's very intentional. 978 00:53:22,640 --> 00:53:26,440 Speaker 3: I think that it's this referential all these different iterations, 979 00:53:26,640 --> 00:53:30,439 Speaker 3: and I think about the Fame Monster what that meant, 980 00:53:31,440 --> 00:53:35,560 Speaker 3: the departure that it had through that darker imagery and 981 00:53:35,640 --> 00:53:38,800 Speaker 3: the monster stuff, and there was a lot of like animation, 982 00:53:39,560 --> 00:53:42,360 Speaker 3: you know what I mean in those songwriting. She was 983 00:53:42,440 --> 00:53:47,080 Speaker 3: animating different desires, different ambitions through like this kind of 984 00:53:47,560 --> 00:53:50,480 Speaker 3: horror imagery. And I almost feel like now it's like 985 00:53:50,480 --> 00:53:53,360 Speaker 3: a little bit in verse where like the music itself 986 00:53:53,520 --> 00:53:56,400 Speaker 3: is full of a lot of life actually, but it 987 00:53:56,560 --> 00:53:59,600 Speaker 3: has the sort of kitchy, more like tongue in cheek 988 00:54:02,600 --> 00:54:06,240 Speaker 3: like horror language. It's not as dark as the Fame Monster, 989 00:54:06,360 --> 00:54:08,600 Speaker 3: but it's maybe has more life. 990 00:54:10,680 --> 00:54:13,680 Speaker 1: And also, both The Fame Monster and Mayhem are Halloween 991 00:54:13,719 --> 00:54:18,960 Speaker 1: albums because the Fame Monster also played with themes of monsters, zombies, 992 00:54:19,000 --> 00:54:21,920 Speaker 1: et cetera. And by the way, the Fame was color 993 00:54:21,960 --> 00:54:23,680 Speaker 1: and the Fame Monster was black and white, just like 994 00:54:23,800 --> 00:54:25,919 Speaker 1: Chrematica was color and Mayhem is black and white. 995 00:54:26,680 --> 00:54:29,640 Speaker 3: Wow, And you can't argue with that. But what do 996 00:54:29,680 --> 00:54:36,200 Speaker 3: you think Born this Way is? Because there's color and 997 00:54:36,280 --> 00:54:37,120 Speaker 3: black and white. 998 00:54:37,840 --> 00:54:41,879 Speaker 1: I think Born this Way is, like, isn't even part 999 00:54:41,880 --> 00:54:43,880 Speaker 1: of this conversation really, because to me, Born this Way 1000 00:54:44,000 --> 00:54:47,399 Speaker 1: is like Gaga at her most commercial. I'm not saying 1001 00:54:47,400 --> 00:54:49,200 Speaker 1: that in a negative way, like there are great songs 1002 00:54:49,200 --> 00:54:50,000 Speaker 1: and Born this Way. 1003 00:54:49,880 --> 00:54:52,240 Speaker 3: But Sam just heard alarm bells Gaga. 1004 00:54:52,760 --> 00:54:55,279 Speaker 1: Gaga at that point was the number one pop star 1005 00:54:55,400 --> 00:54:59,000 Speaker 1: and she released Born this Way. It's a different thing, but. 1006 00:54:59,080 --> 00:55:03,319 Speaker 2: She also it's a bit of a like. I think 1007 00:55:03,520 --> 00:55:05,960 Speaker 2: this actually does relate to Born this Way because it's 1008 00:55:06,080 --> 00:55:08,880 Speaker 2: so like, look how many genres I can do. I 1009 00:55:08,960 --> 00:55:11,399 Speaker 2: think Born this Way was very like, this is gonna 1010 00:55:11,400 --> 00:55:13,600 Speaker 2: be a Bruce Springsteen song, this is German dance, this 1011 00:55:13,800 --> 00:55:17,440 Speaker 2: is country, and I think Mayhem is like that a lot. 1012 00:55:17,760 --> 00:55:20,240 Speaker 1: That's actually a very good point. So in a sense, 1013 00:55:20,560 --> 00:55:24,080 Speaker 1: in a sense that what's being reheated is the eclecticism. 1014 00:55:24,840 --> 00:55:27,279 Speaker 1: It's not like each song is reheating different. 1015 00:55:28,000 --> 00:55:31,720 Speaker 3: Different I just feel like I created a monster. 1016 00:55:31,880 --> 00:55:35,440 Speaker 1: I'm not saying the word so referential, but I'm gonna 1017 00:55:35,520 --> 00:55:36,560 Speaker 1: say the word. 1018 00:55:37,960 --> 00:55:42,720 Speaker 2: I think. I think honestly, that's what feels most refreshing 1019 00:55:42,760 --> 00:55:46,880 Speaker 2: about the album as a whole is the eclecticness, because 1020 00:55:47,480 --> 00:55:50,840 Speaker 2: now everything is so market tested and so like, this 1021 00:55:51,040 --> 00:55:55,360 Speaker 2: album is about blank. This album is like my nineties 1022 00:55:55,440 --> 00:55:58,719 Speaker 2: house blank. This album is for this, and this is 1023 00:55:58,840 --> 00:56:02,240 Speaker 2: like I'm I'm everything at once, and it's like actually 1024 00:56:02,440 --> 00:56:05,040 Speaker 2: very confusing, and I'm like, wow, this actually makes it 1025 00:56:05,120 --> 00:56:06,840 Speaker 2: feel refreshing. 1026 00:56:07,360 --> 00:56:09,000 Speaker 3: That is the only constant. 1027 00:56:09,840 --> 00:56:13,520 Speaker 1: Yeah, and that is what pop like was in the 1028 00:56:14,640 --> 00:56:16,799 Speaker 1: I don't know nineties and early odd It's like pop 1029 00:56:17,080 --> 00:56:20,200 Speaker 1: was in fact that the criticism of it was that 1030 00:56:20,360 --> 00:56:24,200 Speaker 1: it lacked cohesion and it lacked a coherent vision, and 1031 00:56:24,280 --> 00:56:26,480 Speaker 1: it was just like an album for a pop star 1032 00:56:26,640 --> 00:56:29,160 Speaker 1: was just a series of singles or a series of 1033 00:56:29,239 --> 00:56:31,040 Speaker 1: songs that could be played without any context. That was 1034 00:56:31,080 --> 00:56:33,840 Speaker 1: a criticism of it. And to make an album like 1035 00:56:33,960 --> 00:56:36,840 Speaker 1: Ray of Light or even something even more cohesive in 1036 00:56:36,840 --> 00:56:38,720 Speaker 1: the real life, like something that's like a concept album 1037 00:56:39,200 --> 00:56:41,960 Speaker 1: was the exception. It's like something that someone would do 1038 00:56:42,080 --> 00:56:43,880 Speaker 1: when they wanted to like really make a statement, and 1039 00:56:43,920 --> 00:56:47,200 Speaker 1: then at some point everything became a concept album. Like 1040 00:56:47,280 --> 00:56:51,320 Speaker 1: at some point it was like each album was supposed 1041 00:56:51,400 --> 00:56:53,440 Speaker 1: to be like a built in narrative. 1042 00:56:54,360 --> 00:56:54,560 Speaker 2: Yeah. 1043 00:56:55,400 --> 00:56:57,719 Speaker 3: Yeah, I think that's part of the game. I think 1044 00:56:58,360 --> 00:57:02,400 Speaker 3: I mean you, I think you're you're sort of stuck 1045 00:57:02,680 --> 00:57:06,920 Speaker 3: as a pop star either to be like like intentionally 1046 00:57:07,000 --> 00:57:09,800 Speaker 3: anti narrative or you have to build the world, you know, 1047 00:57:10,200 --> 00:57:13,719 Speaker 3: And I do like what you said that. I do 1048 00:57:13,840 --> 00:57:17,400 Speaker 3: think of a constant part of of Goga's work is 1049 00:57:17,440 --> 00:57:22,080 Speaker 3: that she's always doing something different than anyone anticipates, which 1050 00:57:22,120 --> 00:57:24,200 Speaker 3: I think is like how I've met this album where 1051 00:57:24,200 --> 00:57:27,320 Speaker 3: I'm like, oh, it's completely different than what I thought 1052 00:57:27,360 --> 00:57:31,680 Speaker 3: it was going to be. And I I always I 1053 00:57:31,800 --> 00:57:34,520 Speaker 3: always find like love and affection for every project. It's 1054 00:57:34,600 --> 00:57:37,200 Speaker 3: just sort of a manner of how how it washes. 1055 00:57:36,960 --> 00:57:40,280 Speaker 1: Over, you know, Yeah, I do know. 1056 00:57:40,960 --> 00:57:45,480 Speaker 2: Should we go to the next track? So the naract 1057 00:57:45,760 --> 00:57:46,760 Speaker 2: is love Drug? 1058 00:57:47,520 --> 00:57:50,720 Speaker 1: Yeah, so now this is I mean, so it's love Drug. 1059 00:57:51,160 --> 00:57:52,840 Speaker 2: So pretty much it's going to go ahead. 1060 00:57:52,600 --> 00:57:53,440 Speaker 3: And beard of love. 1061 00:57:53,480 --> 00:57:57,320 Speaker 1: You've heard of drug, heard of love, heard of love games. 1062 00:57:59,120 --> 00:58:03,720 Speaker 2: And still love drug Drug. 1063 00:58:03,840 --> 00:58:05,240 Speaker 1: And I actually like this one. 1064 00:58:06,040 --> 00:58:08,280 Speaker 2: I like it too, let's start there. I like this 1065 00:58:08,400 --> 00:58:11,320 Speaker 2: as well, although I'm going to listen to it on 1066 00:58:11,400 --> 00:58:13,760 Speaker 2: my headphones really quickly so I can that doesn't feel 1067 00:58:13,760 --> 00:58:17,120 Speaker 2: remember exactly, I'm gonna say something that Amy's gonna get 1068 00:58:17,120 --> 00:58:18,200 Speaker 2: mad at me for. And what is it? 1069 00:58:18,360 --> 00:58:19,760 Speaker 3: I don't want to get mad at you, just so 1070 00:58:19,880 --> 00:58:23,000 Speaker 3: you know, you just do stuff that is makes me mad. 1071 00:58:25,160 --> 00:58:28,920 Speaker 2: Okay. On first listening. I was really close listening to 1072 00:58:29,000 --> 00:58:32,120 Speaker 2: everything this, I was like, what does this remind me of? 1073 00:58:32,360 --> 00:58:35,880 Speaker 2: What does this remind me of? Katie Perry's I Kissed 1074 00:58:35,880 --> 00:58:36,200 Speaker 2: a Girl. 1075 00:58:36,880 --> 00:58:39,680 Speaker 3: I've seen people saying that I didn't really like hear 1076 00:58:39,840 --> 00:58:41,920 Speaker 3: that on first listen, but I get that. I mean, 1077 00:58:42,280 --> 00:58:43,160 Speaker 3: there's similar. 1078 00:58:46,240 --> 00:58:51,720 Speaker 2: D It's very like it felt so wrong, it felt 1079 00:58:51,800 --> 00:58:57,240 Speaker 2: so right, don't mean, and it's like very similar. You know, 1080 00:58:57,320 --> 00:59:00,080 Speaker 2: it's not illegal. Perry doesn't own that, but I I 1081 00:59:00,520 --> 00:59:03,360 Speaker 2: was a lot of this album was like I kept 1082 00:59:03,360 --> 00:59:06,600 Speaker 2: being like, what is that? It's so familiar, but it's 1083 00:59:06,680 --> 00:59:14,680 Speaker 2: just like a little bit off. Let's run through the tracks. 1084 00:59:14,680 --> 00:59:19,960 Speaker 2: We're gonna move quickly, okay, because because we want to 1085 00:59:20,040 --> 00:59:24,680 Speaker 2: talk broader and okay. So how Bad do you Want Me? 1086 00:59:24,800 --> 00:59:29,880 Speaker 2: The Taylor Swift sounding song? Obviously this scared me. I 1087 00:59:30,000 --> 00:59:32,560 Speaker 2: loved it, but George texted me, I love how bad 1088 00:59:32,600 --> 00:59:34,360 Speaker 2: do you Want Me? And I said what I did 1089 00:59:34,480 --> 00:59:35,080 Speaker 2: not realize? 1090 00:59:35,200 --> 00:59:38,040 Speaker 1: I mean I was I was like barely awake listening 1091 00:59:38,040 --> 00:59:39,520 Speaker 1: to the album for the first time it came on. 1092 00:59:39,640 --> 00:59:41,360 Speaker 1: It was catchy to me. I texted Sam, oh my god, 1093 00:59:41,400 --> 00:59:42,960 Speaker 1: I love how Bad do you Want Me? And he 1094 00:59:43,080 --> 00:59:45,200 Speaker 1: was like the Taylor Swift song, and I had no 1095 00:59:45,320 --> 00:59:46,640 Speaker 1: idea what he was talking about, and then I guess 1096 00:59:46,680 --> 00:59:48,240 Speaker 1: I looked it up and what is the story there? 1097 00:59:48,920 --> 00:59:51,400 Speaker 2: Well, I think it's a rumor that she like did 1098 00:59:51,480 --> 00:59:55,600 Speaker 2: background vocals on it or something fake. I mean, but 1099 00:59:55,680 --> 00:59:56,760 Speaker 2: I mean it just sounds. 1100 00:59:56,480 --> 00:59:59,040 Speaker 1: Identical, sounds like a Taylor Swift punk but it also 1101 00:59:59,160 --> 01:00:02,280 Speaker 1: sounds like Taylor Swift song by way of Gaga in 1102 01:00:02,360 --> 01:00:06,080 Speaker 1: the way that you know. I don't know, Uh, Edge 1103 01:00:06,120 --> 01:00:09,440 Speaker 1: of Glory is that type of song by way of Gaga? 1104 01:00:10,160 --> 01:00:14,680 Speaker 2: Yeah, it's just as like I'm just I look forward 1105 01:00:14,720 --> 01:00:17,240 Speaker 2: to one day finding peace with my relationship with Taylor Swift, 1106 01:00:17,320 --> 01:00:18,440 Speaker 2: but today is not that day. 1107 01:00:18,480 --> 01:00:20,920 Speaker 1: You're just allergic to that sound, so you can't let 1108 01:00:20,960 --> 01:00:21,560 Speaker 1: it into your heart. 1109 01:00:21,960 --> 01:00:23,640 Speaker 2: Exactly interesting. 1110 01:00:23,840 --> 01:00:25,680 Speaker 3: I think it also has a little bit of the 1111 01:00:25,840 --> 01:00:28,200 Speaker 3: Cure in it, not the band but the song. 1112 01:00:28,720 --> 01:00:30,600 Speaker 1: Yes, although funny made. 1113 01:00:30,480 --> 01:00:32,840 Speaker 3: A connection now that it had references to the cure 1114 01:00:32,880 --> 01:00:35,160 Speaker 3: of the band. I think this would be a perfect 1115 01:00:35,320 --> 01:00:36,080 Speaker 3: episode for me. 1116 01:00:37,320 --> 01:00:40,360 Speaker 2: Okay, let's move on to the next track, Don't Call Tonight. 1117 01:00:41,080 --> 01:00:43,480 Speaker 2: This is sort of reheating Alejandro's nachos. 1118 01:00:43,920 --> 01:00:45,640 Speaker 3: Oh oh oh, I see what you mean, Like a 1119 01:00:46,080 --> 01:00:50,120 Speaker 3: don't call tonight, don't call tonight. But there's also it 1120 01:00:50,240 --> 01:00:54,160 Speaker 3: made me also think of I'm not having fun tonight. Yeah, 1121 01:00:54,200 --> 01:00:55,280 Speaker 3: another song one tonight in it. 1122 01:00:55,960 --> 01:00:57,120 Speaker 2: Tonight is such a the. 1123 01:00:57,200 --> 01:00:59,880 Speaker 1: Idea of tonight really looms large and poppys. 1124 01:01:00,080 --> 01:01:01,360 Speaker 2: We'll talk about the concept of time. 1125 01:01:01,720 --> 01:01:03,760 Speaker 3: I could have a whole another episode talking about the 1126 01:01:03,840 --> 01:01:04,640 Speaker 3: concept of tonight. 1127 01:01:05,240 --> 01:01:07,320 Speaker 1: No, but truly, the concept of tonight is one of 1128 01:01:07,360 --> 01:01:10,640 Speaker 1: the most powerful, is one of the most powerful concepts 1129 01:01:10,680 --> 01:01:13,560 Speaker 1: because to talk about the passage of time, it's the 1130 01:01:13,680 --> 01:01:16,640 Speaker 1: idea of tonight is both now and not now. It 1131 01:01:17,080 --> 01:01:21,720 Speaker 1: is tonight, it's coming, but it's basically already. 1132 01:01:21,400 --> 01:01:24,000 Speaker 3: Happening, and it's it's almost already over. 1133 01:01:24,280 --> 01:01:24,880 Speaker 1: Yes, exactly. 1134 01:01:24,960 --> 01:01:28,600 Speaker 2: Oh my god. The temporariness of it is really scary. 1135 01:01:28,680 --> 01:01:30,160 Speaker 1: It has this dual meaning where you can actually it 1136 01:01:30,240 --> 01:01:32,040 Speaker 1: can be morning and you can be talking about tonight 1137 01:01:32,080 --> 01:01:34,520 Speaker 1: and it's in the future, and it can be tonight 1138 01:01:35,040 --> 01:01:37,400 Speaker 1: and you can be like, I'm having fun tonight currently 1139 01:01:40,200 --> 01:01:42,600 Speaker 1: it denotes both future and present. 1140 01:01:43,040 --> 01:01:46,720 Speaker 3: Yeah, I think it's an a compression of like actualizing 1141 01:01:46,800 --> 01:01:49,720 Speaker 3: on your desires. It's like you've got about eight hours, 1142 01:01:49,800 --> 01:01:53,920 Speaker 3: twelve hours, maybe fifteen, sixteen hours if you stay up, 1143 01:01:54,520 --> 01:01:57,680 Speaker 3: stay up all night, which becomes dawn, which Sam can 1144 01:01:57,680 --> 01:02:00,880 Speaker 3: speak to Donald cormatica later. But you know what I mean, 1145 01:02:00,960 --> 01:02:03,640 Speaker 3: you have you have a certain amount of time in 1146 01:02:03,680 --> 01:02:07,000 Speaker 3: which you can make the most of things. And that 1147 01:02:07,320 --> 01:02:09,880 Speaker 3: is a really like you know, that has a lot 1148 01:02:09,920 --> 01:02:12,840 Speaker 3: of charge to it in a pop pop writing landscape. 1149 01:02:13,040 --> 01:02:14,000 Speaker 2: It's also it's so. 1150 01:02:15,680 --> 01:02:18,320 Speaker 1: It's such a short amount of time. It's like, make 1151 01:02:18,400 --> 01:02:21,200 Speaker 1: the most of tonight, like make the most of the night. 1152 01:02:21,560 --> 01:02:27,840 Speaker 1: But also it is infinite, you know. It's it's like it's. 1153 01:02:27,720 --> 01:02:31,400 Speaker 3: Forever tonight, will last forever or most start tonight? 1154 01:02:31,800 --> 01:02:33,040 Speaker 1: Yeah, okay. 1155 01:02:33,840 --> 01:02:36,720 Speaker 2: Shadow of a Man, shadow of a Man? 1156 01:02:36,760 --> 01:02:37,880 Speaker 1: You love shadow of a Man? 1157 01:02:38,560 --> 01:02:40,640 Speaker 2: I heard Shadow of a Man. This is a it's 1158 01:02:40,680 --> 01:02:43,440 Speaker 2: hard to do. We should I want to continue rushing, 1159 01:02:43,520 --> 01:02:46,480 Speaker 2: but damn Shadow of a Man is crazy to reheat. 1160 01:02:46,480 --> 01:02:51,040 Speaker 2: Michael Jackson's natchos in like in such a way, like 1161 01:02:51,680 --> 01:02:55,280 Speaker 2: the production. Her voice sounds like Michael in a way 1162 01:02:55,360 --> 01:02:59,120 Speaker 2: that is jaw dropping. My jaw was on the floor 1163 01:02:59,600 --> 01:03:04,040 Speaker 2: picking up crumbs because it sounds so much like Michael, 1164 01:03:04,200 --> 01:03:09,919 Speaker 2: and I I was, you know, gagged in a positive sense. 1165 01:03:10,080 --> 01:03:12,400 Speaker 2: I think this song is so slay. I think it's 1166 01:03:12,480 --> 01:03:14,560 Speaker 2: so crazy and I loved it. 1167 01:03:15,840 --> 01:03:18,880 Speaker 3: I loved it too, and I saw that it was 1168 01:03:19,800 --> 01:03:21,880 Speaker 3: that she had used it in like Chromatica or something 1169 01:03:21,920 --> 01:03:23,520 Speaker 3: at the CHROMATICA Ball or something. 1170 01:03:24,920 --> 01:03:26,240 Speaker 2: She used the little intro sound. 1171 01:03:26,600 --> 01:03:29,960 Speaker 1: Yeah, and when it's like, it doesn't. 1172 01:03:29,680 --> 01:03:31,520 Speaker 3: Feel fair that you guys are re listening to it 1173 01:03:31,640 --> 01:03:32,360 Speaker 3: during the app. 1174 01:03:32,240 --> 01:03:34,800 Speaker 1: And I'm sorry I had to. I literally have not 1175 01:03:34,920 --> 01:03:37,439 Speaker 1: remembered a single song that we have talked. Really, yes, 1176 01:03:37,960 --> 01:03:39,800 Speaker 1: I mean I I and I listened to the album 1177 01:03:39,880 --> 01:03:43,040 Speaker 1: multiple times. I tried to prepare we're saying the title 1178 01:03:43,080 --> 01:03:44,720 Speaker 1: of each song. I have no idea what we're talking about. 1179 01:03:47,320 --> 01:03:49,600 Speaker 1: This was at the end of Man, Yeah, it is 1180 01:03:49,720 --> 01:03:51,360 Speaker 1: very okay, Okay, I'm getting the Michael Jackson. 1181 01:03:51,440 --> 01:03:56,560 Speaker 3: Yes, I do think about how she has his clothes 1182 01:03:56,600 --> 01:03:59,280 Speaker 3: a lot and what that must be like she has 1183 01:03:59,360 --> 01:04:02,280 Speaker 3: his clothes. Yeah, she like bought a bunch of his clothes. 1184 01:04:02,840 --> 01:04:05,840 Speaker 2: Oh, I didn't know that, but yeah. I remember watching 1185 01:04:05,920 --> 01:04:09,960 Speaker 2: the Chromatica Ball tour video and it ends with like, 1186 01:04:10,200 --> 01:04:13,240 Speaker 2: Lady Gaga, We'll return and it plays the very small 1187 01:04:13,280 --> 01:04:15,640 Speaker 2: snippet from the beginning of this song, which is funny. 1188 01:04:17,480 --> 01:04:21,240 Speaker 2: Then okay, we love what is the Beast? The Beast 1189 01:04:21,360 --> 01:04:24,560 Speaker 2: is a ballad that to me is the I think. 1190 01:04:25,120 --> 01:04:26,600 Speaker 2: Here's what I'll say. I think it works in the 1191 01:04:26,640 --> 01:04:28,960 Speaker 2: context of the album, but to me, it's the one 1192 01:04:29,000 --> 01:04:30,240 Speaker 2: song where I'm like, I'm okay. 1193 01:04:31,240 --> 01:04:33,560 Speaker 1: Okay, and then lade ahead. 1194 01:04:33,560 --> 01:04:36,320 Speaker 3: Oh that's it, Okay, go ahead and we'll leave it there. 1195 01:04:36,640 --> 01:04:37,040 Speaker 3: Blade of. 1196 01:04:38,520 --> 01:04:42,360 Speaker 2: Blade of Grass, Okay, here's here's a okay, Amy, get 1197 01:04:42,400 --> 01:04:45,960 Speaker 2: ready to scream. Guess who's nachos? This is reheating. Oh. 1198 01:04:46,600 --> 01:04:47,800 Speaker 2: I was listening to this and I was like, this 1199 01:04:47,960 --> 01:04:54,960 Speaker 2: sounds like something. It sounds like cold Play. Fuck, what's 1200 01:04:55,000 --> 01:04:59,919 Speaker 2: it called? Uh? Is it Viva la Vida? Yes, it's Viva. 1201 01:05:00,160 --> 01:05:02,520 Speaker 2: It's cold Play, Viva la Vida, Walk. 1202 01:05:02,440 --> 01:05:03,600 Speaker 3: Me through, Walk me through. 1203 01:05:05,000 --> 01:05:05,680 Speaker 2: So it's like. 1204 01:05:09,200 --> 01:05:13,480 Speaker 1: Like I know, oh, I know Viva. 1205 01:05:14,840 --> 01:05:17,280 Speaker 2: I know. So Plade of Grass is like the same thing. 1206 01:05:17,280 --> 01:05:22,840 Speaker 2: It's like like that. It's like slower, but I have 1207 01:05:22,960 --> 01:05:24,640 Speaker 2: to play it to listen to it to hear it. 1208 01:05:24,920 --> 01:05:27,040 Speaker 3: Wait into the mic or is that going to explode everything? 1209 01:05:27,640 --> 01:05:30,960 Speaker 1: I can play it unto the mic because I didn't. 1210 01:05:30,760 --> 01:05:32,640 Speaker 3: Hear Viva Avida like that. 1211 01:05:34,520 --> 01:05:39,080 Speaker 2: Let's see done? Do Wait? 1212 01:05:39,120 --> 01:05:50,400 Speaker 1: Are we both playing it? What is behind you? Huge? 1213 01:05:50,880 --> 01:05:57,920 Speaker 3: Roussellum bells ring and I get that. I get that, 1214 01:05:58,040 --> 01:06:02,800 Speaker 3: actually totally it did. And by the way, in about 1215 01:06:03,000 --> 01:06:05,040 Speaker 3: four months, it's going to be cold Playcore. 1216 01:06:06,320 --> 01:06:07,160 Speaker 1: Oh calling it? 1217 01:06:07,240 --> 01:06:10,240 Speaker 2: Now, what did you say? 1218 01:06:11,240 --> 01:06:11,720 Speaker 1: I said? 1219 01:06:12,120 --> 01:06:14,640 Speaker 3: I said in four months time, it's going to be 1220 01:06:14,720 --> 01:06:15,600 Speaker 3: cold Play Core. 1221 01:06:24,160 --> 01:06:27,280 Speaker 2: In four months time. Set your cows now talk about 1222 01:06:27,280 --> 01:06:31,640 Speaker 2: the passage of time. Four months four months? 1223 01:06:31,960 --> 01:06:36,920 Speaker 3: Like, whenever I do this podcast, I'm like, I'm an owl. 1224 01:06:37,600 --> 01:06:41,960 Speaker 1: You insult we're insulting you. 1225 01:06:43,160 --> 01:06:46,160 Speaker 3: No, No, I just feel like I speak and complete 1226 01:06:46,240 --> 01:06:50,840 Speaker 3: and comprehensible redlds, but a lot that has to understand me. 1227 01:06:51,800 --> 01:06:52,040 Speaker 2: You are. 1228 01:06:53,320 --> 01:06:55,560 Speaker 1: What's funny about what you said is it's exactly the 1229 01:06:55,680 --> 01:06:58,160 Speaker 1: kind of thing we would say. But then like it would, 1230 01:06:58,240 --> 01:07:00,240 Speaker 1: it's so ice to be like in four months, cold 1231 01:07:00,280 --> 01:07:02,240 Speaker 1: plays making a comeback. But then you said it and 1232 01:07:02,320 --> 01:07:03,600 Speaker 1: we're acting like you're insane. 1233 01:07:04,280 --> 01:07:07,880 Speaker 3: I feel like I feel like this is a critical part. 1234 01:07:10,600 --> 01:07:12,560 Speaker 1: You're literally coming at us and you're like, yeah, I'm 1235 01:07:12,560 --> 01:07:15,200 Speaker 1: speaking your language, like in four months it's Coldplay court and. 1236 01:07:15,200 --> 01:07:20,320 Speaker 2: We're like, what the fuck is she talking? So July July, 1237 01:07:20,560 --> 01:07:24,120 Speaker 2: we will be seeing Coldplay core. People will be blasting 1238 01:07:24,240 --> 01:07:25,760 Speaker 2: yellow at the fourth of July party. 1239 01:07:25,880 --> 01:07:29,760 Speaker 1: I do think. I do think that there's something so 1240 01:07:31,120 --> 01:07:33,320 Speaker 1: down the middle about Cold Play, and that is sort 1241 01:07:33,320 --> 01:07:34,040 Speaker 1: of where we're headed. 1242 01:07:34,440 --> 01:07:36,880 Speaker 3: I think I just think there's going to be sounds. 1243 01:07:37,080 --> 01:07:39,080 Speaker 3: I think Benson Boone in a way is like a 1244 01:07:39,120 --> 01:07:42,560 Speaker 3: precursor to Cold Blake. But he's too big of a voice. 1245 01:07:42,600 --> 01:07:44,320 Speaker 2: I guess maybe too big a voice there, because there 1246 01:07:44,320 --> 01:07:46,320 Speaker 2: will be an Indie Benson Boone. There will be like 1247 01:07:46,400 --> 01:07:49,040 Speaker 2: somebody being like, I can be indie and still be anthemic, 1248 01:07:49,360 --> 01:07:52,800 Speaker 2: and that's how we get to Cold Yes, imagine Dagons. 1249 01:07:53,800 --> 01:07:57,000 Speaker 3: So yeah, the Levita in a Blade of Grass. 1250 01:07:57,280 --> 01:07:57,520 Speaker 2: But that. 1251 01:07:59,240 --> 01:08:01,360 Speaker 1: People are saying that this is a worst song on 1252 01:08:01,400 --> 01:08:01,800 Speaker 1: the album. 1253 01:08:02,040 --> 01:08:04,880 Speaker 2: What Beast is the worst song by far. 1254 01:08:05,720 --> 01:08:08,200 Speaker 3: I had trouble with the Beast, but I also, you 1255 01:08:08,280 --> 01:08:10,560 Speaker 3: know what I liked about the Beast. I know we're 1256 01:08:10,600 --> 01:08:13,240 Speaker 3: not talking about the Beast, but I really liked how 1257 01:08:14,000 --> 01:08:17,080 Speaker 3: I like that little like I thought that was sure, 1258 01:08:17,280 --> 01:08:20,080 Speaker 3: sure that's old, but anyway, Yeah, she's gonna have these. 1259 01:08:20,479 --> 01:08:25,519 Speaker 3: She's gonna have big, big ballads that are sort of 1260 01:08:26,200 --> 01:08:29,200 Speaker 3: the you know, I think a piano ballad is essentially 1261 01:08:29,439 --> 01:08:32,640 Speaker 3: her soul, whether yes, whether you wanted to. 1262 01:08:32,640 --> 01:08:35,200 Speaker 1: Go, does the Beast have what it takes. I mean, 1263 01:08:35,760 --> 01:08:37,559 Speaker 1: we haven't gotten a You and I in a while. 1264 01:08:38,320 --> 01:08:40,120 Speaker 3: Well, I think these are supposed to be sort of 1265 01:08:40,600 --> 01:08:43,400 Speaker 3: in if we're doing an umbrella of the types of 1266 01:08:43,520 --> 01:08:47,120 Speaker 3: songs she does, I think those fit underneath a little bit. 1267 01:08:47,240 --> 01:08:49,720 Speaker 3: I mean, she does a piano ballad about love, like 1268 01:08:49,800 --> 01:08:52,439 Speaker 3: she's got a lot of those, and I think these 1269 01:08:52,479 --> 01:08:53,160 Speaker 3: are part of that. 1270 01:08:53,920 --> 01:08:56,560 Speaker 2: Blade of grass is very thousand doves coded to me, 1271 01:08:57,360 --> 01:08:58,800 Speaker 2: That's that was my first thought too. 1272 01:08:58,880 --> 01:09:01,760 Speaker 1: In fact, I think I would almost proposition that we 1273 01:09:01,960 --> 01:09:05,080 Speaker 1: change our rating system from zero to one thousand doves 1274 01:09:05,320 --> 01:09:07,160 Speaker 1: to zero to one thousand blades of grass. 1275 01:09:07,640 --> 01:09:10,160 Speaker 2: I think it's a genius move, and I think moving forward, 1276 01:09:10,520 --> 01:09:12,720 Speaker 2: you know, save for the pre recorded episodes that we 1277 01:09:12,760 --> 01:09:14,360 Speaker 2: have coming out the next few weeks, we will be 1278 01:09:14,439 --> 01:09:17,599 Speaker 2: changing it to blades of zero to one thousand blades 1279 01:09:17,600 --> 01:09:18,040 Speaker 2: of grass. 1280 01:09:19,120 --> 01:09:22,920 Speaker 3: And it's funny because you guys didn't prepare straight shooters 1281 01:09:23,120 --> 01:09:25,280 Speaker 3: for me, and so I don't even really get to 1282 01:09:25,360 --> 01:09:26,920 Speaker 3: even be a part of that, which is kind of 1283 01:09:26,960 --> 01:09:29,439 Speaker 3: also how I feel sometimes doing. 1284 01:09:29,280 --> 01:09:31,160 Speaker 1: It's so interesting because we put you on such a 1285 01:09:31,240 --> 01:09:34,760 Speaker 1: pedestal like this is a very special Yeah, Like to me, 1286 01:09:34,920 --> 01:09:39,640 Speaker 1: I'm like this is the this is we're interrupting our 1287 01:09:39,760 --> 01:09:43,400 Speaker 1: normal programming because you know, a queen has entered the chat, 1288 01:09:43,920 --> 01:09:46,800 Speaker 1: and yet you are thinking of it as us disrespecting 1289 01:09:46,960 --> 01:09:47,320 Speaker 1: or something. 1290 01:09:47,600 --> 01:09:52,000 Speaker 3: I feel yeah, like a plastic doll. No, I'm kidding, 1291 01:09:52,080 --> 01:09:54,000 Speaker 3: I'm kidding, But what do. 1292 01:09:54,040 --> 01:09:56,800 Speaker 1: You think about the Because to me, something interesting about 1293 01:09:56,840 --> 01:10:00,759 Speaker 1: Blade of Grass is compared to all the other titles 1294 01:10:00,800 --> 01:10:04,760 Speaker 1: and all the other visual motifs that we're seeing, a 1295 01:10:04,920 --> 01:10:08,720 Speaker 1: Blade of Grass is very different. It's actually not. It's 1296 01:10:08,800 --> 01:10:09,880 Speaker 1: not Halloween coded. 1297 01:10:10,520 --> 01:10:14,679 Speaker 3: No, well, it's got a story behind it, the Blade 1298 01:10:14,680 --> 01:10:15,040 Speaker 3: of Grass. 1299 01:10:15,080 --> 01:10:15,599 Speaker 2: Oh, the story? 1300 01:10:15,720 --> 01:10:17,160 Speaker 1: Yeah, what's the Blade of Grass story? 1301 01:10:17,880 --> 01:10:19,240 Speaker 3: I feel like this is the only thing I've ever 1302 01:10:19,360 --> 01:10:22,080 Speaker 3: learned in the history of learning things, which is that 1303 01:10:22,400 --> 01:10:29,479 Speaker 3: she she talked about being proposed to by her fiance, Michael, 1304 01:10:30,080 --> 01:10:33,600 Speaker 3: and he asked how to do it, and she was like, 1305 01:10:33,760 --> 01:10:36,000 Speaker 3: just take a blade of grass and wrap around my finger. 1306 01:10:37,160 --> 01:10:37,360 Speaker 1: Oh. 1307 01:10:38,280 --> 01:10:40,439 Speaker 2: So this is a classic Gaga where I'm like, that's 1308 01:10:40,560 --> 01:10:42,400 Speaker 2: that's a lie. Like, that's a lie. 1309 01:10:43,479 --> 01:10:45,719 Speaker 3: But don't you think, like having a bladi of grass 1310 01:10:45,720 --> 01:10:50,519 Speaker 3: around your finger is so cool? It's so kindergarten core, 1311 01:10:50,720 --> 01:10:52,360 Speaker 3: which was in the next five months. 1312 01:10:52,640 --> 01:10:55,320 Speaker 1: Yeah, kindergarten Yeah, after cold Play, Well, it's going to 1313 01:10:55,320 --> 01:10:57,000 Speaker 1: be coldly into kindergarten core. 1314 01:10:57,240 --> 01:11:01,840 Speaker 2: Yeah, yeah, it's gonna be kindergarten fall, like everyone's going 1315 01:11:01,880 --> 01:11:04,120 Speaker 2: to be back to school. I guess. 1316 01:11:06,160 --> 01:11:06,559 Speaker 3: Nailed it. 1317 01:11:08,360 --> 01:11:09,519 Speaker 2: And then die with a smile. 1318 01:11:10,640 --> 01:11:15,160 Speaker 3: Well, I will say I was shocked, much like everybody else, 1319 01:11:15,360 --> 01:11:17,639 Speaker 3: to see that it actually made some kind of sense 1320 01:11:18,000 --> 01:11:18,519 Speaker 3: on the record. 1321 01:11:18,600 --> 01:11:20,599 Speaker 2: Me too, I think it makes a lot of sense 1322 01:11:21,040 --> 01:11:25,240 Speaker 2: in the context. Yeah, and I could have never predicted that. 1323 01:11:26,560 --> 01:11:27,120 Speaker 2: Not in my. 1324 01:11:27,320 --> 01:11:30,160 Speaker 3: Wildest dreams could I ever think a song such as 1325 01:11:30,200 --> 01:11:33,400 Speaker 3: this could flow so perfectly into the opus that is 1326 01:11:34,280 --> 01:11:37,240 Speaker 3: may Ham, which I believe it's may Ham Mayhm. 1327 01:11:36,960 --> 01:11:40,519 Speaker 1: Yes, yes, yes, okay, so okay, gone through the album. 1328 01:11:40,960 --> 01:11:43,960 Speaker 2: We've gone through the whole album. Here's a straight thought 1329 01:11:44,760 --> 01:11:48,160 Speaker 2: regarding Michael. I think it's funny that people are talking 1330 01:11:48,200 --> 01:11:51,719 Speaker 2: about Gaga in context of bear community. People are saying 1331 01:11:51,800 --> 01:11:54,160 Speaker 2: that Michael is a bear, that she's one of us, 1332 01:11:54,280 --> 01:11:58,040 Speaker 2: that she likes bears in a way that I think 1333 01:11:58,360 --> 01:12:05,599 Speaker 2: is so funny because because also I actually do think 1334 01:12:05,640 --> 01:12:08,559 Speaker 2: it's charming and like refreshing that she's just like found 1335 01:12:08,600 --> 01:12:12,040 Speaker 2: a like average guy, like looking like he's like not 1336 01:12:12,240 --> 01:12:15,000 Speaker 2: like smelt or like fifteen years younger or something. 1337 01:12:17,240 --> 01:12:21,639 Speaker 1: She has also been sort of normal looking though, because 1338 01:12:21,640 --> 01:12:26,160 Speaker 1: she's not someone who has ever gone for the hospitals 1339 01:12:26,200 --> 01:12:27,559 Speaker 1: and the roster, has she. 1340 01:12:29,920 --> 01:12:31,960 Speaker 3: What do you think is on Hanks? 1341 01:12:32,320 --> 01:12:35,160 Speaker 1: Yeah, no, that's a good question. I actually think so 1342 01:12:35,479 --> 01:12:38,320 Speaker 1: people are so hungry for a normal guy because they 1343 01:12:38,360 --> 01:12:40,760 Speaker 1: don't exist anywhere, right, This. 1344 01:12:40,800 --> 01:12:41,280 Speaker 2: Is what I mean. 1345 01:12:41,320 --> 01:12:43,360 Speaker 3: I think this is kind of the normal undercurrent we're 1346 01:12:43,400 --> 01:12:43,840 Speaker 3: talking about. 1347 01:12:43,920 --> 01:12:45,519 Speaker 1: And I actually think you know who's a real pioneer 1348 01:12:45,600 --> 01:12:48,519 Speaker 1: there is Lana del Rey. Well, I mean I think 1349 01:12:48,640 --> 01:12:52,000 Speaker 1: she opened the doors. Yes, no, there's no time, but she. 1350 01:12:52,840 --> 01:12:56,639 Speaker 1: I think the ultimate fetish for straight women, white straight 1351 01:12:56,680 --> 01:12:59,519 Speaker 1: white women especially, the ultimate fetish is a normal guy 1352 01:12:59,520 --> 01:13:02,000 Speaker 1: because it's mean you don't find anymore because on the 1353 01:13:02,080 --> 01:13:05,640 Speaker 1: one hand, you have you know, uh, you know, you 1354 01:13:05,800 --> 01:13:11,240 Speaker 1: have sort of brook guys like Brooklyn fat men'swear guys. 1355 01:13:11,920 --> 01:13:16,040 Speaker 1: And then huh did you say FAF. Did you say 1356 01:13:16,160 --> 01:13:20,679 Speaker 1: FAF No, I said Brooklyn, Brooklyn FAF weird? 1357 01:13:20,800 --> 01:13:24,880 Speaker 2: Pat, I don't know you said Brooklyn FAF. 1358 01:13:25,320 --> 01:13:29,280 Speaker 1: I did, I said Brooklyn men'swear guys. I did not 1359 01:13:29,439 --> 01:13:30,040 Speaker 1: said something with. 1360 01:13:30,040 --> 01:13:34,080 Speaker 3: An F say the letter like like you were British 1361 01:13:34,160 --> 01:13:36,680 Speaker 3: like faff about that too? 1362 01:13:37,080 --> 01:13:40,720 Speaker 1: What was Brooklyn faf Brooklyn I, I doesn't want to 1363 01:13:40,720 --> 01:13:43,760 Speaker 1: make On the one side of things, you have Brooklyn men'swear, 1364 01:13:43,880 --> 01:13:46,040 Speaker 1: you know, this sort of like fuck boy. And then 1365 01:13:46,080 --> 01:13:48,040 Speaker 1: on the other side of things we have in cells. 1366 01:13:48,439 --> 01:13:51,160 Speaker 1: And so those are the two options for women currently 1367 01:13:51,479 --> 01:13:54,200 Speaker 1: and so there's this well they are trying to find 1368 01:13:54,320 --> 01:13:56,439 Speaker 1: who is the normal one? Who is the normal one 1369 01:13:56,479 --> 01:13:56,880 Speaker 1: in the middle. 1370 01:13:57,400 --> 01:14:01,120 Speaker 3: I think there's so many more veret of weird guys 1371 01:14:01,200 --> 01:14:01,960 Speaker 3: you didn't touch on. 1372 01:14:03,240 --> 01:14:05,559 Speaker 1: I mean, I guess again fill in the blanks. 1373 01:14:06,760 --> 01:14:08,760 Speaker 3: I think, what about the guys that have sort of 1374 01:14:08,920 --> 01:14:13,160 Speaker 3: the Seneca profile pictures and and the people that. 1375 01:14:14,400 --> 01:14:20,040 Speaker 1: Streamers And yes there's streamers, Christian photographers. 1376 01:14:19,600 --> 01:14:22,720 Speaker 3: Christian photographers, Christian. 1377 01:14:22,680 --> 01:14:26,599 Speaker 1: There's still the poets. Of course there are, of course. 1378 01:14:26,680 --> 01:14:29,160 Speaker 1: Something I didn't mention is the so called finance bro. 1379 01:14:29,439 --> 01:14:32,360 Speaker 1: That's a big archetype. They do exist to this day 1380 01:14:32,400 --> 01:14:35,000 Speaker 1: and age is the finance bro. There's of course a 1381 01:14:35,040 --> 01:14:39,160 Speaker 1: crypto bro. Yeah, but again all these what they have 1382 01:14:39,240 --> 01:14:41,800 Speaker 1: in common is that they're not normal, and so women 1383 01:14:41,880 --> 01:14:45,120 Speaker 1: are desperate for something that's down the line. Well, he's 1384 01:14:45,160 --> 01:14:46,760 Speaker 1: a tech guy, isn't he he's a tech guy. 1385 01:14:46,840 --> 01:14:47,040 Speaker 2: Yeah. 1386 01:14:49,320 --> 01:14:56,840 Speaker 3: Next, let's go over the track list again. Disease, I 1387 01:14:56,960 --> 01:15:00,960 Speaker 3: love that shit, Aberkada do it again? Great, Pardon to Beaton. 1388 01:15:01,120 --> 01:15:02,040 Speaker 3: I love those chips. 1389 01:15:02,360 --> 01:15:06,479 Speaker 2: Next, do we let's talk broad okay, broad strokes. What 1390 01:15:06,600 --> 01:15:09,040 Speaker 2: do we think? I think personally, I want to say 1391 01:15:09,240 --> 01:15:13,040 Speaker 2: I'm standing. I think I was uh. I think it's 1392 01:15:13,080 --> 01:15:15,680 Speaker 2: settling really nicely with me, where at first I was like, 1393 01:15:15,960 --> 01:15:18,519 Speaker 2: hold on, this is not what I was expecting, And 1394 01:15:18,640 --> 01:15:21,280 Speaker 2: now I'm finding it to be so fun. I'm finding 1395 01:15:21,520 --> 01:15:24,960 Speaker 2: part of the charm to be her confidence in it 1396 01:15:25,080 --> 01:15:27,479 Speaker 2: and her like joy in it, where she doesn't seem 1397 01:15:27,560 --> 01:15:29,680 Speaker 2: like she's saying like do you like this? Like she's 1398 01:15:29,720 --> 01:15:32,479 Speaker 2: saying like I like this, and that is all that matters. 1399 01:15:32,600 --> 01:15:33,600 Speaker 1: There's no desperation. 1400 01:15:34,240 --> 01:15:38,760 Speaker 3: That's what I mean about her embracing like an adulthood. 1401 01:15:38,840 --> 01:15:41,760 Speaker 3: That feels really good. And I think, you know, we're 1402 01:15:41,800 --> 01:15:44,240 Speaker 3: talking about all of this, and I we're talking about 1403 01:15:45,840 --> 01:15:48,200 Speaker 3: what like a modern pop star is, and we're getting 1404 01:15:48,240 --> 01:15:51,559 Speaker 3: like really heady with it, of course, but also I think, 1405 01:15:51,840 --> 01:15:55,679 Speaker 3: like Gaga's impact, you just you can't deny you can't 1406 01:15:55,720 --> 01:16:00,840 Speaker 3: deny her unbelievable craft and at at least at at 1407 01:16:00,960 --> 01:16:06,800 Speaker 3: least giving us something that aims to unite, you know, 1408 01:16:06,840 --> 01:16:08,840 Speaker 3: a bunch of people get together and dissect this and that, 1409 01:16:08,960 --> 01:16:13,160 Speaker 3: which is really like I think it's in a moment 1410 01:16:13,160 --> 01:16:16,600 Speaker 3: where that type of like fanfare over something is struggling. 1411 01:16:16,720 --> 01:16:19,559 Speaker 3: So I welcome I welcome it, you know what I mean? 1412 01:16:20,520 --> 01:16:23,240 Speaker 2: Yeah, I agree. I do think it's really nice for 1413 01:16:23,360 --> 01:16:26,120 Speaker 2: the community to come together. I've like actually mostly just 1414 01:16:26,320 --> 01:16:29,519 Speaker 2: enjoyed this weekend and being like everyone's talking about it, 1415 01:16:29,600 --> 01:16:32,840 Speaker 2: everyone's like having their little opinion, and it's so fun 1416 01:16:32,920 --> 01:16:35,200 Speaker 2: to be like, God, yeah, Page, I think. 1417 01:16:35,120 --> 01:16:36,720 Speaker 3: That's what I've been trying to say this whole time, 1418 01:16:36,760 --> 01:16:39,839 Speaker 3: where it's like having everybody everyone having their little opinion 1419 01:16:40,000 --> 01:16:43,920 Speaker 3: is like essentially what we're trying to do, what we're 1420 01:16:43,960 --> 01:16:45,920 Speaker 3: trying to enjoy, you know what I mean, like the 1421 01:16:46,040 --> 01:16:49,439 Speaker 3: rock world kind of congregating under I just wanted to 1422 01:16:49,560 --> 01:16:51,960 Speaker 3: drop in and check in about what it even means 1423 01:16:52,040 --> 01:16:54,840 Speaker 3: to sort of be a fan in this moment in time. 1424 01:16:55,200 --> 01:16:57,080 Speaker 2: I know, how do you guys feel about aging? 1425 01:16:57,960 --> 01:16:58,559 Speaker 3: About aging? 1426 01:16:59,200 --> 01:16:59,400 Speaker 2: Yeah? 1427 01:17:00,000 --> 01:17:02,519 Speaker 3: If I do it anyway like Gaga, it'll be a 1428 01:17:02,800 --> 01:17:03,960 Speaker 3: total victory. 1429 01:17:07,280 --> 01:17:09,320 Speaker 2: Well, I do feel I want to say, like I 1430 01:17:09,479 --> 01:17:12,519 Speaker 2: find it interesting. Part of the Passage of Time element 1431 01:17:12,800 --> 01:17:15,040 Speaker 2: is that it is fun to see how she approaches 1432 01:17:15,080 --> 01:17:18,920 Speaker 2: pop music because I'm you know, as silly people. I'm 1433 01:17:18,960 --> 01:17:21,000 Speaker 2: sort of like, how do I approach Like when I 1434 01:17:21,120 --> 01:17:23,880 Speaker 2: hear a Tate McCray song, I'm like, what is my 1435 01:17:24,120 --> 01:17:26,760 Speaker 2: emotion supposed to be? Like? Am I supposed to love this? 1436 01:17:26,960 --> 01:17:29,960 Speaker 2: And be like I stand Tate McCrae, Where's my emotion 1437 01:17:30,080 --> 01:17:32,519 Speaker 2: supposed to be? Like that's for children. I'm an adult, 1438 01:17:32,920 --> 01:17:35,320 Speaker 2: and I think she's like almost giving us a path 1439 01:17:35,400 --> 01:17:39,240 Speaker 2: forward for frivolity where it's like you don't need to 1440 01:17:39,479 --> 01:17:44,280 Speaker 2: be like like pretending you're twenty two, and nor do 1441 01:17:44,360 --> 01:17:45,920 Speaker 2: you need to be pretending you're a hundred. 1442 01:17:46,080 --> 01:17:50,240 Speaker 1: That's genius yep, And actually like she has done both. 1443 01:17:50,840 --> 01:17:53,519 Speaker 1: She pretended she was one hundred with Tony Bennett and 1444 01:17:53,760 --> 01:17:57,720 Speaker 1: with her Oscar campaign she pretended she was twenty two. 1445 01:17:58,000 --> 01:18:00,840 Speaker 1: Kind of sorry, but like with parts of Gramatica, with 1446 01:18:00,960 --> 01:18:04,759 Speaker 1: parts of even just like her with Aria I Listen, 1447 01:18:05,160 --> 01:18:07,799 Speaker 1: I Love rain on Me, but there was something childlike 1448 01:18:07,800 --> 01:18:09,720 Speaker 1: about that. She was sort of like trying it on 1449 01:18:09,800 --> 01:18:12,519 Speaker 1: for size, Like what if I'm dancing and I'm a 1450 01:18:12,640 --> 01:18:15,280 Speaker 1: kindness punk and I'm in the rain, and I do 1451 01:18:15,439 --> 01:18:18,760 Speaker 1: think there is this like she tried one side to 1452 01:18:18,800 --> 01:18:20,240 Speaker 1: try the other, and now she's come out in the 1453 01:18:20,280 --> 01:18:25,160 Speaker 1: middle and she seems self actualized. Yeah, and that's kind 1454 01:18:25,160 --> 01:18:26,800 Speaker 1: of what the best you can hope for. 1455 01:18:27,680 --> 01:18:31,519 Speaker 2: Yeah, I find that to be good. I think. 1456 01:18:32,000 --> 01:18:36,200 Speaker 3: Yeah, any response, I was gonna ask a question about 1457 01:18:36,200 --> 01:18:41,439 Speaker 3: if you could design an album, if you could design 1458 01:18:41,720 --> 01:18:44,840 Speaker 3: a either a Gaga album, I guess, or like a 1459 01:18:44,920 --> 01:18:48,320 Speaker 3: pop star which you would feel like lifted up and 1460 01:18:48,960 --> 01:18:52,640 Speaker 3: electrified by by this combination of things that they did, 1461 01:18:52,760 --> 01:18:53,280 Speaker 3: what would it be? 1462 01:18:58,600 --> 01:19:01,679 Speaker 1: So your question is what would our her dream pop 1463 01:19:01,800 --> 01:19:05,080 Speaker 1: STARB Is that so crazy? 1464 01:19:05,600 --> 01:19:06,639 Speaker 2: I'm not. I didn't say. 1465 01:19:06,479 --> 01:19:07,240 Speaker 1: It's so crazy. 1466 01:19:07,680 --> 01:19:10,160 Speaker 3: Yeah, sort of you were like, okay, wow, here's this, 1467 01:19:10,640 --> 01:19:11,000 Speaker 3: here's this. 1468 01:19:11,200 --> 01:19:14,680 Speaker 1: They do this type of She's like this nine feet. 1469 01:19:14,479 --> 01:19:19,240 Speaker 2: Tall, right. She has Whitney Houston's vocals, got it writing, 1470 01:19:20,640 --> 01:19:22,080 Speaker 2: but she actually doesn't use them. 1471 01:19:22,160 --> 01:19:24,760 Speaker 1: She does all auto tune. It sounds really bad. It's 1472 01:19:24,800 --> 01:19:26,280 Speaker 1: like Kim Petra's auto tune. 1473 01:19:26,360 --> 01:19:27,320 Speaker 3: But she has a voice. 1474 01:19:27,439 --> 01:19:28,840 Speaker 2: She has she has a voice. 1475 01:19:29,320 --> 01:19:32,160 Speaker 1: She just saying karaoke. You would be shocked. But she 1476 01:19:32,360 --> 01:19:35,479 Speaker 1: refuses on principle to do that when she gets into 1477 01:19:35,520 --> 01:19:36,280 Speaker 1: the studio. 1478 01:19:36,200 --> 01:19:39,799 Speaker 2: I'm gonna say something really controversial. Her hair it's ombre, 1479 01:19:40,520 --> 01:19:41,080 Speaker 2: it's ombre. 1480 01:19:41,439 --> 01:19:43,719 Speaker 3: So and when we're talking about what kind of colors, 1481 01:19:43,760 --> 01:19:45,120 Speaker 3: we're talking brown to blonde. 1482 01:19:45,280 --> 01:19:46,960 Speaker 1: Yeah, yeah, the traditional brass blonde. 1483 01:19:47,360 --> 01:19:50,960 Speaker 2: And she's nine nine feet tall with ombray beach waves. 1484 01:19:51,880 --> 01:19:55,880 Speaker 1: At hell, those beach waves are going straight down, like 1485 01:19:57,000 --> 01:20:01,200 Speaker 1: down to her anger as to her ass, nine foot 1486 01:20:01,640 --> 01:20:04,640 Speaker 1: beach waves from her head down to her ankles. 1487 01:20:04,840 --> 01:20:05,160 Speaker 3: Got it. 1488 01:20:05,280 --> 01:20:08,040 Speaker 1: She has the voice of an angel, but you literally 1489 01:20:08,080 --> 01:20:11,599 Speaker 1: wouldn't know it. In fact, everyone is singing. She sounds 1490 01:20:11,680 --> 01:20:13,920 Speaker 1: she clearly like has no vocal talent. That's what she 1491 01:20:13,920 --> 01:20:14,920 Speaker 1: always has autotune. 1492 01:20:15,320 --> 01:20:18,519 Speaker 3: There is no one even the controversy about her ability 1493 01:20:18,600 --> 01:20:20,560 Speaker 3: to sing. But secretly she s. 1494 01:20:21,040 --> 01:20:23,920 Speaker 1: But and she as part of her as part of 1495 01:20:24,520 --> 01:20:27,840 Speaker 1: her act, like as part of her performance and her 1496 01:20:28,479 --> 01:20:33,080 Speaker 1: like you know, performance of self. She she is not 1497 01:20:33,320 --> 01:20:34,439 Speaker 1: revealing that she can sing. 1498 01:20:35,320 --> 01:20:38,120 Speaker 2: And she like every time she has a live performance 1499 01:20:38,160 --> 01:20:40,360 Speaker 2: where she's like I'm doing like we're all like, a 1500 01:20:40,479 --> 01:20:43,519 Speaker 2: fly flies into her mouth and she like, and so 1501 01:20:43,600 --> 01:20:45,840 Speaker 2: people think she can't sing, like there's no proof that 1502 01:20:45,920 --> 01:20:46,320 Speaker 2: she can sing. 1503 01:20:46,680 --> 01:20:51,479 Speaker 1: Singing live, she's singing singing into an autotune mic. 1504 01:20:51,520 --> 01:20:53,840 Speaker 2: And so it like she's like, you know, it's like 1505 01:20:53,960 --> 01:20:57,320 Speaker 2: not beating the can't sing allegations, I fear, and actually 1506 01:20:57,360 --> 01:20:57,720 Speaker 2: there are. 1507 01:20:57,760 --> 01:20:59,959 Speaker 1: All these yeah, and there are all these like bootlegs. 1508 01:21:00,160 --> 01:21:02,320 Speaker 1: It's like people that have been in the studio with 1509 01:21:02,439 --> 01:21:04,519 Speaker 1: her know she can sing, and so there's like all 1510 01:21:04,560 --> 01:21:07,919 Speaker 1: these rumors like, yeah, there's these are the real vocals 1511 01:21:08,120 --> 01:21:11,840 Speaker 1: to Sound of Change, but no one Sound of Changes 1512 01:21:11,880 --> 01:21:14,240 Speaker 1: the album. It's one of the singles, but it was 1513 01:21:14,280 --> 01:21:15,479 Speaker 1: one of the less successful ones. 1514 01:21:15,800 --> 01:21:19,959 Speaker 3: So so she's okay, So I'm just saying the album, Okay. 1515 01:21:19,840 --> 01:21:20,719 Speaker 1: This is no the album. 1516 01:21:21,160 --> 01:21:25,280 Speaker 2: The album is called critically back, two steps back. 1517 01:21:26,320 --> 01:21:28,840 Speaker 3: Okay, Now, keep in mind, as you agree on that 1518 01:21:29,000 --> 01:21:32,120 Speaker 3: this is like the biggest album, it's her. I would 1519 01:21:32,200 --> 01:21:36,880 Speaker 3: say it's her. It's it's cementing her as part of 1520 01:21:36,960 --> 01:21:41,240 Speaker 3: a great lineage of pop acts, and it's critically and. 1521 01:21:41,320 --> 01:21:44,599 Speaker 2: You have to it's like one of those things where 1522 01:21:44,680 --> 01:21:46,360 Speaker 2: like if you try to explain it to like a child, 1523 01:21:46,600 --> 01:21:48,360 Speaker 2: they're like, I don't see why this was good, and 1524 01:21:48,439 --> 01:21:49,559 Speaker 2: you're like, trust me. 1525 01:21:50,240 --> 01:21:51,559 Speaker 3: So what is that two steps back? 1526 01:21:51,680 --> 01:21:55,759 Speaker 1: It's referencing a famous review of one of her other albums. 1527 01:21:55,840 --> 01:21:58,400 Speaker 1: That's saying she took one step forward, two steps back. 1528 01:21:58,880 --> 01:22:01,880 Speaker 1: Who wrote that pitch four, The New York Times. New 1529 01:22:01,920 --> 01:22:04,200 Speaker 1: York Times wrote it, amy, by the. 1530 01:22:04,200 --> 01:22:07,519 Speaker 3: Way, it's not so wild to even suggest that Pitchfork 1531 01:22:07,560 --> 01:22:09,599 Speaker 3: could be doing that, since they review pop albums. 1532 01:22:09,640 --> 01:22:12,120 Speaker 1: By the way, no, I know, but this is I mean, 1533 01:22:12,320 --> 01:22:15,400 Speaker 1: in this be so she's not commenting on Pitchfork like 1534 01:22:15,600 --> 01:22:16,200 Speaker 1: that would. 1535 01:22:16,000 --> 01:22:19,519 Speaker 3: Be so, by the way, I think you, I think 1536 01:22:19,560 --> 01:22:26,960 Speaker 3: you fundamentally misunderstand the media landscape. But pitchforks like whatever. Okay, okay, 1537 01:22:27,280 --> 01:22:30,320 Speaker 3: So New York Times said once at four two steps back, 1538 01:22:30,479 --> 01:22:33,160 Speaker 3: she's coming out swinging with this album. What are the 1539 01:22:33,280 --> 01:22:34,200 Speaker 3: sounds that we're hearing. 1540 01:22:35,160 --> 01:22:38,720 Speaker 1: Well, it's obviously electroclash. 1541 01:22:38,760 --> 01:22:39,759 Speaker 3: I hear electric clash. 1542 01:22:41,200 --> 01:22:43,880 Speaker 2: I'm hearing electroclash. I mean it's it's it has some 1543 01:22:44,040 --> 01:22:46,360 Speaker 2: euro dance elements. 1544 01:22:47,280 --> 01:22:48,880 Speaker 1: It's eurodance means heavy metal. 1545 01:22:49,280 --> 01:22:53,080 Speaker 2: One thing is that she's always seen at clubs, like 1546 01:22:53,200 --> 01:22:54,320 Speaker 2: she actually does go out. 1547 01:22:54,479 --> 01:22:56,320 Speaker 3: Okay, always at clubs Georgia anything. 1548 01:22:56,720 --> 01:22:59,280 Speaker 1: I'm doing a mad because she's of course nine feet tall, 1549 01:22:59,360 --> 01:23:02,200 Speaker 1: so she it's like she can't really hide from the paparazzi. 1550 01:23:02,880 --> 01:23:08,040 Speaker 2: Yeah, she is polyamorous, m hmm, bisexual. 1551 01:23:07,720 --> 01:23:13,360 Speaker 1: Bisexual, and she does. She's she says controversial things like 1552 01:23:13,479 --> 01:23:19,200 Speaker 1: she'll like randomly say like the f slur, but it's 1553 01:23:19,280 --> 01:23:22,360 Speaker 1: like she kind of can. It's like weird, she kind 1554 01:23:22,400 --> 01:23:24,600 Speaker 1: of can. But she also in her normal life is 1555 01:23:24,680 --> 01:23:32,120 Speaker 1: like maybe super trad and like, isn't she's polytrad. She's polytrad. Yeah, 1556 01:23:32,160 --> 01:23:39,080 Speaker 1: she's like more men basically. And in terms of her fashion, 1557 01:23:40,240 --> 01:23:42,680 Speaker 1: she tried to like the fashion world tried to embrace her, 1558 01:23:42,800 --> 01:23:44,840 Speaker 1: but then she literally was like these are just a 1559 01:23:44,880 --> 01:23:46,960 Speaker 1: bunch of faggots like that was she was just like, 1560 01:23:47,000 --> 01:23:48,479 Speaker 1: I don't want to be around this many gay men. 1561 01:23:49,040 --> 01:23:53,679 Speaker 3: She's not fashion. She is she she is fashion. 1562 01:23:53,960 --> 01:23:56,360 Speaker 1: It's complicated. She'll wear like a large nightgown. 1563 01:23:58,360 --> 01:23:59,519 Speaker 2: So does that answer your question? 1564 01:23:59,720 --> 01:24:03,000 Speaker 3: Yeah, well I'm just tallying it up and I'm crunching 1565 01:24:03,040 --> 01:24:03,559 Speaker 3: the numbers. 1566 01:24:03,720 --> 01:24:05,760 Speaker 1: So it's the result of the number. 1567 01:24:07,680 --> 01:24:12,000 Speaker 3: Well, I I really, I really didn't plan this, and 1568 01:24:12,040 --> 01:24:15,040 Speaker 3: I don't mean to even be saying this, but you 1569 01:24:15,280 --> 01:24:22,800 Speaker 3: have described more than not Lady Gaga herself, and I'm 1570 01:24:22,840 --> 01:24:26,960 Speaker 3: not even exaggerating or reaching here has a voice, but 1571 01:24:27,120 --> 01:24:32,040 Speaker 3: doesn't have a voice. She's I mean, being five foot 1572 01:24:32,080 --> 01:24:35,759 Speaker 3: tall is a lot like being nine foot's controversial singing 1573 01:24:35,920 --> 01:24:38,960 Speaker 3: live fly in her throat. I think that happens sort. 1574 01:24:38,800 --> 01:24:41,920 Speaker 1: Of being secretly tad. I definitely think Gaga really wants 1575 01:24:41,960 --> 01:24:42,439 Speaker 1: a husband. 1576 01:24:42,880 --> 01:24:44,680 Speaker 2: I mean you've seen her at home, right, so. 1577 01:24:44,840 --> 01:24:47,879 Speaker 3: Just think the qualities you've touched on here are qualities 1578 01:24:47,920 --> 01:24:48,759 Speaker 3: of the woman herself. 1579 01:24:49,600 --> 01:24:52,680 Speaker 2: Well, that's huge. I mean I think that time will 1580 01:24:52,760 --> 01:24:58,439 Speaker 2: keep on passing and that Gaga will keep keep on standing, 1581 01:24:58,520 --> 01:25:01,479 Speaker 2: and I'm so curious as to how she'll reflect on 1582 01:25:01,600 --> 01:25:02,160 Speaker 2: us next time. 1583 01:25:02,400 --> 01:25:05,160 Speaker 1: I agree. Yeah, God bless her, God bless her. 1584 01:25:05,200 --> 01:25:09,840 Speaker 2: Shout out to Mayhem. I you know, life is chaos 1585 01:25:09,960 --> 01:25:13,200 Speaker 2: and you really prove that. Yeah, I'm so glad the 1586 01:25:13,200 --> 01:25:17,600 Speaker 2: community can come together. And being in your thirties is 1587 01:25:17,920 --> 01:25:18,920 Speaker 2: actually rocks. 1588 01:25:19,680 --> 01:25:21,000 Speaker 3: I wish I knew, but it was like. 1589 01:25:22,640 --> 01:25:25,439 Speaker 2: Yeah, you're forty seven, right, you skipped that. 1590 01:25:26,439 --> 01:25:29,120 Speaker 1: And I just want to say, go out there and 1591 01:25:29,240 --> 01:25:32,280 Speaker 1: reheat your own nachos because you deserve it. 1592 01:25:33,000 --> 01:25:34,160 Speaker 2: Amy does that make you mad? 1593 01:25:34,640 --> 01:25:39,880 Speaker 3: No, it doesn't, It doesn't at all. And yeah, this 1594 01:25:40,040 --> 01:25:41,560 Speaker 3: was really fun and I want to say thank you 1595 01:25:41,640 --> 01:25:44,479 Speaker 3: for having me because I know we can have a 1596 01:25:44,520 --> 01:25:47,240 Speaker 3: little fun here and there. But I'm honored to do 1597 01:25:47,360 --> 01:25:50,840 Speaker 3: this with you guys. And yeah, I don't know, it 1598 01:25:50,920 --> 01:25:53,360 Speaker 3: feels sometimes like what we say about this could have 1599 01:25:53,520 --> 01:25:55,439 Speaker 3: real geopolitical impacts. 1600 01:25:55,040 --> 01:25:55,679 Speaker 2: So it will. 1601 01:25:57,320 --> 01:26:00,280 Speaker 3: Yeah, sometimes I can feel, yeah, like a lot on 1602 01:26:00,320 --> 01:26:02,439 Speaker 3: the line. But when I'm with you guys, I think 1603 01:26:03,720 --> 01:26:04,639 Speaker 3: I feel safe. 1604 01:26:05,120 --> 01:26:07,960 Speaker 2: Blade of Grass, And it's the honor to have you 1605 01:26:08,120 --> 01:26:12,080 Speaker 2: on and to discuss this, this artist and this artwork. 1606 01:26:12,560 --> 01:26:15,920 Speaker 2: You have incredible insights and always have and always will. 1607 01:26:16,800 --> 01:26:18,479 Speaker 2: And we can't wait to have you back when we 1608 01:26:18,640 --> 01:26:20,880 Speaker 2: don't need to discuss yeah, and some of the most 1609 01:26:20,920 --> 01:26:23,560 Speaker 2: important pieces of work of all time and can just 1610 01:26:23,960 --> 01:26:24,559 Speaker 2: gab and. 1611 01:26:24,720 --> 01:26:27,360 Speaker 1: Goof Yeah, what's your straight topic going to be next time? 1612 01:26:27,479 --> 01:26:29,679 Speaker 3: Go my straight topic for next time? 1613 01:26:30,040 --> 01:26:35,240 Speaker 1: Hot sauce, Hot sauce. All right, huge, love that, See 1614 01:26:35,280 --> 01:26:35,519 Speaker 1: you in. 1615 01:26:35,600 --> 01:26:36,400 Speaker 2: Cold Play Summer. 1616 01:26:36,720 --> 01:26:37,880 Speaker 3: See you in cold Play Summer. 1617 01:26:38,160 --> 01:26:41,840 Speaker 2: Okay, bye bye podcast and now want more? 1618 01:26:42,320 --> 01:26:45,400 Speaker 1: Subscribe to our Patreon for two extra episodes a month, 1619 01:26:45,680 --> 01:26:49,200 Speaker 1: discord access and more by heading to patreon dot com. 1620 01:26:49,439 --> 01:26:52,760 Speaker 1: Slash Stradio Lab and for all our visual earners, free 1621 01:26:52,840 --> 01:26:55,760 Speaker 1: full length video episodes are available on our YouTube now 1622 01:26:55,840 --> 01:26:56,639 Speaker 1: get back to work. 1623 01:26:56,960 --> 01:26:59,320 Speaker 2: Stradia Lab is a production by Will Ferrell's Big Money 1624 01:26:59,320 --> 01:27:01,599 Speaker 2: Players Network and iHeart podcasts. 1625 01:27:01,200 --> 01:27:04,080 Speaker 1: Created and hosted by George Severis and Sam Taggart. 1626 01:27:04,160 --> 01:27:07,679 Speaker 2: Executive produced by Will Ferrell, Han Soni and Olivia Aguilar. 1627 01:27:07,840 --> 01:27:11,320 Speaker 2: Co produced by Bai Wang, Edited and engineered by Adam Avalos. 1628 01:27:11,640 --> 01:27:14,559 Speaker 2: Artwork by Michael Fails and Matt Grubg. Theme music by 1629 01:27:14,600 --> 01:27:15,080 Speaker 2: Ben Kling