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

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Speaker 1: a chick. Come morning, Give it a chance. Give it

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

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Speaker 1: come morning, give it a Do you want to give

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

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Speaker 1: Just give it a boom boom boom boom bootot dot

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Speaker 1: dot dot dot dot dot.

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Speaker 2: Is this mombo number five? That's pretty good? We should

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Speaker 2: win something for that.

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Speaker 1: I I oh, yeah, like one hundred percent. You name

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Speaker 1: that tune in a second, but.

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Speaker 2: That was that. You can't do that alone. That's a comba.

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Speaker 2: It's a poop poop platter, combo platter. Baby.

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Speaker 1: That's true. That's true. We should have done that.

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Speaker 2: If you didn't do it so good.

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Speaker 1: We should go on the newly WHT game. Yeah, they

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Speaker 1: still do that. I hope so, because I think the

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Speaker 1: structure is really good. You know, where did you where's

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Speaker 1: the where's the craziest place he made? Whoopee? You know,

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Speaker 1: and they hold up the sign and it's like, you.

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Speaker 2: Know, supposed to be like, oh, you know, Antigua, but

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Speaker 2: then she says like, oh my my poo poo on

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Speaker 2: top of Shack's grave. Ah, And definitely we do want

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Speaker 2: to say, because this has happened since our last step,

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Speaker 2: we do want to say rest in power to Shack.

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Speaker 2: Definitely rest power.

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Speaker 1: I think you're going to say this has happened before.

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Speaker 1: We talked about somebody and then they passed. Yo, is

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Speaker 1: shock kind of die? That's what I'm worried about, Like

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Speaker 1: if this comes out and then like like like it

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Speaker 1: happens like at the same time or even you know, whenever,

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Speaker 1: like whenever he dies, rest in power is Shack gone?

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Speaker 2: A die?

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Speaker 1: Is Shack gonna die?

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Speaker 2: That's for like Pedro and the Lion head Pedro in

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Speaker 2: the Lion.

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Speaker 1: Pedro and the Lions and the Lion. Speaking of lions,

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Speaker 1: Sorry man, lou Bega conquered the air waves. Huh wait.

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Speaker 1: So that's that's why I started with Mama number five

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Speaker 1: because I think I wanted to do that as this episode.

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Speaker 2: So I figured that's what was about to happen. Yeah,

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Speaker 2: I know your game people don't like a little.

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Speaker 1: Behind the curtain. Before we started this, we did a

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Speaker 1: test and we were talking and a bunch of other

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Speaker 1: songs came out. We just started talking about Dragula, but

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Speaker 1: just for fun, we love it great. Yeah, no chance

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Speaker 1: to look for that on Kevin's Patreon dropping. Yeah, Dragula cover.

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Speaker 2: Rest in Peace to Rob Zombie of course rest in Power.

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Speaker 1: Yeah, he can't wait to die like he loves like

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Speaker 1: graveyards and stuff.

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Speaker 2: Shack's Grave is a big hit for him too. It's

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Speaker 2: a little pilgrimage for him and his zombie fam every.

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Speaker 1: Year, and it's a big grave.

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Speaker 2: Huge, it's like ten feet.

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Speaker 1: Yeah, it's kind of crazy that like Custom Caskets. All right,

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Speaker 1: we were going too dark. Custom Caskets is playing this

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Speaker 1: week at North six.

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Speaker 2: Yeah, definitely gonna say Custom Caskets split seven inch with

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Speaker 2: Shack's Grave. All right, Okay, listen, let's be serious because

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Speaker 2: we're dealing with a very serious and sobering song here.

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Speaker 2: So let's get get your shit together and I'll do

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Speaker 2: the same.

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Speaker 1: Beautiful Yeah, yeah, pleaseful it's true. Mom's number five. And

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Speaker 1: don't make sure you not to do one, one, two, three,

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Speaker 1: four or six?

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Speaker 2: All right, I have to go. Yeah, definitely don't do

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Speaker 2: Mambo number six by Rob Zombie, very different tune number

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Speaker 2: six sixty six, all right, number six six six, that's

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Speaker 2: the one I want to do, all right, So I

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Speaker 2: got to look this up on my streaming There it

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Speaker 2: is ready for me to go. Are you ready?

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Speaker 1: See on the flip flop? All right, A little bit

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Speaker 1: of money come in my life, A little bit of

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Speaker 1: hurry come by my side. Right off the top.

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Speaker 2: I have a question. Is Zippy David's related to math

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Speaker 2: you David's beause?

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Speaker 1: Oh, I get this so much. It's crazy how much

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Speaker 1: I get this. My character Matthew Davids that one hundred

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Speaker 1: people know and we rep weekly on the pod. Yeah, yeah,

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Speaker 1: I like I like bragging like one hundred people know

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Speaker 1: of this. It might have been more good. It's a good number.

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Speaker 1: No unrelated, all right, you never knew it well.

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Speaker 2: Musical talent runs in the larger David's tribe, because Zippy's

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Speaker 2: one of the three lyricists on this song. Three lyricists,

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Speaker 2: mm hmm. And I just want to just before we

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Speaker 2: get into anything else, I just want to point out

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Speaker 2: that this song was the product of twenty four I

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Speaker 2: mean kind of one, two, three, four, five six. Then

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Speaker 2: the three lyricist makes nine, ten, eleven, twelve, thirteen, fourteen, fifteen, sixteen, seventeen, eighteen, nineteen,

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Speaker 2: twenty twenty one, twenty two, twenty three, twenty four, twenty five,

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Speaker 2: twenty five people credited credited with Malbo number five.

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Speaker 1: Do you know why? Is because I think they're listing

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Speaker 1: all the people from the original sample. Oh well, that's

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Speaker 1: actually cool. So I think it's a mix, though I

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Speaker 1: think it's probably still a lot of people in the

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Speaker 1: Lubaga version. But I think because it's it's originally like

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Speaker 1: a jazz instrumental.

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Speaker 2: See my ignorant ask to know that.

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Speaker 1: And now I just put you on your ass.

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Speaker 2: My ignorant, as what's crazy?

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Speaker 1: I just look. I did a quick Wikipedia search and Loubaga.

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Speaker 1: Where do you think he's from?

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Speaker 2: Hmm, this is going to be surprising. I guess right.

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Speaker 2: Let's say, is he from like Germany? Yes? Do that?

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Speaker 1: Yeah?

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Speaker 2: Okay, because I'm looking at so this is this is

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Speaker 2: why the brass credit is for Aksel Kuhn k you

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Speaker 2: with a hn. Then the harmonica and harpist is Christopher

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Speaker 2: with an f koax. Klaus Reichstaller is another brass player,

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Speaker 2: so I figured, And then there's Eric Ouher. It is

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Speaker 2: really like the guitarist is go ar b On, Teyner, Bettinger,

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Speaker 2: Mattias Borst, Steffan Shroop, and then of course Zippy David's.

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Speaker 1: You got all this from that, but I didn't see that.

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Speaker 1: But I've in my whole life have been like, how

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Speaker 1: is this guy that's like Mama Nova is from Germany?

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Speaker 1: I think that's incredible.

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Speaker 2: It's incredible. It's really incredible. And also, as a person

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Speaker 2: who has done a lot of touring.

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Speaker 1: In Germany, weirdly knowing.

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Speaker 2: This now it makes like it's it's kind of actually

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Speaker 2: like I'm having like the usual suspects experience. It makes

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Speaker 2: so much sense to me because there's this kind of

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Speaker 2: like filtration of there's a lot of like kind of like, well,

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Speaker 2: you know, music is a global language and there's like

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Speaker 2: a lot of there's definitely stylistic things that happen I've

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Speaker 2: noticed in Germany that skew towards like dance or hip hop.

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Speaker 1: Oh yeah, yeah.

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Speaker 2: But I'm like, oh, this is wild because it's also

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Speaker 2: still filtered through a very like German sensibility. Sure, and

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Speaker 2: there's something in retrospect now I'm like, oh, that's what's

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Speaker 2: going on here.

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Speaker 1: It's like, what's a.

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Speaker 2: Little off about it is actually that it's being fed

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Speaker 2: through this like kind of eastern central Eastern European sensibility

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Speaker 2: of like this is what a mambo would sound like

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Speaker 2: in the hands of Ein Berliner.

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Speaker 1: But he it seems that he's got a pretty crazy life.

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Speaker 1: So he grew up in Germany and then when he

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Speaker 1: was six, for a couple of years they lived in Italy,

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Speaker 1: and then he lived back then it was back in

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Speaker 1: Munich where he was in primary school. As a teenager,

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Speaker 1: he just traveled to Miami, Florida, where he found inspiration

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Speaker 1: for the hit single Mambo number five, Welcome to Miami.

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Speaker 1: He also lived in Uganda for six months.

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Speaker 2: Global citizen.

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Speaker 1: Yeah, so his mom is from Sicily and his dad

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Speaker 1: is Ugandan, and he grew up in Germany. Like, he

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Speaker 1: lived in Germany most of his life. A crazy little

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Speaker 1: story about our buddy.

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Speaker 2: Lou didn't know any of that. So his mom was

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Speaker 2: Sicilian and his dad maybe is hopefully we're not in

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Speaker 2: a rest in peace situation there. His mom is Sicilian,

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Speaker 2: dad is Ugandan. Then they but they were living in Germany,

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Speaker 2: in Munich.

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Speaker 1: Yeah, most of their most of his life, and then

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Speaker 1: they they you know, he they were in a little

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Speaker 1: they were in Italy for a little while, then back

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Speaker 1: to Munich and then yeah, he's been he's he's worldwide

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Speaker 1: so he's got to see a lot of women and

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Speaker 1: memorize a lot of names.

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Speaker 2: But that's true, that's true. I have a question about

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Speaker 2: one more biographically I've answered. Do we know how the

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Speaker 2: family almost started to play the song really loudly? Do

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Speaker 2: we know how the mom and dad met?

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Speaker 1: I think they were always in each other's life a

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Speaker 1: little bit. Wow, No, I don't know. Sorry, that was beautiful.

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Speaker 2: I think they were always in each other's life a

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Speaker 2: little bit.

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Speaker 1: That is so good. Yeah, the father said flirting is

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Speaker 1: just like a sport, and the mother said, please set

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Speaker 1: in the trumpet.

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Speaker 2: I was the first second I was authentically like, is

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Speaker 2: that on the Wikipedia page that his dad gave him?

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Speaker 2: That line? Son, flirting is just like a sport. I

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Speaker 2: could do a lyrical thing if you want, I definitely.

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Speaker 2: I don't know. This is an interesting We could share

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Speaker 2: some of our methodology with the chancers. I always read

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Speaker 2: the lyrics while we listen. That's like a default setting

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Speaker 2: for me for some reason. And you know, I think

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Speaker 2: that there's some really wild stuff happening here. Actually, Like,

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Speaker 2: if I really encourage you, the next time you sit down,

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Speaker 2: look all right off the top Mambo number five not

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Speaker 2: really something that's inviting a kind of like undergraduate you know, music,

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Speaker 2: class lyrical eggs. Jesus, we're not supposed to be like

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Speaker 2: you're just supposed to give over to its.

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Speaker 1: Charms, and so the throwback of it. Yeah, and also.

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Speaker 2: It's an earworm or as they would as Louis might say,

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Speaker 2: an earworm and in Munchen and so you know, I

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Speaker 2: am just like I'm wondering though what he says here

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Speaker 2: in the beginning. I just feel like there's a lot

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Speaker 2: of the setup is kind of wild. So what can

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Speaker 2: I do? I really beg you my Lord to me?

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Speaker 2: Flirting is just like a sport. There's something in here

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Speaker 2: that it's like anything fly, it's all good. Let me

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Speaker 2: dump it. What's going on there? Let you dump And

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Speaker 2: also like this the thing about praying for help, because

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Speaker 2: flirting is just like a sport. Yeah, this is really

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Speaker 2: where I'm like, oh right, this dude's a German dude

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Speaker 2: writing English lyrics.

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Speaker 1: So can I do it? I really beg you my

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Speaker 1: Lord to me? Flirting is just like a sport.

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Speaker 2: That was almost like the brand. Yeah, Yakov smearnoff a

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Speaker 2: little bit too. That is good.

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Speaker 1: I have to I can I do like I have

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Speaker 1: to take to keep my German and my Russian enough

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Speaker 1: for mixing.

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Speaker 2: It's hard, dude, it's hard. It's a hard rain's going

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Speaker 2: to fall. But I do feel like I wonder what

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Speaker 2: he means when he says anything fly, it's all good,

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Speaker 2: let me dump it. Does he mean, like, is he

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Speaker 2: fast forwarding to the end of the relationship where he

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Speaker 2: wants to He's like, oh wow, I need to hit

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Speaker 2: it and then I need to dump it.

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Speaker 1: Anything fly. To me, flirting is just like a sport, right,

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Speaker 1: and yeah, fly it's all good. Let me dump it.

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Speaker 1: It's like a sport. Yeah, anything anything fly right, anything,

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Speaker 1: I'll do anything. It's all good. And then let me

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Speaker 1: dump it. And like please said in the trumpet it,

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Speaker 1: I don't know what he means by that, but maybe

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Speaker 1: it move move on to the next one.

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Speaker 2: Yeah, I think Trumpet's one of the names.

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Speaker 1: And it's a trumpet trumpet in sport. I don't really

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Speaker 1: put together that much, but maybe.

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Speaker 2: When Diaz, who's the closer for the current closer for

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Speaker 2: the New York Mets, when he enters the game, there

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Speaker 2: is a famous trumpet solo that gets played, So maybe

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Speaker 2: there's a pre cog situation. This is minority report pre cog.

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Speaker 2: He saw that, but he was also thinking about Oh no.

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Speaker 1: I thought they let the pre cogs go at the end.

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Speaker 1: Well they did, but spoilers, minority reports, spoiler.

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Speaker 2: One of them became Louis b Global sit And so

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Speaker 2: I think the thing, I think, the thing that we

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Speaker 2: also need to know is it's not capitalized. But maybe

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Speaker 2: when he says, please send in the trumpet. Of course

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Speaker 2: with the arrangement, that's when we get hit with the trumpet.

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Speaker 1: But also maybe.

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Speaker 2: Maybe the trump that's the name, like a nickname, one

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Speaker 2: of the little.

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Speaker 1: Bits, one of his little bits.

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Speaker 2: Yeah, like maybe like Rita's the trumpet.

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Speaker 1: Even please set in the trumpet, right like that even

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Speaker 1: feels a little German too. Please set it an easy trump.

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Speaker 2: I will say on my streaming platform of choice, it

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Speaker 2: does say please send in the trumpet.

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Speaker 1: Oh okay, that's better. Yeah, yeah, I'm looking at genius,

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Speaker 1: which I guess isn't that much of a genius. Shots fired,

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Speaker 1: Shots fired. I like Pama and Rita and then Zach continue,

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Speaker 1: you know what, are getting sweet out.

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Speaker 2: I will just say I must stay deep because talk

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Speaker 2: is cheap. N I like Angela Pamela, Sandra and Rita,

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Speaker 2: and as I continue, you know, they're getting sweeter. So

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Speaker 2: that's cool because he's like he's finding more and more

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Speaker 2: sweetness as he plows through these little bits. But but

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Speaker 2: that's kind of fucked in a reverse way, Like Angela

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Speaker 2: is cool, but Pamela is even cooler, but Sandra's even cooler,

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Speaker 2: and read is even cooler. And then if I go

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Speaker 2: into the chorus, first of all, Angela is nowhere to

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Speaker 2: be found, Pamela is nowhere to be found. Sandra comes

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Speaker 2: after Monica. Wait, Sandra comes after readers. All right, So

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Speaker 2: Sandra is sweeter, Mary's even sweeter than Sandra, Jessic is

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Speaker 2: even sweeter than Mary, and you, the listener are sweetest

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Speaker 2: of all. Robert Duval Anyway, I guess what I'm trying

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Speaker 2: to say is these are chaotic lyrics, even for a

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Speaker 2: pop confection. I'm finding them chaotic.

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Speaker 1: Yeah, no, I agree, And but I will say we

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Speaker 1: haven't even like kind of said this, like say it,

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Speaker 1: do you how do you feel about this song? Like

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Speaker 1: you finished the song, how do you feel like while

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Speaker 1: you were listening to it? I can't really tell if

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Speaker 1: you if you feel favorable towards it based on compared

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Speaker 1: to other other tracks we've done, like where does this?

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Speaker 1: Where does this fall? For you?

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Speaker 2: It's fine. I don't have like strong to be a

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Speaker 2: cobby totally honest with you. Yeah, first of all, I

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Speaker 2: mean about anything. I can be totally honest with you

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Speaker 2: about like anything.

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Speaker 1: Dude, I do that bodies, I'll keep that secret.

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Speaker 2: I don't have strong feelings about this song any of

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Speaker 2: the direction and listening back to it. What's kind of

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Speaker 2: nice is to be like, I think this is a

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Speaker 2: perfectly rated cultural phenomenon, is it. Look I've never heard

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Speaker 2: this played somewhere by somebody. I've never had somebody be like, yo, dude,

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Speaker 2: have you heard this and then like play it for me.

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Speaker 2: I've never heard somebody passionately defend it. I've never heard

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Speaker 2: anybody be like, yo, you know what's actually like a

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Speaker 2: really there's like a lot going on in that you

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Speaker 2: haven't like there areeople who would say that about like

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Speaker 2: Nickelback or Creed.

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Speaker 1: Or Spice Girls. You know, there's like, you know, there's

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Speaker 1: times that there's a song like telling giving you everything

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Speaker 1: all the joy, like songs like that where I'm like,

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Speaker 1: I will break that down and talk about how much

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Speaker 1: I like those verses and the whole song. There's like

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Speaker 1: an instrumental break like this isn't you're right, this is

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Speaker 1: not one of those like guilty pleasure. You know what,

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Speaker 1: if you really listen, it's not like one of those.

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Speaker 1: It's not.

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Speaker 2: No, And it also feels like there's something to be said.

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Speaker 2: And I don't know if we've really had one of

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Speaker 2: these before. There's something to be said to me, for like,

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Speaker 2: if you put this song on in any social like

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Speaker 2: large social gathering, right like if like I don't know,

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Speaker 2: if you if this came on during like an inning

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Speaker 2: break in a baseball game, people would just like bop around,

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Speaker 2: like do a little stupid dance in their seats. If

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Speaker 2: you were at at gera or if you were at

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Speaker 2: like a bar mitzvah, or if you're like.

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Speaker 1: Thank you for the thank you then accents, Yeah, yeah,

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Speaker 1: you are. You have better accents than me. Well, I

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Speaker 1: don't know if that's If there's a contest after this episode,

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Speaker 1: right now, you're you're winning.

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Speaker 2: Wow. And and also please put in the comment section,

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Speaker 2: whose accents do you find the most appealing and closest

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Speaker 2: to the source materials? But no at the end of

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Speaker 2: the day, push comes to shove. If you put this

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Speaker 2: on at or if you put it on at a

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Speaker 2: Catholic wedding, or if you put it on the bar

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Speaker 2: mitzvah or any kind of or if you just like

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Speaker 2: put it on, like like if six people just materialize,

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Speaker 2: like let's say, like Monica, Rita, Erica, Tina, Sandra, Mary

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Speaker 2: and Jessica all materialized in my grip right now, right,

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Speaker 2: which will be sweet time six for ok D. But

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Speaker 2: if they all want to realize not a bad Monday afternoon.

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Speaker 1: And you're only having a little bit of their Yeah,

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Speaker 1: it's like a little bit.

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Speaker 2: I don't need all of it, that's.

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Speaker 1: What That's kind of cool. He's caught.

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Speaker 2: Sorry, So what I mean is dat all dance? We'd

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Speaker 2: all sing. It would be great. So when this was on,

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Speaker 2: I was listening to it, I was moving around to

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Speaker 2: But also I just by the way you just led

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Speaker 2: me to this.

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Speaker 1: You can, you can.

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Speaker 2: You can feed up man of fish. But if teach

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Speaker 2: him to fish, you'll.

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Speaker 1: Fish your water, your water, the water, the fish.

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Speaker 2: He's coming out right up top and he's saying like

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Speaker 2: I don't need all of it.

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Speaker 1: I can't handle all of it.

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Speaker 2: No, I can't handle all of Monica, all of Erica,

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Speaker 2: all of Rita. Tina can't marry so much to handle,

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Speaker 2: but I could handle.

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Speaker 1: A little bit, a little bit. The word I.

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Speaker 2: Entitled for this song was mambo number five. Just this

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Speaker 2: coach Scotch est in parent.

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Speaker 1: This is reminding me of something, and I figured out

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Speaker 1: what it is. Okay, I want to performing for you.

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Speaker 1: It's true that Mavis and Sybil have ways that are

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Speaker 1: win and Prudence and Gwendolen set your heart spinning, Phoebe's delightful,

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Speaker 1: maud Is disarming, Janice, Felicia, Lydia charming, Cynthia's dashing, Vivian

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Speaker 1: sweet Stephanie smashing Priscilla a treat, Veronica, Mellicent, Agnes and

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Speaker 1: Jane convivial company time and again. Dorcas and Phyllis and

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Speaker 1: Glynnis are sorts. I'll agree our three jolly good sports.

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Speaker 1: But cream of the crop, tip of the top is

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Speaker 1: Mary Poppins, and there we stop. Wow.

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Speaker 2: First of all, and I encourage you at home chancers,

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Speaker 2: because you are if you're at home, if you're in

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Speaker 2: the car, if you're on the bus, if you're with Monica,

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Speaker 2: A little round of applause.

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Speaker 1: Wow, yeah, I read that whole thing, but you also

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Speaker 1: read it.

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Speaker 2: Yeah, if you I don't know if you can see,

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Speaker 2: I don't know if you but if you are locked in.

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Speaker 1: If you know, but I just read that off the dome.

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Speaker 1: That's really fine. The slame off the dome. I just

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Speaker 1: read that.

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Speaker 2: Yeah, wow, great pull. So you thought that as you

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Speaker 2: were listening this time through, you were like, what does

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Speaker 2: this remind me of? That's incredible. What a kaleidoscopic view

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Speaker 2: into your brain. That's awesome. Yeah.

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Speaker 1: I knew it was like there was something that was

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Speaker 1: like with all these names, it's like it's like bringing

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Speaker 1: up something and it's such a it's a small part

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Speaker 1: in Mary Poppins that Bert just goes off with the penguins.

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Speaker 1: You knew what it was like.

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Speaker 2: But when you when it started to sort of percolate

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Speaker 2: in your brain, you were like, that's what it is.

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Speaker 1: Well, Dick van Dyke has that really great slash going

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Speaker 1: back to accents. Yeah, bad British accent. Yeah, so like

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Speaker 1: you know, like, so I couldn't like that was what

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Speaker 1: was clinching it. It was I think maybe it was

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Speaker 1: just all the amalgamation of talking about accents and talking

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Speaker 1: about the names so good that it just sort of

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Speaker 1: like and I don't know, that just came popped into

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Speaker 1: my brain.

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Speaker 2: I think we have some research to do to find

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Speaker 2: out if that was in the in the mix for

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Speaker 2: Louis Zippy and sorry, who's the third lyricist?

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Speaker 1: I'll reach out to the German consulate.

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Speaker 2: Yeah, yeah, they'll know third lyricist was by the way.

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Speaker 2: Oh no, they give compositions, so it might just been

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Speaker 2: Louis Bega and Zippy David's for lyrics. So maybe I.

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Speaker 1: Think Zippy and Louis did this.

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Speaker 2: I think Zippy might be like centrally involved. He wasn't

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Speaker 2: a producer though. That was Yen's Jonas Arn Gore de

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Speaker 2: Fact and Frank Leo.

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Speaker 1: And does it say what album this is off of,

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Speaker 1: because I'm about to tell you.

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Speaker 2: I think it's off a little bit of mambo.

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Speaker 1: That's right. And you know what a second album is called.

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Speaker 2: A lot more of mambo.

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Speaker 1: Nope, Ladies and Gentlemen. That's it. It's called Ladies and gentlemen.

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Speaker 1: And that's how he starts his song.

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Speaker 2: Domin Jaron Wait, Ladies and gentlemen. I don't think. Look,

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Speaker 2: I gotta be honest with you. I'm not ashamed to

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Speaker 2: admit this. I didn't know any Louis Bega record after

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Speaker 2: this one, or even song did he didn't. He has

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Speaker 2: a song called Buena Makarena.

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Speaker 1: Whoa he does?

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Speaker 2: He has a song called Scatman John. Well, you did

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Speaker 2: a record with Scatman, John? Is that like, I'm the

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Speaker 2: scat Man? Is that that? Oh?

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Speaker 1: I must know? Yeah, it must be.

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Speaker 2: We're veering if Scatman and hat Man, which is Scatman

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Speaker 2: and Louis Bega, if we're that's making me veer into

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Speaker 2: like what's our chocolate rain homies name Taison Day territorism.

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Speaker 2: I started to get a little sad, Like, once I

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Speaker 2: see Scatman and hat Man, there's something about that that

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Speaker 2: makes me a little worried. I start to feel a

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Speaker 2: little sad.

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Speaker 1: I didn't realize he his seven albums, including one that

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Speaker 1: came out in twenty twenty one called Nineties Cruiser.

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Speaker 2: Yeah, it's called It's and it's like a strong anti

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Speaker 2: vax vibe on that one. Sorry, it's not true.

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Speaker 1: It might be true.

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Speaker 2: I don't know. Also, sometimes if I look at the

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Speaker 2: pictures of his album covers, quickly it looks like Latter

428
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Speaker 2: Day Perry Farrell. Like I can't say if I don't

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Speaker 2: see the face, but just the hat and like the

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Speaker 2: kind of desk he's wearing. I'm like, is that a

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Speaker 2: Jane's Addiction record? Yeah, there are records up to twenty

432
00:22:58,920 --> 00:23:01,639
Speaker 2: twenty one, but like Mombo number five, so this was

433
00:23:01,640 --> 00:23:04,320
Speaker 2: a number three single in the United States.

434
00:23:04,400 --> 00:23:06,600
Speaker 1: Should we change the podcast and just do a different

435
00:23:07,000 --> 00:23:09,879
Speaker 1: lou Bega song from these deep cut albums every single

436
00:23:09,880 --> 00:23:13,800
Speaker 1: episode today? No, okay, for the next maybe this is a.

437
00:23:13,720 --> 00:23:16,760
Speaker 2: Series for the next month, we have Louis Bega Month.

438
00:23:16,920 --> 00:23:20,360
Speaker 2: That would actually be a great thing for whatever.

439
00:23:20,160 --> 00:23:21,880
Speaker 1: Just to tag the end of an episode with another

440
00:23:22,160 --> 00:23:23,240
Speaker 1: Vega song to check out.

441
00:23:23,320 --> 00:23:26,000
Speaker 2: Yeah, and also I feel like we could pick an

442
00:23:26,280 --> 00:23:30,560
Speaker 2: artist and do like a multi like a like a

443
00:23:30,760 --> 00:23:32,480
Speaker 2: chances if you're interested in that, if you'd like to

444
00:23:32,520 --> 00:23:33,000
Speaker 2: hear like.

445
00:23:33,240 --> 00:23:36,320
Speaker 1: Four Yeah, reach out to the German consulate.

446
00:23:36,520 --> 00:23:39,119
Speaker 2: Reach out to the German cons ask if it's okay,

447
00:23:39,880 --> 00:23:43,239
Speaker 2: ask for permission. These are tenuous times. We don't want

448
00:23:43,280 --> 00:23:45,880
Speaker 2: to step anywhere in the wrong direction. I don't know.

449
00:23:46,359 --> 00:23:48,640
Speaker 1: I have to tell you this that I We've had

450
00:23:48,640 --> 00:23:50,479
Speaker 1: a lot of artists. I have to if I can

451
00:23:50,560 --> 00:23:50,960
Speaker 1: be honest.

452
00:23:51,840 --> 00:23:56,600
Speaker 2: Yeah, yeah, I've got bodies who do kill. Sorry go.

453
00:23:57,480 --> 00:24:00,680
Speaker 1: So we've done a lot of artists. I think I'm

454
00:24:00,720 --> 00:24:06,600
Speaker 1: more curious about another lou Bega song than any other artists,

455
00:24:06,640 --> 00:24:11,119
Speaker 1: like other material, because what could another song even sound like?

456
00:24:11,160 --> 00:24:13,920
Speaker 1: This one is so unique, it's so driven by the sample,

457
00:24:14,480 --> 00:24:16,320
Speaker 1: and it's so in this like what I can't even

458
00:24:16,440 --> 00:24:21,000
Speaker 1: imagine unless it's just all this sort of This is

459
00:24:21,040 --> 00:24:24,160
Speaker 1: also sort of part of the swing, Yes, that swing comeback? Right,

460
00:24:24,160 --> 00:24:25,720
Speaker 1: we haven't talked about that, right, Yeah, it was.

461
00:24:25,800 --> 00:24:27,880
Speaker 2: Right, it was ninety nine. It was the tail end

462
00:24:27,920 --> 00:24:30,400
Speaker 2: of whatever that Yeah, what was that movie ninety six

463
00:24:30,560 --> 00:24:31,600
Speaker 2: or something ninety seven?

464
00:24:32,320 --> 00:24:34,879
Speaker 1: Yeah, But then there was also songs right like and

465
00:24:34,920 --> 00:24:37,480
Speaker 1: I think everything was a little influenced, like Skat came back,

466
00:24:37,800 --> 00:24:42,080
Speaker 1: like oh oh the cherry Pop and Daddy Squirrelnut Zippers

467
00:24:42,160 --> 00:24:45,960
Speaker 1: cherry Yeah, yeah, squirrel nuts Zippers. Yeah, what a name?

468
00:24:46,080 --> 00:24:48,960
Speaker 1: Cherry pop and Daddy's amaze me uncomfortable, yes, but I'm

469
00:24:49,240 --> 00:24:51,359
Speaker 1: saying out loud it was, but squirrel Nut Zippers was

470
00:24:51,720 --> 00:24:54,760
Speaker 1: arguably much better name when you're coming from that, yeah, yeah,

471
00:24:54,800 --> 00:24:57,560
Speaker 1: And then there was also like yeah swing, oh the

472
00:24:57,600 --> 00:24:59,000
Speaker 1: gap commercial.

473
00:24:58,960 --> 00:25:01,440
Speaker 2: Yeah, oh my god. And I also know, like I

474
00:25:01,440 --> 00:25:04,200
Speaker 2: I that's when I'm a college student nineteen ninety seven

475
00:25:04,240 --> 00:25:08,320
Speaker 2: to two thousand and one, people would go swing dancing. Yeah,

476
00:25:08,359 --> 00:25:10,520
Speaker 2: like that was a thing and that you know, cool,

477
00:25:10,560 --> 00:25:12,639
Speaker 2: It seems like it was fun, people enjoy themselves. I

478
00:25:12,680 --> 00:25:15,439
Speaker 2: never attended one of those, but that was like an

479
00:25:15,480 --> 00:25:17,800
Speaker 2: activity that like young, Yeah, like that was like a

480
00:25:17,840 --> 00:25:20,080
Speaker 2: thing that wasn't weird for a bunch of like people

481
00:25:20,119 --> 00:25:23,639
Speaker 2: in their early twenties to be at some club in

482
00:25:23,720 --> 00:25:27,400
Speaker 2: Manhattan like swing dancing. So I do think you're right,

483
00:25:27,400 --> 00:25:29,199
Speaker 2: this is I didn't kind of place that this is

484
00:25:29,280 --> 00:25:31,400
Speaker 2: kind of in that timeline and certainly in that world.

485
00:25:31,960 --> 00:25:34,120
Speaker 2: I think it's funny that we're like, I can't even

486
00:25:34,200 --> 00:25:37,719
Speaker 2: imagine what another Louis Begas song would sound like, and

487
00:25:37,760 --> 00:25:41,280
Speaker 2: it's like all we'd literally have to do is mess

488
00:25:41,359 --> 00:25:45,320
Speaker 2: play on one of the four hundred options currently staring

489
00:25:45,359 --> 00:25:59,000
Speaker 2: at me. But I'm never gonna know. The other thing

490
00:25:59,080 --> 00:26:01,080
Speaker 2: is I think why you're having that experience with this

491
00:26:01,160 --> 00:26:06,760
Speaker 2: particular artist. I'm thinking about maybe with the exception of

492
00:26:06,760 --> 00:26:08,639
Speaker 2: like some of the novelty stuff we've done, like one

493
00:26:08,680 --> 00:26:13,000
Speaker 2: eight seven seven Cars for Kids. Even Wright said Fred.

494
00:26:13,800 --> 00:26:16,440
Speaker 2: They had Don't Talk Just Kiss, which was like, maybe

495
00:26:16,480 --> 00:26:18,440
Speaker 2: not a top ten single, but I bet that was

496
00:26:18,480 --> 00:26:22,320
Speaker 2: a top forty single. That was probably like a lower thirty,

497
00:26:22,480 --> 00:26:24,560
Speaker 2: you know, like that was a hit. It was on MTV.

498
00:26:26,000 --> 00:26:28,800
Speaker 1: Certainly, the one hit wonder always gets an attempt at

499
00:26:28,800 --> 00:26:29,560
Speaker 1: a second.

500
00:26:29,280 --> 00:26:31,600
Speaker 2: One, right, So that makes me wonder if I just

501
00:26:31,680 --> 00:26:35,159
Speaker 2: missed his completely because that song was too big for

502
00:26:35,200 --> 00:26:38,920
Speaker 2: them to not try to capitalize on a second song.

503
00:26:39,160 --> 00:26:42,600
Speaker 2: But I have no cultural recollection whatsoever of a second movie.

504
00:26:42,600 --> 00:26:45,600
Speaker 2: And he was nominated for a fucking Grammy for this song.

505
00:26:46,440 --> 00:26:49,080
Speaker 1: I think when you when you swing, swing in such

506
00:26:49,080 --> 00:26:52,679
Speaker 1: a stylistic way, you know, it gets the attention of

507
00:26:52,720 --> 00:26:54,320
Speaker 1: the academy. Mmmm.

508
00:26:55,080 --> 00:26:58,959
Speaker 2: It's like it's like I've heard said from people I

509
00:26:59,040 --> 00:27:02,800
Speaker 2: know who are in the mix in the bids.

510
00:27:03,400 --> 00:27:06,239
Speaker 1: Yeah, you're really your whole body shutter to say it.

511
00:27:06,640 --> 00:27:10,320
Speaker 2: No, that's like, no one sees this. I don't think,

512
00:27:10,359 --> 00:27:12,000
Speaker 2: do you guys see this yet? No, we don't show

513
00:27:12,040 --> 00:27:12,400
Speaker 2: this to people.

514
00:27:12,480 --> 00:27:17,159
Speaker 1: Yeah, little clip, I'm saying, release them, release her email.

515
00:27:16,920 --> 00:27:20,680
Speaker 2: Release the tapes, release her emails, take the case files

516
00:27:20,880 --> 00:27:23,800
Speaker 2: and these VIDs, these VIDs gotta be up there, no,

517
00:27:24,000 --> 00:27:26,360
Speaker 2: I think, and by her emails of course, I mean

518
00:27:26,680 --> 00:27:27,520
Speaker 2: Candice Cameron.

519
00:27:29,160 --> 00:27:32,280
Speaker 1: I want to see I want to set.

520
00:27:33,680 --> 00:27:37,200
Speaker 2: Emails. No, I was going to say, it's often said

521
00:27:37,200 --> 00:27:39,800
Speaker 2: that the awards are given out not for the best acting,

522
00:27:39,880 --> 00:27:43,840
Speaker 2: but for the most acting, right, you know what I'm saying.

523
00:27:44,359 --> 00:27:47,960
Speaker 2: So I think in this case, you know, it could

524
00:27:48,000 --> 00:27:49,600
Speaker 2: be I don't know, maybe it's like.

525
00:27:49,640 --> 00:27:53,080
Speaker 1: This is this is showing out. He was showing out.

526
00:27:53,119 --> 00:27:55,960
Speaker 2: It's mad safe, oh yo, it's there's nothing dangerous about

527
00:27:55,960 --> 00:27:58,760
Speaker 2: this ship. Dude, I never seen I've never been afraid

528
00:27:58,880 --> 00:28:02,040
Speaker 2: of Louis Bega. Yeah for a fucking second, dude, And

529
00:28:02,080 --> 00:28:04,399
Speaker 2: I feel that way now, like he can't fucking scare me.

530
00:28:05,000 --> 00:28:11,280
Speaker 1: Oh look, punj he even though you know, it's interesting

531
00:28:11,280 --> 00:28:14,000
Speaker 1: because like when I first was thinking of this song,

532
00:28:14,080 --> 00:28:16,399
Speaker 1: I was like, does it hold up? Is he gonna

533
00:28:16,400 --> 00:28:18,680
Speaker 1: get is he gonna get weird? Because it's a song

534
00:28:18,680 --> 00:28:20,960
Speaker 1: about like I need a little bit of these girls.

535
00:28:21,160 --> 00:28:23,399
Speaker 1: I mean it's a little weird. Yeah yeah, but like

536
00:28:23,840 --> 00:28:26,920
Speaker 1: it's not crazy weird. Yeah, it could be crazy weird.

537
00:28:27,119 --> 00:28:30,199
Speaker 1: Yeah yeah, of this era too, like you could get

538
00:28:30,240 --> 00:28:32,760
Speaker 1: away with so much. And I actually think like it's

539
00:28:32,840 --> 00:28:35,520
Speaker 1: it's it's right on the line. It's also just like

540
00:28:36,320 --> 00:28:38,320
Speaker 1: I think this still plays at block parties.

541
00:28:38,480 --> 00:28:40,080
Speaker 2: That's what I mean. That's what I was saying. That's

542
00:28:40,080 --> 00:28:42,719
Speaker 2: what I meant in all seriousness earlier. Is that I

543
00:28:42,960 --> 00:28:45,680
Speaker 2: that's that's a mark of something that definitely for me

544
00:28:45,760 --> 00:28:50,280
Speaker 2: is squarely in the chance category. Like it's become like

545
00:28:50,480 --> 00:28:53,680
Speaker 2: YMCA or something or whatever. It's become like one of

546
00:28:53,720 --> 00:28:56,640
Speaker 2: those songs that it's just like, yeah, anyone, if you

547
00:28:56,800 --> 00:29:00,400
Speaker 2: have this on somewhere where there's a lot ar group

548
00:29:00,400 --> 00:29:03,640
Speaker 2: of people doing so, you only hear it there. That's

549
00:29:03,680 --> 00:29:06,200
Speaker 2: the only place I don't hear it. That's totally true.

550
00:29:06,440 --> 00:29:09,320
Speaker 2: You will hear it, like if they're trying to kill

551
00:29:09,400 --> 00:29:12,080
Speaker 2: time when yeah, I keep thinking of baseball for some reason,

552
00:29:12,160 --> 00:29:14,600
Speaker 2: when like the manager's coming out to talk to the

553
00:29:14,640 --> 00:29:16,000
Speaker 2: relief pitcher or something.

554
00:29:16,080 --> 00:29:21,000
Speaker 1: Yeah, they're like, don't don't exactly, and they'll show people.

555
00:29:21,480 --> 00:29:24,040
Speaker 1: I'm like, but I'm picturing like me getting on my

556
00:29:24,120 --> 00:29:27,400
Speaker 1: commute to work. I'm like sitting on the Jay train

557
00:29:28,000 --> 00:29:31,880
Speaker 1: and I'm putting choosing to put on Mamo number when

558
00:29:31,880 --> 00:29:34,720
Speaker 1: it's not on a playlist. I'm choosing Mamo number five,

559
00:29:34,800 --> 00:29:37,320
Speaker 1: and I'm just like by myself with my headphones do

560
00:29:38,360 --> 00:29:40,880
Speaker 1: that's actually, will you do that on your way home today?

561
00:29:41,000 --> 00:29:42,280
Speaker 1: I think I will. I think I have to know.

562
00:29:42,360 --> 00:29:44,560
Speaker 2: I want to know what it feels like. I want

563
00:29:44,560 --> 00:29:48,640
Speaker 2: to know I love it, like yeah, yeah, but I wait.

564
00:29:49,080 --> 00:29:50,600
Speaker 1: One other thing I want to say that real quick,

565
00:29:50,680 --> 00:29:54,720
Speaker 1: is that when I was in college, maybe like after

566
00:29:54,760 --> 00:29:56,320
Speaker 1: I think it was after college, like I was going

567
00:29:56,320 --> 00:30:00,280
Speaker 1: to bars with a friend, and you know, there was

568
00:30:00,320 --> 00:30:03,840
Speaker 1: this thing that a couple of years later mulaney touched upon,

569
00:30:03,920 --> 00:30:05,719
Speaker 1: which was like going to a bar and playing a

570
00:30:05,720 --> 00:30:09,560
Speaker 1: song like twenty times. Yes, it's like something that people did, right,

571
00:30:09,640 --> 00:30:11,640
Speaker 1: But like he told that story, I forget what even

572
00:30:11,680 --> 00:30:13,600
Speaker 1: what the song was. I can't kind of can't remember

573
00:30:13,600 --> 00:30:16,520
Speaker 1: what it was. But before that had before that had

574
00:30:16,520 --> 00:30:19,360
Speaker 1: come out, we had done that with this song we

575
00:30:19,400 --> 00:30:22,400
Speaker 1: put We went to a bar in green Point and

576
00:30:22,520 --> 00:30:26,640
Speaker 1: like this like old this like old polish, like dive bar. Yeah,

577
00:30:26,680 --> 00:30:29,760
Speaker 1: and we put on mom but number five like twenty times,

578
00:30:29,760 --> 00:30:32,880
Speaker 1: and we were just like enjoying, like looking around seeing

579
00:30:32,880 --> 00:30:35,760
Speaker 1: people's faces. It just played over and over again. After

580
00:30:35,880 --> 00:30:38,040
Speaker 1: like six, the bartender just came off and like turned

581
00:30:38,080 --> 00:30:40,120
Speaker 1: it off and like put on his own music. It

582
00:30:40,240 --> 00:30:42,040
Speaker 1: was like a really fun. It was just like a

583
00:30:42,160 --> 00:30:43,920
Speaker 1: nice like yeah, it's like a rite of passage to

584
00:30:43,920 --> 00:30:46,440
Speaker 1: do that totally such and it's such a good song

585
00:30:46,520 --> 00:30:48,440
Speaker 1: for it too, because for maybe like two times it

586
00:30:48,440 --> 00:30:50,640
Speaker 1: will slip through because it sounds like it's just it's

587
00:30:50,680 --> 00:30:54,400
Speaker 1: it's the still going. Yeah. By the fifth time, you're like, Okay.

588
00:30:54,120 --> 00:30:57,320
Speaker 2: This is on purpose and I cannot abide it any further.

589
00:30:57,760 --> 00:31:01,000
Speaker 2: I feel like, also, I'm not I really mean this,

590
00:31:01,000 --> 00:31:03,480
Speaker 2: this could be something in our research further. You know

591
00:31:03,520 --> 00:31:07,960
Speaker 2: how there's been like certain military operations that were like

592
00:31:09,000 --> 00:31:11,040
Speaker 2: you know where the US government or a different government

593
00:31:11,080 --> 00:31:15,440
Speaker 2: is like using songs to torture political prisoners or whatever.

594
00:31:16,360 --> 00:31:19,960
Speaker 2: I really genuinely think that there was some story where

595
00:31:20,000 --> 00:31:21,440
Speaker 2: this was one of the ones they like play it

596
00:31:21,560 --> 00:31:24,320
Speaker 2: like ear splitting volume and just like loop it for

597
00:31:24,400 --> 00:31:28,520
Speaker 2: like seven hours or something like that. I definitely know

598
00:31:28,640 --> 00:31:31,880
Speaker 2: that was the thing in the late eighties with other songs,

599
00:31:31,880 --> 00:31:33,880
Speaker 2: like there was like Guns and Rows something like that

600
00:31:33,880 --> 00:31:37,440
Speaker 2: that they came Yeah, I had to do with like

601
00:31:37,520 --> 00:31:40,520
Speaker 2: something with Panama and Uel Noriega whatever that was. They

602
00:31:40,560 --> 00:31:43,200
Speaker 2: like were like playing that so loud that like, which

603
00:31:43,280 --> 00:31:47,200
Speaker 2: is really crazy to actually consider. But I think Mombo

604
00:31:47,320 --> 00:31:49,280
Speaker 2: number five was one of those things to at some point,

605
00:31:49,480 --> 00:31:52,400
Speaker 2: which is funny because it really that actually is a

606
00:31:52,400 --> 00:31:54,560
Speaker 2: fascinating thing, and you're what you're talking about kind of

607
00:31:54,600 --> 00:31:57,560
Speaker 2: speaks to it where something that is this is like

608
00:31:57,600 --> 00:32:01,720
Speaker 2: a benign and pleasant noise to be happening in the

609
00:32:01,720 --> 00:32:06,960
Speaker 2: background somewhere, but that in when you like string it

610
00:32:07,080 --> 00:32:11,480
Speaker 2: together that way, it can become literally tortuous, like there's

611
00:32:11,480 --> 00:32:13,640
Speaker 2: an experience of it being like this needs to stop

612
00:32:13,760 --> 00:32:18,280
Speaker 2: right now. Yes, and its insistence might be part of that.

613
00:32:18,480 --> 00:32:20,880
Speaker 2: I just before, on our way down as we land

614
00:32:20,920 --> 00:32:23,760
Speaker 2: the plane, I think you're right. I actually don't think,

615
00:32:23,960 --> 00:32:28,280
Speaker 2: especially given the topicality. I don't think it's It's not

616
00:32:28,320 --> 00:32:31,880
Speaker 2: like a quote problematic lyric in a way in ways

617
00:32:31,880 --> 00:32:34,600
Speaker 2: it could be, or certainly not in like capital letter ways.

618
00:32:35,000 --> 00:32:39,680
Speaker 2: It is a little bit more like garbled nonsensical verse lyrics, though,

619
00:32:40,000 --> 00:32:41,600
Speaker 2: like the I just want to walk through the first verse.

620
00:32:41,640 --> 00:32:44,040
Speaker 2: He just counts to five, one, two, three, four, five

621
00:32:44,120 --> 00:32:46,360
Speaker 2: or five. Everybody in the car, come on, let's ride.

622
00:32:46,480 --> 00:32:49,240
Speaker 2: That's fine to the liquor store around the corner. The

623
00:32:49,280 --> 00:32:51,600
Speaker 2: boys say they want some gin and juice, giving a

624
00:32:51,640 --> 00:32:55,240
Speaker 2: shout out to the ubiquitous snoop nineties hip hop West Coast,

625
00:32:55,320 --> 00:32:58,400
Speaker 2: the whole thing. But I really don't want to you're

626
00:32:58,560 --> 00:33:02,200
Speaker 2: bust like I have last week. I am officially now

627
00:33:02,200 --> 00:33:04,440
Speaker 2: where there's the first lyric. I don't understand what that means.

628
00:33:04,680 --> 00:33:05,080
Speaker 2: I don't know.

629
00:33:05,160 --> 00:33:09,160
Speaker 1: Is that a phrase I've been maybe like a busting

630
00:33:09,240 --> 00:33:12,440
Speaker 1: his gut or maybe he doesn't want to hangover.

631
00:33:12,680 --> 00:33:14,920
Speaker 2: Maybe or maybe he's gonna Maybe it's like a beer bust,

632
00:33:14,960 --> 00:33:16,160
Speaker 2: like it's prohibition.

633
00:33:16,560 --> 00:33:20,400
Speaker 1: It's prohibition. Oh yeah, because it is a throwback.

634
00:33:20,520 --> 00:33:22,240
Speaker 2: I don't want to go to the liquor store. I

635
00:33:22,280 --> 00:33:24,080
Speaker 2: don't want any gingers. I don't want a beer bust.

636
00:33:24,080 --> 00:33:27,720
Speaker 2: I had that last week. Yeah, and then I must

637
00:33:27,760 --> 00:33:31,840
Speaker 2: stay deep because talk is cheap. I like Angela, Pamela,

638
00:33:31,960 --> 00:33:33,800
Speaker 2: Sandra and Rita.

639
00:33:33,920 --> 00:33:36,400
Speaker 1: Wait wait, I must go deep because like I must

640
00:33:36,480 --> 00:33:40,480
Speaker 1: stay deep, stay deep. Talk is cheap.

641
00:33:41,040 --> 00:33:44,320
Speaker 2: I like Angela.

642
00:33:44,520 --> 00:33:46,760
Speaker 1: I love someone being like hard like talk is cheap.

643
00:33:46,920 --> 00:33:49,800
Speaker 1: But anyway, I like girls.

644
00:33:51,320 --> 00:33:55,080
Speaker 2: That you like that, because that's actually that could live

645
00:33:55,320 --> 00:33:57,960
Speaker 2: in a character that you do. The way you just

646
00:33:57,960 --> 00:34:01,040
Speaker 2: did that, it was instantly embodied like the kind of

647
00:34:01,080 --> 00:34:04,760
Speaker 2: like yeah, like kind of like the sharpness, but then

648
00:34:04,800 --> 00:34:07,280
Speaker 2: also kind of like but anyway, I must.

649
00:34:07,120 --> 00:34:13,400
Speaker 1: Stay deep eight cheap, I like computers, right, yeah, exactly.

650
00:34:14,400 --> 00:34:18,120
Speaker 2: It's funny because recently this is so anyway, we're not

651
00:34:18,160 --> 00:34:19,840
Speaker 2: giving it a chance on the basis of its lyrics.

652
00:34:19,840 --> 00:34:22,200
Speaker 2: Its lyrics also aren't like necessarily offensive. They're more like

653
00:34:22,440 --> 00:34:24,680
Speaker 2: I'm like bemused by them. They're like, I know, you

654
00:34:24,719 --> 00:34:26,000
Speaker 2: know what this you know what else?

655
00:34:26,040 --> 00:34:28,880
Speaker 1: This is? This is Taco Putting on the Rits totally.

656
00:34:29,440 --> 00:34:32,520
Speaker 1: If you're blue and you don't know what, yeah, like

657
00:34:32,680 --> 00:34:35,680
Speaker 1: it's it is, it is. It's like that's that did

658
00:34:35,719 --> 00:34:38,239
Speaker 1: this first? Too? Like a sort of intentional throwback, like

659
00:34:38,280 --> 00:34:42,040
Speaker 1: an eighties throwback. Yes, in the past, but like I

660
00:34:42,160 --> 00:34:45,400
Speaker 1: might give Taco Putting on the Rits more credit, although

661
00:34:45,440 --> 00:34:47,600
Speaker 1: that's like a cover I guess in some ways. But

662
00:34:47,640 --> 00:34:51,520
Speaker 1: then like put through the eighties filed you know the eighties, Yeah, reimagining. Yeah,

663
00:34:51,640 --> 00:34:53,839
Speaker 1: but this is kind of that. But then I think

664
00:34:53,880 --> 00:34:56,600
Speaker 1: this does take it farther because I think the original

665
00:34:56,640 --> 00:34:58,920
Speaker 1: is probably an instrumental and he added all this, did.

666
00:34:58,760 --> 00:35:01,759
Speaker 2: You know it was a sample based song? I had

667
00:35:01,800 --> 00:35:04,399
Speaker 2: no idea. I didn't know the original sample at all.

668
00:35:04,840 --> 00:35:06,960
Speaker 1: I think if if, if it was on a multiple

669
00:35:07,080 --> 00:35:09,239
Speaker 1: choice I definitely would have answered correctly that it that

670
00:35:09,280 --> 00:35:12,360
Speaker 1: it's like based on a sample, because I think what

671
00:35:12,480 --> 00:35:13,600
Speaker 1: else would it be? Right?

672
00:35:13,920 --> 00:35:17,040
Speaker 2: Yeah, I mean it's not I get that, I get that,

673
00:35:17,120 --> 00:35:19,799
Speaker 2: I get, but I guess I didn't choice. You know,

674
00:35:20,280 --> 00:35:22,720
Speaker 2: I got twenty five chance even if I know nothing.

675
00:35:23,719 --> 00:35:25,799
Speaker 1: Well, it's reads PILM and it's a phone of friends.

676
00:35:26,239 --> 00:35:28,680
Speaker 2: That I'd have found you because you knew because I'm

677
00:35:29,239 --> 00:35:31,960
Speaker 2: I mean, look, we're coming near what is usually we're

678
00:35:32,160 --> 00:35:34,400
Speaker 2: chancey a clock. So is there anything you feel like

679
00:35:34,440 --> 00:35:36,399
Speaker 2: we haven't touched on or do you feel like we've been?

680
00:35:37,080 --> 00:35:40,239
Speaker 2: I think ultimately for me, it's like it's got a

681
00:35:40,360 --> 00:35:45,880
Speaker 2: skew chance because there's nothing about it that's like for

682
00:35:46,040 --> 00:35:49,239
Speaker 2: what it is. It's exactly what it's supposed to be.

683
00:35:50,000 --> 00:35:53,239
Speaker 2: It's not trying to be anything else, and it executes

684
00:35:53,280 --> 00:35:58,160
Speaker 2: the mission ably, and it also it's fun and funny.

685
00:35:58,880 --> 00:36:00,799
Speaker 2: H And also it seems like this dude is not

686
00:36:00,920 --> 00:36:04,680
Speaker 2: taking himself seriously at all, which may be its best

687
00:36:05,680 --> 00:36:06,440
Speaker 2: best asset.

688
00:36:07,000 --> 00:36:09,480
Speaker 1: I think our biggest critique is lyrics. And even so,

689
00:36:10,000 --> 00:36:13,040
Speaker 1: when when I will hear this song at a you know,

690
00:36:13,680 --> 00:36:14,680
Speaker 1: a swim party or.

691
00:36:14,600 --> 00:36:15,680
Speaker 2: Something, yeah about me?

692
00:36:15,840 --> 00:36:19,719
Speaker 1: Yeah, yeah, I will not. I will it still won't

693
00:36:19,760 --> 00:36:22,160
Speaker 1: affect me. I will still enjoy it the same amount

694
00:36:22,160 --> 00:36:22,520
Speaker 1: that I did.

695
00:36:22,600 --> 00:36:24,920
Speaker 2: I will sit there at the swim party completely impassive

696
00:36:24,960 --> 00:36:27,800
Speaker 2: and show no fucking feeling when this song comes on. Dude,

697
00:36:27,920 --> 00:36:29,000
Speaker 2: I'm unaffected.

698
00:36:29,560 --> 00:36:32,600
Speaker 1: I like it more or less. I like Angelo, I

699
00:36:32,760 --> 00:36:33,880
Speaker 1: like I like girls.

700
00:36:35,200 --> 00:36:37,759
Speaker 2: Honestly, Angela is cool, but she's not even top ten.

701
00:36:37,880 --> 00:36:41,800
Speaker 2: Sweetness Mary Poppins' is number one. Yeah, yeah, number one sweetest.

702
00:36:42,360 --> 00:36:43,879
Speaker 2: And at the end of the day, Push comes to shove,

703
00:36:43,920 --> 00:36:46,560
Speaker 2: Louis Begas shouts for having music into twenty twenty one.

704
00:36:46,640 --> 00:36:48,719
Speaker 2: Sorry about the anti vax stuff, and I also sorry to

705
00:36:48,760 --> 00:36:51,279
Speaker 2: hear that you passed as a result. So all, at

706
00:36:51,320 --> 00:36:52,759
Speaker 2: the end of this sep, we do want to say

707
00:36:52,760 --> 00:36:57,520
Speaker 2: rest in power to Louis Begat knows as he's life, live,

708
00:36:57,560 --> 00:36:59,640
Speaker 2: in power, live and piss And oh.

709
00:36:59,520 --> 00:37:01,720
Speaker 1: My gosh, I just realized his birth name is David

710
00:37:02,080 --> 00:37:08,279
Speaker 1: the Bega, that Balla Mezzi Ballamesi, so his middle name

711
00:37:08,320 --> 00:37:13,120
Speaker 1: is Libga, so he went by lou Bega. Love it Bega.

712
00:37:13,360 --> 00:37:17,520
Speaker 2: Creativity bounds And also I think at the very at

713
00:37:17,560 --> 00:37:20,320
Speaker 2: the end of the day, when Push comes to shove,

714
00:37:20,600 --> 00:37:23,759
Speaker 2: what I'd love to hear next is Scatman and hat Man.

715
00:37:24,080 --> 00:37:27,400
Speaker 2: So that may have to be okay because Scatman's his

716
00:37:27,440 --> 00:37:32,960
Speaker 2: own app, but it makes sense that they would have

717
00:37:32,960 --> 00:37:35,480
Speaker 2: been like, we should team up. It's like when Daredevil's

718
00:37:35,480 --> 00:37:36,520
Speaker 2: in a Spider Man comic?

719
00:37:36,840 --> 00:37:38,719
Speaker 1: Can you do that? Can you do the lou Bega song?

720
00:37:38,760 --> 00:37:39,960
Speaker 1: That don't don.

721
00:37:50,280 --> 00:37:50,600
Speaker 2: Okay?

722
00:37:50,680 --> 00:37:50,799
Speaker 1: Right?

723
00:37:50,840 --> 00:37:51,040
Speaker 2: Greg?

724
00:37:51,360 --> 00:37:53,560
Speaker 1: If it's if it's that's what it is, If that's

725
00:37:53,600 --> 00:37:55,960
Speaker 1: what it is. If that's what it is, kes, If

726
00:37:56,000 --> 00:37:59,799
Speaker 1: that's what it is, you give me five cheeze, I'll

727
00:37:59,840 --> 00:38:02,839
Speaker 1: get me five thousand. You give me back five Yeah,

728
00:38:02,840 --> 00:38:05,440
Speaker 1: I'll get five. Yeah, I get five back, So you

729
00:38:05,440 --> 00:38:07,560
Speaker 1: get forty nine ninety five? What was it?

730
00:38:08,040 --> 00:38:10,040
Speaker 2: It was something like that you were getting. I think

731
00:38:10,080 --> 00:38:12,040
Speaker 2: you're gett money from my heart is really what I

732
00:38:12,040 --> 00:38:13,040
Speaker 2: think was going in there.

733
00:38:13,120 --> 00:38:15,200
Speaker 1: Yeah, I think I'm getting five gs. Then you're getting

734
00:38:15,200 --> 00:38:17,720
Speaker 1: five that's the contract. I gotta go back and listen.

735
00:38:17,920 --> 00:38:21,640
Speaker 2: All right, Well, chancers, hope you enjoyed that EP. But

736
00:38:21,760 --> 00:38:24,160
Speaker 2: if you didn't, I don't know. We did the best

737
00:38:24,200 --> 00:38:28,160
Speaker 2: we could. Doggie Pushcubs to Shelf. You was conceived in love?

738
00:38:28,640 --> 00:38:36,200
Speaker 1: What I like? Girls? Just give it