1 00:00:02,279 --> 00:00:04,840 Speaker 1: Give it a chance, Give it a chance, Give it 2 00:00:04,880 --> 00:00:07,040 Speaker 1: a chance. Good morning, give it a chance, Give it 3 00:00:07,080 --> 00:00:09,680 Speaker 1: a chance, Give it a chance, Give it a chance. 4 00:00:09,680 --> 00:00:11,400 Speaker 2: Good morning, Give it a Do you want to give 5 00:00:11,440 --> 00:00:12,040 Speaker 2: it a chance? 6 00:00:12,280 --> 00:00:20,400 Speaker 3: Give it a chance, Give it a chance, just a chance. Greeting. 7 00:00:21,360 --> 00:00:24,159 Speaker 4: I wish that people knew right before we started to 8 00:00:24,280 --> 00:00:30,960 Speaker 4: test the audio, I really cut loose chances for really, 9 00:00:31,520 --> 00:00:34,080 Speaker 4: it made me a little worried for what my participation 10 00:00:34,200 --> 00:00:36,240 Speaker 4: in this pod will be. Like I have to actually, 11 00:00:36,240 --> 00:00:38,600 Speaker 4: like believe it or not, I actually do try to 12 00:00:38,640 --> 00:00:41,959 Speaker 4: be somewhat self governing in our meetings. Casey and and 13 00:00:42,000 --> 00:00:43,680 Speaker 4: that was really ungoverned. 14 00:00:43,880 --> 00:00:45,280 Speaker 3: Let me just put it like this. I took the 15 00:00:45,320 --> 00:00:46,479 Speaker 3: muzzle off the pug. 16 00:00:49,000 --> 00:00:54,320 Speaker 4: I feel like, off the pug. I saw my friend's 17 00:00:54,440 --> 00:00:55,640 Speaker 4: elder rug. 18 00:00:55,440 --> 00:00:58,600 Speaker 3: And yeah, that's good, you know I did. 19 00:00:58,680 --> 00:01:00,160 Speaker 1: I think I just made that up. I think I 20 00:01:00,200 --> 00:01:03,680 Speaker 1: just to coin that. But it's so it's cute because 21 00:01:04,280 --> 00:01:06,120 Speaker 1: you know, there's not a lot of threat with a pug. 22 00:01:06,480 --> 00:01:08,720 Speaker 1: So like I knew that, like you're taking the muzzle 23 00:01:08,720 --> 00:01:11,399 Speaker 1: off you is really just gonna be just like maybe 24 00:01:11,440 --> 00:01:11,960 Speaker 1: too cute. 25 00:01:12,080 --> 00:01:12,880 Speaker 3: It's too cute. 26 00:01:16,520 --> 00:01:18,360 Speaker 4: I did do that. I did do that. I was 27 00:01:18,400 --> 00:01:21,160 Speaker 4: pointing out how it's like either like a girl in 28 00:01:21,200 --> 00:01:23,720 Speaker 4: a raisins box or a girl in a in a 29 00:01:23,880 --> 00:01:27,520 Speaker 4: in a sunscreen, not like a like a hot girl. 30 00:01:28,200 --> 00:01:30,000 Speaker 1: Like yeah, like a like the like the like the 31 00:01:30,000 --> 00:01:32,920 Speaker 1: prettiest girl in town, like the prettiest girl in any 32 00:01:32,959 --> 00:01:33,640 Speaker 1: small town. 33 00:01:33,720 --> 00:01:34,880 Speaker 3: That's an Owl's lyric. 34 00:01:35,080 --> 00:01:39,160 Speaker 4: So it is the belly's. 35 00:01:39,959 --> 00:01:42,240 Speaker 1: It's like he did rollers, but like you just stopped 36 00:01:42,240 --> 00:01:43,760 Speaker 1: halfway like halfway up. 37 00:01:43,840 --> 00:01:48,000 Speaker 4: That's that's what happens to my fine fine like glowercase 38 00:01:48,120 --> 00:01:53,200 Speaker 4: fine fine as in thin, my fine hair in the humidity. 39 00:01:53,360 --> 00:01:58,400 Speaker 4: It's been a lifelong strug for you, boy. Yeah. Yeah, 40 00:01:59,280 --> 00:02:01,640 Speaker 4: the stuff I go through, dude. Actually, the stuff I 41 00:02:01,720 --> 00:02:04,800 Speaker 4: go through is we'll do another pod. It's like, give 42 00:02:04,800 --> 00:02:07,800 Speaker 4: it a chance. Call in the stuff Kevin goes to. 43 00:02:08,200 --> 00:02:09,280 Speaker 3: That's on our patreon. 44 00:02:09,760 --> 00:02:12,840 Speaker 4: Yeah yeah, by the way, subscribe to our patreon. 45 00:02:12,960 --> 00:02:14,840 Speaker 3: We don't have that yet, but maybe someday. 46 00:02:15,000 --> 00:02:17,600 Speaker 1: Actually you should just join Kevin's because I'll put I'll 47 00:02:17,639 --> 00:02:19,040 Speaker 1: put any bonus stuff on there. 48 00:02:19,120 --> 00:02:23,040 Speaker 4: I will say that people do come to the shows 49 00:02:23,080 --> 00:02:26,320 Speaker 4: that I play in my niche artist life, and they 50 00:02:26,360 --> 00:02:29,959 Speaker 4: do talk about the pod. Whoa were you drinking? Urine? Dog. 51 00:02:31,919 --> 00:02:33,640 Speaker 3: This is dog urine, not urine dog. 52 00:02:34,400 --> 00:02:36,520 Speaker 4: I don't know if you were drinking the cremated remains 53 00:02:36,560 --> 00:02:40,720 Speaker 4: of urine dog, everybody's favorite superhero dog, one of our sponsors. 54 00:02:40,760 --> 00:02:42,680 Speaker 3: We got to hit a dog urine. 55 00:02:43,680 --> 00:02:46,919 Speaker 2: Get your electrolytes in a new way. Yeah, in the 56 00:02:47,120 --> 00:02:50,040 Speaker 2: old way, the way people men used to get their 57 00:02:50,040 --> 00:02:53,880 Speaker 2: electrolytes drinking dog piss. A natural filter system that will 58 00:02:53,919 --> 00:02:56,360 Speaker 2: get you to where you need to go every day. 59 00:02:56,600 --> 00:02:58,080 Speaker 2: Do you have that three thirty feeling? 60 00:02:58,400 --> 00:03:03,080 Speaker 4: We'll shut up your dad's But this is that was 61 00:03:03,440 --> 00:03:07,680 Speaker 4: that was really inspired case. Thank you who Well, you know. 62 00:03:07,639 --> 00:03:10,280 Speaker 1: I was acting a little bit, and you know I 63 00:03:10,320 --> 00:03:13,560 Speaker 1: like to act for the stage and I like to 64 00:03:14,800 --> 00:03:21,480 Speaker 1: overly nenunciate and speak through my songs. Oh no, okay, 65 00:03:21,800 --> 00:03:22,880 Speaker 1: we're taking it to Broadway. 66 00:03:23,320 --> 00:03:26,240 Speaker 4: Oh okay. 67 00:03:26,440 --> 00:03:28,080 Speaker 3: Well I think this is going to be controversial. This 68 00:03:28,120 --> 00:03:29,120 Speaker 3: is one of our This is going to be a 69 00:03:29,120 --> 00:03:29,839 Speaker 3: controversial app. 70 00:03:30,200 --> 00:03:34,200 Speaker 4: I'm a little afraid if there's there's one property on 71 00:03:34,280 --> 00:03:38,200 Speaker 4: Broadway that is like Swiftian in people's response to it, 72 00:03:38,240 --> 00:03:40,880 Speaker 4: You're like not allowed. It's like a third rail. And 73 00:03:40,920 --> 00:03:44,400 Speaker 4: I have a lot of the predisposed thoughts and opinions 74 00:03:44,400 --> 00:03:47,080 Speaker 4: about it, which I also probably have to be mindful 75 00:03:47,080 --> 00:03:50,320 Speaker 4: of the fact that I live with a person who 76 00:03:50,720 --> 00:03:53,440 Speaker 4: that's what that's the medium in which they work. And 77 00:03:53,600 --> 00:03:55,320 Speaker 4: I have a lot of friends in these places. But 78 00:03:55,480 --> 00:03:58,320 Speaker 4: you know one thing, I guarantee the chances when they 79 00:03:58,360 --> 00:04:01,360 Speaker 4: come here they get the straight, straight shot shot. 80 00:04:01,400 --> 00:04:04,240 Speaker 1: So well, let's say let's say that Broadway Anthony on 81 00:04:04,400 --> 00:04:06,600 Speaker 1: three at the same time, Ready that you think it 82 00:04:06,680 --> 00:04:08,520 Speaker 1: is three two one? 83 00:04:11,120 --> 00:04:14,240 Speaker 3: No, it's not pouring in pest, but it's also not Hamilton. 84 00:04:14,480 --> 00:04:15,200 Speaker 4: Oh is it wicked? 85 00:04:15,920 --> 00:04:17,880 Speaker 3: No, I will say, I mean. 86 00:04:18,000 --> 00:04:19,560 Speaker 4: We could do a Hamilton app behind. 87 00:04:20,080 --> 00:04:21,799 Speaker 3: I think so too, Yeah, and I would. 88 00:04:21,960 --> 00:04:25,240 Speaker 1: Yeah, I think that this has It's one of the 89 00:04:25,279 --> 00:04:28,960 Speaker 1: biggest cultural touchdowns of Broadway, you know, and I think 90 00:04:29,120 --> 00:04:31,280 Speaker 1: Hamilton followed in the footsteps in some ways, but a 91 00:04:31,360 --> 00:04:32,279 Speaker 1: very different category. 92 00:04:32,279 --> 00:04:33,320 Speaker 4: Oh is this rent? 93 00:04:33,600 --> 00:04:34,159 Speaker 3: It is that? 94 00:04:34,600 --> 00:04:36,200 Speaker 4: So? That's so I got to tell you, can I 95 00:04:36,200 --> 00:04:37,839 Speaker 4: tell you a little right off the top? I know, 96 00:04:37,880 --> 00:04:39,800 Speaker 4: we you know, we try to try to keep these 97 00:04:40,480 --> 00:04:44,440 Speaker 4: somewhat governed and concise, I keep saying governed. I went 98 00:04:44,520 --> 00:04:49,920 Speaker 4: that's the first as a as an independent theater goer. 99 00:04:51,080 --> 00:04:55,120 Speaker 4: I went with friend of the Pod. I guess I've 100 00:04:55,320 --> 00:04:57,279 Speaker 4: seen it in a while. But friend of in real life, 101 00:04:57,279 --> 00:05:01,160 Speaker 4: you know her as well, Bridget Francis Staten Island, of course. Yeah, 102 00:05:01,400 --> 00:05:05,279 Speaker 4: in high school, she and I went to see Rent 103 00:05:05,960 --> 00:05:09,760 Speaker 4: nineteen ninety five. This would have been probably went to 104 00:05:09,800 --> 00:05:13,440 Speaker 4: Alfredo's for dinner on Highland Boulevard, yeah, and then took 105 00:05:13,800 --> 00:05:15,920 Speaker 4: the train to the ferry to the train to brought 106 00:05:15,960 --> 00:05:19,320 Speaker 4: to Rent. I was fifteen, fourteen or fifteen, and I've 107 00:05:19,320 --> 00:05:22,599 Speaker 4: had a lot of thoughts about Rent since, But yeah, 108 00:05:22,640 --> 00:05:23,480 Speaker 4: I have some hiss. 109 00:05:23,600 --> 00:05:25,640 Speaker 1: What was your feeling when you saw it in nineteen 110 00:05:25,680 --> 00:05:28,600 Speaker 1: ninety five? Sorry, I'm getting since I'm getting choked up. 111 00:05:29,440 --> 00:05:34,200 Speaker 4: It's emotional, dude. Honestly, at six million, sixty five, nine 112 00:05:34,320 --> 00:05:41,040 Speaker 4: hundred and say Carl Sagan Sagans, imagine that many Carl Sagans. 113 00:05:41,640 --> 00:05:45,119 Speaker 4: My original thought that I can remember thirty years later. 114 00:05:46,480 --> 00:05:48,839 Speaker 4: I think I was kind of more swept up in 115 00:05:48,960 --> 00:05:52,680 Speaker 4: like the context of going as a teenager, like doing 116 00:05:52,760 --> 00:05:54,400 Speaker 4: something like that, you know what I mean. It was 117 00:05:54,440 --> 00:05:57,279 Speaker 4: like like it was an outing, It was an event. 118 00:05:57,440 --> 00:06:00,000 Speaker 4: It was like you know, you know, I feel like 119 00:06:00,080 --> 00:06:01,919 Speaker 4: significance when you grew up where we grew up in 120 00:06:01,960 --> 00:06:03,960 Speaker 4: that part of our lives, it was more almost about 121 00:06:04,000 --> 00:06:08,919 Speaker 4: the like dinner train, ferry train show, You're in Manhattan 122 00:06:09,120 --> 00:06:13,159 Speaker 4: than the content of the show. I've always been theater 123 00:06:13,960 --> 00:06:18,640 Speaker 4: arts adjacent in my life. I've never been hardcore. There 124 00:06:18,640 --> 00:06:21,400 Speaker 4: are plays and playwrights and things I've liked more than 125 00:06:21,400 --> 00:06:25,000 Speaker 4: other things. There's style, genres, approaches. I've been somebody who, 126 00:06:25,080 --> 00:06:28,279 Speaker 4: on a rare occasion will like just go randomly walk 127 00:06:28,320 --> 00:06:31,640 Speaker 4: into some place downtown and see a play. But I'm 128 00:06:31,680 --> 00:06:34,640 Speaker 4: not like a fucking I'm not versed in it, so 129 00:06:34,680 --> 00:06:36,880 Speaker 4: I don't remember seeing it and being like that was 130 00:06:36,960 --> 00:06:39,520 Speaker 4: life changing. I have a vague recollection of like where 131 00:06:39,560 --> 00:06:42,120 Speaker 4: we were sitting, what it looked like, you know what 132 00:06:42,160 --> 00:06:44,880 Speaker 4: I mean. Yeah, I don't know. I don't know that. 133 00:06:44,960 --> 00:06:46,480 Speaker 4: I was like overwhelmed. 134 00:06:47,000 --> 00:06:52,360 Speaker 1: So Lisa, my wife, she is the biggest fan of 135 00:06:52,400 --> 00:06:58,159 Speaker 1: that nole category, but specifically this this uh what's this 136 00:06:58,240 --> 00:06:58,840 Speaker 1: word for it? 137 00:06:58,880 --> 00:07:00,000 Speaker 3: This project if. 138 00:07:00,120 --> 00:07:06,080 Speaker 1: Well, yeah, and it's it's kind of a fun. It's 139 00:07:06,080 --> 00:07:09,840 Speaker 1: fun because my feeling on it is like I think 140 00:07:09,880 --> 00:07:13,080 Speaker 1: it's it hits all these categories what we should listen 141 00:07:13,160 --> 00:07:15,680 Speaker 1: to it first, But it hits these things that I 142 00:07:15,680 --> 00:07:20,400 Speaker 1: think don't exist in other music, and it only happens 143 00:07:20,440 --> 00:07:21,680 Speaker 1: in for Broadway. 144 00:07:22,440 --> 00:07:25,320 Speaker 3: So what I'm pulling out. I picked a. 145 00:07:25,160 --> 00:07:28,320 Speaker 1: Song that I think like has all the things that 146 00:07:28,360 --> 00:07:31,600 Speaker 1: the tropes that has already been parodied by like Team America, 147 00:07:31,640 --> 00:07:33,560 Speaker 1: World Place and stuff like that. It has all the 148 00:07:33,600 --> 00:07:36,240 Speaker 1: tropes in it that I'm like, I can't like if 149 00:07:36,240 --> 00:07:39,160 Speaker 1: you're not like well versed in this, you're like, what's. 150 00:07:39,000 --> 00:07:40,360 Speaker 3: Going on this? 151 00:07:40,680 --> 00:07:42,640 Speaker 1: We touched upon it a little bit with like imagine 152 00:07:42,720 --> 00:07:46,640 Speaker 1: dragons having elements of Broadway into their like rock music, 153 00:07:47,040 --> 00:07:49,680 Speaker 1: and that's like the only time that you're or like 154 00:07:49,720 --> 00:07:51,280 Speaker 1: the Greatest Showman, you know what I mean? 155 00:07:51,320 --> 00:07:52,000 Speaker 4: Like it's yep. 156 00:07:52,800 --> 00:07:56,320 Speaker 3: So yeah, without further ado, we're going to be listening 157 00:07:56,320 --> 00:07:58,920 Speaker 3: to the song Rent from Rent can't Wait. 158 00:07:59,320 --> 00:08:02,080 Speaker 4: I probably haven't heard this on purpose in thirty years, 159 00:08:02,120 --> 00:08:05,440 Speaker 4: heard this on purpose, heard this the service. 160 00:08:05,280 --> 00:08:07,640 Speaker 3: You can't you can't help be Hamilton. 161 00:08:09,760 --> 00:08:12,680 Speaker 4: Oh well you have to. Maybe Hamilton might end up 162 00:08:12,720 --> 00:08:15,520 Speaker 4: catching some strays. All right, we gotta look at we're 163 00:08:15,520 --> 00:08:19,760 Speaker 4: looking up Rent from Rent from not the original motion 164 00:08:19,840 --> 00:08:30,679 Speaker 4: picture from the original Broaway Cast. All right, how don't up? Wow, 165 00:08:31,600 --> 00:08:32,880 Speaker 4: that's a journey. 166 00:08:33,120 --> 00:08:36,720 Speaker 1: Yeah, so it's they really throw everything in like Broadway 167 00:08:36,920 --> 00:08:38,319 Speaker 1: loves to throw everything in. 168 00:08:39,240 --> 00:08:42,800 Speaker 4: They really throw everything in. I almost feel like there's 169 00:08:42,840 --> 00:08:45,800 Speaker 4: a couple of like ground rules that should be set 170 00:08:45,880 --> 00:08:49,400 Speaker 4: in a conversation about this stuff. One is like for 171 00:08:49,520 --> 00:08:53,480 Speaker 4: context for our listeners that may not know, and they 172 00:08:53,480 --> 00:08:55,360 Speaker 4: make a reference in there about like when everything portrays, 173 00:08:55,360 --> 00:08:58,480 Speaker 4: including your own blood cells. Rent was like a very 174 00:08:58,559 --> 00:09:01,600 Speaker 4: much of its time, not that you could go Wikipedia 175 00:09:01,679 --> 00:09:03,600 Speaker 4: this or listen to whatever. We don't have to be 176 00:09:04,120 --> 00:09:06,760 Speaker 4: your point of education on this, but you know, it's 177 00:09:06,800 --> 00:09:10,440 Speaker 4: effectively about people who it's maybe in some ways thirty 178 00:09:10,480 --> 00:09:13,480 Speaker 4: years later, even more timely in some respects about like 179 00:09:13,520 --> 00:09:16,600 Speaker 4: not being able to afford life in New York City 180 00:09:16,640 --> 00:09:19,000 Speaker 4: on a variety of levels as an aspiring artist. As 181 00:09:19,120 --> 00:09:23,240 Speaker 4: it was kind of like a grittier more I don't know, 182 00:09:23,480 --> 00:09:26,559 Speaker 4: it was exploring certain themes more deeply, but like it's 183 00:09:26,640 --> 00:09:30,040 Speaker 4: kind of like a grittier Friends or something like that, 184 00:09:30,920 --> 00:09:34,959 Speaker 4: and same sort of font generationally and generative where it's 185 00:09:35,000 --> 00:09:38,320 Speaker 4: coming from. And also obviously it's wrestling with aids and 186 00:09:38,400 --> 00:09:43,520 Speaker 4: queer identity and class struggle, so all the props in 187 00:09:43,559 --> 00:09:46,640 Speaker 4: the world, as is typically the case for me for 188 00:09:46,720 --> 00:09:50,800 Speaker 4: this very subjective individual chancer when it comes to theater 189 00:09:51,080 --> 00:09:55,000 Speaker 4: and how theater interacts with issues in this country and 190 00:09:55,040 --> 00:09:58,920 Speaker 4: issues especially I feel like theatre's definitely been an agate 191 00:09:59,040 --> 00:10:03,800 Speaker 4: prop space for certainly class struggle over the years. Definitely 192 00:10:04,000 --> 00:10:08,800 Speaker 4: like sort of marginalized identity that is a only positive 193 00:10:08,920 --> 00:10:14,240 Speaker 4: thing from this super subjective you know, chancer. That being said, 194 00:10:14,480 --> 00:10:16,920 Speaker 4: you can uphold the mission of a thing and still 195 00:10:16,920 --> 00:10:20,080 Speaker 4: find yourself, you know. And then there's also like what 196 00:10:20,120 --> 00:10:23,920 Speaker 4: you like in art and entertainment, and so I just 197 00:10:23,920 --> 00:10:28,439 Speaker 4: wanted to set the table with that before we perhaps 198 00:10:28,559 --> 00:10:31,280 Speaker 4: you know, go in any further length with Win the 199 00:10:31,320 --> 00:10:32,440 Speaker 4: actual song itself. 200 00:10:32,640 --> 00:10:34,880 Speaker 3: Yeah, and I really agree. 201 00:10:34,920 --> 00:10:38,520 Speaker 1: I think that there are so many there's so many 202 00:10:38,520 --> 00:10:42,120 Speaker 1: aspects that are so forward thinking and positive about this 203 00:10:42,240 --> 00:10:44,360 Speaker 1: that I would really never want to take away because 204 00:10:45,040 --> 00:10:48,400 Speaker 1: I do think it really think about the audience that 205 00:10:48,480 --> 00:10:51,720 Speaker 1: it's opening up some of these ideas to you know, 206 00:10:51,960 --> 00:10:55,800 Speaker 1: the wealthy and people from all different walks of life 207 00:10:55,800 --> 00:11:00,000 Speaker 1: that go see a Broadway show and suddenly they're. 208 00:11:00,080 --> 00:11:01,679 Speaker 4: Wings yeah yeah, yeah. 209 00:11:01,520 --> 00:11:03,920 Speaker 1: They're learning about people they never probably even thought about 210 00:11:04,000 --> 00:11:08,640 Speaker 1: or considered. And these roles are written so lovingly in 211 00:11:08,720 --> 00:11:11,920 Speaker 1: a way that you don't see all the time. So 212 00:11:12,160 --> 00:11:14,720 Speaker 1: and and the fact that it was so big and 213 00:11:14,880 --> 00:11:17,720 Speaker 1: was on Broadway for so long. It is such a 214 00:11:17,760 --> 00:11:20,680 Speaker 1: testament to the fact that, you know, anything that we 215 00:11:20,760 --> 00:11:23,079 Speaker 1: might say that we you know, that we do poop 216 00:11:23,120 --> 00:11:23,760 Speaker 1: on a little bit. 217 00:11:24,200 --> 00:11:26,960 Speaker 3: It should never take away those aspects, you know. 218 00:11:27,000 --> 00:11:30,640 Speaker 1: But but that happens sometimes, like with things like even 219 00:11:30,640 --> 00:11:32,280 Speaker 1: like two thousand and one a space Outysse is like 220 00:11:32,320 --> 00:11:34,000 Speaker 1: an incredible film, but it's not a film I want 221 00:11:34,040 --> 00:11:36,400 Speaker 1: to put on all the time, you knowtally yeah, yeah, 222 00:11:36,440 --> 00:11:38,280 Speaker 1: And there are aspects of it that I think, like 223 00:11:38,360 --> 00:11:40,040 Speaker 1: there's a lot of Kubrick stuff that I'm like, this 224 00:11:40,120 --> 00:11:43,400 Speaker 1: is so amazing, and I'm also like not chucking on Kubrick. 225 00:11:44,360 --> 00:11:47,200 Speaker 4: Yeah, No, I mean, I think that's the difference between 226 00:11:47,960 --> 00:11:50,439 Speaker 4: I mean, I'm sure there are people who engage with 227 00:11:50,559 --> 00:11:55,680 Speaker 4: like higher brow art the way yeah, like we might 228 00:11:55,720 --> 00:11:58,000 Speaker 4: engage with something that's a little bit more like popcorner 229 00:11:58,520 --> 00:12:02,480 Speaker 4: or those people in my life experience have tended to 230 00:12:02,600 --> 00:12:07,400 Speaker 4: mostly be like droning bores. There's a pretension involved if 231 00:12:07,440 --> 00:12:10,840 Speaker 4: you're like, but you know, I also do think like 232 00:12:10,880 --> 00:12:14,480 Speaker 4: a balanced diet of browse has been a nice thing 233 00:12:14,559 --> 00:12:16,760 Speaker 4: to be exposed to over the course of life, and 234 00:12:17,040 --> 00:12:19,640 Speaker 4: there's value to like I might not want to put 235 00:12:19,679 --> 00:12:21,880 Speaker 4: on two thousand and one the way I would put 236 00:12:21,920 --> 00:12:25,960 Speaker 4: on like, I don't know, fucking Happy Gilmore or something 237 00:12:26,080 --> 00:12:27,960 Speaker 4: to like you know what I mean. But I think 238 00:12:28,000 --> 00:12:30,000 Speaker 4: that having both in the room is a cool thing, 239 00:12:30,040 --> 00:12:32,360 Speaker 4: and if you only had one, I think you'd be 240 00:12:32,440 --> 00:12:36,120 Speaker 4: missing something. Yeah, this is not even getting into rent 241 00:12:36,240 --> 00:12:38,600 Speaker 4: or the song yet, but it's like I was listening 242 00:12:38,640 --> 00:12:41,200 Speaker 4: to something recently where people were debating the merits of 243 00:12:41,280 --> 00:12:44,080 Speaker 4: Lou Reed, you know, and I think it's like a 244 00:12:44,160 --> 00:12:48,760 Speaker 4: completely valid vantage point to either be like Lou Read 245 00:12:49,520 --> 00:12:53,400 Speaker 4: is one of the great songwriters contributors to like the 246 00:12:53,960 --> 00:12:56,920 Speaker 4: last sixty years of like American rock music, and also 247 00:12:57,040 --> 00:13:00,160 Speaker 4: like art sort of like expanding the definition of what 248 00:13:00,240 --> 00:13:02,319 Speaker 4: a rock band and rock song could be. And there's 249 00:13:02,360 --> 00:13:04,520 Speaker 4: that famous quote developed Underground might not have sold a 250 00:13:04,520 --> 00:13:07,640 Speaker 4: million records, but they started a million bands. They basically 251 00:13:07,720 --> 00:13:10,559 Speaker 4: invented what we think of as like indie rock. Well 252 00:13:10,559 --> 00:13:12,800 Speaker 4: now we think of indie rock differently, but what was 253 00:13:12,840 --> 00:13:15,960 Speaker 4: often thought of as indie rock music sort of like 254 00:13:16,160 --> 00:13:20,160 Speaker 4: adventurism and anti commercialism or whatever. And then also there's 255 00:13:20,200 --> 00:13:25,079 Speaker 4: people if they're like Lou Reed sucks all of its garbage. 256 00:13:25,080 --> 00:13:27,920 Speaker 4: I get that too, because there's like it's like kind 257 00:13:27,960 --> 00:13:32,080 Speaker 4: of like I could see the value in both arguments there. 258 00:13:32,640 --> 00:13:34,679 Speaker 4: And I certainly don't put lou Reed on the way 259 00:13:34,720 --> 00:13:37,840 Speaker 4: I might put on like I don't know something that 260 00:13:37,960 --> 00:13:41,240 Speaker 4: is a little bit less of a like like metal 261 00:13:41,240 --> 00:13:45,200 Speaker 4: Machine music by lou Reed. Glad it exists, ye don't 262 00:13:45,240 --> 00:13:51,920 Speaker 4: need to listen to it for more than five minutes ever, ever, ever, ever, ever. 263 00:13:52,520 --> 00:13:54,920 Speaker 4: And there are people who can and do and will 264 00:13:54,960 --> 00:13:58,400 Speaker 4: and that's amazing. But that's not just I've always feel 265 00:13:58,400 --> 00:14:00,960 Speaker 4: like I've always been like trying when I try to 266 00:14:00,960 --> 00:14:13,079 Speaker 4: be one of those people. Deadlines, breadlines blow my mind, 267 00:14:13,160 --> 00:14:15,720 Speaker 4: and now this deadline eviction. 268 00:14:15,720 --> 00:14:22,560 Speaker 1: Nor We don't really talk about this so much, but 269 00:14:23,040 --> 00:14:25,760 Speaker 1: we should because I think there's something to how your 270 00:14:25,760 --> 00:14:28,480 Speaker 1: ear is tuned right based on what other media you 271 00:14:28,560 --> 00:14:31,120 Speaker 1: absorb and what you've absorbed in the past. And so 272 00:14:32,080 --> 00:14:35,200 Speaker 1: people who have been like following Broadway for years have 273 00:14:35,240 --> 00:14:37,480 Speaker 1: a tuned ear so that when a song like this 274 00:14:37,640 --> 00:14:38,480 Speaker 1: starts and it's. 275 00:14:38,360 --> 00:14:41,080 Speaker 2: Just like I'm the man who's gonna tell you the plot, 276 00:14:41,120 --> 00:14:43,560 Speaker 2: and then I don't really care what the bad guy 277 00:14:43,680 --> 00:14:44,520 Speaker 2: says like. 278 00:14:46,480 --> 00:14:47,600 Speaker 3: That, to which could have. 279 00:14:47,600 --> 00:14:49,480 Speaker 5: Been on User Illusion one or two by the way 280 00:14:49,520 --> 00:14:53,560 Speaker 5: as well, but like that, yeah, totally, but like for 281 00:14:53,680 --> 00:14:56,040 Speaker 5: it to be so sort of like also like fed 282 00:14:56,080 --> 00:15:01,320 Speaker 5: through this like really clear articulated actory lens, not like yeah, 283 00:15:01,400 --> 00:15:04,960 Speaker 5: not a cool rock singer who's like down playing it, 284 00:15:05,040 --> 00:15:07,280 Speaker 5: Like yeah, this is a person that has been trained 285 00:15:07,600 --> 00:15:10,040 Speaker 5: and has like been doing musical theater. 286 00:15:10,160 --> 00:15:13,160 Speaker 1: Can can like has perfect pitch maybe and so and 287 00:15:13,200 --> 00:15:15,320 Speaker 1: you feel all that. And there's people who are like 288 00:15:15,680 --> 00:15:18,120 Speaker 1: it's like classical music where like you know, pep their 289 00:15:18,120 --> 00:15:20,800 Speaker 1: ear is tuned to hear everything and be like that's 290 00:15:20,840 --> 00:15:24,600 Speaker 1: the that's the perfect way to play chips Chaypowski. 291 00:15:24,760 --> 00:15:29,400 Speaker 3: What am I trying to say? What Kaikowsky? It's really embarrassing. 292 00:15:28,880 --> 00:15:33,640 Speaker 1: For you were talking about so music for a music 293 00:15:33,680 --> 00:15:35,240 Speaker 1: show for me to mess up Chika. 294 00:15:35,440 --> 00:15:38,280 Speaker 4: We haven't given a chance to Tchaikovsky or Chaipovski. 295 00:15:38,360 --> 00:15:40,400 Speaker 3: It's like I reached for it. I reached for it 296 00:15:40,440 --> 00:15:41,640 Speaker 3: and fill in my face. 297 00:15:41,880 --> 00:15:44,160 Speaker 4: But that's why I love you. The reaching is the point. 298 00:15:44,440 --> 00:15:49,920 Speaker 4: Don't be afraid. Lots lots of the famous movements by 299 00:15:50,000 --> 00:15:51,480 Speaker 4: Chai Ti Lobsky. 300 00:15:51,760 --> 00:15:54,960 Speaker 1: Anyway, keep it all in anyway, so you know the 301 00:15:55,080 --> 00:15:57,160 Speaker 1: tuned ear right, because there are people who are tuned 302 00:15:57,160 --> 00:15:59,200 Speaker 1: to Louie. There are people who are tuned to Bob Dylan, 303 00:15:59,240 --> 00:16:02,680 Speaker 1: and there are people who are tuned to STP and 304 00:16:02,720 --> 00:16:05,200 Speaker 1: there are people totally you know, And so I think 305 00:16:05,320 --> 00:16:09,760 Speaker 1: like it really for certain people who grew up with 306 00:16:09,800 --> 00:16:12,480 Speaker 1: this and understood it. Like like again, my wife has 307 00:16:12,480 --> 00:16:16,800 Speaker 1: this like incredible tuned ear for Broadway and especially that era, 308 00:16:17,240 --> 00:16:18,800 Speaker 1: and this changed her life in a. 309 00:16:18,720 --> 00:16:19,160 Speaker 3: Lot of ways. 310 00:16:19,560 --> 00:16:22,360 Speaker 1: She will say that this piece of media changed her life, 311 00:16:22,400 --> 00:16:25,560 Speaker 1: probably more than a lot of things. She was a 312 00:16:25,640 --> 00:16:28,760 Speaker 1: little girl and wanted to be in this cast. Yeah, 313 00:16:29,640 --> 00:16:31,400 Speaker 1: like find an eight year old in the audience and 314 00:16:31,440 --> 00:16:33,320 Speaker 1: be like, we need you to play one of these 315 00:16:33,720 --> 00:16:37,960 Speaker 1: like street kids, street you know, twenty year olds or something. 316 00:16:38,000 --> 00:16:41,720 Speaker 4: Yeah, yeah, yeah, which is beautiful and like mega important. 317 00:16:41,720 --> 00:16:43,320 Speaker 4: And I'm sure there are a lot of people who 318 00:16:43,400 --> 00:16:46,520 Speaker 4: feel similarly to her about that had that same reaction 319 00:16:46,640 --> 00:16:50,440 Speaker 4: to it. I think that the person I went and 320 00:16:50,440 --> 00:16:52,560 Speaker 4: saw the play with when I was teenager definitely felt 321 00:16:52,560 --> 00:16:54,600 Speaker 4: that way about it as a as a kid in 322 00:16:54,680 --> 00:16:58,120 Speaker 4: high school that was doing theater after school, you know 323 00:16:58,120 --> 00:17:01,200 Speaker 4: what I mean, Like, I'm sure I know, and I 324 00:17:01,240 --> 00:17:04,439 Speaker 4: think that's an invaluable truth. And I think the thing 325 00:17:04,440 --> 00:17:06,680 Speaker 4: you're saying about the tuning of the ear is so yeah, 326 00:17:06,720 --> 00:17:08,680 Speaker 4: it just drives home the whole one of the main 327 00:17:08,800 --> 00:17:12,720 Speaker 4: central themes of this entire podcast and enterprise, which is 328 00:17:12,720 --> 00:17:16,560 Speaker 4: that there is nothing no matter what we ever say here, 329 00:17:17,560 --> 00:17:22,240 Speaker 4: it should always be engaged with in the broader context 330 00:17:22,400 --> 00:17:27,480 Speaker 4: of there is nothing more subjective than what somebody does 331 00:17:27,640 --> 00:17:33,640 Speaker 4: or doesn't like when it comes to art, music, theater, television, film, 332 00:17:33,800 --> 00:17:38,040 Speaker 4: like it's aesthetics, it's what you So your ear is tuned, right, 333 00:17:38,160 --> 00:17:40,879 Speaker 4: like I We've told this, We've talked this way on 334 00:17:40,920 --> 00:17:44,439 Speaker 4: the pod before, but like I it's even like I 335 00:17:44,600 --> 00:17:47,640 Speaker 4: was somebody who was like through my parents and through 336 00:17:47,640 --> 00:17:51,399 Speaker 4: my older siblings, like there was like songwriting and rock music, 337 00:17:51,640 --> 00:17:55,000 Speaker 4: songwriting and rock music. So my entry point for myself 338 00:17:55,080 --> 00:17:57,959 Speaker 4: is first a thing like Guns N' Roses, right, and 339 00:17:58,000 --> 00:18:00,680 Speaker 4: then it's like even then it's Nerva. But then even 340 00:18:00,720 --> 00:18:04,040 Speaker 4: through those two things, I hear Pavement for the first time, 341 00:18:04,160 --> 00:18:07,920 Speaker 4: and I'm authentically like, you're allowed to sound like this band, 342 00:18:08,359 --> 00:18:11,719 Speaker 4: Like it took tuning to even get from Nirvana to Pavement. 343 00:18:11,840 --> 00:18:14,160 Speaker 4: It definitely took tuning to get from Guns n' Roses 344 00:18:14,200 --> 00:18:16,600 Speaker 4: to Nirvana, you know what I mean? Sure, And so. 345 00:18:17,920 --> 00:18:20,840 Speaker 1: Radiohead is like the biggest leap, but when you really 346 00:18:20,880 --> 00:18:23,280 Speaker 1: step back, you're like, it's not that far go. 347 00:18:23,960 --> 00:18:26,000 Speaker 4: That's so funny you say this, We're really far field, 348 00:18:26,040 --> 00:18:27,600 Speaker 4: but all will come back. I think this is part 349 00:18:27,640 --> 00:18:29,960 Speaker 4: of what the mission here is. There's a song on 350 00:18:30,040 --> 00:18:31,920 Speaker 4: Okay Computer. I hadn't listened to that record all the 351 00:18:31,960 --> 00:18:33,159 Speaker 4: way through in a while, and I was on a 352 00:18:33,240 --> 00:18:35,159 Speaker 4: drive somewhere recently and I was like, you know what 353 00:18:35,200 --> 00:18:37,000 Speaker 4: I want to I want to put that on hmm. 354 00:18:37,640 --> 00:18:42,080 Speaker 4: And there's a song called Electioneering on that record. That's 355 00:18:42,160 --> 00:18:45,199 Speaker 4: the closest Radiohead ever gets to Guns n' Roses. You 356 00:18:45,240 --> 00:18:47,240 Speaker 4: listen to that song now with me having said that, 357 00:18:47,280 --> 00:18:49,600 Speaker 4: and I promise you you will hear what I'm talking about. 358 00:18:49,640 --> 00:18:52,720 Speaker 4: There's something in that there. I'm like, this is like 359 00:18:52,880 --> 00:18:55,720 Speaker 4: the closest. Because Axel Rose, for all of his horseshit, 360 00:18:55,880 --> 00:18:59,239 Speaker 4: had art pretensions too. He thought he was like and 361 00:18:59,320 --> 00:19:02,159 Speaker 4: he had some of this musical theater shit in the 362 00:19:02,160 --> 00:19:05,480 Speaker 4: mix with him too, probably by way of Queen, you 363 00:19:05,520 --> 00:19:07,680 Speaker 4: know what I mean. Like I totally assumed a lot 364 00:19:07,720 --> 00:19:11,480 Speaker 4: of Queen and anyway, The point is right there is 365 00:19:11,840 --> 00:19:15,360 Speaker 4: you make these these these tuning, these fine tuning changes 366 00:19:15,440 --> 00:19:17,159 Speaker 4: happen over the course of a life, and then some 367 00:19:17,200 --> 00:19:22,440 Speaker 4: things get retuned and revisited for me exactly what you identified, 368 00:19:22,680 --> 00:19:25,960 Speaker 4: exactly for better and for worse. And it is definitely 369 00:19:26,000 --> 00:19:30,639 Speaker 4: in some ways for worse. I have tuned some kind 370 00:19:30,680 --> 00:19:38,680 Speaker 4: of allergic response to kind of what animates even the 371 00:19:38,720 --> 00:19:43,960 Speaker 4: best musical theater. That might make me sound and totally 372 00:19:44,080 --> 00:19:48,240 Speaker 4: fair either like like a major blind spot. It's a 373 00:19:48,240 --> 00:19:50,760 Speaker 4: bummer for me because there's really beautiful, amazing things that 374 00:19:50,800 --> 00:19:53,160 Speaker 4: I'm sure I and also it might make me sound 375 00:19:53,200 --> 00:19:56,040 Speaker 4: like no fun, which I've got some feedback about certain 376 00:19:56,160 --> 00:20:00,399 Speaker 4: things about the way, you know, but there is something 377 00:20:00,440 --> 00:20:07,119 Speaker 4: about that thing, the hyper and unciative. We're moving the 378 00:20:07,160 --> 00:20:10,320 Speaker 4: plot forward, We're making sure to hammer through all these concerns. 379 00:20:10,400 --> 00:20:13,240 Speaker 4: It's both and again almost like sorry. One of the 380 00:20:13,280 --> 00:20:14,720 Speaker 4: things that I should have said almost the very beginning, 381 00:20:14,720 --> 00:20:17,600 Speaker 4: when we're talking about the social context of this music 382 00:20:18,520 --> 00:20:23,840 Speaker 4: is like everyone who's in something like rent is fucking 383 00:20:23,920 --> 00:20:28,200 Speaker 4: amazing at what they do there. They are life long 384 00:20:28,600 --> 00:20:33,040 Speaker 4: instruments who have been literally pursuing this actively at least 385 00:20:33,080 --> 00:20:35,000 Speaker 4: since junior high school, high school. But I've had an 386 00:20:35,040 --> 00:20:37,520 Speaker 4: interest in it probably since earlier than that, for sure, 387 00:20:37,560 --> 00:20:40,480 Speaker 4: and they've many of them have gone to the most estimable, 388 00:20:41,240 --> 00:20:44,679 Speaker 4: you know, institutions to arrive at this moment. 389 00:20:44,840 --> 00:20:48,560 Speaker 3: They're shredders. They're all shredders, like they're all that's the 390 00:20:48,560 --> 00:20:50,600 Speaker 3: thing problem. They're at ten. 391 00:20:50,880 --> 00:20:59,840 Speaker 4: And I personally, my tuning has been actually almost literally 392 00:21:00,560 --> 00:21:05,119 Speaker 4: the fucking opposite of that the whole thing to me, 393 00:21:05,520 --> 00:21:08,679 Speaker 4: And shredding's amazing, But the thing that's always been amazing 394 00:21:08,720 --> 00:21:12,280 Speaker 4: to me is when someone deploys that tastefully right for 395 00:21:12,400 --> 00:21:16,840 Speaker 4: thirty seconds in a piece of music, to say, I 396 00:21:16,880 --> 00:21:21,000 Speaker 4: could do that too, but I don't think it serves 397 00:21:21,080 --> 00:21:24,120 Speaker 4: the thing now. And I'll stop talking because I feel 398 00:21:24,119 --> 00:21:26,000 Speaker 4: like I've been talking for a while. Thank you. I 399 00:21:26,080 --> 00:21:29,560 Speaker 4: just mean to say, like, I think there's that's for me. 400 00:21:29,880 --> 00:21:34,080 Speaker 4: It's too much. It's like it's like, h it's like 401 00:21:34,280 --> 00:21:35,960 Speaker 4: to talk about two thousand and one. It's like the 402 00:21:36,200 --> 00:21:40,080 Speaker 4: streaming lights at the end. But if all of them 403 00:21:40,080 --> 00:21:41,920 Speaker 4: were just kind of like waving at me the whole 404 00:21:41,920 --> 00:21:43,600 Speaker 4: time too, there's just a point where I need to 405 00:21:43,600 --> 00:21:46,160 Speaker 4: like sit down and be like, damn. 406 00:21:46,080 --> 00:21:48,639 Speaker 1: I couldn't agree more and I feel very similarly tuned. 407 00:21:49,040 --> 00:21:51,520 Speaker 1: And I was watching today like it just kind of 408 00:21:51,560 --> 00:21:55,399 Speaker 1: came up a video that was somebody, you know behind 409 00:21:55,400 --> 00:21:58,360 Speaker 1: the drum set the camera was behind, showing like how 410 00:21:58,440 --> 00:22:00,520 Speaker 1: Ringo played on Happiness Warm Gun. 411 00:22:00,560 --> 00:22:02,359 Speaker 3: I think a song we've talked about and. 412 00:22:02,280 --> 00:22:05,920 Speaker 1: We specifically Ringo's part on just Ringos parts, and it's 413 00:22:06,520 --> 00:22:09,960 Speaker 1: it's crazy simple. It's like it makes like Meg White 414 00:22:09,960 --> 00:22:11,800 Speaker 1: from the White Stripes look complicated. 415 00:22:11,960 --> 00:22:13,080 Speaker 4: Yeah, it look like Neil Pert. 416 00:22:13,520 --> 00:22:16,400 Speaker 1: Yeah, but but there are little sections here and there, 417 00:22:16,480 --> 00:22:19,919 Speaker 1: and there's that part that's like the Siberia jumped the Gun, 418 00:22:20,119 --> 00:22:23,080 Speaker 1: which is actually complicated, and that's like a great example 419 00:22:23,080 --> 00:22:27,000 Speaker 1: of it because what he does is so simple. It's 420 00:22:27,040 --> 00:22:30,080 Speaker 1: like he sometimes like it just hits the crash and 421 00:22:30,160 --> 00:22:32,040 Speaker 1: lets it ring for a while before he even goes 422 00:22:32,080 --> 00:22:32,920 Speaker 1: back to the high. 423 00:22:32,720 --> 00:22:35,480 Speaker 3: Hat just to just to just to help. 424 00:22:35,760 --> 00:22:37,320 Speaker 1: And also, you know, there's a lot of like do 425 00:22:37,440 --> 00:22:39,600 Speaker 1: Wop inspired stuff in that song, so I think he's 426 00:22:39,600 --> 00:22:43,200 Speaker 1: harkening back to that. And those players for sure were 427 00:22:43,240 --> 00:22:46,159 Speaker 1: reserved until they had to be you know, stuff that 428 00:22:46,320 --> 00:22:48,680 Speaker 1: came out of Motown. Like all these guys are shredders, 429 00:22:48,720 --> 00:22:50,679 Speaker 1: but they don't shred until they have to, you know, 430 00:22:51,280 --> 00:22:53,720 Speaker 1: So I think this song is like at a ten 431 00:22:53,800 --> 00:22:56,600 Speaker 1: for the entire time, and they're also like, let's put 432 00:22:56,840 --> 00:22:59,360 Speaker 1: let's let's like go you know, even try to even 433 00:22:59,359 --> 00:23:02,120 Speaker 1: call it verse verse and stuff. The whole ending has 434 00:23:02,240 --> 00:23:05,120 Speaker 1: like it's like there's A and B and then there's 435 00:23:05,119 --> 00:23:06,840 Speaker 1: like let's go see and then we'll do D next, 436 00:23:06,880 --> 00:23:08,800 Speaker 1: and then we'll do the E part, and then it's 437 00:23:08,840 --> 00:23:11,280 Speaker 1: like we'll harken back and then this will be reminded 438 00:23:11,280 --> 00:23:13,119 Speaker 1: of it, but we're doing a key change and everyone 439 00:23:13,160 --> 00:23:14,960 Speaker 1: will come and sing here, and then there's like a 440 00:23:15,040 --> 00:23:18,639 Speaker 1: huge choir that feels like the wall, you know, and 441 00:23:18,680 --> 00:23:21,639 Speaker 1: then it's like it's like, let's do everything in one song. 442 00:23:22,240 --> 00:23:25,160 Speaker 1: And then it's but it's amazing. It's it's amazing. It's 443 00:23:25,200 --> 00:23:28,320 Speaker 1: it's a it's fireworks. It's like you're watching a fireworks 444 00:23:28,320 --> 00:23:31,200 Speaker 1: show and you're suddenly like what is going It's disorienting 445 00:23:31,240 --> 00:23:33,399 Speaker 1: and you know, but also can kind of feel a 446 00:23:33,400 --> 00:23:35,119 Speaker 1: little long, but it's also amazing. 447 00:23:36,200 --> 00:23:41,000 Speaker 3: Everybody's riffing and singing, belting. It's it's incredible. 448 00:23:41,040 --> 00:23:43,480 Speaker 1: But and we talk about song structures sometimes and this 449 00:23:43,520 --> 00:23:46,399 Speaker 1: blow is probably anything we've ever had on this show 450 00:23:46,600 --> 00:23:49,520 Speaker 1: away in terms of just like the craftsmanship of like 451 00:23:50,200 --> 00:23:52,800 Speaker 1: thinking out these ideas and how it should harmonically go 452 00:23:52,920 --> 00:23:57,200 Speaker 1: and it's it's it's amazing, but it ain't punk rock. 453 00:24:09,119 --> 00:24:12,159 Speaker 4: That's funny that you end on that as a joke 454 00:24:12,680 --> 00:24:17,000 Speaker 4: because part of also everything you just said totally resonates, 455 00:24:17,280 --> 00:24:21,040 Speaker 4: and also given the time in which this was made, 456 00:24:21,240 --> 00:24:25,200 Speaker 4: I also struggle with when musical theater does do genre 457 00:24:25,440 --> 00:24:27,800 Speaker 4: in this way that's like and this is like their 458 00:24:27,960 --> 00:24:31,560 Speaker 4: version of like, it's funny. When it started, I was 459 00:24:31,680 --> 00:24:35,520 Speaker 4: laughing because it's an inevitability and to the chances I apologize, 460 00:24:35,520 --> 00:24:38,919 Speaker 4: but I also you know, as they say sorry, not sorry, 461 00:24:39,520 --> 00:24:41,560 Speaker 4: the first thirty seconds of the song, you're like, oh right, 462 00:24:41,720 --> 00:24:46,320 Speaker 4: this is a musical theater writer reckoning with the fucking 463 00:24:46,440 --> 00:24:49,880 Speaker 4: aftermath of Nirvana. The first minute of that song is like, Oh, 464 00:24:49,920 --> 00:24:52,560 Speaker 4: that's like, that's what this person who went to I 465 00:24:52,560 --> 00:24:55,800 Speaker 4: don't know anything, but I'm assue I'm making some assumptions 466 00:24:56,480 --> 00:24:59,320 Speaker 4: the stuff that whether you went to or were born 467 00:24:59,320 --> 00:25:01,320 Speaker 4: and bred in a cultu that steeped in places like 468 00:25:01,440 --> 00:25:04,200 Speaker 4: Juilliard and and and the Performing School of the Arts, 469 00:25:04,200 --> 00:25:08,560 Speaker 4: and like these institutions in Berkeley and whatever else, Like 470 00:25:09,560 --> 00:25:14,359 Speaker 4: that's there's something about the way when those places are 471 00:25:14,480 --> 00:25:20,800 Speaker 4: interacting with things like punk music, hip underground. There's something 472 00:25:20,880 --> 00:25:24,720 Speaker 4: about it that I'm like, yeah, just it's not it's 473 00:25:24,720 --> 00:25:25,160 Speaker 4: not for. 474 00:25:25,200 --> 00:25:28,840 Speaker 1: Me, because that's the thing they want to take that influence, 475 00:25:28,880 --> 00:25:33,280 Speaker 1: but also filter it's for a Broadway audience. So when 476 00:25:33,320 --> 00:25:36,119 Speaker 1: they were like you know, when it's like, uh, you know, 477 00:25:36,200 --> 00:25:39,960 Speaker 1: it's just like, uh, you know, I'm trying to think, 478 00:25:40,080 --> 00:25:43,720 Speaker 1: like trying to find like a I was. 479 00:25:43,760 --> 00:25:47,560 Speaker 4: Chiv kobski is that you're thinking of, I'm. 480 00:25:47,440 --> 00:25:50,080 Speaker 1: Trying to take like you know, it's like, well the 481 00:25:50,240 --> 00:25:56,440 Speaker 1: dogs can find her, Yeah, to live for tomorrow. It's 482 00:25:56,840 --> 00:25:59,600 Speaker 1: seen the thing it's taking, the taking the grunge, but 483 00:25:59,640 --> 00:26:02,200 Speaker 1: then trying to clean it up for a certain audience, right, 484 00:26:02,680 --> 00:26:05,040 Speaker 1: and sure you know it's and that to me is 485 00:26:05,160 --> 00:26:09,119 Speaker 1: like it's so fun. It's like it's but it's it 486 00:26:09,200 --> 00:26:10,679 Speaker 1: feels like it's a little cringe. 487 00:26:10,760 --> 00:26:10,879 Speaker 4: Right. 488 00:26:11,000 --> 00:26:13,479 Speaker 1: You're like, oh, like I don't think that was what 489 00:26:13,600 --> 00:26:14,879 Speaker 1: the intention was. 490 00:26:15,080 --> 00:26:16,880 Speaker 4: Well, did you ever see the thing? It's like when 491 00:26:17,000 --> 00:26:18,840 Speaker 4: I guess there was a Bob Dylan musical in the 492 00:26:18,840 --> 00:26:21,040 Speaker 4: two thousands, Girl from the North Country. Maybe it was 493 00:26:21,080 --> 00:26:23,000 Speaker 4: earlier than that. It was not the one that was 494 00:26:23,040 --> 00:26:24,320 Speaker 4: out a couple of years ago, but it was a 495 00:26:24,400 --> 00:26:27,919 Speaker 4: musical on Broadway, I want to say, and maybe the Aughts, 496 00:26:28,000 --> 00:26:31,080 Speaker 4: I don't know, maybe And it's like they do the 497 00:26:31,240 --> 00:26:35,159 Speaker 4: cast performs their version of like a rolling stone on 498 00:26:35,960 --> 00:26:40,840 Speaker 4: like Ellen or something like that. It's like shout outs 499 00:26:40,840 --> 00:26:42,840 Speaker 4: catatonic youths. If you guys get. 500 00:26:42,720 --> 00:26:43,160 Speaker 3: One of them. 501 00:26:44,560 --> 00:26:47,080 Speaker 4: I'm certain that he has posted that. 502 00:26:47,040 --> 00:26:48,879 Speaker 3: At something I have. That's why it sounds so familiar. 503 00:26:48,880 --> 00:26:50,040 Speaker 3: And I was like, where what have I seen it? 504 00:26:50,280 --> 00:26:52,760 Speaker 3: It is beyond. 505 00:26:53,600 --> 00:26:57,600 Speaker 4: It's beyond. It's totally batshit and it's taking like whatever 506 00:26:57,960 --> 00:27:00,800 Speaker 4: was ever and Bob Dylan's a car you could pick 507 00:27:01,440 --> 00:27:04,679 Speaker 4: in any number of infinite directions, but whatever that was 508 00:27:04,920 --> 00:27:09,760 Speaker 4: is just like it's catastrophically besides the point. Yeah, and 509 00:27:10,200 --> 00:27:12,520 Speaker 4: and sort of a perversion of the point anyway. All 510 00:27:12,560 --> 00:27:17,600 Speaker 4: that is just to say this I fully accept and embrace, 511 00:27:18,520 --> 00:27:21,159 Speaker 4: like I could do a lyrical exitgesis we have you know, 512 00:27:21,200 --> 00:27:23,399 Speaker 4: we're coming to the close here of this. It's not 513 00:27:23,480 --> 00:27:27,560 Speaker 4: even the point. This is this kind of thing is masterly, 514 00:27:28,080 --> 00:27:33,960 Speaker 4: masterfully done, a cultural touchstone, and I fully and important 515 00:27:34,040 --> 00:27:38,440 Speaker 4: in its politics important in its existence, and I fully 516 00:27:38,800 --> 00:27:44,320 Speaker 4: accept the fact that I am weirdly immune to its 517 00:27:44,520 --> 00:27:48,520 Speaker 4: charms and seem to have been for length of life. 518 00:27:49,040 --> 00:27:51,600 Speaker 4: It is never going to be a thing, I don't think, 519 00:27:51,680 --> 00:27:54,960 Speaker 4: and I hope maybe more'll be revealed my tuning continues, 520 00:27:55,280 --> 00:27:57,600 Speaker 4: but I don't think this is ever going to be 521 00:27:57,720 --> 00:28:01,080 Speaker 4: the genre for me that I am. Like. I both 522 00:28:01,240 --> 00:28:06,640 Speaker 4: it's like marveling. It's something that is very beautifully constructed 523 00:28:07,600 --> 00:28:13,320 Speaker 4: that you have absolutely no attraction to whatsoever. That's true 524 00:28:13,320 --> 00:28:15,640 Speaker 4: of people, right, that's aesthetics as well. You could see 525 00:28:15,640 --> 00:28:18,240 Speaker 4: somebody that is like thought of as like universally beautiful 526 00:28:18,240 --> 00:28:21,040 Speaker 4: and just nothing in you moves at all, no heart race, 527 00:28:21,160 --> 00:28:24,560 Speaker 4: no blood pump. You're just kind of like that person's 528 00:28:24,720 --> 00:28:27,920 Speaker 4: it's like looking at a really pretty shard of glass 529 00:28:28,040 --> 00:28:31,280 Speaker 4: or something. I don't know, it doesn't really That's how 530 00:28:31,320 --> 00:28:33,600 Speaker 4: I feel. And Rent is probably like at the top 531 00:28:33,640 --> 00:28:35,880 Speaker 4: of the list of like it's really great, But I'm 532 00:28:35,920 --> 00:28:38,280 Speaker 4: also just like I hear it and I'm like, thank 533 00:28:38,320 --> 00:28:41,120 Speaker 4: god Lisa had this experience with it, and so many 534 00:28:41,120 --> 00:28:44,960 Speaker 4: other people did as well. I mean that, and there's 535 00:28:45,040 --> 00:28:47,080 Speaker 4: things I feel that way about that I'm sure those 536 00:28:47,080 --> 00:28:49,320 Speaker 4: people would be like, who gives a shit about that 537 00:28:49,440 --> 00:28:49,920 Speaker 4: at all? 538 00:28:50,360 --> 00:28:53,640 Speaker 1: And there are songs in this show that like there's 539 00:28:53,680 --> 00:28:57,880 Speaker 1: that song like one song Glory, one song before the 540 00:28:58,000 --> 00:28:59,160 Speaker 1: virus takes hold, like. 541 00:28:59,240 --> 00:29:01,800 Speaker 3: It's stripped down and it's exactly what we're talking about. 542 00:29:01,880 --> 00:29:05,080 Speaker 1: Yeah, And so so this is to me the biggest, 543 00:29:05,120 --> 00:29:08,240 Speaker 1: biggest example of like it turned up all the way 544 00:29:08,280 --> 00:29:10,160 Speaker 1: and it's like a little too much for me, but 545 00:29:10,320 --> 00:29:14,120 Speaker 1: it has really cool stuff. And and also like if 546 00:29:14,160 --> 00:29:16,000 Speaker 1: you look at Rocky Horror, right, I think like they 547 00:29:16,000 --> 00:29:16,280 Speaker 1: do this. 548 00:29:16,360 --> 00:29:18,400 Speaker 4: There's a little Rocky Horror in this for sure. 549 00:29:19,080 --> 00:29:20,640 Speaker 1: I think led the way for something like this. But 550 00:29:20,680 --> 00:29:22,800 Speaker 1: they're also even tongue in cheek about it, right, like 551 00:29:22,840 --> 00:29:26,520 Speaker 1: they're they're they're having a little bit fun with it camp. 552 00:29:26,640 --> 00:29:31,000 Speaker 4: It's fully camp. Yeah, this is this And because this 553 00:29:31,080 --> 00:29:35,040 Speaker 4: has a serious message, you kind of yeah, I think 554 00:29:35,080 --> 00:29:37,360 Speaker 4: that the best thing to be said about it is 555 00:29:37,600 --> 00:29:40,800 Speaker 4: to me, it's like that word dynamics and this is 556 00:29:40,840 --> 00:29:43,440 Speaker 4: like they broke the dynamics knob off and just were 557 00:29:43,480 --> 00:29:46,320 Speaker 4: like it's almost like a mad scientist was like, you know, 558 00:29:46,560 --> 00:29:50,640 Speaker 4: just like yeah, and there's there's something to it, but 559 00:29:50,960 --> 00:29:54,640 Speaker 4: it's not it's it's something that I just it's it's 560 00:29:55,040 --> 00:29:57,440 Speaker 4: the look, it's baked into what it's meant to be. 561 00:29:57,520 --> 00:30:02,640 Speaker 4: It's on purpose. The ARTI of this stuff has always 562 00:30:02,680 --> 00:30:06,160 Speaker 4: been an impediment. You can make the argument everything's got artifice. 563 00:30:06,200 --> 00:30:08,160 Speaker 4: A guy getting up on the stage and an acoustic instrument 564 00:30:08,160 --> 00:30:10,360 Speaker 4: and a T shirt and jeans, there's artifice in that too. 565 00:30:10,760 --> 00:30:13,160 Speaker 3: Tchaikowsky to Chatilowski, hoop. 566 00:30:13,240 --> 00:30:15,360 Speaker 4: Change, heat, deity and everything. 567 00:30:15,520 --> 00:30:18,880 Speaker 3: I say ye back to Hamilton. 568 00:30:20,080 --> 00:30:26,960 Speaker 1: Wells, dominate me instead of subscribe. You're like, dominate me 569 00:30:28,920 --> 00:30:30,960 Speaker 1: all right, thanks, guys, Dominate me alright. 570 00:30:31,000 --> 00:30:32,040 Speaker 4: Three hundred and six 571 00:30:35,640 --> 00:30:43,320 Speaker 1: Ret Okay Live Strong Bracelets Guys A piece Forever, Live 572 00:30:43,360 --> 00:30:44,239 Speaker 1: Strong Bracelets Up.