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 chick come 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 chick, 4 00:00:09,720 --> 00:00:11,400 Speaker 1: come morning, Give it a chi You want to give 5 00:00:11,440 --> 00:00:14,280 Speaker 1: it a chance, give it a chance, give it a chance. 6 00:00:14,400 --> 00:00:21,520 Speaker 1: Just give it a chance. Yes, Welcome to the chaos. 7 00:00:24,040 --> 00:00:26,440 Speaker 2: Well what is that? That's good? What is that you mean? 8 00:00:26,440 --> 00:00:27,360 Speaker 1: What do you mean? What do you mean? 9 00:00:27,400 --> 00:00:29,800 Speaker 2: What is what? Welcome to the chaos? 10 00:00:29,960 --> 00:00:31,600 Speaker 1: Oh that's me. That's what I sound like and what 11 00:00:31,680 --> 00:00:34,440 Speaker 1: I say. That's how I open every episode for the chancers. 12 00:00:34,760 --> 00:00:36,640 Speaker 2: Oh, I don't think. I don't think I've been paying 13 00:00:36,640 --> 00:00:37,760 Speaker 2: close enough at ten ship. 14 00:00:37,880 --> 00:00:39,960 Speaker 1: You kidding me? You have to listen to over every 15 00:00:39,960 --> 00:00:42,760 Speaker 1: omar because for the chancers, I always give them that 16 00:00:42,840 --> 00:00:43,760 Speaker 1: guy ass. 17 00:00:45,400 --> 00:00:47,000 Speaker 2: Wait, I was this a hint? 18 00:00:47,960 --> 00:00:48,200 Speaker 1: No? 19 00:00:48,479 --> 00:00:49,440 Speaker 3: Oh not. 20 00:00:50,280 --> 00:00:52,599 Speaker 2: I thought I was supposed to guess where we were 21 00:00:52,640 --> 00:00:54,800 Speaker 2: going from there something about that. 22 00:00:54,960 --> 00:00:56,840 Speaker 1: I don't think it's happening for the rest of our lives. 23 00:00:56,840 --> 00:00:58,320 Speaker 1: Now you're gonna be like, is that a hint? 24 00:00:58,400 --> 00:00:58,640 Speaker 3: Yeah? 25 00:00:58,680 --> 00:01:00,360 Speaker 2: I supposed to know what song we're doing, and you're like, 26 00:01:00,360 --> 00:01:02,880 Speaker 2: we're actually just out in the street. I do feel 27 00:01:02,920 --> 00:01:05,360 Speaker 2: like maybe for some reason, what you're saying makes me 28 00:01:05,400 --> 00:01:07,720 Speaker 2: think of Chris Angel mind freak. But I don't think 29 00:01:07,840 --> 00:01:11,440 Speaker 2: there's a song in that necessarily or that. Maybe that's 30 00:01:11,440 --> 00:01:13,800 Speaker 2: not even how Chris Angel mind freak rests in peace. 31 00:01:14,080 --> 00:01:16,360 Speaker 2: Maybe that's not even how he talked. He's alive, right, 32 00:01:16,400 --> 00:01:17,520 Speaker 2: We're right? Should I check? 33 00:01:18,240 --> 00:01:20,480 Speaker 1: Actually, I don't know. I always get him confused with 34 00:01:20,520 --> 00:01:24,760 Speaker 1: all the other magicians like uh Dallagher, carrat Top, yeah, 35 00:01:25,000 --> 00:01:31,120 Speaker 1: a Copperfield. Do you think Carrot Top considers himself like 36 00:01:31,120 --> 00:01:33,200 Speaker 1: a magician or a comedian or an entertainer. 37 00:01:33,560 --> 00:01:37,920 Speaker 2: I think, well, Cedric's the entertainer. I think I think 38 00:01:38,000 --> 00:01:41,440 Speaker 2: cat probably. I don't think he thinks of himself as 39 00:01:41,480 --> 00:01:43,760 Speaker 2: a magician. Weight is there anything? Is there any magician 40 00:01:43,840 --> 00:01:45,360 Speaker 2: part of his act at all? I was just being 41 00:01:45,360 --> 00:01:46,800 Speaker 2: a horse. A horse is patuit. 42 00:01:47,200 --> 00:01:49,120 Speaker 1: Today we're giving carrot Top a chance. 43 00:01:53,480 --> 00:01:55,840 Speaker 2: I saw a commercial with Will Farrell yesterday, and I 44 00:01:55,840 --> 00:01:57,400 Speaker 2: don't know if it was like part of the commercial, 45 00:01:57,480 --> 00:02:00,200 Speaker 2: but he looked like carrots Top, like a lot of thing. 46 00:02:00,240 --> 00:02:01,600 Speaker 2: It's happening to him now. 47 00:02:01,960 --> 00:02:07,880 Speaker 1: Sometimes sometimes, yeah, sometimes men age into other people. Wow, 48 00:02:08,400 --> 00:02:10,720 Speaker 1: he's aging out of the drummer of red Aushili Pepper's 49 00:02:10,760 --> 00:02:11,600 Speaker 1: and it's the carat. 50 00:02:11,360 --> 00:02:18,079 Speaker 2: Top, two great tastes that taste great forever. 51 00:02:19,320 --> 00:02:20,600 Speaker 1: That's a bit of a You're a bit of a 52 00:02:20,639 --> 00:02:21,680 Speaker 1: carrat Top in some ways. 53 00:02:21,800 --> 00:02:23,880 Speaker 2: I know. People always say, oh, you look just like 54 00:02:23,960 --> 00:02:26,120 Speaker 2: Carrot Top. Oh, you have the same muscles as Karen. 55 00:02:26,760 --> 00:02:27,560 Speaker 2: Did he bite you? 56 00:02:28,280 --> 00:02:31,160 Speaker 1: And a werewolf? 57 00:02:31,520 --> 00:02:31,760 Speaker 2: Cat? 58 00:02:32,000 --> 00:02:32,400 Speaker 1: Werewolves? 59 00:02:32,639 --> 00:02:35,200 Speaker 2: Yeah, they think it's like a werewolf, or they think 60 00:02:35,240 --> 00:02:39,520 Speaker 2: it's like Spider Man, you know, radioactive Carrot Top and 61 00:02:39,560 --> 00:02:40,680 Speaker 2: I have his muscles. 62 00:02:42,080 --> 00:02:45,000 Speaker 1: Today we're doing Sour Girl plays Stone Temple Violet. 63 00:02:46,040 --> 00:02:50,640 Speaker 2: Oh, I don't even if I know this. I have 64 00:02:50,720 --> 00:02:51,840 Speaker 2: a rich history with this. 65 00:02:51,919 --> 00:02:55,320 Speaker 1: Typically, I just felt like we were already so having 66 00:02:55,360 --> 00:02:57,440 Speaker 1: too much fun that I was like, that's just I'm 67 00:02:57,440 --> 00:03:01,119 Speaker 1: gonna take away even the guessing. So okay, So there's 68 00:03:01,160 --> 00:03:02,760 Speaker 1: a whole reason why I'm choosing this. 69 00:03:03,000 --> 00:03:03,280 Speaker 2: Okay. 70 00:03:03,960 --> 00:03:06,280 Speaker 1: Part of it is I was hanging out with some 71 00:03:06,360 --> 00:03:13,200 Speaker 1: friends recently, and I promise I have friends, and I 72 00:03:14,320 --> 00:03:16,160 Speaker 1: I was hanging out with some friends and we were 73 00:03:16,200 --> 00:03:20,600 Speaker 1: we put on a bunch of Stone Temple Pilots, and 74 00:03:21,360 --> 00:03:23,560 Speaker 1: I want to listen to this song first, and then 75 00:03:23,560 --> 00:03:27,160 Speaker 1: I want to discuss maybe our histories with Stone Temple Pilots. 76 00:03:27,560 --> 00:03:30,600 Speaker 1: All I'll say is that they have so many more 77 00:03:30,800 --> 00:03:36,480 Speaker 1: hits than I remember. I can't even believe how many. 78 00:03:36,600 --> 00:03:40,560 Speaker 1: And they're they're like the diversity of music, and it 79 00:03:40,600 --> 00:03:44,360 Speaker 1: is like kind of insane, and they're kind of they're 80 00:03:44,440 --> 00:03:47,120 Speaker 1: kind of a band I write off sometimes. But all 81 00:03:47,160 --> 00:03:51,040 Speaker 1: that this might be the reason why in the early 82 00:03:51,120 --> 00:03:53,840 Speaker 1: two thousand they put out this song called Sour Girl, 83 00:03:54,360 --> 00:03:56,880 Speaker 1: which I also suggest maybe watching the music video. It 84 00:03:56,960 --> 00:03:59,040 Speaker 1: has Buffy the Vampire Slayer. 85 00:03:59,200 --> 00:04:01,480 Speaker 2: Oh what was wait? Wait? Wait what was her name? 86 00:04:01,880 --> 00:04:05,960 Speaker 2: Not Christy Swanson, not the og but the try Michelle Sarah, 87 00:04:06,080 --> 00:04:07,400 Speaker 2: Michelle Geller. That's right. 88 00:04:07,800 --> 00:04:09,960 Speaker 1: This song kind of turned me off to them, but 89 00:04:10,080 --> 00:04:11,760 Speaker 1: I haven't listened to it in so long. I just 90 00:04:11,840 --> 00:04:13,800 Speaker 1: I have the chorus in my head, or actually I 91 00:04:13,800 --> 00:04:15,560 Speaker 1: don't have the chorus. I have more of the verse 92 00:04:15,600 --> 00:04:17,200 Speaker 1: in my head. That's the part that I've always used 93 00:04:17,240 --> 00:04:20,440 Speaker 1: to find yucky, and the chorus like is a little better. 94 00:04:20,520 --> 00:04:22,880 Speaker 1: But we'll go into all that. Can't wait and listen 95 00:04:22,920 --> 00:04:24,839 Speaker 1: to it right now, sports. 96 00:04:24,440 --> 00:04:36,960 Speaker 3: Fans, I totally forgot about that song, like fully for 97 00:04:37,200 --> 00:04:37,880 Speaker 3: do you remember it? 98 00:04:37,920 --> 00:04:38,120 Speaker 1: Though? 99 00:04:38,360 --> 00:04:42,080 Speaker 2: Particularly once not when it started not at the very top, 100 00:04:42,120 --> 00:04:43,599 Speaker 2: I was like, oh, maybe this is like because it 101 00:04:43,600 --> 00:04:45,640 Speaker 2: would have made when did this song come out? Two 102 00:04:45,680 --> 00:04:48,400 Speaker 2: thousand and two. 103 00:04:48,040 --> 00:04:50,680 Speaker 1: And one or two? Yeah, So I think that this 104 00:04:50,720 --> 00:04:52,920 Speaker 1: would have been like nine ninety nine, ninety nine. 105 00:04:53,279 --> 00:04:56,560 Speaker 2: I feel like I was not This would have been 106 00:04:56,680 --> 00:04:59,479 Speaker 2: like something that could have very easily slipped by my 107 00:05:00,440 --> 00:05:03,359 Speaker 2: field division at that point. Because also I think like 108 00:05:03,520 --> 00:05:05,240 Speaker 2: I don't know how much I was listening to like 109 00:05:05,839 --> 00:05:08,200 Speaker 2: K rock here in New York, for instance, like which 110 00:05:08,240 --> 00:05:09,840 Speaker 2: was at that time, like the big rock and roll 111 00:05:10,000 --> 00:05:13,159 Speaker 2: station or whatever, And I certainly don't know was this 112 00:05:13,320 --> 00:05:15,400 Speaker 2: like on MTV a lot, this song? 113 00:05:15,600 --> 00:05:18,200 Speaker 1: Actually it was. It was on tr L and it 114 00:05:18,360 --> 00:05:21,159 Speaker 1: won the Best I just saw it won the Best 115 00:05:21,240 --> 00:05:24,520 Speaker 1: Music Video for Cinematography for the VM. 116 00:05:24,680 --> 00:05:26,200 Speaker 2: WHOA, Wow, look at you other. 117 00:05:26,360 --> 00:05:30,719 Speaker 1: I love research Casey so goodt it? You need to 118 00:05:30,800 --> 00:05:33,440 Speaker 1: know the NSA. 119 00:05:33,960 --> 00:05:43,480 Speaker 2: I'm not sorry, asshole NSSA not so aggregated. No, I uh, 120 00:05:44,440 --> 00:05:47,320 Speaker 2: I well I found that. So it's funny because what 121 00:05:47,400 --> 00:05:51,599 Speaker 2: you said about they're not a band I put on 122 00:05:52,600 --> 00:05:56,840 Speaker 2: really ever. But there are singles that will come up 123 00:05:56,839 --> 00:05:59,520 Speaker 2: and you know in your periphery that you're like, oh yeah, 124 00:05:59,520 --> 00:06:04,360 Speaker 2: they were like kind of really good in a lot 125 00:06:04,400 --> 00:06:07,240 Speaker 2: of ways. And for a long time. I think the 126 00:06:07,320 --> 00:06:10,360 Speaker 2: thing I don't know, so for me, when they first 127 00:06:10,400 --> 00:06:14,359 Speaker 2: came out, he was instantly like they made their record, 128 00:06:14,400 --> 00:06:16,279 Speaker 2: that first record and maybe the first two with the 129 00:06:16,279 --> 00:06:19,280 Speaker 2: same guy that made those Pearl Jam records, Brandon O'Brien, 130 00:06:19,960 --> 00:06:22,840 Speaker 2: and he had that kind of burly like post veter 131 00:06:23,040 --> 00:06:25,440 Speaker 2: kind of hang on or wrong like that thing. I 132 00:06:25,480 --> 00:06:29,920 Speaker 2: am miam And I think people thought like they were 133 00:06:30,000 --> 00:06:35,120 Speaker 2: just an inferior Pearl Jam, but I actually think over 134 00:06:35,160 --> 00:06:40,160 Speaker 2: the arc of their band, their high points. You're right, 135 00:06:40,160 --> 00:06:43,039 Speaker 2: they're like really stretched out kind of over a longer 136 00:06:43,080 --> 00:06:45,080 Speaker 2: period of time. Not a longer period. Pearl Jam has 137 00:06:45,080 --> 00:06:47,120 Speaker 2: been around forever, but you know what I mean, they 138 00:06:47,120 --> 00:06:50,000 Speaker 2: had a longer shelf life than I thought they did 139 00:06:50,040 --> 00:06:54,720 Speaker 2: than I remembered them having. And there's interesting different esthetic markers, 140 00:06:54,760 --> 00:06:57,320 Speaker 2: like at each point, this is like a there's so 141 00:06:57,360 --> 00:07:01,560 Speaker 2: many things happening in this song that I'm like that 142 00:07:01,760 --> 00:07:04,160 Speaker 2: to me is like actually like it's it indicates kind 143 00:07:04,160 --> 00:07:08,599 Speaker 2: of how far popular music has moved. And I don't 144 00:07:08,600 --> 00:07:10,520 Speaker 2: mean this in an old man shaking fists of the skyway. 145 00:07:10,640 --> 00:07:12,880 Speaker 2: That's like a very musical song. 146 00:07:13,240 --> 00:07:16,920 Speaker 1: Yeah, it's like it's dark it's it's uh, what's the 147 00:07:16,960 --> 00:07:18,560 Speaker 1: word for it. It's moody. 148 00:07:18,720 --> 00:07:20,560 Speaker 2: It's such a moody. 149 00:07:20,840 --> 00:07:23,680 Speaker 1: Like weird song that that's not even the thing I 150 00:07:23,760 --> 00:07:28,720 Speaker 1: dislike about it necessarily or I remember yeh, but but 151 00:07:28,880 --> 00:07:32,600 Speaker 1: I do now listening with like fresh years or older 152 00:07:32,680 --> 00:07:36,160 Speaker 1: years or something like, I appreciate more of it. It 153 00:07:36,240 --> 00:07:38,880 Speaker 1: was so different than what I remember from that band. 154 00:07:38,960 --> 00:07:41,239 Speaker 1: And again, like just to go into what you were saying, 155 00:07:41,280 --> 00:07:45,320 Speaker 1: like I agree that I forgot how many hits they had, 156 00:07:45,440 --> 00:07:48,720 Speaker 1: Like do you remember like there was at the same time, 157 00:07:48,760 --> 00:07:50,400 Speaker 1: there were three bands that came out with a song 158 00:07:50,440 --> 00:07:50,920 Speaker 1: called Creep. 159 00:07:51,160 --> 00:07:54,760 Speaker 2: Yes, it was a TLC, Radiohead and Stone Table Pilots. 160 00:07:55,040 --> 00:07:57,800 Speaker 1: I now think that Stone Temple Pilots is my favorite Creep. 161 00:07:58,480 --> 00:07:59,160 Speaker 2: It's really good. 162 00:08:00,080 --> 00:08:02,800 Speaker 1: As a kid, I always liked TLC's like I loved Creep. 163 00:08:02,800 --> 00:08:04,640 Speaker 1: I thought I didn't understand what it meant. I just 164 00:08:04,640 --> 00:08:06,640 Speaker 1: thought it was creep, like creepy crawlers. I thought it 165 00:08:06,680 --> 00:08:07,000 Speaker 1: was fun. 166 00:08:07,200 --> 00:08:07,720 Speaker 2: Is that true? 167 00:08:08,120 --> 00:08:10,760 Speaker 1: Yes? And then I found Radioheads Creep and you know, 168 00:08:10,800 --> 00:08:13,040 Speaker 1: you know, you're like, oh cool, this is this is 169 00:08:13,080 --> 00:08:17,400 Speaker 1: the introduction for Radiohead. But now I'm like dig time 170 00:08:17,960 --> 00:08:21,800 Speaker 1: with a broken hand, like like it's I think it's 171 00:08:21,880 --> 00:08:24,600 Speaker 1: the it's my favorite creep. It's definitely like it's not 172 00:08:24,640 --> 00:08:25,920 Speaker 1: over as overplayed for me. 173 00:08:26,040 --> 00:08:29,520 Speaker 2: I think of the three, which were all massive hits, 174 00:08:29,880 --> 00:08:34,599 Speaker 2: it's probably at this point the least overplayed of those three. 175 00:08:34,480 --> 00:08:35,160 Speaker 1: Of for sure. 176 00:08:35,760 --> 00:08:37,760 Speaker 2: I mean, I think that song always it's that is 177 00:08:37,800 --> 00:08:41,640 Speaker 2: a dark that is like a nice dark moody minor key, 178 00:08:41,840 --> 00:08:45,240 Speaker 2: but subtle. It's like acoustic driven. And I feel like 179 00:08:46,040 --> 00:08:49,240 Speaker 2: that he was really good at these like lyrics that 180 00:08:49,280 --> 00:08:51,280 Speaker 2: were like, I know, we have to talk about this 181 00:08:51,360 --> 00:08:54,079 Speaker 2: song at some point, but this is a contextualization exercise, 182 00:08:54,600 --> 00:08:58,320 Speaker 2: like that take time with a wounded hand because it 183 00:08:58,520 --> 00:09:02,440 Speaker 2: likes to heal. Its both like the stupidest thing in 184 00:09:02,480 --> 00:09:04,640 Speaker 2: the world. They're also like, well, you know what, maybe 185 00:09:04,679 --> 00:09:07,360 Speaker 2: he's that kind of talking about like the benefits of patience, 186 00:09:07,400 --> 00:09:10,680 Speaker 2: and like give time time the body keeps the score. 187 00:09:10,880 --> 00:09:13,000 Speaker 2: Like take time with a wounded hand. It likes to heal, 188 00:09:13,040 --> 00:09:15,240 Speaker 2: it needs to heal. Put your fucking hand behind your 189 00:09:15,280 --> 00:09:17,280 Speaker 2: back until it heals. Dog, he stopped trying to steal 190 00:09:17,320 --> 00:09:19,480 Speaker 2: stuff again from that little market on the corner that 191 00:09:19,520 --> 00:09:22,680 Speaker 2: got you where you got your hands slapped. I think 192 00:09:22,679 --> 00:09:23,480 Speaker 2: what he did. 193 00:09:25,440 --> 00:09:28,480 Speaker 1: You love when you and I just keep going, I. 194 00:09:28,480 --> 00:09:31,240 Speaker 2: Do it makes it, It makes it funny to me. 195 00:09:31,480 --> 00:09:33,800 Speaker 2: The tangents aren't. That's just how my brain speaks to 196 00:09:33,840 --> 00:09:36,360 Speaker 2: me all day and I know you do that. Yeah, yeah, 197 00:09:36,400 --> 00:09:38,760 Speaker 2: that actually makes it. I'm like, oh, that was crazy case. 198 00:09:38,800 --> 00:09:40,960 Speaker 2: He's just blown right by? All right? No please? 199 00:09:41,080 --> 00:09:43,600 Speaker 1: Does your daughter do that too? Or does she to me? 200 00:09:43,800 --> 00:09:45,040 Speaker 2: Or does she act like that? 201 00:09:45,120 --> 00:09:47,040 Speaker 1: Does she happen to you? Does she just be like okay, 202 00:09:47,080 --> 00:09:48,680 Speaker 1: So anyway. 203 00:09:48,200 --> 00:09:52,280 Speaker 2: She both does that and has her own version of yeah, yeah, 204 00:09:52,320 --> 00:09:53,160 Speaker 2: I've infected her. 205 00:09:53,400 --> 00:09:55,600 Speaker 1: Yeah, yeah, Well I was going to say that to 206 00:09:55,679 --> 00:09:58,400 Speaker 1: your point about the lyrics, like he's kind of great 207 00:09:58,480 --> 00:10:01,960 Speaker 1: at making dumb or sound fun like, you know, like 208 00:10:02,200 --> 00:10:02,719 Speaker 1: where are you. 209 00:10:02,760 --> 00:10:09,439 Speaker 2: Going for tomorrow? Like Adam saying going where are you going? 210 00:10:09,559 --> 00:10:10,960 Speaker 1: With the mascot found? 211 00:10:11,360 --> 00:10:16,199 Speaker 2: I mean, that's that's an all time ridiculous And I 212 00:10:16,320 --> 00:10:19,800 Speaker 2: feel and I feel when the dogs begin to smell her, 213 00:10:20,360 --> 00:10:33,640 Speaker 2: will she smell alone? 214 00:10:38,679 --> 00:10:41,839 Speaker 1: Something I always felt with STP was I actually think 215 00:10:41,920 --> 00:10:45,319 Speaker 1: in a lot of ways they are more like definitely 216 00:10:45,320 --> 00:10:47,480 Speaker 1: in their stage presence and stuff, they're a little bit 217 00:10:47,520 --> 00:10:50,640 Speaker 1: more hair bandy, like late hairband like you know, Motley 218 00:10:50,679 --> 00:10:52,240 Speaker 1: crue lamb Glam. 219 00:10:52,480 --> 00:10:54,480 Speaker 2: There's a glam thing with him, yeah, for. 220 00:10:54,559 --> 00:10:56,920 Speaker 1: Sure, more than even like grunge. I think they were like, Okay, 221 00:10:56,920 --> 00:10:59,280 Speaker 1: we have to be grunge now, like we'll just act 222 00:10:59,280 --> 00:11:02,000 Speaker 1: that way. But like their stage presence and stuff, and 223 00:11:02,160 --> 00:11:05,160 Speaker 1: they they their harmonies are like the bass player has 224 00:11:05,240 --> 00:11:08,319 Speaker 1: great harmonies with him and totally like that's do you 225 00:11:08,360 --> 00:11:11,480 Speaker 1: remember that song? Another hit it Big Bang Baby. 226 00:11:11,880 --> 00:11:14,240 Speaker 2: Yeah, that was like a full on t Rex song 227 00:11:14,400 --> 00:11:17,240 Speaker 2: or something like I want a Crub, I Got a 228 00:11:17,400 --> 00:11:21,160 Speaker 2: Leave and the video is like super saturated VH. Did 229 00:11:21,600 --> 00:11:25,080 Speaker 2: it's got that far? Yeah, that's like, yeah, the thing 230 00:11:25,160 --> 00:11:28,240 Speaker 2: with their band. I remember talking once to the bassist 231 00:11:28,280 --> 00:11:30,560 Speaker 2: in my former band, and he was telling you this 232 00:11:30,600 --> 00:11:35,479 Speaker 2: because he had strong commitments into like uh, philosophical intellectual 233 00:11:35,520 --> 00:11:37,760 Speaker 2: commitments to things. And he was also telling it to 234 00:11:37,840 --> 00:11:40,559 Speaker 2: like kind of throw shade at me through this edict. 235 00:11:41,040 --> 00:11:42,880 Speaker 2: But it's something I've returned to a lot. 236 00:11:43,040 --> 00:11:43,319 Speaker 1: He is. 237 00:11:43,640 --> 00:11:47,680 Speaker 2: He was always like the weakest link of almost every 238 00:11:47,840 --> 00:11:51,360 Speaker 2: rock band is the singer, like if you go through 239 00:11:52,040 --> 00:11:54,200 Speaker 2: And what he was sort of saying was like and 240 00:11:54,400 --> 00:11:57,240 Speaker 2: I kind of understood what he meant. It's always the 241 00:11:57,280 --> 00:11:59,840 Speaker 2: singer for for the for reasons in rock music up 242 00:12:00,040 --> 00:12:03,120 Speaker 2: until a certain point, and certainly even through to a 243 00:12:03,160 --> 00:12:06,360 Speaker 2: degree that's like the peacock, right, and every band had 244 00:12:06,360 --> 00:12:09,040 Speaker 2: to have like And there's a degree to which like 245 00:12:09,720 --> 00:12:12,520 Speaker 2: a peacock is ridiculous, and there's a degree to which 246 00:12:12,559 --> 00:12:15,080 Speaker 2: it's like the attraction, you know, it draws you to 247 00:12:15,080 --> 00:12:16,880 Speaker 2: be like when I look at those feathers, but then 248 00:12:16,920 --> 00:12:19,280 Speaker 2: sometimes you're also like calm down, you know what I mean. 249 00:12:19,600 --> 00:12:22,400 Speaker 2: And in this band, the thing is like listening to 250 00:12:22,480 --> 00:12:25,120 Speaker 2: that song, this one, what is a Candy Crush Girl. 251 00:12:26,679 --> 00:12:35,640 Speaker 2: It's Candy Girl, Sour Girl, Sour Patch Kids, the Indy Girls, 252 00:12:35,640 --> 00:12:41,160 Speaker 2: the Salad Patch Kids. They definitely are an awesome three 253 00:12:41,520 --> 00:12:46,680 Speaker 2: piece musical band, like all of those people. And really 254 00:12:46,679 --> 00:12:48,520 Speaker 2: what goes on I think so much with them is 255 00:12:49,280 --> 00:12:54,480 Speaker 2: it's so Zeppelin indebted, Like what's happening with the bass 256 00:12:54,559 --> 00:12:56,120 Speaker 2: and the guitar, Like a lot of what he's doing 257 00:12:56,120 --> 00:13:00,119 Speaker 2: with is the figures on guitar, the voice sings, the tuning, 258 00:13:00,760 --> 00:13:02,839 Speaker 2: and like sort of how the bass and drums move 259 00:13:02,920 --> 00:13:05,480 Speaker 2: around with each other. That's the band I hear. I 260 00:13:05,559 --> 00:13:08,000 Speaker 2: hear like a lot of Zeppelin, and then there's like 261 00:13:08,120 --> 00:13:11,680 Speaker 2: Beatles stuff they like glom into that. But that also 262 00:13:11,840 --> 00:13:14,240 Speaker 2: makes this thing what is strange about them that I 263 00:13:14,240 --> 00:13:17,520 Speaker 2: don't think anyone who was around in early Night when 264 00:13:17,520 --> 00:13:22,199 Speaker 2: they first came out would have predicted their development musically 265 00:13:22,920 --> 00:13:25,839 Speaker 2: and the breadth of influence. Like when you throw that stuff, 266 00:13:25,840 --> 00:13:27,440 Speaker 2: it's easy to say, like, yeah, they kind of do 267 00:13:27,440 --> 00:13:29,800 Speaker 2: a glam thing. Sometimes they kind of do a like 268 00:13:30,280 --> 00:13:34,360 Speaker 2: you know, t Rex whatever, sort of like a pre 269 00:13:34,520 --> 00:13:37,520 Speaker 2: punk thing sometimes, and then they do a lot of 270 00:13:37,559 --> 00:13:40,160 Speaker 2: like Zeppelin and Beatles and they put it in a blender. 271 00:13:41,000 --> 00:13:43,400 Speaker 2: But then what comes out is like some when it works, 272 00:13:43,440 --> 00:13:46,040 Speaker 2: it's stuff that you're like, that's really interesting for a 273 00:13:46,080 --> 00:13:48,640 Speaker 2: song that was like hugely successful. And the thing that 274 00:13:48,800 --> 00:13:53,000 Speaker 2: is always the asterisk for me, it's never what they're 275 00:13:53,040 --> 00:13:56,120 Speaker 2: doing musically. It's always whatever he's up to in a 276 00:13:56,120 --> 00:13:58,760 Speaker 2: given song. Sometimes it's cool and it's great, and sometimes 277 00:13:58,760 --> 00:13:59,120 Speaker 2: it's like. 278 00:14:00,200 --> 00:14:03,280 Speaker 1: That's such a good point, it's ridiculous. 279 00:14:03,520 --> 00:14:05,920 Speaker 2: Most of the time so cool, Like I bet if 280 00:14:06,080 --> 00:14:08,840 Speaker 2: Arrowsmith a lot of arrows and he's a great singer 281 00:14:08,880 --> 00:14:10,760 Speaker 2: and a great rock singer, but a lot of what 282 00:14:10,920 --> 00:14:14,240 Speaker 2: like made Arrowsmith so successful and also a lot of 283 00:14:14,240 --> 00:14:16,880 Speaker 2: what you could point out and be like, that's fucking ridiculous. 284 00:14:17,080 --> 00:14:20,160 Speaker 2: Is whatever he's doing at any given time, I think. 285 00:14:20,000 --> 00:14:22,600 Speaker 1: And that's true of even bands like like R E. M. 286 00:14:22,760 --> 00:14:24,480 Speaker 1: Like there are times that like I think the band 287 00:14:24,520 --> 00:14:26,200 Speaker 1: is always pretty solid, but there are times that I 288 00:14:26,320 --> 00:14:27,840 Speaker 1: like the things that Stipe is doing. 289 00:14:27,840 --> 00:14:27,960 Speaker 2: Now. 290 00:14:28,000 --> 00:14:30,600 Speaker 1: I think Stipe has maybe a better ratio of of 291 00:14:30,720 --> 00:14:33,800 Speaker 1: hits or of of doing interesting cool things. But there 292 00:14:33,800 --> 00:14:35,720 Speaker 1: are times and I'm like, I don't know about this 293 00:14:35,760 --> 00:14:37,000 Speaker 1: one Stipe. 294 00:14:36,640 --> 00:14:39,560 Speaker 2: Without question, and I think this is this this Michael 295 00:14:39,560 --> 00:14:43,200 Speaker 2: Stipe's gonna catch some strays right now. He does listen 296 00:14:43,760 --> 00:14:44,280 Speaker 2: a chancer. 297 00:14:44,280 --> 00:14:46,800 Speaker 1: That's like, listens to every Omar, top. 298 00:14:46,640 --> 00:14:49,720 Speaker 2: Tier chancer, and he listens because he is He's always 299 00:14:49,720 --> 00:14:53,440 Speaker 2: around celebs. He listens with Omar. They actually listen together, 300 00:14:53,560 --> 00:14:53,960 Speaker 2: that's right. 301 00:14:54,040 --> 00:14:55,440 Speaker 1: And he's not only in the Patreon, he's on the 302 00:14:55,440 --> 00:14:56,360 Speaker 1: he's on the Matriarch. 303 00:14:57,120 --> 00:14:58,920 Speaker 2: He's on the Patriarch and. 304 00:14:59,000 --> 00:15:03,560 Speaker 1: The Matrion Matreon. We shall start a matreon, We should 305 00:15:03,560 --> 00:15:04,280 Speaker 1: start a matreon. 306 00:15:04,800 --> 00:15:07,440 Speaker 2: Well, we are as progressive allies. I do think it 307 00:15:07,520 --> 00:15:09,840 Speaker 2: is incumbent upon us to start a Matreon. But that 308 00:15:11,240 --> 00:15:14,720 Speaker 2: moving forward and moving backward and moving side to side. 309 00:15:14,920 --> 00:15:20,000 Speaker 2: I do think that with Stipe. What's funny is it's 310 00:15:20,000 --> 00:15:22,960 Speaker 2: actually interesting to bring him up in this context because 311 00:15:23,080 --> 00:15:26,400 Speaker 2: I do think he has this period of time where 312 00:15:26,400 --> 00:15:29,640 Speaker 2: he's like around the time that Wiland is becoming a 313 00:15:29,640 --> 00:15:32,400 Speaker 2: more like this sort of like as grunge is kind 314 00:15:32,400 --> 00:15:35,760 Speaker 2: of giving way. It's interesting to think about this actually, 315 00:15:36,200 --> 00:15:39,320 Speaker 2: like Billy Corgan starts to kind of do a little 316 00:15:39,360 --> 00:15:41,400 Speaker 2: bit of a like there's a little bit more of 317 00:15:41,440 --> 00:15:45,800 Speaker 2: a seventies thing going on more overtly where it's like 318 00:15:45,880 --> 00:15:47,600 Speaker 2: he's kind of like, I don't have to play those 319 00:15:47,880 --> 00:15:50,080 Speaker 2: that by those rules anymore. I've kind of always been 320 00:15:50,120 --> 00:15:53,000 Speaker 2: a little bit more of like a Bowie accolyte or. 321 00:15:52,920 --> 00:15:56,840 Speaker 1: A like you're talking like ava Ador, I'm talking like Midnight. 322 00:15:57,000 --> 00:16:00,760 Speaker 2: We must never be a pune. Yeah, there's like a yeah, 323 00:16:00,800 --> 00:16:02,960 Speaker 2: it's good. There's like a mid to late nineties thing 324 00:16:03,000 --> 00:16:05,880 Speaker 2: where these some of these grunge dudes start becoming a 325 00:16:05,920 --> 00:16:07,920 Speaker 2: little more like the next thing they kind of move 326 00:16:08,000 --> 00:16:13,080 Speaker 2: towards is a glam thing. And Michael Stipe totally around 327 00:16:13,160 --> 00:16:16,640 Speaker 2: like after the kind of like maybe through out of 328 00:16:16,720 --> 00:16:19,600 Speaker 2: time and automatic for the people he takes the kind 329 00:16:19,600 --> 00:16:26,480 Speaker 2: of like earthy, you know, erudite, poetic conjuring the mystery 330 00:16:26,600 --> 00:16:28,840 Speaker 2: from the Middle of America kind of thing. As far 331 00:16:28,880 --> 00:16:33,280 Speaker 2: as adventures New Adventures in high Fight totally, there starts 332 00:16:33,280 --> 00:16:35,480 Speaker 2: to be this little bit of like, now I'm gonna 333 00:16:35,520 --> 00:16:37,320 Speaker 2: do a little bit of yeah, like my Bowie thing, 334 00:16:37,400 --> 00:16:39,600 Speaker 2: my t Rex thing, my New York Dolls thing, and 335 00:16:40,000 --> 00:16:42,680 Speaker 2: through that that up record, he's like wearing a blue 336 00:16:43,520 --> 00:16:47,280 Speaker 2: a blue face paint bar across whatever it is. And 337 00:16:47,360 --> 00:16:50,320 Speaker 2: I feel like, what's weird is I'm not saying that 338 00:16:50,360 --> 00:16:54,080 Speaker 2: they're my favorite band of these bands, but I actually 339 00:16:54,120 --> 00:16:56,800 Speaker 2: think when Stone Tumple Pilots would slip into that they 340 00:16:56,800 --> 00:16:59,920 Speaker 2: were the most successful at it of those three because 341 00:17:00,600 --> 00:17:05,280 Speaker 2: he understood ultimately to like his own personal detriment, that 342 00:17:05,359 --> 00:17:09,480 Speaker 2: it was like best served a little trashy and campy. 343 00:17:09,880 --> 00:17:12,040 Speaker 2: Like I think the Wiland thing when he's going into 344 00:17:12,359 --> 00:17:16,280 Speaker 2: this world, it's like he's kind of doing it's camp 345 00:17:16,680 --> 00:17:18,760 Speaker 2: he's doing a kind of like now, he might have 346 00:17:18,760 --> 00:17:21,160 Speaker 2: taken himself very seriously, as the video with all kinds 347 00:17:21,200 --> 00:17:23,879 Speaker 2: of like yogic poses and whatever else indicates, but. 348 00:17:24,080 --> 00:17:26,359 Speaker 1: It becomes morris at certain times. 349 00:17:26,720 --> 00:17:30,840 Speaker 2: That's yo, and that's in there. Morrissey, certainly, at least 350 00:17:30,840 --> 00:17:33,560 Speaker 2: in the Smiths before he kind of becomes lost inside 351 00:17:33,560 --> 00:17:35,800 Speaker 2: his own sort of bullshit. He was probably lost in 352 00:17:35,800 --> 00:17:37,760 Speaker 2: his own bullshit from the very beginning, but becomes big 353 00:17:37,880 --> 00:17:42,360 Speaker 2: enough to stay there. They were totally pulling from that 354 00:17:42,560 --> 00:17:45,840 Speaker 2: stuff too, Bowie and the New York Dolls and Patti 355 00:17:46,000 --> 00:17:49,840 Speaker 2: Smith and you know, like this kind of but Wilin 356 00:17:50,040 --> 00:17:52,399 Speaker 2: serves it up with like a funny he you know, 357 00:17:52,520 --> 00:17:54,240 Speaker 2: he was good at being a rock star. 358 00:17:54,440 --> 00:17:57,840 Speaker 1: He was like, oh, it's also maybe it's in congress 359 00:17:57,840 --> 00:18:01,240 Speaker 1: to like what he started with the early stuff where 360 00:18:01,280 --> 00:18:03,359 Speaker 1: he's like, I am I am like that stuff. If 361 00:18:03,400 --> 00:18:05,639 Speaker 1: you watch the videos, he's like really just like rocking 362 00:18:05,720 --> 00:18:06,440 Speaker 1: and holding a mic. 363 00:18:06,600 --> 00:18:06,760 Speaker 2: Yeah. 364 00:18:06,800 --> 00:18:08,439 Speaker 1: And then he was like, but no, now I do this, 365 00:18:08,520 --> 00:18:10,000 Speaker 1: which I think is kind of fun that he's got 366 00:18:10,000 --> 00:18:11,680 Speaker 1: this growth and he probably came out of his shell 367 00:18:11,760 --> 00:18:14,000 Speaker 1: to certain exactly where he was probably like they were 368 00:18:14,040 --> 00:18:15,720 Speaker 1: like or maybe he did that, and the director of 369 00:18:15,720 --> 00:18:18,200 Speaker 1: the music video was just like, no, dude, like that that. 370 00:18:18,160 --> 00:18:20,639 Speaker 2: Ain't you know that's not going to work in nineteen 371 00:18:20,680 --> 00:18:21,119 Speaker 2: ninety two. 372 00:18:21,480 --> 00:18:23,880 Speaker 1: Yet not allowed, that's his thing. 373 00:18:24,240 --> 00:18:26,240 Speaker 2: Yeah, wait till I won't say his name on this 374 00:18:26,280 --> 00:18:29,680 Speaker 2: app but wait till he's dead and then we can 375 00:18:29,760 --> 00:18:32,119 Speaker 2: do that kind of shit the cops off duty, you 376 00:18:32,160 --> 00:18:34,080 Speaker 2: know what I'm talking about. I won't talk about him 377 00:18:34,080 --> 00:18:36,560 Speaker 2: in this app but yeah, yeah, there is a funny 378 00:18:36,560 --> 00:18:38,960 Speaker 2: story about him this Yeah, there is a funny story 379 00:18:38,960 --> 00:18:42,919 Speaker 2: about fifty cent and no about k Kurt and and 380 00:18:43,000 --> 00:18:45,400 Speaker 2: stone Till Pilots. Apparently the only time he ever met 381 00:18:45,400 --> 00:18:47,239 Speaker 2: them was backstage at one of their shows. They might 382 00:18:47,280 --> 00:18:49,359 Speaker 2: have had like mud Honey opening for them or something, 383 00:18:49,960 --> 00:18:55,919 Speaker 2: and he walked up to uh Wiland and said, I 384 00:18:55,960 --> 00:18:58,199 Speaker 2: haven't had the chance to hear your band yet, but 385 00:18:58,680 --> 00:19:01,560 Speaker 2: somebody told me you owe me money, meaning like because 386 00:19:01,600 --> 00:19:03,000 Speaker 2: one of the ris and one of the songs, and 387 00:19:03,400 --> 00:19:06,840 Speaker 2: as a joke, apparently Wyland gives him a dollar out 388 00:19:06,840 --> 00:19:09,359 Speaker 2: of his walleyre It's like that's great, thanks, we're settled now, 389 00:19:09,480 --> 00:19:11,000 Speaker 2: or you know whatever. It was like, that's pretty a 390 00:19:11,119 --> 00:19:14,840 Speaker 2: nicer story than like fuck this, you know, which I'm 391 00:19:14,840 --> 00:19:16,800 Speaker 2: sure is what his thoughts were about this band. 392 00:19:16,840 --> 00:19:18,639 Speaker 1: But anyway, well, I had a question for you real 393 00:19:18,720 --> 00:19:21,480 Speaker 1: quick because this goes back into an early conversation we 394 00:19:21,520 --> 00:19:23,280 Speaker 1: had on one of the earlier pods. 395 00:19:23,359 --> 00:19:24,959 Speaker 2: Dude in't doctrinate me ol Mars. 396 00:19:25,359 --> 00:19:29,600 Speaker 1: So do you think that Stone temopilots are, you know, 397 00:19:29,640 --> 00:19:31,440 Speaker 1: like we had this conversation about if you come from 398 00:19:31,480 --> 00:19:35,680 Speaker 1: the Beatles or from the Rolling Stones, right that being said, 399 00:19:35,680 --> 00:19:40,200 Speaker 1: where the band has these musical moments that feel very Beatles, 400 00:19:40,200 --> 00:19:42,680 Speaker 1: but the singer is very clearly a Jagger type. 401 00:19:43,080 --> 00:19:47,440 Speaker 2: Totally true, And I think I think they're a band 402 00:19:47,440 --> 00:19:49,480 Speaker 2: that's almost what's it called, Like I'm going to maybe 403 00:19:49,480 --> 00:19:52,080 Speaker 2: misuse a word a phrase that gets used a lot 404 00:19:52,119 --> 00:19:55,040 Speaker 2: these days, like code switching or something like. I feel 405 00:19:55,040 --> 00:19:59,400 Speaker 2: like they have Beatles records and then they have Stones records. 406 00:20:00,240 --> 00:20:02,359 Speaker 2: I feel like they have Beatles even on the same 407 00:20:02,440 --> 00:20:05,199 Speaker 2: record they'll have like, like, what's that song that's like, uh, 408 00:20:05,920 --> 00:20:10,800 Speaker 2: she doesn't know her name? She doesn't know her name? 409 00:20:10,840 --> 00:20:11,880 Speaker 2: Is something like that. 410 00:20:12,080 --> 00:20:14,160 Speaker 1: I made that sound like the Decembrists in a nice way. 411 00:20:14,320 --> 00:20:17,040 Speaker 2: It's but it's a Beatles song. It's a straight up 412 00:20:17,119 --> 00:20:20,600 Speaker 2: like Sergeant Pepper's Like they have these moments. I think 413 00:20:20,600 --> 00:20:23,040 Speaker 2: because those brothers, the musical engine of the band is 414 00:20:23,080 --> 00:20:27,400 Speaker 2: those Delio brothers, and they're fucking good, like they're really 415 00:20:27,440 --> 00:20:28,040 Speaker 2: really good. 416 00:20:28,520 --> 00:20:32,080 Speaker 1: And I think that they had their drugs then I 417 00:20:32,080 --> 00:20:37,120 Speaker 1: think and if the if the the landscape musical landscape 418 00:20:37,160 --> 00:20:39,440 Speaker 1: was a little different. They might have been a little 419 00:20:39,440 --> 00:20:42,639 Speaker 1: bit more like obviously Beatles, because they do have this 420 00:20:42,720 --> 00:20:45,800 Speaker 1: diversity of songs and like you know, they they they 421 00:20:45,920 --> 00:20:48,159 Speaker 1: change a lot, which I think is that's like the 422 00:20:48,240 --> 00:20:50,320 Speaker 1: number one thing. Like the Rolling Stones, like you know, 423 00:20:50,359 --> 00:20:52,600 Speaker 1: on their first album and their last album probably have 424 00:20:53,040 --> 00:20:55,000 Speaker 1: a song that is the same type of song. 425 00:20:55,200 --> 00:20:58,000 Speaker 2: They were a little bit more married. Yeah, and they 426 00:20:58,080 --> 00:21:01,920 Speaker 2: took some adventurous trips and refined and expanded, but. 427 00:21:01,920 --> 00:21:05,200 Speaker 1: They're pretty much fun Yeah, great blues. 428 00:21:05,040 --> 00:21:07,879 Speaker 2: Rock band that has taken that in a bunch of directions. 429 00:21:07,920 --> 00:21:10,280 Speaker 1: But yeah, and it's never meant to knock them. And 430 00:21:10,320 --> 00:21:12,359 Speaker 1: I don't know, I think when I say that though, 431 00:21:12,520 --> 00:21:14,399 Speaker 1: like when I even say like they want to be Beatles, 432 00:21:14,480 --> 00:21:16,640 Speaker 1: I don't mean it like that's the better one to have. 433 00:21:16,760 --> 00:21:19,160 Speaker 1: It's just kind of it is though it is inherently 434 00:21:19,200 --> 00:21:21,800 Speaker 1: like a kind of a more interesting like although like 435 00:21:21,840 --> 00:21:25,080 Speaker 1: you know, Radiohead is clearly like from the Beatles, And 436 00:21:25,240 --> 00:21:27,040 Speaker 1: what's the other one that you had as an example 437 00:21:27,119 --> 00:21:30,080 Speaker 1: of like Radioheads, Beetles and something else like. 438 00:21:30,040 --> 00:21:32,320 Speaker 2: The Oasis are the Stones even though they sound like 439 00:21:32,359 --> 00:21:35,200 Speaker 2: the Beatles. It's like funny because the way they behaved 440 00:21:35,359 --> 00:21:38,800 Speaker 2: the like like the kind of insoucian like, yeah, yeah, 441 00:21:38,960 --> 00:21:42,000 Speaker 2: that's totally and I think you kind of have that, 442 00:21:42,240 --> 00:21:44,440 Speaker 2: you know, it's like Guns n' Roses where the Stones 443 00:21:44,560 --> 00:21:47,520 Speaker 2: even though he thought he was. He thought he was like, 444 00:21:47,760 --> 00:21:49,560 Speaker 2: I don't know all of it. He thought he was 445 00:21:49,640 --> 00:21:53,560 Speaker 2: like the Beatles, the Stones, Elton John, Freddie Mercury, and 446 00:21:53,680 --> 00:21:57,239 Speaker 2: Trent Reznor all at the same time or something. But 447 00:21:57,320 --> 00:22:01,000 Speaker 2: he they're the Stones and Nirvana were the Beatles. I 448 00:22:01,040 --> 00:22:03,080 Speaker 2: think it's like kind of clear, like you can find 449 00:22:03,160 --> 00:22:05,879 Speaker 2: two major acts from these periods of time or I 450 00:22:05,920 --> 00:22:07,639 Speaker 2: think throughout and I even think you could still do 451 00:22:07,680 --> 00:22:08,280 Speaker 2: that kind of now. 452 00:22:08,400 --> 00:22:10,840 Speaker 1: And I even think like like like a bent attitudinal. 453 00:22:11,440 --> 00:22:14,840 Speaker 1: The Strokes are very like very Stones band, and they 454 00:22:14,880 --> 00:22:17,440 Speaker 1: have moments where they try out different things, especially on 455 00:22:17,520 --> 00:22:20,359 Speaker 1: their last record. But I would say that even I 456 00:22:20,400 --> 00:22:22,680 Speaker 1: think even Julian Casablancs would be like, we're no, we're 457 00:22:22,680 --> 00:22:25,479 Speaker 1: trying to be the Stones, like like his his like 458 00:22:25,520 --> 00:22:27,840 Speaker 1: stuff with the Voids, like his side project, like that 459 00:22:28,160 --> 00:22:31,040 Speaker 1: is probably more of like Okay, I'll do the beatleshit there. 460 00:22:30,960 --> 00:22:33,320 Speaker 2: Yeah, which is really him like the Beatles being fed 461 00:22:33,359 --> 00:22:35,840 Speaker 2: to like Captain beef mart or something like that. It's 462 00:22:35,880 --> 00:22:38,560 Speaker 2: like unlistenable, but I appreciate its existence. 463 00:22:38,960 --> 00:22:53,040 Speaker 4: Yeah, yeah, yeah, No, I think I think with these 464 00:22:53,040 --> 00:22:57,639 Speaker 4: guys it's like I really do think it's like he 465 00:22:57,960 --> 00:22:59,960 Speaker 4: by nature seems to come out. 466 00:23:00,080 --> 00:23:03,280 Speaker 2: I do think it's impossible to talk about his development 467 00:23:03,320 --> 00:23:06,240 Speaker 2: as a performer without like he also like was pretty 468 00:23:06,280 --> 00:23:08,879 Speaker 2: heavily into drugs for most of his public life, and 469 00:23:08,920 --> 00:23:12,040 Speaker 2: I think that that got like darker and weirder as 470 00:23:12,160 --> 00:23:16,040 Speaker 2: time went on. Yeah, and I think that that plays 471 00:23:16,080 --> 00:23:18,840 Speaker 2: a role probably in his like coming out as a 472 00:23:18,920 --> 00:23:22,520 Speaker 2: performer to some degree, right, like liquid courage or whatever, 473 00:23:22,760 --> 00:23:27,679 Speaker 2: chemical courage. But I do think he it's funny, like 474 00:23:27,840 --> 00:23:30,040 Speaker 2: whenever I think about that binary and it is a 475 00:23:30,080 --> 00:23:32,680 Speaker 2: little reductive, but it's fun for these kinds of conversations, 476 00:23:32,680 --> 00:23:34,960 Speaker 2: these purposes. I think of it like the Strokes of 477 00:23:35,000 --> 00:23:37,920 Speaker 2: the Stones, because the Strokes are like anyone who's trying 478 00:23:37,960 --> 00:23:42,080 Speaker 2: to be like a dirty rock band. That's where that's 479 00:23:42,160 --> 00:23:44,600 Speaker 2: where I think of the lineage goes to there and 480 00:23:44,640 --> 00:23:47,399 Speaker 2: it's almost like, yeah, like we're bad boys. It's like 481 00:23:47,440 --> 00:23:50,119 Speaker 2: a little bit of that. Whereas yeah, you know the 482 00:23:50,160 --> 00:23:52,239 Speaker 2: Beatles thing, not only because they were a little bit 483 00:23:52,240 --> 00:23:56,239 Speaker 2: more clean cut or whatever aesthetically, but also because like 484 00:23:56,400 --> 00:23:59,600 Speaker 2: they became these like explorers, they were like the first 485 00:24:01,000 --> 00:24:03,879 Speaker 2: it wasn't like Elvis was like, you know what I 486 00:24:03,880 --> 00:24:05,720 Speaker 2: want to make Like I guess you could say that 487 00:24:06,000 --> 00:24:08,840 Speaker 2: Brian Wilson was doing that like kind of alongside them, 488 00:24:09,359 --> 00:24:12,080 Speaker 2: but the Beatles and the Beach Boys vibrated at a 489 00:24:12,080 --> 00:24:14,880 Speaker 2: different frequency in the culture at the time. I think 490 00:24:14,880 --> 00:24:17,760 Speaker 2: people caught up with Brian Wilson and Pet Sounds like 491 00:24:17,840 --> 00:24:20,520 Speaker 2: later in a way. When it came out, it was 492 00:24:20,600 --> 00:24:22,199 Speaker 2: kind of like a dut like people were like, what 493 00:24:22,240 --> 00:24:24,680 Speaker 2: the fuck was that? But that's not what happened with 494 00:24:24,760 --> 00:24:27,080 Speaker 2: Sergeant Pepper's or the White Album. You know, that stuff 495 00:24:27,119 --> 00:24:29,680 Speaker 2: was thought of as like, oh my god, they're revolutionizing. 496 00:24:32,000 --> 00:24:34,399 Speaker 1: They stuck the landing a little bit better too, in 497 00:24:34,520 --> 00:24:38,400 Speaker 1: terms of like you know, in the moment where it's 498 00:24:38,400 --> 00:24:41,560 Speaker 1: likely no one would question if Pet Sounds stuck the landing, 499 00:24:41,560 --> 00:24:44,639 Speaker 1: it definitely did, but in the moment, sure, in the moment, 500 00:24:44,680 --> 00:24:47,680 Speaker 1: I think like it didn't. I mean, and it's still 501 00:24:47,720 --> 00:24:51,160 Speaker 1: sold incredibly well. Like Pet Sounds was a giant hit 502 00:24:51,280 --> 00:24:53,320 Speaker 1: even for what we're talking about, but I don't think 503 00:24:53,640 --> 00:24:56,000 Speaker 1: it was like at them. I don't think they were 504 00:24:56,359 --> 00:24:59,760 Speaker 1: lifting it up the same sort of cred like cred 505 00:25:00,080 --> 00:25:03,960 Speaker 1: and uh criticism, totally positive criticism that Sergeant Pepper had. 506 00:25:04,119 --> 00:25:06,879 Speaker 2: That happens later. But it's funny because they were anytime 507 00:25:06,920 --> 00:25:09,320 Speaker 2: you hear harmonies like the ones in this there's a 508 00:25:09,320 --> 00:25:12,160 Speaker 2: lot of really like compelling harmony stuff in this song too. 509 00:25:12,160 --> 00:25:14,800 Speaker 2: And the Beach Boys. The Beach Boys are right there 510 00:25:14,840 --> 00:25:16,800 Speaker 2: with me with the Beatles. Whenever there's like a rock 511 00:25:16,880 --> 00:25:20,199 Speaker 2: band that's Harmony Forward, you know, I think about and 512 00:25:20,200 --> 00:25:22,640 Speaker 2: that's my that is also, by the way, my that's 513 00:25:22,680 --> 00:25:27,800 Speaker 2: my like, uh, that's my hip hop name. That's my forward. Yeah. 514 00:25:27,800 --> 00:25:30,920 Speaker 2: That's also my like online basketball name, like fantasy basket. 515 00:25:31,240 --> 00:25:33,200 Speaker 1: Yeah, so if you want to, everyone wants to track 516 00:25:33,240 --> 00:25:38,280 Speaker 1: his online basketball at Harmony Forward on basketball dot. 517 00:25:38,359 --> 00:25:42,200 Speaker 2: Basketball, Twitter dot fart. Yeah. But but. 518 00:25:43,880 --> 00:25:48,080 Speaker 1: My name is Carte Blanche. Wow, it's really good. Carte Blanche, 519 00:25:48,560 --> 00:25:52,320 Speaker 1: that's very good. And bon Mots is my other that's 520 00:25:52,320 --> 00:25:52,959 Speaker 1: my other rap name. 521 00:25:53,000 --> 00:25:55,640 Speaker 2: Those are much better than Harmony Forward, let's be honest. 522 00:25:55,920 --> 00:25:59,879 Speaker 2: But but whatever there is a Harmony Forward rock band, 523 00:26:00,119 --> 00:26:01,560 Speaker 2: those are the two that I think of, and I 524 00:26:01,600 --> 00:26:03,480 Speaker 2: thought of the beat the Beach Boys during this too, 525 00:26:03,560 --> 00:26:06,760 Speaker 2: like that's the thing they actually what I do think 526 00:26:06,800 --> 00:26:09,520 Speaker 2: the Stone Temple Pilots ended up doing, and this song 527 00:26:09,600 --> 00:26:12,560 Speaker 2: is I don't want what's kind of again? What's like lame? 528 00:26:12,760 --> 00:26:15,040 Speaker 2: Sorry one thought at a time. What the Stone Temple 529 00:26:15,080 --> 00:26:18,080 Speaker 2: Pilots ended up doing that I think was actually like 530 00:26:18,320 --> 00:26:21,159 Speaker 2: interesting for band in their position, which is effectively like 531 00:26:21,240 --> 00:26:26,120 Speaker 2: a radio rock band. They explored the contours of their 532 00:26:26,320 --> 00:26:30,040 Speaker 2: room within pretty extensively, and they found a lot of 533 00:26:30,080 --> 00:26:33,600 Speaker 2: weird interesting nooks in that room, way more than you 534 00:26:33,600 --> 00:26:35,280 Speaker 2: would have thought of. If all you heard was like 535 00:26:35,440 --> 00:26:37,920 Speaker 2: core in nineteen ninety two, you were I think people 536 00:26:37,960 --> 00:26:40,280 Speaker 2: were probably like, yeah, that'll be that from that band, 537 00:26:40,520 --> 00:26:43,160 Speaker 2: But they actually found all this kind of weird, interesting shit, 538 00:26:43,560 --> 00:26:45,920 Speaker 2: And I would this is maybe sacer religious. I would 539 00:26:45,920 --> 00:26:49,840 Speaker 2: say that the five or six highlights as singles over 540 00:26:49,840 --> 00:26:53,520 Speaker 2: the course of like their post nineteen ninety two debut 541 00:26:53,680 --> 00:26:57,600 Speaker 2: from like the second record Forward Purple I think was 542 00:26:57,640 --> 00:27:00,000 Speaker 2: that record. I kind of think those five or six 543 00:27:00,119 --> 00:27:03,000 Speaker 2: songs are like better than the They're kind of up 544 00:27:03,040 --> 00:27:06,080 Speaker 2: there with whatever the best Pearl Jam or Smashing Pumpkins 545 00:27:06,160 --> 00:27:08,919 Speaker 2: or whatever their contemporaries were, but maybe even they're better. 546 00:27:09,080 --> 00:27:11,760 Speaker 2: Some of those songs are like kind of agree man cool. 547 00:27:11,800 --> 00:27:14,480 Speaker 1: I like when when those songs have come on, like 548 00:27:14,600 --> 00:27:18,560 Speaker 1: Interstate Love Song and fush Yeah, like all those songs 549 00:27:18,600 --> 00:27:22,280 Speaker 1: like there that's the thing. I shouldn't be so surprised 550 00:27:22,280 --> 00:27:26,320 Speaker 1: by them, big empty, that's great, great tunes and there's 551 00:27:26,400 --> 00:27:29,159 Speaker 1: that's the thing. It's like to have that many songs 552 00:27:29,200 --> 00:27:33,159 Speaker 1: that not only are like ingrained in my memory, but 553 00:27:33,320 --> 00:27:35,639 Speaker 1: like that because they were just constantly on the radio. 554 00:27:35,840 --> 00:27:38,680 Speaker 1: I remember like sitting in my being in my mom's car, 555 00:27:38,840 --> 00:27:41,640 Speaker 1: it's like so hot in the summer and k Rock 556 00:27:41,800 --> 00:27:44,480 Speaker 1: is on, and like it would almost be like a 557 00:27:44,640 --> 00:27:47,960 Speaker 1: stone table pilot song after the next. Yeah, you're listening 558 00:27:48,000 --> 00:27:50,400 Speaker 1: to the radio, you know, definitely on. 559 00:27:50,359 --> 00:27:52,919 Speaker 2: A two for Tuesday, no doubt, on a two for Tuesday, 560 00:27:52,960 --> 00:27:54,800 Speaker 2: and they'd kind of pull one from the press and 561 00:27:54,840 --> 00:27:56,560 Speaker 2: one from the past, you know what I mean. And 562 00:27:58,200 --> 00:27:59,080 Speaker 2: you're listening to. 563 00:27:59,080 --> 00:28:01,440 Speaker 1: Do Tuesday, Casey just them. 564 00:28:02,840 --> 00:28:05,760 Speaker 2: And on Harmony Forward and you're listening to CAZy Tuesday. 565 00:28:06,040 --> 00:28:07,320 Speaker 2: What would Casey Tuesday be? 566 00:28:07,960 --> 00:28:11,920 Speaker 1: Casey Tuesday's on Tuesdays. You I give you, I give 567 00:28:11,960 --> 00:28:14,359 Speaker 1: you a free massage. Wow. 568 00:28:14,440 --> 00:28:15,560 Speaker 2: So it's a service thing. 569 00:28:15,640 --> 00:28:18,920 Speaker 1: For you, it's of course you don't receive wow. Would 570 00:28:18,960 --> 00:28:20,560 Speaker 1: you have to find me? But you have to find me. 571 00:28:22,920 --> 00:28:25,800 Speaker 2: So if anyone out there finds CAZy on a Tuesday, 572 00:28:25,840 --> 00:28:29,840 Speaker 2: on a Tuesday, you got a BackRub, because I will 573 00:28:29,880 --> 00:28:33,880 Speaker 2: be mad about it doing at my church. How did 574 00:28:33,920 --> 00:28:40,280 Speaker 2: you find me? Knucklehead? Anyway, that being said, chances for me. 575 00:28:40,440 --> 00:28:42,640 Speaker 2: There's one anti chance thing, which is talk about which 576 00:28:42,720 --> 00:28:44,719 Speaker 2: we've kind of covered a little bit. You know, has 577 00:28:44,840 --> 00:28:47,880 Speaker 2: lyrics like sometimes the words, you know, but in rock 578 00:28:48,000 --> 00:28:51,440 Speaker 2: music maybe who cares, you know, but I'm infected not 579 00:28:51,600 --> 00:28:53,960 Speaker 2: by like down with the sick mess, but I'm infected 580 00:28:54,800 --> 00:28:58,640 Speaker 2: by the fucking Dylan whatever. Like I do care about 581 00:28:58,640 --> 00:29:01,320 Speaker 2: the words, and some times when the words are like 582 00:29:01,600 --> 00:29:03,480 Speaker 2: that whole shit about like she was a teenage girl 583 00:29:03,520 --> 00:29:06,080 Speaker 2: when I met her, Like you know, he does do 584 00:29:06,160 --> 00:29:08,160 Speaker 2: the rock and roll thing a little bit where you're. 585 00:29:08,040 --> 00:29:11,880 Speaker 1: Like, yikes, yeah, And it's like even having Sarah Michelle 586 00:29:11,920 --> 00:29:14,760 Speaker 1: gellerin which like she was she looks like in the 587 00:29:14,800 --> 00:29:18,080 Speaker 1: video by the way, yeah, in a cool way. She 588 00:29:18,280 --> 00:29:20,880 Speaker 1: was like when Buffy the Vampire Slayer started, I think 589 00:29:20,920 --> 00:29:24,720 Speaker 1: she was like sixteen, but like or something like that. 590 00:29:25,280 --> 00:29:27,880 Speaker 1: It was like between sixteen and eighteen and then so 591 00:29:28,040 --> 00:29:30,280 Speaker 1: I can't imagine in nineteen ninety nine how old she 592 00:29:30,360 --> 00:29:32,440 Speaker 1: is for this video. But I don't know. It's it's 593 00:29:32,480 --> 00:29:34,400 Speaker 1: always I don't want to go into that too much. 594 00:29:34,880 --> 00:29:35,600 Speaker 2: No, that's fine. 595 00:29:35,640 --> 00:29:36,200 Speaker 1: I just wanted to. 596 00:29:36,400 --> 00:29:38,040 Speaker 2: I just wanted to address it. She wanted to. 597 00:29:38,080 --> 00:29:40,480 Speaker 1: No, no, no, for sure, no, yeah, I always do it. 598 00:29:41,080 --> 00:29:44,880 Speaker 1: But the other but like the lyrics, it's like a 599 00:29:44,920 --> 00:29:49,760 Speaker 1: little too you know, like here's the thing. 600 00:29:49,880 --> 00:29:52,960 Speaker 2: It ends with this word yes total next one is 601 00:29:53,280 --> 00:29:56,280 Speaker 2: not what you thought. 602 00:29:56,640 --> 00:29:59,000 Speaker 1: And it's like, you know, when you write down poetry, 603 00:29:59,000 --> 00:30:01,280 Speaker 1: like when you're like an in like high school, Yes, 604 00:30:01,760 --> 00:30:04,320 Speaker 1: and you're less aware that you're writing poetry and you're 605 00:30:04,360 --> 00:30:06,840 Speaker 1: trying to make it sound a little bit special. 606 00:30:07,360 --> 00:30:10,080 Speaker 2: Yes, you're like putting some on there and you're talking 607 00:30:10,120 --> 00:30:12,600 Speaker 2: to that. I wonder if you even so to the 608 00:30:12,680 --> 00:30:14,760 Speaker 2: chancellors that might not know this. We were not there 609 00:30:14,800 --> 00:30:17,200 Speaker 2: at the same time, I don't think at all. Right, 610 00:30:17,720 --> 00:30:20,320 Speaker 2: Casey and I were at the same high school. Just 611 00:30:20,520 --> 00:30:24,080 Speaker 2: are my brother is the bridge between the two of us, 612 00:30:24,080 --> 00:30:26,880 Speaker 2: I think in our time at that school bridge to yeah. 613 00:30:26,920 --> 00:30:27,120 Speaker 3: Yeah. 614 00:30:28,480 --> 00:30:30,920 Speaker 2: And I don't know if you know this, Casey, But 615 00:30:30,960 --> 00:30:34,080 Speaker 2: in nineteen ninety six, as a junior, I was the 616 00:30:34,120 --> 00:30:38,720 Speaker 2: president of the poetry club at an all boys Captain school. Yeah, 617 00:30:38,720 --> 00:30:40,800 Speaker 2: I don't even know. It probably didn't exist by the time. 618 00:30:41,040 --> 00:30:42,480 Speaker 2: I don't know that that was still a thing. But 619 00:30:42,520 --> 00:30:45,200 Speaker 2: it was like me and four dudes, one of whom 620 00:30:45,240 --> 00:30:49,960 Speaker 2: literally recreated the cover of the Queen is Dead, like 621 00:30:50,000 --> 00:30:52,120 Speaker 2: the Smith's cover where the guy's like laying in the 622 00:30:52,160 --> 00:30:56,600 Speaker 2: car or whatever. Like that was just your book photo. Yeah, 623 00:30:56,720 --> 00:30:57,640 Speaker 2: I just played that. 624 00:30:58,760 --> 00:31:00,600 Speaker 1: What that album? 625 00:31:01,000 --> 00:31:03,160 Speaker 2: Oh, just like on the show before I came on, 626 00:31:03,440 --> 00:31:04,800 Speaker 2: you do a pre you do a. 627 00:31:04,720 --> 00:31:08,520 Speaker 1: Preaching Free Chancers pod that that's just there's an album 628 00:31:08,520 --> 00:31:12,640 Speaker 1: I'm listening to, fuck keV and it can't be posted anywhere. 629 00:31:13,320 --> 00:31:16,280 Speaker 2: Wow, So how do people hear it? They gotta find 630 00:31:16,320 --> 00:31:17,280 Speaker 2: you on case on. 631 00:31:17,280 --> 00:31:22,320 Speaker 1: Tuesday, see you next Tuesday. That's like my whole thing, 632 00:31:22,360 --> 00:31:25,880 Speaker 1: my whole like my whope branding is see you next Tuesday. 633 00:31:26,240 --> 00:31:28,480 Speaker 1: So but it's just the letters and instead of C, 634 00:31:28,760 --> 00:31:31,480 Speaker 1: it's it's see. It's the letter C. So it's see 635 00:31:31,520 --> 00:31:32,520 Speaker 1: you n T. 636 00:31:33,400 --> 00:31:36,880 Speaker 2: That's I don't want to get into that here. I 637 00:31:36,920 --> 00:31:37,640 Speaker 2: don't want to get here. 638 00:31:37,680 --> 00:31:37,920 Speaker 1: We go. 639 00:31:38,320 --> 00:31:42,320 Speaker 2: I have an edge and honestly That's where I sometimes 640 00:31:42,400 --> 00:31:44,200 Speaker 2: feel like you really know that this is we are 641 00:31:44,280 --> 00:31:47,160 Speaker 2: going to tie this together sometimes while and it's a 642 00:31:47,200 --> 00:31:49,400 Speaker 2: little bit like, yeah, we get it, dude, you have 643 00:31:49,440 --> 00:31:51,560 Speaker 2: an edge too. You have an edge, Ginger a poet, 644 00:31:51,640 --> 00:31:53,360 Speaker 2: You have an edge, Ginger a poet, and will she 645 00:31:53,440 --> 00:31:55,000 Speaker 2: smell alone? And whatever? 646 00:31:55,640 --> 00:31:59,400 Speaker 1: But you know, but would you put this song on 647 00:31:59,400 --> 00:32:02,160 Speaker 1: the Greatest Hit of Stone Tumble Pilots. 648 00:32:02,440 --> 00:32:07,320 Speaker 2: Yeah, greatest hits is what tend to try, like album length, 649 00:32:07,640 --> 00:32:10,680 Speaker 2: all the hop, all the top hop, all the top singles. 650 00:32:11,080 --> 00:32:14,640 Speaker 2: I mean, I don't know this song happened after my 651 00:32:14,800 --> 00:32:17,480 Speaker 2: time with them, but I will say if you're telling me, 652 00:32:17,520 --> 00:32:20,239 Speaker 2: it was like in nineteen ninety nine, let's situate this 653 00:32:20,640 --> 00:32:27,160 Speaker 2: in the teeth of eminem boy bands, Britney Spears and 654 00:32:27,280 --> 00:32:31,520 Speaker 2: fucking like Heavy Olympus Get Corn. Yes, they were still 655 00:32:31,560 --> 00:32:36,040 Speaker 2: having like trol level success with a song like that. 656 00:32:36,040 --> 00:32:38,560 Speaker 2: That is the last thing I remember thinking about them 657 00:32:38,720 --> 00:32:43,600 Speaker 2: that was like, oh, that's notable. They stayed big when 658 00:32:43,640 --> 00:32:46,320 Speaker 2: that stuff was happening. They had like a really heavy 659 00:32:46,320 --> 00:32:48,280 Speaker 2: song that was like a big single at that time, 660 00:32:48,320 --> 00:32:51,080 Speaker 2: maybe in the early two thousands it's called But I 661 00:32:51,120 --> 00:32:54,320 Speaker 2: remember being like it was like the heaviest music they'd made. 662 00:32:54,680 --> 00:32:57,680 Speaker 2: It maybe like really almost like the Deftones or something 663 00:32:57,720 --> 00:33:01,960 Speaker 2: like really thick. I remember being like, welp, shout out 664 00:33:02,000 --> 00:33:05,720 Speaker 2: to STP right in that wave. So I don't know. 665 00:33:05,760 --> 00:33:10,520 Speaker 2: I think ultimately where I've landed is like overall, I 666 00:33:10,560 --> 00:33:13,840 Speaker 2: don't know that. I love that they're an albums band 667 00:33:13,920 --> 00:33:17,080 Speaker 2: for me, but they are singles band for sure. And 668 00:33:17,160 --> 00:33:20,000 Speaker 2: this song more chance than Anti Chance. 669 00:33:20,440 --> 00:33:23,120 Speaker 1: I like it more than Velvet Revolver, No. 670 00:33:23,280 --> 00:33:26,240 Speaker 2: Dowdy hoopoo Change, no Doubty much. 671 00:33:26,080 --> 00:33:28,200 Speaker 1: Of a Revolver is interesting because it's like it's like 672 00:33:28,320 --> 00:33:29,720 Speaker 1: scott was like, what if I got rid of this 673 00:33:29,800 --> 00:33:31,120 Speaker 1: band that's holding me back? 674 00:33:31,320 --> 00:33:32,960 Speaker 2: Yeah, And the rest of Guns and Roses was like, 675 00:33:33,000 --> 00:33:36,560 Speaker 2: what if we got rid of this psycho that actually yeah, Like. 676 00:33:36,520 --> 00:33:38,160 Speaker 1: No, I think it's kind of it not to say 677 00:33:38,160 --> 00:33:39,840 Speaker 1: it's an upgrade, but like at the time, it's an 678 00:33:39,920 --> 00:33:41,400 Speaker 1: upgrade for them, but I think it's kind of a 679 00:33:41,440 --> 00:33:42,400 Speaker 1: downgrade for Scottie. 680 00:33:42,640 --> 00:33:44,400 Speaker 2: I think so. And I think it's also he got 681 00:33:44,400 --> 00:33:48,440 Speaker 2: to lean far out into his stones cosplay in that 682 00:33:48,760 --> 00:33:51,160 Speaker 2: he was like, now I'm like a rocker, you know 683 00:33:51,160 --> 00:33:55,680 Speaker 2: what I mean? Whereas STP there's like art pretensions here 684 00:33:55,720 --> 00:33:58,840 Speaker 2: and there. There definitely are in guns and roses too, 685 00:33:58,960 --> 00:34:04,400 Speaker 2: but not in Velvet Revolver. It comes the w It's 686 00:34:04,400 --> 00:34:06,200 Speaker 2: funny also to think and then we should fucking wrap 687 00:34:06,240 --> 00:34:08,720 Speaker 2: this gavel up be But it's funny to think about 688 00:34:08,800 --> 00:34:11,320 Speaker 2: how that was the same period of time. I think 689 00:34:11,680 --> 00:34:15,200 Speaker 2: we're like Rage against the Machine and Soundgarden did that too, 690 00:34:15,400 --> 00:34:17,960 Speaker 2: where it was like, you know, Zach doesn't really want 691 00:34:18,000 --> 00:34:21,040 Speaker 2: to do this anymore. Chris Cornell was like, well, Soundgarden 692 00:34:21,080 --> 00:34:23,360 Speaker 2: doesn't really want to do this anymore. Why don't we 693 00:34:23,480 --> 00:34:25,480 Speaker 2: just you know, like we'll do it. I'll be the 694 00:34:25,520 --> 00:34:28,040 Speaker 2: singer and Rage against the Machine plus me. 695 00:34:28,600 --> 00:34:31,879 Speaker 1: Yeah, that's funny. I didn't think about that. Those are 696 00:34:31,920 --> 00:34:36,080 Speaker 1: two like of that example of it's it's the van Hagar. 697 00:34:36,480 --> 00:34:39,160 Speaker 2: It's totally van Hagar. But if Van Hagar then called 698 00:34:39,160 --> 00:34:42,080 Speaker 2: themselves like you know, the Glove or something. 699 00:34:42,560 --> 00:34:44,440 Speaker 1: Yeah, yeah, yeah, sports Mafia. 700 00:34:45,560 --> 00:34:48,319 Speaker 2: I don't, well, guys, at the end of the day, 701 00:34:48,680 --> 00:34:54,799 Speaker 2: you know we're saying stp better than you remember, uh, 702 00:34:54,920 --> 00:34:58,040 Speaker 2: and like so like make sure you find case give 703 00:34:58,120 --> 00:34:59,640 Speaker 2: them a fucking squeeze on. 704 00:34:59,600 --> 00:35:02,960 Speaker 1: It too, a little bad hat, a little back massage, 705 00:35:03,080 --> 00:35:05,879 Speaker 1: maybe some bad bunch. Well, I might just punch your back, 706 00:35:06,239 --> 00:35:12,840 Speaker 1: so be careful because I'm a roll C. Next Tuesday. 707 00:35:13,880 --> 00:35:15,759 Speaker 2: I think that's good bye, Bud.