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

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

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

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Speaker 2: Good morning, Give it a chi Do you want to

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Speaker 2: give it a chance, Give it a chance, give it

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Speaker 2: a chance.

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Speaker 1: Just give it a chance. Welcome you got mail files done?

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Speaker 3: Best best Dave Chappelle vehicle. Probably you've got mail? Oh

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Speaker 3: do you know that?

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Speaker 1: Yeah? I remember that.

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Speaker 2: I was talking to someone recently about that. He's in

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Speaker 2: the direct support to T Hanks. That isn't that amazing?

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Speaker 3: He did a lot.

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Speaker 1: He was in a bunch of weird movies like Nattie

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Speaker 1: Professor R.

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Speaker 3: I forgot he was in that. I mean half baked

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Speaker 3: of course, to a certain person, I'm a classy.

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Speaker 1: So welcome to Chappelle at a chance. We're breaking down

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Speaker 1: all the little movies Dave Chappelle was in before he

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Speaker 1: did all those stand up stuff.

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Speaker 3: Listen's it's a hot property these days. I don't know

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Speaker 3: if we want to touch the third rail that is

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Speaker 3: Dave in twenty twenty five.

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Speaker 2: It's very true, but that is fun that I just

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Speaker 2: pranked everyone by saying that the name was a different podcast, because.

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Speaker 1: That has to do with Today's artiste.

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Speaker 3: Oh no, okay, it's a prank artist.

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Speaker 2: Well, no, I wouldn't. This is not a novelty Are

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Speaker 2: we doing a Borat song? Yeah, that's I think the

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Speaker 2: only Borat song is throw the Jew down the Well

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Speaker 2: from his movie.

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Speaker 3: Honestly, that is that. The fact that he didn't die

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Speaker 3: is a minor miracle.

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Speaker 2: I think that it was like the crowd loved it,

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Speaker 2: which is also not cool.

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Speaker 3: No, no, it's a lot there, it's a lot there.

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Speaker 1: Yeah, but yeah, that's pretty wild.

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Speaker 3: All right. So it's a prank thing.

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Speaker 1: So is it?

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Speaker 3: Ah? Is this like Nathan Fielder stuff? We're gonna do

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Speaker 3: a Nathan Fielder thing. I'm doing a full Nathan episode. No,

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Speaker 3: this is a so this is it's not like a

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Speaker 3: prank artist. It's not a novelty artist. Okay, but I do.

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Speaker 3: I think you'll get it. Okay, this is the part

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Speaker 3: two people to things make No, that's Casey, that's seeing

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Speaker 3: Sea Music Factory. That's not that's too And what makes

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Speaker 3: you think that I don't know something about things prank

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Speaker 3: made me think of, like things that make you go hmm.

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Speaker 3: But that's more like coincidence than a prank. Okay, And

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Speaker 3: April Fools. Even April were doing Manchester Orchestra. They have

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Speaker 3: a song called.

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Speaker 2: April the Oh my god, imagine we just put your

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Speaker 2: friends on blast.

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Speaker 3: That would be yeah, that would be your relationship ending stuff.

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Speaker 2: Okay, one more incredible people and we're gonna talk about

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Speaker 2: poopy about it. Weird al No, I don't think there

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Speaker 2: is a weird al song that I could put to this.

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Speaker 3: Not give a chance to Oh, okay, god, I'm in

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Speaker 3: the woods God. That is a concept by John Lennon.

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Speaker 1: Okay, God, was that we're doing?

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Speaker 3: Now?

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Speaker 1: What we're doing? Because I think that song is too good.

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Speaker 3: It's a good song. I sang that song with her

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Speaker 3: once with a group of people on stage in the

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Speaker 3: City Winery, and it was very odd. It was in

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Speaker 3: the post hurricane son. That's that's the story for another time. Yeah,

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Speaker 3: or maybe it was a face nice all right, sorry,

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Speaker 3: go ahead.

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Speaker 1: Let me see if I can let me clear my throat.

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Speaker 3: Is it that?

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Speaker 1: Oh? That would be good?

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Speaker 2: But no, that's like a good that's a great song,

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Speaker 2: I know, So hold on, let me let me see

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Speaker 2: if I could I have Oh, actually maybe I should.

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Speaker 1: Maybe I should show you our our sponsor.

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Speaker 3: Do you guys, we do. I do need to know

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Speaker 3: who our sponsor for today is. It's just good for

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Speaker 3: me to know that anyway.

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Speaker 2: Yeah, Art thou board snap into a slim gym. Here

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Speaker 2: you go, here's our here's our sponsor, Kevin. Okay, double

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Speaker 2: clicked enter Okay.

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Speaker 3: Oh my god, Wow, Casey stepping into the fourth dimension here.

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Speaker 3: This is like a whole new thing for us.

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Speaker 2: There is.

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Speaker 3: My daughter knows what a Rick roll is and she's

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Speaker 3: nine years old and it's twenty twenty five. Wow. You know,

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Speaker 3: I don't know the last time I've actually listened, I

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Speaker 3: wasn't going to get that, by the way, I could

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Speaker 3: have guessed all day and I wouldn't.

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Speaker 1: But it's a prank.

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Speaker 3: It's a prank. It's become prank, It's become maybe is

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Speaker 3: that a vitology? What does that hat? Can you look down?

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Speaker 1: Oh it's I.

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Speaker 3: Thought it was vitology by Pearl Jam.

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Speaker 1: Yeah that's cool.

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Speaker 3: Grip, Yeah, that would be cool. All right, So we're

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Speaker 3: doing Rick Astley never going to give you up, which

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Speaker 3: I don't even know if I've heard in full right.

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Speaker 3: Since I was a child.

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Speaker 2: This meme has been going since like the early two

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Speaker 2: thousands and it's really interesting because a banger, isn't it.

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Speaker 2: Let's see, see that's what's interesting about it, right, Like,

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Speaker 2: so I did some I did some research on it.

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Speaker 1: Yeah, and before.

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Speaker 3: We let you are the research arm of the give

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Speaker 3: it a chance group, I would say, yeah, yeah, I

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Speaker 3: like a doctorate in yeah, yeah, yeah, yeah, yeah yeah.

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Speaker 2: In musicology and a doctor intology.

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Speaker 3: You owe me a.

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Speaker 1: Kevin Kevin Kevin, so you could talk.

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Speaker 3: Oh, thank god, it's really interesting pot actually that maybe

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Speaker 3: people would have preferred that.

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Speaker 1: Yeah, they don't like I hear you out there.

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Speaker 3: You fucking haters, sorry Leonard Cohen.

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Speaker 2: So uh or Rick rolling them by not even talking

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Speaker 2: about the song. But before we play it, I just

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Speaker 2: want to say that, So this was this started in

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Speaker 2: like the early two thousands, Okay, one of the they

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Speaker 2: don't really know why this song was picked there was

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Speaker 2: it Just like there's a person who reportedly did it

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Speaker 2: to a radio station and it happened again at some

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Speaker 2: other point.

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Speaker 3: Oh that's how it started.

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Speaker 1: That's yeah.

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Speaker 2: There's there's a few things that like people caught on

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Speaker 2: to to make it bigger and bigger and bigger, with

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Speaker 2: like various websites like four chan and even YouTube was

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Speaker 2: but like you know, early obviously for like you know.

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Speaker 1: And switching links you think you're yay.

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Speaker 3: Yeah, yeah, that's how I first got it for sure.

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Speaker 3: Was like someone sending me a YouTube link to like, oh,

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Speaker 3: check out this band, we'd like to open your show

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Speaker 3: or something, and then you click on it and it

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Speaker 3: was that. Yeah.

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Speaker 2: And the reason why I kind of chose this is

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Speaker 2: because it had this especially I think when it started

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Speaker 2: in the two thousands, like it. It was like something

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Speaker 2: about the song is corny, right and like it and

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Speaker 2: just like out of its really it's like the whole

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Speaker 2: video it's jarring. In the two thousands, the way things

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Speaker 2: looked like this video, the way it opens was like jarring.

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Speaker 2: And it's also he's got this deep voice for such

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Speaker 2: a young lad.

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Speaker 3: Yo. I think the rap I've heard, and I'm only

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Speaker 3: saying this because I have heard. I can't forget what

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Speaker 3: it was, but I'm just gonna go on the record.

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Speaker 3: I think the thing with Rick Astley at the time

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Speaker 3: in nineteen eighty seven, something like that six seven, Yeah,

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Speaker 3: I think so he was a redheaded white score where

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Speaker 3: dude that black people thought was black when they first

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Speaker 3: heard the singing because he has this like really profound

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Speaker 3: bass kind of voice R and B voice, and he's

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Speaker 3: singing that style. And I think that's like the joke

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Speaker 3: about him.

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Speaker 2: I think the thing that ended up maybe becoming like

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Speaker 2: quote Corny is yes, the.

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Speaker 3: Aesthetics, the visual, but also just his aesthetics and visual

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Speaker 3: like that just he's like he like looks, he's just

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Speaker 3: like a kind of he was like howdy duty or

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Speaker 3: something like that. Yeah, yeah, which I know because I

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Speaker 3: definitely had times in my life have looked like how

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Speaker 3: do you do?

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Speaker 2: There's a couple of notable people like that that have

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Speaker 2: that same phenomenon. Another big one is is Bobby Caldwell

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Speaker 2: which is which is what you Won't Do Do for Love?

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Speaker 3: Yeah?

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Speaker 2: Yeah, that song is like a nice That's a big

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Speaker 2: one that like that.

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Speaker 1: When people found out that he was white, people were like,

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Speaker 1: well really yeah, yeah I didn't know.

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Speaker 3: And of course people thought when teen Spirit came out

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Speaker 3: of was like, oh is he black?

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Speaker 1: And yeah, Ivana, there you go, and how you're going

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Speaker 1: to drop it today? That's how you're gonna drop them

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Speaker 1: in Well then like.

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Speaker 3: Also Leonard Cohen because a really deep voice like a

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Speaker 3: and then honestly with Elliott like it was more.

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Speaker 1: Like the new one and when Pavement a new one.

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Speaker 2: Anyway, let's jump into this song and then we'll and

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Speaker 2: then we'll uh, we'll discuss.

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Speaker 3: Talk about Pavement.

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Speaker 1: That's right, Wow overall overall thoughts hit me.

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Speaker 3: I mean, that's a really good song.

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Speaker 1: I agree, I can to give this a chance.

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Speaker 3: No, it's not. And I think it's funny because this

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Speaker 3: is a phenomenon that I think I might be like

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Speaker 3: a little under uh, like I know know the song

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Speaker 3: no him? Was he like a one hit wonder? Or

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Speaker 3: were there are other hits by him? This was about

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Speaker 3: the one right more or less? I think so because

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Speaker 3: I've been aware of this song in the ether, like

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Speaker 3: since I've been aware of pop music from my like

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Speaker 3: I would have been eight when this came out. I'm sure.

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Speaker 1: Oh he's got together forever.

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Speaker 3: Oh that's also him. Yeah that's a big hit. Yeah,

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Speaker 3: I remember correctly those are two because that's what I said.

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Speaker 2: I think I said this a few times ago. You

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Speaker 2: always get to you always get the chance for the

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Speaker 2: for the dub.

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Speaker 3: They give it a chance.

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Speaker 1: And yes, they give you a chance.

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Speaker 3: Even where I said Fred, right, don't right talk just

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Speaker 3: kids with your own woods and sounds.

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Speaker 1: And that it's Rick Astley doing it. I know I did.

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Speaker 2: I also there was a song called cry for Help.

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Speaker 2: I don't know it take Me to you, Oh, take

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Speaker 2: me to your Heart?

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Speaker 1: Is that him?

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Speaker 3: Take Me to your Heart?

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Speaker 1: Is that not that song?

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Speaker 3: I think you were just singing listen to your hot.

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Speaker 1: Yes, that's what I was. That's what I was doing.

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Speaker 3: That that's rock Sette. They had like Rosette had listen

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Speaker 3: to your Heart, right, I must have been in love

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Speaker 3: but all great song, that's the one. And they also

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Speaker 3: had like come on join the joy, right. They may

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Speaker 3: have had three or four hits.

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Speaker 1: Wow that Yeah, you're the photology major.

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Speaker 3: Turns out that I'm the one who's listening to a corduroy.

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Speaker 2: So I think the only heads out there, I think

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Speaker 2: the only anti I Chancy I could sort of give

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Speaker 2: this Let's start is that it's not my exact lens, right,

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Speaker 2: Like I think this this song. I think this song,

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Speaker 2: but but if you changed a few things, I think

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Speaker 2: it is my lens because like they're, like you mentioned

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Speaker 2: with some of those other prescriptions, slightly off right. There

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Speaker 2: is twenty forty and you need twenty thirty five honestly,

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Speaker 2: Like I love the Immaculate Collection by Madonna. I put

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Speaker 2: it on all the time. I love the way it

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Speaker 2: sounds right like, and I don't think that's that far

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Speaker 2: from this, and I don't know if it's like a

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Speaker 2: female vocalist maybe.

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Speaker 3: Doing this song, huge difference.

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Speaker 2: The only thing that Rick, for me lacks a little

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Speaker 2: bit is identity. It is sort of a novelty that

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Speaker 2: he's got this deep voice and he's dressed, at least

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Speaker 2: in this video he is dressed like the whitest man

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Speaker 2: on earth. It's really amazing, like they really like it's club.

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Speaker 2: It's like to a t from that time and so funny,

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Speaker 2: so so like. But if that's what he's showing us,

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Speaker 2: that's the identity I'm getting, which is like, obviously it's

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Speaker 2: so intertwined with music, is the idea, right, So so

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Speaker 2: I think that's the lens that I'm talking about.

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Speaker 1: But even sonically there's.

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Speaker 2: It's so polished, Like there's something about the Immaculate Collection

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Speaker 2: that like left grit on it and like the Groove

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Speaker 2: Get Into the Groove has that. But even just the

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Speaker 2: drums on songs like material Girl, like that drummer just

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Speaker 2: went for it. It's so like ahead of the beat,

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Speaker 2: and and this is feels a little bit more stock

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Speaker 2: in some of the or a little uh, you know,

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Speaker 2: what's that?

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Speaker 1: What's that word for it?

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Speaker 2: Sterile in some manicure very Yeah, yeah, And sometimes I

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Speaker 2: love that and sometimes I want I think, like, especially

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Speaker 2: with pop music, I like it a little bit of apid, right,

257
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Speaker 2: like a touch of appid. Yeah, yeah, the sterileness is

258
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Speaker 2: kind of fun. But that being said, that's like the

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Speaker 2: that's a reach for the anti chance.

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Speaker 3: No, that's pretty good if that's like your primary. Yeah,

261
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Speaker 3: we're definitely not talking about something that's like horrifically offensive

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Speaker 3: on a variety of levels or whatever. It to some sensibility, right,

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Speaker 3: you know, I think I think I think the thing

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Speaker 3: you're you're you're touching on, it's it's it is like

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Speaker 3: a rich subject. I feel like about his aesthetic and

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Speaker 3: the kind of I feel like I wasn't there, but

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Speaker 3: I feel like there's some percentage of what went on

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Speaker 3: with an artist like Workhastley, where even in like the

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Speaker 3: genesis the marketing phase, right as they're they knew like

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Speaker 3: all right, we've got this, like maybe who knows we'd

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Speaker 3: have to do a dive on Rick Ghastly.

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Speaker 2: Maybe Rick Astley was like a fucking punk or something,

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Speaker 2: and they were like, you know, what's gonna be funny

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Speaker 2: if you wear these Like I don't know, but I'm

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Speaker 2: gonna take what I'm given at face value and assume.

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Speaker 2: They sort of were like, oh, yeah, it's it's a

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Speaker 2: little funny. The song is good, and the song.

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Speaker 3: Is catchy, and he can sing, and it's a good

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Speaker 3: arrangement and a strong chorus, but also like they're kind

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Speaker 3: of playing something right on. It's like a kidding on

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Speaker 3: the square almost about having a dude with a red

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Speaker 3: bouffont dressed in like kind of like very like preppy

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Speaker 3: country school clothes of the time, singing this kind of

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Speaker 3: like dance R and B song. It's it's really like

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Speaker 3: this push and pull between the stiffness and like what

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Speaker 3: you're talking about with Madonna some of it, I mean,

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Speaker 3: at a certain point, particularly, I think part of what

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Speaker 3: you're talking about, whether that was her curatorial mind. I mean,

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Speaker 3: everything it's ever been said about Madonna by like like

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Speaker 3: with a critical lens that's not steeped in something that's

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00:14:06,800 --> 00:14:10,120
Speaker 3: like misogynistic and like you know, patriarchal and stupid. But

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Speaker 3: anything that's been said about her critically, like in good faith,

293
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Speaker 3: is true to me, in good and bad directions. I

294
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Speaker 3: think she's like a prism and all things about her

295
00:14:18,760 --> 00:14:24,080
Speaker 3: are true. But what is kind of undeniable is that

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Speaker 3: she almost like Andy Warhol or something, had this like

297
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Speaker 3: curatorial eye for how to surround herself with for a

298
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Speaker 3: while until everyone runs out of that particular magic trick,

299
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Speaker 3: but for a while with like the exact zeitgeist, like

300
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Speaker 3: the best things in a variety of directions, and that

301
00:14:42,400 --> 00:14:46,240
Speaker 3: produces things like Vogue or like express Yourself or you know,

302
00:14:46,960 --> 00:14:49,280
Speaker 3: even into maybe even like ray of Light. Maybe that's

303
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Speaker 3: the last moment where she had it right where she

304
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Speaker 3: was like, oh, but if I pull a little from

305
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Speaker 3: like what this like Moby and Fat Boy Slim and

306
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Speaker 3: whatever stuff like that, like.

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Speaker 2: You'll get like a you know, like when you yeah,

308
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Speaker 2: but yeah, but like a prayer also is like I

309
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Speaker 2: think like a prayer is almost closer to you know,

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Speaker 2: your Tears for Fears or Depeche Mode.

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Speaker 3: Oh yeah, it is to this depeche Mode, Like a

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Speaker 3: prayer is like it's like her personal Jesus or something,

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Speaker 3: not just because of the religious but because the and honestly, dude,

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Speaker 3: I could talk about Leonard here, but because the sort

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Speaker 3: of intersection between the sacred and the profane, the sort

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Speaker 3: of sensual and the religious and the waste. Yeah, and

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Speaker 3: that the ecstatic space, all of that stuff shares and

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Speaker 3: seeing that like, yeah, it's like I found God on

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Speaker 3: the dance floor kind of a thing. And I feel

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Speaker 3: like that's all operating at these levels where at like

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Speaker 3: you said, at a level of like pure rapidity. If

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Speaker 3: you want it that way, you could put any of

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Speaker 3: those songs on and you're like, this is great. But

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Speaker 3: then also if you want to sit down and like

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Speaker 3: dig into any of those Madonna songs, like the snare

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Speaker 3: sound or the production choices or the cultural things being

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Speaker 3: pulled from, it might be fair to say that it

328
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Speaker 3: has more going for it than even the best thing

329
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Speaker 3: maybe like a Rick Astley might bring to the table,

330
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Speaker 3: But that's not necessarily that's like maybe Madonna's like the

331
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Speaker 3: gold standard for this kind of thing, at least Madonna

332
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Speaker 3: from a certain in a certain period of time. I

333
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Speaker 3: think the immaculate collection would be what collects.

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Speaker 2: That, right, But I also think like we're being fair

335
00:16:20,520 --> 00:16:24,080
Speaker 2: because we're not like we're not taking you know, we're

336
00:16:24,080 --> 00:16:26,480
Speaker 2: not putting like the Beatles up to this right, like

337
00:16:26,520 --> 00:16:29,880
Speaker 2: we're right right, but it is hard. But I would

338
00:16:29,920 --> 00:16:32,800
Speaker 2: even give like get into the groove a song that's

339
00:16:32,920 --> 00:16:36,960
Speaker 2: not like is it like a prayer against this?

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Speaker 1: And I would find probably more depth.

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Speaker 2: Oh, but going back to this, yeah, but going back

342
00:16:42,920 --> 00:16:47,120
Speaker 2: to the song and like his vocal delivery, that's cool.

343
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Speaker 2: Like I actually think like if you did take away

344
00:16:49,880 --> 00:16:52,400
Speaker 2: the video and you know the memes for the last

345
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Speaker 2: thirty years, the vocals are great.

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Speaker 3: Oh, he's a great singer.

347
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Speaker 1: I had to.

348
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Speaker 2: Like, like when I was thinking about this and I

349
00:17:00,440 --> 00:17:01,760
Speaker 2: was like, oh, let me check it out. And I

350
00:17:01,800 --> 00:17:04,760
Speaker 2: started playing it and I like, this is it's, you know,

351
00:17:04,840 --> 00:17:08,560
Speaker 2: pulling back the curtain. I sometimes listened before WHOA. The

352
00:17:08,640 --> 00:17:10,919
Speaker 2: reason why I listened was because I was like, what

353
00:17:11,040 --> 00:17:13,760
Speaker 2: is his voice? I had to find a live video

354
00:17:13,840 --> 00:17:15,920
Speaker 2: and not like a live video from now. I tried

355
00:17:15,960 --> 00:17:18,720
Speaker 2: to like search, I searched for a live video from

356
00:17:18,760 --> 00:17:21,800
Speaker 2: then and it's it. I was like, can he does

357
00:17:21,840 --> 00:17:23,720
Speaker 2: he sound like this live? And I would say it's

358
00:17:23,800 --> 00:17:26,960
Speaker 2: ninety eight percent there. I feel like the recording they

359
00:17:27,119 --> 00:17:30,800
Speaker 2: just upped it a little deeper. Yeah, they like they

360
00:17:30,840 --> 00:17:33,520
Speaker 2: pitched it, but it was just like in a room contained.

361
00:17:35,400 --> 00:17:36,800
Speaker 3: Yeah, yeah live.

362
00:17:36,840 --> 00:17:38,480
Speaker 2: He sounded great, and I think it was at like

363
00:17:38,520 --> 00:17:41,359
Speaker 2: almost like a big concert because Phil Collins was playing

364
00:17:41,440 --> 00:17:43,080
Speaker 2: drums and he was crushing it.

365
00:17:43,320 --> 00:17:47,639
Speaker 3: I think he played at one of those things, like

366
00:17:47,840 --> 00:17:51,359
Speaker 3: I almost just said Right Aid New York, New Yorker

367
00:17:51,359 --> 00:17:54,800
Speaker 3: as a rest in peace. Right is disappearing, like there's

368
00:17:54,880 --> 00:17:57,960
Speaker 3: many missing teeth in the bay Ridge store Front community

369
00:17:57,960 --> 00:17:58,879
Speaker 3: with Right Aid leaving.

370
00:17:59,280 --> 00:18:01,800
Speaker 2: But yeah, yeah, no, I feel like they had Ralphs

371
00:18:01,800 --> 00:18:04,360
Speaker 2: on the on the West Coast at the Ralph said.

372
00:18:05,080 --> 00:18:07,439
Speaker 3: It was Ralph said he played at Ralph said no,

373
00:18:07,520 --> 00:18:10,480
Speaker 3: I think he might have literally played sorry, they're coming

374
00:18:10,640 --> 00:18:12,760
Speaker 3: to arrest me as I speed right now.

375
00:18:13,320 --> 00:18:15,760
Speaker 2: Oh that's good that Iron doesn't show up for some reason.

376
00:18:16,760 --> 00:18:19,000
Speaker 2: Not now, no noise cancel. I think it's damn.

377
00:18:19,040 --> 00:18:21,080
Speaker 3: That's actually really good. Okay, well then forget that, but

378
00:18:21,119 --> 00:18:22,480
Speaker 3: don't cut it out. Leave it in because I want

379
00:18:22,480 --> 00:18:23,960
Speaker 3: the people to know like we really are out and

380
00:18:23,960 --> 00:18:24,440
Speaker 3: the well.

381
00:18:24,359 --> 00:18:25,840
Speaker 1: Pull all the curtains back.

382
00:18:26,119 --> 00:18:30,639
Speaker 3: Yeah, no curtains. I feel like he might have done

383
00:18:31,040 --> 00:18:33,800
Speaker 3: like yeah, live Aid or or or what was the

384
00:18:33,800 --> 00:18:36,120
Speaker 3: one no that was earlier than this, though the aid

385
00:18:36,720 --> 00:18:39,960
Speaker 3: it wasn't that, yeah, or I was thinking about the

386
00:18:39,960 --> 00:18:43,240
Speaker 3: thing Bob Geldoff did where like Queen played and everybody

387
00:18:43,480 --> 00:18:45,800
Speaker 3: it's like thought of as the greatest concert ever or whatever.

388
00:18:46,440 --> 00:18:49,160
Speaker 3: Oh yeah, but that was that was like eighty five

389
00:18:49,320 --> 00:18:53,000
Speaker 3: or something like that, eighty six. Anyway. I what's interesting

390
00:18:53,040 --> 00:18:56,880
Speaker 3: too is I feel like I saw him sing this

391
00:18:58,119 --> 00:19:02,800
Speaker 3: on television or something inside a UK TV show where

392
00:19:02,800 --> 00:19:06,440
Speaker 3: they might have done like a live Rick role. It

393
00:19:06,520 --> 00:19:08,280
Speaker 3: might have been like Graham Norton or one of those

394
00:19:08,400 --> 00:19:11,520
Speaker 3: kinds of shows. Yes, and he's saying this, and it was.

395
00:19:11,680 --> 00:19:13,879
Speaker 3: It was in the two thousands.

396
00:19:13,359 --> 00:19:16,880
Speaker 2: You know. It was a Thanksgiving Macy's Thanksgiving grid That's

397
00:19:16,880 --> 00:19:17,320
Speaker 2: what it was.

398
00:19:17,480 --> 00:19:19,560
Speaker 1: Yeah, I saw that in my research. I'm to keep

399
00:19:19,560 --> 00:19:21,280
Speaker 1: telling on my research.

400
00:19:21,119 --> 00:19:27,000
Speaker 3: You know, resident pastor emeritus, scholar emeritus. I do feel

401
00:19:27,040 --> 00:19:29,760
Speaker 3: like he sounded good at that too. And that was

402
00:19:29,800 --> 00:19:32,720
Speaker 3: like recently where I was like, oh, this dude's and

403
00:19:33,880 --> 00:19:36,960
Speaker 3: that led me into a sight of curiosity about like

404
00:19:37,000 --> 00:19:41,080
Speaker 3: the psychology, like where where is he at with becoming

405
00:19:41,280 --> 00:19:44,000
Speaker 3: like the Rick Roll guy? And if it's one of

406
00:19:44,000 --> 00:19:47,959
Speaker 3: those Taizon Day whatever things where you're like, well, at

407
00:19:48,040 --> 00:19:51,679
Speaker 3: least they're still talking about me, you know, although this

408
00:19:51,760 --> 00:19:54,400
Speaker 3: song is like hair Salon core, where like I feel

409
00:19:54,400 --> 00:19:56,480
Speaker 3: like even without the Rick roll, this would have never

410
00:19:56,560 --> 00:19:57,159
Speaker 3: gone away.

411
00:19:57,440 --> 00:19:59,480
Speaker 1: Yeah, I agree fully, you know what I mean.

412
00:19:59,480 --> 00:20:01,639
Speaker 3: There's just like a collection of like fifty songs that

413
00:20:01,680 --> 00:20:06,240
Speaker 3: you'll probably hear in like yeah, like maybe like a

414
00:20:06,280 --> 00:20:08,760
Speaker 3: place where people get like manicures and pedicures or like

415
00:20:08,920 --> 00:20:11,600
Speaker 3: a certain kind of like barbershop or salon. They'll have

416
00:20:11,640 --> 00:20:14,320
Speaker 3: like one of those light FM stations on. And this

417
00:20:14,440 --> 00:20:16,239
Speaker 3: is actually one of the ones with some pep that

418
00:20:16,280 --> 00:20:19,200
Speaker 3: comes on between like for sure you know I will

419
00:20:19,240 --> 00:20:22,639
Speaker 3: always love you and like Luther V Andross like.

420
00:20:23,000 --> 00:20:26,200
Speaker 2: Yeah, Hall and Oates, Yes, yes, you know Betty Davis

421
00:20:26,320 --> 00:20:29,359
Speaker 2: eyes like like this this era has like all that

422
00:20:29,480 --> 00:20:30,679
Speaker 2: that would always be around.

423
00:20:32,680 --> 00:20:35,440
Speaker 3: She's got Betty Davis eyes. That's amazing. I would love

424
00:20:35,520 --> 00:20:38,640
Speaker 3: to do that one. Sometimes there's a lot of great

425
00:20:38,720 --> 00:20:40,120
Speaker 3: chit cheese precocious.

426
00:20:41,760 --> 00:20:41,960
Speaker 1: Yeah.

427
00:20:42,000 --> 00:20:45,879
Speaker 2: I actually intentionally was like, I don't think we've covered

428
00:20:45,920 --> 00:20:46,600
Speaker 2: the eighties enough.

429
00:20:46,960 --> 00:20:49,600
Speaker 3: No, you're probably right, Well, they know it's Christmas time

430
00:20:49,680 --> 00:20:53,480
Speaker 3: at all. Oh, the eighties is riddled with I do

431
00:20:53,640 --> 00:20:55,399
Speaker 3: think one thing I also want to say, what you

432
00:20:55,480 --> 00:20:58,560
Speaker 3: were talking about about the relative sterility of this, like

433
00:20:58,680 --> 00:21:01,919
Speaker 3: it's kind of I also thought it was kind of cool.

434
00:21:02,119 --> 00:21:06,720
Speaker 3: I was actually thinking like they trusted his vocal and

435
00:21:06,880 --> 00:21:10,879
Speaker 3: the chorus so much that they were just like, the

436
00:21:11,080 --> 00:21:15,120
Speaker 3: groove is not dynamic. I mean, this is a compliment.

437
00:21:15,240 --> 00:21:18,480
Speaker 3: It's dynamic in it by nature of its existence. It's

438
00:21:18,520 --> 00:21:22,199
Speaker 3: a groove, it moves, it's a good beat, but they

439
00:21:22,280 --> 00:21:24,680
Speaker 3: don't do anything to it. Like I kept forget I

440
00:21:24,760 --> 00:21:26,480
Speaker 3: forgot the whole structure of the song, given that the

441
00:21:26,560 --> 00:21:29,840
Speaker 3: chorus happens like eight times. I kept waiting for them

442
00:21:29,920 --> 00:21:30,680
Speaker 3: to have one where.

443
00:21:30,480 --> 00:21:32,359
Speaker 2: It was like a down chorus where all the drums

444
00:21:32,440 --> 00:21:36,119
Speaker 2: go away, or like it's just drums in his vocal

445
00:21:36,240 --> 00:21:37,439
Speaker 2: or something key change.

446
00:21:37,680 --> 00:21:38,760
Speaker 1: They never do it.

447
00:21:38,840 --> 00:21:41,399
Speaker 2: They I was almost like sure there was going to

448
00:21:41,440 --> 00:21:43,440
Speaker 2: be a key change. I know, and I kind of

449
00:21:43,560 --> 00:21:47,120
Speaker 2: it's funny. It speaks to the subjectivity and case by

450
00:21:47,200 --> 00:21:51,320
Speaker 2: case basis of the chance. There are other instances where

451
00:21:51,320 --> 00:21:52,800
Speaker 2: I'd be like, oh, they should have I would have

452
00:21:52,920 --> 00:21:54,320
Speaker 2: liked it had they done so. In this one, I

453
00:21:54,359 --> 00:21:55,560
Speaker 2: was kind of like, it's kind of cool that the

454
00:21:55,600 --> 00:21:57,600
Speaker 2: bridge is just like the background singers throughout some.

455
00:21:57,720 --> 00:22:01,280
Speaker 3: Ooze, Like the bridge was like a glide. It was

456
00:22:01,440 --> 00:22:03,439
Speaker 3: just like my bridge.

457
00:22:03,720 --> 00:22:05,160
Speaker 1: I didn't you. I felt the same way.

458
00:22:05,200 --> 00:22:07,399
Speaker 2: I'm like, usually we're really hard on bridges, and this

459
00:22:07,560 --> 00:22:09,200
Speaker 2: was one that would be kind of in a category

460
00:22:09,280 --> 00:22:11,440
Speaker 2: that we would fucking rip to shred like shreds and

461
00:22:11,560 --> 00:22:14,240
Speaker 2: like just like piss all over and maybe holy shake

462
00:22:14,320 --> 00:22:15,199
Speaker 2: a crap on like we.

463
00:22:15,280 --> 00:22:17,320
Speaker 1: Always do, and that's what people want.

464
00:22:19,400 --> 00:22:24,480
Speaker 3: But I thought today today that I would get piss

465
00:22:24,560 --> 00:22:25,119
Speaker 3: on a bridge.

466
00:22:25,240 --> 00:22:25,440
Speaker 2: Dude.

467
00:22:26,400 --> 00:22:36,640
Speaker 1: Usually people piss off a bridge. We piss on given

468
00:22:36,720 --> 00:22:41,200
Speaker 1: a jetthing.

469
00:22:41,720 --> 00:22:44,840
Speaker 3: You know. When we were kids, one time my brother said,

470
00:22:45,880 --> 00:22:48,800
Speaker 3: I was like, what, like my brother Dan shout out,

471
00:22:49,840 --> 00:22:52,159
Speaker 3: an NBA journalist for Yahoo Sports.

472
00:22:52,320 --> 00:22:54,560
Speaker 1: I put across from him, Jay Case.

473
00:22:54,640 --> 00:22:55,600
Speaker 3: He did play lacrosse.

474
00:22:55,880 --> 00:22:57,159
Speaker 1: The two things that people know about him.

475
00:22:57,160 --> 00:22:59,240
Speaker 3: He might have been in like second me. I might

476
00:22:59,280 --> 00:23:01,040
Speaker 3: have been in second. And he was like, we were

477
00:23:01,080 --> 00:23:07,200
Speaker 3: playing Pitfall on on Atari seventy eight hundred and Pitfall.

478
00:23:07,320 --> 00:23:08,960
Speaker 3: We were just me and him, and we're gonna go

479
00:23:09,000 --> 00:23:10,880
Speaker 3: do something with my dad. And he went my brother

480
00:23:10,960 --> 00:23:14,600
Speaker 3: went pitfall, shit fall, And then he also said Huckleberry

481
00:23:14,680 --> 00:23:19,200
Speaker 3: thick fuck. Then I turned and I as big brother, shit,

482
00:23:19,240 --> 00:23:21,880
Speaker 3: I'm so sorry. You were a younger brother. I walked

483
00:23:21,920 --> 00:23:25,240
Speaker 3: downstairs and I just to do whatever with my dad

484
00:23:25,280 --> 00:23:27,720
Speaker 3: and I was like, dad, Daniel said, Huckleberry fick like

485
00:23:27,760 --> 00:23:30,040
Speaker 3: I just told him immediately, and my brother was like,

486
00:23:30,640 --> 00:23:33,920
Speaker 3: what the fuck, dude, And my dad didn't like it.

487
00:23:34,320 --> 00:23:36,040
Speaker 3: So I also want to use this as a Rick

488
00:23:36,160 --> 00:23:40,000
Speaker 3: Roll opportunity to apologize to my brother for I'll piss

489
00:23:40,040 --> 00:23:41,800
Speaker 3: on the page, but I'll never piss on you.

490
00:23:42,720 --> 00:23:44,960
Speaker 1: This is why I started this podcast for this moment.

491
00:23:45,080 --> 00:23:51,000
Speaker 1: We can end it right now, Rick Rolled. I don't

492
00:23:51,080 --> 00:23:53,119
Speaker 1: let a joke go. I have to like punch it with.

493
00:23:57,960 --> 00:24:00,800
Speaker 3: I feel like yeah, but I mean I'm I Also

494
00:24:00,880 --> 00:24:02,760
Speaker 3: there's I get a kick out of some of the lyrics.

495
00:24:02,800 --> 00:24:03,920
Speaker 3: Did he write the lyrics?

496
00:24:04,680 --> 00:24:05,560
Speaker 1: Oh that I don't know.

497
00:24:06,240 --> 00:24:08,639
Speaker 3: I love on the streaming platform of my choice. At

498
00:24:08,640 --> 00:24:10,680
Speaker 3: the end of the lyrics, that always says report a

499
00:24:10,840 --> 00:24:13,399
Speaker 3: concern and there's a red button. I always wonder if

500
00:24:13,440 --> 00:24:16,159
Speaker 3: I'm ever going to do it, what would my concern be?

501
00:24:16,280 --> 00:24:16,800
Speaker 1: Please do it?

502
00:24:17,520 --> 00:24:25,760
Speaker 3: But I want to count he does do one, two, three, four, five, six,

503
00:24:25,880 --> 00:24:30,960
Speaker 3: The course happens six times, yep, should yes, and that

504
00:24:31,080 --> 00:24:33,400
Speaker 3: pre course they get right to it. It's really good.

505
00:24:36,480 --> 00:24:39,520
Speaker 3: But I want to know what he says, were no

506
00:24:39,640 --> 00:24:40,560
Speaker 3: strangers to love.

507
00:24:40,880 --> 00:24:45,160
Speaker 1: You know the rules, so do I, which comes back later.

508
00:24:45,600 --> 00:24:45,960
Speaker 1: I love it.

509
00:24:46,119 --> 00:24:49,040
Speaker 3: Yeah, Oh, I think it's cool. Also the other second verse,

510
00:24:49,480 --> 00:24:52,000
Speaker 3: the second verse is great, he brings back as the

511
00:24:52,119 --> 00:24:52,800
Speaker 3: third verse.

512
00:24:53,480 --> 00:24:56,240
Speaker 1: Second verse he brings back because the third verse.

513
00:24:56,440 --> 00:24:59,400
Speaker 3: It's kind of cool. It's like, I mean, it's unfortunate Marris.

514
00:24:59,480 --> 00:25:01,639
Speaker 3: He passed away in a bus accident after the Smiths

515
00:25:01,680 --> 00:25:03,840
Speaker 3: broke up in nineteen eighty seven. That's what I like

516
00:25:03,920 --> 00:25:06,680
Speaker 3: to pretend. But he did a lot of that in

517
00:25:06,760 --> 00:25:10,000
Speaker 3: the Smiths where he brought He would repeat verses in

518
00:25:10,119 --> 00:25:13,439
Speaker 3: different places and it would change the way the verse felt.

519
00:25:13,800 --> 00:25:17,080
Speaker 2: Yeah, panic almost has like some of that or I forget. Yeah,

520
00:25:17,080 --> 00:25:18,800
Speaker 2: there's some songs that it does feel so.

521
00:25:18,920 --> 00:25:21,200
Speaker 3: Oh he does it a lot. Yeah, Like I'm thinking

522
00:25:21,320 --> 00:25:24,480
Speaker 3: right now, there's that one like does the body rull

523
00:25:24,640 --> 00:25:27,119
Speaker 3: the mind or does the mind rule the body?

524
00:25:27,280 --> 00:25:27,680
Speaker 2: I don't know.

525
00:25:28,680 --> 00:25:31,480
Speaker 3: He brings that back three different times in that song,

526
00:25:31,520 --> 00:25:34,520
Speaker 3: and it's not the chorus. Yes, but when it happens

527
00:25:34,640 --> 00:25:38,320
Speaker 3: you're like when you, it's the first time I ever

528
00:25:38,480 --> 00:25:42,160
Speaker 3: thought of when you, or heard and prompted the thought

529
00:25:42,200 --> 00:25:48,440
Speaker 3: that if you recontextualize the same lyric between different lyrics

530
00:25:48,520 --> 00:25:51,200
Speaker 3: and a different part in the song. It changes the

531
00:25:51,280 --> 00:25:55,280
Speaker 3: way that lyric feels, which then makes lyrics feel the

532
00:25:55,359 --> 00:25:59,520
Speaker 3: way like a chord choice can or a dynamic choice can.

533
00:26:00,000 --> 00:26:03,240
Speaker 3: And that's really that's kind of cool because I don't

534
00:26:03,240 --> 00:26:06,520
Speaker 3: think most people think that way when they're I don't

535
00:26:06,520 --> 00:26:08,720
Speaker 3: think most people use lyrics that way.

536
00:26:09,200 --> 00:26:10,199
Speaker 1: Yeah, I'm not.

537
00:26:10,280 --> 00:26:12,560
Speaker 3: Saying this is that, but I do like that they're

538
00:26:12,640 --> 00:26:14,920
Speaker 3: just like, second verse was cool, let's bring it back

539
00:26:15,000 --> 00:26:15,760
Speaker 3: after the bridge.

540
00:26:26,160 --> 00:26:30,080
Speaker 2: It almost feels like, since Morrissey in that situation, maybe

541
00:26:30,119 --> 00:26:33,119
Speaker 2: here too, is just the singer and not a guitar player, right,

542
00:26:33,480 --> 00:26:36,119
Speaker 2: that he just did it or just like, you know,

543
00:26:36,280 --> 00:26:37,840
Speaker 2: And then they were like, oh, I love that. Did

544
00:26:37,920 --> 00:26:39,359
Speaker 2: you know that I was in the chorus or did

545
00:26:39,440 --> 00:26:41,159
Speaker 2: you know I was in the verse, you know? And

546
00:26:41,240 --> 00:26:43,040
Speaker 2: he's just like, I just thought it sounded good, right,

547
00:26:43,359 --> 00:26:44,720
Speaker 2: And he probably was.

548
00:26:44,760 --> 00:26:47,439
Speaker 3: Like it, of course I knew what I was. Don't

549
00:26:47,480 --> 00:26:48,880
Speaker 3: ever ask me a question like that again.

550
00:26:48,960 --> 00:26:51,159
Speaker 1: Joe and the drummer and the drummer on the bassis

551
00:26:51,280 --> 00:26:52,440
Speaker 1: don't get residuals.

552
00:26:52,640 --> 00:26:55,800
Speaker 3: Yes, exactly, exactly exactly, yeah, yeah.

553
00:26:55,760 --> 00:26:57,960
Speaker 1: Yeah, he said that too, which is weird. The practice

554
00:26:58,480 --> 00:26:58,679
Speaker 1: in the.

555
00:26:58,760 --> 00:27:03,600
Speaker 3: Song and the drama and the dace just will not

556
00:27:03,760 --> 00:27:07,440
Speaker 3: be getting residuals. Oh no, Like wait, what did you

557
00:27:07,520 --> 00:27:07,840
Speaker 3: just say?

558
00:27:08,720 --> 00:27:15,960
Speaker 1: Me and Mar and that is the original name of

559
00:27:16,000 --> 00:27:20,840
Speaker 1: the band. Yeah, So what I love in this verse is.

560
00:27:22,320 --> 00:27:25,600
Speaker 2: You know it's it's what I like first is you

561
00:27:25,720 --> 00:27:27,720
Speaker 2: know you know the rules, and so do I write,

562
00:27:27,920 --> 00:27:31,280
Speaker 2: that's a great line. And then later he says, we

563
00:27:31,480 --> 00:27:34,560
Speaker 2: know the game and we're going to play it. Yes,

564
00:27:34,840 --> 00:27:36,920
Speaker 2: you know what I mean, Like we both know how

565
00:27:37,080 --> 00:27:39,560
Speaker 2: like sort of did the dating game and just like

566
00:27:40,359 --> 00:27:42,600
Speaker 2: the game that like kid, like you know, teenagers go

567
00:27:42,760 --> 00:27:45,399
Speaker 2: through of like I don't like me too much or

568
00:27:45,440 --> 00:27:47,720
Speaker 2: I'll lose interest, but you know if you don't like

569
00:27:47,800 --> 00:27:50,280
Speaker 2: me enough, and like that's the game. And we don't

570
00:27:50,520 --> 00:27:55,800
Speaker 2: still play it totally every day, you know, honestly, honestly,

571
00:27:56,240 --> 00:27:59,440
Speaker 2: what's cool about you is you play mad psychodramatic games

572
00:27:59,480 --> 00:28:01,760
Speaker 2: with your dude, and like, yeah, and.

573
00:28:01,800 --> 00:28:05,639
Speaker 1: She doesn't even know on edge. She's always on the

574
00:28:05,720 --> 00:28:08,480
Speaker 1: edge of the bridge and I'm pinin you're me and

575
00:28:08,680 --> 00:28:09,280
Speaker 1: Mar and.

576
00:28:09,359 --> 00:28:12,600
Speaker 3: She's the basis of the drummer six feet from the

577
00:28:12,760 --> 00:28:20,000
Speaker 3: bridge and on bed. No, I also think look as

578
00:28:20,080 --> 00:28:22,120
Speaker 3: you said, what a games.

579
00:28:21,840 --> 00:28:28,320
Speaker 4: Have, uhh uh, sportscasters rules and so in the top

580
00:28:28,440 --> 00:28:31,960
Speaker 4: of you know, last top top line of the first verse,

581
00:28:32,160 --> 00:28:34,080
Speaker 4: second line, you know the rules, and so do I

582
00:28:35,440 --> 00:28:37,200
Speaker 4: last line of the second and third verse.

583
00:28:37,280 --> 00:28:39,320
Speaker 3: We know the game and we're gonna play it. He's

584
00:28:39,640 --> 00:28:43,400
Speaker 3: duck to something. Yep, you know it's not nonsense. And

585
00:28:44,200 --> 00:28:47,240
Speaker 3: I mean also I do think he's like he's letting

586
00:28:47,280 --> 00:28:50,840
Speaker 3: you know exactly what a full commitment from Rick Astley is.

587
00:28:50,920 --> 00:28:54,960
Speaker 3: He's never never gonna give you up, let you down,

588
00:28:55,480 --> 00:29:01,080
Speaker 3: run around desert, you make you cry. I'm sure at

589
00:29:01,120 --> 00:29:02,960
Speaker 3: some point, if this is a full commitment, they'll be

590
00:29:03,040 --> 00:29:06,000
Speaker 3: together thirty forty fifty sixty years unless there's some terrible

591
00:29:06,080 --> 00:29:08,920
Speaker 3: accident or something. He's probably there's gonna be some tears.

592
00:29:10,120 --> 00:29:12,800
Speaker 3: And also he's probably gonna have to say goodbye, like,

593
00:29:12,840 --> 00:29:15,600
Speaker 3: oh goodbye, I gotta go to work or go on tour.

594
00:29:16,120 --> 00:29:18,080
Speaker 3: I gotta go on tour. Maybe she'll go with him

595
00:29:18,120 --> 00:29:20,360
Speaker 3: on tour. He she they I don't know anything about

596
00:29:20,360 --> 00:29:22,800
Speaker 3: her Chelsley's preferences. I know nothing about it.

597
00:29:24,120 --> 00:29:25,640
Speaker 1: Yeah, and he's gonna tell a lie.

598
00:29:26,600 --> 00:29:29,440
Speaker 3: Yeah, no doubt, dude, definitely that's all.

599
00:29:29,400 --> 00:29:32,000
Speaker 2: Lie even something like which is just like is your

600
00:29:32,000 --> 00:29:34,920
Speaker 2: stomach okay, yeah, it's fine, and he got poomed yeoh.

601
00:29:35,000 --> 00:29:37,360
Speaker 3: And also because he's British too, so he's like a

602
00:29:37,480 --> 00:29:39,080
Speaker 3: stiff upper lip and all.

603
00:29:39,040 --> 00:29:39,440
Speaker 2: That in it.

604
00:29:39,880 --> 00:29:41,800
Speaker 1: I think I'm fine. I see.

605
00:29:45,080 --> 00:29:50,360
Speaker 5: You know, Rick Castley, but honestly stiff. Yeah it is

606
00:29:50,440 --> 00:29:52,800
Speaker 5: what I know how you said, it is exactly how that.

607
00:29:53,120 --> 00:29:56,080
Speaker 5: That's what's so funny. That's I think we haven't covered

608
00:29:56,080 --> 00:29:56,480
Speaker 5: that enough.

609
00:29:56,960 --> 00:29:59,880
Speaker 3: He is like a really like he's like like a

610
00:30:00,440 --> 00:30:02,480
Speaker 3: like a tough like he's like a like a like

611
00:30:02,560 --> 00:30:07,480
Speaker 3: a football hooligangain soccer hoodlum football hooligan.

612
00:30:07,960 --> 00:30:09,720
Speaker 1: I just want to tell you how I'm faring.

613
00:30:10,320 --> 00:30:11,000
Speaker 3: Yeah yeah, but.

614
00:30:11,080 --> 00:30:13,640
Speaker 1: They'll make you understand, missy.

615
00:30:15,520 --> 00:30:16,480
Speaker 3: But then he sings and.

616
00:30:16,520 --> 00:30:21,080
Speaker 1: It's like you know, weirdo straight just to love right, And.

617
00:30:21,120 --> 00:30:23,480
Speaker 3: Then he's like I heard there was a secret col

618
00:30:23,640 --> 00:30:24,680
Speaker 3: Did you ever hear him do that one?

619
00:30:24,880 --> 00:30:26,080
Speaker 1: I did hear that by Pavement?

620
00:30:28,720 --> 00:30:29,280
Speaker 3: Sorry? Rick?

621
00:30:29,400 --> 00:30:29,640
Speaker 1: Sorry?

622
00:30:29,720 --> 00:30:33,239
Speaker 3: Rick? I am Rick rolling everybody on this podcast at

623
00:30:33,280 --> 00:30:34,920
Speaker 3: all times, and I just send you to one of

624
00:30:35,000 --> 00:30:38,920
Speaker 3: four places. That's what my ric roll. Yes, everything starts

625
00:30:38,960 --> 00:30:40,959
Speaker 3: with whatever song we're talking about. And by the end

626
00:30:41,840 --> 00:30:46,440
Speaker 3: you could feed me Rent Rick Astley one eight seven, seven,

627
00:30:46,520 --> 00:30:50,400
Speaker 3: cars for kids, creeds, creed, anything you want. And where

628
00:30:50,440 --> 00:30:53,240
Speaker 3: do we come out? We come out it's it's a utero.

629
00:30:53,960 --> 00:30:57,240
Speaker 3: It's either roar, it's me on the little fucking bench

630
00:30:57,280 --> 00:31:00,360
Speaker 3: and tape world. Listen to Crooked Rain. That's right, it's

631
00:31:00,440 --> 00:31:04,760
Speaker 3: elc write about God and sex, the whole thing. All right,

632
00:31:04,800 --> 00:31:06,880
Speaker 3: But back to the sorry, back to the chance at hand.

633
00:31:08,080 --> 00:31:09,520
Speaker 3: So this was four years before.

634
00:31:09,400 --> 00:31:13,600
Speaker 2: Never so I have a So the other thing that

635
00:31:13,720 --> 00:31:18,040
Speaker 2: I I read is that when when rick Roll came out,

636
00:31:18,120 --> 00:31:19,680
Speaker 2: he was confused by it, but then he was like

637
00:31:20,240 --> 00:31:22,160
Speaker 2: totally like open to it. He thought it was you

638
00:31:22,200 --> 00:31:24,160
Speaker 2: have to roll around in this, yes, okay, so he

639
00:31:24,240 --> 00:31:28,040
Speaker 2: thought it was really funny. Confusion makes sense by the

640
00:31:28,080 --> 00:31:31,240
Speaker 2: way he's like what and then people think a few

641
00:31:31,320 --> 00:31:33,040
Speaker 2: years later he was like kind of done with it,

642
00:31:33,240 --> 00:31:35,240
Speaker 2: Like his his reps were like he no longer wants

643
00:31:35,240 --> 00:31:38,840
Speaker 2: to entertain like interview questions about rick Roll. Sure, he

644
00:31:38,920 --> 00:31:42,280
Speaker 2: feels like he's answered everything. But when he tours, which

645
00:31:42,320 --> 00:31:44,240
Speaker 2: he continued to do in fact, like it kind of

646
00:31:44,320 --> 00:31:46,960
Speaker 2: coincided like he had taken a ten year break and

647
00:31:47,080 --> 00:31:49,400
Speaker 2: then started picking up as he was touring, so what

648
00:31:49,480 --> 00:31:51,720
Speaker 2: it really helped him, But he never wanted to like

649
00:31:52,000 --> 00:31:53,560
Speaker 2: redo this song or remix it.

650
00:31:53,680 --> 00:31:55,720
Speaker 3: He did in case you did the work for this

651
00:31:55,920 --> 00:31:56,920
Speaker 3: this come on, Come on.

652
00:31:57,160 --> 00:32:00,400
Speaker 2: He like he liked how the song was and was like,

653
00:32:00,680 --> 00:32:02,520
Speaker 2: that's why people like it, and if I'm trying to

654
00:32:02,600 --> 00:32:04,520
Speaker 2: capitalize on it, it might just ruin the whole thing.

655
00:32:04,600 --> 00:32:06,640
Speaker 1: And he understood that and was like, but.

656
00:32:06,760 --> 00:32:08,080
Speaker 2: So he has to tour, and he has to do

657
00:32:08,760 --> 00:32:14,720
Speaker 2: probably has more than even like you know, Bruce Springsteen

658
00:32:14,760 --> 00:32:16,760
Speaker 2: having to do Born to Run, right, He's got to

659
00:32:16,840 --> 00:32:17,040
Speaker 2: do this.

660
00:32:17,520 --> 00:32:20,400
Speaker 3: You can't be very ghastly and not play those two songs.

661
00:32:20,640 --> 00:32:23,120
Speaker 3: I guarantee you those are in every set list he

662
00:32:23,200 --> 00:32:24,000
Speaker 3: ever puts together.

663
00:32:24,240 --> 00:32:25,920
Speaker 1: Do you have songs that you feel that you have

664
00:32:26,080 --> 00:32:26,240
Speaker 1: to do?

665
00:32:27,200 --> 00:32:31,280
Speaker 3: I mean, the great thing about being nowhere near as

666
00:32:31,360 --> 00:32:34,440
Speaker 3: commercially successful as any of the people we would ever

667
00:32:34,640 --> 00:32:37,440
Speaker 3: do on this show, including whoever wrote one eight seven

668
00:32:37,520 --> 00:32:38,640
Speaker 3: seven Cars for Kids?

669
00:32:39,720 --> 00:32:40,080
Speaker 2: But is.

670
00:32:41,640 --> 00:32:46,840
Speaker 3: Everyone who has an audience, even a niche public facing person,

671
00:32:48,400 --> 00:32:52,600
Speaker 3: you it is probable, if you're fortunate enough to have that,

672
00:32:53,120 --> 00:32:55,760
Speaker 3: that there are a handful of songs that your audience

673
00:32:57,120 --> 00:33:04,040
Speaker 3: more of your audience likes than your other songs, and

674
00:33:04,160 --> 00:33:06,240
Speaker 3: I do. I just think that's mandatory, and I have

675
00:33:06,480 --> 00:33:07,760
Speaker 3: like I would say I have like.

676
00:33:08,880 --> 00:33:12,280
Speaker 2: There's definitely I would say four off the top of

677
00:33:12,400 --> 00:33:15,800
Speaker 2: my head that I five probably that I think are like.

678
00:33:17,200 --> 00:33:20,920
Speaker 2: I would do well to include three of them whenever

679
00:33:21,040 --> 00:33:22,080
Speaker 2: I play a show, and you.

680
00:33:22,080 --> 00:33:23,960
Speaker 1: Can move them around a little bit, just as you

681
00:33:24,080 --> 00:33:24,760
Speaker 1: get tired of them.

682
00:33:24,880 --> 00:33:27,640
Speaker 3: And then there's about ten. And the truth is maybe

683
00:33:27,720 --> 00:33:29,440
Speaker 3: because I've never been in a position where it was like,

684
00:33:29,480 --> 00:33:33,320
Speaker 3: you have to play that song every night, or yes,

685
00:33:33,760 --> 00:33:37,640
Speaker 3: or like you have to play that song for a

686
00:33:37,880 --> 00:33:42,000
Speaker 3: year on morning and late night television and a bunch

687
00:33:42,040 --> 00:33:44,760
Speaker 3: of radio stations, like I've done this much of that

688
00:33:45,000 --> 00:33:46,680
Speaker 3: over the course of my career, but it's never been

689
00:33:46,760 --> 00:33:48,680
Speaker 3: like you have to be playing that one song for

690
00:33:48,800 --> 00:33:51,200
Speaker 3: a year every time you go on any of those

691
00:33:51,280 --> 00:33:55,680
Speaker 3: things everywhere in the world. I think, if you're I

692
00:33:55,720 --> 00:34:00,320
Speaker 3: think it's heavy. I think it's heaviest if you maybe

693
00:34:00,360 --> 00:34:02,640
Speaker 3: are someone then this might be a pretentious thing to say,

694
00:34:02,680 --> 00:34:05,000
Speaker 3: and it might be a pretentious thing to even self consider,

695
00:34:05,320 --> 00:34:07,240
Speaker 3: but I think it's why it weighs more on people

696
00:34:07,320 --> 00:34:10,800
Speaker 3: who might like have been more on the like, you know,

697
00:34:11,760 --> 00:34:13,959
Speaker 3: I think there's a reason why that meeting people is easy.

698
00:34:14,040 --> 00:34:17,200
Speaker 3: Documentary about Radiohead looks like they were fucking miserable the

699
00:34:17,400 --> 00:34:19,680
Speaker 3: entire time they were having like the biggest moment of

700
00:34:19,719 --> 00:34:23,120
Speaker 3: their careers, because they see themselves as artists in the

701
00:34:23,400 --> 00:34:27,080
Speaker 3: entertainment industry. Now, whether they are or aren't is a

702
00:34:27,200 --> 00:34:30,000
Speaker 3: much more interesting philosophical debate, Like if there's any difference

703
00:34:30,040 --> 00:34:33,120
Speaker 3: at all between Radiohead and Britney Spears is for another time.

704
00:34:33,520 --> 00:34:36,719
Speaker 3: But I think people like that are like I don't

705
00:34:36,719 --> 00:34:37,000
Speaker 3: want to.

706
00:34:36,960 --> 00:34:41,440
Speaker 2: Fucking play Paranoid Android again on you know, Like I

707
00:34:41,560 --> 00:34:43,640
Speaker 2: definitely we're not going to mention any names, but there's

708
00:34:43,680 --> 00:34:45,440
Speaker 2: people I talk about a lot on this podcast that

709
00:34:45,520 --> 00:34:48,200
Speaker 2: I know were well documented about how they felt about

710
00:34:48,600 --> 00:34:53,120
Speaker 2: having to play there like one song over and over again. No.

711
00:34:53,239 --> 00:34:55,040
Speaker 3: But also it's like, because that never happened to me,

712
00:34:55,120 --> 00:34:57,279
Speaker 3: even the four or five that are that way for me,

713
00:34:57,440 --> 00:35:00,040
Speaker 3: relatively speaking, I'm still like pretty happy to play I

714
00:35:00,080 --> 00:35:00,839
Speaker 3: am most of the time.

715
00:35:01,000 --> 00:35:03,839
Speaker 2: Do you know what your least played songs ever are?

716
00:35:04,800 --> 00:35:08,680
Speaker 2: I could I could hazard a guess. Uh, maybe a

717
00:35:08,719 --> 00:35:11,360
Speaker 2: fun one would be to give maybe something fun we

718
00:35:11,400 --> 00:35:14,320
Speaker 2: could do sometime would be to just savage me and

719
00:35:14,480 --> 00:35:17,759
Speaker 2: for another artist and to give my ship a chance.

720
00:35:18,120 --> 00:35:21,200
Speaker 2: Whether most or least, I think it's probably I do

721
00:35:21,480 --> 00:35:24,400
Speaker 2: have a handful of like songs from proper records, like

722
00:35:24,560 --> 00:35:27,160
Speaker 2: B sides or whatever sounds for proper records, and you're like, oh,

723
00:35:27,200 --> 00:35:28,560
Speaker 2: I haven't played this in a decade, or.

724
00:35:28,680 --> 00:35:31,600
Speaker 3: I would imagine that there's yeah, I could think of you.

725
00:35:31,800 --> 00:35:33,839
Speaker 2: You're good for your You're good for your fan base

726
00:35:33,880 --> 00:35:35,719
Speaker 2: because you you will be like, oh, this is the

727
00:35:35,800 --> 00:35:37,800
Speaker 2: tenure anniversary of this album.

728
00:35:37,800 --> 00:35:38,760
Speaker 1: I'm going to play this album.

729
00:35:38,880 --> 00:35:41,279
Speaker 2: Like. I think that's a good quality you have, is like,

730
00:35:41,600 --> 00:35:44,240
Speaker 2: because I think I like when artists do that because

731
00:35:44,239 --> 00:35:48,560
Speaker 2: at different times people enter their your artistry for certain records,

732
00:35:48,600 --> 00:35:49,200
Speaker 2: and it's nice.

733
00:35:49,080 --> 00:35:50,399
Speaker 1: To hear the whole thing. And I think I think

734
00:35:50,440 --> 00:35:51,120
Speaker 1: that's good to do that.

735
00:35:52,200 --> 00:35:54,759
Speaker 3: Well, thank you, Casey. I mean I think that it's

736
00:35:54,800 --> 00:35:56,879
Speaker 3: cool that anyone pays attention to it at all. Rick Roll,

737
00:35:56,920 --> 00:35:58,400
Speaker 3: Actually that wasn't a sympathetic thing.

738
00:35:58,480 --> 00:36:00,320
Speaker 1: Play I play the rick Roll at post at the

739
00:36:00,400 --> 00:36:01,160
Speaker 1: end of the episode.

740
00:36:04,719 --> 00:36:08,000
Speaker 3: H I do want the second right at the end

741
00:36:08,040 --> 00:36:10,240
Speaker 3: there you should ask we should we can tell them.

742
00:36:12,360 --> 00:36:13,840
Speaker 1: But I can't where we're still going I thought it

743
00:36:13,920 --> 00:36:15,160
Speaker 1: was gonna it's gonna end.

744
00:36:15,400 --> 00:36:18,520
Speaker 3: Twenty seconds, So listen in the last twenty seconds if

745
00:36:18,560 --> 00:36:20,400
Speaker 3: you're listening to this and you and you have the

746
00:36:20,440 --> 00:36:25,800
Speaker 3: opportunity to edit it. After Casey said that we should

747
00:36:25,800 --> 00:36:30,200
Speaker 3: play the funny song right there, Okay, all right, case

748
00:36:30,320 --> 00:36:31,759
Speaker 3: go get your child.

749
00:36:32,040 --> 00:36:35,279
Speaker 1: Love you guys, love everybody body. Just give it a

750
00:36:35,360 --> 00:36:35,440
Speaker 1: sh