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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.

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Speaker 2: It a chance.

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Speaker 1: Good morning, Give it a you want to give it

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

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Speaker 1: Just give it a chance.

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Speaker 3: Okay, dabs definitely just saluted each other. I'm gonna go

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Speaker 3: off bit I got glitchy, why fy today? Chancers? That glitch,

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Speaker 3: that glitch glitch please, you must have a mental disease.

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Speaker 1: Welcome everybody to another episode of Give It a Chance

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Speaker 1: where we listen to this song that's a secret for Kevin,

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Speaker 1: and we give it a chance this week.

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Speaker 3: One time we didn't. One time I brought my own song.

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Speaker 1: That's true that I was thinking about that today. I

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Speaker 1: was like, these the omars and the tiny chancers are

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Speaker 1: probably like one's Kevin gonna pick another song, but it's

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Speaker 1: not today. Nope, I'm actually sad keV. Here comes the hint,

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Speaker 1: because your WiFi is not great until you're off a video,

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Speaker 1: and I wanted people to see how sexy you are.

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Speaker 3: Oh god, you know it, I do. I think what

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Speaker 3: we're gonna hear is sex Men's Bizarre by Lance and

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Speaker 3: Baby three. Now do Sexy Life.

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Speaker 1: Yes, and do you know the name of the group.

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Speaker 3: Do you remember do I know the name of the group?

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Speaker 3: What self respecting forty five year old who came of

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Speaker 3: age in the early nineties would not know? This was right,

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Speaker 3: said Fred?

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Speaker 1: Come on, yes, queen, yes, I so. But before we

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Speaker 1: go and listen to this song, I want you to

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Speaker 1: know that I had some sort of compilation that was

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Speaker 1: like it was I think it was like VH one

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Speaker 1: Hits of the Nineties or something, but it was like

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Speaker 1: in the two thousands we had it, and I almost

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Speaker 1: feel like it was actually I remember it almost like

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Speaker 1: in the late nineties that they had like Hits of

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Speaker 1: the nineties. Yes, yes, and this was on it. And

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Speaker 1: you know when you're like a kid and you don't

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Speaker 1: really have discerning taste like everything, like there's no genre

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Speaker 1: you like necessarily totally. I actually I feel like I'm

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Speaker 1: back to that now.

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Speaker 3: But you are good at this. I feel like you

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Speaker 3: are very lowercase C Catholic tastes universal wide.

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Speaker 1: Yeah, yeah, no ego. And this song was on that mix,

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Speaker 1: and I was like, this song is great. I like

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Speaker 1: loved it, the vocals, like the whole music, like the

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Speaker 1: I think I really love the music of it. But

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Speaker 1: I will say that this is a song that people

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Speaker 1: are like, that song's a joke, that song's bad. Sure,

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Speaker 1: it's like the era of these one hit wonders that

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Speaker 1: like it was almost more of People liked it because

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Speaker 1: it was so weird and different, but they didn't really

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Speaker 1: feel like it could stand on its own. Two muscular Legs.

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Speaker 3: Jacked out, never skipped legg Day Gladiator three, Right, said Legs.

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Speaker 1: But I'm pumped to listen to this As a former

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Speaker 1: fan that hasn't listened to it in probably twenty five years,

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Speaker 1: I've avoided listening.

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Speaker 3: Wow, twenty five years. I like what you did there

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Speaker 3: with pumped too.

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Speaker 2: That was good.

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Speaker 1: Yes, I'm just I'm just flexing my mental muscles.

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Speaker 3: To poop oh la la shizzle.

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Speaker 1: There you go, there you go. I want to also

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Speaker 1: say that it's kind of impossible to not hear this

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Speaker 1: song a little bit because, like even to today, this

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Speaker 1: song is used in like trailers of movies.

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Speaker 3: Yep, and in movies, in numerous movies.

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Speaker 1: Yeah, it's like an on the nose song that always

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Speaker 1: kind of works. So that being said, we're now going

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Speaker 1: and listen to right, said Fred. I'm Too Sexy original mix, I'm.

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Speaker 3: Too sixty my shirt to sixty, my shirt so sexy

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Speaker 3: it hurts.

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Speaker 2: Wow.

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Speaker 1: Wow, this might be the easiest give it a chance,

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Speaker 1: because I couldn't. I'm trying to find things to anti chance.

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Speaker 3: No, we can just be a positive, We can be

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Speaker 3: a forms of positivity in the world if we want to. Today.

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Speaker 1: I'm perplexed as to I can understand why people might

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Speaker 1: not like it. It's a little tongue in cheek, like

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Speaker 1: he's I think he's kidding throughout this song, and I

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Speaker 1: could see people not taking it seriously or feeling that

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Speaker 1: it's like, I don't want to listen to this guy

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Speaker 1: just kind of joking around, right, like it's nineteen ninety

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Speaker 1: one when this comes as serious people, Yeah ninety one, bro,

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Speaker 1: you know I'm going hungry.

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Speaker 3: Yeah, so what I'm saying, like, you know, we'll get to

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Speaker 3: where of course I'll talk about Kurt a little later,

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Speaker 3: but go ahead.

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Speaker 1: Yeah, yeah, but you're right. But yeah, I think there's

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Speaker 1: a lot going on in this song that at first

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Speaker 1: it starts out like like you know, a fruity loop

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Speaker 1: that somebody made like on their computer, like you remember

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Speaker 1: for loops. Yeah, I do so it's like somebody's just

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Speaker 1: like made some like you know, kind of stock beat.

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Speaker 1: But then you realize, oh no, this bas is like

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Speaker 1: being played live. And then there's like all kinds of

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Speaker 1: like fun sound effects that are dropping in and varying

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Speaker 1: sonically throughout it. It's lacking some sort of like it's

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Speaker 1: it's as catchy as it is, it's kind of lacking

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Speaker 1: you know, a melodic hook or something like, but that's

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Speaker 1: almost it's almost an anti hooked to be like I'm

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Speaker 1: a model, you know what I mean. Like, yeah, it's

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Speaker 1: really weird and fun. It's catchy, but it is not

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Speaker 1: It's not what you would consider top forty. And I

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Speaker 1: think the nineties was kind of good.

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Speaker 3: At that, totally totally, and I mean I think also

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Speaker 3: it's like, you know, it gets into like something that

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Speaker 3: might be considered like a gimmick song or like kitchy

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Speaker 3: or whatever. It's like, you know, well, so, what what's

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Speaker 3: wrong with that? What's so bad about that? Like I

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Speaker 3: have a lot more respect for something that's like a

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Speaker 3: straight up I don't know, perfectly or well executed, and

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Speaker 3: this is I think almost it's this pretty high level

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Speaker 3: of execution for what it's set out to be. It's

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Speaker 3: committed to what it is. It's not. Also it's interesting though,

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Speaker 3: I mean, my brain is being let in all these

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Speaker 3: different directions. It's funny because what you said about the

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Speaker 3: melodic structure or lack thereof. It's funny because I've always

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Speaker 3: felt this with this song and I haven't heard it

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Speaker 3: in a while. When he's singing, I'm actively like, what

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Speaker 3: is he like in the verses, I'm like, is he singing? Like?

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Speaker 3: Is he singing notes? Or is he just kind of

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Speaker 3: dogging in a weird spot in his voice? Like sometimes

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Speaker 3: it feels like he's kind of higher than other times

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Speaker 3: he's kind of like down here, And I can't really

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Speaker 3: tell if there's like ever, like if you try to

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Speaker 3: play the vocal line on an instrument, does it exist

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Speaker 3: or is it just sort of like do you know

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Speaker 3: what I'm saying? Yeah?

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Speaker 1: I do. It's like the same note but like almost

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Speaker 1: like someone's bending it slightly.

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Speaker 3: Yeah, yeah, but so is it a note? Like I

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Speaker 3: guess any spoken Like I wonder if any This might

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Speaker 3: be the stupidest thing I've ever said on this podcast,

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Speaker 3: which would be saying something I wonder if any spoken

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Speaker 3: sound is roughly findable if in isolation as a note

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Speaker 3: in a music scale or close to it. Do you

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Speaker 3: understand what I mean by that? No?

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Speaker 1: I do. I think if someone made like a MIDI

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Speaker 1: version of it, like like like almost like an eight

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Speaker 1: bit version of it, it'd.

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Speaker 3: Be like and then well and that no, that there's

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Speaker 3: a clear melody the chorus to me, like but when

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Speaker 3: he's going just like.

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Speaker 1: I'm like, what the fun you do it? You did again?

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Speaker 2: I am.

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Speaker 1: The wrong song?

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Speaker 3: I am my yard.

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Speaker 1: This is actually maybe this was like the influence of

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Speaker 1: waha wa maybe yeah, who is that again?

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Speaker 2: Oh?

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Speaker 3: That was I think disturbed down with the sickness. That's

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Speaker 3: a good thing.

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Speaker 2: That's alo.

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Speaker 3: Yeah, that's for next time. That's for you to give

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Speaker 3: a chance on your own fucking time case. Right now,

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Speaker 3: it feels I do feel like there's something about It's

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Speaker 3: in the very first intro where that opens a song,

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Speaker 3: and in the very last lyric, second to last lyric

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Speaker 3: this love I'm too sexy for my love, Love is

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Speaker 3: going to leave me? Yeah, and I'm like, whoa. It

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Speaker 3: actually recasts the whole song as like this to me,

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Speaker 3: are you ready? Far out? Chancy take from keV I

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Speaker 3: Can't Wait? It's funny. It's tongue in cheek. Obviously. The

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Speaker 3: music is it's a party. It's you know, a club song.

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Speaker 3: It's top forty sort.

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Speaker 1: Of, you know, it's an and beat.

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Speaker 3: It's a club thing. It's a beat. But and it

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Speaker 3: is this person who's almost like, like you said, whether

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Speaker 3: it's a joke or not, it's like a it's like

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Speaker 3: a like a it's like a Braggert's delight, right, like

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Speaker 3: somebody who's kind of like talking themselves up, like I'm

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Speaker 3: too I'm so, I'm too sexy for everything around me,

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Speaker 3: this shirt, I'm so sexy. It hurts, like all of

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Speaker 3: this stuff. I also thought, by the way, it's funny

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Speaker 3: when it says I'm too sexy for your party. I

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Speaker 3: always said he said too sexy for your body. And

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Speaker 3: I also thought he said too sexy for your body

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Speaker 3: the way I'm disco dancing. I never thought it was

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Speaker 3: I'm too sexy for your party. No way I'm disco dancing.

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Speaker 3: There's no way I'll be at your party disco dancing.

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Speaker 3: But look this whole thing when you frame it in

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Speaker 3: the parentheses of I'm too sexy for my love, too

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Speaker 3: sexy for my love, love is going to leave me.

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Speaker 3: It actually becomes this crazy, weird insecurity thing where he's like,

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Speaker 3: I'm talking myself up with all of this, like aggressive, braggadocious,

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Speaker 3: I'm too sexy for Milan, I'm too sexy, you know.

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Speaker 3: And then it's actually because he's like, I'm so scared

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Speaker 3: that my love's going to leave me, like or I'm

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Speaker 3: so sexy that like my maybe, wow, I'm really getting

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Speaker 3: far field here.

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Speaker 1: Yeah, I love this.

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Speaker 3: I'm so sexy that I make my partners insecure and me,

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Speaker 3: which is fucking that's layered that I think so too,

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Speaker 3: really chance chance words, it's.

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Speaker 1: Both like it is both like hedonistic but also introspective.

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Speaker 1: That's it, Doug, And it's yeah, that's I like that

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Speaker 1: take of like it's my problem is I'm too sexy

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Speaker 1: and when you think about it all that it's like

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Speaker 1: not a brag. And he's like, I'm too it's like hard.

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Speaker 1: I'm like, because that's what too, that's what two means too. Yes, yes, yes,

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Speaker 1: there are times that my daughter was was was accidentally

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Speaker 1: saying I love you too much and instead of so

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Speaker 1: much and I and I love that and I think

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Speaker 1: it's fun, but it makes it too means it's bad, so.

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Speaker 3: Go and also with respect to the love of a

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Speaker 3: child and a parent, just to go there for a minute.

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Speaker 3: There are times where I'll literally be like, like, it

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Speaker 3: is possible too much almost weirdly makes sense because it's

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Speaker 3: so big, that feeling of like, oh my god, I

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Speaker 3: love this small human being almost too much.

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Speaker 1: Too much?

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Speaker 3: Yes, So like her saying that to you as a joke,

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Speaker 3: is it almost like offering you access to your own

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Speaker 3: feelings about her, which is funny, But please contend. I'll

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Speaker 3: go off camera now. I'll take my answer off camera.

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Speaker 3: Thanks for Kevin, thanks for taking the call.

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Speaker 1: I'm too sexy for mil Milan, which he says Milan

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Speaker 1: I'm which makes me feel actually that he's never been there.

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Speaker 1: I'm too sexy for Milan, New York and Japan unless

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Speaker 1: he only said Milan to rhyme with Japan. I'm too

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Speaker 1: sexy right, Like, so he can't even fucking travel, this

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Speaker 1: poor guy. Yeah, he can't even wear a shirt because

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Speaker 1: his shirt to her sexy for it, he's so sexy

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Speaker 1: he has to take a shirt off. But that's what's

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Speaker 1: so hard is because he's sexier when he takes his

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Speaker 1: shirt off. So it's it's sort of double edged. Short,

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Speaker 1: he's too sexy to wear a shirt, he has to

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Speaker 1: take his shirt off.

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Speaker 3: Dude gets even worse.

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Speaker 1: He can't even have a cat, his cat. He's too

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Speaker 1: sexy for his cat. His cat's gonna leave him.

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Speaker 3: Yo, his cat's gonna fucking die. Case he can't have

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Speaker 3: a cat, he's too sexy. The cats look, the poor

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Speaker 3: pussy cat's gonna die. And of course this may be

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Speaker 3: the one place. Look, I'm not a fucking puritanical anti

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Speaker 3: sex positive. I'm fucking I'm honestly, I'm I'm with like

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Speaker 3: all of it, like do whatever you want. But I

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Speaker 3: was like, the one thing where he says poor pussy

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Speaker 3: por pussy cat, I was like, okay, okay.

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Speaker 1: No, no, no, he can't help himself.

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Speaker 3: He's sexy, Yeah, but he's gonna talk about pussy. Yes,

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Speaker 3: that's exactly it's not pussy poss he's in Leo's pussy posse.

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Speaker 1: This was your thought, and you're right, it's an ailment

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Speaker 1: that he's discussing. And so one of the symptoms is

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Speaker 1: he can't help but call a cat pussy because he's

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Speaker 1: so sexy. Right, what's the sexiest way to what's the

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Speaker 1: sexiest way to call a cat?

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Speaker 3: I guess to call a cat like the sexiest thing

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Speaker 3: to say to a cow and be like, Yo, you

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Speaker 3: have feline?

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Speaker 1: Ah my god, that's the sexiest thing.

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Speaker 3: That's what I always say to people's cats, like when

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Speaker 3: I go to their house, cause I look, I also

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Speaker 3: didn't want to say like I of course I d

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Speaker 3: with this song. And so when I go to people's houses,

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Speaker 3: I'm always like, First of all, I'm like, I'm so sorry,

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Speaker 3: I'm gonna leave my shirt all while I'm here, and

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Speaker 3: they're always like, no, no, please, please take it off. No, no, no,

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Speaker 3: And then I'll be like and then I'll be like, yeah,

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Speaker 3: where's your cat? And then back, oh, my cat's in

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Speaker 3: the other room, and I'll be like, you'll bring me

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Speaker 3: out that cat, and I'll feed the cats some science diet.

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Speaker 3: And then I'll be like, while I'm feeding the cat's

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Speaker 3: science diet, I'll be like, yo, do you have felie A?

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Speaker 1: What what would be the answer you would like the

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Speaker 1: most out of that question from that question? No?

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Speaker 3: No, that's like, gotcha, I hope you got me.

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Speaker 1: I'm sorry, everybody, don't don't even please.

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Speaker 2: Okay, on the.

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Speaker 1: On the catwalk. I have a feeling that this was

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Speaker 1: one vocal take he did. Yeah, I'm not even sure.

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Speaker 1: I'm not even sure he even had all the lyrics,

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Speaker 1: because you could see a sort of stream of consciousness

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Speaker 1: when he's like, I'm a model, you know what I mean,

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Speaker 1: I do my little turn on the catwalk, and then

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Speaker 1: suddenly he's talking about he's too sexy for my cat.

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Speaker 1: I wonder if it was just like I shake my

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Speaker 1: little tish on the catwalk, I'm too sexy for my cat,

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Speaker 1: you know, like it was just like what else do

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Speaker 1: I say when you're trying to rap and you're like

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Speaker 1: you're just like whatever comes out, it's really really good,

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Speaker 1: but something that was definitely premeditated. And I give a

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Speaker 1: big chance he too is and I'm too sexy for

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Speaker 1: this song.

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Speaker 3: Oh yeah. The way he lands that is mic drop,

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Speaker 3: maybe the first mic drop.

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Speaker 1: It's yeah, it's it's meta.

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Speaker 3: It's meta. The song had to end in that moment.

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Speaker 3: And the way he delivers the line yeah, you're right,

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Speaker 3: the phrasing, like the drop in his voice, it's almost

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Speaker 3: like a mechanize like I'm too sexy for this song.

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Speaker 1: It's great. It feels like you know, like when it's

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Speaker 1: when like like you're doing like a high school or

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Speaker 1: music project or college like project and you have to

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Speaker 1: like make a yeah, yes, a product, or make a

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Speaker 1: song or something. It feels like like kids getting together

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Speaker 1: and making a song and recording it in a good way.

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Speaker 3: Which is a super big chancy thing. For sure. That's

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Speaker 3: like a what's better than that? The joy of that

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Speaker 3: is pretty pure and fun.

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Speaker 1: It's weird and it's but it's it's fun and it's like,

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Speaker 1: let's try to do this, and you know, there's a

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Speaker 1: there's an energy I do and I'm.

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Speaker 3: Just honestly every lyric is just the sight of joy.

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Speaker 3: Like I'm too sexy from my car, Like I can't

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Speaker 3: even get to fucking work in the morning, dude, my

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Speaker 3: car keeps breaking down and it's not close. I'm too

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Speaker 3: sexy by far. Yes, yes, yes, way, that's hilarious.

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Speaker 1: It's really hilarious. It's not like it's not like he's

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Speaker 1: just like it's just at the beginning of being too sexy,

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Speaker 1: Like he's far into being too sexy.

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Speaker 3: But you know what I wonder here as I'm going through.

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Speaker 3: So when he after the car, he's talk about his

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Speaker 3: hat and he says, what you think about that? Now,

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Speaker 3: given the context where we've described here, what we've set

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Speaker 3: up and what we've come to realize, the parenthetical device

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Speaker 3: where there is an expression of insecurity, I'm so sexy.

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Speaker 3: It's ruining my life. Every corner, nothing's untouched. What you

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Speaker 3: think about that? Maybe RSF, this whole thing is a

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Speaker 3: therapy session.

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Speaker 1: Dog Jess is him.

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Speaker 3: Talking to call back from all those years ago when

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Speaker 3: we did Revolution nine back in six d eight. But yeah,

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Speaker 3: maybe he's talking to.

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Speaker 1: Jacket Janet on the podcast. We gotta have them?

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Speaker 3: Should I have my actual therapist come on the podcast

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Speaker 3: to be you just have to you have to say

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Speaker 3: your name is Janet? That would be really meta.

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Speaker 1: And if Janet, if your Janet comes on, it is

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Speaker 1: just like, does he talk about Nirvana a lot like

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Speaker 1: he does in therapy?

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Speaker 3: I'm trying to think now how many times in therapy

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Speaker 3: I have talked about Nirvana or Elliott Smith? And now

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Speaker 3: the answer is obviously for sure it's more than zero.

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Speaker 1: Oh yeah.

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Speaker 3: The question is for you, do you what you think

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Speaker 3: about this? M hit me, Jane, do you think I've

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Speaker 3: talked about Nirvana and Elliot Smith? Moore on this podcast

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Speaker 3: or in therapy. I'll take my answer off Lee. Thanks

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Speaker 3: for taking the call.

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Speaker 1: Uh yeah, I think you've probably mentioned the trifecta in therapy.

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Speaker 1: You've done it Ard Cohen.

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Speaker 3: And actually it's really funny shocking.

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Speaker 1: I could actually see Nirvana covering this like live, you know,

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Speaker 1: like you know, and you.

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Speaker 3: Know, I bet they had it on on like some

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Speaker 3: like between I would not be surprised if this was

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Speaker 3: like on at their concerts like some between band playlist

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Speaker 3: of just like crazy like they loved like Rupe Paul right,

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Speaker 3: Like I could see them.

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Speaker 1: So I have a question for you on a musical level,

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Speaker 1: what inspired this? Musically? I have some thoughts. Yeah, piano

354
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Speaker 1: feels like kind of actually like sort of a sampled

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Speaker 1: feels like it could have been sampled from like a

356
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Speaker 1: Hall of Notes type band, because that like piano, but

357
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Speaker 1: like it's a little faster thing like yeah, and then

358
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Speaker 1: but it's de only like using you know, kind of turntablism,

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Speaker 1: you know, like with with the beat and like the

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00:19:06,760 --> 00:19:08,280
Speaker 1: I think the piano feels like a loop.

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Speaker 3: There is some lights scratching that goes on in a

362
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Speaker 3: few spaces too. Yeah, but the bass is it's very

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Speaker 3: kind of scratching like a cat with like feeling. Sorry,

364
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Speaker 3: sorry did you.

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Speaker 1: Come on video just for that so I could see

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Speaker 1: you go?

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Speaker 3: Yeah, yeah, all right sorry sorry. The bass.

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Speaker 1: The bass, it's so there's Drummond Basses an influence on us,

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Speaker 1: for sure. It's like that that kind of euro club jungle. Yeah, yeah, sure,

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Speaker 1: that's stuff that came out of like the UK and

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Speaker 1: those like like the way they would they would have

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Speaker 1: Like remember there was always like an extended UK mix

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Speaker 1: like Blondie and and like you know, who are those

374
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Speaker 1: other eighties like Clubby kind of like Wham but like

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Speaker 1: less pop.

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Speaker 3: I feel like Wham but less pop, like I think

377
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Speaker 3: about I don't know if this is the same thing

378
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Speaker 3: you're thinking of. I definitely hear a sort of like

379
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Speaker 3: sort of sanded down, sanitized for radio consumption version of Yeah,

380
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Speaker 3: this is totally I think of all that like mad

381
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Speaker 3: Chester whatever that like that like UK rave thing that

382
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Speaker 3: that's happening at the late eighties early nineties that becomes like, yeah,

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Speaker 3: it's like new order. That was what a lot of

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Speaker 3: that music had, and it was also yeah like stuff

385
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Speaker 3: and I feel like maybe stuff even like the Stone

386
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Speaker 3: Roses and like the what was the band that had

387
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Speaker 3: the Oh my god, there's another one that I'll think of.

388
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Speaker 3: I don't want to waste our time on the pod.

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Speaker 3: There's one specific I'm thinking of right now that had

390
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Speaker 3: like that came from that world. It was like kind

391
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Speaker 3: of that was Stone Roses were a little bit more rock,

392
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Speaker 3: I guess, but they had that like club thing happening too.

393
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Speaker 3: And then things like Chumbawamba who have that big hit later,

394
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Speaker 3: But that thing was that was a band doing.

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Speaker 1: Ad for a while.

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Speaker 3: They were, they were around though. Yeah, yeah, And I

397
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Speaker 3: think that it also has that German Berlin like that

398
00:21:05,040 --> 00:21:08,000
Speaker 3: club Eastern European club thing. That's where I thought this

399
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Speaker 3: man these guys were from For some reason, I have

400
00:21:10,720 --> 00:21:12,200
Speaker 3: no idea, but I always thought they were like an

401
00:21:12,200 --> 00:21:13,159
Speaker 3: Eastern European.

402
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Speaker 1: Yeah, I guess I did too, but they now they

403
00:21:17,320 --> 00:21:19,960
Speaker 1: doesn't feel that way. I felt like Easter Caropiano or

404
00:21:19,960 --> 00:21:23,960
Speaker 1: even like Italian. But are they from Idaho? They're from Idaho.

405
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Speaker 1: They're from cat Town, Idaho.

406
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Speaker 2: No.

407
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Speaker 1: The other groups that I came to mind were like

408
00:21:31,680 --> 00:21:35,920
Speaker 1: the Pet Shop Boys, like as a precursor to this.

409
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Speaker 3: Not like yes, yes, yes, totally erasure maybe yeah, stuff

410
00:21:40,080 --> 00:21:43,440
Speaker 3: like that. Yeah, yeah, yeah, yeah, yeah, that makes sense.

411
00:21:44,119 --> 00:21:45,720
Speaker 3: But yeah, I think that, and I think that thing

412
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Speaker 3: you're talking about about that like the way the keys

413
00:21:48,119 --> 00:21:51,640
Speaker 3: are moving that done done the piano rather block chords

414
00:21:51,760 --> 00:21:54,600
Speaker 3: in that rhythm. That was also when like that was

415
00:21:54,600 --> 00:21:56,679
Speaker 3: in all of that stuff and then whatever was happening.

416
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Speaker 3: I'm thinking of that, Like you remember that Jody was

417
00:21:58,680 --> 00:22:01,840
Speaker 3: it CC pennistin or something like the it was I

418
00:22:01,880 --> 00:22:04,040
Speaker 3: think the song was called like She's Homeless or Homeless

419
00:22:04,119 --> 00:22:06,399
Speaker 3: or something like that. There was this like club music

420
00:22:06,400 --> 00:22:08,439
Speaker 3: in the early nineties in the States too, that was

421
00:22:08,480 --> 00:22:11,720
Speaker 3: in conversation with that stuff, and that piano emotion wasn't

422
00:22:11,800 --> 00:22:15,359
Speaker 3: all of that music like, uh call him mister raider,

423
00:22:15,720 --> 00:22:19,800
Speaker 3: call him mister wrang. Yeah, yes, it had these like

424
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Speaker 3: dun't I love that, don't don't see and see music

425
00:22:22,440 --> 00:22:23,560
Speaker 3: factory all that ship.

426
00:22:23,760 --> 00:22:26,200
Speaker 1: Yeah, that's what I'm talking about. That's what I wanted

427
00:22:26,200 --> 00:22:28,879
Speaker 1: to sort of think about. Also, like it's got that

428
00:22:29,720 --> 00:22:32,640
Speaker 1: tuned up drum that's just the same drum, but it's

429
00:22:32,680 --> 00:22:37,080
Speaker 1: like instead of yes, yes, yes, yes, yes, yeah, I

430
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Speaker 1: love that, Like I I actually feel like that's gone.

431
00:22:40,320 --> 00:22:43,760
Speaker 1: That's like a thing that people did that's gone. You

432
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Speaker 1: don't hear it in music like it's it's it's like

433
00:22:46,720 --> 00:22:49,199
Speaker 1: playing a synthesizer from the although people I know what

434
00:22:49,240 --> 00:22:51,480
Speaker 1: you mean, Yeah, like you know your Mac DeMarco's and

435
00:22:51,480 --> 00:22:54,600
Speaker 1: stuff bring back old synthesizers. But I think certain techniques

436
00:22:54,640 --> 00:22:56,960
Speaker 1: like pitching drums like that you don't really hear.

437
00:22:57,200 --> 00:22:59,520
Speaker 3: Totally, and I think the ghost of that stuff you

438
00:22:59,520 --> 00:23:01,840
Speaker 3: could still this might be a regional thing for anyone

439
00:23:01,840 --> 00:23:05,240
Speaker 3: that's not uh, you know, a Tri State area, upper

440
00:23:06,080 --> 00:23:08,600
Speaker 3: Northeast person, but I feel like you hear the ghost

441
00:23:08,680 --> 00:23:10,840
Speaker 3: of some of that on like kt U and stuff

442
00:23:10,880 --> 00:23:13,560
Speaker 3: like that. They're just like playing an extended kind of

443
00:23:13,600 --> 00:23:16,240
Speaker 3: like I don't know, my brain wants to say jam,

444
00:23:16,320 --> 00:23:17,919
Speaker 3: but it's not a jam, like just like exactly an

445
00:23:17,960 --> 00:23:21,280
Speaker 3: extended mix or whatever something. There are times during those

446
00:23:21,359 --> 00:23:24,200
Speaker 3: builds where you'll hear like they kind of it's almost

447
00:23:24,280 --> 00:23:26,720
Speaker 3: like instead of the pitched up drum, now it becomes

448
00:23:26,720 --> 00:23:30,879
Speaker 3: some sort of like rising air raid sound or something.

449
00:23:30,880 --> 00:23:32,840
Speaker 3: But it is a cousin of that, because I do

450
00:23:32,880 --> 00:23:34,879
Speaker 3: feel like the pitched up snare was meant to like

451
00:23:35,520 --> 00:23:38,560
Speaker 3: it was an anticipatory tool, like making you be like, oh,

452
00:23:38,840 --> 00:23:40,000
Speaker 3: something's about to happen.

453
00:23:40,200 --> 00:23:43,119
Speaker 1: Yeah, yeah, you hearing like DJ music now that like

454
00:23:43,200 --> 00:23:45,040
Speaker 1: you know before the beat drops.

455
00:23:44,760 --> 00:23:54,160
Speaker 3: That, Yes, that's what exactly on the scat Man exactly.

456
00:23:54,400 --> 00:23:56,879
Speaker 1: But let everybody go.

457
00:23:59,160 --> 00:24:02,800
Speaker 3: That's like that's that's like a kidnapping dance song.

458
00:24:03,000 --> 00:24:06,920
Speaker 1: Yeah, yeah, body go and then everyone all there it's

459
00:24:07,000 --> 00:24:12,399
Speaker 1: they hit the ransom, do the ransom. There's also in

460
00:24:12,440 --> 00:24:16,040
Speaker 1: the beginning of I'm Too Sexy that distorted guitar that's

461
00:24:16,119 --> 00:24:21,520
Speaker 1: really fun. Yes, it's like almost like that vocal like, yeah,

462
00:24:21,600 --> 00:24:26,080
Speaker 1: it's it's cool like like that. From that moment, I went, oh,

463
00:24:26,119 --> 00:24:29,520
Speaker 1: this is going to be the easiest episode ever. There's

464
00:24:29,640 --> 00:24:34,000
Speaker 1: there's really not that much I dislike, like aside from that, Yeah,

465
00:24:34,040 --> 00:24:36,040
Speaker 1: I guess like this is not a song I would

466
00:24:36,040 --> 00:24:38,080
Speaker 1: throw on all that. What's what song is that you

467
00:24:38,080 --> 00:24:41,600
Speaker 1: want to just listen to all the time? But like, yeah,

468
00:24:41,680 --> 00:24:46,000
Speaker 1: that's of course I'm not now stop at hot yoga.

469
00:24:46,080 --> 00:24:49,840
Speaker 1: But this is it's pretty fun. There's enough going on,

470
00:24:50,720 --> 00:24:53,920
Speaker 1: and there's there's like enough even though it's like very

471
00:24:53,960 --> 00:24:58,840
Speaker 1: repetitive within that loop, there's just times that the bass

472
00:24:58,880 --> 00:25:02,040
Speaker 1: is doing something that's like so driving you really it

473
00:25:02,119 --> 00:25:05,560
Speaker 1: catches your ear. It's it's a pretty well crafted tune.

474
00:25:05,680 --> 00:25:09,560
Speaker 3: It really is. The craftsmanship is actually it's strongest besides

475
00:25:09,600 --> 00:25:11,800
Speaker 3: the strength of like the top line how funny and

476
00:25:11,840 --> 00:25:15,159
Speaker 3: like kind of like I don't know, memorable, the lyric

477
00:25:15,200 --> 00:25:18,600
Speaker 3: and presentation of the lyric are. It's construction is its

478
00:25:18,640 --> 00:25:22,080
Speaker 3: strongest trait. I mean that big wide synth lead that

479
00:25:22,160 --> 00:25:27,040
Speaker 3: comes in after the choruses and like now we're in

480
00:25:27,080 --> 00:25:31,119
Speaker 3: like abba territory or something. It's like yeah, and that

481
00:25:31,280 --> 00:25:35,160
Speaker 3: stuff is like kind of unassailable in its construction. It's

482
00:25:35,200 --> 00:25:37,040
Speaker 3: like perfect as what it is.

483
00:25:37,480 --> 00:25:40,959
Speaker 1: I love that part. I'm so because I forgot about it.

484
00:25:41,000 --> 00:25:44,520
Speaker 1: I love it, and it's so funny how dancy it is,

485
00:25:44,960 --> 00:25:48,000
Speaker 1: because what makes you dance really, when you break it

486
00:25:48,040 --> 00:25:50,439
Speaker 1: down is like the is the beat. But when you

487
00:25:50,440 --> 00:25:52,879
Speaker 1: have a line that like just plays like that, it

488
00:25:53,000 --> 00:25:55,760
Speaker 1: al yeah, scentuates those other things so much and it

489
00:25:55,880 --> 00:25:59,080
Speaker 1: feels so freeing. I love it, dude.

490
00:25:59,119 --> 00:26:01,600
Speaker 3: At the wedding on dance floor when that synth park

491
00:26:01,640 --> 00:26:04,920
Speaker 3: comes on a bunch, like hands go up like yay, yeah,

492
00:26:04,960 --> 00:26:08,160
Speaker 3: it just changes to one hundred absolutely. I keep thinking

493
00:26:08,200 --> 00:26:10,520
Speaker 3: of one hundred percent every time I say one hundred percent.

494
00:26:10,640 --> 00:26:12,520
Speaker 3: My mom recently was like, you know what I can't

495
00:26:12,560 --> 00:26:15,879
Speaker 3: stand now. Every time someone agrees with someone about anything,

496
00:26:15,960 --> 00:26:17,399
Speaker 3: I have to say one hundred percent. And I'm like,

497
00:26:17,440 --> 00:26:21,040
Speaker 3: I say this ship all the time. Why don't you

498
00:26:21,119 --> 00:26:22,639
Speaker 3: just tell me? Don't be I'm like, why don't you

499
00:26:22,640 --> 00:26:24,280
Speaker 3: just tell me the name of the movie you would

500
00:26:24,280 --> 00:26:24,960
Speaker 3: like to see?

501
00:26:25,359 --> 00:26:28,440
Speaker 1: Uh? That's I like when people cut out the percent

502
00:26:28,480 --> 00:26:29,040
Speaker 1: and they'll be like.

503
00:26:29,040 --> 00:26:32,720
Speaker 3: A hundred that's insane. Yeah. Actually, if I was talking

504
00:26:32,760 --> 00:26:35,080
Speaker 3: to somebody and they said that, I would that would

505
00:26:35,480 --> 00:26:37,200
Speaker 3: stop me in my tracks act.

506
00:26:37,240 --> 00:26:39,719
Speaker 1: Did you just what I think? I? I think I

507
00:26:39,760 --> 00:26:40,440
Speaker 1: accept it all.

508
00:26:40,480 --> 00:26:44,120
Speaker 3: I like, I like, hondo p You're an accepting guy.

509
00:26:45,160 --> 00:26:45,480
Speaker 3: Is good.

510
00:26:45,880 --> 00:26:48,240
Speaker 1: I like when people say a thousand percent. That's fun,

511
00:26:50,119 --> 00:26:50,439
Speaker 1: you know what.

512
00:26:50,480 --> 00:26:51,919
Speaker 3: I like? I say a thousand because that's like a

513
00:26:51,960 --> 00:26:54,040
Speaker 3: lot on thousand percent. I think it's cool when someone

514
00:26:54,040 --> 00:26:58,480
Speaker 3: goes hundo pe, we're shouting, we're talking me.

515
00:27:00,880 --> 00:27:03,080
Speaker 1: I'm so sexy. I don't have a.

516
00:27:03,080 --> 00:27:11,720
Speaker 3: Cat, Janet, Please, I'm so sexy.

517
00:27:11,800 --> 00:27:12,879
Speaker 2: Will you help with me?

518
00:27:14,680 --> 00:27:16,320
Speaker 3: That's what I usually say in therapy. Will you help

519
00:27:16,400 --> 00:27:16,639
Speaker 3: with me?

520
00:27:17,800 --> 00:27:18,560
Speaker 2: You help with me?

521
00:27:18,840 --> 00:27:19,199
Speaker 4: Janis?

522
00:27:19,240 --> 00:27:20,199
Speaker 3: Will you help with me?

523
00:27:22,440 --> 00:27:23,080
Speaker 2: Nirvana?

524
00:27:23,240 --> 00:27:26,960
Speaker 4: Janet, it's time for your weekly dose of what dild

525
00:27:27,040 --> 00:27:43,400
Speaker 4: Kurt do in April ninety three.

526
00:27:45,440 --> 00:27:47,280
Speaker 3: I do think that his vocal delivery and this is

527
00:27:47,320 --> 00:27:49,639
Speaker 3: a little Leonard cohenesque. Just to be fair, I do

528
00:27:49,720 --> 00:27:53,520
Speaker 3: think there's a little bit like you're right Nirvana to

529
00:27:53,720 --> 00:27:54,880
Speaker 3: sexy for Nirvana.

530
00:27:56,359 --> 00:27:59,159
Speaker 1: Yeah, I think you're right. It is very It is

531
00:27:59,240 --> 00:27:59,840
Speaker 1: kind of Lenny.

532
00:28:00,520 --> 00:28:04,040
Speaker 3: I know Lennydikster too. Another eighty six minute.

533
00:28:05,520 --> 00:28:07,920
Speaker 1: That has been mentioned in the song here. How many

534
00:28:07,960 --> 00:28:10,199
Speaker 1: mets have you dropped into songs that's true?

535
00:28:11,720 --> 00:28:18,760
Speaker 3: My name at least two Lenny's trin Wally Bachman so far.

536
00:28:19,320 --> 00:28:23,679
Speaker 3: I met Keith Hernandez once at my teacher in college

537
00:28:23,680 --> 00:28:26,600
Speaker 3: wrote a book Brian McDonald My Father's Gun, and at

538
00:28:26,600 --> 00:28:29,800
Speaker 3: Elaine's the old school, like famous Woody Allen, you know,

539
00:28:29,800 --> 00:28:32,640
Speaker 3: rest in Peace. A lot of people would hang out

540
00:28:32,640 --> 00:28:36,920
Speaker 3: at this place, Luminaries writers, Lumineer, both Lou and Minir

541
00:28:36,960 --> 00:28:42,280
Speaker 3: from the Mineers. But I was like twenty and drunk

542
00:28:42,280 --> 00:28:47,320
Speaker 3: and at my teacher's book release party and Keith Hernandez

543
00:28:47,400 --> 00:28:48,760
Speaker 3: used to always hang out at this bar on the

544
00:28:48,800 --> 00:28:52,520
Speaker 3: Upper east Side. My teacher was like, there's Keith Hernandez.

545
00:28:52,520 --> 00:28:54,040
Speaker 3: You can go say hello if you want to, and

546
00:28:54,080 --> 00:28:57,240
Speaker 3: I did. He was with like some like impossibly beautiful

547
00:28:57,240 --> 00:29:00,160
Speaker 3: statuesque blonde woman. And I was like, excuse me, are

548
00:29:00,160 --> 00:29:03,960
Speaker 3: you Keith Hernandez And he was like that's me. And

549
00:29:04,040 --> 00:29:06,760
Speaker 3: I was like, I have a band named after you.

550
00:29:07,680 --> 00:29:10,680
Speaker 3: And he went, you have a band named Keith Hernandez.

551
00:29:11,040 --> 00:29:14,200
Speaker 1: This is great, that's so funny.

552
00:29:14,440 --> 00:29:16,760
Speaker 3: I was like, no, asshole, it's called Miracle of eighty

553
00:29:16,800 --> 00:29:19,280
Speaker 3: six and you can Spotify five five.

554
00:29:20,040 --> 00:29:21,320
Speaker 1: Spotify wasn't even the thing yet.

555
00:29:21,360 --> 00:29:22,800
Speaker 3: Well, that's what I'm saying. But that's what I'm saying.

556
00:29:22,800 --> 00:29:25,840
Speaker 3: When I said that new we catapulted it into the

557
00:29:25,880 --> 00:29:27,040
Speaker 3: future future.

558
00:29:27,080 --> 00:29:30,719
Speaker 1: Oh and that's the delay, and I want to let

559
00:29:30,760 --> 00:29:33,280
Speaker 1: everyone know that Kevin's doing the delay himself. That is

560
00:29:33,360 --> 00:29:34,400
Speaker 1: not Josh.

561
00:29:35,000 --> 00:29:46,640
Speaker 5: Well, it could be Josh. Tough to say.

562
00:29:48,120 --> 00:29:50,480
Speaker 1: I'm obsessed with, right, said Fred. Right now, I just

563
00:29:50,560 --> 00:29:52,040
Speaker 1: kind of went into their wiki.

564
00:29:52,520 --> 00:29:54,960
Speaker 3: I know their other song. I remember their other what

565
00:29:55,440 --> 00:29:57,000
Speaker 3: I remember a second hit.

566
00:29:57,200 --> 00:30:02,640
Speaker 6: Don't talk just kiss with your own words.

567
00:30:02,800 --> 00:30:05,840
Speaker 1: And so now you're really making it, Lenny.

568
00:30:06,360 --> 00:30:08,960
Speaker 3: Oh, well that's how I you know, that's how I Is.

569
00:30:08,920 --> 00:30:10,120
Speaker 1: That what it sounds like or is it like a

570
00:30:10,200 --> 00:30:10,640
Speaker 1: dance song?

571
00:30:10,720 --> 00:30:12,520
Speaker 3: We can listen to her quickly if you want to don't.

572
00:30:12,600 --> 00:30:13,720
Speaker 3: It does say it is a dance song.

573
00:30:13,760 --> 00:30:20,160
Speaker 6: Don't talk just kiss wowitch your tongue very round.

574
00:30:20,880 --> 00:30:23,840
Speaker 1: I'm gonna listen real quick, all right, I'm also going

575
00:30:23,920 --> 00:30:27,240
Speaker 1: to tell you something. I'm listening right now.

576
00:30:28,360 --> 00:30:29,120
Speaker 3: Get to the chorus.

577
00:30:29,200 --> 00:30:31,080
Speaker 1: It's the same this was shot. Oh my god, I'm

578
00:30:31,120 --> 00:30:32,920
Speaker 1: looking at the music video and it was shot at

579
00:30:32,920 --> 00:30:35,880
Speaker 1: the exact same time they did I'm Too Sexy. It's

580
00:30:35,920 --> 00:30:38,320
Speaker 1: so clear. It's the exact same sound stage, like he's

581
00:30:38,320 --> 00:30:39,800
Speaker 1: wearing basically the same thing.

582
00:30:40,320 --> 00:30:42,640
Speaker 3: Why not? Why not? You got the sound stage, you

583
00:30:42,640 --> 00:30:43,520
Speaker 3: got the day.

584
00:30:43,680 --> 00:30:45,360
Speaker 1: I can't listen to the whole thing. I don't like it.

585
00:30:45,560 --> 00:30:49,360
Speaker 1: But the reason why I picked this song, Kevin Yes,

586
00:30:49,760 --> 00:30:54,600
Speaker 1: is because in some YouTuber, Instagram or something algorithm, I

587
00:30:54,720 --> 00:30:57,960
Speaker 1: was fed that right said. Fred had had a newer

588
00:30:58,080 --> 00:31:01,080
Speaker 1: song out recently that was sort of of talking about

589
00:31:01,080 --> 00:31:05,280
Speaker 1: the success of I'm Too Sexy and the pros and

590
00:31:05,320 --> 00:31:08,480
Speaker 1: cons of being a big artist at that time, and

591
00:31:08,520 --> 00:31:10,840
Speaker 1: how it like allowed him to travel the whole world,

592
00:31:10,920 --> 00:31:15,400
Speaker 1: but also pigeonholed him them into a sort of style

593
00:31:15,880 --> 00:31:17,760
Speaker 1: and as a one hit wonder, so it helped and

594
00:31:17,880 --> 00:31:20,240
Speaker 1: hurt their career like they would have no career without

595
00:31:20,320 --> 00:31:22,880
Speaker 1: the song, which is something I feel like I've heard before,

596
00:31:22,920 --> 00:31:26,000
Speaker 1: but like and and that's what made me be like, oh,

597
00:31:26,040 --> 00:31:31,120
Speaker 1: I'm going I want to now do that for this episodele.

598
00:31:30,120 --> 00:31:36,160
Speaker 3: Because that's I feel like that's the It's so often

599
00:31:36,520 --> 00:31:40,600
Speaker 3: the thing with I don't know it shows, like, yeah,

600
00:31:40,960 --> 00:31:44,520
Speaker 3: we sort of prize as the sort of like ultimate goal,

601
00:31:45,840 --> 00:31:52,480
Speaker 3: the kind of momentary ubiquity and saturation something like this offers,

602
00:31:52,920 --> 00:31:54,840
Speaker 3: Like this was in that sense, it was a great

603
00:31:54,840 --> 00:31:58,240
Speaker 3: thing for these people. They were like on television, traveling

604
00:31:58,280 --> 00:32:00,520
Speaker 3: the world whatever he's you know, and Surelie made a

605
00:32:00,560 --> 00:32:04,080
Speaker 3: bunch of money from it. And then also like the fear,

606
00:32:04,240 --> 00:32:06,360
Speaker 3: if you're any kind of self aware person is that

607
00:32:06,400 --> 00:32:11,080
Speaker 3: you will be instantly consigned to like irrelevance like a

608
00:32:11,160 --> 00:32:13,880
Speaker 3: cultural joke, you know what I mean, Like and it's

609
00:32:13,920 --> 00:32:16,400
Speaker 3: the minute the joke turns, like I think about this

610
00:32:16,640 --> 00:32:19,080
Speaker 3: fucking now, the memification of everything and the speed at

611
00:32:19,080 --> 00:32:22,280
Speaker 3: which it moves and like the Hoctua girl, like any

612
00:32:22,480 --> 00:32:23,760
Speaker 3: of that stuff. I don't even want to say any

613
00:32:23,760 --> 00:32:26,400
Speaker 3: of it out loud because by the time, yeah, in

614
00:32:26,440 --> 00:32:30,160
Speaker 3: like twenty minutes, like who but like, right now, that's

615
00:32:30,200 --> 00:32:32,280
Speaker 3: a person who's like, well, right now, I think there's

616
00:32:32,280 --> 00:32:34,560
Speaker 3: some kind of crazy cryptos thing with her where she's

617
00:32:34,560 --> 00:32:35,960
Speaker 3: a lot of trouble. But you know what I mean,

618
00:32:36,080 --> 00:32:40,480
Speaker 3: there's like this and that's not new, right, said Fred.

619
00:32:40,480 --> 00:32:44,480
Speaker 3: I mean so it's honestly since you open the door earlier.

620
00:32:45,800 --> 00:32:49,040
Speaker 3: That's why all of those serious rock bands were terrified

621
00:32:49,080 --> 00:32:51,520
Speaker 3: of being like Nirvana was like, we have other songs

622
00:32:51,560 --> 00:32:54,040
Speaker 3: besides smells like teen Spirit. They didn't want to just

623
00:32:54,080 --> 00:32:56,719
Speaker 3: be thought of as like you know, it's like the difference.

624
00:32:56,720 --> 00:32:58,320
Speaker 3: I don't know if, right, said Fred, had designs on

625
00:32:58,400 --> 00:33:01,440
Speaker 3: wanting to be like a career your artist. Maybe they did.

626
00:33:01,480 --> 00:33:03,600
Speaker 3: Maybe they thought of themselves as like a serious part

627
00:33:03,680 --> 00:33:07,000
Speaker 3: of some kind of dance movement. I don't know a

628
00:33:07,120 --> 00:33:11,040
Speaker 3: dance music movement. I've not done the research there, but

629
00:33:11,120 --> 00:33:13,480
Speaker 3: it does make sense that you would be like I

630
00:33:13,520 --> 00:33:17,920
Speaker 3: think threaded into the win is the immediate knowledge and

631
00:33:18,000 --> 00:33:22,240
Speaker 3: fear of the loss, if that makes sense. And it's

632
00:33:22,280 --> 00:33:26,120
Speaker 3: like golden handcuffs or whatever, and in this sense like bronze,

633
00:33:26,120 --> 00:33:28,960
Speaker 3: maybe it's not like gold. It's like, yeah, well.

634
00:33:28,760 --> 00:33:31,200
Speaker 1: It's really crazy. Like I think we've touched upon this

635
00:33:31,240 --> 00:33:33,880
Speaker 1: a little bit, but like your your Kurts and your

636
00:33:34,000 --> 00:33:40,160
Speaker 1: you know, notorious bigs who perished before they could go stale,

637
00:33:40,400 --> 00:33:43,800
Speaker 1: right and yeah, right right right, and those are like

638
00:33:44,160 --> 00:33:46,800
Speaker 1: so if you took like the career of like Billy

639
00:33:46,840 --> 00:33:49,960
Speaker 1: Corgan with the Smashing Pumpkins, right, he arguably had more

640
00:33:50,280 --> 00:33:53,560
Speaker 1: probably more radio hits than Nirvana, Right.

641
00:33:53,560 --> 00:33:56,360
Speaker 3: Sure, I guess probably yeah.

642
00:33:55,880 --> 00:33:58,520
Speaker 1: Like or around the same, around the same, you know, like.

643
00:33:58,840 --> 00:34:01,480
Speaker 3: Green Day definitely as at this point a band like that.

644
00:34:01,640 --> 00:34:04,160
Speaker 1: Yeah, I think smells like teen Spirit is probably bigger

645
00:34:04,200 --> 00:34:07,800
Speaker 1: than I don't know, it's probably pretty it's probably a

646
00:34:07,800 --> 00:34:11,000
Speaker 1: little bit bigger than the Smashing Pumpkins hits. But I

647
00:34:11,040 --> 00:34:13,840
Speaker 1: think they had a lot and you know, those songs.

648
00:34:14,000 --> 00:34:16,239
Speaker 1: He was a great he is he was a great

649
00:34:16,280 --> 00:34:19,480
Speaker 1: songwriter at that time, and like these songs really crossed over.

650
00:34:19,600 --> 00:34:22,480
Speaker 1: But they were so weird, you know, their total voice

651
00:34:22,520 --> 00:34:25,000
Speaker 1: is so like for what else is on the radio,

652
00:34:25,040 --> 00:34:27,719
Speaker 1: it's very odd. But if you he that's a real

653
00:34:27,719 --> 00:34:31,439
Speaker 1: fizzle out, yea. The Smashing Pumpkins, they and they went

654
00:34:31,440 --> 00:34:33,960
Speaker 1: another weirder directions, like they almost got like a little

655
00:34:33,960 --> 00:34:36,000
Speaker 1: goth so like I think the mainstream was like not

656
00:34:36,080 --> 00:34:40,040
Speaker 1: as much into it, and the mainstream changed exactly, so

657
00:34:40,680 --> 00:34:42,800
Speaker 1: that probably would have happened to some degread Nirvana, but

658
00:34:42,840 --> 00:34:46,160
Speaker 1: we'll never know. So they have this legendary status because

659
00:34:46,160 --> 00:34:47,920
Speaker 1: of what they did at when when he was around.

660
00:34:47,960 --> 00:34:51,000
Speaker 1: And you know, I love I think we talked about this,

661
00:34:51,080 --> 00:34:53,520
Speaker 1: maybe offline, about like that Spin article that was about

662
00:34:53,520 --> 00:34:56,680
Speaker 1: like what Nirvana would have done if he didn't die,

663
00:34:56,680 --> 00:34:58,799
Speaker 1: and he'd probably make a record with Michael Stipe or

664
00:34:58,840 --> 00:35:00,960
Speaker 1: like something like that. You know, and do so and

665
00:35:01,000 --> 00:35:03,520
Speaker 1: I think it's always really fun. But you know, and

666
00:35:03,560 --> 00:35:06,160
Speaker 1: how that relates to right said Fred is like I

667
00:35:06,280 --> 00:35:09,719
Speaker 1: kind of think that he right said Fred could have

668
00:35:09,880 --> 00:35:14,000
Speaker 1: probably kept going and had other songs, But I don't

669
00:35:14,000 --> 00:35:16,920
Speaker 1: know if right sead Fred was really built for it totally.

670
00:35:17,440 --> 00:35:19,480
Speaker 3: Wh's kind of wild about what you shared. Which is

671
00:35:19,520 --> 00:35:22,000
Speaker 3: cool is it's it's not always the case that people

672
00:35:22,040 --> 00:35:24,440
Speaker 3: in the position of the word I was looking for before,

673
00:35:24,480 --> 00:35:27,719
Speaker 3: with like that kind of kitch thing. It's like a

674
00:35:27,880 --> 00:35:32,040
Speaker 3: novelty artist, right, It's rare that. First of all, sometimes

675
00:35:32,080 --> 00:35:34,680
Speaker 3: people don't see themselves as a novelty artist, and that

676
00:35:34,719 --> 00:35:37,920
Speaker 3: can be its own problem. Chocolate Rain, that's right, And

677
00:35:38,040 --> 00:35:42,279
Speaker 3: other times someone like this, it's like, you know, the

678
00:35:42,360 --> 00:35:46,239
Speaker 3: thing about a novelty is that it's hard to it's

679
00:35:46,280 --> 00:35:51,399
Speaker 3: pretty hard to keep being a novelty. It's like, by definition,

680
00:35:51,960 --> 00:35:55,520
Speaker 3: something that's a novelty kind of like happens once or

681
00:35:55,920 --> 00:36:00,640
Speaker 3: happens so, but it's interesting to hear an artist in

682
00:36:01,760 --> 00:36:04,440
Speaker 3: that world, you know, the dude who the people who

683
00:36:04,480 --> 00:36:05,920
Speaker 3: performed I don't know if they wrote and performed it,

684
00:36:05,960 --> 00:36:10,359
Speaker 3: but whatever, I'm too sexy to be aware of. Like, oh, yeah,

685
00:36:10,400 --> 00:36:13,720
Speaker 3: there was like that there was complexity in that at all,

686
00:36:13,800 --> 00:36:16,560
Speaker 3: and that there was an awareness of that complexity actually

687
00:36:16,600 --> 00:36:19,560
Speaker 3: speaks well of Wright, said Fred if that makes sense,

688
00:36:19,920 --> 00:36:22,520
Speaker 3: because it indicates that they were like not just like

689
00:36:22,800 --> 00:36:27,960
Speaker 3: you know, sort of like brain dead automatons or whatever.

690
00:36:28,239 --> 00:36:30,719
Speaker 3: They were like, yeah, that was awesome, and also it

691
00:36:30,800 --> 00:36:33,839
Speaker 3: kind of wasn't awesome for this, you know, you don't

692
00:36:33,840 --> 00:36:35,840
Speaker 3: want to be ungrateful. But at the other on the

693
00:36:35,880 --> 00:36:38,400
Speaker 3: other hand, it's like it wasn't necessarily it was like

694
00:36:38,440 --> 00:36:41,200
Speaker 3: a bridge to nowhere. It wasn't like a platform to

695
00:36:41,320 --> 00:36:42,000
Speaker 3: like a life.

696
00:36:42,040 --> 00:36:42,200
Speaker 6: Oh.

697
00:36:42,320 --> 00:36:45,560
Speaker 3: On the other hand, they're still probably getting I hope

698
00:36:45,560 --> 00:36:48,200
Speaker 3: they get paid very it is for all of those Yeah,

699
00:36:48,239 --> 00:36:51,120
Speaker 3: like that song is still everywhere. You're right, that song

700
00:36:51,200 --> 00:36:54,120
Speaker 3: is still all over the place, Like I bet my

701
00:36:54,360 --> 00:36:57,040
Speaker 3: daughter knows that song and she's nine, you know what

702
00:36:57,040 --> 00:37:01,320
Speaker 3: I mean. Like, I'm sure there's some TikTok YouTube kids

703
00:37:01,440 --> 00:37:03,440
Speaker 3: thing somewhere where, Like you know, it.

704
00:37:03,480 --> 00:37:05,879
Speaker 1: Might even be in a kid's movie, Like it's it's

705
00:37:05,920 --> 00:37:09,799
Speaker 1: not it's pretty for having sexy in it. It's yeah,

706
00:37:09,800 --> 00:37:12,239
Speaker 1: it is pretty innocuous, like where it's like they don't

707
00:37:12,280 --> 00:37:15,520
Speaker 1: go into anything beyond just the having the letters S

708
00:37:15,560 --> 00:37:16,880
Speaker 1: E X in the in the.

709
00:37:16,800 --> 00:37:18,600
Speaker 3: Title except for the part about the cat.

710
00:37:19,040 --> 00:37:22,680
Speaker 1: Right with which when you unearthed it, and it's sort

711
00:37:22,719 --> 00:37:26,279
Speaker 1: of a backwards revolution number nine, like I listened to

712
00:37:26,280 --> 00:37:30,279
Speaker 1: it in a certain way, which you did, and so

713
00:37:30,440 --> 00:37:32,880
Speaker 1: otherwise though I don't think that Edie would pick up

714
00:37:32,880 --> 00:37:34,840
Speaker 1: on that. If I'm allowed to say her name.

715
00:37:34,960 --> 00:37:38,160
Speaker 3: You did, and and honestly, uh, that's something I'll be

716
00:37:38,200 --> 00:37:39,440
Speaker 3: talking with Janis about too.

717
00:37:41,120 --> 00:37:42,680
Speaker 1: Well do you just call her that for fun?

718
00:37:43,920 --> 00:37:45,439
Speaker 3: So at the end of the day, what do you say?

719
00:37:45,480 --> 00:37:47,720
Speaker 3: What do you think you get? You give this a chance.

720
00:37:47,760 --> 00:37:50,120
Speaker 3: We give this a chance all day, all day. At

721
00:37:50,120 --> 00:37:51,560
Speaker 3: the end of that day, we've been giving this a

722
00:37:51,640 --> 00:37:52,279
Speaker 3: chance all day.

723
00:37:52,520 --> 00:37:55,479
Speaker 1: I think that this really took me back to being

724
00:37:55,520 --> 00:37:59,320
Speaker 1: in my dad's Chrysler Minivan and putting on that VH

725
00:37:59,360 --> 00:38:02,560
Speaker 1: one CD, which I think had some probably some TLCA

726
00:38:03,320 --> 00:38:07,000
Speaker 1: no doubt, probably had some no doubt and it it

727
00:38:07,040 --> 00:38:08,799
Speaker 1: really took me back to that listening to it, and

728
00:38:08,840 --> 00:38:10,799
Speaker 1: I think I like it as much as I did then,

729
00:38:11,280 --> 00:38:13,680
Speaker 1: maybe more. I think I have a new appreciation for it.

730
00:38:14,040 --> 00:38:16,520
Speaker 3: I might like it more. I'm sure at the time

731
00:38:16,719 --> 00:38:20,120
Speaker 3: I had this was right in the teeth of all

732
00:38:20,160 --> 00:38:23,239
Speaker 3: of that stuff Nirvana and Pearl Jam and Soundguarden even

733
00:38:23,280 --> 00:38:24,920
Speaker 3: like then for me still like that was right when

734
00:38:24,920 --> 00:38:28,560
Speaker 3: those new Guns N' Roses records came out Metallica Black Album,

735
00:38:28,800 --> 00:38:31,640
Speaker 3: Like I'm sure I was probably like thought that was

736
00:38:31,680 --> 00:38:36,480
Speaker 3: like deeply uncool, but also probably danced to it at

737
00:38:36,560 --> 00:38:40,279
Speaker 3: every dance at is seventy five on Staten Island that

738
00:38:40,360 --> 00:38:44,080
Speaker 3: I went to for yeah, or if I went so

739
00:38:44,120 --> 00:38:45,879
Speaker 3: sometimes I would go to dances at other schools too.

740
00:38:45,880 --> 00:38:47,200
Speaker 3: I was I was kind of like that. I was

741
00:38:47,239 --> 00:38:49,360
Speaker 3: kind of like always dancing and always going on like

742
00:38:49,360 --> 00:38:51,080
Speaker 3: but like then acting like oh Kirk, Kirk, Kurt, but

743
00:38:51,080 --> 00:38:52,480
Speaker 3: I was always like dancing.

744
00:38:52,400 --> 00:38:55,839
Speaker 1: Dancing, Yeah, yeah, I like to move it, move it.

745
00:38:56,360 --> 00:38:58,719
Speaker 3: We'll do that. Another time, But for now, I'm too

746
00:38:58,800 --> 00:39:01,759
Speaker 3: sexy for this pop that would be cool right if?

747
00:39:02,120 --> 00:39:06,520
Speaker 1: Yeah? No, why can't we do it? Why can't we

748
00:39:06,600 --> 00:39:10,880
Speaker 1: do that? I want to just since we didn't do it,

749
00:39:10,920 --> 00:39:12,520
Speaker 1: I want to just say that I'm looking at the

750
00:39:12,560 --> 00:39:16,520
Speaker 1: other past episodes. How you remind me? Drops of Jupiter, Halenardo,

751
00:39:16,600 --> 00:39:18,919
Speaker 1: my wish shape of you, Hella Good, Larger than Life,

752
00:39:18,960 --> 00:39:23,279
Speaker 1: Pink Woke Up this Morning, Sopranos theme, Radioactive Believer, Butterfly

753
00:39:23,400 --> 00:39:26,160
Speaker 1: a bar song, sant Anger Lifestyle is of the Richmond

754
00:39:26,200 --> 00:39:29,239
Speaker 1: famous I did it? Chocolate Rain only eight seven to

755
00:39:29,239 --> 00:39:30,080
Speaker 1: seven cars for kids?

756
00:39:30,080 --> 00:39:30,400
Speaker 2: Do they know?

757
00:39:30,440 --> 00:39:33,120
Speaker 1: It's Christmas? Summer Girls Revolution number nine? And I think

758
00:39:33,160 --> 00:39:38,319
Speaker 1: that this is my favorite song. Wow, of these, this

759
00:39:38,360 --> 00:39:40,080
Speaker 1: is the song I think I would like to hear

760
00:39:41,280 --> 00:39:42,280
Speaker 1: more than the other ones.

761
00:39:42,920 --> 00:39:46,120
Speaker 3: I will go with that too, like that, I would

762
00:39:46,120 --> 00:39:50,080
Speaker 3: actually like put on and Yeah, like every other song

763
00:39:50,360 --> 00:39:52,799
Speaker 3: that you just mentioned, there's something in it, but the

764
00:39:52,840 --> 00:39:55,759
Speaker 3: except of Chocolate Rain is its own animal. But I

765
00:39:55,760 --> 00:39:58,839
Speaker 3: don't really want to listen to Chocolate Rain. I don't

766
00:39:58,840 --> 00:40:01,719
Speaker 3: really want to listen to Evolution nine and all the

767
00:40:01,760 --> 00:40:04,040
Speaker 3: rest of that other stuff. There's something in it that

768
00:40:04,120 --> 00:40:07,319
Speaker 3: I actively like despise. There's like a something in every

769
00:40:07,400 --> 00:40:09,480
Speaker 3: one of those songs basically that I'm like, I can't

770
00:40:09,520 --> 00:40:12,560
Speaker 3: fucking abide by this. This is just like unfettered fun.

771
00:40:13,000 --> 00:40:13,239
Speaker 2: Yeah.

772
00:40:13,280 --> 00:40:14,920
Speaker 1: I mean the only other you know, the only close

773
00:40:15,400 --> 00:40:18,000
Speaker 1: I think I would put on as for in a

774
00:40:18,040 --> 00:40:20,080
Speaker 1: compilation would be like do they know it's Christmas? But

775
00:40:20,640 --> 00:40:22,480
Speaker 1: differently like it? But if it's in a if it's

776
00:40:22,480 --> 00:40:24,640
Speaker 1: in a comp I won't turn it off if it's

777
00:40:24,680 --> 00:40:28,439
Speaker 1: in a camp. But yeah, otherwise, yeah, I think it's

778
00:40:28,480 --> 00:40:30,719
Speaker 1: I think it's up there. I mean, you know, there's

779
00:40:30,760 --> 00:40:32,600
Speaker 1: there's songs that I had, you know, we ended with

780
00:40:32,680 --> 00:40:36,560
Speaker 1: like a newfound of love for or respect for That's true.

781
00:40:36,719 --> 00:40:37,440
Speaker 3: That is true.

782
00:40:37,600 --> 00:40:40,760
Speaker 1: This was this was This was an easy chancy.

783
00:40:40,920 --> 00:40:44,040
Speaker 3: Very easy positive. I think that right said, Fred should

784
00:40:44,040 --> 00:40:46,520
Speaker 3: be proud of what the work they did here and

785
00:40:46,800 --> 00:40:49,879
Speaker 3: whatever else they feel, take it up with your own

786
00:40:49,920 --> 00:40:52,640
Speaker 3: fucking therapist, Fred, don't bring that into our pod. We

787
00:40:52,680 --> 00:40:54,120
Speaker 3: have our own ship to deal with here.

788
00:40:54,360 --> 00:40:56,920
Speaker 1: Yeah. And Janet's like busy, she can't like take on

789
00:40:57,040 --> 00:40:58,480
Speaker 1: every single no.

790
00:40:59,360 --> 00:41:01,880
Speaker 3: Not everyone I bring her. I bring so many people

791
00:41:01,880 --> 00:41:02,880
Speaker 3: to Oh you should talk to her.

792
00:41:02,960 --> 00:41:03,359
Speaker 2: She's great.

793
00:41:03,400 --> 00:41:06,960
Speaker 3: She really helps me with all my issues. Yeah, but

794
00:41:07,040 --> 00:41:13,040
Speaker 3: stay good at the tissues. He spit it, spit it,

795
00:41:15,480 --> 00:41:19,840
Speaker 3: Gardner mins new that's a backup, quarterback start.

796
00:41:22,120 --> 00:41:22,440
Speaker 2: That's it.

797
00:41:22,840 --> 00:41:25,239
Speaker 1: You glitched out, you glitched down in that last little sex.

798
00:41:26,000 --> 00:41:27,600
Speaker 1: That's a whole glitch glitch fast.

799
00:41:27,960 --> 00:41:28,280
Speaker 4: Great.

800
00:41:29,480 --> 00:41:33,439
Speaker 1: It was like rong and you're listening to k Rack.

801
00:41:37,320 --> 00:41:38,240
Speaker 3: No, that's what I said.

802
00:41:38,520 --> 00:41:38,799
Speaker 2: That was.

803
00:41:40,400 --> 00:41:41,799
Speaker 1: You're listening to Rack.

804
00:41:47,360 --> 00:41:49,960
Speaker 5: Oh, I haven't let your like.

805
00:41:50,920 --> 00:41:53,960
Speaker 1: I thought the same thing. I think we ended this

806
00:41:53,960 --> 00:41:56,279
Speaker 1: podcast a while ago because we're too sexy for it,

807
00:41:56,320 --> 00:41:57,520
Speaker 1: but I'm not sure.

808
00:41:57,800 --> 00:42:00,680
Speaker 3: And if not, we're you sect peper.

809
00:42:00,800 --> 00:42:02,520
Speaker 2: This spot just sh