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

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Speaker 1: a chance. Good morning, give it a chance, give it

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

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Speaker 1: 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 2: Just give it a.

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Speaker 1: Poo.

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Speaker 3: Happy New Year, Happy New Year, to case first and

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Speaker 3: foremost right in front of me, face, okay face, and

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Speaker 3: to all you little tiny omars out there, answers, omars, a.

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Speaker 1: Tiny chancers, omars, whatever you consider yourself.

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Speaker 3: That's true, right however you identify, that's true.

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Speaker 1: If you like this podcast, but your team, Kevin, you're

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Speaker 1: an omar. And if you like this podcast and you're in,

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Speaker 1: you're a team Casey, you're a tiny chancer.

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Speaker 2: Okay.

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Speaker 1: And I want division in this country.

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Speaker 3: Yeah, well, listen, things have been going too smoothly. We

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Speaker 3: do need some more division in this country. I feel like,

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Speaker 3: and it's cool that you were the voice to point

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Speaker 3: that out.

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Speaker 2: I think that's what.

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Speaker 3: Yeah, one brave man.

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Speaker 2: Do you have any revolutions for this?

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Speaker 3: Near revolutions? I feel like if I gave you the

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Speaker 3: honest answer to that question, it's so I roll inducing.

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Speaker 3: I don't want to spare. Well, whatever you asked you asked,

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Speaker 3: I try. I try. I try to. You know, if

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Speaker 3: you're in a day at a time, you don't need

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Speaker 3: resolutions because every New Year's Day is just another day,

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Speaker 3: and you can resolve to try to do a little

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Speaker 3: bit different or better every day. And I feel like

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Speaker 3: when I get on the clock with like binding things

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Speaker 3: like a resolution for a year, I tend to get

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Speaker 3: in trouble with that kind of thinking. So you know,

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Speaker 3: day to time. I made that up daya time. I'd

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Speaker 3: never heard that day time right now. Actually, when I

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Speaker 3: said it to you, data time, data time, mostly data time,

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Speaker 3: and it's like it was data and goonies or it

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Speaker 3: was data and I think data was Oh oh, he

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Speaker 3: was in both, thinking of he was in both two

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Speaker 3: different people because goonies had a data as well. Goonies

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Speaker 3: had a data as well. Data say data.

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Speaker 2: But then I call those people data.

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Speaker 3: You say data like I have to.

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Speaker 2: Back up my data. I have to I have to

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Speaker 2: back up my data, right.

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Speaker 3: Like you know, everything's just a data collecting mission. But

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Speaker 3: also I say that about when I'm collecting dada as

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Speaker 3: from my own little private Idaho.

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Speaker 2: Data is like the art form, right.

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Speaker 3: Mm hmmm, I think, yeah, it was. It was a movement, right,

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Speaker 3: kind of like Kookie cookie Ship, like cookie Ship.

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Speaker 1: Actually that helps us with our transition into this episode

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Speaker 1: cookie Ship.

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Speaker 3: I always want to help you transition.

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Speaker 1: And do you know how many revolutions I have?

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Speaker 3: How many revolutions do you have?

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Speaker 2: New Year's revolutions?

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Speaker 1: Not? Yeah, we got it, controversi controvers controversy.

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Speaker 3: Are we doing the Beatles? Yeah? Wow, New Year's Strength.

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Speaker 2: That's what I wanted to do.

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Speaker 1: I wanted to come out the gate with boxing gloves

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Speaker 1: on because it's Boxing Day.

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Speaker 3: And yep.

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Speaker 1: I did a little research. I was trying to find

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Speaker 1: a group, like a band or artist that is beloved

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Speaker 1: but has a song that people don't like. And this

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Speaker 1: one came up a lot, so I decided, let's tackle it,

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Speaker 1: Let's give it a chancers.

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Speaker 3: This one came up a lot in your research. The

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Speaker 3: revelation Revelation Revolution nine by the Beatles came up a

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Speaker 3: lot in your research. Is like a song by I mean,

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Speaker 3: and there is no more classic band than the Beatles.

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Speaker 3: That's the mountaintop. So I like this. I like this

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Speaker 3: a lot. There's no one and especially now that Chalome done,

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Speaker 3: is you know Dylan Reclamation Project you know, everybody's been

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Speaker 3: out on Dylan for fifty sixty years. I'm like the

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Speaker 3: only bibs burs. I don't even like him, So I

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Speaker 3: think now it's really beatles are the only thing that's left.

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Speaker 3: By the way, shout out to Shalomy for I haven't

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Speaker 3: seen it, but he looks his nose looks great. It

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Speaker 3: looks a lot like Bob.

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Speaker 2: Yeah.

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Speaker 3: Yeah, one little factoid before we transition. I'm so sorry,

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Speaker 3: but I do now that we're because this is like

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Speaker 3: a kind of post Golden Globes, pre Oscar pod too.

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Speaker 3: I did want to point out that Shalomy does use

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Speaker 3: this is this is the magic of movies. The Leonard

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Speaker 3: Bernstein knows that what's his name used in the film

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Speaker 3: that he directed last year. Yeah, so his playbook, Bradley Coop,

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Speaker 3: brad Bradley, Bradley Coop's fake nose is now Shalomether's fake nose.

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Speaker 2: But permanent.

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Speaker 3: It's real.

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Speaker 2: But they had it in, they put it in, they

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Speaker 2: had it in.

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Speaker 3: Yeah.

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Speaker 1: Yeah, so just I was going to donate my nose.

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Speaker 1: I was actually going to donate my nose science. But

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Speaker 1: for movies, science and movies.

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Speaker 3: They you should because this indicates there's a shortage. It's

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Speaker 3: the same nose for these two guys. But now we'll

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Speaker 3: go back to everyone's favorite Liverpudlians.

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Speaker 1: And I just want to say that I would I

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Speaker 1: probably listened to this song maybe once in my life.

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Speaker 1: It's a song that you you once you hear it once,

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Speaker 1: you kind of skip. But I'm excited to listen to it.

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Speaker 1: It's long, so I also I also feel like it's

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Speaker 1: okay if we don't listen to the whole thing, but

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Speaker 1: maybe we'll get in trouble for like, as a podcast

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Speaker 1: for skipping. We've done it before, but it's usually been

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Speaker 1: like with when there's like.

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Speaker 3: Twenty or thirty seconds. Yeah, yeah, I feel like I

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Speaker 3: feel like it is potentially in poor faith with our

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Speaker 3: trusted listeners if we say we're gonna give this a

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Speaker 3: chance and then listen to ninety seconds of it.

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Speaker 2: All right here? We got revolution number nine.

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Speaker 3: About it?

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Speaker 2: I'm sorry, yes, exciting.

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Speaker 3: Nine, number nine. The music has started.

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Speaker 1: Number nine.

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Speaker 2: Remember the piano is nice. I forgot about that.

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Speaker 3: Sounds like a Beatles thing. Number nine.

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Speaker 1: This must have been really crazy in nineteen sixty eight.

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Speaker 3: Number nine. I mean, I'm guessing it's the first. It's

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Speaker 3: definitely it's like a backwards looping tape experiment thing that's

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Speaker 3: taking cues from things more like John Cage and stuff

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Speaker 3: like that. Experimental what the heck's.

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Speaker 2: Called savant garde?

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Speaker 3: Compose your avant garde composed.

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Speaker 1: Your yes, yes, Charles, Charles Ivy.

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Speaker 3: I just learned something right now? Is he burlives brother?

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Speaker 3: I don't.

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Speaker 2: I don't.

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Speaker 3: I just want to let the chances know to says.

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Speaker 3: What's awesome about this experiment is I hope you go

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Speaker 3: home and do this or after you listen to this

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Speaker 3: or while it's a really truly crazy thing to try

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Speaker 3: to listen to and speak during as well.

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Speaker 1: I like that. Okay, I keep dipping the volume because

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Speaker 1: it's so chaotic, Like I hope you're like, like you're

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Speaker 1: you're pulling a uh.

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Speaker 2: I hope that they're doing like a.

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Speaker 1: Pink Floyd with the Dark Side of the movie Wizard

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Speaker 1: of oz.

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Speaker 3: Oh, Wizard of oz right right right, Well, also you

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Speaker 3: can do that for Pink Floyd and the show oz

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Speaker 3: on HBO.

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Speaker 1: So I like this because I think, like, right, like

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Speaker 1: this is maybe another first where where bands were I mean,

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Speaker 1: they were very experimental always but I think sometimes, you know,

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Speaker 1: in the studio, you do some things that you know

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Speaker 1: you might fall in love with that is not going

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Speaker 1: to make it to the record, and they were like,

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Speaker 1: or you know, this is the white album, We're putting

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Speaker 1: everything on it.

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Speaker 2: Let's throw this on.

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Speaker 3: Yeah. And I do think this is that period at

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Speaker 3: a time where they're, God, it's really kitchen sink stuff.

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Speaker 3: It's I really think this is like where like Paul's

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Speaker 3: in one room doing like Lady Madonna, John's in another

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Speaker 3: room just like splicing tape together with you know, George

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Speaker 3: or whoever was the assistant Glenn Johns or however those

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Speaker 3: people were like the assistant engineers. And I do love

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Speaker 3: the idea of yeah, like this does create a kind

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Speaker 3: of model for this becomes a feature of like every

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Speaker 3: capital I important or album that is straining for the

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Speaker 3: sort of like label of importance. Nine nine has like

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Speaker 3: some kind of nod to this or iterates from this.

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Speaker 3: The thing, of course about this period of time it's

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Speaker 3: kind of nuts, is that whoever's doing this is literally

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Speaker 3: I don't know if John was literally on the floor

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Speaker 3: splicing tape together. I have a sense he might have

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Speaker 3: been involved, But there's probably somebody else's job that was. Yeah.

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Speaker 1: What's interesting is like in the books, you do learn

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Speaker 1: about a lot of like the technicians, Like if you

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Speaker 1: if you kind of watch a Beatles documentary or read

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Speaker 1: a book, they do give flowers to a lot of

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Speaker 1: the people from behind. Obviously, George Martin is the number

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Speaker 1: one producer that gets gets shouted out, and he's you know,

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Speaker 1: definitely that fifth Yatt, But there are other technicians that

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Speaker 1: they kept along and that they that they utilize that

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Speaker 1: you kind of hear about.

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Speaker 2: Are they a household name?

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Speaker 1: No, but it's for the or it was a It's

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Speaker 1: amazing that.

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Speaker 2: That they would even consider mentioning these people.

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Speaker 1: But I guess it's also because there's a there's a

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Speaker 1: fan base that wants to know everyone involved.

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Speaker 2: I guess that changes it too.

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Speaker 3: Totally. Every single morsel of it has been poured over, historicized, mythologized,

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Speaker 3: and I think the appetite apparently seems to be endless

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Speaker 3: and inexhaustible because we're gonna get four four Beatles movies

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Speaker 3: in the next however, many is that your Oh? Yeah,

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Speaker 3: what's his name? Sam Mendes That director Shawn Mendez. Shawn Mendez,

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Speaker 3: the director who has tendencies. Let's just say that, No,

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Speaker 3: Shawn Mendes is directing a Four Beatles Movies with Harrison Dickinson.

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Speaker 3: Is that that person's name George Harrison. So Sean Menez

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Speaker 3: is directing George Harrison The Beatles Movies.

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Speaker 2: What the news is?

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Speaker 3: Yeah? And then John and Paul are being played by

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Speaker 3: the Menendez brothers.

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Speaker 2: John Paul the Pope. John Paul John Paul.

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Speaker 3: Is being played by each Menendez brother half of the

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Speaker 3: movie each.

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Speaker 2: Sewn men brothers.

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Speaker 3: Yes, Sean Menandez brothers are directing Four Beatles Movies.

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Speaker 1: This conversation is as abstract as the music we're listening to.

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Speaker 2: And I think that's so.

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Speaker 3: I think that's great. This is the experimental episode of

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Speaker 3: Give It a Chancy. I mean, I really do hope

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Speaker 3: people sit and listen to this. What's happening right now

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Speaker 3: is like in my left channel, there's like a really fast,

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Speaker 3: like almost drill drone, single note guitar thing.

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Speaker 2: That's me. It's not the song, that's me.

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Speaker 3: That's case. I feel like a glitch happening that was you.

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Speaker 3: Oh my god, you can't do that. That's not fair.

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Speaker 3: I really looked with my mind. Oh it told me

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Speaker 3: my internet connection is unstable people, so lets see what happens.

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Speaker 3: I'm gonna shut my VID off so you'll just see

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Speaker 3: my name. Now there's a choir.

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Speaker 4: Oh, I like this, Sjohn's voice, laughing some like laser beams.

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Speaker 3: It's funny. It's like the oral equivalent of the last

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Speaker 3: Scotson scene of two thousand and one Space, you know

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Speaker 3: what I mean? Like everything like that also came a

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Speaker 3: shorthand for something that has been endlessly replicated that like

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Speaker 3: everything everywhere, all at once, streaming at you. No, And

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Speaker 3: I think what you were saying before about the personnel

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Speaker 3: stuff too, it's funny because I do think like they

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Speaker 3: were a party to like cultural history, those people because

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Speaker 3: like and facilitating it, because it is kind of nuts.

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Speaker 3: If you, I know, there's nothing new that can be

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Speaker 3: said about this stuff. But if you look at like

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Speaker 3: the White Album is nineteen sixty eight, We're listening to

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Speaker 3: you right now, which is an eight and a half

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Speaker 3: minute abstract tape collage by the most famous singer in

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Speaker 3: the world, basically is happening six years removed from them,

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Speaker 3: like playing clubs in Hamburg covering like Elvis songs or whatever.

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Speaker 3: The leap. It's almost impossible to overstate the speed at

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Speaker 3: which this moved and the degree to which the leap

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Speaker 3: was like you know, not to not to but too

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Speaker 3: fine a point on it, but revolutionary. And I'm your host,

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Speaker 3: Gaisy Gaze.

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Speaker 1: Yeah, you know, I'm sure it's probably talked about, but

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Speaker 1: I think I think that the the the studio as

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Speaker 1: an instrument is something that gets brought up sometimes with

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Speaker 1: the Beatles, and this is an example of how, like,

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Speaker 1: you know, the music was changing so much and artists

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Speaker 1: were like living in the studio and doing so much more. Obviously,

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Speaker 1: you know, Brian Wilson is a huge of ones on

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Speaker 1: this as well, and so it was a chance for

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Speaker 1: them to put their hands on something other than a

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Speaker 1: guitar or a piano. It was like actual tape and

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Speaker 1: reversing things and distortion and all that stuff.

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Speaker 2: Now does that make a good song? Right?

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Speaker 1: That's what we're trying to talk about today, right, Like,

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Speaker 1: and I would say that my chances are on this.

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Speaker 2: Aside from that, it's.

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Speaker 3: I love that you're trying to give this a chance

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Speaker 3: in the midst of total chaos. I definitely can't even

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Speaker 3: think about the chance till sixteen seconds from now. But please,

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Speaker 3: this is awesome.

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Speaker 1: You're an Olynthian or about to end our listening session.

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Speaker 2: Oh, I think it's done.

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Speaker 1: So I would say that my chancer is that, aside

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Speaker 1: from it being like an experimental song for its time,

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Speaker 1: my other chance is it's on the white album, right,

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Speaker 1: and we mentioned that briefly, but it's like on a

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Speaker 1: double album. I think you're allowed to throw some extras on,

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Speaker 1: especially if you're sort of saying that this is a

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Speaker 1: texture for this album, that this is just like, this

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Speaker 1: is something else that we did that is embodies they

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Speaker 1: not only the time of nineteen sixty eight, because obviously

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Speaker 1: the whole country was changing so much that.

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Speaker 3: The world, Yeah, the Western world for sure.

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Speaker 1: Yeah, and it was like you know, it's it's sort

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Speaker 1: of drugs and things like that as well.

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Speaker 2: It's like it really in some ways.

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Speaker 1: My chance is that that's more indicative of the time

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Speaker 1: than and you know, you know, Savory Trouble or Honey

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Speaker 1: Pie for sure is not indicative of the time. That's

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Speaker 1: like a throwback, you know, but I will skip this

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Speaker 1: for the rest.

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Speaker 2: Of my life. That's my chance.

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Speaker 3: An anty chance, Yeah, I understand. I feel like, how

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Speaker 3: many times does one need to listen to that to

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Speaker 3: I mean, on the one hand, if you are a

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Speaker 3: it really does depend on what you are looking for.

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Speaker 3: And again, this is like we talk about subjectivity all

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Speaker 3: the time on this podcast, because I think you can't

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Speaker 3: talk about entertainment or art without like centering it in subjectivity.

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Speaker 3: Like one person's nickelback is another person's Beatles, and one

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Speaker 3: person's Beatles is another person's. Like it's so funny. I

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Speaker 3: think about this, like, so this isn't this is the

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Speaker 3: most famous music act of all time and to that point,

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Speaker 3: of all time, right, and they are this is an

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Speaker 3: experimental piece of music, rightight? By this act, I wonder

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Speaker 3: what an actual like like lifelong avant garde experimental. I

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Speaker 3: would love to read that and research that, Like what

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Speaker 3: did these people, these composers think of this, because I

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Speaker 3: think about something like AFX twin right, that guy Richard James,

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Speaker 3: is that his name? And like when Radiohead takes this

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Speaker 3: turn around, okay, computer kid a And one of the

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Speaker 3: things and Radiohead is thought of is they're not the Beatles,

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Speaker 3: but they might be the most critically acclaimed band of

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Speaker 3: the last twenty five years. Roundly, they're pretty, they're up

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Speaker 3: there top two or three. When they were making that music.

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Speaker 3: One of the things Tommy York would always talk about

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Speaker 3: was that band was Afex Twin, and I feel like

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Speaker 3: what was so funny was Richard james Is asked about

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Speaker 3: it at some point, like, oh, what do you think

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Speaker 3: about kid A or whatever, and He's like, I don't

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Speaker 3: really think anything about it. It's kind of like garbage.

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Speaker 3: It's not very good. And that indicates like even the

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Speaker 3: coolest thing in the world, there's people who are actually

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Speaker 3: maybe you can make the argument Aphex Twin had been

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Speaker 3: like living in that style of presentation or a version

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Speaker 3: of it for his whole development, and so he was like,

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Speaker 3: this is a bunch of like educated kids from Oxford

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Speaker 3: with guitars trying to like make blips and bloops music.

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Speaker 3: It's and so the context is everything, and with respect

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Speaker 3: to like the chance or not a chance, Like what

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Speaker 3: do you want from a song? I don't want this

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Speaker 3: the way I want the other revolution. I listen to

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Speaker 3: that song over and over again. It's a perfect song,

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Speaker 3: but you're.

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Speaker 1: Still right, like the point of view or like the

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Speaker 1: listener it like you know, decides always the listener decides

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Speaker 1: how they feel about the work of art, right, But

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Speaker 1: it depends on whose.

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Speaker 2: Lens your listener.

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Speaker 1: Yeah, And so for instance, like if the Backstreet Boys

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Speaker 1: put out a song, like an experimental song like this,

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Speaker 1: which is a good parallel because.

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Speaker 2: You know the I almost called them the BC Beatles Boys.

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Speaker 1: They I mean, actually the BC Boys is an example

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Speaker 1: of this where these like eighty it morons that like,

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Speaker 1: we're definitely capable and came from like the right you

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Speaker 1: know mindset of going from like already from punk to

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Speaker 1: hip hop, started to make you know, more jazzy experimental

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Speaker 1: albums later on and push limits. So that's a good

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Speaker 1: example of it. But if they really was like a

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Speaker 1: pop group, right, because when they started it was like

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Speaker 1: she Loves You. It was like this real bubblegum pop

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Speaker 1: to do this, if the lenses someone like Philip Glass

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Speaker 1: or you know, Charles Ives or right, like, that person's

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Speaker 1: probably like, why, why is in sync you know making

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Speaker 1: this kind of music Like that's you know, like that's

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Speaker 1: probably what they were thinking, or maybe they go, this

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Speaker 1: is so fun. I think it's really fun that what

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Speaker 1: I thought was bubble gum. The same how we feel

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Speaker 1: about Bacie Boys, right, Like, which is which is, and

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Speaker 1: I I like the early BC Boys stuff too. Some

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Speaker 1: of it doesn't age as well, but it's more so

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Speaker 1: actually their antics off stage that didn't totally. Yeah, a

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Speaker 1: lot of those rhymes and stuff are still fun for

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Speaker 1: what it is, but I like that they took this

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Speaker 1: experimental path. I think Radio haads another good comp so

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Speaker 1: it's ultimately I do think that if these avant garde

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Speaker 1: composers are as open minded as they sure, they would

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Speaker 1: have an open mind towards this totally.

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Speaker 3: And I think that there's probably two schools. I bet

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Speaker 3: there were people who were probably endlessly thrilled without knowing this,

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Speaker 3: like Gospel Oak knowing it. I'm pretty sure if we

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Speaker 3: did the research, I bet there were people in those

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Speaker 3: avancarde communities also who like John. The thing about culture

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Speaker 3: at that moment, too, is it was like everything was

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Speaker 3: bleeding into everything else. I'm not going to turn this

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Speaker 3: into like a D list D rate sixties. You can

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Speaker 3: find all this stuff better places than this podcast, but

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Speaker 3: I just mean like it was at that moment everything

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Speaker 3: was like sloshing around into one another. And John is

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Speaker 3: with Yoko Ono, it was like a you know, a

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Speaker 3: claimed avant garde artist and I'm sure he was meeting

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Speaker 3: all of these people through that relationship. I'm also sure

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Speaker 3: whoever the fuck the Beatles wanted to meet in nineteen

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Speaker 3: sixty seven eight, whether you were an avant garde or

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Speaker 3: artist or like a head of state, they probably could

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Speaker 3: meet them. And all of this stuff is becoming like internalized,

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Speaker 3: and it's kind of like mirroring whatever's happening in like

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Speaker 3: experimental film and even like certain writing poetry, certain things

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Speaker 3: that are and I think that it's you know, there

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Speaker 3: is this thing where everything's kind of like bleeding in

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Speaker 3: and out. So it's like I would imagine that there

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Speaker 3: was some population in those avant garde communities that was

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Speaker 3: thrilled that like the biggest thing in the world had

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Speaker 3: on its double record, which, by the way, another casual

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Speaker 3: thing the Beatles are kind of credited with inventing, is

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Speaker 3: like a double album sort of loosely conceptual or whatever

390
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Speaker 3: by you know, which then becomes like a staple of

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Speaker 3: rock music and beyond moving forward. But it feels like

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Speaker 3: I'm sure there were some people that were like the

393
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Speaker 3: coolest thing in the world is that these like bubblegum,

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Speaker 3: these guys that were this bubblegum pop act that are

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Speaker 3: now mirroring the culture as the culture mirrors them is

396
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Speaker 3: putting like an eight and a half minute tape experiment

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Speaker 3: on their double album. And then I'm sure there were

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Speaker 3: other more provincial gatekeepy people that were like, you know,

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Speaker 3: we don't want those people sullying our you know, the

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Speaker 3: purity or sanctity of our And I understand arguments from

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Speaker 3: both sides of that, but also at the end of

402
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Speaker 3: the day, it's like I would think that I'm and

403
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Speaker 3: I guarantee it did. I'm sure that Revolution nine got

404
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Speaker 3: some amount of people to check out some of the

405
00:21:45,720 --> 00:21:48,320
Speaker 3: music and art movements we're talking about who would have

406
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Speaker 3: never been interested in that before.

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Speaker 1: You know, it is really interesting a song like this

408
00:21:53,320 --> 00:21:56,840
Speaker 1: because it is such a tent pole and it's it

409
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Speaker 1: goes both ways, right, Because I was I did like

410
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Speaker 1: a yoga class the other day and there was this

411
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Speaker 1: like nice ambient I know flex and actually actually literal flex.

412
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Speaker 1: There was this ambient music playing and I was like, oh,

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Speaker 1: I don't have no idea what this is. I love it.

414
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Speaker 1: I like love I don't know what it is. I

415
00:22:15,840 --> 00:22:18,359
Speaker 1: should listen to this more. It feels great and it

416
00:22:18,400 --> 00:22:20,560
Speaker 1: was just also the right place at the right time,

417
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Speaker 1: but that if you track it back far enough, there's

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Speaker 1: like moments in this song that probably influenced the mold.

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Speaker 1: The other things are brought it to such a forefront

420
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Speaker 1: that ambient music probably took off to a certain degree eventually,

421
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Speaker 1: But then it also pushes you backwards. So it's like,

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00:22:37,240 --> 00:22:43,600
Speaker 1: can it connects yoga elevator ambient music to those you know,

423
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Speaker 1: those avant garde musicians of the past, right and like

424
00:22:48,680 --> 00:22:51,800
Speaker 1: all the Pink Floyd's and radioheads in between. Like it's

425
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Speaker 1: I think that it's really interesting. But I will say, though,

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Speaker 1: if I'm trying to really be like treat this one

427
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Speaker 1: song as like the the whole thing, and if it's

428
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Speaker 1: totally like here's the Beatles and played that song, I'd

429
00:23:04,119 --> 00:23:07,040
Speaker 1: be like, this band is doing something.

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Speaker 2: But they suck butt well, but they suck. But they said,

431
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Speaker 2: but what?

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Speaker 3: And I just want to briefly say because it's important

433
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Speaker 3: when I when things like this. It's like Mookie Wilson

434
00:23:17,600 --> 00:23:19,320
Speaker 3: in nineteen eighty six on the Mets when he was

435
00:23:19,359 --> 00:23:21,199
Speaker 3: talking about that at bat in the tenth inning where he.

436
00:23:21,200 --> 00:23:22,040
Speaker 2: Kept wearing the shirt.

437
00:23:22,119 --> 00:23:26,119
Speaker 1: Today too, I have to wear it's a Wally Backman shirt.

438
00:23:26,400 --> 00:23:31,520
Speaker 3: Yeah, but Mookie did say he was going The Bible

439
00:23:31,760 --> 00:23:34,760
Speaker 3: says thou shalt not pass without offering, and that's what

440
00:23:34,800 --> 00:23:36,720
Speaker 3: his thought process was. I'm not going to be holding

441
00:23:36,800 --> 00:23:38,919
Speaker 3: the bat. I'm going to swing the bat whatever, and

442
00:23:39,400 --> 00:23:41,679
Speaker 3: however this works out, I'm not going to be the

443
00:23:41,720 --> 00:23:45,159
Speaker 3: guy holding the bat at the end of this. You

444
00:23:45,200 --> 00:23:47,720
Speaker 3: know this it bat And I bring that up to say,

445
00:23:47,800 --> 00:23:49,480
Speaker 3: I can't believe how long I've taken a get to

446
00:23:49,520 --> 00:23:52,520
Speaker 3: what we're about to get to. So excited. I just

447
00:23:52,520 --> 00:23:54,600
Speaker 3: want to say that when you said you were in

448
00:23:54,600 --> 00:23:56,639
Speaker 3: the yoga class and the song hit you and it

449
00:23:56,680 --> 00:23:58,600
Speaker 3: must have been the right place at the right time,

450
00:23:59,119 --> 00:24:00,919
Speaker 3: what I thought was, do you know maybe this is

451
00:24:00,920 --> 00:24:02,800
Speaker 3: for a future episode? You know, somebody goes, I must

452
00:24:02,840 --> 00:24:04,879
Speaker 3: have been the right place, but it must have been

453
00:24:04,920 --> 00:24:07,120
Speaker 3: the wrong time. And if you don't know that song,

454
00:24:07,160 --> 00:24:10,119
Speaker 3: then I'm glad I just spent ninety full seconds of

455
00:24:10,200 --> 00:24:11,040
Speaker 3: this episode.

456
00:24:11,240 --> 00:24:11,719
Speaker 2: What is it?

457
00:24:11,720 --> 00:24:11,920
Speaker 3: Wait?

458
00:24:12,000 --> 00:24:12,920
Speaker 2: What song is it?

459
00:24:13,359 --> 00:24:15,800
Speaker 3: That must have been the right please? But I thought

460
00:24:15,800 --> 00:24:19,000
Speaker 3: it was the wrong time. Anyway, this is not I.

461
00:24:18,920 --> 00:24:21,200
Speaker 1: Think you're singing. You're making it sound too good. What

462
00:24:21,320 --> 00:24:21,919
Speaker 1: song is? Oh?

463
00:24:22,040 --> 00:24:24,520
Speaker 3: Thank you? Oh, it's the one that goes It must

464
00:24:24,520 --> 00:24:27,080
Speaker 3: have been the right place, but it must have been

465
00:24:27,119 --> 00:24:29,400
Speaker 3: the wrong time. How does that sound?

466
00:24:29,480 --> 00:24:31,040
Speaker 2: Sounds like a Dave Matthews band?

467
00:24:31,119 --> 00:24:33,680
Speaker 3: Like does this look like aphext One? Oh?

468
00:24:33,800 --> 00:24:35,080
Speaker 2: Is that aphex One that sings it?

469
00:24:35,600 --> 00:24:35,920
Speaker 1: That does?

470
00:24:36,040 --> 00:24:36,119
Speaker 3: Know?

471
00:24:36,560 --> 00:24:37,680
Speaker 2: It does look like that video?

472
00:24:37,720 --> 00:24:39,960
Speaker 3: Though, all right, look, I'm sorry, so forget about what

473
00:24:39,960 --> 00:24:41,160
Speaker 3: I was just saying. I just wanted to talk about

474
00:24:41,200 --> 00:24:42,760
Speaker 3: the yoga a little bit more in the right place

475
00:24:42,760 --> 00:24:43,920
Speaker 3: in the wrong time, and I want to talk about

476
00:24:43,960 --> 00:24:46,280
Speaker 3: Mookie Wilson in the Bible. But now let's get back

477
00:24:46,320 --> 00:24:59,560
Speaker 3: on track with Revolution number nine and sucks. But so

478
00:25:00,160 --> 00:25:04,080
Speaker 3: for me, yes, if someone presented and I think what

479
00:25:04,119 --> 00:25:07,720
Speaker 3: you're doing is important because it even it's been evidenced

480
00:25:07,760 --> 00:25:11,399
Speaker 3: in this episode, it is almost impossible to speak, at

481
00:25:11,480 --> 00:25:14,680
Speaker 3: least for me, it's almost impossible to speak like objectively

482
00:25:14,920 --> 00:25:17,119
Speaker 3: about the Beatles, not even that the Beatles are like

483
00:25:17,520 --> 00:25:20,280
Speaker 3: my favorite band or something, but I almost think, like,

484
00:25:20,400 --> 00:25:24,560
Speaker 3: there's kind of no, they're perfectly rated. There's no way

485
00:25:24,680 --> 00:25:28,600
Speaker 3: to under like, you can't overseell what this music meant

486
00:25:28,720 --> 00:25:33,520
Speaker 3: to like it's it's it's the band that sailed ten

487
00:25:33,640 --> 00:25:36,160
Speaker 3: million ships. Like everything you could.

488
00:25:36,600 --> 00:25:38,520
Speaker 1: It's like it's like being like, oh, I like I

489
00:25:38,840 --> 00:25:39,960
Speaker 1: like plants, but I hate.

490
00:25:39,760 --> 00:25:41,960
Speaker 2: That seed right totally.

491
00:25:42,000 --> 00:25:44,879
Speaker 1: It like it made the it made the plants, like

492
00:25:44,920 --> 00:25:45,880
Speaker 1: it made so much.

493
00:25:46,359 --> 00:25:48,880
Speaker 3: I think that's accurate and but but at the same time,

494
00:25:49,040 --> 00:25:52,240
Speaker 3: you can you need to have some kind of like

495
00:25:52,280 --> 00:25:55,679
Speaker 3: critical apparatus and objectivity to drop in on like any

496
00:25:55,920 --> 00:26:00,480
Speaker 3: anything that exists in culture. Nothing's above reproach or a both,

497
00:26:01,480 --> 00:26:07,160
Speaker 3: not even reproach above critical analysis, certainly not them. And yeah,

498
00:26:07,200 --> 00:26:09,880
Speaker 3: what I think what's interesting is when I'm thinking about

499
00:26:09,920 --> 00:26:12,440
Speaker 3: giving this a chance from a critical perspective, I think

500
00:26:12,480 --> 00:26:14,560
Speaker 3: one of the reasons maybe I just kind of unlocked

501
00:26:14,600 --> 00:26:16,760
Speaker 3: this for myself. I keep coming back to whatever the

502
00:26:16,760 --> 00:26:21,560
Speaker 3: avant garde community may have thought about it, is that

503
00:26:21,760 --> 00:26:23,760
Speaker 3: I do wonder if one of the things is like,

504
00:26:24,560 --> 00:26:27,879
Speaker 3: maybe this is too heady and not musical either, But

505
00:26:27,920 --> 00:26:30,600
Speaker 3: if one of the things is like, you know, it's

506
00:26:30,680 --> 00:26:36,719
Speaker 3: like it's a privileged rock star sitting on the floor

507
00:26:36,760 --> 00:26:40,000
Speaker 3: of a studio with some guy working for him, cutting

508
00:26:40,040 --> 00:26:43,240
Speaker 3: up a bunch of bullshit and being like it's art. Now,

509
00:26:43,359 --> 00:26:45,359
Speaker 3: I'm already going to contradict myself because part of me

510
00:26:45,359 --> 00:26:47,360
Speaker 3: feels like well, what else is art? Isn't art exactly

511
00:26:47,359 --> 00:26:49,840
Speaker 3: what I just described, whether the person whatever, the material

512
00:26:49,840 --> 00:26:53,159
Speaker 3: conditions of the artist. But of course the difference between

513
00:26:53,400 --> 00:26:57,080
Speaker 3: some person making this music in Berlin or this collage

514
00:26:57,720 --> 00:27:01,920
Speaker 3: is not really music in Berlin in nineteen sixty three

515
00:27:02,280 --> 00:27:07,160
Speaker 3: and John Lennon is that John Lennon knew fifty million

516
00:27:07,280 --> 00:27:12,680
Speaker 3: people or whatever would hear this? Yes, And so yeah,

517
00:27:12,680 --> 00:27:15,639
Speaker 3: there is something to be said about like walking into

518
00:27:16,040 --> 00:27:18,639
Speaker 3: that like to. But the other side of that is

519
00:27:18,720 --> 00:27:20,600
Speaker 3: to be in the position that John Lennon was in

520
00:27:20,640 --> 00:27:21,960
Speaker 3: and be like, this is how I want to spend

521
00:27:22,000 --> 00:27:25,600
Speaker 3: eight minutes of my band's record is to me kind

522
00:27:25,640 --> 00:27:28,840
Speaker 3: of a foundational thing for the entirety of what I've

523
00:27:28,880 --> 00:27:33,240
Speaker 3: built my life around thinking about, like music and culture.

524
00:27:34,080 --> 00:27:39,359
Speaker 3: So I suppose keep being pulled away on the level

525
00:27:39,400 --> 00:27:42,280
Speaker 3: of what we do on this podcast. It's the biggest

526
00:27:42,280 --> 00:27:44,239
Speaker 3: thing to say about this song critically, is Is it

527
00:27:44,280 --> 00:27:48,080
Speaker 3: even a song like one eight seven seven Cars for

528
00:27:48,160 --> 00:27:50,280
Speaker 3: Kids is more legibly a song by a factor of

529
00:27:50,320 --> 00:27:52,520
Speaker 3: exponents than this. And so if I'm going to like

530
00:27:52,720 --> 00:27:56,400
Speaker 3: give a chance to if I'm going to find basis

531
00:27:56,400 --> 00:27:58,800
Speaker 3: to critique this on the level of is it oh,

532
00:27:58,960 --> 00:28:01,920
Speaker 3: is it a good or bad song? I would say

533
00:28:01,920 --> 00:28:04,240
Speaker 3: that the question is like is this even a song?

534
00:28:04,400 --> 00:28:07,160
Speaker 3: And even further is this even music? And then the

535
00:28:07,240 --> 00:28:10,840
Speaker 3: second layer of criticism would be and as what it

536
00:28:11,000 --> 00:28:14,040
Speaker 3: is purported to be, how does it hold up as

537
00:28:14,040 --> 00:28:17,399
Speaker 3: like a piece of avant garde tapage? You know what

538
00:28:17,400 --> 00:28:17,720
Speaker 3: I mean?

539
00:28:18,080 --> 00:28:20,600
Speaker 1: No, I I definitely I will say that I one

540
00:28:20,640 --> 00:28:22,480
Speaker 1: hundred percent will tell you that that that it is

541
00:28:22,520 --> 00:28:25,439
Speaker 1: a song because going back to John Cage, she's got

542
00:28:25,520 --> 00:28:28,399
Speaker 1: that uh it's like four minutes and thirty three seconds

543
00:28:28,440 --> 00:28:30,480
Speaker 1: and it's and it's and he actually has like sheet

544
00:28:30,560 --> 00:28:33,640
Speaker 1: music for it and it's all rests. It's like yes, right,

545
00:28:33,680 --> 00:28:36,560
Speaker 1: And I think what he's trying to tell you is

546
00:28:36,600 --> 00:28:40,280
Speaker 1: that this is the music can even be silence, right,

547
00:28:40,360 --> 00:28:43,960
Speaker 1: and so that in that sense, music can also just

548
00:28:44,000 --> 00:28:49,560
Speaker 1: be U you know, eight minutes of suck butt and

549
00:28:49,760 --> 00:28:53,360
Speaker 1: that's and if it's and I think if it's on

550
00:28:53,400 --> 00:28:58,000
Speaker 1: a recording, if it's on if it's on an album,

551
00:28:58,120 --> 00:28:59,320
Speaker 1: I kind of think it's a song.

552
00:28:59,680 --> 00:29:01,840
Speaker 3: But what you are describing and this is part of

553
00:29:01,880 --> 00:29:07,600
Speaker 3: what I think I know shocker with the Beatles, this

554
00:29:07,640 --> 00:29:09,640
Speaker 3: is the challenge. And I love that you picked up

555
00:29:09,640 --> 00:29:13,160
Speaker 3: this particular gauntlet. I think it's like, what you just

556
00:29:13,280 --> 00:29:16,120
Speaker 3: did is kind of it roots it in. Why I

557
00:29:16,440 --> 00:29:22,760
Speaker 3: end up giving it a chance is because it's that's

558
00:29:22,800 --> 00:29:28,880
Speaker 3: the art experiment. They actually turned a pop group's you know,

559
00:29:29,240 --> 00:29:33,800
Speaker 3: number one record on a multinational corporation you know whatever

560
00:29:33,960 --> 00:29:37,680
Speaker 3: at EMI or whatever at that point into like a

561
00:29:37,800 --> 00:29:42,320
Speaker 3: site for a philosophical art experiment, which is what even

562
00:29:42,600 --> 00:29:46,720
Speaker 3: is a song? What even is music? And they did

563
00:29:46,760 --> 00:29:52,120
Speaker 3: it as arguably the upper end most, upper endth percentile

564
00:29:53,040 --> 00:29:57,760
Speaker 3: avatars of capital s song, the Church of song. Maybe

565
00:29:57,800 --> 00:30:00,520
Speaker 3: no bigger one of the things about the Beatles, it's

566
00:30:00,760 --> 00:30:03,840
Speaker 3: probably under reported to a degree or under if there is,

567
00:30:03,920 --> 00:30:07,280
Speaker 3: if that exists, perhaps at least at their genesis and

568
00:30:07,320 --> 00:30:14,760
Speaker 3: even throughout no greater collection of music fans as a band, like,

569
00:30:14,840 --> 00:30:19,080
Speaker 3: they were so voracious about all that they were internalizing

570
00:30:19,120 --> 00:30:23,400
Speaker 3: and and and what's the word synthesizing, And I think

571
00:30:23,440 --> 00:30:27,560
Speaker 3: this proves to this indicates the expansion of that both

572
00:30:27,560 --> 00:30:29,920
Speaker 3: in what their appetites were and then also in what

573
00:30:29,960 --> 00:30:37,640
Speaker 3: their their excrement to be, you know what I mean, excreciu.

574
00:30:38,840 --> 00:30:41,240
Speaker 1: And yeah, no, I think you're right. And they gave

575
00:30:41,280 --> 00:30:45,440
Speaker 1: such a beautiful homework assignment. You're finally right. They gave

576
00:30:45,480 --> 00:30:48,680
Speaker 1: a homework assignment to their fans to be like, play

577
00:30:48,680 --> 00:30:51,840
Speaker 1: this backwards and listen to it, and it's like all

578
00:30:51,880 --> 00:30:55,640
Speaker 1: like it's almost like I can't remember when the Paul's dead, right,

579
00:30:55,680 --> 00:30:58,000
Speaker 1: That's what it is. Paul's dead, and I know that

580
00:30:58,040 --> 00:31:02,280
Speaker 1: they on this record. I think is is a green.

581
00:31:02,080 --> 00:31:05,880
Speaker 3: Ass onion where he says like, here's another clue.

582
00:31:15,680 --> 00:31:17,760
Speaker 2: Yeah, I think you're right, and I think maybe this

583
00:31:17,880 --> 00:31:18,320
Speaker 2: was more of it.

584
00:31:18,360 --> 00:31:20,959
Speaker 1: And it really is such a weird album because you know,

585
00:31:21,040 --> 00:31:23,560
Speaker 1: it's got this, it's got Revolution number nine, but it's

586
00:31:23,560 --> 00:31:26,480
Speaker 1: also got like you know, it's.

587
00:31:26,360 --> 00:31:33,400
Speaker 3: Got blackbirds, Yeah, yeah, yeah. It has Goofy Goofy Ship,

588
00:31:34,000 --> 00:31:40,440
Speaker 3: some of the most beautiful stuff they've ever recorded, simple, simple, forward, beautiful,

589
00:31:41,800 --> 00:31:49,719
Speaker 3: and then honestly some of the coolest John stuff to me, like,

590
00:31:49,960 --> 00:31:55,960
Speaker 3: uh feel so lonely, want to die, like these songs

591
00:31:55,960 --> 00:31:58,720
Speaker 3: that are just like bracing and fucking crazy. It balanced

592
00:31:58,720 --> 00:32:03,560
Speaker 3: against peak Paul sweetness, melodic genius stuff, George coming on

593
00:32:03,760 --> 00:32:07,800
Speaker 3: and then this kind of shit plus like weird Goofy nonsense.

594
00:32:08,320 --> 00:32:12,480
Speaker 3: It is a really prismatic experience and weirdly it is

595
00:32:12,520 --> 00:32:16,640
Speaker 3: the record of theirs. Weirdly, it is the record of theirs.

596
00:32:16,720 --> 00:32:20,160
Speaker 3: I end up going back to the most often, Like

597
00:32:20,200 --> 00:32:22,880
Speaker 3: when I put a Beatles record on, it's it was

598
00:32:23,040 --> 00:32:25,880
Speaker 3: at a time revolver. It is for the last like

599
00:32:25,960 --> 00:32:29,560
Speaker 3: fifteen years probably most. I mean maybe this happens once

600
00:32:29,600 --> 00:32:31,280
Speaker 3: a year, but I go through a like, oh, I

601
00:32:31,280 --> 00:32:33,840
Speaker 3: want to listen to the White album, which checks out,

602
00:32:33,880 --> 00:32:36,480
Speaker 3: because that's how I am with like a kid a

603
00:32:36,480 --> 00:32:40,240
Speaker 3: A Ghost is born by Wilco. It's always like the

604
00:32:40,280 --> 00:32:44,000
Speaker 3: record after the record somehow is the one that I'm like,

605
00:32:44,040 --> 00:32:46,760
Speaker 3: what were they doing there? And that tends to be

606
00:32:46,840 --> 00:32:48,640
Speaker 3: I don't know what that is. You know, maybe that's

607
00:32:48,680 --> 00:32:51,160
Speaker 3: something for me to bring up with mine therapist, and

608
00:32:51,200 --> 00:32:53,120
Speaker 3: I'd like to bring her in right now.

609
00:32:54,000 --> 00:32:58,720
Speaker 1: It's me Janet. I've always liked this record too.

610
00:32:58,760 --> 00:32:59,640
Speaker 2: I've always liked.

611
00:33:02,520 --> 00:33:04,840
Speaker 1: I've always been my like one of my number like

612
00:33:04,960 --> 00:33:06,600
Speaker 1: it's always in the top three spot for me is

613
00:33:06,640 --> 00:33:09,320
Speaker 1: Happiness is a Warm Gun because I think it's every

614
00:33:09,360 --> 00:33:12,160
Speaker 1: Beatles song in one. It's got like, it's got something

615
00:33:12,160 --> 00:33:12,800
Speaker 1: for every fan.

616
00:33:13,320 --> 00:33:16,239
Speaker 3: It's perfect, It's perfect. You ever hear the Breeders cover it?

617
00:33:16,600 --> 00:33:18,080
Speaker 2: No, I don't think I know that cool.

618
00:33:18,600 --> 00:33:21,200
Speaker 3: We wouldn't have to give that a chance, people because

619
00:33:21,360 --> 00:33:24,680
Speaker 3: verdict send say says thumbs up.

620
00:33:27,080 --> 00:33:27,520
Speaker 2: Janet.

621
00:33:28,920 --> 00:33:31,800
Speaker 1: It Also, you know White album also has that offspring

622
00:33:31,880 --> 00:33:33,720
Speaker 1: song why No Now, why don't You get a job?

623
00:33:34,000 --> 00:33:36,440
Speaker 3: Love that? Love that? Yeah? Yeah yeah.

624
00:33:36,560 --> 00:33:43,000
Speaker 1: So long story, short, insumacious. Before we fully summarize, I

625
00:33:43,000 --> 00:33:46,480
Speaker 1: do want to say that interesting to cap it at

626
00:33:46,560 --> 00:33:50,040
Speaker 1: eight minutes and thirty seconds, right, because this could be

627
00:33:50,080 --> 00:33:52,840
Speaker 1: they could have dropped a ten minute forty minute song

628
00:33:53,480 --> 00:33:55,840
Speaker 1: or like a like, honestly, you get the idea of

629
00:33:55,880 --> 00:33:57,560
Speaker 1: the whole thing at like three minutes.

630
00:33:58,480 --> 00:34:02,120
Speaker 3: You kind of get the idea like yeah, seventy five

631
00:34:02,240 --> 00:34:04,440
Speaker 3: seconds maybe even yeah, yeah, but yes.

632
00:34:04,320 --> 00:34:05,760
Speaker 2: I mean there's some nice moments like that.

633
00:34:05,840 --> 00:34:07,959
Speaker 1: You know, the choir comes in, I love the piano

634
00:34:08,000 --> 00:34:09,719
Speaker 1: at the beginning, there's like a there was a couple

635
00:34:09,760 --> 00:34:11,880
Speaker 1: of things that I was listening to that was different

636
00:34:11,920 --> 00:34:15,799
Speaker 1: this time, and you know there I can understand why

637
00:34:15,840 --> 00:34:17,960
Speaker 1: they might want to make it somewhere between you know,

638
00:34:18,000 --> 00:34:20,960
Speaker 1: three and five, but eight is pretty wild. But that's

639
00:34:21,000 --> 00:34:25,319
Speaker 1: also maybe they're them flexing like to be like this

640
00:34:25,480 --> 00:34:28,040
Speaker 1: is not like the same, you know, because they have

641
00:34:28,160 --> 00:34:31,000
Speaker 1: they have songs that could go up to like five minutes. Sure,

642
00:34:31,239 --> 00:34:33,160
Speaker 1: maybe it's not being like look, look, look if you

643
00:34:33,520 --> 00:34:35,760
Speaker 1: this is a long this is a long tune.

644
00:34:36,160 --> 00:34:38,200
Speaker 3: Yeah you're gonna and if I and and it's it's

645
00:34:38,360 --> 00:34:40,759
Speaker 3: it's a it's a kind of a staring contest with

646
00:34:40,800 --> 00:34:43,920
Speaker 3: the audience too, like you're where Yeah, you're kind of

647
00:34:43,920 --> 00:34:51,120
Speaker 3: inviting them to engage in on these terms. And I

648
00:34:51,120 --> 00:34:53,239
Speaker 3: think what you're You're right, And the thing I would

649
00:34:53,320 --> 00:34:56,680
Speaker 3: ultimately another as we land this, I would a chance

650
00:34:56,760 --> 00:34:58,920
Speaker 3: has to be given to the fact that like I

651
00:34:58,920 --> 00:35:01,279
Speaker 3: don't know, I've I haven't listened to this all the

652
00:35:01,280 --> 00:35:05,359
Speaker 3: way through probably in ten years, like actively, not as

653
00:35:05,400 --> 00:35:09,040
Speaker 3: like in the background, and there was it's like where's Waldo.

654
00:35:09,719 --> 00:35:13,319
Speaker 3: You'll hear different thing, You'll like be like straining for

655
00:35:13,400 --> 00:35:17,400
Speaker 3: different things every time. Yeah, yeah, yoga. So I just

656
00:35:17,440 --> 00:35:19,520
Speaker 3: want to say that at the end of the day,

657
00:35:20,520 --> 00:35:21,680
Speaker 3: I give this a chance.

658
00:35:22,040 --> 00:35:24,960
Speaker 1: Yeah, same same as I. This was almost an Octopus's

659
00:35:25,000 --> 00:35:26,920
Speaker 1: Garden episode. At LISTA wanted me to do that and

660
00:35:26,960 --> 00:35:28,600
Speaker 1: she was like, you get to talk about Ringo all

661
00:35:28,600 --> 00:35:30,120
Speaker 1: that stuff, and I was like, I think that didn't

662
00:35:30,280 --> 00:35:33,520
Speaker 1: about Ringo at all. There's a version on the anthology.

663
00:35:33,680 --> 00:35:35,480
Speaker 1: I think of this and it has like a drum.

664
00:35:35,640 --> 00:35:36,600
Speaker 1: Oh no, no, that's a.

665
00:35:37,520 --> 00:35:38,520
Speaker 2: Turning off your mind.

666
00:35:38,600 --> 00:35:40,279
Speaker 1: Relax and float downstream.

667
00:35:40,360 --> 00:35:41,160
Speaker 2: Right, that's a better run.

668
00:35:41,239 --> 00:35:44,719
Speaker 3: Oh yeah, that's kind of a versions. Yeah, that's sort

669
00:35:44,760 --> 00:35:47,600
Speaker 3: of a more that's like a capitalist son it is

670
00:35:47,640 --> 00:35:50,040
Speaker 3: it is.

671
00:35:49,800 --> 00:35:52,200
Speaker 1: Anyway, there's a version where Ringo plays a really dope

672
00:35:52,239 --> 00:35:52,719
Speaker 1: beat on it.

673
00:35:52,760 --> 00:35:54,200
Speaker 2: And that's all I want to say about that.

674
00:35:55,239 --> 00:35:57,680
Speaker 3: Nice Ringo. Shout us out next time you're doing your

675
00:35:57,680 --> 00:35:59,759
Speaker 3: own pod and everybody chance out.

676
00:36:00,440 --> 00:36:00,520
Speaker 1: Ye