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

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Speaker 1: a chick.

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

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

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Speaker 1: Go morning, give it as you want.

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Speaker 3: To give it a chance, Give it a chance, give

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Speaker 3: it a chance. Just give it.

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Speaker 2: Hi Kevin Devine, Hi Cases Just I'm so excited for

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Speaker 2: another fun episode.

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Speaker 1: Give it a chance. Are you in the mood?

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Speaker 4: Oh dude, I'm always in the mood to give it

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Speaker 4: a chancy. And also, is it okay to call episode?

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Speaker 2: Yes, okay, I think it's respectful to call to call them,

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Speaker 2: Omar Epps.

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Speaker 4: I'm glad you caught the respect angle.

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Speaker 1: That is, because you know what you have the juice.

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Speaker 4: Now you got the juice. You got the last line

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Speaker 4: of the movie SPOILERL.

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Speaker 2: I think it is. Yeah, I think it is, which

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Speaker 2: is it's so it's bad. But I I always really

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Speaker 2: liked that movie, so I think I have I have

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Speaker 2: like rose colored glasses for it.

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Speaker 4: Also, Tupac Man charisma. Yeah, I don't even know if

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Speaker 4: he was a good actor, but he was great on screen.

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Speaker 2: I know he had this sort of like I feel

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Speaker 2: very similar about like John Legozamo, Like he has so

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Speaker 2: much that I'm like watching it now, sometimes I'm like,

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Speaker 2: that's a little too much, but I think.

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Speaker 4: Oh, yeah, the time is not a subtle instrument.

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Speaker 2: No, yeah, A certain movies like when I've Gone Back

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Speaker 2: and I was obsessed with with Aceventura and I started

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Speaker 2: watching the first one and I was like, this is unhinged.

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Speaker 1: It's really wild.

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Speaker 4: I know we got to give it a chancey, but

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Speaker 4: I do just want to say quickly, very very short

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Speaker 4: anecdote about that. When they did the Batman movie story,

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Speaker 4: he walks in and he's kind of he's never met

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Speaker 4: Tommy Lee Jones. Oh wow, filming and they're at a

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Speaker 4: restaurant and he goes over to say hello to him,

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Speaker 4: and Tommy Lee Jones stands up from his dinner, hugs

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Speaker 4: him and says, I'm sorry, I can't talk to you.

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Speaker 4: I cannot sanction your buffoonery. And then that's the last

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Speaker 4: time he spoke to him outside of whatever was like

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Speaker 4: shot and work related for the entirety of the film.

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Speaker 4: That's like, that's Jim Carrey tells that story.

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Speaker 1: And it's like, wait, like kind of a respectful diss.

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Speaker 4: He's like, look, it's nice to see you. I can't

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Speaker 4: be friends with you. Your horses asked, let's just get

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Speaker 4: this over with. Wow makes Tommy Lee Jones. I think

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Speaker 4: that's not a.

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Speaker 2: Good story for him, really, you know, but it is

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Speaker 2: so interesting because I wonder if he felt that way

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Speaker 2: about like Will Smith too, and he had to work

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Speaker 2: with him and Men in Black, you know.

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Speaker 4: Ben Bien beneto Ami Ami. Also, I will just say

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Speaker 4: that this is a pivot and a chain. We can

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Speaker 4: we can maybe because clearly TLJ was not to give JC.

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Speaker 4: I'm chancy.

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Speaker 1: Yeah.

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Speaker 2: You know what's interesting is Tommy Lee Jones he didn't

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Speaker 2: like he didn't like him for him?

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Speaker 1: Oh no, you immediately know.

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Speaker 4: Or that guy who played in Fargo I think his

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Speaker 4: name was Steve probably liked him, Yes, dude, maybe Leonardo too,

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Speaker 4: I don't know.

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Speaker 1: So this is the song we're talking about, is a

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Speaker 1: song called Haileonardo and in parentheses.

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Speaker 4: Never knew that was the title.

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Speaker 1: It's a it's a present, it's a present.

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Speaker 2: I can't say I no PARENTHESI is parenthesis song, which

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Speaker 2: I love, by the way, I do love a song

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Speaker 2: that has a parenthesis.

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Speaker 4: Good parentheses is great.

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Speaker 1: Haileonardo parentheses. She likes me for me? Can you even

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Speaker 1: name the artist?

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Speaker 2: Because when I look this up, I was like this,

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Speaker 2: these words have never come to me, like I've never

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Speaker 2: seen these words before.

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Speaker 4: I am certain I can't. I know the song like

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Speaker 4: better than I can believe in my mind instant recall,

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Speaker 4: which says something for its staying power and it's stickiness. No,

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Speaker 4: it's not like nine Lives. That's a different band. That's

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Speaker 4: story of a girl.

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Speaker 1: That's nine days though, but very We talked about them

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Speaker 1: last step, Yes, we did. Last last we talked.

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Speaker 4: Is it No, I don't know the Biscuit boys.

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Speaker 1: It is so close.

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Speaker 2: It's it's spelt b l E S S I D

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Speaker 2: ready blessed Union of Souls.

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Speaker 4: Oh, I do remember that that was banned. I never

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Speaker 4: knew they spelt it bless id. But that's really obnoxious.

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Speaker 4: That's crazy.

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Speaker 1: That's more. That's more obnoxious than olymp biscuits spelt different

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Speaker 1: or corn or anything. It's like because the rest of

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Speaker 1: it is all spelt normal, So it's like why, But

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Speaker 1: is maybe blessed like that is like a biblical thing.

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Speaker 1: Maybe that's like, you know, like an older.

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Speaker 4: Way of get our researchers on that.

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Speaker 2: I'm actually you know what I typed in Blessed and

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Speaker 2: the things that come up is that band.

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Speaker 4: Yeah, no, I think I mean this is maybe really

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Speaker 4: they should make it so I can't leave the house

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Speaker 4: ever again for saying this, is it like bless the ID,

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Speaker 4: like the ego the ID, the super ego.

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Speaker 1: In fact, it's it's the opposite. It's not that at all.

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Speaker 1: So it's so hardly not that.

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Speaker 4: But isn't it spelled?

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Speaker 2: I D it is blessed, I D blessed. But you

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Speaker 2: think I think, I think you're giving them a lot

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Speaker 2: of cred.

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Speaker 1: I will.

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Speaker 2: I guess I should just do a quick wikipede of

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Speaker 2: them to see if they say, like where they got

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Speaker 2: their name, or.

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Speaker 4: If it's like you find out we have to stop

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Speaker 4: the whole up because you find out they all died

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Speaker 4: in a horrific accident and it's just ace to go ahead, and.

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Speaker 1: I think we would have to still continue.

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Speaker 4: I think out of respect.

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Speaker 2: Out of respect, yeah, because we're giving them a chance,

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Speaker 2: and that's what this is all about. If you love

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Speaker 2: the song, you know, I think that's great because this

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Speaker 2: is a song that my wife and I will sing

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Speaker 2: all the time, and it's like both kind of mocking,

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Speaker 2: but also we know it so well.

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Speaker 4: That's peak chancey right there, that's peak chancy. That's exactly

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Speaker 4: where that's that's the sweet spot for for something that

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Speaker 4: needs a chance.

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Speaker 2: And I've heard it in my brain a lot, but

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Speaker 2: this is going to be the first time that I've

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Speaker 2: listened to it in a long time.

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Speaker 4: I haven't listened to it since it came on on

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Speaker 4: like a in a store, a gap or something like that.

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Speaker 4: So yeah, all right, so we're looking for I gotta

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Speaker 4: look it up Blessed.

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Speaker 2: All right, okay, so as you guys know the drill,

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Speaker 2: I'll go find a way to stream this. Maybe you

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Speaker 2: have the CD and listen to it. Oh yeah, We'll

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Speaker 2: be back in two shakes.

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Speaker 4: Like for me, wow wow. First of all, the first

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Speaker 4: thirty seconds I had been sloppy in my execution and

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Speaker 4: I just press play on Blessed Union's page. I didn't

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Speaker 4: realize it. I was like, wow, this song really doesn't

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Speaker 4: sound the way I remember it to. The opening is

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Speaker 4: almost like Bitch by Meredith Brooks or Marissa Brooks. And

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Speaker 4: then I'm like, wow, what a crazy synth sound. Oh,

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Speaker 4: that's a really funny percussion. And then I realized I'm

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Speaker 4: not listening to the right song.

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Speaker 1: It was just a different Blessed song.

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Speaker 4: It was a different Blessed song b us, a different

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Speaker 4: b in us And so yeah, I then I had

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Speaker 4: to catch up, and now I'm caught up good. I mean,

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Speaker 4: that's an There's a lot going on there.

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Speaker 2: First thing I would say is I had no idea

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Speaker 2: that Jim Carrey was mentioned in the song, which is

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Speaker 2: just called and calls back to our intro.

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Speaker 4: That's actually wild. We were lucky there. Sometimes, you know, dude,

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Speaker 4: sometimes happy accident, a mistake is nice, and a mistake

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Speaker 4: is made.

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Speaker 2: I mean, there's so much to talk about with this

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Speaker 2: song I want. I mean, you know, I obviously with

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Speaker 2: our show, we want to stay positive first.

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Speaker 4: Yes, And that's the thing you don't want to just

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Speaker 4: I was just thinking, I don't want to, you know,

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Speaker 4: just think as we were listening, don't take the low

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Speaker 4: hanging fruit. Give it a chance. And also try not

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Speaker 4: for me. I'm talking to myself, not to the listener,

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Speaker 4: not to you. Try not to judge the like time

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Speaker 4: capsule production aspects of a thing, like when like the

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Speaker 4: wah wah hits and I'm like, what the hell, like

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Speaker 4: who's used a Wawa pedal on? Ironically? Really long times

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Speaker 4: it's like slash or something. But anyway, so no, you're right,

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Speaker 4: you don't want to try to stay positive.

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Speaker 2: I will say that those elements that are things like

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Speaker 2: the dated things in a I actually like think are

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Speaker 2: the most endearing, Like she's she's fat, like Sandy Crawford.

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Speaker 1: Crawford phat fat.

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Speaker 2: Is really like so endearing that it takes me transports

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Speaker 2: me to a time that he is really like he's

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Speaker 2: not even it. Maybe there's some tongue in cheek, but

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Speaker 2: not really like he's using that the way it was

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Speaker 2: used at the time, and and like sincerely saying it.

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Speaker 2: That stuff is really this is what I really like

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Speaker 2: about this And when I listen to it, my takeaway

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Speaker 2: is that this is just a This was a real

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Speaker 2: band that probably played in bars and like got a

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Speaker 2: crowd going, like in their local scene, and then this

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Speaker 2: song took off and changed their life. And I really

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Speaker 2: try to put myself like if I were a fan

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Speaker 2: of that band, like how proud I would be of them,

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Speaker 2: Like I picture I don't know where they're from, but

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Speaker 2: I picture it's Miami for some reason, or like Jackson,

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Speaker 2: I definitely they feel Florida to me, like in they're

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Speaker 2: like they all have sandals on, like I don't I

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Speaker 2: could be wrong, but.

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Speaker 4: I love that there's no way to know.

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Speaker 1: There's just no way that never mind.

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Speaker 4: Well that's like the part of them.

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Speaker 1: But that makes sense too.

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Speaker 2: And I think like that's I think they seem real.

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Speaker 2: They seem really like a real band. There's that they're

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Speaker 2: not for me. They're not a plant, like a like

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Speaker 2: an industry plant.

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Speaker 4: I think that that that's It does feel like it

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Speaker 4: comes from some place genuine. It does feel like there's

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Speaker 4: some kind of like camaraderie and there's some you know,

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Speaker 4: some roots. It does feel that way. Uh, And I

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Speaker 4: agree with you about I also think it's kind of

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Speaker 4: like to say fat with a pH, like Cindy Crawford

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Speaker 4: in ninety nine. It's kind of like you're not even like,

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Speaker 4: you know, I'm not saying anything about Cindy Crawford and

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Speaker 4: the relative merits they're in. I'm just saying, like that's

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Speaker 4: not peak cultural relevance for Cindy Croft were a little

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Speaker 4: past them, like rolling Stone covers, you know, when she

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Speaker 4: dated Michael Jeffson.

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Speaker 2: They're definitely going all like household names, you know, like

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Speaker 2: all these all these references.

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Speaker 4: Yeah, except Tyson Beckford as the first one at the time.

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Speaker 4: That's a very that's of the moment, Like Cindy Crawford.

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Speaker 4: There's probably still people who casual cultural lookie lose that

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Speaker 4: know who Sidney Crawford is. How many of those do

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Speaker 4: you think? Know who?

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Speaker 2: Tyson's true, it's really but he really shows his range

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Speaker 2: because if you got Tyson Beckford, you got Pavarotti.

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Speaker 4: That's wild. When he said yeah, and that's in the

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Speaker 4: down chourse where he's.

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Speaker 1: Like I'm kind of sing him soft and kind of

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Speaker 1: like such a HAUGHTI like.

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Speaker 4: You know, that's well, we're trying to get about.

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Speaker 1: Such a hatty she likes me for mecase sing like

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Speaker 1: or because I'm such a high god.

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Speaker 4: That's really good.

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Speaker 2: It's really really good. I mean, there's so much here,

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Speaker 2: there's a lot. The part that I had to write

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Speaker 2: down was that part that just start they start doing.

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Speaker 1: Like a blues you know, like do do do ye?

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Speaker 2: Like it's it's an Another thing I give it is

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Speaker 2: that like it's rare that on the radio you hear

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Speaker 2: a song that is just like too much song, you know, like, oh,

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Speaker 2: this is a lot of song gen almost well totally,

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Speaker 2: and I can.

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Speaker 4: Get mega nerdy and specific about that. There's a moment

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Speaker 4: where the when the bridge hit. I also like, we're

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Speaker 4: both muted when we listen to these, but I'm like

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Speaker 4: talking to you, and I was just saying, like, this

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Speaker 4: is like that bridge is as if it were lifted

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Speaker 4: from a Third Eye Blind song. It's like so specific.

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Speaker 4: But for all of that dude's whatever isms, I don't

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Speaker 4: feel like he was ever as overt a pop cultural

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Speaker 4: This is a little more kitch by on and I

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Speaker 4: think that's part of its charm, Like I don't I

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Speaker 4: think that guy asked pretensions of being like an artist

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Speaker 4: in ways that I don't. I'm not saying he's not

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Speaker 4: who the hell, but I just mean I think he

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Speaker 4: would look at that comparison very as an unfriendly, unfond thing.

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Speaker 4: But that chorus, that yeah, that bridge, it's like, oh,

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Speaker 4: there's that. And then when the blue the Harmonica comes in,

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Speaker 4: I'm like, and here we have a Blues traveler reference.

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Speaker 4: And then when there's a thing that happens towards the

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Speaker 4: very end, as it comes out of the down thing

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Speaker 4: picking back up. This is so specific. There's such there's

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Speaker 4: a thing in like Pixies, Breeders and then post that

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Speaker 4: where the bass it's almost like there's it's a Steve

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Speaker 4: Albini thing or something. There's like a little grit on it,

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Speaker 4: and it's very like one note. There's a way it's

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Speaker 4: recorded and delivered, and that the bass drives the ride

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Speaker 4: out of the down chorus. And I'm like, this is

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Speaker 4: like their reference to like early nineties alternative rock music.

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Speaker 4: Like there's all kinds of things throwing in there, and

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Speaker 4: then the whole lyric thing. What's interesting is I can't

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Speaker 4: help a callback to our own Chancey verse. It does

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Speaker 4: does make me think about the train thing. It's like

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Speaker 4: all of these reences of the moment in a way

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Speaker 4: that's like very It's like a caffeine hit in that moment,

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Speaker 4: which is what it is and and it and is

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Speaker 4: the best sy lad that I know.

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Speaker 2: You're right though, you know, like I definitely see this

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Speaker 2: band on like the third eye Blind Cruise if that exists,

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Speaker 2: Like this band definitely.

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Speaker 1: Yeah, it's in the universe.

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Speaker 2: And I bet you thought Eye Blind is like no,

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Speaker 2: but like and they're like their labels like no, you

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Speaker 2: know they should, they'll they'll draw, they'll draw, just enough

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Speaker 2: to like okay, but like for sure third eyeblind walked

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Speaker 2: so they so blessed Union of Souls could run.

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Speaker 4: Yeah, I have a question for you that specific to

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Speaker 4: your life experience. When you played that show, the band

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Speaker 4: that that played its song twice and then a bunch

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Speaker 4: of other songs like it, did they know this song?

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Speaker 1: No?

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Speaker 2: I don't think they did. I don't think no. I'd

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Speaker 2: have to check the setlist dot FM or whatever.

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Speaker 1: But.

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Speaker 4: Yeah, definitely, but I.

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Speaker 1: I'd have to ask Brian Bonds. He would probably remember better.

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Speaker 1: But I don't think so.

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Speaker 2: I think it was mostly like other like hits like

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Speaker 2: that were like trying to be in like this is

299
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Speaker 2: maybe too joky for what they were trying to do

300
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Speaker 2: that I see, you know this has this like even

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Speaker 2: the voice and like it has like a touch of

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Speaker 2: weird al.

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Speaker 4: I'm trying to hold back on the things the voice

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Speaker 4: at one. I don't know. Maybe we can talk about

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Speaker 4: positive and negative sign at the same time. I don't

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Speaker 4: know how to do it because there's a thing, there's

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Speaker 4: there's the voices. But this is crushed.

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Speaker 2: I remember this that this this style of song, I

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Speaker 2: remember it crushing with like when it came out at

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Speaker 2: the time girls from Staten Island like, which you wouldn't

311
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Speaker 2: expect because a lot of the girls I knew from

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Speaker 2: Stanta like the club music and stuff like that, but

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Speaker 2: also just like right, yeah ku and they like but

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Speaker 2: they also pop stuff and saying stuff. But this song

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Speaker 2: resonated and they were like, oh, this is Casey, Like,

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Speaker 2: I know you you're a rocker.

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Speaker 1: You you like this right?

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Speaker 4: Yeah?

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Speaker 2: At the time I was like, even at the time,

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Speaker 2: I was like, I don't really like this, but I

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Speaker 2: think I was like.

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Speaker 1: Yeah, sure, you're talking to me.

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Speaker 2: I ravividly remember the like loving this and maybe it

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Speaker 2: was because it like a referenced Leonardo DiCaprio, which they

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Speaker 2: also loved.

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Speaker 4: I mean, at the moment this song is referencing Leonardo DiCaprio,

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Speaker 4: it is useful to have a little breakout moment to

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Speaker 4: discuss that. And that's why they titled it what what

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Speaker 4: they titled it. He was the biggest celebrity that was

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Speaker 4: peak Beatlemania, Leonardo DiCaprio right after the Titanic. Also, sorry,

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Speaker 4: I don't know if this is this is we were

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Speaker 4: talking recently about Leo like a thing that I'm sure

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Speaker 4: if it was like still in the culture today that

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Speaker 4: probably wouldn't have been as okay or gotten away with

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Speaker 4: it as it was. Do you remember he was friends

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Speaker 4: with like Lucas Has David Blaine and they called Antobe Maguires.

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Speaker 2: I was thinking that too, because I was thinking, is

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Speaker 2: this guy saying he hangs with Leonardo and.

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Speaker 1: Is does that mean Steve Busy's in the Pussy Posse?

340
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Speaker 1: Like maybe people don't realize.

341
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Speaker 4: I mean he's his own solo practitioner Pussy Posse, but

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Speaker 4: I will say this guy is maybe aspiring PP and

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Speaker 4: this is his this be he applications.

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Speaker 2: So this guy is claiming that like not only he

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Speaker 2: is in the pussy but in the PP, but Steve

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Speaker 2: SB is in the PP.

347
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Speaker 4: Yeah, SB is in PP. But he girl like him

348
00:16:40,840 --> 00:16:44,840
Speaker 4: not because of pep adjacency, but for other things and

349
00:16:44,960 --> 00:16:47,240
Speaker 4: not in not for his TV either. In fact, she

350
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Speaker 4: doesn't even watch much TV. One thing I did kind

351
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Speaker 4: of like just because it was psychotic in a like

352
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Speaker 4: Spencer's Gifts kind of way. What is up with like

353
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Speaker 4: the sped up DVD? Yeah, sound like it.

354
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Speaker 2: Was like all this like galitchy, Like it was so

355
00:17:00,600 --> 00:17:03,040
Speaker 2: strange because like DVD's don't make that sound. In fact,

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Speaker 2: like like you know, a VHS would make a sound

357
00:17:05,720 --> 00:17:08,000
Speaker 2: that's like, but the DVD wouldn't do it. But I

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Speaker 2: think they were just like I think the producer had

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Speaker 2: the idea and they were like, all right.

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Speaker 1: Go for it.

361
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Speaker 4: Do you know the producer's name? Is it.

362
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Speaker 1: Tommy Lee Jones?

363
00:17:18,920 --> 00:17:22,160
Speaker 4: No, it was that would be really good. I'm going

364
00:17:22,200 --> 00:17:24,960
Speaker 4: to view credits and I'm going to tell you that

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Speaker 4: the producer's name was that. This is actually I found it.

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Speaker 1: Within that I found it and Charles Roth. Charles Roth,

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Speaker 1: I also have.

368
00:17:39,080 --> 00:17:41,680
Speaker 4: Oh I don't have listed, I just have em.

369
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Speaker 1: Emo. It was like like a dashboard confessional. Yeah.

370
00:17:52,200 --> 00:17:54,560
Speaker 4: Yeah, and then there was another sound effect, you know,

371
00:17:54,640 --> 00:17:58,360
Speaker 4: okay computer and af X twin and cordo his head.

372
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Speaker 4: I mean they cast a widen chat and I think

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Speaker 4: that was probably why there was Also it was after

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00:18:05,280 --> 00:18:07,600
Speaker 4: the DVD one, and then there was another sound effect. Oh,

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00:18:07,600 --> 00:18:09,720
Speaker 4: when he said she doesn't like TV, there was a

376
00:18:09,760 --> 00:18:11,399
Speaker 4: weird like I don't know if it's supposed to be

377
00:18:11,440 --> 00:18:14,040
Speaker 4: like channel surfing, but there was another way didn't sound

378
00:18:14,040 --> 00:18:17,400
Speaker 4: effect after that. So we give the points for sound collage,

379
00:18:17,880 --> 00:18:19,600
Speaker 4: artful ambition, you know.

380
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Speaker 2: A lot of times after the episode, I don't listen

381
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Speaker 2: to the song, but I think I might listen to

382
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Speaker 2: this song again at the end of this episode, just

383
00:18:26,200 --> 00:18:28,560
Speaker 2: because you're talking about so many references that I didn't

384
00:18:28,560 --> 00:18:30,960
Speaker 2: pick up on that I'm really I'm excited for.

385
00:18:31,080 --> 00:18:33,879
Speaker 4: I have a really finally you're getting me, you're.

386
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Speaker 2: Getting me jazzed, You're really giving I'm giving it a

387
00:18:36,160 --> 00:18:37,240
Speaker 2: really big jit chance.

388
00:18:37,280 --> 00:18:37,520
Speaker 1: Now.

389
00:18:39,200 --> 00:18:41,879
Speaker 4: That makes me happy because I do want It's you know,

390
00:18:42,640 --> 00:18:45,120
Speaker 4: we're not trying to we're not trying.

391
00:18:44,760 --> 00:18:47,840
Speaker 1: To, you know, artists trying but no.

392
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Speaker 4: But at the same time, there are things that tried

393
00:18:52,040 --> 00:18:54,800
Speaker 4: to be addressed. And for me, even if the girls

394
00:18:54,800 --> 00:18:57,720
Speaker 4: on snat miland liked it, we have to talk about

395
00:18:57,720 --> 00:19:02,120
Speaker 4: the vocal quality. Yeah, not the note nothing like me for.

396
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Speaker 2: Me, and then like those things they are just like

397
00:19:06,440 --> 00:19:08,640
Speaker 2: it's a little Matthew Davids, which is if you don't

398
00:19:08,960 --> 00:19:11,320
Speaker 2: you could look that up on your own, folks, but

399
00:19:12,720 --> 00:19:15,639
Speaker 2: it's very you don't know, if you know, if you know,

400
00:19:15,680 --> 00:19:15,960
Speaker 2: you know.

401
00:19:18,000 --> 00:19:21,119
Speaker 4: Yeah, it's like Jesse the guy, this is Jesse.

402
00:19:21,280 --> 00:19:25,359
Speaker 2: It is so Jesse Camp won the VJ Competition, the

403
00:19:25,400 --> 00:19:28,000
Speaker 2: first VJ Competition to competition on MTV.

404
00:19:30,119 --> 00:19:33,280
Speaker 4: He definitely introduced this side something.

405
00:19:33,880 --> 00:19:36,800
Speaker 2: Like he was a little bit more like like a

406
00:19:36,920 --> 00:19:40,160
Speaker 2: Stephen Tyler, but this guy is a little bit more

407
00:19:40,280 --> 00:19:44,119
Speaker 2: like yeah, like maybe the third eye blind guy, Like

408
00:19:44,320 --> 00:19:46,440
Speaker 2: he's aspiring to be him, but he's got the same

409
00:19:46,600 --> 00:19:51,080
Speaker 2: like vocal fry esque. But then like, I'm going back

410
00:19:51,080 --> 00:19:54,120
Speaker 2: to weird elegant because like I do think that there

411
00:19:54,160 --> 00:19:56,600
Speaker 2: is a but you know, I will say to that

412
00:19:56,760 --> 00:19:59,880
Speaker 2: quality of voice better or for worse, it cuts through

413
00:19:59,920 --> 00:20:00,760
Speaker 2: the mix.

414
00:20:02,320 --> 00:20:05,199
Speaker 4: No doubt. Oh yeah, absolutely, maybe that's why they did it.

415
00:20:05,200 --> 00:20:07,000
Speaker 4: They were like, you know what, it's just, no matter

416
00:20:07,040 --> 00:20:09,199
Speaker 4: what we do with the presets, there's not enough high end.

417
00:20:09,200 --> 00:20:11,359
Speaker 2: He's like, I have an idea, she doesn't care about

418
00:20:11,400 --> 00:20:15,040
Speaker 2: my Like it cuts through and it's a wordy song,

419
00:20:15,160 --> 00:20:17,440
Speaker 2: and like there's not a there's not a lyric.

420
00:20:17,920 --> 00:20:19,200
Speaker 1: Actually, this takes me to the next point.

421
00:20:19,280 --> 00:20:20,840
Speaker 2: I was gonna say, there's not a lyric where I

422
00:20:20,840 --> 00:20:23,919
Speaker 2: don't know what he's saying, but there is a controversial lyric.

423
00:20:24,480 --> 00:20:28,400
Speaker 2: So I'm gonna make her laugh, just like Jim Carrey

424
00:20:29,240 --> 00:20:30,720
Speaker 2: and some some people.

425
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Speaker 1: I looked online. There's two different lyrics sites.

426
00:20:32,800 --> 00:20:35,200
Speaker 2: I checked one and said, I'm like the Cable Guy

427
00:20:35,560 --> 00:20:38,439
Speaker 2: make her laugh, just like, but the one I have

428
00:20:38,560 --> 00:20:40,160
Speaker 2: is unlike the Cable Guy.

429
00:20:41,119 --> 00:20:42,240
Speaker 4: Yeah, that's what mine says.

430
00:20:42,320 --> 00:20:44,440
Speaker 2: I believe it that, I believe it's to be and

431
00:20:45,000 --> 00:20:47,400
Speaker 2: mine says it's a dig it, Ben Stiller, this is genius,

432
00:20:47,600 --> 00:20:50,000
Speaker 2: a dig it. Ben Stiller directed Cable Guy, a dark

433
00:20:50,040 --> 00:20:52,879
Speaker 2: comedy that didn't appeal to many of Carrie's fans. I

434
00:20:52,920 --> 00:20:54,680
Speaker 2: bet you Tommy Lee Jones loved it, though.

435
00:20:55,640 --> 00:20:58,280
Speaker 4: Yeah, that was his favorite one. I think it's really

436
00:20:58,320 --> 00:21:03,600
Speaker 4: funny that they that's that is layered, layered exegesis. There's

437
00:21:03,680 --> 00:21:08,400
Speaker 4: no way that's about You're Stiller. It's like that. I'm

438
00:21:08,440 --> 00:21:11,360
Speaker 4: sure that that wasn't even not. This guy does seem

439
00:21:11,560 --> 00:21:14,679
Speaker 4: clearly this guy does seem very culturally aware, steeped in

440
00:21:14,720 --> 00:21:17,520
Speaker 4: the culture. He's not thinking about Ben Stiller.

441
00:21:17,520 --> 00:21:20,080
Speaker 2: I don't think it's you don't think this is like

442
00:21:20,080 --> 00:21:22,480
Speaker 2: like like the start of a beef, like a like

443
00:21:22,520 --> 00:21:24,000
Speaker 2: a wrap battle between.

444
00:21:24,080 --> 00:21:26,320
Speaker 4: Which just never got picked back up. Yeah. Ben Stiller

445
00:21:26,480 --> 00:21:29,560
Speaker 4: was like, hey, I'm already way way.

446
00:21:29,640 --> 00:21:31,320
Speaker 2: No, I'm not ready to I'm not ready to say

447
00:21:31,359 --> 00:21:33,439
Speaker 2: that that Ben Stiller didn't hit back in one of

448
00:21:33,440 --> 00:21:34,240
Speaker 2: his movies after this.

449
00:21:35,200 --> 00:21:35,520
Speaker 1: I'm not.

450
00:21:35,880 --> 00:21:39,760
Speaker 2: I don't want to go on the records. We have

451
00:21:39,840 --> 00:21:42,000
Speaker 2: to look into this a.

452
00:21:42,040 --> 00:21:44,919
Speaker 4: Lot more research for the for Team Chancey. There's a

453
00:21:44,920 --> 00:21:47,240
Speaker 4: lot of stuff that Beauregard is gonna have to do

454
00:21:47,280 --> 00:21:50,440
Speaker 4: after this this episode. Check stuff out. There is the

455
00:21:50,760 --> 00:21:54,520
Speaker 4: thing about that is also can you hear it? It's

456
00:21:54,080 --> 00:21:57,840
Speaker 4: the police and they're coming to say that. We have

457
00:21:57,920 --> 00:22:01,760
Speaker 4: to point out the breadth of culture. Yes, we talked

458
00:22:01,800 --> 00:22:05,120
Speaker 4: about Tyson Beckford, to talk about Robert Redford, we talk

459
00:22:05,160 --> 00:22:09,240
Speaker 4: about Leonardo Steve Shemy. Now the Cable Guy thing though,

460
00:22:09,960 --> 00:22:13,240
Speaker 4: hasn't history smiled? Hasn't Isn't that like a movie that

461
00:22:13,280 --> 00:22:16,360
Speaker 4: has been benefited from a From a reassessment, I thought

462
00:22:16,400 --> 00:22:20,159
Speaker 4: The Cable Guy was really funny actually, but I feel

463
00:22:20,160 --> 00:22:22,840
Speaker 4: like it was poorly received at the time because that

464
00:22:22,920 --> 00:22:24,240
Speaker 4: was Peake Jim Carrey.

465
00:22:24,280 --> 00:22:27,320
Speaker 2: I think people want to just like just slapstick, dumb

466
00:22:27,320 --> 00:22:30,600
Speaker 2: and dumber, and I think the movie has more substance.

467
00:22:30,640 --> 00:22:33,080
Speaker 2: People wanted the buffoonery and what they got is a

468
00:22:33,119 --> 00:22:33,600
Speaker 2: little bits.

469
00:22:34,359 --> 00:22:36,480
Speaker 4: No matter what TLJ said, Yes.

470
00:22:36,440 --> 00:22:38,560
Speaker 2: They got some substance and maybe they weren't ready to

471
00:22:38,560 --> 00:22:39,439
Speaker 2: feel what they felt.

472
00:22:39,840 --> 00:22:42,880
Speaker 4: Wow, I'm gonna give that a Chancey that's a good

473
00:22:43,040 --> 00:22:46,160
Speaker 4: that's a good assessment, like.

474
00:22:46,400 --> 00:22:48,639
Speaker 1: I will, I will have this in my head all day,

475
00:22:48,840 --> 00:22:52,040
Speaker 1: you'll graduate. Should I just wait for me?

476
00:22:55,640 --> 00:23:00,600
Speaker 2: Falsetto though, like not because yeah, head boys seems so

477
00:23:00,600 --> 00:23:02,080
Speaker 2: he goes from like she likes.

478
00:23:01,960 --> 00:23:06,400
Speaker 4: Me for me because that is true. That's actually that

479
00:23:06,520 --> 00:23:09,480
Speaker 4: actually does indicate and that's something that should go in

480
00:23:09,520 --> 00:23:14,160
Speaker 4: the chance pile. It does indicate like as a person

481
00:23:14,680 --> 00:23:18,359
Speaker 4: this episode notwithstanding, is I've been phlegmatic throughout as a

482
00:23:18,400 --> 00:23:23,760
Speaker 4: person who tries to sing. That does indicate a that's

483
00:23:23,760 --> 00:23:26,960
Speaker 4: a style choice and an a range thing because he

484
00:23:27,280 --> 00:23:29,320
Speaker 4: some usually when people are doing that sort of like

485
00:23:29,520 --> 00:23:34,920
Speaker 4: pinched castrated thing, that means they can't access the sort

486
00:23:34,920 --> 00:23:37,800
Speaker 4: of softer their head voice, and he does it. He

487
00:23:37,840 --> 00:23:41,240
Speaker 4: actually does it the following line in every chorus, which

488
00:23:41,280 --> 00:23:42,880
Speaker 4: is sort of impress.

489
00:23:42,920 --> 00:23:45,720
Speaker 1: We know he's a Pavarotti fan, so.

490
00:23:45,800 --> 00:23:49,040
Speaker 4: Big, big big, and it doesn't matter that he can't

491
00:23:49,080 --> 00:23:50,920
Speaker 4: sing like that. She's still like.

492
00:23:51,000 --> 00:24:03,880
Speaker 3: That's true for him.

493
00:24:04,200 --> 00:24:06,400
Speaker 2: The other part that I wish if I could, if

494
00:24:06,440 --> 00:24:09,359
Speaker 2: I could, if I could time travel to the studio,

495
00:24:09,440 --> 00:24:11,720
Speaker 2: I kick open that door and I would say, here's

496
00:24:11,720 --> 00:24:12,280
Speaker 2: what you need.

497
00:24:13,119 --> 00:24:16,040
Speaker 1: You know, the part where it's like is I can't.

498
00:24:15,800 --> 00:24:18,920
Speaker 2: Live without her, and my arm's still long around her,

499
00:24:19,240 --> 00:24:21,480
Speaker 2: and I'm so gladound.

500
00:24:20,840 --> 00:24:23,400
Speaker 1: I want that to go away longer, you know, I.

501
00:24:23,320 --> 00:24:26,800
Speaker 2: Want yeah about it out at and you know she's

502
00:24:26,880 --> 00:24:29,679
Speaker 2: tall like that at and I'm marco that.

503
00:24:29,840 --> 00:24:32,400
Speaker 1: A like I want like a long one at the end,

504
00:24:32,480 --> 00:24:35,040
Speaker 1: at the end, like I'm so glad a founder.

505
00:24:36,119 --> 00:24:38,320
Speaker 4: Well once again, like you know that should be in

506
00:24:38,359 --> 00:24:41,240
Speaker 4: the last chorus.

507
00:24:41,480 --> 00:24:45,000
Speaker 1: We already we already have every every song, everything's going on.

508
00:24:45,080 --> 00:24:49,399
Speaker 4: We need that every song, every sing's going on. That

509
00:24:49,520 --> 00:24:52,680
Speaker 4: is an excellent producorial note. And I do have to say,

510
00:24:52,800 --> 00:24:54,880
Speaker 4: there's a couple of things you just brought me to one.

511
00:24:55,080 --> 00:24:58,359
Speaker 4: This is real. For the length of time from first

512
00:24:58,359 --> 00:25:01,120
Speaker 4: hearing that song to today, I don't know why I

513
00:25:01,200 --> 00:25:06,720
Speaker 4: always thought what he said was this isn't bullshit. For

514
00:25:06,760 --> 00:25:11,280
Speaker 4: some reason, my ears have always heard my arms my

515
00:25:11,520 --> 00:25:15,960
Speaker 4: arms feel long around Oh wow, that's a great mishard

516
00:25:16,520 --> 00:25:20,000
Speaker 4: like she was like really tiny his arms around her.

517
00:25:20,080 --> 00:25:20,320
Speaker 3: Yeah.

518
00:25:20,320 --> 00:25:22,440
Speaker 1: I you know, I don't think I ever thought about

519
00:25:22,440 --> 00:25:23,920
Speaker 1: the lyric, but that sounds more right.

520
00:25:24,680 --> 00:25:27,000
Speaker 4: Well. I also think maybe what I thought was because

521
00:25:27,000 --> 00:25:30,480
Speaker 4: he says it, there's a couple of like naked expressions

522
00:25:30,520 --> 00:25:33,520
Speaker 4: of insecurity, which are kind of sweet, like my fault,

523
00:25:33,560 --> 00:25:35,920
Speaker 4: what she sees on my faults and indecisions, my insecure,

524
00:25:36,160 --> 00:25:38,680
Speaker 4: my inscare conditions made me say out loud, what But

525
00:25:38,680 --> 00:25:40,560
Speaker 4: but I understood he was just there's a rhyme that's

526
00:25:40,560 --> 00:25:41,119
Speaker 4: got to happen.

527
00:25:41,960 --> 00:25:43,880
Speaker 1: But I did feel I do feel that tear upon

528
00:25:43,960 --> 00:25:45,480
Speaker 1: the pillow that I shed.

529
00:25:45,840 --> 00:25:48,720
Speaker 4: Insane lyric, but yes, yes, yes, the tier upon the

530
00:25:48,760 --> 00:25:50,920
Speaker 4: pillow that I shed, that's a little like we need

531
00:25:51,040 --> 00:25:54,199
Speaker 4: the pond feels a little you know, where we're suddenly

532
00:25:54,200 --> 00:25:57,240
Speaker 4: stepping into Jane Austin territory. But I do want to

533
00:25:57,280 --> 00:26:00,760
Speaker 4: say that when he does say this, when when he's

534
00:26:00,840 --> 00:26:04,840
Speaker 4: in that something about my arms feel long around her

535
00:26:05,240 --> 00:26:06,800
Speaker 4: that made sense in my head was it was a

536
00:26:06,840 --> 00:26:10,800
Speaker 4: further expression of insecurity, like he can't get her close enough.

537
00:26:11,240 --> 00:26:13,160
Speaker 4: That's what I think I thought, not that she was teensman,

538
00:26:13,760 --> 00:26:15,480
Speaker 4: but that he couldn't get her close enough.

539
00:26:15,640 --> 00:26:15,800
Speaker 1: Right.

540
00:26:15,840 --> 00:26:18,040
Speaker 2: No, I think I actually like that lyric. I like,

541
00:26:18,960 --> 00:26:20,520
Speaker 2: I know what you mean, Like when you said that,

542
00:26:20,640 --> 00:26:23,480
Speaker 2: it almost resonated more than the actual lyric, and so

543
00:26:23,560 --> 00:26:26,560
Speaker 2: I think maybe subconsciously I also felt that my arms

544
00:26:26,600 --> 00:26:29,960
Speaker 2: feel long around her. Yeah, there is is, you know,

545
00:26:30,040 --> 00:26:32,879
Speaker 2: he drops for a song that has references to like

546
00:26:32,960 --> 00:26:35,359
Speaker 2: fat Cindy Crawford and stuff like that. But like a

547
00:26:35,359 --> 00:26:38,359
Speaker 2: bridge is like gazing, gazing at the ceiling as we

548
00:26:38,560 --> 00:26:41,679
Speaker 2: entertain our feelings in the dark, the things that the

549
00:26:41,680 --> 00:26:44,199
Speaker 2: things that we're afraid of are gonna show us what

550
00:26:44,320 --> 00:26:45,760
Speaker 2: we're made of in the end.

551
00:26:46,920 --> 00:26:50,040
Speaker 4: That's funny because it's funny because the song that's by

552
00:26:50,080 --> 00:26:56,600
Speaker 4: the way I write, I do feel like I would

553
00:26:56,600 --> 00:27:00,639
Speaker 4: listen to a breakout pod of you reading Lee in

554
00:27:00,680 --> 00:27:03,879
Speaker 4: whatever voice that just was. That was really good. Yeah,

555
00:27:03,920 --> 00:27:07,000
Speaker 4: But also for a song that leans so heavily on

556
00:27:07,320 --> 00:27:12,639
Speaker 4: like a very kind of intentional and obvious rhyme schematic,

557
00:27:12,760 --> 00:27:15,000
Speaker 4: I do like that the that in the chorus, the

558
00:27:15,119 --> 00:27:17,920
Speaker 4: verse that I'm sorry the bridge, as you just said,

559
00:27:18,520 --> 00:27:21,280
Speaker 4: as we had seering feelings in the dark, the things

560
00:27:21,320 --> 00:27:22,560
Speaker 4: that we're afraid of, we're going to show us what

561
00:27:22,560 --> 00:27:23,840
Speaker 4: we're made of in the end.

562
00:27:24,200 --> 00:27:24,640
Speaker 1: Yeah.

563
00:27:24,680 --> 00:27:27,640
Speaker 2: Well, he you know, he doesn't actually care to rhyme

564
00:27:27,720 --> 00:27:29,840
Speaker 2: even that even the first verse is like she don't

565
00:27:29,840 --> 00:27:31,800
Speaker 2: care about my car, she don't care about my money,

566
00:27:31,800 --> 00:27:33,400
Speaker 2: And that's really good because I don't have a lot

567
00:27:33,440 --> 00:27:36,639
Speaker 2: to spend, but if I did, it wouldn't mean nothing.

568
00:27:37,119 --> 00:27:38,159
Speaker 1: It's like, I guess you're.

569
00:27:38,080 --> 00:27:39,639
Speaker 4: Right, you're proving me wrong. I did not do a

570
00:27:39,680 --> 00:27:42,119
Speaker 4: close enough read. Maybe what I'm thinking is because of

571
00:27:42,160 --> 00:27:44,600
Speaker 4: how into like Redford.

572
00:27:44,680 --> 00:27:45,439
Speaker 1: Yeah, I know, I'm with you.

573
00:27:46,640 --> 00:27:49,639
Speaker 4: And there's a phonetic thing he's doing that's like, you know,

574
00:27:49,720 --> 00:27:53,240
Speaker 4: really really you know, kind of candy like pleasing, but

575
00:27:53,320 --> 00:27:55,880
Speaker 4: it's not rhyming. You're right. He comes in, he lapses

576
00:27:55,920 --> 00:27:57,480
Speaker 4: in and out of rhyming. And it's also funny with

577
00:27:57,520 --> 00:28:00,359
Speaker 4: what you're saying about belong. I think there's a thing

578
00:28:00,400 --> 00:28:03,720
Speaker 4: like in hip hop when people do that with words,

579
00:28:03,800 --> 00:28:08,200
Speaker 4: sounds or syllabic things create times.

580
00:28:08,840 --> 00:28:11,280
Speaker 1: There's a thing that it can actually be.

581
00:28:11,800 --> 00:28:14,119
Speaker 4: Sometimes it's of course he's taken it to the nth

582
00:28:14,160 --> 00:28:17,520
Speaker 4: degree that is now like dexterous joylessness, Like I think

583
00:28:17,520 --> 00:28:20,560
Speaker 4: it's to him. Listening to him now, you're like, it

584
00:28:20,680 --> 00:28:24,000
Speaker 4: just sounds like he's like it's like an exhausted machine

585
00:28:24,520 --> 00:28:28,600
Speaker 4: complicating these things. He's excellent at it. But I don't know,

586
00:28:28,800 --> 00:28:34,120
Speaker 4: no one feels anything but in music like this, when

587
00:28:34,160 --> 00:28:36,920
Speaker 4: people do that, it's like less there's something about it

588
00:28:36,960 --> 00:28:38,840
Speaker 4: that actually takes you out of it. I don't know

589
00:28:38,880 --> 00:28:40,920
Speaker 4: if that's like rock music's supposed to be a little

590
00:28:40,920 --> 00:28:44,640
Speaker 4: more like, I don't know, slouchy or something. The way

591
00:28:44,640 --> 00:28:47,000
Speaker 4: that you're but I mean, not compared with plenty of

592
00:28:47,080 --> 00:28:48,640
Speaker 4: hip hop is slouschytube. But you know what I mean.

593
00:28:48,680 --> 00:28:50,720
Speaker 4: There's something when someone says like, maybe my ears heard

594
00:28:51,000 --> 00:28:54,880
Speaker 4: feel long. No one says I feel like I be

595
00:28:55,120 --> 00:28:58,520
Speaker 4: long to you. No one says that. That's not how

596
00:28:58,760 --> 00:29:00,680
Speaker 4: a person would say that in a hill. Yeah, totally

597
00:29:00,840 --> 00:29:07,240
Speaker 4: belong see me mo or whatever way I do. I

598
00:29:07,280 --> 00:29:08,480
Speaker 4: listen to a lot of cool music.

599
00:29:08,880 --> 00:29:13,400
Speaker 2: It's interesting because there's a lot of like juxtaposition or

600
00:29:13,480 --> 00:29:17,080
Speaker 2: like I'm surprised, Like like when people if I said

601
00:29:17,080 --> 00:29:19,320
Speaker 2: to someone, you know, it's she likes me for me,

602
00:29:19,480 --> 00:29:21,600
Speaker 2: I think everyone will be like, yeah, yeah, yeah, they

603
00:29:21,640 --> 00:29:24,040
Speaker 2: got you know the song that references like Steve Bushemi

604
00:29:24,080 --> 00:29:26,240
Speaker 2: and like the guy from Fargo, like everyone I think

605
00:29:26,320 --> 00:29:30,000
Speaker 2: remembers that, and like the Leonardo part, but like that

606
00:29:30,200 --> 00:29:30,960
Speaker 2: you blew.

607
00:29:30,720 --> 00:29:32,400
Speaker 4: My mind when you told me that was the title.

608
00:29:32,440 --> 00:29:33,960
Speaker 4: But anyway, sorry, please I agree.

609
00:29:33,960 --> 00:29:37,200
Speaker 2: I think I wonder how often the parentheses takes over

610
00:29:37,240 --> 00:29:39,200
Speaker 2: what the actual title of the song is you know

611
00:29:39,200 --> 00:29:39,720
Speaker 2: what I mean.

612
00:29:40,240 --> 00:29:43,680
Speaker 4: With this song, especially since it's the repeated she likes

613
00:29:43,680 --> 00:29:46,920
Speaker 4: me for me is like this happens seventy five times.

614
00:29:47,280 --> 00:29:51,800
Speaker 2: She likes me for me is so funny, Like you

615
00:29:51,840 --> 00:29:53,880
Speaker 2: know how like people like write songs based on just

616
00:29:53,920 --> 00:29:56,040
Speaker 2: like like a someone will just take a phrase and

617
00:29:56,040 --> 00:29:58,000
Speaker 2: be like, all right that, let's just write a song about.

618
00:29:57,760 --> 00:29:58,520
Speaker 1: Like that phrase.

619
00:29:58,880 --> 00:30:00,440
Speaker 4: Yeah, you know, yes, it's.

620
00:30:00,240 --> 00:30:03,480
Speaker 1: So funny that this one is she likes me for me,

621
00:30:04,120 --> 00:30:05,680
Speaker 1: She likes me for me?

622
00:30:06,480 --> 00:30:09,280
Speaker 4: Yeah, yeah, I mean, look, he was pushing back against

623
00:30:09,440 --> 00:30:15,080
Speaker 4: vacuousness and vapidity in culture and prioritization of materialism and

624
00:30:15,520 --> 00:30:18,240
Speaker 4: you know, symmetrical attractive, and I give him credit for

625
00:30:18,280 --> 00:30:21,960
Speaker 4: that too. He's saying like, basically, what this dude's saying

626
00:30:22,040 --> 00:30:25,120
Speaker 4: is like, and of course this song at least momentarily

627
00:30:25,440 --> 00:30:28,640
Speaker 4: changed his circumstances. This is gayzy gaseum No, but listen,

628
00:30:28,760 --> 00:30:31,400
Speaker 4: it does feel like what he's saying is like, it

629
00:30:31,440 --> 00:30:36,200
Speaker 4: doesn't matter that I'm strict up garbage according to the

630
00:30:36,240 --> 00:30:40,760
Speaker 4: metrics of the time. He sees through that, and she

631
00:30:41,000 --> 00:30:42,840
Speaker 4: likes me for me?

632
00:30:44,240 --> 00:30:46,840
Speaker 2: Why does she waste all her time with me? There

633
00:30:46,880 --> 00:30:48,560
Speaker 2: must be something there that I don't say.

634
00:30:49,440 --> 00:30:52,560
Speaker 4: So she's also inspiring him to reassess himself and be like,

635
00:30:52,640 --> 00:30:55,360
Speaker 4: I gotta break three for break three, I gotta break three.

636
00:30:55,520 --> 00:30:58,800
Speaker 4: I got break three from these traditional metrics of achievement

637
00:30:58,920 --> 00:31:01,040
Speaker 4: and accomplishment, It's okay if I don't have a lot

638
00:31:01,080 --> 00:31:03,520
Speaker 4: of money, or my car's garbage, or my DVD player

639
00:31:03,720 --> 00:31:04,880
Speaker 4: sucks balls.

640
00:31:05,080 --> 00:31:06,640
Speaker 1: It sucks. It's really glitchy.

641
00:31:06,800 --> 00:31:09,160
Speaker 4: It's super glitchy.

642
00:31:08,480 --> 00:31:13,760
Speaker 1: Ruining those DVDs. It's rewinding the the actual physically rewinding

643
00:31:13,800 --> 00:31:14,240
Speaker 1: the disc.

644
00:31:14,400 --> 00:31:16,160
Speaker 4: What if the whole song is just to tell you

645
00:31:16,200 --> 00:31:19,160
Speaker 4: that he thinks his DVD player, he thinks his VHS

646
00:31:19,200 --> 00:31:20,520
Speaker 4: player is a DVD player.

647
00:31:21,120 --> 00:31:23,880
Speaker 1: I hope. The first thing was just like I like DVDs,

648
00:31:25,040 --> 00:31:25,440
Speaker 1: and then.

649
00:31:25,760 --> 00:31:27,960
Speaker 2: The band was like, no, no, it's really catchy, but

650
00:31:28,040 --> 00:31:29,440
Speaker 2: like we need to switch it up.

651
00:31:29,480 --> 00:31:32,960
Speaker 4: Also, I keep telling you, Blessed, that's a VHS blok.

652
00:31:34,760 --> 00:31:35,400
Speaker 1: We just cracked it.

653
00:31:35,480 --> 00:31:38,520
Speaker 2: His name is Blessed, and so that's why they were like.

654
00:31:38,560 --> 00:31:40,640
Speaker 2: He was like, what about blessed and your souls spelt

655
00:31:40,680 --> 00:31:43,040
Speaker 2: like my name. Yeah, and they're like, wow, Blessed.

656
00:31:42,800 --> 00:31:43,200
Speaker 1: Good idea.

657
00:31:43,440 --> 00:31:46,520
Speaker 4: Yeah, I like DVDs. She likes DVDs.

658
00:31:46,600 --> 00:31:48,040
Speaker 1: She likes DVDs.

659
00:31:49,400 --> 00:31:53,560
Speaker 2: I yeah, you know, it's it's great, it's it's it's interesting.

660
00:31:53,600 --> 00:31:57,800
Speaker 2: It's just a real interesting like there's nothing really like

661
00:31:57,840 --> 00:32:00,040
Speaker 2: it on the radio at that time, or sin.

662
00:32:01,080 --> 00:32:03,840
Speaker 4: Yes, there's. I mean, I guess there are. I feel

663
00:32:03,840 --> 00:32:08,680
Speaker 4: like I'm a poor I don't keep my all joking aside,

664
00:32:08,720 --> 00:32:11,240
Speaker 4: Finger on the Pulse was like, I was in a

665
00:32:11,320 --> 00:32:14,600
Speaker 4: burger king with our mutual friend Jay Miller, meeting him recently,

666
00:32:14,800 --> 00:32:17,440
Speaker 4: and something was on and I was like, is this

667
00:32:17,520 --> 00:32:20,880
Speaker 4: Olivia Rodrigo And he was like, yeah, yeah, And then

668
00:32:20,920 --> 00:32:23,160
Speaker 4: like every song that came on, I was like, is

669
00:32:23,200 --> 00:32:24,400
Speaker 4: this Olivia?

670
00:32:24,520 --> 00:32:26,160
Speaker 1: It's all Olivia Rodrigo now?

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00:32:26,200 --> 00:32:28,360
Speaker 2: But all right, So I as I said that, I

672
00:32:28,440 --> 00:32:30,200
Speaker 2: was just thinking the other songs are like this, and

673
00:32:30,240 --> 00:32:31,760
Speaker 2: I don't know if these are going to be ones

674
00:32:31,760 --> 00:32:33,800
Speaker 2: that we give a chance in the future, but this

675
00:32:33,880 --> 00:32:35,000
Speaker 2: is definitely channeling.

676
00:32:36,160 --> 00:32:39,560
Speaker 1: Oh not those three single Sinkle says.

677
00:32:39,480 --> 00:32:42,680
Speaker 2: Can't you know I can all the girlies say I'm

678
00:32:42,720 --> 00:32:46,200
Speaker 2: pretty fly for a white guy like that.

679
00:32:46,200 --> 00:32:47,840
Speaker 4: That's that would be a hard one for me to

680
00:32:47,880 --> 00:32:48,920
Speaker 4: give a chancey.

681
00:32:48,600 --> 00:32:51,040
Speaker 2: Too, that's on the cruise as well, or they could

682
00:32:51,040 --> 00:32:54,600
Speaker 2: be on that cruise. They have a cruise, Offspring cruise.

683
00:32:54,680 --> 00:32:56,920
Speaker 4: Also Green Day just played at Irving Plaza and who

684
00:32:56,960 --> 00:33:01,040
Speaker 4: was the sponsor Carnival cruise not kid we live in hell,

685
00:33:01,200 --> 00:33:02,080
Speaker 4: but please continue?

686
00:33:02,360 --> 00:33:04,719
Speaker 2: Yeah no, So so I think Offspring is in this

687
00:33:04,760 --> 00:33:07,640
Speaker 2: category of like especially like it's just weird because they

688
00:33:07,680 --> 00:33:10,640
Speaker 2: did start so punk, but then they started doing comedy songs.

689
00:33:10,720 --> 00:33:13,760
Speaker 4: Yeah, that song that also is basically oh blood oh

690
00:33:13,840 --> 00:33:14,320
Speaker 4: blah dah.

691
00:33:15,120 --> 00:33:17,960
Speaker 1: Yeah, I don't care, I do that.

692
00:33:18,360 --> 00:33:23,480
Speaker 4: Bitchy's cool cool here, but it was basically like it's

693
00:33:23,520 --> 00:33:27,560
Speaker 4: basically oblad o blah dah, the gesture and the little

694
00:33:27,760 --> 00:33:28,040
Speaker 4: like you.

695
00:33:28,080 --> 00:33:30,400
Speaker 1: Know, say no way, say no way.

696
00:33:31,120 --> 00:33:35,560
Speaker 4: Yeah, yeah, it is in league with that, that's for sure.

697
00:33:36,160 --> 00:33:43,800
Speaker 2: I love DVD's well, I don't you know again, I

698
00:33:43,880 --> 00:33:45,840
Speaker 2: am going to listen to the song again. I encourage

699
00:33:45,840 --> 00:33:46,600
Speaker 2: everybody to do it.

700
00:33:47,320 --> 00:33:49,880
Speaker 4: I would say, by the way, Casey, I think did

701
00:33:49,960 --> 00:33:52,800
Speaker 4: a pretty good job here. I'm going to extol our

702
00:33:52,800 --> 00:33:56,160
Speaker 4: own virtues. This is low hanging fruit, and I think

703
00:33:56,240 --> 00:33:58,160
Speaker 4: we to me, I actually do come away with it

704
00:33:58,240 --> 00:34:02,160
Speaker 4: being like he's attempted. There's there's a vocal ability that's

705
00:34:02,200 --> 00:34:06,480
Speaker 4: clear he is attempting to He's riding a line between

706
00:34:06,520 --> 00:34:09,560
Speaker 4: a kind of pop cultural humor and also expression of

707
00:34:09,640 --> 00:34:12,799
Speaker 4: real feeling. And I mean, you know they tried those

708
00:34:12,880 --> 00:34:15,720
Speaker 4: weird soundcolage things with the messed up VHS DVD.

709
00:34:15,880 --> 00:34:17,120
Speaker 1: Why not you know a risk.

710
00:34:17,520 --> 00:34:20,040
Speaker 2: I will also say that it doesn't feel like a

711
00:34:20,160 --> 00:34:23,319
Speaker 2: first draft and it doesn't feel labored. He like hit

712
00:34:23,360 --> 00:34:25,480
Speaker 2: a sweet spot where like it feels like, oh I

713
00:34:25,520 --> 00:34:27,320
Speaker 2: don't care, It's like I'm throwing some things in. But

714
00:34:27,360 --> 00:34:29,520
Speaker 2: there's also obviously some stuff that he really like went

715
00:34:29,640 --> 00:34:31,000
Speaker 2: back and like worked on.

716
00:34:31,480 --> 00:34:34,239
Speaker 4: Yeah, like trying to get into the PP A Leonardo

717
00:34:35,120 --> 00:34:35,560
Speaker 4: and on that.

718
00:34:36,880 --> 00:34:40,720
Speaker 1: You'll always be in my PP heaven, Kevin, You'll always

719
00:34:40,760 --> 00:34:41,040
Speaker 1: be in my.

720
00:34:41,080 --> 00:34:43,799
Speaker 4: PP ah case. Thank you so much.

721
00:34:44,400 --> 00:34:47,480
Speaker 1: Well, thank you everybody for listening. Everybody in our PP.

722
00:34:47,760 --> 00:34:48,839
Speaker 4: Thank you everybody in our PP.

723
00:34:49,120 --> 00:34:49,920
Speaker 1: You know who you are.

724
00:34:50,560 --> 00:34:53,480
Speaker 4: Big shout out to Tobe and honestly, keV, I like

725
00:34:53,560 --> 00:34:57,919
Speaker 4: you for you, not because of mess like tuison mess.

726
00:35:00,040 --> 00:35:03,400
Speaker 2: Okay, all right, shout out and again shout out to

727
00:35:03,400 --> 00:35:04,840
Speaker 2: our sponsor Tommy Lee Jones.

728
00:35:04,680 --> 00:35:08,520
Speaker 4: And Rosecrdible Chris.

729
00:35:09,120 --> 00:35:12,720
Speaker 1: Okay, I'll see you next time on JC.

730
00:35:15,000 --> 00:35:15,400
Speaker 3: Just give it.

731
00:35:15,600 --> 00:35:15,680
Speaker 1: Sh