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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 2: Good morning, Give it Ai you want to give it

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

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Speaker 3: Just give it.

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Speaker 2: Hi, Welcome to the America. Welcome to give it a chance.

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Speaker 3: Everybody, Welcome to the America. And what a time you've

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Speaker 3: chosen to come.

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Speaker 2: Well, actually, that I think I unofficially segued or what

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Speaker 2: I'm losing my brain? I think unofficially, yes, yes, unintentionally,

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Speaker 2: that sounds.

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Speaker 3: Like unintentional segue.

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Speaker 2: Into our song, which I think some there's a lot

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Speaker 2: of quote unquote Americans that might like this tune.

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Speaker 3: Oh okay, well.

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Speaker 2: I think there's like a type of person that comes

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Speaker 2: along with this kind of stuff. Although I will say

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Speaker 2: that this song is kind of progressive in certain ways,

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Speaker 2: so I'm excited. It's also rare that we could ever

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Speaker 2: do something that's kind of topical of when we're recording it.

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Speaker 3: This is dangerous territory we're veering into for the first

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Speaker 3: time as chancer primary chancers. All the listeners are chancewers too,

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Speaker 3: but we're like obviously like the primary chancers.

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Speaker 2: Yeah, so this song is. I've been hearing it a lot.

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Speaker 3: This is a present moment song.

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Speaker 2: Yeah, dude, Wow.

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Speaker 3: This is gonna be great because the odds of me

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Speaker 3: even knowing it are almost zero.

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Speaker 2: Right, And if you do know it, I think that

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Speaker 2: I think you might have caught wind of it.

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Speaker 3: Hmmm, and you know it followed? Wait is that a hint?

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Speaker 3: Caught wind? No?

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Speaker 2: No, no, I wish it was. Okay, it's like I

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Speaker 2: can imagine what that song is.

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Speaker 3: I caught wi am.

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Speaker 2: So this this song is all kind of in the

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Speaker 2: footsteps to Old Town Road.

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Speaker 3: I think, ah, little nas X. Yeah, see I know

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Speaker 3: that with Billy Ray. Yeah that remix.

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Speaker 2: You know, the remix has Spilly Ray's eye.

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Speaker 3: Oh that's not on the ridge, It's only on the remix. Okay,

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Speaker 3: do you know that?

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Speaker 2: Edie?

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Speaker 3: My daughter, sorry before you just just while we're on

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Speaker 3: the subject the subject when she was little, she used

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Speaker 3: to say, but she used to call Benjamin Franklin arigimen Franklin.

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Speaker 2: Oh wow, that's a good one.

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Speaker 3: Isn't a rigimen pretty good?

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Speaker 2: A regimen?

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Speaker 1: Is it?

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Speaker 3: Yeah? It's a great name it.

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Speaker 2: Yeah, it sounds like a some sort of character in

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Speaker 2: a in like a sci fi book, A hundred yes.

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Speaker 3: Absolutely. My mom also recently said she can't stand it

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Speaker 3: when people say one hundred percent when they're agreeing with something,

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Speaker 3: and now I can't stop saying it, like it's I'm

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Speaker 3: just like one hundred percent. Maybe I just hondo I

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Speaker 3: say that to her. She's into that. Okay, that's enough

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Speaker 3: about my mom and my kid, Jesus, let's get back

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Speaker 3: to what matters, not them.

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Speaker 2: Have you heard of the artist Shaboozy.

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Speaker 3: I feel like I literally saw that artist's name for

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Speaker 3: the first time today. I don't remember the context now,

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Speaker 3: in a playlist or something, or maybe it was like

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Speaker 3: a review on a website or something, But yeah.

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Speaker 2: I think I first heard it a month or two ago.

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Speaker 2: It's been out for a little while. I almost feel

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Speaker 2: like when I first heard it, I was like, well,

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Speaker 2: I knew there's a song that's it's sort of referencing

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Speaker 2: from a decade or plus ago. That's a hip hop song.

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Speaker 2: But I felt like I've heard a country artist do

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Speaker 2: something like this before. That's just my preamble. I think

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Speaker 2: we should listen to it and then discuss. I actually

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Speaker 2: like that you've never heard this song, or maybe.

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Speaker 3: You haven't wait, is Shaboozi? Is that the name of

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Speaker 3: the artist.

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Speaker 2: That's the name of the artist.

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Speaker 3: Is Shaboozi a country artist? Well, well we'll see, let's see, okay, Yeah,

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Speaker 3: so what's the name of the I love that this

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Speaker 3: exposes me as being like nine hundred years old.

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Speaker 2: Yeah, the song is called a bar song and in

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Speaker 2: parentheses tipsy.

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Speaker 3: Oh, I just it comes up right away. Do I

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Speaker 3: want to listen to the explicit version or the clean version?

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Speaker 2: I think go explss go explics.

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Speaker 3: You tell me when all.

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Speaker 2: Right, hit a girl on the dole shots.

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Speaker 3: All right, all right, initial thoughts, I mean, look, my

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Speaker 3: initial thought was it's funny. At the bottom of the

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Speaker 3: app I was using to listen and read along it

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Speaker 3: says report a concern that was, like, that's funny, Like

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Speaker 3: what would one.

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Speaker 2: Say, like like it's worried for Shaboozy.

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Speaker 3: You have to yeah, like it sounds like shaboozy they

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Speaker 3: may have a true problematic relationship with alcohol. I'm concerned

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Speaker 3: about that. Yeah. Yeah, I mean that's so infectious, undeniable,

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Speaker 3: inoffensive song that I could depletely see. I'm sure people

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Speaker 3: are like, especially I'm imagining he's talking about that I

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Speaker 3: don't know shaboozi. I don't want to miss pronoun with

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Speaker 3: the shaboozi. They are talking about Fifth Street. This has

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Speaker 3: got to be a Nashville thing right there, Nashville people.

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Speaker 3: I'm sure this shit is just like lighting up every

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Speaker 3: fucking bar down there at some point in the night.

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Speaker 3: I'm sure people are two step into it. I'm sure

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Speaker 3: it's And the other thing is, I mean, I could

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Speaker 3: actually go all in in a variety of directions right now,

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Speaker 3: because I don't even know which to pick. I do

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Speaker 3: have a series of this is like an immaculately constructed

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Speaker 3: representation of the moment in pop music in which we live.

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Speaker 3: The thing that most I kind of both, which I

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Speaker 3: think is like the spirit of our show. I was like,

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Speaker 3: oh do I hate this? And then I was like,

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Speaker 3: that's kind of clever. The fact that there's like a

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Speaker 3: low level burbling like auto tune, which I think is

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Speaker 3: meant to be metaphoric about like being a little drunk,

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Speaker 3: being a little like that sound that sort of sounds

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Speaker 3: like a little Warsaly, a little yeah. And I think

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Speaker 3: that there was something about that that at first I

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Speaker 3: was like, My initial reaction was like, oh is that cheesy,

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Speaker 3: and then I was like, actually, that's like intentional and clever,

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Speaker 3: and there's like something layered to that. It's kind of cool.

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Speaker 3: It's also a cool use of that. I feel like

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Speaker 3: also because you know, as my brother noted, the basketball

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Speaker 3: writer Dan Devine pointed out, always finding a way to

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Speaker 3: bring this back to one of three or four major concerns.

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Speaker 3: You know, maybe you don't. The first thought I had

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Speaker 3: with you know me and Jack Daniels got a history,

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Speaker 3: the first lyric of Oscar nominated song by Elliott Smith

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Speaker 3: I'll fake it through the day with some help from

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Speaker 3: Johnny Walker Red, And I was like, oh, it's last.

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Speaker 3: I kind of the first thing I thought of was like, actually,

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Speaker 3: something about like you know, me and Jack Daniels got

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Speaker 3: a history, Like, well, I know you and Elliott got

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Speaker 3: a history, and maybe this song's gonna be a big

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Speaker 3: deal for Shaboozy, just like it was for the recently Departed.

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Speaker 3: And I was like twenty.

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Speaker 2: Years so yeah, I completely agree. So when I first

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Speaker 2: heard this song, it's always sometimes the context of like

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Speaker 2: where you hear a song too. When I first heard

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Speaker 2: the song, I was sort of like, oh, this is

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Speaker 2: the worst of two worlds. Right, it's borrowing from like

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Speaker 2: Jae Kwan's song called Tipsy, where it literally just rips

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Speaker 2: up the chorus. Right, it's like, yes, it comes to one, right, it's.

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Speaker 3: Yeah yeah yeah.

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Speaker 2: So it's it's taking that and it's taking sort of that.

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Speaker 2: It's actually it's marrying two world those two worlds and

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Speaker 2: showing that they're the same, right, like pop countries sort

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Speaker 2: of like bling. Actually they don't say bling, but like

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Speaker 2: the Bravados, the.

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Speaker 3: Bragga, the Braggado. Yeah yeah, Bravado. Yeah, I like that

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Speaker 3: Bravado up. That's good.

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Speaker 2: So but it takes that they both do that, right,

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Speaker 2: like that era of that era of hip hop and

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Speaker 2: that and this era of pop country, and it's kind

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Speaker 2: of marrying both. And I both love it for that

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Speaker 2: reason and I hate it for that reason because I think,

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Speaker 2: no doubt, you can't say something new, say two things

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Speaker 2: that have happened before. Right, It's like right, I think

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Speaker 2: I think like you're just doing You're doing both of

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Speaker 2: those two genres in a new way. So I feel

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Speaker 2: the same as you do. I could go in multiple directions.

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Speaker 2: I think that if I were in Nashville and I

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Speaker 2: was with a group of people and that came on,

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Speaker 2: it was.

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Speaker 3: Like Shaboozi's niece.

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Speaker 2: Maybe I'm with Shaboozi's niece yea, yeah, I am oft yeah,

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Speaker 2: And I think it's probably it's the same thing for me,

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Speaker 2: like this is don't stop believing for this new generation.

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Speaker 3: Yeah, it's like well said, yes, it's.

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Speaker 2: Like that song's going to crush in a bar and

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Speaker 2: it's the same for both. And it's ever you kind

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Speaker 2: of need those songs like you need It's it's the

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Speaker 2: same reason like you kind of need a space for

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Speaker 2: a Disney movie or you need a space for a

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Speaker 2: war movie. Like it's it's just there that there, that

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Speaker 2: space is going to be brought in by a new

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Speaker 2: artist every time, So why not be Shaboozi.

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Speaker 3: Yeah, there's like a perpetual opening for those jobs, and

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Speaker 3: so why not Yeah? Yeah, And I mean also I

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Speaker 3: feel like it's interesting this has come up on our

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Speaker 3: our podcast before the like kind of like homogenization of

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Speaker 3: all things and how that touches you could make it

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Speaker 3: there could be there are smarter conversations to have about that,

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Speaker 3: about a variety of things outside of pop music. But

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Speaker 3: I do think when something is true in totality it

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Speaker 3: touches everything, and so pop music is subject to this

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Speaker 3: as well. And what has happened is like everything sort

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Speaker 3: of like funnels inward to this arrowhead. And yeah, like pop,

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Speaker 3: hip hop, country, radio, rock, I don't know if they

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Speaker 3: ever sounded more like one another in some ways than

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Speaker 3: they do now, And I do think in a lot

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Speaker 3: of ways it's it's the it's the influence of hip

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Speaker 3: hop actually on those other genres. Like I feel like

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Speaker 3: it's some like you know, we've done some time with

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Speaker 3: the imagine dragons or something like that, like that kind

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Speaker 3: of like propulsive, but you know that kind of like

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Speaker 3: and and the huge like like inside of volcano drums

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Speaker 3: or something that's meant to be like a kind of

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Speaker 3: swagger kind of like and and the country thing. It's funny,

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Speaker 3: you really nailed it. It's just like at some point

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Speaker 3: it became a They might not use bling, but it's

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Speaker 3: like a different kind of like flossing flexing about like

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Speaker 3: the hallmarks of a well lived country life.

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Speaker 2: They both brag about the lows and the highs, you know,

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Speaker 2: Like it's it's like rap has always kind of talked

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Speaker 2: about the struggle and the victories, and I think country

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Speaker 2: does that too. Countries, like you know, like it's sometimes

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Speaker 2: you have these sometimes great sometimes not so great songs

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Speaker 2: about you know, like it's dirt road and like you know,

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Speaker 2: like a oh yeah, job right. There's those things, and

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Speaker 2: then there's also the the you know, the ce celebrating

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Speaker 2: your lifestyle.

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Speaker 3: Totally yes, well, and I think that indicates too, like

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Speaker 3: as far away from the roots of these things as

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Speaker 3: we may be now in a country, it's like, well,

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Speaker 3: I guess you could say in hip hop too, because

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Speaker 3: you're you're really you're just in both. You're going back

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Speaker 3: and back and back and back to like folk and blues,

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Speaker 3: and but I feel like, you know, this was ultimately

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Speaker 3: both things. Hip hop and country music were like working

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Speaker 3: people's music, you know. It was like what can you

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Speaker 3: grab and make noise with that is around you? And

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Speaker 3: I think a lot of what was being sung about,

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Speaker 3: like Hank Williams like that shit's the best, and it's

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Speaker 3: all just like I'm too drunk to be a good friend,

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Speaker 3: I'm too drunk to keep a job, I'm too drunk

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Speaker 3: to be nice to my dog, I'm too drunk to

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Speaker 3: be a good husband. I'm too drunk, you like, and

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Speaker 3: they were funny songs, but then they were also like heartbreaking,

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Speaker 3: like I'm so lonesome I could cry and uh, And

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Speaker 3: that music came from being like, you know, guy with

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Speaker 3: not a lot of money and with some demons, you know,

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Speaker 3: and access to this thing. And I think a lot

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Speaker 3: of hip hop, obviously early, even party hip hop early

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Speaker 3: was about like the places this stuff was coming from.

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Speaker 3: And you're right, and then at some point, and maybe

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Speaker 3: there's more examples. I don't know enough about country music

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Speaker 3: after a certain time to know about the like excesses

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Speaker 3: and celebrations. I know what, I know how it appears

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Speaker 3: on stage. I know how that excess, excess and celebration

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Speaker 3: has become a part of the like gaudiness and presentation

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Speaker 3: or whatever. But yeah, I think obviously hip hop part

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Speaker 3: of it's almost like it's in it's literalized. It's like

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Speaker 3: said in the song. In songs, I'm thinking of two

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Speaker 3: particular lines, like jay Z and Biggie lines that are

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Speaker 3: literally about like if you grew up with nothing, of

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Speaker 3: course you'd be like bragging about winning. It's like you

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Speaker 3: you were never supposed to win. So there's something about

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Speaker 3: I don't know the ex but that's more like what's

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Speaker 3: the word that's more cultural, and like that's something more

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Speaker 3: like in the soil or like osmotic or something. I

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Speaker 3: don't know how much of that's going on in this song.

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Speaker 2: The thing about this that's my ant chancy too, that's

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Speaker 2: my anties too, is that there are stories that are

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Speaker 2: better than this story, Like.

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Speaker 3: What is this story?

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Speaker 1: There's a party downtown, your fish, everybody had bargains.

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Speaker 2: This story is like, you know, it sounds like it's

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Speaker 2: here's a snapshot of my life. And the thing I

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Speaker 2: look forward to is hanging out with friends and getting

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Speaker 2: tips and getting tipsy and then waking up and doing

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Speaker 2: it again.

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Speaker 3: Right now.

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Speaker 2: That's the line that I kind of think is the

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Speaker 2: thesis statement here. I think you're and then it's like

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Speaker 2: bring another round. And I think that this person might

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Speaker 2: be like if it's finny to like have like a

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Speaker 2: psychologial psychologist like break down these lyrics. I wonder if

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Speaker 2: they're like this person has a serious problem, right.

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Speaker 3: I definitely think that as a person who has had

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Speaker 3: somebody at some point that was a mental health professional. Uh.

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Speaker 3: In my family, we have there's a record early in

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Speaker 3: my career caled make the clocks move and someone in

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Speaker 3: my family who you know, early on just circulating it.

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Speaker 3: Two people in my family, and one of them was like,

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Speaker 3: my cousin was like, this is really beautiful and I

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Speaker 3: love it, and also like are you all right? You know,

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Speaker 3: And I think like if you're listening for it, and

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Speaker 3: you can tuck things in songs because it's like meant

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Speaker 3: to be exaggerative or expressive in a particular way, especially

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Speaker 3: the hallmarks of particular genre, things like this is a

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Speaker 3: party song, and also this is maybe getting way out

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Speaker 3: into the weeds. But you started it, Casey, when you

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Speaker 3: started talking about topicality and connection to the present moments,

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Speaker 3: moment MoMA. What I want to say is I feel

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Speaker 3: like one of the things that's interesting to me about

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Speaker 3: the preponderance and popularity you talked about this is like

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Speaker 3: a job that's perpetually open, this kind of song. It's

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Speaker 3: basically because so many of us want relief from the

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Speaker 3: like pummeling nature, some of the pummeling natures of reality

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Speaker 3: where life's a lot of things. There's beautiful stuff too,

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Speaker 3: but a lot of what we all have to do

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Speaker 3: every day between work, between the things that we have

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Speaker 3: to do to survive and the fear of losing those things,

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Speaker 3: so that you become even more precariously positioned. What's available

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Speaker 3: to us, well, not all of us can like go

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Speaker 3: to you know, live in the South of France or

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Speaker 3: going on vacations for you know, So what is available,

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Speaker 3: like go to the bar with your friends and get

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Speaker 3: fucked up and then get up at ten o'clock in

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Speaker 3: the morning and do it again. It's the closest you

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Speaker 3: get to like a rocket ride out of reality.

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Speaker 2: I think. So, I think people are like this nine

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Speaker 2: to five, which she mentions it sucks anyway. So like,

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Speaker 2: if I'm hungover, it's gonna suck either way. So at

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Speaker 2: least if I'm hungover, it means maybe the night before

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Speaker 2: I had a good time. So I I you know,

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Speaker 2: I get that a lot of people feel that way.

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Speaker 2: Yeah know, as an older man now with a kid,

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Speaker 2: I do seventy one seventy five, and I do kind

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Speaker 2: of worry that it's so funny. I can't believe I'm

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Speaker 2: saying this because it feels hypocritical, like the rest of

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Speaker 2: my life.

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Speaker 3: Yeah, but you're a fucking hypocrite, dude, so just let

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Speaker 3: it be.

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Speaker 2: Yeah, baby, rip it. But it's like there's everyone's drinking

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Speaker 2: too much, and alcohol is so like prevalent in every

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Speaker 2: everything that happens now, and it's always been there, but

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Speaker 2: it feels more than ever. It's like they market it

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Speaker 2: like candy, and it's like there's high noons and there's

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Speaker 2: like there's these things that look like straight up candy

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Speaker 2: for kids. Yeah, like even edibles now are like it's

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Speaker 2: it is just weed, is just candy. It's a literal candy.

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Speaker 3: In my neighborhood, there's a which is crazy. There are

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Speaker 3: multiple shops in my neighborhood, but there's one that's really

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Speaker 3: funny because it's like on a side street. It's so weird.

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Speaker 3: It's like in where I live in Brooklyn is not

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Speaker 3: like there's there are commercial avenues, but it's pretty pretty residential.

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Speaker 3: So there's like in between some like uh you know,

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Speaker 3: several family whatever they call like brownstone apartment buildings. There's

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Speaker 3: like a cupcake shop. And I was like walking by

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Speaker 3: one day and I have a kid who's presently eight,

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Speaker 3: and I was like, oh, I should, uh you know,

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Speaker 3: go in and see what's up there. We were walking

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Speaker 3: together and as we got to the door, I was like,

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Speaker 3: those are expensive cupcakes, and then I'm like looking at

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Speaker 3: I'm like oh, And she was like, why can't we

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Speaker 3: go in? And for that was actually a problem because

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Speaker 3: she thought she was about to get like a cupcake

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Speaker 3: or a brownie or a cookie or something. And I

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Speaker 3: was like, yeah, we can't go in there, and she's

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Speaker 3: like why. I was like uh. And then it was

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Speaker 3: an opportunity to be like, well, because it's a weird shop.

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Speaker 3: She's like, what's that mean. I was like, well, you know,

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Speaker 3: like she knows, like drunk alcohol. She was like, what

347
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Speaker 3: that is. It's kind of like that. It's like a

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Speaker 3: thing people use to for a number of reasons, but

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Speaker 3: one reason is to feel a little different and it

350
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Speaker 3: changes their behavior and their experience, in her experience, and

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Speaker 3: by that point she was just like, can we go

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Speaker 3: actually get a brownie somewhere or you know whatever. But

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Speaker 3: and then what I did, which is cool and I

354
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Speaker 3: want to confess it here for the first time, for

355
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Speaker 3: the chances, I did go in and I did give

356
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Speaker 3: my eight year old brownie and she's still fucked up

357
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Speaker 3: now an hour come on in no.

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Speaker 2: As a to explain to some people that might not

359
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Speaker 2: pick up on that sarcasm, Kevin did not do that.

360
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Speaker 3: No, I did not. But if you want me tow

361
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Speaker 3: chances you email me.

362
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Speaker 2: Yeah, don't get Eatie fuck up.

363
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Speaker 3: Get Eatie fucked up at email dot now get any email.

364
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Speaker 2: No, so I I that's circling back, Like I I

365
00:19:09,280 --> 00:19:13,240
Speaker 2: I fight with myself over how I feel about like

366
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Speaker 2: having a song that's about over overdoing it, you know

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Speaker 2: what I mean, like and with with the youth listening

368
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Speaker 2: to it or something. I understand that that's not in

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Speaker 2: my life. Recently, I've been I've been saying this out loud.

370
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Speaker 2: It's like the world is not me. In fact, I

371
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Speaker 2: did want to sort of switch gears a little bit.

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Speaker 2: There's this song that I came into my rotation. I

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Speaker 2: don't believe it's good enough for a full episode, but

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Speaker 2: I want to talk about it because at first I

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Speaker 2: didn't like it.

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Speaker 3: And wow, a little capsule inside the EP casey is evolving. Yeah.

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Speaker 2: So there's this artist named Jax. It's a it's a

378
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Speaker 2: young person who has this song that's like Victoria's Secret

379
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Speaker 2: is that Victoria's Secret was made, was created by a dude, right, and.

380
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Speaker 3: That's what the song's about.

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Speaker 2: Yes, Victoria's Secret is it was started by a dude

382
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Speaker 2: and it did very well and a lot of people

383
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Speaker 2: really like it. And at first I was like, oh, man,

384
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Speaker 2: this is a good song for Chancey because that's I

385
00:20:12,359 --> 00:20:14,760
Speaker 2: think that's such a stupid thing. And then a friend

386
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Speaker 2: of mine flipped my entire perspective and said, well, for you,

387
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Speaker 2: that's like a really but this might be the good

388
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Speaker 2: gateway of younger because it's for younger people like this

389
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Speaker 2: this artist, Like, it's a good gateway of younger people

390
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Speaker 2: to start questioning things and to start looking at things

391
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Speaker 2: with a what's the word for it, to to put

392
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Speaker 2: things under a microscope or or like you know, find

393
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Speaker 2: It's not like a conspiracy obviously, it's but sort of

394
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Speaker 2: be skeptical.

395
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Speaker 3: Yeah, like like like I interrogate things, look deeper into things.

396
00:20:48,000 --> 00:20:49,840
Speaker 3: Yeah yeah, and.

397
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Speaker 2: And think about that right And and I was like, oh, yeah,

398
00:20:52,200 --> 00:20:56,439
Speaker 2: the world's not me and that and I think that

399
00:20:56,600 --> 00:20:59,520
Speaker 2: was a great I was shout out to my friend

400
00:20:59,720 --> 00:21:03,080
Speaker 2: Josh did it and she said she was like, well,

401
00:21:03,080 --> 00:21:05,960
Speaker 2: that's this probably not for you anyway, but it's especially

402
00:21:06,040 --> 00:21:10,200
Speaker 2: probably better for a younger person who for the first

403
00:21:10,240 --> 00:21:13,560
Speaker 2: time is now going to put things under that microscope

404
00:21:13,640 --> 00:21:16,200
Speaker 2: or maybe question more, and I think it's a great

405
00:21:16,240 --> 00:21:18,760
Speaker 2: gateway into that and because there's some people need a gateway,

406
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Speaker 2: Like there are things that were my gateway that I

407
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Speaker 2: don't even remember and now it's so trivial or lame

408
00:21:24,600 --> 00:21:27,760
Speaker 2: or something, and I was like, Oh, that's so, that's

409
00:21:27,800 --> 00:21:28,600
Speaker 2: so true.

410
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Speaker 3: I think being able to have the sort of presence

411
00:21:32,400 --> 00:21:37,439
Speaker 3: of mind to confront yourself with the world is not

412
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Speaker 3: me is actually something that I think it's like, at

413
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Speaker 3: least I don't know what it's like in other cultures,

414
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Speaker 3: and I don't know what it was like, you know,

415
00:21:46,200 --> 00:21:48,520
Speaker 3: seven hundred years ago or something. But in the in

416
00:21:48,560 --> 00:21:51,160
Speaker 3: the where we live and how we live and when

417
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Speaker 3: we live, it seems to me like it's an inevitability.

418
00:21:55,640 --> 00:21:58,439
Speaker 3: It's like, what's it called, Like it's an inevitability, and

419
00:21:58,480 --> 00:22:03,280
Speaker 3: it's it's just absolutely unavoidable that you know, there's some

420
00:22:03,359 --> 00:22:06,760
Speaker 3: amount of like no one thinks they're old until they're old.

421
00:22:06,840 --> 00:22:10,040
Speaker 3: No one thinks they're not representing the like even Actually

422
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Speaker 3: I have a friend who's like seventy five, and he

423
00:22:11,560 --> 00:22:14,040
Speaker 3: said to me once, every time I walk by the mirror,

424
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Speaker 3: I think, who the fuck is that old guy? Because

425
00:22:16,800 --> 00:22:20,240
Speaker 3: he's like in my brain I'm like twenty three or something,

426
00:22:20,280 --> 00:22:21,639
Speaker 3: and then I'm like, oh, no, you're not, you know,

427
00:22:21,680 --> 00:22:24,320
Speaker 3: and I I understood what he meant. And I bring

428
00:22:24,320 --> 00:22:26,159
Speaker 3: that up to say, with respect to pop culture this

429
00:22:26,320 --> 00:22:30,280
Speaker 3: song Jack's whatever, you know. I feel like part of

430
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Speaker 3: what is what the boomers get so shit on, and

431
00:22:33,600 --> 00:22:37,920
Speaker 3: I think fairly is this notion that like they would

432
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Speaker 3: stand to benefit from asking themselves And of course there

433
00:22:41,720 --> 00:22:45,560
Speaker 3: are some that do, but writ large with greater interrogation

434
00:22:45,640 --> 00:22:49,959
Speaker 3: and frequency, is the world still me? And or you know?

435
00:22:50,080 --> 00:22:52,119
Speaker 3: The world? And maybe to arrive at the world is

436
00:22:52,160 --> 00:22:54,480
Speaker 3: not me? And to like loosen their grip on a

437
00:22:54,520 --> 00:22:57,239
Speaker 3: bunch of things to enable the people for whom the

438
00:22:57,280 --> 00:22:59,520
Speaker 3: world is the world now.

439
00:23:01,680 --> 00:23:04,520
Speaker 2: Even the bigger exercises the world. Does nobody just want one?

440
00:23:04,640 --> 00:23:06,200
Speaker 3: That's right, that's right.

441
00:23:06,080 --> 00:23:09,119
Speaker 2: And I bet I agree that those people actually have

442
00:23:09,359 --> 00:23:11,120
Speaker 2: still have the grip on the world, which is that's

443
00:23:11,240 --> 00:23:11,600
Speaker 2: kind of.

444
00:23:11,640 --> 00:23:14,800
Speaker 3: But you're right. The actual philosophical point is that the

445
00:23:14,800 --> 00:23:18,160
Speaker 3: world nobody is the world, even the people who think

446
00:23:18,200 --> 00:23:20,679
Speaker 3: they are running. Yes, I believe that that is the

447
00:23:20,720 --> 00:23:23,480
Speaker 3: greater reality. I love that we're going here in this podcast.

448
00:23:23,480 --> 00:23:25,760
Speaker 3: That's great. But what I will say in specific about

449
00:23:25,760 --> 00:23:28,080
Speaker 3: what you just brought up that pertains to both the

450
00:23:28,160 --> 00:23:31,119
Speaker 3: Jacks thing and your friend Jocelyn's point and this song

451
00:23:31,400 --> 00:23:35,600
Speaker 3: I just did this tribute concert for which sorry to

452
00:23:35,600 --> 00:23:37,840
Speaker 3: bring him up twice in one episode, but it just

453
00:23:37,840 --> 00:23:40,240
Speaker 3: happened for Elliot Smith. This is whenever this goes up.

454
00:23:40,480 --> 00:23:43,639
Speaker 3: But there was a celebration of his music on what

455
00:23:43,680 --> 00:23:45,439
Speaker 3: would have been his fifty fifth birthday, and it was

456
00:23:45,440 --> 00:23:48,320
Speaker 3: a benefit for a studio he opened before he passed away,

457
00:23:48,359 --> 00:23:51,040
Speaker 3: called New Monkey Studios, to help keep that open. Anyway,

458
00:23:51,480 --> 00:23:53,960
Speaker 3: his band from the Figure eight tour was the house band,

459
00:23:54,000 --> 00:23:55,399
Speaker 3: and a bunch of people got up and sang his

460
00:23:55,480 --> 00:23:58,399
Speaker 3: songs with that band. It was really really special, beautiful night,

461
00:23:58,440 --> 00:24:01,760
Speaker 3: and I was honored legit to be invited to participate

462
00:24:01,800 --> 00:24:04,760
Speaker 3: in it. Why I say all that I'm forty four.

463
00:24:05,520 --> 00:24:07,560
Speaker 3: There were people on that show that were sixty, and

464
00:24:07,600 --> 00:24:09,880
Speaker 3: there were people on that show that were nineteen, which

465
00:24:09,920 --> 00:24:12,760
Speaker 3: speaks to his body of work and its influence on

466
00:24:12,840 --> 00:24:16,320
Speaker 3: generations of people. But there were people on that show

467
00:24:16,960 --> 00:24:22,639
Speaker 3: that were legit, like you know, nineteen twenty twenty, and

468
00:24:23,680 --> 00:24:27,600
Speaker 3: like their angle at which they fell with his body

469
00:24:27,600 --> 00:24:29,880
Speaker 3: of work and with any body of work and there

470
00:24:30,000 --> 00:24:32,080
Speaker 3: that that existed like from when you and I were

471
00:24:32,119 --> 00:24:34,440
Speaker 3: kind of like cutting our teeth. I'm a little older

472
00:24:34,480 --> 00:24:38,880
Speaker 3: than you, but it's generally the same range. Like one

473
00:24:38,960 --> 00:24:44,000
Speaker 3: could either be like, I don't know, like possessive what's

474
00:24:44,040 --> 00:24:46,720
Speaker 3: the word, like like uh, you don't know what you're talking?

475
00:24:47,119 --> 00:24:50,720
Speaker 3: Or yeah, like like kind of like critical of how

476
00:24:50,800 --> 00:24:52,520
Speaker 3: they approached or arrived.

477
00:24:52,160 --> 00:24:55,760
Speaker 2: At or when the yeah, the better experience.

478
00:24:55,840 --> 00:24:59,960
Speaker 3: Yeah. And then also the other side or like or

479
00:25:00,080 --> 00:25:02,399
Speaker 3: prietary is the word I was looking for, Like I

480
00:25:02,480 --> 00:25:05,520
Speaker 3: know like that the people who were like around then

481
00:25:05,880 --> 00:25:08,800
Speaker 3: understood something about it that these But the other side

482
00:25:08,800 --> 00:25:10,919
Speaker 3: of that is like these kids understand something about it

483
00:25:10,960 --> 00:25:12,960
Speaker 3: and connect to something about it that I don't. That

484
00:25:13,359 --> 00:25:16,160
Speaker 3: it's instructive, like we're all kind of like learning from

485
00:25:16,200 --> 00:25:20,240
Speaker 3: one another. And I think that everyone needs a gateway

486
00:25:20,320 --> 00:25:23,040
Speaker 3: drug and a sort of skeleton key into whatever it

487
00:25:23,080 --> 00:25:26,560
Speaker 3: is that continues their development of personality, right and interest.

488
00:25:27,080 --> 00:25:30,080
Speaker 3: And I think it's actually really cool to realize the

489
00:25:30,080 --> 00:25:31,960
Speaker 3: world is not me and to be like, what can

490
00:25:32,000 --> 00:25:35,320
Speaker 3: I learn from these kids that are like half my

491
00:25:35,520 --> 00:25:38,760
Speaker 3: age just getting into a thing I've spent twenty five

492
00:25:38,840 --> 00:25:41,200
Speaker 3: years like studying, if that makes sense.

493
00:25:41,400 --> 00:25:43,959
Speaker 2: And now I also want to point out counter, not

494
00:25:43,960 --> 00:25:47,439
Speaker 2: not full counter, but like there's still times to poke,

495
00:25:48,359 --> 00:25:51,439
Speaker 2: you know, and to be like on a taste level,

496
00:25:52,000 --> 00:25:55,240
Speaker 2: here are my issues, right, oh yeah, especially with like

497
00:25:55,960 --> 00:25:59,919
Speaker 2: but we were. Hopefully you do that for any genre,

498
00:26:00,040 --> 00:26:02,600
Speaker 2: even some of your favorite artists, to be like I

499
00:26:02,680 --> 00:26:05,840
Speaker 2: love Page on the Line, and there's this song I

500
00:26:05,880 --> 00:26:08,240
Speaker 2: don't love and like, you know you should do that

501
00:26:08,440 --> 00:26:10,960
Speaker 2: because it helps you develop what you like. But this

502
00:26:11,040 --> 00:26:12,520
Speaker 2: song I have an issue with.

503
00:26:12,640 --> 00:26:15,120
Speaker 3: I want to go back. Yeah, yeah, let's let's go.

504
00:26:15,560 --> 00:26:19,120
Speaker 3: Let's circle a little piss what's this person's name? Little piss?

505
00:26:19,160 --> 00:26:20,639
Speaker 2: Youa boozy share boozy?

506
00:26:20,680 --> 00:26:32,280
Speaker 4: Yeah? Yeah.

507
00:26:32,320 --> 00:26:33,760
Speaker 2: It says there's this bridge.

508
00:26:34,480 --> 00:26:36,520
Speaker 3: There's no bridge, right.

509
00:26:36,760 --> 00:26:38,920
Speaker 2: I actually looked up the chords and it's the same

510
00:26:39,000 --> 00:26:42,480
Speaker 2: chords as the as the U, both the chorus and

511
00:26:42,640 --> 00:26:46,480
Speaker 2: also the verse, Like, yeah, do you well, how do

512
00:26:46,560 --> 00:26:50,879
Speaker 2: you feel as like a I think of a prolific songwriter, Like,

513
00:26:50,920 --> 00:26:53,120
Speaker 2: how do you feel when when when something says it's

514
00:26:53,119 --> 00:26:55,120
Speaker 2: the bridge but it's the exact same chords.

515
00:26:55,400 --> 00:26:57,680
Speaker 3: I am of two minds. I can and all and again.

516
00:26:57,800 --> 00:27:00,000
Speaker 3: I feel like I say this once an episode about something,

517
00:27:00,200 --> 00:27:03,840
Speaker 3: but I feel like it's important to say, deeply subjective

518
00:27:04,119 --> 00:27:07,840
Speaker 3: one person's perspective and opinion, So there is no rule,

519
00:27:07,920 --> 00:27:12,720
Speaker 3: there is no right. I don't think a song that

520
00:27:12,800 --> 00:27:16,760
Speaker 3: has the same chord progression and over and over again,

521
00:27:17,040 --> 00:27:20,280
Speaker 3: and melody over and over again, which this one differs

522
00:27:20,320 --> 00:27:22,159
Speaker 3: a little bit here and there, and they do a

523
00:27:22,200 --> 00:27:24,399
Speaker 3: thing where they like throw a slight curveball with a

524
00:27:24,520 --> 00:27:27,960
Speaker 3: lyric change here and there. But I think it's pretty

525
00:27:28,040 --> 00:27:32,120
Speaker 3: much like this to me is a verse pre chorus chorus,

526
00:27:32,520 --> 00:27:35,480
Speaker 3: verse pre chorus chorus, And what they're calling the bridge

527
00:27:35,880 --> 00:27:39,880
Speaker 3: is just a down verse now that can serve as

528
00:27:39,920 --> 00:27:46,119
Speaker 3: the fun that can functionally serve as the bridge. But

529
00:27:46,359 --> 00:27:48,840
Speaker 3: I think it's more like there's just no bridge in

530
00:27:48,920 --> 00:27:52,440
Speaker 3: this song. And I do think arrangement wise, production wise,

531
00:27:52,480 --> 00:27:55,800
Speaker 3: the decision what you are doing in deciding to make

532
00:27:55,880 --> 00:27:59,040
Speaker 3: that down verse a thing is you are you here?

533
00:27:59,080 --> 00:28:05,119
Speaker 3: It's the song person sunk was coming a cab especially,

534
00:28:05,240 --> 00:28:09,600
Speaker 3: But no, I think that it's it's you're effectively I

535
00:28:09,640 --> 00:28:13,159
Speaker 3: would look for me, I think that's a cheat to

536
00:28:13,280 --> 00:28:15,600
Speaker 3: call it a bridge, but I think it's fine if

537
00:28:15,600 --> 00:28:17,200
Speaker 3: you just you know. But but I do.

538
00:28:17,200 --> 00:28:21,600
Speaker 2: Also right, that's right, hey, when we drop out the

539
00:28:21,640 --> 00:28:24,040
Speaker 2: drums drums there, and like when you know the bridge,

540
00:28:24,080 --> 00:28:25,760
Speaker 2: it's like, okay, that's that's.

541
00:28:25,520 --> 00:28:28,760
Speaker 3: The thing in making that arrangement decision. They have functionally

542
00:28:28,840 --> 00:28:31,240
Speaker 3: made that the bridge. And the other part of me

543
00:28:31,520 --> 00:28:35,080
Speaker 3: is like the more sort of like you know, open

544
00:28:35,280 --> 00:28:39,560
Speaker 3: minded child like part is like, don't there's no rules anyway,

545
00:28:39,760 --> 00:28:42,040
Speaker 3: Like if you want to say, like the bridge is

546
00:28:42,560 --> 00:28:47,360
Speaker 3: the fucking third verse because you like changed a lyric

547
00:28:47,640 --> 00:28:51,000
Speaker 3: or something or you well, great, but then when it

548
00:28:51,040 --> 00:28:53,800
Speaker 3: comes to discernment taste, what you like what you don't.

549
00:28:53,880 --> 00:28:55,520
Speaker 3: I found that to be a little bit of a

550
00:28:55,600 --> 00:28:59,320
Speaker 3: cheat personally. And I do think the song is plenty

551
00:28:59,480 --> 00:29:03,360
Speaker 3: like pulsive. What's the word like, it's like it's there's

552
00:29:03,400 --> 00:29:06,280
Speaker 3: like a caffeinated kind of like it's it's easy to

553
00:29:06,440 --> 00:29:10,880
Speaker 3: light on its terms. It's it's very like you know,

554
00:29:11,040 --> 00:29:13,840
Speaker 3: it's it's got it's it's propulsive, it's caffeinated. It's it's

555
00:29:13,880 --> 00:29:19,960
Speaker 3: got energy and it's uh, it's it's like it's infectious. Yeah.

556
00:29:19,960 --> 00:29:21,360
Speaker 2: The first I heard it, I was in my friend

557
00:29:21,440 --> 00:29:23,720
Speaker 2: Jess's car and we were going on we were on

558
00:29:23,760 --> 00:29:27,640
Speaker 2: a scout for the show I work on, and Becker's like.

559
00:29:28,040 --> 00:29:31,160
Speaker 3: What Becker that's the show you work one.

560
00:29:31,520 --> 00:29:33,880
Speaker 2: No monk a month?

561
00:29:35,280 --> 00:29:44,080
Speaker 3: Coach Yeah, coach wow, wow, rest and kiss. No, he's

562
00:29:45,320 --> 00:29:48,960
Speaker 3: he's alive. I think, yeah, he's dead. Please rest in peace,

563
00:29:49,160 --> 00:29:51,080
Speaker 3: Craig t do not haunt.

564
00:29:50,840 --> 00:29:52,120
Speaker 2: Me anything else.

565
00:29:53,760 --> 00:29:53,800
Speaker 3: No.

566
00:29:55,000 --> 00:29:57,080
Speaker 2: We and she put it on. She was like have

567
00:29:57,120 --> 00:29:58,760
Speaker 2: you heard this? And she put it on. It's like

568
00:29:58,800 --> 00:30:00,479
Speaker 2: it's just come out, I think, and I was like,

569
00:30:00,560 --> 00:30:03,000
Speaker 2: oh no, and I immediately wrote it off. I was like,

570
00:30:03,200 --> 00:30:04,880
Speaker 2: I was like, this is not my style. I was

571
00:30:04,920 --> 00:30:06,840
Speaker 2: like I can't believe that this but this, I was like,

572
00:30:06,840 --> 00:30:09,720
Speaker 2: this is very you just and meaning it like she's

573
00:30:09,760 --> 00:30:11,080
Speaker 2: a good friend of mine when I was making fun

574
00:30:11,080 --> 00:30:15,000
Speaker 2: of her. And then I just started hearing it everywhere everywhere, everywhere,

575
00:30:15,040 --> 00:30:17,400
Speaker 2: Like I go to like we were eating luncheon like

576
00:30:17,440 --> 00:30:19,240
Speaker 2: a sort of like a bar, and it like went

577
00:30:19,280 --> 00:30:22,040
Speaker 2: on and I was like watching people tapping and singing

578
00:30:22,040 --> 00:30:24,360
Speaker 2: along and I was like, whoa, this song is like

579
00:30:24,760 --> 00:30:25,400
Speaker 2: it's happening.

580
00:30:25,760 --> 00:30:29,160
Speaker 1: Yeah, And where was I I was yesterday? Yeah, yeah,

581
00:30:29,320 --> 00:30:32,520
Speaker 1: yesterday when my friend who I would would never I

582
00:30:32,520 --> 00:30:34,760
Speaker 1: would never imagine listen to it had it stuck in

583
00:30:34,800 --> 00:30:37,520
Speaker 1: his head. And I was like, wow, So this that's

584
00:30:37,560 --> 00:30:39,200
Speaker 1: why today I was like, we have to do this song.

585
00:30:39,240 --> 00:30:41,640
Speaker 2: It's it's like, when do we get a chance to

586
00:30:41,640 --> 00:30:43,800
Speaker 2: do something, especially something that like off the bat I

587
00:30:43,840 --> 00:30:45,440
Speaker 2: didn't think either of us would really.

588
00:30:45,360 --> 00:30:48,920
Speaker 3: Like or I also appreciative that you did it because

589
00:30:48,960 --> 00:30:51,200
Speaker 3: I feel like maybe our listeners will be too that

590
00:30:51,280 --> 00:30:54,400
Speaker 3: you you and thank god you have dragged us more

591
00:30:54,400 --> 00:30:58,920
Speaker 3: into the present moment. And certainly it's something I was

592
00:30:59,000 --> 00:31:02,120
Speaker 3: I literally saw this person's name. It's no joke this morning,

593
00:31:02,120 --> 00:31:04,080
Speaker 3: and so it's kind of nice to actually spend some

594
00:31:04,160 --> 00:31:06,520
Speaker 3: time with the music today. I think there are more

595
00:31:06,560 --> 00:31:10,440
Speaker 3: egregious offenders out there than sheboygan. But I also think that,

596
00:31:10,600 --> 00:31:14,760
Speaker 3: like it's it's not hard to give a song like

597
00:31:14,800 --> 00:31:17,560
Speaker 3: this a chance, because this song is designed to be

598
00:31:17,680 --> 00:31:21,640
Speaker 3: pretty easy to approach. But I do think there's a

599
00:31:21,720 --> 00:31:23,680
Speaker 3: lot to be said which would be like a different

600
00:31:23,760 --> 00:31:26,760
Speaker 3: of this is like a maybe not the platform for

601
00:31:26,840 --> 00:31:29,719
Speaker 3: it or at that such great length. There is a

602
00:31:29,720 --> 00:31:32,280
Speaker 3: lot to be said about what you were talking about about,

603
00:31:32,320 --> 00:31:36,000
Speaker 3: like as you age, concerns about entertainments that are like

604
00:31:36,720 --> 00:31:41,480
Speaker 3: totally glorifying this kind of like hedonistic and not from

605
00:31:41,520 --> 00:31:44,640
Speaker 3: a place of like puritanical prudish, but for more of

606
00:31:44,680 --> 00:31:48,760
Speaker 3: a place of like life experience informs some sense of

607
00:31:48,840 --> 00:31:54,200
Speaker 3: like okay, you know. And also and for me it

608
00:31:54,240 --> 00:31:55,920
Speaker 3: does also connect to some of the things we were

609
00:31:55,920 --> 00:31:58,280
Speaker 3: talking about that are a little bit more like structural

610
00:31:58,440 --> 00:32:02,440
Speaker 3: in nature about like life in society, where I'm just like, man,

611
00:32:03,080 --> 00:32:06,760
Speaker 3: I kind of want bigger dreams for us than just

612
00:32:06,960 --> 00:32:09,800
Speaker 3: like life sucks. Let me get fucked up to not

613
00:32:10,000 --> 00:32:13,680
Speaker 3: feel it. And maybe my particular passage through this exact

614
00:32:13,760 --> 00:32:16,200
Speaker 3: thing is through a series of songs and songwriters who

615
00:32:16,200 --> 00:32:19,040
Speaker 3: were not reveling. It was the opposite. It was like

616
00:32:19,080 --> 00:32:22,719
Speaker 3: that dark charisma, dark attraction that was more about like

617
00:32:23,560 --> 00:32:27,640
Speaker 3: this is disastrous, but I'm choosing it anyway. And some

618
00:32:27,720 --> 00:32:29,920
Speaker 3: of the people died, and so it was a little

619
00:32:30,000 --> 00:32:33,120
Speaker 3: easier to be like, oh, maybe that's like really bad

620
00:32:33,480 --> 00:32:33,920
Speaker 3: than like.

621
00:32:34,240 --> 00:32:36,800
Speaker 2: That's so interesting, right, because it's it's like, yeah, like

622
00:32:36,880 --> 00:32:40,320
Speaker 2: even even like I think our first episode, like Nickelback,

623
00:32:40,360 --> 00:32:43,160
Speaker 2: it's like to the bottom of every bottles.

624
00:32:42,640 --> 00:32:45,400
Speaker 3: Which he sings about to or they sing about too, yeah, yeah,

625
00:32:45,440 --> 00:32:48,760
Speaker 3: the bottle you'll lost in the bottom of bottle or something. Yeah,

626
00:32:48,800 --> 00:32:49,400
Speaker 3: but this.

627
00:32:49,280 --> 00:32:52,040
Speaker 2: One has and that sometimes is a little bit of

628
00:32:52,120 --> 00:32:55,360
Speaker 2: like R and I so deep, right, There's there's there's

629
00:32:55,360 --> 00:32:57,920
Speaker 2: this moment of like of like I get said and

630
00:32:57,960 --> 00:32:58,560
Speaker 2: I drink.

631
00:32:59,040 --> 00:33:05,000
Speaker 3: I know I'm away yeah yeah, yeah, way yeah.

632
00:33:04,440 --> 00:33:08,600
Speaker 2: You know, no woman convicts me. Yeah try, that's right,

633
00:33:08,840 --> 00:33:10,640
Speaker 2: you are trying to say that. But then this song

634
00:33:10,720 --> 00:33:14,280
Speaker 2: is like celebrating there's it's fair. It's rare to find

635
00:33:14,280 --> 00:33:17,040
Speaker 2: the song. That's just like I had one drink at

636
00:33:17,080 --> 00:33:19,760
Speaker 2: dinner and I came home, like no one wants to

637
00:33:19,760 --> 00:33:22,200
Speaker 2: hear it, and no one wants to write it. It's

638
00:33:22,560 --> 00:33:25,120
Speaker 2: it's like it's moderation is never really.

639
00:33:25,400 --> 00:33:29,040
Speaker 3: Not super sexy. I do love There's there's one of

640
00:33:29,080 --> 00:33:33,120
Speaker 3: the best. Uh, it's still exemplifies what we're talking about.

641
00:33:33,120 --> 00:33:36,480
Speaker 3: But there's a Will Oldham song, and this, to me

642
00:33:36,680 --> 00:33:40,640
Speaker 3: speaks more to the realities of this life and these choices.

643
00:33:41,400 --> 00:33:44,160
Speaker 3: I feel like it says something like the only words

644
00:33:44,240 --> 00:33:48,400
Speaker 3: I said today were beer and thanks, like sat at

645
00:33:48,400 --> 00:33:52,280
Speaker 3: a bar and and that's kind of boring, right, kind

646
00:33:52,320 --> 00:33:55,080
Speaker 3: of sad, not in a sexy way, kind of just

647
00:33:55,120 --> 00:33:58,920
Speaker 3: more like oh yeah, like that's kind of more mundane

648
00:33:59,720 --> 00:34:03,240
Speaker 3: and a little bit like that's kind of kind of

649
00:34:03,720 --> 00:34:07,880
Speaker 3: not dark cool, but dark like and funny a little

650
00:34:07,880 --> 00:34:08,600
Speaker 3: bit too, like a.

651
00:34:08,640 --> 00:34:11,480
Speaker 2: Guys, can I ask you a question? So no, you

652
00:34:11,520 --> 00:34:13,239
Speaker 2: have a great all.

653
00:34:13,200 --> 00:34:15,960
Speaker 3: Right, see you guys podcast over.

654
00:34:16,640 --> 00:34:19,399
Speaker 2: All right, you have this wonderful song called day drunk, right,

655
00:34:19,760 --> 00:34:22,440
Speaker 2: and it's a tongue in cheek day drunk is what

656
00:34:22,480 --> 00:34:25,360
Speaker 2: I want to be, you know, and it's do people

657
00:34:25,440 --> 00:34:29,160
Speaker 2: ever think that that's from a place of like day drunk?

658
00:34:30,680 --> 00:34:33,600
Speaker 3: Right? And that's and look, that's saw that happens. Especially

659
00:34:33,680 --> 00:34:35,799
Speaker 3: the way we arranged that song, we kind of made

660
00:34:35,840 --> 00:34:39,120
Speaker 3: it like a guided by voicesy like power pop thing.

661
00:34:39,360 --> 00:34:42,160
Speaker 3: I it, yeah, well, thank you that that's a little

662
00:34:42,160 --> 00:34:45,160
Speaker 3: bit like that was a little bit like that thing

663
00:34:45,200 --> 00:34:48,040
Speaker 3: where like a trojan horse or whatever, like I we

664
00:34:48,160 --> 00:34:50,120
Speaker 3: kind of wanted to make I definitely wanted to make

665
00:34:50,160 --> 00:34:55,000
Speaker 3: it like sugary anthemic in the context of my music anyway,

666
00:34:55,680 --> 00:34:59,920
Speaker 3: kind of like up energetically and immediate, but also like

667
00:35:00,160 --> 00:35:02,600
Speaker 3: the second verse of that song is about like being

668
00:35:02,640 --> 00:35:05,760
Speaker 3: a twenty five year old in Bay Ridge day drinking

669
00:35:05,880 --> 00:35:10,319
Speaker 3: with retired bus drivers and like like dudes that were

670
00:35:10,360 --> 00:35:15,279
Speaker 3: like and like you know, locking myself in bathrooms doing cocaine,

671
00:35:15,440 --> 00:35:17,319
Speaker 3: being afraid some guy was going to come in and

672
00:35:17,360 --> 00:35:19,640
Speaker 3: like you know, you know, get me out. Of the

673
00:35:19,680 --> 00:35:22,920
Speaker 3: stall or whatever like that. Look, if you hear that

674
00:35:23,040 --> 00:35:26,120
Speaker 3: and you think that that sounds cool, I have some

675
00:35:26,200 --> 00:35:28,640
Speaker 3: places I might want to direct you to because I

676
00:35:28,719 --> 00:35:30,759
Speaker 3: promise you like that's that was not the point of

677
00:35:30,760 --> 00:35:32,399
Speaker 3: putting that in that song was to be like I'm

678
00:35:32,400 --> 00:35:36,040
Speaker 3: a badass. It's more to be like, how scary from

679
00:35:36,200 --> 00:35:39,239
Speaker 3: from the present moment the thought of engaging in that

680
00:35:39,280 --> 00:35:43,480
Speaker 3: reality of that reality today has become for me and

681
00:35:43,520 --> 00:35:47,279
Speaker 3: the idea of like, oh yeah, well totally. But some

682
00:35:47,360 --> 00:35:50,160
Speaker 3: listeners also think Born in the USA is like a

683
00:35:50,320 --> 00:35:52,480
Speaker 3: pro Reagan, pro Trump or whatever.

684
00:35:52,640 --> 00:35:55,280
Speaker 2: Yeah, yeah, but that's my And even my friend Jess

685
00:35:55,360 --> 00:35:57,279
Speaker 2: was like, didn't really listen to the lyrics at all

686
00:35:57,320 --> 00:35:59,480
Speaker 2: and admitted like I do. I'm not really a lyric person.

687
00:35:59,520 --> 00:36:02,200
Speaker 2: I'm a beat person, but like she gets choruses sometimes.

688
00:36:02,280 --> 00:36:05,239
Speaker 2: So has anyone ever come up to you and been like, yeah,

689
00:36:05,239 --> 00:36:07,640
Speaker 2: oh that's not rock dude, like casual, oh.

690
00:36:07,480 --> 00:36:09,680
Speaker 3: One hundred dude, people come up. We have another song

691
00:36:09,719 --> 00:36:14,640
Speaker 3: that's in my again in context and to scale in

692
00:36:14,680 --> 00:36:17,320
Speaker 3: my little corner of the playground. One of our best

693
00:36:17,400 --> 00:36:20,680
Speaker 3: known songs, which is called Ballgame, which was like a

694
00:36:20,800 --> 00:36:23,880
Speaker 3: twenty three year old very much in it sort of

695
00:36:23,920 --> 00:36:27,480
Speaker 3: like wrestling with the nature of being in it in

696
00:36:27,520 --> 00:36:31,440
Speaker 3: a very uncoded linguistic way. It's one of the most

697
00:36:31,440 --> 00:36:35,279
Speaker 3: direct songs I've probably it's very straightforward, and there are

698
00:36:35,280 --> 00:36:38,759
Speaker 3: people who've literally been like, yeah, like I remember show

699
00:36:38,800 --> 00:36:41,960
Speaker 3: in Boston, was this dude being like baw gap and

700
00:36:42,120 --> 00:36:44,520
Speaker 3: like he was like shit faced. Like well like some

701
00:36:44,800 --> 00:36:47,360
Speaker 3: like fatom our friend, like Fatim who runs these pizza

702
00:36:47,360 --> 00:36:50,279
Speaker 3: restaurants in Brooklyn. He'll he'll sometimes just say to me,

703
00:36:50,280 --> 00:36:52,880
Speaker 3: he's like super dry. There was a guy who was

704
00:36:52,920 --> 00:36:55,600
Speaker 3: like blackout drunk who was just kept going during the show.

705
00:36:55,640 --> 00:37:01,239
Speaker 3: Anytime it was quiet, He's like, that's ballgame. And then

706
00:37:01,320 --> 00:37:05,000
Speaker 3: like some people would like put like tall boys at

707
00:37:05,040 --> 00:37:07,360
Speaker 3: my feet while I was like playing the show, and

708
00:37:07,360 --> 00:37:09,359
Speaker 3: I'm like, yo, this song is about a person who

709
00:37:09,440 --> 00:37:11,200
Speaker 3: like is like am I an alcoholic?

710
00:37:11,560 --> 00:37:17,040
Speaker 2: And you're like, yeah, got you Broyea exactly exactly. See,

711
00:37:17,040 --> 00:37:18,560
Speaker 2: That's that's that's what I was hoping for.

712
00:37:18,640 --> 00:37:18,920
Speaker 3: I mean, I.

713
00:37:20,400 --> 00:37:22,440
Speaker 2: Was like, I was like, it has to happen, like

714
00:37:22,600 --> 00:37:24,920
Speaker 2: and Born in the USA is the is the greatest

715
00:37:25,000 --> 00:37:25,719
Speaker 2: version of it.

716
00:37:25,800 --> 00:37:26,480
Speaker 3: It's the best.

717
00:37:26,880 --> 00:37:30,160
Speaker 2: It's such a good like so still to this day,

718
00:37:30,239 --> 00:37:32,680
Speaker 2: people completely missed the context of it, and all like

719
00:37:32,760 --> 00:37:35,680
Speaker 2: that must happen all the time. I want to make

720
00:37:35,719 --> 00:37:37,719
Speaker 2: it like a playlist of all the songs that people

721
00:37:37,800 --> 00:37:38,960
Speaker 2: get wrong for that reason.

722
00:37:39,400 --> 00:37:42,680
Speaker 3: That would be a fun, little chancey side project we

723
00:37:42,719 --> 00:37:46,839
Speaker 3: could put together. Side quest, Well, what do you think

724
00:37:46,920 --> 00:37:50,400
Speaker 3: case you've chanced this appropriately.

725
00:37:50,120 --> 00:37:52,319
Speaker 2: Yes, I and I want to just encourage people to

726
00:37:52,360 --> 00:37:54,560
Speaker 2: listen to your songs because now they're stuck in my head.

727
00:37:54,600 --> 00:37:56,000
Speaker 2: You're the shaboozy of my life.

728
00:37:56,120 --> 00:37:58,480
Speaker 3: I'm the shaboozie of your life. And that's the kind

729
00:37:58,560 --> 00:38:01,719
Speaker 3: of thing that he says to me on camera and

730
00:38:01,800 --> 00:38:03,919
Speaker 3: off camera, onke and.

731
00:38:03,960 --> 00:38:05,920
Speaker 2: Off on the streets and in the sheets.

732
00:38:06,280 --> 00:38:13,920
Speaker 3: If you're listening right now, eighty is still high. Well

733
00:38:13,960 --> 00:38:15,480
Speaker 3: all right. So the end of the result is like

734
00:38:15,600 --> 00:38:17,959
Speaker 3: this song's fine, and also like we're a little worried

735
00:38:17,960 --> 00:38:20,080
Speaker 3: about the youth of today, but also like the world

736
00:38:20,200 --> 00:38:20,680
Speaker 3: is not us.

737
00:38:21,040 --> 00:38:22,960
Speaker 2: And going back to the bridge, you know, the thing is,

738
00:38:23,280 --> 00:38:26,600
Speaker 2: I don't expect a great bridge from hip hop sometimes,

739
00:38:26,800 --> 00:38:29,799
Speaker 2: but I do expect a great bridge from country music.

740
00:38:29,840 --> 00:38:30,400
Speaker 2: Good country.

741
00:38:30,480 --> 00:38:34,760
Speaker 3: That's a great way of tying this room together. These

742
00:38:34,840 --> 00:38:38,799
Speaker 3: are the perils, perhaps of this kind of homogenization of

743
00:38:38,840 --> 00:38:42,160
Speaker 3: all things country music, sometimes the bridge is the best part.

744
00:38:43,160 --> 00:38:45,239
Speaker 3: And I hip hop, I don't even care if there's

745
00:38:45,239 --> 00:38:47,160
Speaker 3: a bridge. Most of the time, it's not something that

746
00:38:47,239 --> 00:38:50,160
Speaker 3: it's not like built in the same way structurally. I

747
00:38:50,200 --> 00:38:51,680
Speaker 3: feel like it's a different animal.

748
00:38:51,800 --> 00:38:53,800
Speaker 2: But uh, if they do it and they're very aware,

749
00:38:53,840 --> 00:38:58,400
Speaker 2: they're literally like, take it to the bridge. Yeah yeah,

750
00:38:58,640 --> 00:39:01,840
Speaker 2: they literally say that. Timblands like, no, it comes the bridge.

751
00:39:02,080 --> 00:39:04,440
Speaker 3: Yeah yeah, yeah, yeah. I always wanted with that and

752
00:39:04,480 --> 00:39:06,959
Speaker 3: then we can stop. But is that was that him

753
00:39:07,000 --> 00:39:12,399
Speaker 3: like cueuing someone like that in that song noted hip

754
00:39:12,400 --> 00:39:16,239
Speaker 3: hop artist Justin Timberlake. Was that him cueing him like

755
00:39:16,440 --> 00:39:18,280
Speaker 3: vocally like, yo, now's the bridge?

756
00:39:18,480 --> 00:39:21,160
Speaker 2: Or is that him being I think it's a it's

757
00:39:21,200 --> 00:39:23,440
Speaker 2: it sort of probably started with a band leader like

758
00:39:23,480 --> 00:39:24,879
Speaker 2: a James Brown.

759
00:39:24,880 --> 00:39:27,680
Speaker 3: A hundred yes, I keep doing it. My mom is right,

760
00:39:27,760 --> 00:39:29,799
Speaker 3: I keep saying one hundred percent. I really have to

761
00:39:29,840 --> 00:39:35,680
Speaker 3: work on this. Yeah, one thousand p A million percentage points, dude.

762
00:39:35,480 --> 00:39:38,000
Speaker 2: A mill So I actually I kind of I don't

763
00:39:38,000 --> 00:39:39,920
Speaker 2: remember what song, but I think that there was a

764
00:39:40,000 --> 00:39:42,800
Speaker 2: tune that a person said take it to the chorus

765
00:39:42,880 --> 00:39:44,880
Speaker 2: or ticket to like, and I think it was he

766
00:39:45,000 --> 00:39:48,799
Speaker 2: was almost referencing that, borrowing it, sampling it. And but

767
00:39:48,920 --> 00:39:50,680
Speaker 2: I think it started with sort of an R and

768
00:39:50,719 --> 00:39:53,560
Speaker 2: B or or like a James Brown type that I

769
00:39:53,560 --> 00:39:55,719
Speaker 2: think that's calling his band out for it.

770
00:39:56,360 --> 00:39:58,680
Speaker 3: I think that's right, that makes sense, And.

771
00:39:58,640 --> 00:40:01,239
Speaker 2: Like when Sublime would be like, you know.

772
00:40:01,480 --> 00:40:08,160
Speaker 3: I don't practice santoria. Yah, Daddy's got a new body.

773
00:40:08,400 --> 00:40:13,839
Speaker 2: Far all that. Thanks for giving us a chance. See

774
00:40:13,880 --> 00:40:21,799
Speaker 2: your next crime, Just give it