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Speaker 1: Look Mayer, Oh, I see you my own look over

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Speaker 1: there is that culture. Yes, goodness, Wow, lost culture ding,

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Speaker 1: Lost Culture.

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Speaker 2: Lisa is calling, Wow, I wake up.

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Speaker 3: I get on the zoom, I see my sister, and

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Speaker 3: I say, you know, I really don't fellowship with these

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Speaker 3: fake ones.

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Speaker 2: I'm telling you right now. Fellowship with the fake ones?

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Speaker 2: Is this Matt Rodgers original. It's not what if you're

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Speaker 2: not listening to Cowboy Carter. See, this is such a

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Speaker 2: lyrically and sonically dense album that I'm still kind of

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Speaker 2: getting off books even though it's been the only thing

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Speaker 2: I've been playing for the last what ninety six hours,

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Speaker 2: I identify with like fellowship with these fake ones. It

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Speaker 2: sounded familiar obviously, and you know, I went, but maybe

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Speaker 2: my girl came up with that. But it's my other girl.

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Speaker 3: It's your other girl, of course, Beyonce Noles Carter, Missus Carter, herself,

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Speaker 3: the Cowboy Carter, who has released her eighth studio album,

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Speaker 3: Cowboy Carter, as you all know.

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Speaker 2: Readers, Katie's publicist and finalists.

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Speaker 3: But yes, I don't fellowship with these fake ones. Is

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Speaker 3: something that jumped out on the record.

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Speaker 2: Is that American requiem that sounds like it American record. Now,

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Speaker 2: what is that from? See?

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Speaker 3: And even I can't say necessarily it's from because like,

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Speaker 3: are you checking?

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Speaker 2: Yeah, Oh, Becca's right, it is Daughter's.

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Speaker 3: By the way, and we'll get to these songs like

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Speaker 3: but it's like you said, it's not like any of

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Speaker 3: the regular pop girly albums where it's like, oh, I

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Speaker 3: can turn it on. I can easily digest these thirteen

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Speaker 3: songs if that, and then come on here and be like,

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Speaker 3: you know, it feels it feels crazy to be like

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Speaker 3: album of the year, But show me the album of

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Speaker 3: the year if it's not this.

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Speaker 2: No, I mean it's I'm ready to say that it's

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Speaker 2: her best album. I am too, even though you know

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Speaker 2: I have a fucking gorilla grip on four Emo.

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Speaker 3: There's a full size shape in my heart. I've been

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Speaker 3: clutching onto four for the past. God, what's it been

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Speaker 3: twenty eleven? So that's thirteen years. I thought you were

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Speaker 3: just gonna say, God, what's it been twenty years? And

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Speaker 3: I literally bowen. There was a chill that ran up

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Speaker 3: my spine. It's creeping up there. It's not that far

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Speaker 3: away from twenty twenty eleven. Oh my god, that is surreal.

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Speaker 3: I mean, yeah, like this is I mean, it's all things.

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Speaker 3: It's experimental, yet it also feels like very at the

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Speaker 3: heart of who she is. It does land squarely in

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Speaker 3: the country album a country genre rather, but as she said,

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Speaker 3: it is a Beyonce album through and through. Fans of

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Speaker 3: hers will recognize so much of this from the beginning.

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Speaker 3: It somehow is like, yes, it's presented as this country album,

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Speaker 3: and it is in the country genre, but it's also everything.

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Speaker 3: It's got blues, funk, pop wrap. It has everything, and

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Speaker 3: it's also it feels like it's from the future and

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Speaker 3: also a throwback simultaneously.

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Speaker 2: Just what more could you want? Let's just get into it.

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Speaker 2: Should we do track by track?

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Speaker 3: Let's attempt let's a time because as you said, I'm

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Speaker 3: with you, like it's hard even when it's.

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Speaker 2: Been on ad nauseum.

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Speaker 3: Yes, yes, so Ariana Grande had her two weeks with me,

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Speaker 3: you know what I mean, Like I had my eternal

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Speaker 3: sunshined moment and now I'm cowboy Carter and then you know,

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Speaker 3: in a couple of weeks when another one of the

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Speaker 3: pop gurly stomps.

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Speaker 2: In, We're gonna stay. We'll be rotating out.

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Speaker 3: But these albums will always be here in the lexicon

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Speaker 3: of my musical heart.

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Speaker 2: M Well, you know this is scheape, It's it's Everyone

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Speaker 2: is already kind of marking this as a big pop

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Speaker 2: early year. I think we haven't seen this kind of

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Speaker 2: pop early year since the year that we are going

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Speaker 2: to excavate later on. We're getting back to it, everybody,

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Speaker 2: don't worry. Yes, twenty thirteen was kind of the last

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Speaker 2: big watershed year for this. I would say twenty eleven,

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Speaker 2: speaking of four, that was the same You're Born this

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Speaker 2: Way came out, So let's just let's not discount that either.

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Speaker 2: I don't think it can be discounted.

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Speaker 3: I also will say that I looked at the doc

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Speaker 3: which you so generously prepared for twenty thirteen, and I

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Speaker 3: did see one album it rhymes with smart pop, and

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Speaker 3: I got really excited.

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Speaker 2: So we'll get there.

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Speaker 3: Before we get into cowboy patter, I do want to say,

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Speaker 3: as you all know, the lccas the last Coltrisa's Cultural

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Speaker 3: Awards have been announced. You may have seen our preview

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Speaker 3: with parvity, our little trailer for the show, and if

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Speaker 3: you're listening right now, you actually can get tickets today

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Speaker 3: with promo code colch c U l TCH. See our

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Speaker 3: social media for directions on how to buy tickets. But

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Speaker 3: if you are listening today, you do have access to

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Speaker 3: tickets now with promo code culch.

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Speaker 2: It's June fifteenth at the King's Theatre. We're so excited.

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Speaker 2: If you go to King's theaterr dot com King's Theater, Yeah,

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Speaker 2: you can access tickets through Live Nation and use that

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Speaker 2: promo code culch. We're so excited for that award show.

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Speaker 2: There are going to be many surprises in store. Yeah,

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Speaker 2: and mm hmm. Can we quickly just give praise and

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Speaker 2: thanks to poverty shallow for showing up. Absolutely for showing

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Speaker 2: up and glowing. You know me and you saw me

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Speaker 2: that day. I was very flustered. I don't get very

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Speaker 2: starstruck around people, but that was it was our So

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Speaker 2: everyone who's like Parvety needs to be on the pod.

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Speaker 2: She's been on the pod. She has been on the pod,

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Speaker 2: and some might say even she might say that her

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Speaker 2: being on the pod in twenty twenty was a very

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Speaker 2: big moment for her in terms of her awareness of

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Speaker 2: being a gay icon. She's saying it, not us, she's

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Speaker 2: saying it, and we've been out here keeping for Parvety

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Speaker 2: in the gayest way possible, you know, before a lot

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Speaker 2: of other First first to give credit, Aaron Jackson is

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Speaker 2: the original gay Survivor megafan. Yes, yeah, totally. She showed

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Speaker 2: up and I was so not nervous but just like

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Speaker 2: skittishly overjoyed. She is so infectious. She is so charming.

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Speaker 2: She does just flirt with you. Yeah, And by flirt

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Speaker 2: with you, I mean she like she really just like

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Speaker 2: draws you in and like she like, I'm so happy

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Speaker 2: that she had such a sense of humor about me

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Speaker 2: doing an impression of her doing a cameo because because

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Speaker 2: I told her that I watched Parveties. She's the only

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Speaker 2: person whose cameos I watch for like ASMR comfort because

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Speaker 2: they're so comforting. The way she like talks to the camera.

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Speaker 2: She's like, hey, Janine, it's Parvety from Survivor. She's already

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Speaker 2: from the Survivor. And I heard that you have a

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Speaker 2: birthday coming up. That's amazing. I had my birthday a

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Speaker 2: few months ago. It was really good. So I hear

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Speaker 2: that you loved skydiving. That's really scary. Must be very

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Speaker 2: that's harv. That's the magic and beauty of parv and wow,

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Speaker 2: she gave us lots of fun tea from the set

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Speaker 2: of Traders season.

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Speaker 3: Yes, it's what you're saying. It's like she comes in

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Speaker 3: and it's like you can't help but like smile.

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Speaker 2: And giggle you know what I mean, Like you get it,

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Speaker 2: you got it. I was giggly af But that was

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Speaker 2: a very fun day. Props to Disco Net Productions, to

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Speaker 2: Lauren Mandell for putting it together.

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Speaker 3: And we can't wait to see you. You can see

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Speaker 3: more to come, more to come, much more wizardry to come.

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Speaker 3: Speaking of sorcery, let's get into it. Let's get into

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Speaker 3: Cowboy Carter this episode, Cowboy Carter more like cowboy culture.

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Speaker 3: To get through the Sentince, can you tell I rehearsed

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Speaker 3: that you did Cowboy Carter more like cowboy culture?

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Speaker 2: You had that back pocket? Wow, my girl. Listen, she's

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Speaker 2: a writer. She's a writer, she's a performer. Someone's been writing.

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Speaker 2: Matt Rogers has been writing again. Okay.

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Speaker 3: Did you ever see that review of The Gilded Age

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Speaker 3: when it was like Julian Fellows has been typing again?

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Speaker 2: I think that's what it was. It's a great, great

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Speaker 2: little bit.

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Speaker 3: So speaking of America, where the guilded Age just set.

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Speaker 3: The first track on Cowboy Cartter is American Requiem.

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Speaker 2: Wow, what a moment, perfect opener, and I think American

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Speaker 2: Requiem and Amen as the opener en closer work individually,

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Speaker 2: obviously work com paired together as a men kind of

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Speaker 2: recalls that sort of opening so beautiful and hunting. I

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Speaker 2: mean there's like a melancholy throughout the album that like

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Speaker 2: is immediately set in the beginning with this track. Yeah,

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Speaker 2: it's just these like these huge gospel harmonies.

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Speaker 3: And you know, I think that, like, especially with the

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Speaker 3: knowledge that everyone had this is going to be this

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Speaker 3: country album, I think everyone was sort of really anxious

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Speaker 3: to see what that really meant. Was it going to

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Speaker 3: be traditional country, was it going to be contemporary country?

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Speaker 3: What angle was she gonna take with this? Because honestly,

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Speaker 3: Texas Hold Him in sixteen Carriages suggested that it could

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Speaker 3: be either you know what, or it could be anything,

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Speaker 3: because sixteen Carriages is this big moment, and I just

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Speaker 3: remember hearing that and thinking, oh, I can't wait to

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Speaker 3: feel this in a stadium, these like big sounds and

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Speaker 3: this big vocal and then Texas Hold Him is very

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Speaker 3: much like a fun, easy hooky country.

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Speaker 2: Song, and so what are we getting?

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Speaker 3: And then American Requiem starts and it's these huge, big

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Speaker 3: gospel vocals and harmonies, and you get that this is

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Speaker 3: gonna be really a nod to the roots of the

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Speaker 3: country genre, which is really what this is. She is

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Speaker 3: throwing it all the way back to the beginnings of

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Speaker 3: this and the beginnings of her in many ways, because

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Speaker 3: you feel with every note of this song that this

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Speaker 3: is authentic to her and that this is something that.

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Speaker 2: Almost like she's been waiting to sing, you know, you

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Speaker 2: get that. Yeah, Well, let's talk about the fact that

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Speaker 2: this was supposed to come out after Lemonade or after Homecoming,

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Speaker 2: you know, whatever the chronology you want to see, the

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Speaker 2: first of the trilogy was intended to be this. Yes, yeah,

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Speaker 2: it's pretty incredible that she like had this whatever the

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Speaker 2: grand vision for this album was at whatever stage, Like

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Speaker 2: I think obviously, like the two eyes being peppered throughout

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Speaker 2: the track list are like yes, obviously not to like

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Speaker 2: act too, and like who knows like how pre planned

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Speaker 2: that was. I mean obviously like after Renaissance comes out,

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Speaker 2: like they like might have thought of those throughout the

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Speaker 2: track list. But she says that she she was like

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Speaker 2: trusting God's timing with this, and like that shows an

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Speaker 2: immense patience and restraint and like wanting to get this right,

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Speaker 2: wanting this to impact properly, wanting this to tell her

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Speaker 2: story properly. I think, like this is the thing about Beyonce.

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Speaker 2: It's like someone on TikTok was saying, she is like

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Speaker 2: a utopian artist. She has always been a utopian artist.

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Speaker 2: That her work has always been hopeful, but there's something

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Speaker 2: beyond hope, beyond singing about hope. It's about giving people

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Speaker 2: a blueprint for like how to live in a better world,

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Speaker 2: especially in a world that is like hostile towards you,

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Speaker 2: hostile towards so many people, everybody at this point that

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Speaker 2: American requiem and then with a man as the closer,

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Speaker 2: like they are leaving things on a note of like

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Speaker 2: the statues that were built were like beautiful but made

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Speaker 2: of lies and like built off the backs of people

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Speaker 2: and my people, and there is something like to build

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Speaker 2: out in the future, like Beyonce. Like at this point

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Speaker 2: I was talking to my to Jake, you know, Jake,

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Speaker 2: the guy who cuts my hair. He's like the biggest

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Speaker 2: Prince fan ever, right, And then I got a haircut

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Speaker 2: with him yesterday and I was like, we were talking

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Speaker 2: about this album, and I was like, I'm asking you

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Speaker 2: as a Prince fan, like I am wondering if you

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Speaker 2: think Beyonce has like reached maybe even exceeded that thing

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Speaker 2: that Prince did where it's like he is a symbol,

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Speaker 2: that he's more of a symbol than an individual person.

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Speaker 2: And obviously like these are both like amazing artists, but

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Speaker 2: like people with like immense visions for the pop landscape,

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Speaker 2: the artistic landscape, the like American landscape, and like you know,

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Speaker 2: Lemonade was like her Purple ragin in a lot of ways,

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Speaker 2: like God, I love Lemonade the way you said, oh

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Speaker 2: I love Lemonade was. But like I think Beyonce has

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Speaker 2: like modeled a lot after Prince. Remember Formation World Tour,

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Speaker 2: that show we went to where like it was right

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Speaker 2: after he passed away, and then she like wasn't even

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Speaker 2: on stage doing.

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Speaker 3: She fucking destroyed Purple Range. She destroyed Purple I don't

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Speaker 3: think she was on stage for that. I think there

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Speaker 3: was a performance where she did it and she killed

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Speaker 3: it and then she're right, she just let it play.

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Speaker 2: She just let it. But then she was like wailing

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Speaker 2: on that guitar like yeah, or just on like the

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Speaker 2: like that that ending. Anyway, Jake was like, you know,

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Speaker 2: I mean I might have like led the question, but

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Speaker 2: Jake was like, no, I think I think she has.

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Speaker 2: I think she has like blown past any prior model

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Speaker 2: of like a pop star and a visual artist in

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Speaker 2: like music. We'll get to like the Beatles and Dolly

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Speaker 2: Parton and like all these people later, but like we're

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Speaker 2: only we're still in track one, but like American rec Raem,

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Speaker 2: it's like the clearest statement of her like utopian thing

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Speaker 2: of her, Like even like on Lemonade, like All Night

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Speaker 2: Formation is the closer, but All Night Being I consider

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Speaker 2: like the last song, and it is like out of

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Speaker 2: like this devastating betrayal, like she still has this like

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Speaker 2: design for like how to heal from this, And I'm like,

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Speaker 2: that is Beyonce in a nutshell to me.

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Speaker 3: And I also think it's so interesting with her because

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Speaker 3: you know that she comes to this project with so

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Speaker 3: much purpose, but really album to album, you do you

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Speaker 3: get the sense that.

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Speaker 2: Yes, she knows.

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Speaker 3: I think she's so aware of the fact that she's

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Speaker 3: so meaningful and that she is in her ambition equally

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Speaker 3: as talented, and she can achieve so much and she

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Speaker 3: can mean so much. But also you get with each

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Speaker 3: body of work that she's just trying to expand herself,

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Speaker 3: you know what I mean, She's just trying to execute

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Speaker 3: whatever the vision is at that moment. And I also

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Speaker 3: think it's important here when we're talking about American requiem

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Speaker 3: to define what does that really mean? And requiem by

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Speaker 3: definition means a mass for the repose of the souls

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Speaker 3: of the dead. It's an act of token, a remembrance,

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Speaker 3: you know what I mean. And so American Requiem, she

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Speaker 3: is saying, I am exhuming, Yeah, those that have been

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Speaker 3: forgotten in this type of landscape, and this is going

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Speaker 3: to be a tribute, but it's also going to be

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Speaker 3: a celebration, and it's going to be a reminder. It's

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Speaker 3: going to be all three of those things at the

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Speaker 3: same time. And I think when in your comparison with

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Speaker 3: her and Prince, it's like be able to confidently make

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Speaker 3: that statement at the top, you know what I mean,

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Speaker 3: like mission statement, we are bringing this back like country

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Speaker 3: music is for us, it is for me, and I'm

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Speaker 3: bringing everyone with me, and I'm elevating everyone else, because

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Speaker 3: you know what follows is Blackbird, where she's got these

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Speaker 3: black women in country music on this record with her,

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Speaker 3: and now you see the result is all these women

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Speaker 3: are charting, all these women.

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Speaker 2: Are now names.

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Speaker 3: And in fact, that was the original intent of the

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Speaker 3: song Blackbird, which Paul McCartney, you know, he apparently said

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Speaker 3: that his vision for Blackbird was that black women would

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Speaker 3: sing it together and that that would be like the

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Speaker 3: way that that song could be actualized in its best form.

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Speaker 3: And Here'sance doing it and coming out of American Requiem.

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Speaker 3: I just think that's very special, and it's a beautiful

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Speaker 3: rendition of the song.

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Speaker 2: It's a gorgeous rendition of the song. I think between

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Speaker 2: the covers, the two covers, this is the one that

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Speaker 2: I prefer wildly. We'll talk about Jolie, Yeah, we'll get

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Speaker 2: to it. Yeah. But they talked to one of the

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Speaker 2: Little Rock Nine women and like wanted her reaction to

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Speaker 2: Blackbird being covered by Beyonce, and she was like, you know,

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Speaker 2: obviously huge thing for Paul McCartney and Johnlennon to like

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Speaker 2: write this song about us at the time, but then

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Speaker 2: it has this like emotionally crazy for this woman because

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Speaker 2: It's like I never thought the biggest star in the

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Speaker 2: world would be a black woman who would then full

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Speaker 2: circle like bring this song back out and it has

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Speaker 2: an extra meaning to it. Yes, And she said, you know,

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Speaker 2: when Beyonce sing something, people listen, and I think, like,

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Speaker 2: just to go back to American requiem, it's like, can

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Speaker 2: you hear me? Can you hear me? Like whatever the

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00:17:03,320 --> 00:17:10,080
Speaker 2: country establishment, however, they respond to this album. They have

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Speaker 2: no choice but to listen but to hear this statement,

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Speaker 2: and like, I think that is enough, Like that is

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Speaker 2: enough for Beyonce to do so that like it cannot

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Speaker 2: help but be noticed. And I think like Blackbird is

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Speaker 2: a beautiful thing to come out of that first song

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Speaker 2: with like you said.

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Speaker 3: And also we should say the women on this song

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Speaker 3: are Britney Spencer, Rainer Roberts, Tanner Adell, and Tierra Kennedy

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Speaker 3: and they they all sound amazing. And you know, I

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Speaker 3: think when it comes to country music's acceptance relationship with

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Speaker 3: dismissal of her in this genre, her with this project,

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Speaker 3: it actually really doesn't matter what quote unquote country music

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Speaker 3: thinks of this album, because what that says and what

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Speaker 3: that denotes is that they're actually.

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Speaker 2: Right full gatekeepers of.

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Speaker 3: This genre and they are not. And so that, I

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Speaker 3: guess is the thing like when you talk about why

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Speaker 3: this project even exists, and she says herself, she had

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Speaker 3: an experience in country music where it was clear she

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Speaker 3: was not welcome. She's obviously referencing the CMA Awards. When

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Speaker 3: this was years ago, she had released Daddy Lessons and

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Speaker 3: she went on the CMA Awards with the Chicks to

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Speaker 3: perform Daddy Lessons because the Chicks had been performing the

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00:18:37,600 --> 00:18:41,560
Speaker 3: song in concert. Natalie Mains allegedly was obsessed with Lemonade

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00:18:42,160 --> 00:18:45,359
Speaker 3: and wouldn't stop talking about it. They were performing it

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Speaker 3: all the time, the song and Beyonce had heard of

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00:18:47,880 --> 00:18:51,679
Speaker 3: this and upon invitation there's a great oral history of

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00:18:51,680 --> 00:18:55,560
Speaker 3: this night by the way Vulture did it, And upon invitation,

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00:18:56,040 --> 00:18:58,320
Speaker 3: Beyonce said, I'll do it if I can do it

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Speaker 3: with the Chicks like great, absolutely so administratively at least

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Speaker 3: at the beginning, and in terms of like the way

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Speaker 3: they were producing the performance.

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Speaker 2: It seems fine.

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Speaker 3: There was all this positive energy around it, and they

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00:19:11,000 --> 00:19:13,040
Speaker 3: worked so hard to get it right, and they worked

345
00:19:13,080 --> 00:19:16,360
Speaker 3: so hard on the performance, and then it happens, and

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Speaker 3: I of course watched it again, and something that I

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00:19:20,400 --> 00:19:24,879
Speaker 3: noticed was it's a very Nashville country room, you know

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00:19:24,880 --> 00:19:29,359
Speaker 3: what I mean, Nashville country meaning people in that town

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Speaker 3: that create that genre in a popular sense. Nowadays, it's

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Speaker 3: a lot of Nashville songwriters and Nashville performers that run

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Speaker 3: that genre. And anyone coming in from the outside gets

352
00:19:41,440 --> 00:19:43,240
Speaker 3: like a cock guy, you know what I mean, Like

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Speaker 3: gets sort of like the stink.

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Speaker 2: Guy in a way.

355
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Speaker 3: And there she is, and I wish you can watch it.

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Speaker 3: She is getting the stink guy. Kenny Presny is there

357
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Speaker 3: with his sourpuss, you know. In that oral history, Alan

358
00:19:58,040 --> 00:20:01,680
Speaker 3: Jackson is referenced as having walked out in the middle

359
00:20:01,720 --> 00:20:04,000
Speaker 3: of the performance, like very rudely and saying like fuck

360
00:20:04,040 --> 00:20:07,480
Speaker 3: this or whatever. Some people there are giving her love

361
00:20:07,480 --> 00:20:09,720
Speaker 3: and attention, like Faith Hill is up at her seat,

362
00:20:09,720 --> 00:20:12,880
Speaker 3: clapping and enjoying it. And there's a moment where they

363
00:20:12,880 --> 00:20:16,560
Speaker 3: cut to Beyonce. There's a couple moments actually where Beyonce,

364
00:20:17,119 --> 00:20:20,479
Speaker 3: who energetically is fucking crushing it. But there's a little

365
00:20:21,080 --> 00:20:26,080
Speaker 3: tiny bit I sense, a little bit of nervousness, and

366
00:20:26,359 --> 00:20:30,000
Speaker 3: there's a moment, a couple moments where she actually blows

367
00:20:30,119 --> 00:20:33,560
Speaker 3: kisses to people in the audience in a way that

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00:20:33,600 --> 00:20:38,320
Speaker 3: she never really would And the only the only emotion

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00:20:38,440 --> 00:20:41,080
Speaker 3: I can really ascribe to her in that moment is

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Speaker 3: like there's a little bit of relief there in that

371
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Speaker 3: someone is giving her like love and attention and admiration

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Speaker 3: and respect for being there and being up there, especially

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Speaker 3: alongside the chicks who had been really cast out of

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Speaker 3: that entire genre and that entire you know, community, And

375
00:20:58,040 --> 00:21:01,560
Speaker 3: it just felt like, Wow, what that must have felt

376
00:21:01,600 --> 00:21:04,800
Speaker 3: like to work so hard on something and to perform

377
00:21:04,880 --> 00:21:08,880
Speaker 3: something that is so authentically her Daddy Lessons is authentically Beyonce,

378
00:21:09,400 --> 00:21:11,920
Speaker 3: and it's authentically who she is and where she comes from.

379
00:21:12,200 --> 00:21:15,800
Speaker 3: And to leave feeling like in any way like you

380
00:21:15,880 --> 00:21:20,000
Speaker 3: might not belong there had to be incredibly like dysmorphic

381
00:21:20,080 --> 00:21:22,480
Speaker 3: in a way. And then for her to take that

382
00:21:22,640 --> 00:21:26,080
Speaker 3: and be like, let me actually examine this feeling and

383
00:21:26,119 --> 00:21:29,520
Speaker 3: this response I got and make sure that I'm right

384
00:21:29,640 --> 00:21:32,000
Speaker 3: because I know I belong in that room. I know

385
00:21:32,119 --> 00:21:34,359
Speaker 3: this is my genre, I know these are my roots,

386
00:21:34,840 --> 00:21:39,080
Speaker 3: and she, in doing that, has created this and is

387
00:21:39,119 --> 00:21:42,760
Speaker 3: doing things like you know, American Requiem, Blackbird, the cover

388
00:21:42,840 --> 00:21:46,840
Speaker 3: of Joe Lene all these things, bringing people in, elevating

389
00:21:46,880 --> 00:21:51,160
Speaker 3: people and showing that like that response was bullshit and

390
00:21:51,240 --> 00:21:53,399
Speaker 3: the way she was treated was bullshit, and it was

391
00:21:53,440 --> 00:21:57,479
Speaker 3: bullshit for the CMA Awards after all the negative racist

392
00:21:57,520 --> 00:21:59,840
Speaker 3: shit that came out afterwards, for them to pull her

393
00:21:59,800 --> 00:22:03,240
Speaker 3: performance down off of YouTube, to pull all the promotional

394
00:22:03,280 --> 00:22:06,320
Speaker 3: aspects of her appearance off of YouTube, just like they

395
00:22:06,359 --> 00:22:08,639
Speaker 3: eventually did put it up because they were called out for,

396
00:22:08,840 --> 00:22:12,679
Speaker 3: you know, for what it was, but just the fact

397
00:22:12,680 --> 00:22:17,160
Speaker 3: that that was an experience she had to have. Thank

398
00:22:17,240 --> 00:22:19,119
Speaker 3: God she is the artist that she is and the

399
00:22:19,160 --> 00:22:20,920
Speaker 3: person that she is that she was able to create

400
00:22:20,960 --> 00:22:24,520
Speaker 3: something triumphant out of that and to really say to

401
00:22:24,560 --> 00:22:28,240
Speaker 3: everyone like, if you don't think I belong here, fuck you,

402
00:22:28,359 --> 00:22:30,880
Speaker 3: who do you think you are? And if you are

403
00:22:30,920 --> 00:22:33,760
Speaker 3: a country music person and you think you know better

404
00:22:33,800 --> 00:22:36,399
Speaker 3: than Willie Nelson and Dolly Parton, then I don't know.

405
00:22:36,480 --> 00:22:38,760
Speaker 2: Fucking yeeha. I guess as they say, good for you,

406
00:22:39,119 --> 00:22:39,760
Speaker 2: but you don't.

407
00:22:40,520 --> 00:22:43,120
Speaker 3: And I knew that she would bring in big guns

408
00:22:43,480 --> 00:22:45,960
Speaker 3: to like to shut everyone down. I had a feeling

409
00:22:46,000 --> 00:22:48,119
Speaker 3: it would be Garth Brooks, but it ended up being

410
00:22:48,119 --> 00:22:50,760
Speaker 3: Willie Nelson and Dolly Parton. And she just shut everybody

411
00:22:50,840 --> 00:22:53,919
Speaker 3: up with that. It's like, stop spinning out, Like the

412
00:22:54,400 --> 00:22:58,160
Speaker 3: literal godmother and godfather of this genre are fucking cool

413
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Speaker 3: with me smoking weed on my album, So shut up.

414
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Speaker 2: Mm hmm. That's a perfect way to sort of digesting

415
00:23:05,400 --> 00:23:08,720
Speaker 2: process all of that. Because and even like she mentions

416
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Speaker 2: like the like AO two I when later on the album,

417
00:23:12,560 --> 00:23:18,000
Speaker 2: like this is Beyonce. Petty is not the right word,

418
00:23:18,000 --> 00:23:21,600
Speaker 2: but this is Beyonce, like jilted. This is Beyonce like

419
00:23:21,680 --> 00:23:24,639
Speaker 2: sort of like like openly being like I'm a human being,

420
00:23:24,880 --> 00:23:28,960
Speaker 2: like I take these losses or this treatment. Like it's

421
00:23:29,000 --> 00:23:31,320
Speaker 2: not that she like is totally crushed by these things,

422
00:23:31,359 --> 00:23:35,080
Speaker 2: but it's like she is like like it lands on her, Yeah,

423
00:23:35,119 --> 00:23:37,760
Speaker 2: and she will do something with that, you know what

424
00:23:37,800 --> 00:23:40,200
Speaker 2: I mean. I like have this fantasy for the longest

425
00:23:40,200 --> 00:23:42,119
Speaker 2: time of like I don't think Beyonce really cares about

426
00:23:42,160 --> 00:23:44,280
Speaker 2: like the album of the year losses at the end

427
00:23:44,280 --> 00:23:46,040
Speaker 2: of the day, Like she is still like at the

428
00:23:46,080 --> 00:23:49,000
Speaker 2: end of the day, the most like decorated Grammy winner

429
00:23:49,359 --> 00:23:53,400
Speaker 2: ever and like ever all these things. But you're like, oh,

430
00:23:53,680 --> 00:23:56,040
Speaker 2: only in a song like and I'm getting ahead of myself,

431
00:23:56,080 --> 00:23:58,280
Speaker 2: but only in like a Joline is it, like do

432
00:23:58,320 --> 00:24:00,400
Speaker 2: you go? Well, it's not believable for Beyonce to feel

433
00:24:00,400 --> 00:24:03,720
Speaker 2: insecure about like to be like threatened by another woman,

434
00:24:03,720 --> 00:24:05,600
Speaker 2: because why would she, you know what I mean, And

435
00:24:05,640 --> 00:24:07,800
Speaker 2: so therefore you have to like change the POV and

436
00:24:07,840 --> 00:24:11,080
Speaker 2: have it be like I'm warning you don't come from amen. Otherwise,

437
00:24:11,160 --> 00:24:15,560
Speaker 2: Like there are little like intentionally presented moments of vulnerability

438
00:24:15,560 --> 00:24:19,040
Speaker 2: on this album that I think are pretty incredible and

439
00:24:19,080 --> 00:24:22,000
Speaker 2: also very country, very country that we haven't seen from

440
00:24:22,040 --> 00:24:26,439
Speaker 2: her since definitely since Lemonade. But I think like in

441
00:24:26,480 --> 00:24:28,680
Speaker 2: a way that is like that breaks the fourth wall

442
00:24:28,760 --> 00:24:32,240
Speaker 2: even further where it's like, oh no, she's talking about

443
00:24:32,240 --> 00:24:34,840
Speaker 2: her work. She's talking about the way she knows herself

444
00:24:34,880 --> 00:24:37,439
Speaker 2: as an artist, and like this is the thing that

445
00:24:37,440 --> 00:24:39,960
Speaker 2: we keep coming back to, like in our personal lives,

446
00:24:40,160 --> 00:24:41,800
Speaker 2: Matt and I. But it's like, no one can tell

447
00:24:41,800 --> 00:24:43,479
Speaker 2: you who you are. You don't negotiat who you are

448
00:24:43,520 --> 00:24:46,119
Speaker 2: with other people, Like she is not negotiating who she

449
00:24:46,200 --> 00:24:48,399
Speaker 2: is with other people, and I think through this album

450
00:24:48,440 --> 00:24:52,800
Speaker 2: she is refusing to let other people evaluate her art.

451
00:24:53,080 --> 00:24:57,000
Speaker 3: M Yes, I mean she even said the other night

452
00:24:57,080 --> 00:24:58,680
Speaker 3: or it was last night, I think I heard a

453
00:24:58,680 --> 00:25:00,919
Speaker 3: word on Monday. I heard a word she talked about

454
00:25:00,920 --> 00:25:03,560
Speaker 3: like how criticism can really be a test of your

455
00:25:03,600 --> 00:25:07,399
Speaker 3: mental health. Like even she has had to rise above

456
00:25:08,040 --> 00:25:12,320
Speaker 3: that type of thing, and she, you know, the noise

457
00:25:12,400 --> 00:25:15,399
Speaker 3: does get to her when she continually loses Album of

458
00:25:15,440 --> 00:25:19,200
Speaker 3: the Year despite having released the Album of the Year

459
00:25:19,440 --> 00:25:23,920
Speaker 3: several times now, it feels like they're testing her.

460
00:25:23,840 --> 00:25:25,320
Speaker 2: And pushing her. Yes.

461
00:25:25,440 --> 00:25:30,400
Speaker 3: Yeah, and when you are Beyonce, thank you cutting back

462
00:25:30,440 --> 00:25:30,880
Speaker 3: to the view.

463
00:25:31,760 --> 00:25:35,399
Speaker 2: When you are Beyonce, that is your reality, you know

464
00:25:35,440 --> 00:25:35,840
Speaker 2: what I mean?

465
00:25:35,880 --> 00:25:38,600
Speaker 3: Like I'm nominated again for Album of the Year, there's expectation,

466
00:25:39,119 --> 00:25:43,119
Speaker 3: I've done this level of work. I lose again and

467
00:25:43,240 --> 00:25:46,840
Speaker 3: again and again. You know, of course that's going to

468
00:25:46,880 --> 00:25:52,080
Speaker 3: be something that like psychologically, it's like, what do you mean?

469
00:25:52,160 --> 00:25:54,760
Speaker 3: What more can I do? What more can I do?

470
00:25:55,200 --> 00:25:58,240
Speaker 3: And I also think that kind of dovetails nicely into

471
00:25:58,240 --> 00:26:01,920
Speaker 3: the next song, which is sixteen Carriages, because she talks

472
00:26:01,960 --> 00:26:07,360
Speaker 3: about the very relatable universal thing of maybe this song

473
00:26:07,440 --> 00:26:11,159
Speaker 3: lyrically is not literal, but this idea that I have

474
00:26:11,320 --> 00:26:17,600
Speaker 3: had to work really fucking hard since I was young,

475
00:26:18,320 --> 00:26:21,360
Speaker 3: and it was on me a lot of the time.

476
00:26:21,400 --> 00:26:24,080
Speaker 3: Of course, I had help but I had to see

477
00:26:24,240 --> 00:26:28,280
Speaker 3: my family unit disintegrate. I had to lose friends, I

478
00:26:28,320 --> 00:26:31,240
Speaker 3: had to test myself. I had to deal with racism.

479
00:26:31,560 --> 00:26:35,359
Speaker 3: I had to and still like I'm here, you know

480
00:26:35,400 --> 00:26:37,679
Speaker 3: what I mean. I have arrived. This has been a

481
00:26:37,800 --> 00:26:41,600
Speaker 3: journey for me, and here is the story of my journey.

482
00:26:41,640 --> 00:26:45,800
Speaker 3: Here is the way I'm going to show you how

483
00:26:45,840 --> 00:26:49,399
Speaker 3: I've gotten through my adversity. And it's this great fucking

484
00:26:49,480 --> 00:26:53,280
Speaker 3: song that I know, Like everyone that was at renniss

485
00:26:53,320 --> 00:26:55,560
Speaker 3: I just thought about that same Renaissance crowd being at

486
00:26:55,600 --> 00:26:58,359
Speaker 3: the Cowboy Carter crowd and the response is going to

487
00:26:58,400 --> 00:26:59,240
Speaker 3: be the same.

488
00:26:59,560 --> 00:27:03,280
Speaker 2: Ye'll be the same. It's universal. It is pretty incredible

489
00:27:03,320 --> 00:27:05,720
Speaker 2: that these are so far act one enough. Two are

490
00:27:05,760 --> 00:27:09,600
Speaker 2: like I'm gonna say, lateral albums, like there is not

491
00:27:09,840 --> 00:27:15,439
Speaker 2: something totally like the ven diagram is mostly a circle here. Yeah,

492
00:27:15,480 --> 00:27:18,240
Speaker 2: it's like there is no reason why someone who likes

493
00:27:18,240 --> 00:27:20,639
Speaker 2: one album wouldn't like the other, at least to me

494
00:27:20,680 --> 00:27:23,440
Speaker 2: if you're a real Beyonce fan. And I'm not gatekeeping

495
00:27:23,640 --> 00:27:26,520
Speaker 2: real Beyonce fandom here obviously, but it's like you should

496
00:27:27,200 --> 00:27:31,560
Speaker 2: absolutely just appreciate both. I don't think she's gonna do

497
00:27:31,600 --> 00:27:34,240
Speaker 2: this sphere. I think she if she thinks this is

498
00:27:34,240 --> 00:27:36,560
Speaker 2: her best album ever, she will want to take it

499
00:27:36,600 --> 00:27:39,920
Speaker 2: around the world. Hm hmm. Yeah, that's a great point.

500
00:27:39,960 --> 00:27:40,560
Speaker 2: You know what I mean.

501
00:27:40,760 --> 00:27:43,440
Speaker 3: When there's smoke, there's fire with the sphere, I'm convinced

502
00:27:43,480 --> 00:27:44,120
Speaker 3: on something.

503
00:27:44,240 --> 00:27:47,480
Speaker 2: The fear that it's gonna be the sphere. Oh, this fear,

504
00:27:47,920 --> 00:27:50,200
Speaker 2: not the sphere, the sphere.

505
00:27:50,400 --> 00:27:55,760
Speaker 3: Yes, what I'm saying is where there's smoke, there's fire regarding.

506
00:27:55,560 --> 00:27:59,600
Speaker 2: The fear fear, Yes, yes, I think this fear that

507
00:27:59,600 --> 00:28:00,840
Speaker 2: it would be this sphere.

508
00:28:02,080 --> 00:28:02,240
Speaker 4: Yeah.

509
00:28:02,320 --> 00:28:04,159
Speaker 3: Me afraid are going back to Vegas because I know what,

510
00:28:04,200 --> 00:28:08,760
Speaker 3: I'll become fucking crazy whore if it's for Beyonce. This

511
00:28:08,880 --> 00:28:11,760
Speaker 3: you you need to be No, I want that to

512
00:28:11,800 --> 00:28:16,879
Speaker 3: be a pure watch me, bitch, hold my drink. Actually, don't,

513
00:28:17,000 --> 00:28:19,399
Speaker 3: I'll do shrooms. I won't like get drunk, you know

514
00:28:19,400 --> 00:28:19,880
Speaker 3: what I mean.

515
00:28:20,359 --> 00:28:23,800
Speaker 2: Even though it is like, oh, it's the Rodeo, it's

516
00:28:23,560 --> 00:28:24,960
Speaker 2: it's it's dirty.

517
00:28:24,960 --> 00:28:26,920
Speaker 3: It's gonna be a party atmosphere and you know what

518
00:28:26,920 --> 00:28:29,159
Speaker 3: I'm saying, It's like it's gonna be And that's another

519
00:28:29,160 --> 00:28:31,240
Speaker 3: thing is I was like, you know, having been to

520
00:28:31,560 --> 00:28:33,600
Speaker 3: Vegas so many times and after coming off my big

521
00:28:33,640 --> 00:28:38,200
Speaker 3: year of concerts, like this music is going to play

522
00:28:38,960 --> 00:28:44,120
Speaker 3: so well in such a big way. Sure, Like I

523
00:28:44,160 --> 00:28:48,000
Speaker 3: feel like the Sphere made a little bit more sense

524
00:28:48,040 --> 00:28:52,720
Speaker 3: to me upon listening. And then it's funny because like, well,

525
00:28:52,760 --> 00:28:54,960
Speaker 3: not with the next song I'm talking about actually Bodyguard,

526
00:28:54,960 --> 00:28:56,800
Speaker 3: which is later, but it was around Bodyguard where I

527
00:28:56,840 --> 00:28:59,520
Speaker 3: was like, actually, this album feels very Vegas to me,

528
00:28:59,720 --> 00:29:03,360
Speaker 3: like and it feels very like people from all over

529
00:29:03,400 --> 00:29:06,880
Speaker 3: the country being able to go to one place. Like,

530
00:29:07,840 --> 00:29:10,640
Speaker 3: but I do think you're right, like imagine reimagining the

531
00:29:10,640 --> 00:29:15,080
Speaker 3: sphere as a rodeo. There's something with the sphere. I

532
00:29:15,240 --> 00:29:18,480
Speaker 3: do think you are right. She will want to take

533
00:29:18,560 --> 00:29:21,400
Speaker 3: this around the world, but people from all around the

534
00:29:21,400 --> 00:29:23,080
Speaker 3: world do go to Vegas.

535
00:29:23,080 --> 00:29:25,959
Speaker 2: So it's like, I don't know, I don't know what

536
00:29:26,000 --> 00:29:26,520
Speaker 2: that looks like.

537
00:29:26,600 --> 00:29:29,040
Speaker 3: It just felt to me at several different parts of

538
00:29:29,080 --> 00:29:32,520
Speaker 3: this album like if there's ever to be a Beyonce

539
00:29:32,720 --> 00:29:36,600
Speaker 3: Vegas residency, this feels like it totally.

540
00:29:36,880 --> 00:29:37,800
Speaker 2: But I think you're.

541
00:29:37,720 --> 00:29:40,600
Speaker 3: Right that this feels international in a way and such

542
00:29:40,640 --> 00:29:42,120
Speaker 3: a moment of pride for her.

543
00:29:42,640 --> 00:29:44,520
Speaker 2: Yeah, we'll just leave it to her to decide how

544
00:29:44,520 --> 00:29:57,880
Speaker 2: she showcases that sixteen carriages. Honestly, it's about her sacrifice.

545
00:29:58,000 --> 00:30:00,800
Speaker 2: It ends it sort of. It comes back around to

546
00:30:00,920 --> 00:30:03,680
Speaker 2: like her being a mother now and her making her

547
00:30:04,480 --> 00:30:06,640
Speaker 2: choosing not to make the sacrifices in honor of like

548
00:30:07,160 --> 00:30:10,120
Speaker 2: tending to her family, which brings us to protect her.

549
00:30:11,320 --> 00:30:14,840
Speaker 2: I mean, beautiful, just beautiful, just.

550
00:30:14,800 --> 00:30:18,960
Speaker 3: To start with rumy, like, it's such a beautiful song.

551
00:30:19,400 --> 00:30:21,360
Speaker 3: And you know what I love about the whole beginning,

552
00:30:21,520 --> 00:30:23,040
Speaker 3: I guess i'll call it like the first act of

553
00:30:23,040 --> 00:30:25,440
Speaker 3: this album before we get to the smoke hour, is

554
00:30:25,480 --> 00:30:27,920
Speaker 3: that it almost tips back to the beginning of the

555
00:30:27,920 --> 00:30:30,000
Speaker 3: Renaissance World tour where she comes out and she gives

556
00:30:30,040 --> 00:30:31,600
Speaker 3: the ballads and she's like, yeah.

557
00:30:31,440 --> 00:30:32,719
Speaker 2: Almost like easing us in.

558
00:30:33,240 --> 00:30:35,320
Speaker 3: Like this whole first act of the album is her

559
00:30:35,360 --> 00:30:38,960
Speaker 3: just easing us in telling us stories, beautiful stories. And

560
00:30:40,200 --> 00:30:43,720
Speaker 3: that is such a cornerstone of country music as well,

561
00:30:43,800 --> 00:30:46,000
Speaker 3: is that it is the storytelling musical genre.

562
00:30:46,400 --> 00:30:49,720
Speaker 2: And she is just so beautifully and plainly.

563
00:30:51,120 --> 00:30:53,200
Speaker 3: Oh my god, I just thought of the line and

564
00:30:53,240 --> 00:30:56,000
Speaker 3: I'm gonna cry, Like and even though I know someday

565
00:30:56,000 --> 00:30:58,880
Speaker 3: you're gonna shine on your own, I will be your

566
00:30:58,920 --> 00:31:05,200
Speaker 3: projector like what a beautiful plain sentiment in a lyric.

567
00:31:05,720 --> 00:31:09,880
Speaker 3: The melody is gorgeous and it is so felt, you

568
00:31:09,880 --> 00:31:13,720
Speaker 3: know what I mean. Like she continues to be one

569
00:31:13,760 --> 00:31:18,640
Speaker 3: of the most vivid singers out there. And I say

570
00:31:18,640 --> 00:31:22,160
Speaker 3: that in you hear the love and the emotion and

571
00:31:22,200 --> 00:31:24,800
Speaker 3: the attention and the care in her voice. You know

572
00:31:24,840 --> 00:31:28,600
Speaker 3: what I'm saying. It's like, it's just stunning. It's beautiful.

573
00:31:29,160 --> 00:31:31,080
Speaker 2: Yeah. The first time I heard this, I see the

574
00:31:31,120 --> 00:31:35,000
Speaker 2: song titled Protector and just in like that run, like

575
00:31:35,120 --> 00:31:39,000
Speaker 2: just the the drop of the word projector was to

576
00:31:39,120 --> 00:31:42,960
Speaker 2: me like breathtaking. It was like obviously like with the

577
00:31:43,040 --> 00:31:46,240
Speaker 2: lead in and the lyrics like beautiful, beautiful lyric. But

578
00:31:46,280 --> 00:31:49,160
Speaker 2: I go, oh my god, I did not that was

579
00:31:49,200 --> 00:31:51,360
Speaker 2: not the word that I thought was gonna that was

580
00:31:51,360 --> 00:31:53,480
Speaker 2: gonna be sung. You know, like there was something there's

581
00:31:53,480 --> 00:32:01,080
Speaker 2: something really so powerful and like strong, like it is

582
00:32:01,120 --> 00:32:06,600
Speaker 2: a strong song for being so gossamer and fragile and

583
00:32:06,640 --> 00:32:08,880
Speaker 2: beautiful and like it's a lullaby, you know, it's like

584
00:32:08,960 --> 00:32:13,320
Speaker 2: Rouney Wants the Lullaby. And I think this is a

585
00:32:13,360 --> 00:32:16,240
Speaker 2: pretty fucking incredible song. And it's a nominee for Mother

586
00:32:16,320 --> 00:32:18,640
Speaker 2: of the Year. It's a nominee for Mother of the Year,

587
00:32:18,840 --> 00:32:23,080
Speaker 2: the song Protector Mother of the Year. Let's keep going

588
00:32:23,240 --> 00:32:26,560
Speaker 2: to My Rose, Into Smokeower, Into Texas, hold Them. I

589
00:32:27,120 --> 00:32:31,240
Speaker 2: love it. Yeah. I think this is a very elegant,

590
00:32:31,280 --> 00:32:33,400
Speaker 2: Like Maroes is kind of like an invitation into like

591
00:32:33,760 --> 00:32:35,560
Speaker 2: it's you're right, It's like it closes out this first

592
00:32:35,600 --> 00:32:38,920
Speaker 2: act of the album, act within an act. Myros is

593
00:32:38,960 --> 00:32:41,880
Speaker 2: like let me tell you, let me tell you a

594
00:32:41,920 --> 00:32:45,000
Speaker 2: story about like vulnerability and about like what it means

595
00:32:45,000 --> 00:32:47,680
Speaker 2: to be human. Basically. I think that is also like

596
00:32:47,720 --> 00:32:50,600
Speaker 2: Beyonce's thing, like other than being a utopian artist, She's

597
00:32:51,200 --> 00:32:55,720
Speaker 2: giving you stories about humanity whatever. I'm like being so

598
00:32:55,800 --> 00:32:58,040
Speaker 2: like college student about this. But then smoke Our is

599
00:32:58,040 --> 00:33:02,520
Speaker 2: so cute. Love this like parallel conceit of like club Renaissance.

600
00:33:03,640 --> 00:33:05,880
Speaker 2: You're at the club and now you're like just listening

601
00:33:05,920 --> 00:33:09,160
Speaker 2: to the radio. You're listening to the radio k N

602
00:33:09,280 --> 00:33:12,720
Speaker 2: t R Y like Willie Nelson is like pressing play

603
00:33:12,760 --> 00:33:15,800
Speaker 2: on his tracks, like take yourself to that place where

604
00:33:15,840 --> 00:33:17,440
Speaker 2: your mind is happy, I think he said, or whatever

605
00:33:17,480 --> 00:33:20,080
Speaker 2: it is, Oh my god, my fireworks, just my god.

606
00:33:20,680 --> 00:33:25,920
Speaker 2: Boeen you will be projector wait, that was so good.

607
00:33:25,920 --> 00:33:28,000
Speaker 3: Bowen in the Zoom like as he was talking, like

608
00:33:28,440 --> 00:33:31,920
Speaker 3: the joy emanated from him and he truly there was

609
00:33:31,960 --> 00:33:33,480
Speaker 3: fireworks that went off in his zoom.

610
00:33:33,520 --> 00:33:35,840
Speaker 2: That was crazy. I didn't even know that was a thing.

611
00:33:36,120 --> 00:33:38,240
Speaker 2: You can do visual thing if you do double pace signs.

612
00:33:38,880 --> 00:33:42,480
Speaker 3: But anyway, yeah, I have to say, like when the

613
00:33:42,520 --> 00:33:45,520
Speaker 3: Smoke Hour hit, I got this euphoric feeling.

614
00:33:45,560 --> 00:33:47,480
Speaker 2: I was like when you hear Willie Nelson's voice and like,

615
00:33:47,760 --> 00:33:49,480
Speaker 2: no need to know your name? You know what I mean?

616
00:33:49,520 --> 00:33:51,120
Speaker 2: Like this my name, you need to know yours?

617
00:33:51,240 --> 00:33:53,000
Speaker 3: Yeah, you know my name? No need to know yours.

618
00:33:53,040 --> 00:33:55,560
Speaker 3: Like there's this humor in it and this like ease

619
00:33:55,640 --> 00:33:58,320
Speaker 3: and this relaxation, and it does make you want to

620
00:33:58,400 --> 00:33:59,000
Speaker 3: hit the blunt.

621
00:34:00,320 --> 00:34:02,440
Speaker 2: And you know I did. I walked over.

622
00:34:02,360 --> 00:34:04,440
Speaker 3: And I said, well, Willie Nelson is telling me that

623
00:34:04,520 --> 00:34:06,640
Speaker 3: I need to hit this blunt for at least this

624
00:34:06,720 --> 00:34:09,120
Speaker 3: moment of the album, so you can catch me over

625
00:34:09,480 --> 00:34:10,280
Speaker 3: here smoking.

626
00:34:10,960 --> 00:34:12,480
Speaker 2: It's the smoke out for me as well.

627
00:34:12,680 --> 00:34:15,319
Speaker 3: Yes, And just the way it goes into Texas Hold

628
00:34:15,360 --> 00:34:19,920
Speaker 3: Them Texas, Hold Them hits so hard on the album.

629
00:34:20,040 --> 00:34:23,280
Speaker 2: You keep saying in context, it hits even better harder

630
00:34:23,440 --> 00:34:24,319
Speaker 2: in context.

631
00:34:24,360 --> 00:34:28,040
Speaker 3: It hits so hard, and like when it starts out

632
00:34:28,120 --> 00:34:30,440
Speaker 3: of that like real little radio, the fuzzy radio thing,

633
00:34:30,520 --> 00:34:32,640
Speaker 3: and like that little am moment that we get with

634
00:34:32,680 --> 00:34:36,440
Speaker 3: Willy into Texas Hold Him. That's when you start, you

635
00:34:36,480 --> 00:34:38,160
Speaker 3: know what I mean, Like, that's when you start. We're

636
00:34:38,200 --> 00:34:41,640
Speaker 3: at the hod and we're we're doing it and it's

637
00:34:41,800 --> 00:34:44,839
Speaker 3: so much fun. I've always loved Texas Hold Him since

638
00:34:44,840 --> 00:34:47,360
Speaker 3: it came out, and it's been on constant loop for me.

639
00:34:47,480 --> 00:34:50,359
Speaker 3: But it has new life for me now in its

640
00:34:50,640 --> 00:34:51,279
Speaker 3: place here.

641
00:34:51,520 --> 00:34:54,960
Speaker 2: Yes, you know, coming to me now to real life

642
00:34:55,000 --> 00:34:58,000
Speaker 2: boogie in a real life hodown. She has in an

643
00:34:58,040 --> 00:35:01,600
Speaker 2: interview this week, also said that like she wanted to

644
00:35:01,640 --> 00:35:08,600
Speaker 2: move away from electronic sounds in response to like this

645
00:35:08,760 --> 00:35:12,440
Speaker 2: like AI takeover in music, which is not to say

646
00:35:12,480 --> 00:35:15,080
Speaker 2: that there is no like electronic influence in production throughout

647
00:35:15,080 --> 00:35:17,439
Speaker 2: the rest of the album, and she's she's even saying

648
00:35:17,440 --> 00:35:19,759
Speaker 2: that in a way that doesn't even cheapen or devalue

649
00:35:19,800 --> 00:35:22,359
Speaker 2: anything that she's done before. But it's like, yeah, she's

650
00:35:22,400 --> 00:35:24,600
Speaker 2: proud of all that, no, of course, But like if

651
00:35:24,640 --> 00:35:26,880
Speaker 2: you also think about this album as like as like

652
00:35:26,920 --> 00:35:30,719
Speaker 2: a rejection of like AI the aification of music of art,

653
00:35:30,800 --> 00:35:34,879
Speaker 2: It's like that is also like so so like that's

654
00:35:34,920 --> 00:35:36,799
Speaker 2: exactly what we need from an artist like her at

655
00:35:36,840 --> 00:35:38,719
Speaker 2: her level, you know what I mean, Like it's a

656
00:35:38,760 --> 00:35:41,319
Speaker 2: real life boogie or real life hodeout. It's like this

657
00:35:41,360 --> 00:35:45,280
Speaker 2: is this is about life, this is about like real people,

658
00:35:45,960 --> 00:35:48,960
Speaker 2: you know. And I can't believe we're having this conversation

659
00:35:49,320 --> 00:35:52,000
Speaker 2: like that, like we would rather have real human beings

660
00:35:52,040 --> 00:35:54,279
Speaker 2: and real instruments be played on in our music. Like

661
00:35:54,600 --> 00:35:58,560
Speaker 2: that's of course, it's such a dark debate to be having,

662
00:35:58,640 --> 00:36:01,759
Speaker 2: or it's such a dark like existential thing to like

663
00:36:01,880 --> 00:36:05,560
Speaker 2: think about. But if any artist is going to like

664
00:36:06,719 --> 00:36:10,240
Speaker 2: write a pee into like actual music, like it's Beyonce.

665
00:36:10,560 --> 00:36:12,919
Speaker 2: So yeah, because she walks the walk every time.

666
00:36:12,960 --> 00:36:15,959
Speaker 3: I mean like these are all real instruments, These are

667
00:36:16,000 --> 00:36:18,399
Speaker 3: all like you know, and she's even not been shy

668
00:36:18,440 --> 00:36:20,200
Speaker 3: and said like this is a response to the A

669
00:36:20,400 --> 00:36:22,480
Speaker 3: I think, you know what I mean. Like, by the way,

670
00:36:22,960 --> 00:36:25,640
Speaker 3: you have to watch this episode of Black Mirror. Ali

671
00:36:25,719 --> 00:36:28,560
Speaker 3: pank You directed this episode of Black Mirror with Annie

672
00:36:28,600 --> 00:36:32,680
Speaker 3: Murphy and Salmahayak, And it's like I kind of can't

673
00:36:32,719 --> 00:36:34,840
Speaker 3: believe that it was like I guess shot it and

674
00:36:34,960 --> 00:36:37,440
Speaker 3: written like over two years ago because it is so

675
00:36:39,480 --> 00:36:41,319
Speaker 3: it Well, first of all, a yeah, that it was

676
00:36:41,320 --> 00:36:43,200
Speaker 3: made that Netflix was like, I guess willing to be

677
00:36:43,239 --> 00:36:45,840
Speaker 3: the butt of this joke, which is like everyone just

678
00:36:45,880 --> 00:36:48,040
Speaker 3: watch it. It's it's really about I think I'm.

679
00:36:47,880 --> 00:36:49,799
Speaker 2: The only person who hasn't seen it, by the way.

680
00:36:50,120 --> 00:36:53,280
Speaker 3: Yeah, so it's it's really about like the AI likenesses

681
00:36:53,320 --> 00:36:55,279
Speaker 3: and everything. It's like what we sign when we sign,

682
00:36:55,600 --> 00:36:56,840
Speaker 3: you know what I mean. Like, it's like what we

683
00:36:56,920 --> 00:37:00,000
Speaker 3: give up when we allow our image to be manipually

684
00:37:00,080 --> 00:37:02,439
Speaker 3: it and distorted. It's you got to read those terms

685
00:37:02,440 --> 00:37:05,240
Speaker 3: and conditions. Girl, That's all I'm saying. But this episode,

686
00:37:05,280 --> 00:37:07,239
Speaker 3: the episode of Black Mirror was so fun and it's

687
00:37:07,239 --> 00:37:09,279
Speaker 3: a comment on the AI thing, and so that's why

688
00:37:09,320 --> 00:37:14,600
Speaker 3: I brought it up. But yes, like Beyonce is an

689
00:37:14,640 --> 00:37:17,440
Speaker 3: authority here. I mean, she is the queen, and the

690
00:37:17,520 --> 00:37:21,360
Speaker 3: queen is saying return to reel. It's actually the culture

691
00:37:21,440 --> 00:37:26,680
Speaker 3: number thirty. The Queen is saying return come back to

692
00:37:26,760 --> 00:37:30,160
Speaker 3: real life. Wake up Sheeple, Wake up Sheeple.

693
00:37:30,400 --> 00:37:32,040
Speaker 2: After the Super Bowl when the song came out, like,

694
00:37:32,080 --> 00:37:36,000
Speaker 2: I don't like we didn't fully get an awareness of

695
00:37:36,080 --> 00:37:38,040
Speaker 2: Rien and get in the woman who plays the Banjo

696
00:37:38,120 --> 00:37:40,320
Speaker 2: on this and who also has a has a writing

697
00:37:40,360 --> 00:37:43,919
Speaker 2: credit or a production credit on on American Requiem too,

698
00:37:44,000 --> 00:37:48,120
Speaker 2: Like she seems like a cool fucking musician. She seems

699
00:37:48,160 --> 00:37:50,680
Speaker 2: like a cool fucking person. Writing credit, Yes, writing credit,

700
00:37:50,680 --> 00:37:52,640
Speaker 2: That's what it was. Anyway, anything else to San Texas

701
00:37:52,680 --> 00:37:54,239
Speaker 2: hold him before we move on.

702
00:37:54,280 --> 00:37:56,600
Speaker 3: That it rocks and I love it, okay, And then

703
00:37:56,640 --> 00:37:59,879
Speaker 3: Bodyguard is such a such a vibe and a slick.

704
00:38:00,120 --> 00:38:02,400
Speaker 3: This is the moment when I was just like, no, yeah,

705
00:38:02,960 --> 00:38:05,240
Speaker 3: I can see this in Vegas for sure.

706
00:38:05,640 --> 00:38:08,360
Speaker 2: You can I feel Slot Machine energy on this one.

707
00:38:08,840 --> 00:38:13,319
Speaker 2: Uh huh, Yeah, I guess you're right. It's giving ms

708
00:38:13,520 --> 00:38:15,480
Speaker 2: Ron's stat you know what I mean, Like, that's what

709
00:38:15,520 --> 00:38:17,680
Speaker 2: it's giving to me. It's giving, like it's almost giving

710
00:38:17,680 --> 00:38:18,560
Speaker 2: like Carol King.

711
00:38:18,760 --> 00:38:22,359
Speaker 3: It's almost giving like it's feeling seventies to me in

712
00:38:22,400 --> 00:38:26,960
Speaker 3: a way that it's feeling like seventies rock country, uh huh,

713
00:38:27,000 --> 00:38:30,480
Speaker 3: but still light in a way that feels to me.

714
00:38:32,400 --> 00:38:35,600
Speaker 2: Very very very at home in a place like Vegas.

715
00:38:35,680 --> 00:38:37,400
Speaker 2: That's why that's what I felt when I listened to

716
00:38:37,600 --> 00:38:39,960
Speaker 2: I Love this song. You know, there is not a

717
00:38:39,960 --> 00:38:45,040
Speaker 2: lot of contemporary country in this album in a very

718
00:38:45,080 --> 00:38:49,520
Speaker 2: intentional way. She is like firmly rooted in history in

719
00:38:49,520 --> 00:38:52,440
Speaker 2: a way that is like a fuck you to anyone

720
00:38:52,440 --> 00:38:54,719
Speaker 2: who's trying to like make this thing out of like

721
00:38:54,880 --> 00:38:57,799
Speaker 2: Black Country being this novelty, you know what I mean.

722
00:38:58,320 --> 00:39:00,200
Speaker 2: So I think that's that's also like that goes like

723
00:39:00,239 --> 00:39:03,080
Speaker 2: the seventies sound of Bodyguard. I love it. It's great.

724
00:39:03,239 --> 00:39:07,600
Speaker 2: I love it. It's a perfect, perfect lead up into Jolene.

725
00:39:08,000 --> 00:39:09,720
Speaker 2: I mean, we're in the smoke Hour with Bodyguard.

726
00:39:09,800 --> 00:39:11,520
Speaker 3: Let's just say that, you know what I mean, Like,

727
00:39:11,560 --> 00:39:13,799
Speaker 3: we are in the smoke Hour with Bodyguard. Let's not

728
00:39:13,840 --> 00:39:19,280
Speaker 3: even dispute it. Like we're high at this point. Joline,

729
00:39:20,200 --> 00:39:22,000
Speaker 3: she's such a legend, you know what I mean.

730
00:39:22,120 --> 00:39:22,840
Speaker 2: Like, and then.

731
00:39:24,360 --> 00:39:26,799
Speaker 3: I wonder if Beyonce said, like, do you think there

732
00:39:26,840 --> 00:39:28,600
Speaker 3: was a script typed up? Or do you think she

733
00:39:28,719 --> 00:39:30,879
Speaker 3: was like Dolly, I want you to introduce my cover

734
00:39:30,960 --> 00:39:31,719
Speaker 3: of Joline.

735
00:39:31,800 --> 00:39:33,560
Speaker 2: I bet that's what happened. I bet it was just that.

736
00:39:33,680 --> 00:39:36,120
Speaker 2: I mean, Dolly's saying like it's just a hair a

737
00:39:36,120 --> 00:39:38,480
Speaker 2: different color, but it hurts just the same, Like that

738
00:39:38,600 --> 00:39:41,760
Speaker 2: that's like that's coming from Dolly. She had a flame

739
00:39:41,840 --> 00:39:47,640
Speaker 2: in locks of auburn hair like this idea that having

740
00:39:47,680 --> 00:39:52,040
Speaker 2: auburn it's like bad bad.

741
00:39:52,400 --> 00:39:54,320
Speaker 3: Meanwhile, you know who's had auburn hair many times in

742
00:39:54,360 --> 00:39:57,239
Speaker 3: her career, Miss Beyonce. Yes, there was a time when

743
00:39:57,320 --> 00:40:02,400
Speaker 3: she was auburn haired pretty exclusively. Yes, yes, yes, but okay,

744
00:40:02,640 --> 00:40:06,920
Speaker 3: so Joline. The cover of Joline the first time I

745
00:40:07,040 --> 00:40:09,000
Speaker 3: was the Scanton freaked me out.

746
00:40:09,160 --> 00:40:14,120
Speaker 2: I'm not gonna lie like having known totally, having known Joline.

747
00:40:13,719 --> 00:40:15,560
Speaker 3: The way that we all do it is one of

748
00:40:15,600 --> 00:40:20,040
Speaker 3: the iconic songs in the lexicon. To hear it done

749
00:40:20,280 --> 00:40:22,360
Speaker 3: in a different way. First of all, I didn't know

750
00:40:22,360 --> 00:40:23,840
Speaker 3: if it would be a direct cover. I would have

751
00:40:23,840 --> 00:40:26,200
Speaker 3: been down with that. And then for her to reimagine it,

752
00:40:26,239 --> 00:40:26,640
Speaker 3: I was like.

753
00:40:26,760 --> 00:40:29,560
Speaker 2: You're saying scanton like, like the way the syllables are

754
00:40:29,600 --> 00:40:34,320
Speaker 2: falling in the melody correct was different and that rattled

755
00:40:34,360 --> 00:40:37,560
Speaker 2: you in a way that probably was by design. I

756
00:40:37,760 --> 00:40:40,800
Speaker 2: was like, oh no, I don't like it at the beginning.

757
00:40:41,239 --> 00:40:43,680
Speaker 3: And then I listened to it a few more times

758
00:40:43,760 --> 00:40:46,959
Speaker 3: and I realized that we were in the smokeour, and

759
00:40:47,160 --> 00:40:49,680
Speaker 3: me being in the smokeour, I said, now let me

760
00:40:50,040 --> 00:40:52,880
Speaker 3: just listen to this a different way, and now I

761
00:40:52,920 --> 00:40:58,000
Speaker 3: love this because I think this Live is going to

762
00:40:58,040 --> 00:41:03,799
Speaker 3: be so funny. Yeah, so fun and so like aggressive

763
00:41:04,280 --> 00:41:08,640
Speaker 3: in a fun like don't you dare? This song is

764
00:41:08,680 --> 00:41:14,239
Speaker 3: an Answer is the sequel to the film Obsessed. It

765
00:41:14,280 --> 00:41:17,640
Speaker 3: is the sequel to the film Obsessed. Fance will kick

766
00:41:17,680 --> 00:41:23,760
Speaker 3: your ass if you come near jay Z. Sean Carter

767
00:41:24,200 --> 00:41:29,360
Speaker 3: is off limits women. It's actually the culture number sixty.

768
00:41:29,520 --> 00:41:34,160
Speaker 3: Sean Carter is off limits women. And just the way

769
00:41:34,200 --> 00:41:38,560
Speaker 3: it doesn't really rhyme and it doesn't really work, I

770
00:41:38,560 --> 00:41:39,920
Speaker 3: think it's gonna be great.

771
00:41:40,200 --> 00:41:46,560
Speaker 2: Mm hmmm hmm. I have said that between this and Blackbird,

772
00:41:46,600 --> 00:41:48,600
Speaker 2: I think I even the Blackbird is a straighter cover

773
00:41:48,719 --> 00:41:51,240
Speaker 2: on like every level and like it's produced the same.

774
00:41:51,520 --> 00:41:55,879
Speaker 2: I do appreciate this like element of like I think,

775
00:41:55,960 --> 00:41:58,279
Speaker 2: like Josh Sharp was saying that, like there is like

776
00:41:58,480 --> 00:42:02,400
Speaker 2: a light like chain game like layer to it, and

777
00:42:02,440 --> 00:42:07,120
Speaker 2: I love that too. For me, for now, I am

778
00:42:07,200 --> 00:42:09,320
Speaker 2: kind of like, let me just get to like Daughter

779
00:42:09,480 --> 00:42:10,520
Speaker 2: and like get to the car of.

780
00:42:11,120 --> 00:42:13,280
Speaker 3: Bew and Yang with the descent on this one, yes,

781
00:42:13,440 --> 00:42:16,680
Speaker 3: I'm not like it's it's not a full descent.

782
00:42:16,800 --> 00:42:19,280
Speaker 2: I think like this is the beautiful part of this journey,

783
00:42:19,680 --> 00:42:22,160
Speaker 2: just like I didn't realize what is it. I don't

784
00:42:22,160 --> 00:42:24,759
Speaker 2: fellowship with fellowship with the fake ones where they say

785
00:42:24,760 --> 00:42:26,880
Speaker 2: it ones. I think this is just another contour of

786
00:42:26,880 --> 00:42:29,120
Speaker 2: the album that I have yet to like appreciate fully.

787
00:42:29,440 --> 00:42:32,120
Speaker 3: I think that once we all make the collective decision

788
00:42:32,239 --> 00:42:35,160
Speaker 3: to just have fun with this one, like Beyonce is,

789
00:42:35,680 --> 00:42:39,040
Speaker 3: We're all going to be a healthier, safer world.

790
00:42:39,400 --> 00:42:41,640
Speaker 2: Yes, because we're all just going to be vibing.

791
00:42:42,280 --> 00:42:44,000
Speaker 3: And when we get to the point where everyone in

792
00:42:44,000 --> 00:42:46,200
Speaker 3: this world is just vibing, we will be a healthier

793
00:42:46,239 --> 00:42:49,240
Speaker 3: and safer planet. You will see disease starts to go away.

794
00:42:49,360 --> 00:42:52,480
Speaker 3: You will see the return of the rainforest. You will

795
00:42:52,480 --> 00:42:55,799
Speaker 3: see the courrier reef, the courier reef come back, the

796
00:42:55,880 --> 00:43:00,319
Speaker 3: courier reef. You will see that in the war we

797
00:43:00,360 --> 00:43:04,280
Speaker 3: all start vibing. Like Beyonce is, we will see return

798
00:43:04,360 --> 00:43:04,800
Speaker 3: to peace.

799
00:43:05,640 --> 00:43:10,040
Speaker 2: Oh my god, this is the thing. She's utopian. Okay, daughter,

800
00:43:11,239 --> 00:43:14,160
Speaker 2: this is a Batman villain song. I decided totally our

801
00:43:14,200 --> 00:43:17,840
Speaker 2: kham Asylum with her. She is a super villain. It

802
00:43:17,960 --> 00:43:21,920
Speaker 2: is not only a Batman villain song. It is like

803
00:43:22,080 --> 00:43:27,280
Speaker 2: Joel Schumacher coded. Oh, it's camp It's so Campian haunting,

804
00:43:27,320 --> 00:43:30,320
Speaker 2: and it's so it's so like, not even Tim Burton.

805
00:43:30,400 --> 00:43:33,640
Speaker 2: I think it's Schumacher. I'm still laughing on this one.

806
00:43:33,880 --> 00:43:35,680
Speaker 2: Colder than Titanic water.

807
00:43:36,160 --> 00:43:38,600
Speaker 3: First of all, coming out of Joline the first time,

808
00:43:38,640 --> 00:43:41,720
Speaker 3: I was like, I don't know about colder than Titanic.

809
00:43:42,440 --> 00:43:43,719
Speaker 2: What do you mean? What do you have again?

810
00:43:43,760 --> 00:43:47,279
Speaker 3: You love Titanic culture, I know, but like describing the

811
00:43:47,360 --> 00:43:51,960
Speaker 3: water as Titanic water to me was too funny, And

812
00:43:52,000 --> 00:43:53,640
Speaker 3: then I was like, wait, it's too funny.

813
00:43:53,719 --> 00:43:58,239
Speaker 2: I love it. Titanic is on the brain for everybody,

814
00:43:58,320 --> 00:44:00,200
Speaker 2: always monoculture.

815
00:44:00,280 --> 00:44:03,000
Speaker 3: You new Titanic was monoculture when it was in Cowboy Carter.

816
00:44:03,160 --> 00:44:07,640
Speaker 3: Now it's confirmed. And now it's confirmed. Kate winslet Hive rise.

817
00:44:07,840 --> 00:44:10,840
Speaker 3: Oh my god, she survived.

818
00:44:10,239 --> 00:44:13,920
Speaker 2: The song Daughter she did? She did. How do you

819
00:44:13,960 --> 00:44:18,520
Speaker 2: feel about carmeo Ben being sung every what every vocal

820
00:44:18,600 --> 00:44:22,040
Speaker 2: student has had to begrudgingly sing in auditions for in

821
00:44:22,080 --> 00:44:25,040
Speaker 2: showcases for years and years and years. Yeah, she should

822
00:44:25,080 --> 00:44:26,680
Speaker 2: reclaim it along with everything else.

823
00:44:27,000 --> 00:44:31,080
Speaker 3: I feel as though the more this song gets crazier,

824
00:44:31,160 --> 00:44:34,240
Speaker 3: the better it is, And it gets crazier and crazy

825
00:44:34,280 --> 00:44:37,479
Speaker 3: crazy to the point where I'm like, damn, like, how

826
00:44:37,600 --> 00:44:38,360
Speaker 3: was this created?

827
00:44:38,440 --> 00:44:41,359
Speaker 2: Like I really do want to smoke what she smokes.

828
00:44:41,840 --> 00:44:43,680
Speaker 2: I do, I do I do?

829
00:44:43,960 --> 00:44:47,920
Speaker 3: In the words of cal Mitchell, I want to understand

830
00:44:49,080 --> 00:44:51,399
Speaker 3: how she gets there creatively with this. Let me look

831
00:44:51,400 --> 00:44:56,080
Speaker 3: at these fucking credits. Okay, Yeah, first of all, First

832
00:44:56,120 --> 00:44:58,080
Speaker 3: of all, I don't even know how. I don't even

833
00:44:58,120 --> 00:45:00,120
Speaker 3: know how to wrap my head around how this gets made.

834
00:45:00,040 --> 00:45:03,200
Speaker 2: Yeah, I don't know daughter specifically. Yeah, it's one of

835
00:45:03,239 --> 00:45:05,759
Speaker 2: the wackiest songs on the record. It's wacky, but I

836
00:45:05,840 --> 00:45:09,080
Speaker 2: think it's like it is like a haunting Beyonce song

837
00:45:09,080 --> 00:45:11,359
Speaker 2: at the end of the day, and you always appreciate those.

838
00:45:11,960 --> 00:45:14,400
Speaker 3: Were you in the thread when we were ranking Beyonce's

839
00:45:14,400 --> 00:45:15,240
Speaker 3: scariest songs.

840
00:45:15,520 --> 00:45:16,719
Speaker 2: I think I was at work and I just picked

841
00:45:16,760 --> 00:45:18,319
Speaker 2: it up and I didn't fully give it a close read.

842
00:45:18,680 --> 00:45:21,000
Speaker 3: This is in the top five of scariest Beyonce songs.

843
00:45:21,000 --> 00:45:25,840
Speaker 3: It's this six inch Don't Hurt Yourself. Uh huh, Becker

844
00:45:25,880 --> 00:45:29,240
Speaker 3: goes no, that's a bonus bone ten scariest Beyonce songs.

845
00:45:30,040 --> 00:45:31,600
Speaker 2: Yeah, that can't get misinterpreted.

846
00:45:33,080 --> 00:45:36,560
Speaker 3: But like, yeah, what else, there's there's a couple other

847
00:45:36,600 --> 00:45:39,680
Speaker 3: ones that are so scary. Uh huh oh ring the

848
00:45:39,719 --> 00:45:41,000
Speaker 3: alarms terrifying.

849
00:45:41,160 --> 00:45:45,160
Speaker 2: Ring the alarm is scary. Superpower is a little scary. Hmmm,

850
00:45:45,440 --> 00:45:47,759
Speaker 2: I know you hate superpower. It's not that I.

851
00:45:47,680 --> 00:45:50,160
Speaker 3: Hate superpowers, just that I don't can I don't naturally

852
00:45:50,160 --> 00:45:53,840
Speaker 3: connect with superpower. Hunted, of course, Haunted, Haunted slash Ghost

853
00:45:53,920 --> 00:45:57,879
Speaker 3: is so scary. And then finally, the scariest Beyonce song

854
00:45:57,920 --> 00:46:04,600
Speaker 3: of all time is Daddy, Daddy Lessons No Daddy, her

855
00:46:04,640 --> 00:46:07,600
Speaker 3: song to her father, I Love you Daddy.

856
00:46:08,200 --> 00:46:10,400
Speaker 2: Yeah, yeah, yeah, it's dangerous in love right.

857
00:46:10,640 --> 00:46:12,680
Speaker 3: Yes, it's the closure of Danish Lee in Love, where

858
00:46:12,680 --> 00:46:15,400
Speaker 3: she sings, I want my husband to be like my daddy,

859
00:46:15,800 --> 00:46:18,280
Speaker 3: my daddy, my daddy, my daddy. It's it's like still

860
00:46:18,280 --> 00:46:22,280
Speaker 3: when she's very Matthew Knowles coded, but it is fucking

861
00:46:22,400 --> 00:46:24,440
Speaker 3: insane to listen to.

862
00:46:25,320 --> 00:46:28,800
Speaker 2: Well yeah, but then it kind of is the perfect

863
00:46:28,880 --> 00:46:32,719
Speaker 2: setup for all of this, Like post Matthew, that that

864
00:46:32,920 --> 00:46:35,560
Speaker 2: threat in her story where it's like, oh, like her

865
00:46:35,600 --> 00:46:37,759
Speaker 2: father like fucked her up. You know what I mean.

866
00:46:38,280 --> 00:46:42,000
Speaker 3: It's odd, it's really weird, and we're I'm happy we're

867
00:46:42,040 --> 00:46:42,600
Speaker 3: out of that era.

868
00:46:43,360 --> 00:46:47,000
Speaker 2: Well, like this is broken, Like she's a perfect mother

869
00:46:47,160 --> 00:46:47,880
Speaker 2: to these children.

870
00:46:48,120 --> 00:46:51,319
Speaker 3: Speaking of mothers, another nominee for Mother of the Year

871
00:46:51,360 --> 00:46:55,680
Speaker 3: is Tina Tina Lawson, Tina Knowles. I have to say,

872
00:46:55,920 --> 00:46:57,840
Speaker 3: first of all, if you're not following Tina Knowles on

873
00:46:57,840 --> 00:47:00,600
Speaker 3: Instagram and you you were missing out of her corny joke.

874
00:47:00,880 --> 00:47:02,839
Speaker 2: Yeah, corny jokes.

875
00:47:03,000 --> 00:47:06,919
Speaker 3: When Tina Knowles says it's time for another corny joke,

876
00:47:07,080 --> 00:47:11,319
Speaker 3: you know it's gonna be a really wonderful day.

877
00:47:11,960 --> 00:47:14,520
Speaker 2: It's going to be a laugh riot. Yeah. And we

878
00:47:14,560 --> 00:47:18,520
Speaker 2: need to find those when we can, because I don't know,

879
00:47:18,640 --> 00:47:22,160
Speaker 2: I think it's just our comedians are failing us me included,

880
00:47:22,239 --> 00:47:28,680
Speaker 2: us included. Don't you ever say that to me. Listen

881
00:47:28,680 --> 00:47:33,799
Speaker 2: to me. We're not failing. You're right, Let's move on

882
00:47:33,840 --> 00:47:36,000
Speaker 2: to spaghetti. Yeah.

883
00:47:36,160 --> 00:47:38,480
Speaker 3: I felt like coming out of the last few songs,

884
00:47:38,520 --> 00:47:41,040
Speaker 3: I was like, we needed this one. Not that not

885
00:47:41,080 --> 00:47:44,080
Speaker 3: that I've been unhappy, but that I was just like, Oh,

886
00:47:44,440 --> 00:47:45,919
Speaker 3: I was like, I was like, we're moving again.

887
00:47:46,040 --> 00:47:48,440
Speaker 2: I love this, We're moving again. It feels like it

888
00:47:48,520 --> 00:47:51,000
Speaker 2: almost could have been on Renaissance in a way totally.

889
00:47:51,080 --> 00:47:53,839
Speaker 2: But first of all, before we talked about the song

890
00:47:53,880 --> 00:47:57,480
Speaker 2: in earnest, I think Aaron Jackson should do a new

891
00:47:57,560 --> 00:48:00,279
Speaker 2: I don't think sahony that includes the phrase when days

892
00:48:00,280 --> 00:48:04,439
Speaker 2: are for being at home listening to spaghetti, you are

893
00:48:04,480 --> 00:48:06,640
Speaker 2: so right, you're right, and you should say it, and

894
00:48:06,680 --> 00:48:09,920
Speaker 2: then you did say it, and I did spaghetti. I

895
00:48:10,200 --> 00:48:16,279
Speaker 2: really think has implications for Act three. And here's why

896
00:48:16,760 --> 00:48:20,840
Speaker 2: we talk about this. It opens with Linda Martel being like,

897
00:48:20,920 --> 00:48:25,160
Speaker 2: genre is a funny thing if this whole album is

898
00:48:25,239 --> 00:48:30,720
Speaker 2: like an essay on genre and not necessarily just country,

899
00:48:31,239 --> 00:48:34,120
Speaker 2: but just like the concept of genre, like does is

900
00:48:34,200 --> 00:48:37,200
Speaker 2: Act three gonna be genre specific at all?

901
00:48:38,239 --> 00:48:40,960
Speaker 3: I was thinking about this, like how does Beyonce create

902
00:48:41,040 --> 00:48:43,400
Speaker 3: a new genre? You know what I'm saying, It's like,

903
00:48:43,840 --> 00:48:47,080
Speaker 3: how what does that look like, sound like, feel like?

904
00:48:47,920 --> 00:48:52,560
Speaker 3: Because it almost feels like that is the natural conclusion, right,

905
00:48:52,680 --> 00:48:58,359
Speaker 3: Like she did Renaissance, which was, you know, this celebration

906
00:48:58,600 --> 00:49:00,960
Speaker 3: and this like this like genre of music of dance

907
00:49:01,040 --> 00:49:05,040
Speaker 3: music that feels intrinsic to her and intrinsic to like

908
00:49:05,640 --> 00:49:08,120
Speaker 3: a certain community and a celebration of that. And then

909
00:49:08,120 --> 00:49:11,440
Speaker 3: there's Cowboy Carter, which is this reclamation and like this

910
00:49:11,520 --> 00:49:15,400
Speaker 3: like triumphant like roar of like who she is, and

911
00:49:15,480 --> 00:49:18,680
Speaker 3: like it's just a statement on that genre. And now

912
00:49:18,719 --> 00:49:23,360
Speaker 3: it feels like the Obviously the third one has to

913
00:49:23,440 --> 00:49:27,920
Speaker 3: be quote unquote genre specific in some way or thematically

914
00:49:27,960 --> 00:49:31,840
Speaker 3: specific in some way. But I think you are onto

915
00:49:31,880 --> 00:49:35,440
Speaker 3: something here, which is it feels like the next place

916
00:49:35,480 --> 00:49:37,160
Speaker 3: to go is somewhere we've never been.

917
00:49:37,600 --> 00:49:40,160
Speaker 2: Yeah, I don't think it's necessarily rock the way that

918
00:49:40,239 --> 00:49:44,120
Speaker 2: everyone has been saying, or that the rumor is simple. Yeah,

919
00:49:44,239 --> 00:49:47,120
Speaker 2: if it is rock, then like the the threat I

920
00:49:47,160 --> 00:49:50,279
Speaker 2: see is like Tina Turner, but I don't know. Oh yeah,

921
00:49:50,320 --> 00:49:52,680
Speaker 2: you just saw with that one, but you.

922
00:49:52,640 --> 00:49:53,160
Speaker 3: Know what I mean?

923
00:49:53,440 --> 00:49:56,760
Speaker 2: And like, but is it a full Tina Turner Prince

924
00:49:58,239 --> 00:50:01,359
Speaker 2: thing or is it like what you're saying, where it's

925
00:50:01,440 --> 00:50:05,800
Speaker 2: like a new invented Beyonce kind of like genre of music,

926
00:50:05,840 --> 00:50:11,040
Speaker 2: even though the aesthetic of a Beyonce song, album, music

927
00:50:11,120 --> 00:50:14,160
Speaker 2: video is so established at this point, I don't know.

928
00:50:15,000 --> 00:50:16,480
Speaker 3: The one thing we can be sure of is that

929
00:50:16,520 --> 00:50:19,759
Speaker 3: she will not repeat herself. I think that is one

930
00:50:19,800 --> 00:50:23,799
Speaker 3: thing we like. There's been some talk that it's going

931
00:50:23,880 --> 00:50:25,400
Speaker 3: to be a straight R and B album, and I

932
00:50:25,480 --> 00:50:29,040
Speaker 3: just don't think that that's where we're headed in terms

933
00:50:29,080 --> 00:50:31,920
Speaker 3: of if this is a trilogy where we are so

934
00:50:32,200 --> 00:50:36,319
Speaker 3: specifically soaking into these things, then I feel like we're

935
00:50:36,360 --> 00:50:39,160
Speaker 3: going to see new terrain. And when you say the

936
00:50:39,160 --> 00:50:44,160
Speaker 3: words Tina Turner, that makes sense to me, Like, because

937
00:50:44,160 --> 00:50:46,920
Speaker 3: if the mission statement of this whole trilogy is we

938
00:50:47,000 --> 00:50:50,880
Speaker 3: are reclaiming these things, and we are celebrating these things,

939
00:50:51,239 --> 00:50:54,680
Speaker 3: and we are reminding people of where these things came from.

940
00:50:55,000 --> 00:50:58,400
Speaker 3: It's like the way she like reclaimed Vogue with that remix,

941
00:50:58,920 --> 00:51:02,400
Speaker 3: honoring so much about like not only that culture, but

942
00:51:02,400 --> 00:51:05,000
Speaker 3: also the way that culture was popularized with the Madonna

943
00:51:05,040 --> 00:51:07,879
Speaker 3: sample and everything. And then there we have Cowboy Carter,

944
00:51:07,920 --> 00:51:11,319
Speaker 3: which is so what it is for country music in

945
00:51:11,360 --> 00:51:15,640
Speaker 3: the country genre. What you're saying about Tina Turner, that

946
00:51:15,800 --> 00:51:19,120
Speaker 3: feels like someone that she will and Prince and Prince

947
00:51:19,680 --> 00:51:22,560
Speaker 3: those are people that she will honor in a big way.

948
00:51:22,600 --> 00:51:26,279
Speaker 2: And those are like the final bosses for her, you know,

949
00:51:26,719 --> 00:51:30,120
Speaker 2: because there is no Beyonce without Tina. Right four, Prince

950
00:51:30,320 --> 00:51:33,200
Speaker 2: or Prince. You say the word Prince. I love the

951
00:51:33,400 --> 00:51:36,480
Speaker 2: saying Prince. What can I say? But Prince? Are you

952
00:51:36,560 --> 00:51:42,879
Speaker 2: sexually attracted? I think a specific era of Prince. Yeah,

953
00:51:42,920 --> 00:51:47,440
Speaker 2: of course he probably was an unbelievable way. Of course,

954
00:51:48,440 --> 00:51:52,880
Speaker 2: that's how you write shit like that. Damn by fucking

955
00:51:53,120 --> 00:51:53,600
Speaker 2: is if the.

956
00:51:53,560 --> 00:51:58,879
Speaker 3: Dick is powerful, powerful dick will get me singing. It's

957
00:51:58,880 --> 00:52:03,120
Speaker 3: actually a real culture number six. Powerful little dick will

958
00:52:03,239 --> 00:52:05,640
Speaker 3: get me singing and writing.

959
00:52:05,760 --> 00:52:10,279
Speaker 2: And writing Alligator Tears, I think for me this is

960
00:52:10,320 --> 00:52:14,759
Speaker 2: like a new like this section, so Alligator Tears just

961
00:52:14,840 --> 00:52:19,000
Speaker 2: for fun is like this section where I'm I'm the

962
00:52:19,120 --> 00:52:21,680
Speaker 2: most fuzzy on but I am this morning, I gave

963
00:52:21,680 --> 00:52:24,160
Speaker 2: it one one more listen, one more spin through of

964
00:52:24,200 --> 00:52:25,919
Speaker 2: the whole album, and I like, I was, like, I've

965
00:52:25,920 --> 00:52:28,719
Speaker 2: been sleeping on Alligator Tears and I need to give

966
00:52:28,760 --> 00:52:29,520
Speaker 2: this more love.

967
00:52:29,960 --> 00:52:31,759
Speaker 3: Well that's the thing that's gonna happen with an album

968
00:52:31,840 --> 00:52:34,960
Speaker 3: that's this vast and like with this much content is

969
00:52:35,000 --> 00:52:35,960
Speaker 3: it's just like you're.

970
00:52:35,800 --> 00:52:37,560
Speaker 2: Gonna get fatigued at a certain point.

971
00:52:37,560 --> 00:52:39,840
Speaker 3: And this is this is a moment in the album

972
00:52:39,880 --> 00:52:43,759
Speaker 3: where yes, I like you like had to maybe at

973
00:52:43,760 --> 00:52:45,440
Speaker 3: this point the Smoke Hour gets to you.

974
00:52:45,440 --> 00:52:47,120
Speaker 2: You know what I'm saying. We're about to end the

975
00:52:47,160 --> 00:52:49,560
Speaker 2: Smoke Hour one. This is closing out Smoke Our one

976
00:52:49,560 --> 00:52:51,759
Speaker 2: and Smoke Our two is telling you hit the blunt again,

977
00:52:51,880 --> 00:52:54,280
Speaker 2: light it up again, hit the blunt again, and bowen

978
00:52:54,400 --> 00:52:58,879
Speaker 2: and reader, I did, oh so thank God too, because

979
00:52:59,080 --> 00:53:01,640
Speaker 2: by the way, I love Love, Valigator Tears, Smoke Garatu,

980
00:53:01,719 --> 00:53:04,680
Speaker 2: you hit it again just for fun, lovely, But I'm

981
00:53:04,719 --> 00:53:07,200
Speaker 2: ready to talk about too almost Wanted, and we're gonna

982
00:53:07,200 --> 00:53:10,719
Speaker 2: make an announcement about too most Wanted. Go ahead, too

983
00:53:10,800 --> 00:53:16,160
Speaker 2: Most Wanted. I'm Emotional is a nominee for Record of

984
00:53:16,200 --> 00:53:19,640
Speaker 2: the Year. It is nominated. It is nominated for Record

985
00:53:19,640 --> 00:53:21,400
Speaker 2: of the Year at the twenty twenty four Lost Culturists

986
00:53:21,440 --> 00:53:25,759
Speaker 2: Culture Awards. You know what that means. You're tearing up.

987
00:53:25,800 --> 00:53:28,960
Speaker 2: My sister is tearing up. Do you know what this means?

988
00:53:28,960 --> 00:53:30,959
Speaker 2: This means It's going to be performed at the Lost

989
00:53:30,960 --> 00:53:35,080
Speaker 2: culturesta's Culture Awards. Watch this space, Watch this space. So

990
00:53:35,080 --> 00:53:39,680
Speaker 2: so far the nominees are Too Most Wanted, Guardinia by

991
00:53:39,719 --> 00:53:42,400
Speaker 2: Mandy Moore, I Don't Know Why I Chuckle? And Single

992
00:53:42,440 --> 00:53:46,200
Speaker 2: Soon and Singles Soon by Selena Gomez. Those are three

993
00:53:46,760 --> 00:53:52,880
Speaker 2: completely different and yet equally powerful pieces of music.

994
00:53:53,239 --> 00:53:55,839
Speaker 3: Because the Lost Culture is those Cultural Awards is an

995
00:53:55,880 --> 00:53:57,000
Speaker 3: examination of the genre.

996
00:53:57,760 --> 00:54:02,200
Speaker 2: Much like Cowboy Carter. Much like Cowboy Carter, the lccas

997
00:54:02,840 --> 00:54:04,840
Speaker 2: no no genre, no no genre.

998
00:54:05,200 --> 00:54:07,239
Speaker 3: You can put us in the category of award show

999
00:54:08,480 --> 00:54:10,920
Speaker 3: it knows no genre but dead a dead.

1000
00:54:10,719 --> 00:54:15,040
Speaker 2: Ass like cut the cameras. There is something to be

1001
00:54:15,080 --> 00:54:22,879
Speaker 2: said about Elsie's being Award Show, Comedy show concert. Mm hmm.

1002
00:54:23,080 --> 00:54:24,279
Speaker 2: We don't know what it is either.

1003
00:54:24,800 --> 00:54:32,200
Speaker 3: No, don't try to gate. Keep Jimmy Kimmel, I know

1004
00:54:32,560 --> 00:54:35,799
Speaker 3: you're gonna try to gate. I know you, and we

1005
00:54:35,840 --> 00:54:37,719
Speaker 3: know you. You hear us, I know you hear me

1006
00:54:37,760 --> 00:54:40,279
Speaker 3: calling you miss honey, and I have my finger up

1007
00:54:40,600 --> 00:54:42,680
Speaker 3: I say, get out of here.

1008
00:54:43,600 --> 00:54:43,799
Speaker 2: No.

1009
00:54:43,920 --> 00:54:50,600
Speaker 3: I oh my god. Miley Cyrus's voice beautiful and has

1010
00:54:50,719 --> 00:54:51,479
Speaker 3: never sounded better.

1011
00:54:51,880 --> 00:54:57,680
Speaker 2: I I'm so proud. I am so Can I say.

1012
00:54:57,560 --> 00:55:02,680
Speaker 3: Especially after watching quiet on set like which will I'm

1013
00:55:02,880 --> 00:55:05,799
Speaker 3: which will later later, later, but.

1014
00:55:05,880 --> 00:55:07,439
Speaker 2: Like, let's not bring the mood down?

1015
00:55:07,719 --> 00:55:12,480
Speaker 3: Can I say, like someone who has also been fucking

1016
00:55:12,560 --> 00:55:14,200
Speaker 3: through it and had to have been doing this from

1017
00:55:14,239 --> 00:55:17,239
Speaker 3: a young age, and just watching her on the Grammys

1018
00:55:17,400 --> 00:55:20,239
Speaker 3: winning for Flowers and performing, I was like, that is

1019
00:55:20,280 --> 00:55:23,320
Speaker 3: a fucking super star right there, and.

1020
00:55:23,160 --> 00:55:27,320
Speaker 2: A Bob Mackie and you you don't question it at all? Superstar. Yeah.

1021
00:55:27,360 --> 00:55:29,240
Speaker 3: And then when I saw that this was a duet

1022
00:55:29,239 --> 00:55:31,359
Speaker 3: with Miley Cyrus, I said, I know this is gonna

1023
00:55:31,360 --> 00:55:33,360
Speaker 3: be good, and I played it and Miley starts the

1024
00:55:33,400 --> 00:55:38,560
Speaker 3: song with that insanely good lyric like which is like.

1025
00:55:38,600 --> 00:55:40,800
Speaker 2: No, I'm dumping the gun, but we're both still young.

1026
00:55:40,840 --> 00:55:45,799
Speaker 3: But someday we won't be Oh dear, I said. And

1027
00:55:45,840 --> 00:55:48,680
Speaker 3: then Beyonce coming in. Their voice is in harmony, Beyonce

1028
00:55:48,800 --> 00:55:52,640
Speaker 3: with that beautiful higher harmony and like still giving the

1029
00:55:52,760 --> 00:55:55,640
Speaker 3: power because you know what, she knows that Miley is

1030
00:55:55,680 --> 00:56:00,920
Speaker 3: holding down the bottom. Beyonce has basically said, you are

1031
00:56:01,320 --> 00:56:05,399
Speaker 3: that girl too. Beyonce said, I am elevating you with this,

1032
00:56:06,040 --> 00:56:09,240
Speaker 3: not that anyone needs that, but also not for nothing.

1033
00:56:09,640 --> 00:56:12,479
Speaker 3: Miley has said many times on social media. Now she's

1034
00:56:12,520 --> 00:56:14,719
Speaker 3: like basking in this moment of being on the song

1035
00:56:14,760 --> 00:56:18,200
Speaker 3: with Beyonce, her idol in many ways, her inspiration like

1036
00:56:18,320 --> 00:56:21,640
Speaker 3: and to be seen so equally.

1037
00:56:21,800 --> 00:56:25,239
Speaker 2: This song is giving Thelma and Louise Well. This is

1038
00:56:25,280 --> 00:56:31,960
Speaker 2: like the writer die song of our generation one hundred percent.

1039
00:56:32,080 --> 00:56:32,319
Speaker 2: I said.

1040
00:56:32,360 --> 00:56:34,880
Speaker 3: If this isn't a global number one, I don't know

1041
00:56:34,920 --> 00:56:37,000
Speaker 3: what is. This song is going to be played on

1042
00:56:37,040 --> 00:56:40,160
Speaker 3: the radio. This song is a forever song. This is

1043
00:56:40,200 --> 00:56:41,000
Speaker 3: one of those.

1044
00:56:41,200 --> 00:56:46,560
Speaker 2: In an era of loneliness. This song is like the medicine.

1045
00:56:47,080 --> 00:56:49,680
Speaker 3: I am feeling the spirit when you speak today, I

1046
00:56:49,719 --> 00:56:53,560
Speaker 3: have to say, girl, I feel the spirit every time

1047
00:56:53,640 --> 00:56:57,160
Speaker 3: you speak. I am truly feeling the spirit today because

1048
00:56:57,200 --> 00:56:59,280
Speaker 3: I'm really talking to you about this and I'm realizing

1049
00:57:00,160 --> 00:57:02,400
Speaker 3: how good this is. It is so I mean, I

1050
00:57:02,440 --> 00:57:05,680
Speaker 3: already realized, but like, man, like this is the most

1051
00:57:05,719 --> 00:57:07,960
Speaker 3: I would say contemporary country song.

1052
00:57:07,880 --> 00:57:08,319
Speaker 2: On the album.

1053
00:57:08,400 --> 00:57:11,440
Speaker 3: I would see Levice Jeans is this and that, this

1054
00:57:11,560 --> 00:57:13,880
Speaker 3: and that, but even Levis Jeans feels more like pop

1055
00:57:13,960 --> 00:57:16,840
Speaker 3: to me. But when that slide guitar came in on

1056
00:57:16,880 --> 00:57:19,360
Speaker 3: the top of two most Wanted, I said, this is

1057
00:57:19,440 --> 00:57:20,880
Speaker 3: gonna hit me right in the heart.

1058
00:57:20,960 --> 00:57:21,520
Speaker 2: Huh.

1059
00:57:21,600 --> 00:57:24,560
Speaker 3: Just that slide guitar, Like that's like it's really giving

1060
00:57:24,800 --> 00:57:29,040
Speaker 3: timeless contemporary modern country in a way that's so gorgeous.

1061
00:57:29,080 --> 00:57:32,160
Speaker 3: And what I love about Miley being on this is

1062
00:57:32,560 --> 00:57:37,440
Speaker 3: I know from interviews with Miley and just the you

1063
00:57:37,480 --> 00:57:40,120
Speaker 3: know younger now and the attempts that she's made, she

1064
00:57:40,360 --> 00:57:42,520
Speaker 3: really wants a place in country music too. And she

1065
00:57:42,720 --> 00:57:45,320
Speaker 3: has a rightful place in country music. Hers is a

1066
00:57:45,400 --> 00:57:49,560
Speaker 3: country voice. And the fact is they have kept her

1067
00:57:49,680 --> 00:57:51,880
Speaker 3: out of it too. They've kept it from her because

1068
00:57:51,880 --> 00:57:54,440
Speaker 3: she's not the quote unquote right kind of woman to

1069
00:57:54,560 --> 00:57:55,480
Speaker 3: do country music.

1070
00:57:55,680 --> 00:57:56,400
Speaker 2: You know what I'm saying.

1071
00:57:56,440 --> 00:58:01,200
Speaker 3: It's like Miley was two sexual, she was too suggestive,

1072
00:58:01,320 --> 00:58:04,040
Speaker 3: She wasn't this enough, she wasn't that enough. Like I'm

1073
00:58:04,160 --> 00:58:08,360
Speaker 3: sure that country music like has their bullshit reasons. This

1074
00:58:08,400 --> 00:58:11,680
Speaker 3: is Nashville country. I'm talking about like establishment country, which

1075
00:58:13,040 --> 00:58:15,640
Speaker 3: like keeping her out of it because she's made efforts

1076
00:58:15,680 --> 00:58:21,280
Speaker 3: and she's so fucking talented and gifted. Like it's almost

1077
00:58:21,320 --> 00:58:23,280
Speaker 3: like the same thing with the chicks. It's like Beyonce

1078
00:58:23,400 --> 00:58:26,640
Speaker 3: has said, Nope, I'm bringing everyone in that has a

1079
00:58:26,720 --> 00:58:29,600
Speaker 3: rightful place. And it's not just her bringing in like

1080
00:58:29,680 --> 00:58:32,240
Speaker 3: the black community and being like we have a place here.

1081
00:58:32,280 --> 00:58:35,680
Speaker 3: It's her saying, these women that have been mistreated by

1082
00:58:35,720 --> 00:58:38,840
Speaker 3: this genre, you're coming with me. You're on this album

1083
00:58:38,880 --> 00:58:41,120
Speaker 3: with me, and from Beyonce and Miley to do this

1084
00:58:41,240 --> 00:58:43,320
Speaker 3: song together, that is a statement.

1085
00:58:43,800 --> 00:58:47,040
Speaker 2: That is a statement right now, of course, and not

1086
00:58:47,080 --> 00:58:50,160
Speaker 2: to mention like the Willie Nelson and all either in

1087
00:58:50,240 --> 00:58:54,560
Speaker 2: terms of like the outlaw country estect. I think this

1088
00:58:54,640 --> 00:58:56,800
Speaker 2: is my most listened to song on the album. There's

1089
00:58:56,840 --> 00:59:01,880
Speaker 2: no question. Basically what we're saying is as soon as

1090
00:59:01,880 --> 00:59:05,720
Speaker 2: we heard this song, we said, we're singing this We're

1091
00:59:05,760 --> 00:59:08,440
Speaker 2: singing this at King's Theater. That's all you need to know.

1092
00:59:08,520 --> 00:59:11,080
Speaker 2: And I we're spoiling it, but like that's we have

1093
00:59:11,160 --> 00:59:18,680
Speaker 2: to sing this to each other. Don't do this. This

1094
00:59:19,040 --> 00:59:23,400
Speaker 2: song is don't you do this? I think.

1095
00:59:24,800 --> 00:59:27,000
Speaker 3: That's my song for my sister. This is the song

1096
00:59:27,040 --> 00:59:29,600
Speaker 3: of sisterhood. This is the Gregio girls.

1097
00:59:30,720 --> 00:59:34,480
Speaker 2: Of the new generation. You better know that I listened

1098
00:59:34,520 --> 00:59:37,800
Speaker 2: to Joanne again. Grezio Gross was for our parents. This

1099
00:59:37,920 --> 00:59:42,240
Speaker 2: is for us. First of all, all of Joanne. Respect Joanne.

1100
00:59:42,320 --> 00:59:43,480
Speaker 2: Respect Joanne.

1101
00:59:43,600 --> 00:59:49,080
Speaker 3: Joanne was Gaga's cowboy carter and it literally yeah. And

1102
00:59:49,120 --> 00:59:51,360
Speaker 3: I just feel like we have to respect Joanne and

1103
00:59:51,440 --> 00:59:54,000
Speaker 3: in a little while will respect another Gaga album if

1104
00:59:54,040 --> 00:59:58,800
Speaker 3: we get to it. But wow, to almost wanted, I

1105
00:59:58,960 --> 01:00:04,480
Speaker 3: just this is a huge hit. Rightfully, this is a

1106
01:00:04,920 --> 01:00:09,040
Speaker 3: stunning song. The lyrics are amazing, the harmonies are incredible,

1107
01:00:09,080 --> 01:00:13,200
Speaker 3: the melody is so instantly memorable, like I'll be a

1108
01:00:13,320 --> 01:00:17,880
Speaker 3: shotgun rider I did till the day I die. This

1109
01:00:18,040 --> 01:00:21,960
Speaker 3: is Thelma and Louise the song Mmm, and there's nothing

1110
01:00:22,440 --> 01:00:25,720
Speaker 3: I don't I couldn't say any bigger compliment than that.

1111
01:00:25,720 --> 01:00:30,560
Speaker 2: That'll see the two was doing it. Am I the

1112
01:00:30,640 --> 01:00:32,840
Speaker 2: high harmony. I think you're gonna be a high harmony.

1113
01:00:33,240 --> 01:00:35,440
Speaker 2: But you know, I think I think at one point

1114
01:00:35,480 --> 01:00:39,080
Speaker 2: they flip they flip fuck on this good.

1115
01:00:39,400 --> 01:00:41,960
Speaker 3: With promo code Coach, you can get sickets now to

1116
01:00:42,000 --> 01:00:44,040
Speaker 3: see Bowen and I flip fuck on stage at the

1117
01:00:44,120 --> 01:00:48,520
Speaker 3: King's Theater on June fifteenth.

1118
01:00:46,880 --> 01:00:59,160
Speaker 2: To the song too Most Wanted Levi's jeans forget It,

1119
01:00:59,320 --> 01:01:03,480
Speaker 2: forget it, forget it. I love it. I love it

1120
01:01:03,520 --> 01:01:08,120
Speaker 2: so much, it's so hot. My one moment that I

1121
01:01:08,200 --> 01:01:11,120
Speaker 2: don't love and I might be in the minority, is

1122
01:01:11,160 --> 01:01:14,200
Speaker 2: when posts Malone sing You're my renaissance.

1123
01:01:14,240 --> 01:01:17,720
Speaker 3: I'm like, don't do that. Don't do that here. If

1124
01:01:17,760 --> 01:01:19,439
Speaker 3: Beyonce is okay with it, I'm okay with it.

1125
01:01:19,400 --> 01:01:21,880
Speaker 2: Okay, fine, But I'm just like, you don't get to

1126
01:01:21,920 --> 01:01:24,680
Speaker 2: reference her. Let her reference her, you know what I mean.

1127
01:01:24,840 --> 01:01:26,320
Speaker 2: But he's on the song. He's invited.

1128
01:01:26,600 --> 01:01:29,840
Speaker 3: Someone said, someone said, so kind of Tailor and Beyonce

1129
01:01:29,960 --> 01:01:31,680
Speaker 3: to share custody of post Malone this City.

1130
01:01:31,760 --> 01:01:33,000
Speaker 2: Yeah, that's funny.

1131
01:01:33,200 --> 01:01:37,440
Speaker 3: Post is an amazing singer. He is an amazing singer. And

1132
01:01:37,560 --> 01:01:39,200
Speaker 3: it took me a while with post Malone, as it

1133
01:01:39,240 --> 01:01:41,920
Speaker 3: takes me a while with most men. In pop music. Honestly,

1134
01:01:41,920 --> 01:01:44,760
Speaker 3: I'm like, I was like, I don't know, But then

1135
01:01:44,800 --> 01:01:46,880
Speaker 3: I when I've really listened to him, and I was like, Wow,

1136
01:01:46,920 --> 01:01:51,440
Speaker 3: this guy is talented artists and I just love the

1137
01:01:51,520 --> 01:01:52,160
Speaker 3: vibe of this.

1138
01:01:52,280 --> 01:01:53,880
Speaker 2: I mean, it's hot as shit.

1139
01:01:54,320 --> 01:01:59,920
Speaker 3: Congratulations to Levi's on your dominance now in Denim, Denimon, Denim,

1140
01:02:01,840 --> 01:02:02,920
Speaker 3: I mean I'm obsessed.

1141
01:02:03,400 --> 01:02:07,000
Speaker 2: Yeah, No, Post is speaking of if everyone's if. The

1142
01:02:07,080 --> 01:02:10,520
Speaker 2: vision for us is that everyone vibes. Post alone is

1143
01:02:10,560 --> 01:02:13,680
Speaker 2: a huge part of that. We need Post to spread

1144
01:02:13,680 --> 01:02:16,760
Speaker 2: the gospel of vibes to the world. Yeah, he's the

1145
01:02:16,800 --> 01:02:21,360
Speaker 2: ambassador truly. I mean, together they are unstoppable. This song

1146
01:02:21,760 --> 01:02:24,000
Speaker 2: is unbelievable.

1147
01:02:24,040 --> 01:02:27,240
Speaker 3: I love it, and especially coming out of two Most Wanted,

1148
01:02:27,680 --> 01:02:30,800
Speaker 3: like the waterfall that will happen from two Most Wanted

1149
01:02:30,840 --> 01:02:33,880
Speaker 3: as that song becomes what it's going destined to become into.

1150
01:02:33,920 --> 01:02:36,320
Speaker 3: Levi Jeans. Levi Jeans is another I think she's got.

1151
01:02:36,320 --> 01:02:37,960
Speaker 3: I think she could have three number one hits off

1152
01:02:37,960 --> 01:02:40,840
Speaker 3: this album, at least. I think Old Him already is.

1153
01:02:41,400 --> 01:02:44,520
Speaker 3: I think too almost Wanted that's its destiny. And I

1154
01:02:44,560 --> 01:02:49,320
Speaker 3: think that Levi Jeans is this is that is a

1155
01:02:49,400 --> 01:02:52,280
Speaker 3: fucking hit. That is a radio smash.

1156
01:02:51,920 --> 01:02:54,520
Speaker 2: Right there across genres. I mean I can hear it

1157
01:02:54,600 --> 01:02:59,400
Speaker 2: everywhere everywhere, Flamenco. I think kind of is a nice

1158
01:02:59,520 --> 01:03:02,959
Speaker 2: little doll up on top of this act of Smoke

1159
01:03:03,000 --> 01:03:05,920
Speaker 2: Hour two because I think Linda Martel's show into the

1160
01:03:05,920 --> 01:03:10,600
Speaker 2: rest of the album is a fucking moment. Correct. My

1161
01:03:10,640 --> 01:03:12,840
Speaker 2: first listen through, I was like, I did get fatigued

1162
01:03:12,880 --> 01:03:15,480
Speaker 2: by the end. I was like a little checked out,

1163
01:03:15,920 --> 01:03:19,320
Speaker 2: But then I really something drew me back to this

1164
01:03:19,480 --> 01:03:26,400
Speaker 2: section where this run is fucking crazy. It's nuts Linda

1165
01:03:26,480 --> 01:03:30,120
Speaker 2: Martel show into Amen. I'm like, this can be its

1166
01:03:30,160 --> 01:03:33,880
Speaker 2: own album. When the vinyl comes, I know people are

1167
01:03:33,880 --> 01:03:36,720
Speaker 2: really mad that Yaya is not on the current pressings.

1168
01:03:36,920 --> 01:03:40,040
Speaker 2: Yeah yeah, yeah yeah Yaya and spaghetti too and spaghetti,

1169
01:03:40,080 --> 01:03:44,320
Speaker 2: spaghetti too, spaghetti just because these subiliyes are throwing me off. Yeah, anyway,

1170
01:03:44,440 --> 01:03:48,080
Speaker 2: like this whatever this disc is SI side A, side

1171
01:03:48,080 --> 01:03:50,080
Speaker 2: B on this is fucking wild.

1172
01:03:50,360 --> 01:03:52,320
Speaker 3: Well if this is like the finale of the concert,

1173
01:03:52,360 --> 01:03:54,400
Speaker 3: because I could see her doing a thing and she

1174
01:03:54,520 --> 01:03:57,320
Speaker 3: won't because I thought the same thing about Renaissance, like

1175
01:03:57,400 --> 01:03:59,760
Speaker 3: is she going to do it? Like chronologically she mostly

1176
01:03:59,800 --> 01:04:03,320
Speaker 3: did sort of, I mean she didn't really but like,

1177
01:04:03,440 --> 01:04:05,480
Speaker 3: I think with this she also could because this is

1178
01:04:05,520 --> 01:04:08,280
Speaker 3: so executed in terms of the acts.

1179
01:04:08,520 --> 01:04:11,960
Speaker 2: Wait, you're gas lighting she basically did with Renaissance. She

1180
01:04:12,040 --> 01:04:13,720
Speaker 2: took out a them some things, and then she did

1181
01:04:13,720 --> 01:04:17,040
Speaker 2: like the wedding interlude in the middle where the theme

1182
01:04:17,160 --> 01:04:19,120
Speaker 2: was wedding, I should say, where it was like love

1183
01:04:19,160 --> 01:04:20,200
Speaker 2: on top, and like.

1184
01:04:20,400 --> 01:04:23,880
Speaker 3: She largely did that, but it wasn't totally chronological. And

1185
01:04:24,200 --> 01:04:28,040
Speaker 3: I guess what I'm saying is like this probably won't

1186
01:04:28,040 --> 01:04:29,760
Speaker 3: be but could be in a complimentary way.

1187
01:04:29,800 --> 01:04:31,680
Speaker 2: I got it, got it. Yeah, this this album is

1188
01:04:31,680 --> 01:04:34,560
Speaker 2: a little bit more I don't know, flexible. Yeah yeah.

1189
01:04:34,680 --> 01:04:36,720
Speaker 2: Renaissance is meant to be like a DJ set and

1190
01:04:36,760 --> 01:04:38,480
Speaker 2: this is meant to just be like a radio sort

1191
01:04:38,480 --> 01:04:38,720
Speaker 2: of thing.

1192
01:04:38,800 --> 01:04:41,880
Speaker 3: Yeah right, even just Linda being like that's what makes

1193
01:04:41,880 --> 01:04:44,360
Speaker 3: it an enjoyable listening listening experience.

1194
01:04:44,600 --> 01:04:49,360
Speaker 2: I love it. It's like and then when yah Yah

1195
01:04:49,480 --> 01:04:54,120
Speaker 2: starts this is I was thinking of you. I always

1196
01:04:54,120 --> 01:04:56,200
Speaker 2: think of you when Yah Yeah plays because it is

1197
01:04:56,240 --> 01:05:00,440
Speaker 2: Beyonce at her most Ladies, it is Beyonce giving us

1198
01:05:00,480 --> 01:05:03,440
Speaker 2: yet another song in the ladies canon. Ladies, you know

1199
01:05:03,480 --> 01:05:06,720
Speaker 2: what I mean. Yep, These petty ones can fuck with

1200
01:05:06,800 --> 01:05:13,520
Speaker 2: me why I'm a girl. We snapped him. Ah, I said,

1201
01:05:13,840 --> 01:05:15,080
Speaker 2: this is gonna be.

1202
01:05:15,080 --> 01:05:22,000
Speaker 3: So crazy, This is gonna go so off, this is

1203
01:05:22,120 --> 01:05:24,200
Speaker 3: gonna go crazy live.

1204
01:05:24,720 --> 01:05:25,439
Speaker 2: Yeah.

1205
01:05:25,600 --> 01:05:29,240
Speaker 3: This is a moment and a half. Yeah, yeah is

1206
01:05:29,280 --> 01:05:31,600
Speaker 3: And it's so many things. It's like Linda was right

1207
01:05:31,680 --> 01:05:35,000
Speaker 3: when she said that the exploration of so many different genres,

1208
01:05:35,040 --> 01:05:39,280
Speaker 3: like the boots are made for walking sample. I just

1209
01:05:39,360 --> 01:05:41,440
Speaker 3: like we were everywhere.

1210
01:05:41,000 --> 01:05:45,040
Speaker 2: On this into like the big band until like it's

1211
01:05:45,120 --> 01:05:48,520
Speaker 2: all but it's so seamless, like I don't realize moment

1212
01:05:48,560 --> 01:05:51,320
Speaker 2: to moment like where I'm at, and like I'm just

1213
01:05:51,320 --> 01:05:53,280
Speaker 2: I'm kind of lost in it in a beautiful way.

1214
01:05:53,280 --> 01:05:56,440
Speaker 2: I'm like, I don't care what the genre is. I

1215
01:05:56,480 --> 01:06:00,880
Speaker 2: really don't know, nor should anyone. I mean, it's just

1216
01:06:01,440 --> 01:06:07,120
Speaker 2: it's a blast. It is a fucking blast. It's just good.

1217
01:06:07,680 --> 01:06:11,320
Speaker 2: And I also just love saying yeah yah yeah yeah.

1218
01:06:11,640 --> 01:06:13,640
Speaker 2: I think we are all babies.

1219
01:06:13,640 --> 01:06:17,280
Speaker 3: And babies famously say yeah yeah. Well my little cousin Liam,

1220
01:06:17,600 --> 01:06:20,280
Speaker 3: when he was a baby, the first song he ever

1221
01:06:20,280 --> 01:06:26,080
Speaker 3: made up went like this yeah yea yeah yeah yeah

1222
01:06:26,400 --> 01:06:30,200
Speaker 3: yeah yeah yeah yeah yeah, And I was just like,

1223
01:06:30,640 --> 01:06:33,240
Speaker 3: what is that. I don't know where he heard how

1224
01:06:33,280 --> 01:06:37,439
Speaker 3: he created it, but yeah, yah, yeah, yeah, yeah.

1225
01:06:37,000 --> 01:06:40,800
Speaker 2: I'll never forget it. He just wouldn't stop. He wrote Heated,

1226
01:06:41,040 --> 01:06:45,000
Speaker 2: He wrote Heated by Beyonce. Yeah yeah, yeah, yeah, go

1227
01:06:45,120 --> 01:06:49,480
Speaker 2: Off Williams. Yeah that's heated.

1228
01:06:49,640 --> 01:06:53,000
Speaker 3: But I was like this, yeah, yeah, there's something about

1229
01:06:53,040 --> 01:06:56,280
Speaker 3: it years later Yeah yeah yah. Also makes it an

1230
01:06:56,360 --> 01:07:02,480
Speaker 3: enjoyable listening experience experience. It's called yeah yeah.

1231
01:07:01,640 --> 01:07:05,480
Speaker 2: Louisiana lovely cute little thing into kind of just like

1232
01:07:06,320 --> 01:07:09,040
Speaker 2: a gorgeous little stample. By the way, there's something to

1233
01:07:09,040 --> 01:07:12,440
Speaker 2: be said about this being potentially the most expensive album.

1234
01:07:12,800 --> 01:07:14,680
Speaker 2: I think Pitchfork said this, this is potentially the most

1235
01:07:14,720 --> 01:07:17,720
Speaker 2: expensive album on a royalties level, because you're paying stuff

1236
01:07:17,720 --> 01:07:22,760
Speaker 2: out to Oh God, yes, Dolly, Chuck Berry, Nancy Sinatra, Beatles,

1237
01:07:22,840 --> 01:07:25,760
Speaker 2: Beach Boys, Patsy Klein, Oh my god, like the Beach

1238
01:07:25,800 --> 01:07:28,160
Speaker 2: Boys thing. I was like, Brian Wilson better be getting

1239
01:07:28,160 --> 01:07:30,720
Speaker 2: a fucking check, even though he is in a conservatorship.

1240
01:07:30,760 --> 01:07:35,880
Speaker 2: Unfortunately now because he's not, he's struggled for a while.

1241
01:07:36,360 --> 01:07:39,640
Speaker 2: But I was very happy that Good Vibrations off of

1242
01:07:39,720 --> 01:07:45,280
Speaker 2: the non existent Beach Boys album Smile, the follow up

1243
01:07:45,320 --> 01:07:50,280
Speaker 2: two pet Sounds, that Good Vibrations was pay tribute by Beyonce,

1244
01:07:50,720 --> 01:07:54,000
Speaker 2: yes Patsy Clein as well. But I mean just on

1245
01:07:54,040 --> 01:07:56,800
Speaker 2: a royalties level, that is, that's a lot of cash

1246
01:07:56,840 --> 01:07:59,520
Speaker 2: for some iconic songs. Yeah, this is not an album

1247
01:07:59,520 --> 01:08:04,880
Speaker 2: you can just no no and god blast like it

1248
01:08:04,960 --> 01:08:10,000
Speaker 2: is a beautiful tapestry of music. Okay, So we are

1249
01:08:10,040 --> 01:08:14,600
Speaker 2: going into Desert Eagle, which also great, into here we

1250
01:08:14,640 --> 01:08:17,160
Speaker 2: go River Dance. This is one of my favorites. This

1251
01:08:17,200 --> 01:08:20,800
Speaker 2: is in my top three. Yeah, talk about it.

1252
01:08:21,280 --> 01:08:24,680
Speaker 3: What I love about it is well everything, but I

1253
01:08:24,960 --> 01:08:27,479
Speaker 3: guess like it's just it lifts like it's just a

1254
01:08:28,600 --> 01:08:33,719
Speaker 3: hphoric feeling, and the lyrics are so like beautifully dense

1255
01:08:33,760 --> 01:08:36,840
Speaker 3: and poetic, and like the way she sings. I love it.

1256
01:08:37,000 --> 01:08:39,680
Speaker 3: I love it. I love this core progression. I just

1257
01:08:39,760 --> 01:08:42,160
Speaker 3: love I love the sounds that she shows for it.

1258
01:08:42,240 --> 01:08:47,639
Speaker 3: I mean, oh man again, the harmonies, the vocal sacking,

1259
01:08:47,800 --> 01:08:51,000
Speaker 3: Like I just I'm so impressed with the vocal production

1260
01:08:51,120 --> 01:08:51,360
Speaker 3: on this.

1261
01:08:51,880 --> 01:08:55,120
Speaker 2: She's just and I love the way she says dance

1262
01:08:55,760 --> 01:08:59,360
Speaker 2: like just a little like a little growl on it,

1263
01:08:59,479 --> 01:09:02,080
Speaker 2: like yep or on the balance. Obviously there's a girl

1264
01:09:02,120 --> 01:09:03,320
Speaker 2: on that like bounce on the.

1265
01:09:03,320 --> 01:09:06,840
Speaker 3: Chip, bounce on that. No hands say less to be quiet,

1266
01:09:07,080 --> 01:09:11,360
Speaker 3: less like to be honest. And also, I don't know,

1267
01:09:11,400 --> 01:09:14,200
Speaker 3: have you noticed this? This is a fuck album.

1268
01:09:14,560 --> 01:09:15,000
Speaker 2: This is the.

1269
01:09:18,040 --> 01:09:21,719
Speaker 3: This is I think, a full on fuck album, maybe

1270
01:09:21,720 --> 01:09:25,120
Speaker 3: even more than Renaissance Renaissance to dance album. This is

1271
01:09:25,120 --> 01:09:27,360
Speaker 3: a little bit of a fuck album because this is

1272
01:09:27,400 --> 01:09:30,439
Speaker 3: the moment where you've hit your second blunt and now

1273
01:09:30,439 --> 01:09:35,160
Speaker 3: you're going to hornytown and I see myself taking it

1274
01:09:36,720 --> 01:09:39,679
Speaker 3: doggy style to river dam wow, I do, I see

1275
01:09:39,720 --> 01:09:43,559
Speaker 3: my wow. If I'm lucky, if you're lucky, I wish

1276
01:09:43,600 --> 01:09:48,040
Speaker 3: that for everyone. The transition into two Hands to Heaven

1277
01:09:49,640 --> 01:09:53,800
Speaker 3: is wild best transition on the album. I say, godly

1278
01:09:54,120 --> 01:09:58,759
Speaker 3: and two Hands to Heaven. I mean there is something

1279
01:09:59,320 --> 01:10:01,519
Speaker 3: on that out of it being a fuck album, which

1280
01:10:01,520 --> 01:10:03,480
Speaker 3: I don't I'm not totally sure I agree.

1281
01:10:03,200 --> 01:10:07,800
Speaker 2: With it's okay. Two Minds Too Hearts, two opinions, two opinions,

1282
01:10:07,880 --> 01:10:12,840
Speaker 2: a culture number eighty. Two Minds Too, Hearts, two opinions,

1283
01:10:12,840 --> 01:10:16,680
Speaker 2: Two Hands to Heaven, I mean there is something and

1284
01:10:16,720 --> 01:10:20,400
Speaker 2: it does demand that, like there is an emotional connection

1285
01:10:20,479 --> 01:10:22,960
Speaker 2: in sex, which doesn't always happen. But I think at

1286
01:10:22,960 --> 01:10:25,400
Speaker 2: the end of Two Hands to Heaven, of like I've

1287
01:10:25,439 --> 01:10:32,479
Speaker 2: been weighing you like that is horny, even though it's

1288
01:10:32,479 --> 01:10:37,360
Speaker 2: a little too intimate and affectionate, and sometimes you don't

1289
01:10:37,400 --> 01:10:42,759
Speaker 2: necessarily want that when you're having sex intimacy not always.

1290
01:10:42,800 --> 01:10:46,400
Speaker 2: I don't like, let's let's not totally tie sex with intimacy,

1291
01:10:46,400 --> 01:10:47,960
Speaker 2: because they're not they're not off of the same.

1292
01:10:48,080 --> 01:10:52,120
Speaker 3: First of all, I completely agree, And I just recently

1293
01:10:52,120 --> 01:10:56,439
Speaker 3: got dragged for I was on nick Leeman. Oh I yes, yes,

1294
01:10:56,479 --> 01:10:58,880
Speaker 3: And by the way, I completely understand what you mean.

1295
01:10:58,920 --> 01:11:01,120
Speaker 3: By the way, yeah, people were like upset with me

1296
01:11:01,280 --> 01:11:03,360
Speaker 3: for saying like I have, so, I said on Nick

1297
01:11:03,439 --> 01:11:08,000
Speaker 3: Leman and Julian Brazinski's lovely podcast Breathe Feel Agree new podcast.

1298
01:11:08,400 --> 01:11:11,080
Speaker 3: They've got Dylan Molvaney on this week. It's gonna be great, slagh.

1299
01:11:11,280 --> 01:11:14,160
Speaker 2: But we're talking about sex. You said you're king, and

1300
01:11:14,200 --> 01:11:15,120
Speaker 2: I said my kink.

1301
01:11:15,280 --> 01:11:18,800
Speaker 3: I have an intimacy kink, Like I said that sometimes

1302
01:11:18,840 --> 01:11:22,040
Speaker 3: I can get off on like I love you play

1303
01:11:22,080 --> 01:11:24,160
Speaker 3: and like even if you're just having a one night

1304
01:11:24,160 --> 01:11:27,639
Speaker 3: stand with someone, like sometimes like it can be fun

1305
01:11:28,160 --> 01:11:33,280
Speaker 3: to pretend sexually as a thing that you're more in

1306
01:11:33,400 --> 01:11:35,760
Speaker 3: more of a relationship committed than you are, and then

1307
01:11:35,800 --> 01:11:37,719
Speaker 3: at the end it's like whatever, you pack.

1308
01:11:37,600 --> 01:11:39,840
Speaker 2: It up and go home. It is a boundary thing,

1309
01:11:40,000 --> 01:11:43,320
Speaker 2: like within the context of sex, like, correct, you are

1310
01:11:43,600 --> 01:11:48,519
Speaker 2: aroused by that. I totally relate mother, And people were like.

1311
01:11:49,080 --> 01:11:52,519
Speaker 3: Uh, doesn't he know that's just intimacy, Like it's it's like, yeah,

1312
01:11:52,520 --> 01:11:55,400
Speaker 3: that's what sex is. It's caring about someone. I'm like, see,

1313
01:11:55,520 --> 01:11:59,720
Speaker 3: now we're getting Now we're getting you. Are you explaining

1314
01:11:59,760 --> 01:12:02,400
Speaker 3: to me what intimacy is? I promise you.

1315
01:12:02,439 --> 01:12:02,680
Speaker 2: I know.

1316
01:12:02,960 --> 01:12:06,400
Speaker 3: I was explaining that I have an intimate like it

1317
01:12:06,439 --> 01:12:08,400
Speaker 3: was just crazy. And then I think it was like

1318
01:12:08,439 --> 01:12:10,920
Speaker 3: a queer magazine that like quoted me as saying it,

1319
01:12:10,960 --> 01:12:13,400
Speaker 3: and I was like, you queer people are like what

1320
01:12:14,000 --> 01:12:17,160
Speaker 3: telling me? What are you trying to do?

1321
01:12:17,240 --> 01:12:21,880
Speaker 2: Shame me? But that was wild. I thought, like I

1322
01:12:21,880 --> 01:12:24,960
Speaker 2: thought gay guys did sex without intimacy better than anybody.

1323
01:12:25,360 --> 01:12:26,960
Speaker 3: First of all, I didn't even know it was a

1324
01:12:27,000 --> 01:12:29,120
Speaker 3: thing until someone brought out to me. They were like, oh, yeah,

1325
01:12:29,240 --> 01:12:31,120
Speaker 3: so that you got dragged for this, and I was like, well,

1326
01:12:31,160 --> 01:12:33,200
Speaker 3: first of all, I guess I'm happy that. Like in

1327
01:12:33,240 --> 01:12:35,840
Speaker 3: the beginning of their podcast, like they get that that

1328
01:12:36,000 --> 01:12:38,040
Speaker 3: some people like, you know, I got picked up and

1329
01:12:38,479 --> 01:12:41,920
Speaker 3: it's good for them, I guess. But yeah, I don't

1330
01:12:41,920 --> 01:12:45,800
Speaker 3: have a problem with sex. I have a very good

1331
01:12:45,840 --> 01:12:49,000
Speaker 3: relationship with it. And when I'm in an intimate relationship,

1332
01:12:49,040 --> 01:12:50,680
Speaker 3: I know what that means, and I know what it

1333
01:12:50,680 --> 01:12:53,160
Speaker 3: means to express a kink, and I know what it

1334
01:12:53,200 --> 01:12:55,680
Speaker 3: means to communicate, and I know what boundaries are.

1335
01:12:55,720 --> 01:12:58,680
Speaker 2: And thank you very much. Yeah, we're still doing that.

1336
01:12:58,720 --> 01:13:02,120
Speaker 2: We're still like chastising each other for things that people

1337
01:13:02,160 --> 01:13:04,240
Speaker 2: like sexually, if it's not hurting, if it's like fully

1338
01:13:04,280 --> 01:13:05,679
Speaker 2: within the bounds of consent.

1339
01:13:05,880 --> 01:13:09,360
Speaker 3: First of all, the reason I even have experimented with

1340
01:13:09,400 --> 01:13:12,080
Speaker 3: that is because my straight female friends said that she

1341
01:13:12,240 --> 01:13:15,120
Speaker 3: does it and she has sex with men, and I

1342
01:13:15,200 --> 01:13:16,439
Speaker 3: was like, oh, that's really interesting.

1343
01:13:16,479 --> 01:13:17,120
Speaker 2: I might try that.

1344
01:13:17,160 --> 01:13:19,080
Speaker 3: And I tried it and it was fun, Like it

1345
01:13:19,120 --> 01:13:21,680
Speaker 3: was fun to have a boyfriend for like thirty minutes.

1346
01:13:21,479 --> 01:13:25,760
Speaker 2: You're talking about your sexual preferences on a podcast that

1347
01:13:25,840 --> 01:13:30,280
Speaker 2: like prompted that, And for anyone to try to poke

1348
01:13:30,280 --> 01:13:36,240
Speaker 2: holes in that is so fucking not of this time

1349
01:13:36,720 --> 01:13:38,760
Speaker 2: we're past. I also don't care.

1350
01:13:39,640 --> 01:13:43,400
Speaker 3: Yeah, it was disappointing because it was like willful ignorance

1351
01:13:43,400 --> 01:13:45,040
Speaker 3: about what I was saying, Like they were trying to

1352
01:13:45,080 --> 01:13:47,439
Speaker 3: make it seem like I'm miss like whatever.

1353
01:13:47,479 --> 01:13:47,960
Speaker 2: I don't care.

1354
01:13:48,360 --> 01:13:51,400
Speaker 3: Honestly, after I watched Perfect Blue, like you said, I'm

1355
01:13:51,400 --> 01:13:52,920
Speaker 3: in a whole new place where.

1356
01:13:52,760 --> 01:13:55,120
Speaker 2: I'm just like you're the real thing, as she says

1357
01:13:55,120 --> 01:13:57,400
Speaker 2: in the end, right, yeah, I know who I am.

1358
01:13:57,520 --> 01:13:59,639
Speaker 2: I know that I'm a real person and you know that,

1359
01:13:59,800 --> 01:14:02,320
Speaker 2: and like who you are, and like I'm not gonna

1360
01:14:02,360 --> 01:14:04,920
Speaker 2: let like whatever people weighing in them whatever it is.

1361
01:14:05,160 --> 01:14:07,360
Speaker 2: If either of us fucking care what anyone thought, we

1362
01:14:07,400 --> 01:14:09,960
Speaker 2: wouldn't share our opinions and thoughts on a podcast. We

1363
01:14:10,080 --> 01:14:14,840
Speaker 2: just would not, so whatever. But there does come a

1364
01:14:14,880 --> 01:14:17,519
Speaker 2: time when and I'm really happy that you suggested that

1365
01:14:17,560 --> 01:14:20,200
Speaker 2: movie to me, because you can drive yourself fucking crazy.

1366
01:14:20,200 --> 01:14:22,280
Speaker 2: Care and what people think it can kill you, It

1367
01:14:22,280 --> 01:14:24,400
Speaker 2: can really can. It can kill you.

1368
01:14:24,840 --> 01:14:27,200
Speaker 3: And then even to see Beyonce and I said this

1369
01:14:27,280 --> 01:14:29,599
Speaker 3: with Madonna a few weeks ago, where she was like

1370
01:14:30,200 --> 01:14:32,519
Speaker 3: I don't give a fuck, Well sometimes I still give

1371
01:14:32,560 --> 01:14:35,439
Speaker 3: one and a half fuck. Yeah, And then even Beyonce

1372
01:14:35,560 --> 01:14:37,840
Speaker 3: saying the other night, like you know, criticism can really

1373
01:14:37,880 --> 01:14:39,320
Speaker 3: take a toll on your mental health. It can be

1374
01:14:39,439 --> 01:14:42,839
Speaker 3: a challenge. It is a challenge but ultimately, you know yourself,

1375
01:14:43,880 --> 01:14:46,120
Speaker 3: and this doesn't even have to pertain to anyone that's

1376
01:14:46,160 --> 01:14:48,760
Speaker 3: in the whatever quote unquote public eye. It can be

1377
01:14:49,320 --> 01:14:51,599
Speaker 3: if you lived your life and people have opinions on it,

1378
01:14:51,600 --> 01:14:55,320
Speaker 3: it doesn't fucking matter. No, you think Beyonce like would

1379
01:14:55,400 --> 01:14:57,519
Speaker 3: stop doing anything that she was ever doing because of

1380
01:14:57,560 --> 01:15:00,400
Speaker 3: what people said. She would have been in a at

1381
01:15:00,479 --> 01:15:04,680
Speaker 3: age nineteen, and that would have been a loss for

1382
01:15:04,760 --> 01:15:10,280
Speaker 3: the world. Exactly, Okay, Tyrant Tyrant. I love that Dolly

1383
01:15:10,320 --> 01:15:12,120
Speaker 3: is featured on Tyrant, even though she just kind of

1384
01:15:12,200 --> 01:15:15,920
Speaker 3: does the cowboy carter, you know, like you know whatever,

1385
01:15:16,000 --> 01:15:17,920
Speaker 3: she just has that little thing up top. But then,

1386
01:15:18,120 --> 01:15:20,840
Speaker 3: I mean, Tyrant, is is that a harmonica? I hear

1387
01:15:21,280 --> 01:15:24,559
Speaker 3: mm hmmm, uh huh. And you know Stevie Wonder plays

1388
01:15:24,600 --> 01:15:26,799
Speaker 3: the harmonica on Joline on Jolene.

1389
01:15:26,920 --> 01:15:32,280
Speaker 2: Yes, I wonder who was harmonica on Tyrant? But so

1390
01:15:32,280 --> 01:15:35,760
Speaker 2: so good? I mean, this is this This is a

1391
01:15:35,840 --> 01:15:40,120
Speaker 2: fucking like dirty and by dirty I mean like down

1392
01:15:40,240 --> 01:15:44,240
Speaker 2: home dirty song, but like with like that bass, with

1393
01:15:44,400 --> 01:15:48,679
Speaker 2: like pretty contemporary instrumentation, but without it sounding like a content.

1394
01:15:48,840 --> 01:15:51,200
Speaker 2: I mean, I guess this is weirdly Tyrant is weirdly.

1395
01:15:52,680 --> 01:15:55,519
Speaker 2: The more on the more contemporary side of country on

1396
01:15:55,560 --> 01:15:59,200
Speaker 2: this album. Yeah, like this you could like imagine someone

1397
01:15:59,400 --> 01:16:01,479
Speaker 2: fucking putting out you know.

1398
01:16:01,760 --> 01:16:06,160
Speaker 4: Like maybe, I mean this is the thing too, is

1399
01:16:06,200 --> 01:16:10,280
Speaker 4: It's like I think that what should happen now is

1400
01:16:10,320 --> 01:16:13,040
Speaker 4: it should inspire country music, you know what I mean,

1401
01:16:13,080 --> 01:16:15,519
Speaker 4: Like it should expand it if if I'm someone in

1402
01:16:15,600 --> 01:16:17,520
Speaker 4: Nashville country right now, I'm inspired.

1403
01:16:17,560 --> 01:16:21,040
Speaker 3: I'm not threatened, No, but I think that it's the

1404
01:16:21,120 --> 01:16:27,320
Speaker 3: conservative is it modus operandi to just be like threatened?

1405
01:16:27,960 --> 01:16:30,360
Speaker 3: To just be like how dare you?

1406
01:16:30,560 --> 01:16:32,080
Speaker 2: Like? This isn't the way things are?

1407
01:16:32,520 --> 01:16:34,720
Speaker 3: Like, It's just like that's I guess what is that

1408
01:16:34,760 --> 01:16:37,479
Speaker 3: At the root of the word conservative is to conserve,

1409
01:16:37,560 --> 01:16:40,280
Speaker 3: It is to remain. It is to you know, protect

1410
01:16:40,360 --> 01:16:42,360
Speaker 3: in a way, it's like what are you what are

1411
01:16:42,400 --> 01:16:43,120
Speaker 3: you protecting?

1412
01:16:43,160 --> 01:16:43,559
Speaker 2: Exactly?

1413
01:16:43,600 --> 01:16:47,000
Speaker 3: Like what what are we still obsessed with? What do

1414
01:16:47,080 --> 01:16:49,880
Speaker 3: we need from the past that we can't move forward?

1415
01:16:50,320 --> 01:16:53,519
Speaker 3: Like I just think, you know, I recently went on

1416
01:16:53,840 --> 01:16:57,560
Speaker 3: the podcast Orange Country, which is hosted by Shane mcinally

1417
01:16:57,600 --> 01:17:00,559
Speaker 3: and Gina Kirschenheider and Shane mcinally is a gay country

1418
01:17:00,760 --> 01:17:04,519
Speaker 3: songwriter and he is was nominated for the Grammy for

1419
01:17:04,640 --> 01:17:08,160
Speaker 3: Songwriter of the Year last year, and he's like Casey's

1420
01:17:08,240 --> 01:17:11,000
Speaker 3: or Marin, He's worth like all the girls all like

1421
01:17:11,040 --> 01:17:14,080
Speaker 3: the cool country girls and honestly some of like, in

1422
01:17:14,160 --> 01:17:16,599
Speaker 3: my opinion, like the whack country guys. Like he's seeing

1423
01:17:16,680 --> 01:17:17,920
Speaker 3: it all in Nashville country.

1424
01:17:17,920 --> 01:17:19,519
Speaker 2: And I asked him. I was like, what do you.

1425
01:17:19,479 --> 01:17:22,479
Speaker 3: Think about Beyonce coming in to country? What do you

1426
01:17:22,479 --> 01:17:25,200
Speaker 3: think about it? And he was like, I fucking love Beyonce.

1427
01:17:25,400 --> 01:17:28,240
Speaker 3: I'm her biggest fan. I'm obsessed with her. I would

1428
01:17:28,320 --> 01:17:30,599
Speaker 3: I would, I worship her. The thing about her coming

1429
01:17:30,640 --> 01:17:33,120
Speaker 3: into country music is I looked at people she was

1430
01:17:33,160 --> 01:17:35,800
Speaker 3: working with and there were no Nashville country musicians, and

1431
01:17:35,880 --> 01:17:38,599
Speaker 3: I wish that there were some, just because you know,

1432
01:17:38,760 --> 01:17:42,320
Speaker 3: Nashville is a community that's very tight, and I feel like,

1433
01:17:42,520 --> 01:17:45,600
Speaker 3: especially with women in country music, it's very hard so

1434
01:17:45,920 --> 01:17:48,480
Speaker 3: for someone to come in from quote unquote the outside

1435
01:17:48,520 --> 01:17:52,759
Speaker 3: another genre, like, it's just it is a thing, okay,

1436
01:17:53,080 --> 01:17:55,960
Speaker 3: And I understand that. I don't know if that I

1437
01:17:56,000 --> 01:17:59,439
Speaker 3: totally agree. I don't agree, but I understand. I understand

1438
01:17:59,479 --> 01:18:01,320
Speaker 3: where he's coming for you. He asked me to me too,

1439
01:18:01,439 --> 01:18:05,680
Speaker 3: But I do not agree because again, it ascribes ownership

1440
01:18:05,720 --> 01:18:08,840
Speaker 3: of country music to Nashville, and that is.

1441
01:18:10,840 --> 01:18:14,519
Speaker 2: Or shouldn't be, that's not real. I feel like country

1442
01:18:14,600 --> 01:18:22,160
Speaker 2: should be decentralized exactly exactly, like of all genres, that is,

1443
01:18:22,720 --> 01:18:25,680
Speaker 2: like the way that hip hop is decentralized only benefits

1444
01:18:25,720 --> 01:18:29,000
Speaker 2: the genre as a whole. And then beca producer. Becka

1445
01:18:29,000 --> 01:18:30,679
Speaker 2: says also her having to make amends with the community

1446
01:18:30,680 --> 01:18:34,040
Speaker 2: of folks who rejected her so heavily totally, Why would she, yeah, exactly,

1447
01:18:34,040 --> 01:18:38,120
Speaker 2: why would she bring in someone from the Nashville fold. Well,

1448
01:18:38,120 --> 01:18:41,000
Speaker 2: she doesn't work with them, he doesn't need that. And

1449
01:18:41,040 --> 01:18:44,960
Speaker 2: also maybe maybe that question in and of itself is

1450
01:18:45,040 --> 01:18:48,720
Speaker 2: answered by the Dolly Parton and Willie Nelson of it all.

1451
01:18:48,760 --> 01:18:52,120
Speaker 2: It's like, again like if you're someone in country music

1452
01:18:52,120 --> 01:18:55,479
Speaker 2: who knows better than those two, my stetson is off

1453
01:18:55,479 --> 01:18:56,479
Speaker 2: to you, darling.

1454
01:18:57,120 --> 01:19:00,479
Speaker 3: But it was interesting to hear his perspective because someone

1455
01:19:00,479 --> 01:19:03,679
Speaker 3: who's a huge fucking fan. But I think that again,

1456
01:19:03,760 --> 01:19:06,679
Speaker 3: there was still that confusion about what exactly this album

1457
01:19:06,760 --> 01:19:07,280
Speaker 3: was gonna be.

1458
01:19:07,400 --> 01:19:09,080
Speaker 2: Well, yeah, and he said that before the album came

1459
01:19:09,080 --> 01:19:09,719
Speaker 2: out right.

1460
01:19:09,600 --> 01:19:13,320
Speaker 3: Correct correct, And I adore him and he's so talented.

1461
01:19:13,560 --> 01:19:15,160
Speaker 3: It was just I had to ask that question. As

1462
01:19:15,160 --> 01:19:18,000
Speaker 3: someone who's so firmly entrenched in country music, And this

1463
01:19:18,040 --> 01:19:20,639
Speaker 3: was right after Texas Hold Him came out, where maybe

1464
01:19:20,680 --> 01:19:23,680
Speaker 3: it seemed like because of that song, it was going

1465
01:19:23,760 --> 01:19:27,200
Speaker 3: to be more like pop country, like in the in

1466
01:19:27,240 --> 01:19:30,280
Speaker 3: the style of what they still do nowadays in country music.

1467
01:19:30,680 --> 01:19:34,120
Speaker 3: But maybe the actual product that was released, the actual

1468
01:19:34,200 --> 01:19:36,639
Speaker 3: art that was released, is an answer to that question

1469
01:19:37,000 --> 01:19:40,360
Speaker 3: about why maybe there's not the same old folks that

1470
01:19:40,400 --> 01:19:44,439
Speaker 3: you might see on anyone's album. Like, I'm really interested

1471
01:19:44,479 --> 01:19:46,599
Speaker 3: to hear like what Casey thinks of this, what Maren

1472
01:19:46,640 --> 01:19:50,679
Speaker 3: thinks of this, Like what the progressive cool country girls now,

1473
01:19:51,320 --> 01:19:55,439
Speaker 3: who honestly have had to wrestle with the genre because

1474
01:19:55,439 --> 01:19:59,080
Speaker 3: it doesn't align with their beliefs. The ideology is completely fucked.

1475
01:19:59,120 --> 01:20:00,360
Speaker 3: A lot of the times terms.

1476
01:20:00,439 --> 01:20:03,080
Speaker 2: Ordres that it's just confining, like the way the way

1477
01:20:03,080 --> 01:20:06,479
Speaker 2: that Linda says that it's confining. I would love to

1478
01:20:06,479 --> 01:20:10,519
Speaker 2: hear their opinion too. I bet Taylor loves this. I'm sure.

1479
01:20:11,439 --> 01:20:15,360
Speaker 2: Speaking of genre innovation, I think Sweet Honey Bucking is

1480
01:20:16,040 --> 01:20:21,519
Speaker 2: ketamine country. Elaborate on that one. If you listen to

1481
01:20:21,560 --> 01:20:27,360
Speaker 2: this song country with a K, it is it is

1482
01:20:27,400 --> 01:20:33,040
Speaker 2: like beautiful K whole vibes like damn fucking fucking like

1483
01:20:33,080 --> 01:20:35,160
Speaker 2: a mechanical bull, and then like the look at that horse,

1484
01:20:35,200 --> 01:20:35,880
Speaker 2: look at that horse.

1485
01:20:35,920 --> 01:20:38,120
Speaker 3: It's like it's like what is she doing? Look at

1486
01:20:38,160 --> 01:20:40,680
Speaker 3: that horse? Look at look at that.

1487
01:20:43,360 --> 01:20:49,400
Speaker 2: Yeah. Absolutely, I think this whole this whole song is

1488
01:20:49,760 --> 01:20:57,600
Speaker 2: so fucking cool, weird country by like a thin, gorgeous

1489
01:20:57,640 --> 01:21:00,200
Speaker 2: aesthetic layer alone and everything else about it just of

1490
01:21:00,240 --> 01:21:03,360
Speaker 2: like let's throw in everything. This is kind of like

1491
01:21:03,840 --> 01:21:06,360
Speaker 2: a eye out of Me where it's like I don't

1492
01:21:06,360 --> 01:21:08,479
Speaker 2: know what this is, but I love it.

1493
01:21:08,920 --> 01:21:11,599
Speaker 3: Mm hmm. Yeah, this is a highlight for me too.

1494
01:21:11,720 --> 01:21:13,479
Speaker 3: This is in my top five as well. Do you

1495
01:21:13,479 --> 01:21:15,280
Speaker 3: think it's an answer to pure Honey? Do you think

1496
01:21:15,280 --> 01:21:18,960
Speaker 3: it's like a Absolutely? Absolutely? I was thinking if your honey,

1497
01:21:19,000 --> 01:21:20,200
Speaker 3: Like the first time I heard her was like, oh,

1498
01:21:20,360 --> 01:21:23,800
Speaker 3: like even like in terms of like the placement, like

1499
01:21:23,880 --> 01:21:26,519
Speaker 3: the tent poles of Renaissance are sort of like there

1500
01:21:26,560 --> 01:21:30,640
Speaker 3: is an analog and Cowboy Carter the Act three, the

1501
01:21:30,680 --> 01:21:32,760
Speaker 3: three act. Things she's doing on that right now is

1502
01:21:32,800 --> 01:21:36,320
Speaker 3: she's satisfying for OCD people Like, Yeah, I'm like, oh

1503
01:21:36,360 --> 01:21:38,760
Speaker 3: my god, it's an all snap into place like this,

1504
01:21:38,960 --> 01:21:44,280
Speaker 3: I'm gonna come actually like I love that someone has

1505
01:21:44,320 --> 01:21:48,280
Speaker 3: detail oriented and passionate and hard working as her is

1506
01:21:48,360 --> 01:21:51,400
Speaker 3: also having as much fun as she's having and making

1507
01:21:51,439 --> 01:21:52,960
Speaker 3: it all make sense in this way.

1508
01:21:53,479 --> 01:22:00,679
Speaker 2: God damn it. I mean, this is absolutely the pure

1509
01:22:00,720 --> 01:22:04,360
Speaker 2: honey that brings us into Like this isn't in a

1510
01:22:04,439 --> 01:22:07,000
Speaker 2: lot of ways the last track before the actual last track.

1511
01:22:07,400 --> 01:22:13,320
Speaker 2: And for this to be like the spiritual informal closer

1512
01:22:13,760 --> 01:22:16,000
Speaker 2: is so cool to me, so fucking cool.

1513
01:22:17,040 --> 01:22:20,840
Speaker 3: Yes, and then it launches into Amen, which is like

1514
01:22:21,840 --> 01:22:25,320
Speaker 3: when you realize the album was a prayer.

1515
01:22:25,920 --> 01:22:28,400
Speaker 2: The album was a prayer. It was a prayer. I

1516
01:22:28,520 --> 01:22:29,559
Speaker 2: requiem even.

1517
01:22:29,760 --> 01:22:31,840
Speaker 3: I mean, one of my favorite things that's ever happened

1518
01:22:31,880 --> 01:22:36,320
Speaker 3: in culture was when Oprah Winfrey had Steven Spielberg on

1519
01:22:36,360 --> 01:22:39,559
Speaker 3: her show for Lincoln and he sits down and she goes,

1520
01:22:40,360 --> 01:22:42,360
Speaker 3: thank you for this film.

1521
01:22:42,640 --> 01:22:48,439
Speaker 2: It's a prayer. It's a prayer. Prayer is back. Romy

1522
01:22:48,479 --> 01:22:52,000
Speaker 2: Yustiff brought prayer back to SNL. Beyonce's bringing prayer back

1523
01:22:52,000 --> 01:22:55,920
Speaker 2: to music, like Prayer is back. I'm praying. I'm gonna

1524
01:22:55,960 --> 01:22:57,960
Speaker 2: proynounce I don't know who, but I'm praying. How are

1525
01:22:58,040 --> 01:22:59,799
Speaker 2: you pronouncing it? Prayer?

1526
01:23:01,400 --> 01:23:07,880
Speaker 3: Prayer, I'm country, You're a country girl prior prior. Let

1527
01:23:07,960 --> 01:23:10,800
Speaker 3: me go on, let's say it prior and that Rommi

1528
01:23:10,920 --> 01:23:13,000
Speaker 3: used this brought back prior.

1529
01:23:13,640 --> 01:23:14,400
Speaker 2: You know, I had to do it.

1530
01:23:14,479 --> 01:23:17,320
Speaker 3: I had to do a Southern accent for an audition

1531
01:23:17,840 --> 01:23:19,720
Speaker 3: last week and you have a good one.

1532
01:23:19,880 --> 01:23:25,639
Speaker 2: Did not book. I actually can certainly try. I actually can. Yeah.

1533
01:23:26,120 --> 01:23:29,400
Speaker 3: But the thing is, you never know when it's going sketch.

1534
01:23:29,800 --> 01:23:32,280
Speaker 3: It could go sketch comedy real easy.

1535
01:23:33,200 --> 01:23:35,599
Speaker 2: Well, that accent is sketch comedy.

1536
01:23:35,080 --> 01:23:39,160
Speaker 3: And the thing is they said in the in the

1537
01:23:39,200 --> 01:23:43,360
Speaker 3: dialogue it said literally they spilled thang th h A

1538
01:23:43,560 --> 01:23:45,720
Speaker 3: n G. And I was like, so, I said to

1539
01:23:45,720 --> 01:23:48,400
Speaker 3: my agent. I was like, I'm sorry, but am I

1540
01:23:48,520 --> 01:23:52,080
Speaker 3: given sang? Because they said in the dialogue they said thang?

1541
01:23:52,760 --> 01:23:54,720
Speaker 3: And I was just like, is this goofy town or

1542
01:23:54,800 --> 01:23:58,719
Speaker 3: is this like subtle Southern? And I just did Matt Rogers,

1543
01:24:01,280 --> 01:24:05,000
Speaker 3: you know, clown behavior, honey. People want that?

1544
01:24:05,360 --> 01:24:09,559
Speaker 2: Well they didn't. Oh, well someone else will.

1545
01:24:10,040 --> 01:24:12,720
Speaker 3: Congrats to the other actor that they're pursuing. We did

1546
01:24:12,760 --> 01:24:15,120
Speaker 3: receive good feedback though, I'm good.

1547
01:24:15,600 --> 01:24:18,000
Speaker 2: That's what that. You don't always get that with an audition.

1548
01:24:18,200 --> 01:24:21,439
Speaker 3: My last three auditions, it has been we received really

1549
01:24:21,479 --> 01:24:23,760
Speaker 3: good feedback, but they're pursuing another actor.

1550
01:24:23,960 --> 01:24:28,640
Speaker 2: That's the babe. I said, thanks. Thanks. Now, I'm so

1551
01:24:28,720 --> 01:24:30,559
Speaker 2: glad we talked about this album. I don't think we

1552
01:24:30,600 --> 01:24:31,519
Speaker 2: can get to twenty thirteen.

1553
01:24:31,600 --> 01:24:34,000
Speaker 3: Sadly no, I think if that would push it to

1554
01:24:34,040 --> 01:24:36,360
Speaker 3: over two hours, and I don't think that that's our

1555
01:24:36,520 --> 01:24:37,720
Speaker 3: journey today.

1556
01:24:37,840 --> 01:24:39,280
Speaker 2: I don't think anyone wants that.

1557
01:24:40,000 --> 01:24:41,880
Speaker 3: The last thing I'll say is, have you listened to

1558
01:24:41,960 --> 01:24:43,759
Speaker 3: the end of Amen into I'm that girl?

1559
01:24:44,439 --> 01:24:44,519
Speaker 4: No?

1560
01:24:45,320 --> 01:24:45,960
Speaker 2: Oh my god?

1561
01:24:46,160 --> 01:24:46,240
Speaker 3: What?

1562
01:24:46,800 --> 01:24:48,639
Speaker 2: Because it fucking the way it.

1563
01:24:48,640 --> 01:24:54,120
Speaker 3: Like like, it goes it very cleanly.

1564
01:24:54,520 --> 01:24:56,960
Speaker 2: I love I love the way Amen is. It throws

1565
01:24:57,000 --> 01:24:59,280
Speaker 2: you through a loop, says producer Rebecca.

1566
01:25:00,320 --> 01:25:04,400
Speaker 3: It literally does, and it's like you get that maybe

1567
01:25:04,400 --> 01:25:07,240
Speaker 3: this was Act one and that Renaissance was act.

1568
01:25:07,000 --> 01:25:10,400
Speaker 2: Too, because it seamlessly pops into it.

1569
01:25:10,880 --> 01:25:14,720
Speaker 3: And yeah, it's almost like, all right, we prayed, now,

1570
01:25:14,760 --> 01:25:16,960
Speaker 3: get up off the knees, get up off the pews.

1571
01:25:16,720 --> 01:25:17,679
Speaker 2: And we're dancing.

1572
01:25:17,840 --> 01:25:21,960
Speaker 3: Turn the lights down low, let's pop pussy, push the

1573
01:25:22,000 --> 01:25:25,439
Speaker 3: pews to the walls, clear in space. Yeah, fold up

1574
01:25:25,479 --> 01:25:26,519
Speaker 3: the chairs in the hall.

1575
01:25:26,760 --> 01:25:29,320
Speaker 2: This is what I was gonna get at earlier when

1576
01:25:29,320 --> 01:25:31,120
Speaker 2: I was like talking about how this was meant to

1577
01:25:31,160 --> 01:25:34,000
Speaker 2: be the first release and then Renaissance and about how

1578
01:25:34,040 --> 01:25:36,080
Speaker 2: she's this utopian artist. I mean it is like a

1579
01:25:36,120 --> 01:25:40,479
Speaker 2: pure act of altruism to me, like for Beyonce to

1580
01:25:40,479 --> 01:25:43,920
Speaker 2: be like to know what the world needs now is

1581
01:25:43,960 --> 01:25:48,280
Speaker 2: a dance album because of COVID, Like, think about it,

1582
01:25:48,320 --> 01:25:51,320
Speaker 2: like if she were to release Cowboy Carter in you know,

1583
01:25:51,400 --> 01:25:54,479
Speaker 2: twenty twenty two, like it would have been a little

1584
01:25:54,520 --> 01:25:58,120
Speaker 2: like wait, wait what like h it would have been

1585
01:25:59,720 --> 01:26:01,599
Speaker 2: a bit question mark. I think for a lot of people,

1586
01:26:01,640 --> 01:26:03,200
Speaker 2: no one would have been like, this is bad, but

1587
01:26:03,240 --> 01:26:05,679
Speaker 2: it would have been like like, I do think she

1588
01:26:05,680 --> 01:26:10,280
Speaker 2: she did it completely right. She was completely correct.

1589
01:26:10,479 --> 01:26:13,880
Speaker 3: I would agree. I also think it almost hits harder

1590
01:26:14,560 --> 01:26:17,160
Speaker 3: further away from that experience she had at the CMAS,

1591
01:26:17,200 --> 01:26:18,760
Speaker 3: you know what I mean, It's like, yeah, I feel

1592
01:26:18,760 --> 01:26:20,400
Speaker 3: like it works better like this.

1593
01:26:20,520 --> 01:26:24,000
Speaker 2: And also, you know, she's quoted as saying that she.

1594
01:26:24,000 --> 01:26:26,880
Speaker 3: Had it ready to go or whatever, and then she

1595
01:26:27,040 --> 01:26:29,559
Speaker 3: decided to put out Renaissance because she realized the world

1596
01:26:29,560 --> 01:26:32,120
Speaker 3: needed to dance, like that's just what was moving her.

1597
01:26:32,439 --> 01:26:34,200
Speaker 2: And I do think everything worked out the way that

1598
01:26:34,240 --> 01:26:34,799
Speaker 2: it should.

1599
01:26:35,000 --> 01:26:37,320
Speaker 3: The one question, I think that a lot of fans

1600
01:26:37,360 --> 01:26:40,360
Speaker 3: do have is this thing of the CD having come

1601
01:26:40,400 --> 01:26:45,559
Speaker 3: out and there are the old packaging with that title

1602
01:26:45,720 --> 01:26:50,559
Speaker 3: act to be in say, and the missing songs, et cetera.

1603
01:26:51,040 --> 01:26:52,040
Speaker 2: And I guess my thing.

1604
01:26:51,960 --> 01:26:56,799
Speaker 3: With that is it should be either left gloriously unclear

1605
01:26:57,040 --> 01:26:59,040
Speaker 3: or it will become clear. It's the same thing with

1606
01:26:59,040 --> 01:27:00,559
Speaker 3: the Renaissance visuals, you know what I mean?

1607
01:27:00,680 --> 01:27:02,960
Speaker 2: Like, uhuh huh? What do you think is unclear about

1608
01:27:02,960 --> 01:27:04,680
Speaker 2: the b Ince because I think she's talked about that,

1609
01:27:05,040 --> 01:27:10,840
Speaker 2: has she? Yeah, uh huh that Beyonce was either Tina's

1610
01:27:10,880 --> 01:27:13,439
Speaker 2: mothers or Tina's maiden name. Oh no, I know that,

1611
01:27:13,880 --> 01:27:15,200
Speaker 2: I know what Bince is.

1612
01:27:15,640 --> 01:27:18,360
Speaker 3: Yeah, I'm just saying, like the album that exists in

1613
01:27:18,400 --> 01:27:20,320
Speaker 3: what people are ordering right now and receiving in terms

1614
01:27:20,360 --> 01:27:23,000
Speaker 3: of the vinyl and the CDs, Like it's called Bince,

1615
01:27:23,280 --> 01:27:25,880
Speaker 3: that's the cover. It's a different album cover, it's a

1616
01:27:25,880 --> 01:27:29,240
Speaker 3: different title, and it's missing songs. So it's almost like,

1617
01:27:29,600 --> 01:27:34,120
Speaker 3: I think what happened was there was a literal realized

1618
01:27:34,200 --> 01:27:41,000
Speaker 3: album called Bince, and because she held it back and

1619
01:27:41,040 --> 01:27:45,960
Speaker 3: did Renaissance first, that it was packaged and ready to go,

1620
01:27:46,520 --> 01:27:49,280
Speaker 3: and you can't just lose that product.

1621
01:27:50,240 --> 01:27:52,719
Speaker 2: But it's Beyonce. She can do what she can, release

1622
01:27:52,760 --> 01:27:54,760
Speaker 2: her music however she wants.

1623
01:27:54,680 --> 01:28:00,800
Speaker 3: Right, but why would she allow vinyls missing songs from

1624
01:28:00,840 --> 01:28:01,720
Speaker 3: her album?

1625
01:28:01,960 --> 01:28:04,280
Speaker 2: Yeah? That I don't know. I don't know about that.

1626
01:28:04,320 --> 01:28:07,320
Speaker 2: But the cover is like that presentation, the first thing

1627
01:28:07,360 --> 01:28:10,320
Speaker 2: people see on the vinyl cover. That is not a mistake.

1628
01:28:11,000 --> 01:28:13,040
Speaker 3: I don't I don't think anything is a mistake. What

1629
01:28:13,080 --> 01:28:15,400
Speaker 3: I'm saying is that I think there was a completed,

1630
01:28:15,600 --> 01:28:18,240
Speaker 3: realized album ready to be rolled out.

1631
01:28:18,280 --> 01:28:20,600
Speaker 2: This shit may have even been printed. It clearly was

1632
01:28:20,640 --> 01:28:23,640
Speaker 2: already printed, right am I not understanding you? I just

1633
01:28:23,680 --> 01:28:25,760
Speaker 2: think like she has she has a sash that says

1634
01:28:25,760 --> 01:28:29,439
Speaker 2: actually Cowboy Carter on like the traditional cover mm hmm,

1635
01:28:29,920 --> 01:28:31,680
Speaker 2: and then she just has another version of that that

1636
01:28:31,720 --> 01:28:33,000
Speaker 2: doesn't say Cowboy Carter on it.

1637
01:28:33,040 --> 01:28:36,200
Speaker 3: It just says Bince, right, because I think there was

1638
01:28:36,240 --> 01:28:39,360
Speaker 3: that the first version of Cowboy Carter was called Bince

1639
01:28:39,840 --> 01:28:41,839
Speaker 3: Oh interesting and had less songs.

1640
01:28:41,920 --> 01:28:45,280
Speaker 2: That's that's that's what I'm saying. I see, I see totally, totally, totally, And.

1641
01:28:45,200 --> 01:28:49,160
Speaker 3: Because whatever like peak behind the curtain, that shit has

1642
01:28:49,200 --> 01:28:52,200
Speaker 3: to be printed way in advance and is expensive like

1643
01:28:52,240 --> 01:28:54,360
Speaker 3: the materials. So I think it's a thing of like

1644
01:28:54,920 --> 01:28:58,120
Speaker 3: there may be another release of vinyl which is Cowboy

1645
01:28:58,200 --> 01:29:00,920
Speaker 3: Carter and has this cover and has a vinyl n

1646
01:29:00,960 --> 01:29:03,720
Speaker 3: a CD with all of the songs on it, but

1647
01:29:03,800 --> 01:29:05,759
Speaker 3: they had to move that product.

1648
01:29:06,040 --> 01:29:10,839
Speaker 2: I m m hmm. Interesting, you know more about this business.

1649
01:29:10,880 --> 01:29:13,479
Speaker 2: I don't know about how the vinyls get pressed. You

1650
01:29:13,600 --> 01:29:14,559
Speaker 2: are the business guy.

1651
01:29:14,800 --> 01:29:17,280
Speaker 3: It's like so far in advance, and to me, it's

1652
01:29:17,320 --> 01:29:19,200
Speaker 3: like if she were to sit on this for a

1653
01:29:19,240 --> 01:29:21,879
Speaker 3: long time, it feels totally in line with who Beyonce

1654
01:29:22,080 --> 01:29:24,360
Speaker 3: is to be, like, No, we're gonna add songs, We're

1655
01:29:24,400 --> 01:29:28,559
Speaker 3: gonna I'm not done with It's gonna continue to evolve.

1656
01:29:29,040 --> 01:29:34,360
Speaker 2: Mm hmmmm hmm. Well I can't wait for the next evolution.

1657
01:29:35,560 --> 01:29:40,240
Speaker 2: Me neither. I can't wait for the next evolution of everything,

1658
01:29:40,280 --> 01:29:44,559
Speaker 2: of everything. Oh God, I don't know about everything? No, no,

1659
01:29:53,600 --> 01:29:55,639
Speaker 2: all right, Well is it time for I don't think Zhani,

1660
01:29:56,080 --> 01:29:58,160
Speaker 2: it's time for anythink anything else in the culture you

1661
01:29:58,200 --> 01:29:59,920
Speaker 2: want to talk about. It's basically been that.

1662
01:30:00,439 --> 01:30:03,120
Speaker 3: I'll briefly say, well, I guess my I don't think

1663
01:30:03,120 --> 01:30:05,479
Speaker 3: so Honey is gonna be God. I don't want to

1664
01:30:05,479 --> 01:30:07,200
Speaker 3: be dark and I don't think so Honey.

1665
01:30:06,960 --> 01:30:10,840
Speaker 2: So honey, it's all dad, you know what I can

1666
01:30:10,880 --> 01:30:11,040
Speaker 2: do it.

1667
01:30:11,040 --> 01:30:12,920
Speaker 3: I don't think so, honey on this other thing. But

1668
01:30:13,120 --> 01:30:15,240
Speaker 3: I do want to say I finished mister and missus Smith.

1669
01:30:15,640 --> 01:30:16,200
Speaker 2: Uh huh.

1670
01:30:16,240 --> 01:30:18,719
Speaker 3: What a delight, What a delight. I love a case

1671
01:30:18,760 --> 01:30:22,080
Speaker 3: of the Week. I loved it, loved it. They fucking

1672
01:30:22,200 --> 01:30:24,720
Speaker 3: crushed it, and I was again. I was skeptical in

1673
01:30:24,760 --> 01:30:27,040
Speaker 3: the beginning, and then it won me over. I was

1674
01:30:27,200 --> 01:30:30,000
Speaker 3: laughing and smiling at the TV. I was watching it

1675
01:30:30,040 --> 01:30:34,000
Speaker 3: with Greta. We were having the best time. There's a scene,

1676
01:30:34,240 --> 01:30:38,400
Speaker 3: by the way, the guest stars are unreal. Every episode

1677
01:30:38,439 --> 01:30:40,800
Speaker 3: is giving a guest star of the millennium. Like Sarah

1678
01:30:40,840 --> 01:30:44,559
Speaker 3: Paulison plays a therapist. She's fucking great. MICHAELA. Cole is

1679
01:30:44,560 --> 01:30:48,639
Speaker 3: in it, she's amazing in it. Parker Posey comes in

1680
01:30:48,720 --> 01:30:52,000
Speaker 3: and eats like just it's like so good. And there's

1681
01:30:52,040 --> 01:30:54,400
Speaker 3: a scene at the end of the Parker Posy episode

1682
01:30:54,400 --> 01:30:56,719
Speaker 3: where Donald and Maya are in bed together like laughing,

1683
01:30:56,760 --> 01:30:59,559
Speaker 3: recounting what happened. And I was like, this is chemistry

1684
01:30:59,640 --> 01:31:02,720
Speaker 3: right here. I am watching great TV chemistry.

1685
01:31:03,280 --> 01:31:07,400
Speaker 2: I love I love chemistry me too. Oh when it's good,

1686
01:31:07,479 --> 01:31:11,719
Speaker 2: it's good. Kelly Clarkson. I love that album. I want

1687
01:31:11,720 --> 01:31:14,640
Speaker 2: to say, the only TV media I've consumed outside of

1688
01:31:14,720 --> 01:31:17,679
Speaker 2: still playing Final Fantasy seven Rebirth, I'm sorry, I'm slow.

1689
01:31:18,600 --> 01:31:23,000
Speaker 2: Is it Cake? Season three is out. Mikey Day is

1690
01:31:23,080 --> 01:31:25,720
Speaker 2: one of the best, one of the best to ever

1691
01:31:25,800 --> 01:31:28,479
Speaker 2: do it. I would love to meet him. He is

1692
01:31:28,560 --> 01:31:32,160
Speaker 2: one of our great Americans. In the words of Tina Fey,

1693
01:31:32,720 --> 01:31:36,920
Speaker 2: Mikey Day, you are a king. He is the homecoming

1694
01:31:37,000 --> 01:31:39,800
Speaker 2: king of SNL. As far as I'm concerned, I love

1695
01:31:39,840 --> 01:31:45,240
Speaker 2: that Keenan is the star student, maybe even the principal.

1696
01:31:45,439 --> 01:31:49,920
Speaker 2: He's team captain, He's team captain. Mikey is like star quarterback.

1697
01:31:51,040 --> 01:31:54,040
Speaker 2: Sometimes those are two different people. Team captain quarterback.

1698
01:31:54,160 --> 01:31:56,960
Speaker 3: Often often you can't you can't assume the quarterback is

1699
01:31:56,960 --> 01:31:59,960
Speaker 3: going to be able to necessarily, yeah, be the cap.

1700
01:32:00,240 --> 01:32:03,280
Speaker 2: It's so much on his plate. And and that's that's

1701
01:32:03,280 --> 01:32:05,840
Speaker 2: as far as I'll take that football team analogy. But

1702
01:32:06,000 --> 01:32:09,120
Speaker 2: Mikey Day, he's so good at hosting a show about

1703
01:32:09,439 --> 01:32:13,160
Speaker 2: hyperrealistic cakes. And these people, these bakers are so lovely

1704
01:32:13,320 --> 01:32:16,280
Speaker 2: and they were from all walks of life, all across

1705
01:32:16,280 --> 01:32:19,600
Speaker 2: the country. Shout out to Jajar, who is amazing. He

1706
01:32:20,520 --> 01:32:22,640
Speaker 2: this Jajar is an example of someone who grows up

1707
01:32:22,680 --> 01:32:25,880
Speaker 2: in a family where people support your dreams, and he goes,

1708
01:32:26,280 --> 01:32:29,280
Speaker 2: you should always do what your heart desires. And he's

1709
01:32:29,320 --> 01:32:32,240
Speaker 2: so sweet and he makes these amazing cakes. He made

1710
01:32:32,280 --> 01:32:34,320
Speaker 2: a sack of flower that looked like a sack of flower.

1711
01:32:34,320 --> 01:32:35,280
Speaker 2: But guess what cake?

1712
01:32:36,000 --> 01:32:36,120
Speaker 1: Is it?

1713
01:32:36,200 --> 01:32:38,920
Speaker 2: Cake? Season three is out now on Netflix. I might

1714
01:32:39,000 --> 01:32:41,719
Speaker 2: have to have smoke hour and really get into Okay,

1715
01:32:41,760 --> 01:32:43,360
Speaker 2: remember when the season one came out, we watched it

1716
01:32:43,400 --> 01:32:46,760
Speaker 2: at your apartment and we were having a ball. We

1717
01:32:46,800 --> 01:32:49,080
Speaker 2: watched it here, We watched it and we watched it

1718
01:32:49,080 --> 01:32:52,960
Speaker 2: in La one season it was the smoke hour, but

1719
01:32:53,040 --> 01:32:55,719
Speaker 2: we were we were loving it. We were like, Mikey,

1720
01:32:56,040 --> 01:32:58,240
Speaker 2: is that when you came to my age? Yes, yes,

1721
01:32:59,160 --> 01:33:00,759
Speaker 2: love you, sister. I love you, sister.

1722
01:33:00,920 --> 01:33:03,840
Speaker 3: Bone really got on a plane to help you on

1723
01:33:03,880 --> 01:33:06,240
Speaker 3: my heart. You really did that and I'll never forget it.

1724
01:33:07,560 --> 01:33:08,960
Speaker 2: Shot good Rada.

1725
01:33:10,280 --> 01:33:13,120
Speaker 3: Anyways, I feel as though it's now time, speaking of

1726
01:33:13,160 --> 01:33:15,160
Speaker 3: TV that's been shaking the culture.

1727
01:33:15,560 --> 01:33:17,439
Speaker 2: I can do my I don't think so, honey, Okay,

1728
01:33:17,439 --> 01:33:18,840
Speaker 2: this is I don't think Zaney. This is where we

1729
01:33:18,840 --> 01:33:21,800
Speaker 2: take one minute to go against, to rail against something

1730
01:33:21,800 --> 01:33:23,519
Speaker 2: and culture, I should say this is Matt Rodgers. I

1731
01:33:23,560 --> 01:33:25,600
Speaker 2: don't think so many as time starts now, I.

1732
01:33:25,560 --> 01:33:28,799
Speaker 3: Don't think so, honey. All that is ruined. The Amana

1733
01:33:28,800 --> 01:33:31,960
Speaker 3: show is ruined. Like it's all just if you can

1734
01:33:32,000 --> 01:33:36,360
Speaker 3: still watch that, my hat is off unfortunately, Like.

1735
01:33:37,120 --> 01:33:39,559
Speaker 2: I think you sort of can, like maybe on Amazon

1736
01:33:39,640 --> 01:33:40,160
Speaker 2: or something, but.

1737
01:33:40,160 --> 01:33:45,240
Speaker 3: Like, wow, was I completely like I had heard things,

1738
01:33:45,280 --> 01:33:48,800
Speaker 3: but fuck, these people are disgusting inside it out?

1739
01:33:48,800 --> 01:33:51,240
Speaker 2: And can I also say I don't think so honey.

1740
01:33:51,560 --> 01:33:53,720
Speaker 3: If you were an actor that was one of the

1741
01:33:53,720 --> 01:33:57,080
Speaker 3: people that sent in a letter of character for that guy,

1742
01:33:57,120 --> 01:34:01,720
Speaker 3: Brian Peck, and you have not made a statement denouncing that,

1743
01:34:02,280 --> 01:34:04,840
Speaker 3: or you have not apologized, or you have not reached out.

1744
01:34:05,439 --> 01:34:07,519
Speaker 2: What the fuck? What are you waiting for?

1745
01:34:07,800 --> 01:34:10,400
Speaker 3: Why are you I don't think so many character letters

1746
01:34:10,560 --> 01:34:13,559
Speaker 3: in general, just fucking stay out of it.

1747
01:34:13,640 --> 01:34:15,280
Speaker 2: Boo shut up.

1748
01:34:15,880 --> 01:34:19,599
Speaker 3: That was crazy And I hate feeling this way about

1749
01:34:19,640 --> 01:34:24,680
Speaker 3: James Morrison five seconds, who I love, But fuck, I

1750
01:34:24,680 --> 01:34:25,719
Speaker 3: don't think so, honey.

1751
01:34:26,120 --> 01:34:30,320
Speaker 2: And that's one minute. One of the actors, like in

1752
01:34:30,360 --> 01:34:33,160
Speaker 2: the documentary in Quiet on Stet was like retracted and

1753
01:34:33,160 --> 01:34:35,040
Speaker 2: it was like I was not told the right set

1754
01:34:35,080 --> 01:34:36,920
Speaker 2: of facts, Like it's as easy as that. It's as

1755
01:34:36,920 --> 01:34:38,960
Speaker 2: simple as saying that that like you were mislad that

1756
01:34:39,000 --> 01:34:41,439
Speaker 2: you were the situation was misrepresented to you.

1757
01:34:42,560 --> 01:34:44,600
Speaker 3: I mean, the two guys from Boy Meets World that

1758
01:34:44,680 --> 01:34:48,040
Speaker 3: had written I Guess It's right or Strong and Will Friddell,

1759
01:34:48,560 --> 01:34:50,800
Speaker 3: they were twenty seven and twenty four when they wrote

1760
01:34:50,840 --> 01:34:54,920
Speaker 3: these these character letters, and they're saying like, oh, yeah,

1761
01:34:54,920 --> 01:34:57,519
Speaker 3: it was a set of facts was presented to me.

1762
01:34:57,800 --> 01:35:01,080
Speaker 3: He told me he was guilty, but you know it

1763
01:35:01,120 --> 01:35:03,519
Speaker 3: was about really the treatment and what he had been

1764
01:35:03,560 --> 01:35:03,920
Speaker 3: going through.

1765
01:35:03,960 --> 01:35:07,559
Speaker 2: I'm like, I'm sorry, there's no excuse, there's no excuse.

1766
01:35:07,640 --> 01:35:11,400
Speaker 3: We should probably stop at pedophile, right, and these things

1767
01:35:11,439 --> 01:35:11,960
Speaker 3: that are.

1768
01:35:11,800 --> 01:35:15,040
Speaker 2: Like he was tempted. There was temptation I felt for

1769
01:35:15,160 --> 01:35:20,160
Speaker 2: jailbait guys. When you're fifteen years old, you can't do that.

1770
01:35:21,400 --> 01:35:24,840
Speaker 2: And I understand discourse about like this type of thing

1771
01:35:24,920 --> 01:35:27,880
Speaker 2: has you know, become, has developed over time and we

1772
01:35:27,920 --> 01:35:29,800
Speaker 2: now have tools to talk about it now that maybe

1773
01:35:29,800 --> 01:35:33,360
Speaker 2: we didn't then. But like Jesus Christ, I know, it's

1774
01:35:33,400 --> 01:35:38,639
Speaker 2: pretty bad. It's pretty bad. I mean, I still think

1775
01:35:38,680 --> 01:35:42,479
Speaker 2: it's as easy personally, having not been in this situation,

1776
01:35:42,560 --> 01:35:46,200
Speaker 2: I can't totally speak on this fully, but like I

1777
01:35:46,280 --> 01:35:50,080
Speaker 2: think you can just be like, hey, I don't know.

1778
01:35:50,160 --> 01:35:53,080
Speaker 2: I didn't know what I was talking about. Yeah, I

1779
01:35:53,080 --> 01:35:59,400
Speaker 2: didn't realize the extent of this, Like I don't know.

1780
01:36:00,280 --> 01:36:02,479
Speaker 3: Can you imagine like letting that just hang out there

1781
01:36:02,520 --> 01:36:04,880
Speaker 3: and being okay with that, Like if they're being advised

1782
01:36:04,880 --> 01:36:08,559
Speaker 3: to not say anything that is not correct advisement. If

1783
01:36:08,640 --> 01:36:13,240
Speaker 3: I ever thought that, like something a popular idea about

1784
01:36:13,240 --> 01:36:16,160
Speaker 3: me out there was that, I was just like that

1785
01:36:16,240 --> 01:36:18,240
Speaker 3: the last word on all this is yeah, I wrote

1786
01:36:18,280 --> 01:36:21,000
Speaker 3: a character letter for this person. I would be screaming

1787
01:36:21,360 --> 01:36:26,599
Speaker 3: from the from the rooftops like no, no, no, denounced, denounced, announce,

1788
01:36:26,960 --> 01:36:30,120
Speaker 3: like this is what happened. I apologize, I'm so sorry,

1789
01:36:30,200 --> 01:36:36,080
Speaker 3: Like it's just so disgusting to me. Yeah, in the

1790
01:36:36,120 --> 01:36:38,680
Speaker 3: words of someone depicted in the documentary, I would say

1791
01:36:38,720 --> 01:36:39,439
Speaker 3: it with my chest.

1792
01:36:42,280 --> 01:36:46,479
Speaker 2: For me, the most heartbreaking thing was Brian Hearn and

1793
01:36:46,520 --> 01:36:50,919
Speaker 2: his mother. Brian's mother was one of the only parents

1794
01:36:50,960 --> 01:36:54,640
Speaker 2: who like spoke up right the producers after, like it

1795
01:36:54,640 --> 01:36:56,120
Speaker 2: wasn't a double their episode, but it was an episode

1796
01:36:56,120 --> 01:36:59,400
Speaker 2: where Brian was like covered in peanut butter and getting

1797
01:36:59,439 --> 01:37:02,120
Speaker 2: licked by dog and licked by dogs and it's it's

1798
01:37:02,200 --> 01:37:05,040
Speaker 2: just so disgusting to watch, and like he is literally

1799
01:37:05,120 --> 01:37:07,120
Speaker 2: saying in this clip like I don't like this. I

1800
01:37:07,120 --> 01:37:10,360
Speaker 2: don't like this, and so of course his mother is

1801
01:37:10,400 --> 01:37:14,800
Speaker 2: like this is not acceptable, like please, can we not

1802
01:37:15,040 --> 01:37:18,400
Speaker 2: do this to the kids, And then she describes like

1803
01:37:18,560 --> 01:37:22,480
Speaker 2: the meaning where they let him go. It's so emotional

1804
01:37:22,479 --> 01:37:24,920
Speaker 2: because she's like she starts getting teary and she goes

1805
01:37:25,360 --> 01:37:28,600
Speaker 2: I saw him become a man. I saw like his

1806
01:37:28,840 --> 01:37:30,240
Speaker 2: posture change.

1807
01:37:30,400 --> 01:37:33,200
Speaker 3: Like you can't, like as a parent watching seeing that

1808
01:37:33,360 --> 01:37:35,639
Speaker 3: moment in front of you, Like you can't go back

1809
01:37:35,680 --> 01:37:37,280
Speaker 3: from that heartbreaking.

1810
01:37:37,600 --> 01:37:41,320
Speaker 2: It's so devastating to watch. And like word on the

1811
01:37:41,360 --> 01:37:45,280
Speaker 2: Street is like some of these actors signed NDA's on

1812
01:37:45,520 --> 01:37:48,639
Speaker 2: the sets in production saying that they could never talk

1813
01:37:48,680 --> 01:37:51,479
Speaker 2: about these things and that is so.

1814
01:37:52,040 --> 01:37:57,760
Speaker 3: NDA culture has to end, like the Yonce fucked but

1815
01:37:57,880 --> 01:38:00,360
Speaker 3: that isn't even even that is just like it's like

1816
01:38:00,960 --> 01:38:03,400
Speaker 3: you know what you're doing when you when you first

1817
01:38:03,439 --> 01:38:08,679
Speaker 3: of all, this set was like crawling with pedophiles more

1818
01:38:08,720 --> 01:38:12,599
Speaker 3: than one at once, Like no more massages on sets.

1819
01:38:12,600 --> 01:38:14,960
Speaker 3: I don't care who you are, how you are, how

1820
01:38:15,000 --> 01:38:17,880
Speaker 3: old people are around you. Anytime someone's like give me

1821
01:38:17,920 --> 01:38:18,519
Speaker 3: a massage.

1822
01:38:18,720 --> 01:38:21,639
Speaker 2: It is not appropriate. Twice I'm like, it's never appropriate.

1823
01:38:21,680 --> 01:38:25,320
Speaker 2: I'm like, don't ever, don't. I don't want a massage.

1824
01:38:25,880 --> 01:38:27,960
Speaker 2: I don't. I don't want to watch someone being given

1825
01:38:28,000 --> 01:38:30,360
Speaker 2: a massage on set. No, this a.

1826
01:38:30,240 --> 01:38:34,920
Speaker 3: Professional atmosphere unless it's actually for bodily relief. Should not

1827
01:38:34,960 --> 01:38:39,400
Speaker 3: be a place where like someone is touching someone else's

1828
01:38:39,479 --> 01:38:41,639
Speaker 3: body for like pleasure or relief.

1829
01:38:41,800 --> 01:38:45,639
Speaker 2: No, No, you're hiring, like if you're hiring some therapist

1830
01:38:45,680 --> 01:38:48,479
Speaker 2: to like be with you there because you have like

1831
01:38:48,560 --> 01:38:53,679
Speaker 2: a bad rotator cuff. Sure, otherwise get off the set.

1832
01:38:54,280 --> 01:38:57,439
Speaker 3: Also, it's so disgusting how long he stayed there, like

1833
01:38:58,320 --> 01:39:00,479
Speaker 3: that that was the culture and that they know about

1834
01:39:00,520 --> 01:39:02,439
Speaker 3: it and that they kept the man in charge of

1835
01:39:02,439 --> 01:39:04,599
Speaker 3: it for so long just goes to show how much

1836
01:39:04,680 --> 01:39:08,200
Speaker 3: money fucking talks. And it is so frustrating. It is

1837
01:39:08,200 --> 01:39:10,960
Speaker 3: such a dark reality of the entertainment industry and of

1838
01:39:11,000 --> 01:39:15,720
Speaker 3: every industry. But wow, like we really will do this

1839
01:39:15,880 --> 01:39:18,800
Speaker 3: drag of pretending that it's getting better, et cetera. It's

1840
01:39:18,840 --> 01:39:23,080
Speaker 3: like there's still so many fucking like disgusting abusers in

1841
01:39:23,160 --> 01:39:27,160
Speaker 3: place because they make people money, and this is yet

1842
01:39:27,160 --> 01:39:30,559
Speaker 3: another thing. It's just yet another thing that just goes

1843
01:39:30,600 --> 01:39:33,320
Speaker 3: to show it is all about the bottom fucking line,

1844
01:39:33,800 --> 01:39:36,280
Speaker 3: and there's a lot of harmful, fucking people out there.

1845
01:39:36,320 --> 01:39:40,360
Speaker 3: And I commend everyone that's out there saying their stories,

1846
01:39:40,479 --> 01:39:43,479
Speaker 3: and I feel so heartbroken and sad for everyone whose

1847
01:39:43,600 --> 01:39:48,680
Speaker 3: dreams were shattered, who were talented young people. And obviously

1848
01:39:49,560 --> 01:39:52,160
Speaker 3: the number one casualty of all this is obviously, you know,

1849
01:39:52,439 --> 01:39:56,320
Speaker 3: of course, Drake Bell, but also whatever really went down

1850
01:39:56,320 --> 01:39:59,360
Speaker 3: with Amanda Bynes, that is a fucking tragedy because she

1851
01:39:59,600 --> 01:40:04,400
Speaker 3: was a fucking superstar and she could have had the

1852
01:40:04,560 --> 01:40:07,559
Speaker 3: entire world if only she were in a safe environment

1853
01:40:07,600 --> 01:40:11,400
Speaker 3: that respected her and respected her talent and allowed her

1854
01:40:11,479 --> 01:40:15,240
Speaker 3: to grow in a real way, both as a human

1855
01:40:15,280 --> 01:40:18,200
Speaker 3: being and as a talent, Like we could really be

1856
01:40:18,400 --> 01:40:22,519
Speaker 3: enjoying her gifts right now, and she would, she would,

1857
01:40:22,640 --> 01:40:24,760
Speaker 3: you know, probably not have had to go through what

1858
01:40:24,800 --> 01:40:26,960
Speaker 3: she went through. It rereaked of Britney spears to me too,

1859
01:40:27,120 --> 01:40:32,920
Speaker 3: just like nasty, nasty, dark stuff. And obviously it's a

1860
01:40:32,960 --> 01:40:34,639
Speaker 3: tough sit and there's actually going to be a fifth

1861
01:40:34,640 --> 01:40:38,240
Speaker 3: episode that they put out, that's right, you know, which

1862
01:40:38,400 --> 01:40:41,240
Speaker 3: I have mixed feelings about, to be honest, right, I.

1863
01:40:41,120 --> 01:40:44,759
Speaker 2: Think it seemed to have been a fully told story.

1864
01:40:44,800 --> 01:40:47,639
Speaker 2: But maybe they I don't know. Whatever new thing they

1865
01:40:47,680 --> 01:40:53,080
Speaker 2: have will be hopefully will be interesting worthwhile, we don't know.

1866
01:40:53,320 --> 01:40:56,400
Speaker 3: But kids shouldn't be acting. I mean, I just don't

1867
01:40:56,439 --> 01:40:59,320
Speaker 3: think that kids need to be doing that. I talked

1868
01:40:59,439 --> 01:41:02,200
Speaker 3: actually the after I won't say who, but I came

1869
01:41:02,280 --> 01:41:04,120
Speaker 3: into contact with someone who was a child star who

1870
01:41:04,200 --> 01:41:06,680
Speaker 3: was on a Disney Channel show, and I asked her

1871
01:41:06,800 --> 01:41:08,920
Speaker 3: what she thought about it, and she was like, I

1872
01:41:09,080 --> 01:41:11,639
Speaker 3: just don't think that people that age need to be.

1873
01:41:11,560 --> 01:41:13,800
Speaker 2: In those environments. And she made a joke.

1874
01:41:13,840 --> 01:41:16,360
Speaker 3: She's like, I'm anti AI except for that, you know

1875
01:41:16,400 --> 01:41:19,720
Speaker 3: what I mean, maybe at this or it's just like

1876
01:41:19,760 --> 01:41:22,000
Speaker 3: things need to change so much. It's kind of like,

1877
01:41:23,200 --> 01:41:25,160
Speaker 3: you know, like when you have experience with something and

1878
01:41:25,200 --> 01:41:26,920
Speaker 3: you get years and then you can look back, Like

1879
01:41:26,960 --> 01:41:28,200
Speaker 3: one day I asked my dad, like.

1880
01:41:28,160 --> 01:41:29,640
Speaker 2: Why he never played football with me?

1881
01:41:30,040 --> 01:41:31,519
Speaker 3: And he was like, well, you never showed interest, and

1882
01:41:31,520 --> 01:41:33,519
Speaker 3: I was like, that's not true, like I showed interest

1883
01:41:33,560 --> 01:41:34,880
Speaker 3: in the things you showed to me. And then he

1884
01:41:34,960 --> 01:41:36,920
Speaker 3: revealed he was like, well, to be honest with you,

1885
01:41:36,960 --> 01:41:39,160
Speaker 3: I really don't think kids that age should be playing football.

1886
01:41:39,520 --> 01:41:41,760
Speaker 3: There you go, and I was just like, there it is.

1887
01:41:42,479 --> 01:41:45,920
Speaker 3: I mean, like when you have seen something firsthand, you

1888
01:41:46,000 --> 01:41:48,120
Speaker 3: are the authority on it, and you have these people

1889
01:41:48,120 --> 01:41:51,240
Speaker 3: being like this is fucked up, this is dark, Like

1890
01:41:51,400 --> 01:41:53,240
Speaker 3: listen to them.

1891
01:41:53,800 --> 01:41:56,920
Speaker 2: Fucked I agree. I think like what we saw with

1892
01:41:57,000 --> 01:41:59,639
Speaker 2: the parents though, was that like some of them were

1893
01:41:59,720 --> 01:42:03,160
Speaker 2: just like my child has expressed interest, like Drake Drake

1894
01:42:03,200 --> 01:42:06,200
Speaker 2: Bell's dad was just like, well, Drake, Drake loved to perform,

1895
01:42:06,240 --> 01:42:08,360
Speaker 2: and like I wanted and like they just come out

1896
01:42:08,400 --> 01:42:10,680
Speaker 2: of a divorce and he was like I wanted to

1897
01:42:10,840 --> 01:42:14,760
Speaker 2: spend time with Drake, Like this was the Oh my god,

1898
01:42:14,800 --> 01:42:19,000
Speaker 2: that was That was just so hard. But yeah, I

1899
01:42:19,040 --> 01:42:23,080
Speaker 2: mean like it's not all stage parents are like evil

1900
01:42:24,040 --> 01:42:28,160
Speaker 2: and not all stage parents are like totally no, it's not,

1901
01:42:29,920 --> 01:42:31,519
Speaker 2: I know, but it's yeah, but it's like, but there

1902
01:42:31,640 --> 01:42:34,080
Speaker 2: is like some I don't think we've as a culture

1903
01:42:34,160 --> 01:42:37,639
Speaker 2: figured out like what the responsibility where it totally where

1904
01:42:37,680 --> 01:42:42,040
Speaker 2: it falls in that relationship or in that within the system.

1905
01:42:42,080 --> 01:42:46,040
Speaker 2: It is obviously a systemic thing, but like I don't know,

1906
01:42:46,200 --> 01:42:49,960
Speaker 2: like I've I've had like interesting experiences with like parents

1907
01:42:50,000 --> 01:42:51,799
Speaker 2: who come through us and now with their child actors

1908
01:42:51,840 --> 01:42:54,759
Speaker 2: and I'm like, oh, I don't want to know anything

1909
01:42:54,800 --> 01:42:56,400
Speaker 2: else about this, you know what I mean. I'm like,

1910
01:42:57,160 --> 01:42:58,920
Speaker 2: this is yeah.

1911
01:42:59,240 --> 01:43:02,680
Speaker 3: I will say I also worked with kids from my

1912
01:43:02,800 --> 01:43:05,920
Speaker 3: special and one of the things I said even before

1913
01:43:06,160 --> 01:43:09,200
Speaker 3: was I was like, this needs to be I was like,

1914
01:43:09,280 --> 01:43:11,960
Speaker 3: I was like, I I'm hesitant about working with kids.

1915
01:43:11,960 --> 01:43:14,559
Speaker 3: I've heard it's difficult. And then I was really interested.

1916
01:43:14,600 --> 01:43:15,920
Speaker 3: I was like, what are the parents.

1917
01:43:15,640 --> 01:43:16,160
Speaker 2: Going to be like?

1918
01:43:16,200 --> 01:43:20,160
Speaker 3: And they were all very lovely and present. And I've

1919
01:43:20,280 --> 01:43:23,880
Speaker 3: seen this done in very professional ways, and I'm proud

1920
01:43:23,920 --> 01:43:25,640
Speaker 3: to say that I was involved with something that was

1921
01:43:25,680 --> 01:43:28,120
Speaker 3: like really nice and the kids only worked for a

1922
01:43:28,200 --> 01:43:31,920
Speaker 3: very short amount of time, and they were very sweet kids.

1923
01:43:31,640 --> 01:43:33,680
Speaker 2: And they were talented, and I'm happy that they get

1924
01:43:33,720 --> 01:43:34,080
Speaker 2: to do that.

1925
01:43:34,560 --> 01:43:38,679
Speaker 3: But it's just it's hard to not be fucking freaked

1926
01:43:38,680 --> 01:43:40,600
Speaker 3: out and just want to say abort mission on the

1927
01:43:40,640 --> 01:43:43,240
Speaker 3: whole thing when you hear about even one thing.

1928
01:43:43,560 --> 01:43:48,120
Speaker 2: I know, Darcy Cardon perfect example, someone who loved acting

1929
01:43:48,200 --> 01:43:50,799
Speaker 2: wanted to do it as a kid. Her parents were like, totally,

1930
01:43:51,479 --> 01:43:54,880
Speaker 2: only do it if you don't get paid. Oh wow,

1931
01:43:56,280 --> 01:43:59,680
Speaker 2: that is that's perteresting. That's the perfect model. You like,

1932
01:43:59,760 --> 01:44:01,679
Speaker 2: we don't want you as a child to get paid

1933
01:44:01,720 --> 01:44:03,960
Speaker 2: to do this because that's where it gets dark, is

1934
01:44:03,960 --> 01:44:07,200
Speaker 2: when because that's where it gets dark. Oh okay, that

1935
01:44:07,479 --> 01:44:11,320
Speaker 2: is really that's a yeah. Isn't that so smart? That

1936
01:44:11,439 --> 01:44:15,240
Speaker 2: is so smart. But Darcy's a broken person now, she's broken,

1937
01:44:15,360 --> 01:44:20,400
Speaker 2: she's so sick, disgusting, disgusting people.

1938
01:44:21,160 --> 01:44:23,040
Speaker 3: That's what That's what we're saying is that all child

1939
01:44:23,040 --> 01:44:26,679
Speaker 3: actors that came out of that system broken are hard

1940
01:44:26,680 --> 01:44:27,080
Speaker 3: to blame.

1941
01:44:27,600 --> 01:44:30,760
Speaker 2: All right, wait, it's now time for your I don't

1942
01:44:30,760 --> 01:44:33,320
Speaker 2: think so honey. Yeah, yeah, I make it a little

1943
01:44:33,360 --> 01:44:36,960
Speaker 2: messy with this girl. Are you showing you're absolutely sure?

1944
01:44:38,320 --> 01:44:40,479
Speaker 2: Do you think I should? I don't know what it is.

1945
01:44:41,080 --> 01:44:43,240
Speaker 2: Oh okay, you know what it is. I mentioned earlier.

1946
01:44:44,160 --> 01:44:46,599
Speaker 2: This is Bowen Yang's don't think so honey. This time

1947
01:44:46,640 --> 01:44:49,799
Speaker 2: starts now. I don't think so honey. That fucking person

1948
01:44:49,840 --> 01:44:54,080
Speaker 2: on TikTok saying SNL is hot, guys, I'm kind of

1949
01:44:54,120 --> 01:44:58,759
Speaker 2: misquoting her, but like Jason sadeikis blah blah blah. Even

1950
01:44:58,840 --> 01:45:04,040
Speaker 2: Bowen Yang, don't even Bowen Yang me. Don't you ever

1951
01:45:04,080 --> 01:45:07,320
Speaker 2: put the word even in front of my fucking name,

1952
01:45:07,800 --> 01:45:11,680
Speaker 2: any of you, anyone out there, for this person to

1953
01:45:11,840 --> 01:45:18,680
Speaker 2: like make this crazy, make this crazy judgment and assessment

1954
01:45:18,720 --> 01:45:21,120
Speaker 2: on like the beauty standard on the women of SNL,

1955
01:45:21,160 --> 01:45:24,800
Speaker 2: which is so crazy to do. Do not lump me

1956
01:45:24,840 --> 01:45:27,439
Speaker 2: into Do not bring me into that conversation at all.

1957
01:45:27,520 --> 01:45:29,919
Speaker 2: I don't want anyone to think of me as hot

1958
01:45:30,120 --> 01:45:33,160
Speaker 2: or not hot or even hot. I don't want to

1959
01:45:33,240 --> 01:45:37,280
Speaker 2: land anywhere on that for you, especially if you are

1960
01:45:37,400 --> 01:45:43,000
Speaker 2: like doing some sweet, innocent, well meaning I think bedroom

1961
01:45:43,040 --> 01:45:46,120
Speaker 2: TikTok about like how hot people are on this show

1962
01:45:46,160 --> 01:45:48,960
Speaker 2: that you have no fucking perspective on. And that's one minute.

1963
01:45:49,000 --> 01:45:50,679
Speaker 2: It was not well meaning. It was messy.

1964
01:45:50,760 --> 01:45:55,000
Speaker 3: I mean someone it wasn't someone got on TikTok and she's.

1965
01:45:54,840 --> 01:45:56,559
Speaker 2: Being relatively dragged for it, I think.

1966
01:45:56,640 --> 01:45:59,680
Speaker 3: But yeah, I mean like you reap what you so,

1967
01:46:00,200 --> 01:46:02,720
Speaker 3: in the words of Beyonce on her self titled but

1968
01:46:03,439 --> 01:46:07,759
Speaker 3: somebody was like yet, uh, there's been no hot women

1969
01:46:07,800 --> 01:46:10,719
Speaker 3: on sn now And she goes into this whole fucking

1970
01:46:10,760 --> 01:46:14,200
Speaker 3: thing about like literally brings up pictures of cast members

1971
01:46:14,200 --> 01:46:16,439
Speaker 3: and is like like this person like she plays all

1972
01:46:16,439 --> 01:46:20,120
Speaker 3: the hot she's not even hot like, and this person

1973
01:46:20,240 --> 01:46:22,559
Speaker 3: like she's not hot like, and there's no hot women.

1974
01:46:22,680 --> 01:46:24,679
Speaker 3: But think about the men like this is Jimmy Fallon

1975
01:46:24,720 --> 01:46:27,280
Speaker 3: back in the day, and then she goes, he's ugly now,

1976
01:46:27,400 --> 01:46:30,360
Speaker 3: but look how hot he was. I'm like, what is this?

1977
01:46:30,520 --> 01:46:35,240
Speaker 2: Like, it's so it's it starts us such a it

1978
01:46:35,280 --> 01:46:38,160
Speaker 2: gets worse and worse and worse, and it's just like

1979
01:46:38,800 --> 01:46:43,120
Speaker 2: so nasty and judgy and disgusting and placing it placing

1980
01:46:43,640 --> 01:46:47,880
Speaker 2: a value on something that's like so stupid and arbitrary,

1981
01:46:47,920 --> 01:46:52,679
Speaker 2: and it's just, oh, it was gross. I'm like you,

1982
01:46:53,200 --> 01:46:56,520
Speaker 2: I think this is just to peek into like a darkness.

1983
01:46:57,240 --> 01:46:59,400
Speaker 2: I think that's why people are like really responding to it,

1984
01:46:59,439 --> 01:47:04,519
Speaker 2: is because they're like something's off here, something's like not good,

1985
01:47:04,760 --> 01:47:08,519
Speaker 2: not healthy. And I don't think this is me like

1986
01:47:08,560 --> 01:47:11,280
Speaker 2: punching down. I think this is just like me actually

1987
01:47:11,320 --> 01:47:14,519
Speaker 2: responding in an emotion. I'm well, I'm just emotionally responding

1988
01:47:14,560 --> 01:47:18,840
Speaker 2: to Like I don't want to be fucking like put

1989
01:47:18,880 --> 01:47:21,280
Speaker 2: in that. I don't want to be in any kind

1990
01:47:21,320 --> 01:47:29,040
Speaker 2: of like aesthetic evaluation rubric at all, like even like

1991
01:47:29,080 --> 01:47:31,960
Speaker 2: on a gay guye level, Like I don't really it's

1992
01:47:32,040 --> 01:47:34,559
Speaker 2: exhausting and toxic. I'm kind of just dressing the way

1993
01:47:34,600 --> 01:47:37,639
Speaker 2: I want to dress. I care about how I look

1994
01:47:37,760 --> 01:47:40,080
Speaker 2: like for my I truly for myself. But it's like

1995
01:47:40,960 --> 01:47:44,479
Speaker 2: I don't think I want to think about myself in

1996
01:47:44,520 --> 01:47:48,200
Speaker 2: that context because I don't know I'm going through it

1997
01:47:48,280 --> 01:47:53,200
Speaker 2: right now where I'm just like, oh, like rejection again.

1998
01:47:55,439 --> 01:47:58,760
Speaker 2: But I'm like I don't want to like think about that,

1999
01:47:58,840 --> 01:48:01,360
Speaker 2: you know, like don't bring it into that please. We're

2000
01:48:01,400 --> 01:48:04,960
Speaker 2: just trying to do sketch comedy. It's not that deep.

2001
01:48:05,120 --> 01:48:09,160
Speaker 2: We're not like megastars. We're just lovely people who like

2002
01:48:10,080 --> 01:48:12,840
Speaker 2: cut our teeth in bar basements and like put on

2003
01:48:13,000 --> 01:48:15,400
Speaker 2: wigs and now the wigs are a bit nicer and

2004
01:48:15,479 --> 01:48:18,680
Speaker 2: we get makeup on on Saturdays. But we're just the

2005
01:48:18,720 --> 01:48:22,200
Speaker 2: same people, Like like everyone at work right now is

2006
01:48:22,360 --> 01:48:27,040
Speaker 2: just yeah, it's just a lovely person. Yeah.

2007
01:48:26,280 --> 01:48:31,920
Speaker 3: I also think like the thing that, unfortunately fucking of

2008
01:48:31,920 --> 01:48:35,559
Speaker 3: course happens when someone is idiotic enough to start a

2009
01:48:35,600 --> 01:48:38,680
Speaker 3: conversation like that is then it becomes a conversation and

2010
01:48:38,720 --> 01:48:42,320
Speaker 3: a discourse, and it's this thing of like even like

2011
01:48:42,360 --> 01:48:44,559
Speaker 3: even saying something like what do you mean so and

2012
01:48:44,600 --> 01:48:48,120
Speaker 3: so is so hot? Like these people out puts an

2013
01:48:48,120 --> 01:48:51,680
Speaker 3: expectation on them. It's just like it's so useless and

2014
01:48:52,000 --> 01:48:53,960
Speaker 3: can only make people feel bad.

2015
01:48:54,200 --> 01:48:58,639
Speaker 2: Well, now my TikTok that that are like Bowyang isn't hot?

2016
01:48:58,720 --> 01:49:02,040
Speaker 2: What are you talking about for? I'm like, Okay, you've.

2017
01:49:01,880 --> 01:49:07,320
Speaker 3: Done nothing productive, you haven't helped anyone with this. Yeah,

2018
01:49:07,360 --> 01:49:11,400
Speaker 3: God like fucking like and this is like what we

2019
01:49:11,680 --> 01:49:14,040
Speaker 3: it's but it's not what we signed up for because

2020
01:49:14,040 --> 01:49:17,679
Speaker 3: we did not sign up for this. No, And that's

2021
01:49:17,680 --> 01:49:20,080
Speaker 3: like it's it's it's again. It's like it's like once

2022
01:49:20,160 --> 01:49:23,240
Speaker 3: you real, once you wade into the waters, Like this

2023
01:49:23,320 --> 01:49:26,760
Speaker 3: is why the detachment from what people are saying is

2024
01:49:26,800 --> 01:49:29,600
Speaker 3: so important. This is Perfect Blue because.

2025
01:49:29,320 --> 01:49:31,360
Speaker 2: The second I told not to watch Perfect Blue, I'm

2026
01:49:31,400 --> 01:49:33,240
Speaker 2: such a college freshman about it. I told not to

2027
01:49:33,240 --> 01:49:35,160
Speaker 2: watch Perfect Blue about you might keep going, and I did.

2028
01:49:35,680 --> 01:49:39,439
Speaker 3: And I just feel like the second it becomes the

2029
01:49:39,479 --> 01:49:43,800
Speaker 3: second it drifts away from what your purpose was, you

2030
01:49:43,840 --> 01:49:46,040
Speaker 3: will start to go fucking crazy. Like I have to

2031
01:49:46,080 --> 01:49:49,120
Speaker 3: remind myself all the time, like I'm doing this because

2032
01:49:49,160 --> 01:49:50,920
Speaker 3: I believe it is my purpose in life to make

2033
01:49:50,960 --> 01:49:53,400
Speaker 3: people feel good and feel happy and make them laugh.

2034
01:49:53,760 --> 01:49:57,639
Speaker 3: My purpose on this planet is to create positive bursts

2035
01:49:57,680 --> 01:50:00,920
Speaker 3: of energy and to leave places better then I left them.

2036
01:50:01,000 --> 01:50:04,280
Speaker 3: That is my purpose. The second it starts becoming about

2037
01:50:04,640 --> 01:50:06,840
Speaker 3: how someone looks on a red carpet or what your

2038
01:50:07,000 --> 01:50:09,719
Speaker 3: skin is doing, or like why I can't live without

2039
01:50:09,840 --> 01:50:13,639
Speaker 3: or you know, once it becomes like ugly and like.

2040
01:50:13,600 --> 01:50:19,720
Speaker 2: Something that's you know, too tangible, cure it is material.

2041
01:50:19,840 --> 01:50:21,519
Speaker 2: It is like truly material, Like.

2042
01:50:21,680 --> 01:50:24,240
Speaker 3: Yeah, that's the thing. It's like, of course there's playing ball.

2043
01:50:24,439 --> 01:50:26,840
Speaker 3: Of course, of course there's that. You know what I mean,

2044
01:50:26,920 --> 01:50:29,960
Speaker 3: Like we both play ball in the industry. We both

2045
01:50:30,000 --> 01:50:32,600
Speaker 3: do what we need to do. Everyone does. But the

2046
01:50:32,680 --> 01:50:37,640
Speaker 3: fact is, like you and yourself, you have to remind yourself.

2047
01:50:37,400 --> 01:50:38,240
Speaker 2: Why you do it.

2048
01:50:38,680 --> 01:50:41,360
Speaker 3: And you do it because it brings you joy. Everyone

2049
01:50:41,439 --> 01:50:44,559
Speaker 3: on that show, everyone in comedy does it because they

2050
01:50:44,560 --> 01:50:48,760
Speaker 3: are preternaturally talented in terms of the joy and comedy

2051
01:50:48,880 --> 01:50:51,919
Speaker 3: that they can bring to the world. And some idiot

2052
01:50:52,400 --> 01:50:56,280
Speaker 3: coming on and placing what they value onto everyone else

2053
01:50:56,360 --> 01:51:00,599
Speaker 3: and starting this conversation is toxic and disgusting and rating.

2054
01:51:01,640 --> 01:51:05,559
Speaker 2: For like a completely subjective thing, which is like beauty,

2055
01:51:05,960 --> 01:51:09,040
Speaker 2: which is like right, aesthetics and.

2056
01:51:09,000 --> 01:51:13,320
Speaker 3: The conversation around aesthetics right now is so warped and

2057
01:51:13,520 --> 01:51:16,640
Speaker 3: so toxic as it always has been, but it just

2058
01:51:16,720 --> 01:51:18,720
Speaker 3: gets worse and worse and worse as we're supposed to

2059
01:51:18,840 --> 01:51:22,120
Speaker 3: like pretend that we can all compete with the beauty ideal,

2060
01:51:22,160 --> 01:51:25,479
Speaker 3: which no one can. Even if it looks like they're

2061
01:51:25,520 --> 01:51:26,200
Speaker 3: on top of it.

2062
01:51:26,920 --> 01:51:31,439
Speaker 2: They're not. They're not. They're not. It's it has not

2063
01:51:31,600 --> 01:51:35,560
Speaker 2: saved them. It is not like made them better people necessarily.

2064
01:51:36,600 --> 01:51:39,080
Speaker 3: Yeah, and also, how about this as a rule of thumb,

2065
01:51:39,240 --> 01:51:43,200
Speaker 3: don't be a fucking asshole period period.

2066
01:51:45,479 --> 01:51:50,439
Speaker 2: Well, I am galvanized the site Texas. We're both ready

2067
01:51:50,439 --> 01:51:52,519
Speaker 2: to kind of take the day on. Huh wow.

2068
01:51:52,600 --> 01:51:56,080
Speaker 3: Yeah, an over two hour episode that did not get

2069
01:51:56,080 --> 01:51:59,360
Speaker 3: to the cultural excavation, despite there being a document prepared

2070
01:51:59,720 --> 01:52:00,360
Speaker 3: the culture.

2071
01:52:00,400 --> 01:52:01,120
Speaker 2: We're ready to go.

2072
01:52:01,680 --> 01:52:05,639
Speaker 3: Cowboy culture title twenty thirteen. Cowboy culture title that twenty thirteen.

2073
01:52:06,880 --> 01:52:09,479
Speaker 3: It deserves its own episode in a way. Maybe it will,

2074
01:52:09,520 --> 01:52:11,720
Speaker 3: maybe it won't get that, but it is. It's a

2075
01:52:11,720 --> 01:52:14,040
Speaker 3: big year, as you all know, most of you are

2076
01:52:14,040 --> 01:52:16,200
Speaker 3: alive for that. We hope, no, we hope no eleven

2077
01:52:16,240 --> 01:52:19,160
Speaker 3: year olds are listening to this. Oh dear, if you're

2078
01:52:19,200 --> 01:52:22,519
Speaker 3: an eleven year old listening to this, we're younger. God

2079
01:52:22,560 --> 01:52:24,120
Speaker 3: shouldn't be doing you, shouldn't be doing this.

2080
01:52:25,080 --> 01:52:26,639
Speaker 2: We don't. We don't want to quiet on set about

2081
01:52:26,680 --> 01:52:27,479
Speaker 2: you and us?

2082
01:52:27,520 --> 01:52:31,200
Speaker 3: Oh okay, all right, listen, speaking of quiet on set,

2083
01:52:31,200 --> 01:52:33,800
Speaker 3: it's time to quiet the podcast, but not before we sing.

2084
01:52:34,600 --> 01:52:40,599
Speaker 2: And we end every episode with the song oh Shi.

2085
01:52:43,160 --> 01:52:44,840
Speaker 2: We have to rehearse it. We can't get it away.

2086
01:52:45,240 --> 01:52:47,680
Speaker 2: Get your tickets to the Culture Words June fifteenth in

2087
01:52:47,760 --> 01:52:54,160
Speaker 3: Brooklyn, pass code Culture Bye Bye