1 00:00:02,279 --> 00:00:04,840 Speaker 1: Give it a chance, Give it a chance, Give it 2 00:00:04,880 --> 00:00:07,000 Speaker 1: a chance. Good morning, give it a chance, Give it 3 00:00:07,080 --> 00:00:09,680 Speaker 1: a chance, give it a chance, give it a chance. 4 00:00:09,680 --> 00:00:11,400 Speaker 1: Good morning, Give it a Do you want to give 5 00:00:11,440 --> 00:00:14,280 Speaker 1: it a chance, Give it a chance, give it a chance. 6 00:00:14,400 --> 00:00:14,840 Speaker 2: Just give it. 7 00:00:17,480 --> 00:00:28,840 Speaker 1: Good I got a controver. I got a controversy today. 8 00:00:29,080 --> 00:00:32,199 Speaker 1: Oh no, I'm just addressing it right away because I 9 00:00:32,200 --> 00:00:33,720 Speaker 1: think people are going to see the name of this 10 00:00:33,800 --> 00:00:35,879 Speaker 1: episode and go, what the who, Hey, is this. 11 00:00:35,880 --> 00:00:39,360 Speaker 2: A Marssie thing. I don't know, Marsy has become controversial. 12 00:00:39,440 --> 00:00:41,160 Speaker 2: I mean maybe he's that is controversial. 13 00:00:41,640 --> 00:00:45,960 Speaker 1: I unfortunately would have a lot of trouble, like, you know, 14 00:00:46,520 --> 00:00:48,720 Speaker 1: having any flak against the Smiths, or I was. 15 00:00:48,720 --> 00:00:51,880 Speaker 2: Gonna say, well I would, just because you're going to 16 00:00:51,920 --> 00:00:58,600 Speaker 2: get controversial. I'll start there with you. Marcie God tear miserable, 17 00:00:59,040 --> 00:01:02,440 Speaker 2: like just gotta be. I can't imagine he would be 18 00:01:02,600 --> 00:01:05,840 Speaker 2: fun to be around for even ten minutes. But the 19 00:01:05,840 --> 00:01:08,200 Speaker 2: Smiths are a top three to five band for me, 20 00:01:08,480 --> 00:01:12,039 Speaker 2: So I like to present I pretend that he died 21 00:01:12,080 --> 00:01:13,119 Speaker 2: when the band broke up. 22 00:01:14,640 --> 00:01:17,480 Speaker 1: That's my and then like there's and then like all 23 00:01:17,520 --> 00:01:20,679 Speaker 1: the solo all like like that, like the handful plus 24 00:01:20,720 --> 00:01:24,040 Speaker 1: of the best solo stuff is like it's like post 25 00:01:24,200 --> 00:01:26,520 Speaker 1: It's like when there's like a new Tupac song exactly, 26 00:01:26,560 --> 00:01:28,400 Speaker 1: you're like, oh, I guess. 27 00:01:28,120 --> 00:01:31,160 Speaker 2: He did some some music with some inferior other musicians 28 00:01:31,160 --> 00:01:32,360 Speaker 2: and it's kind of nice to hear. Is Oh, this 29 00:01:32,400 --> 00:01:35,200 Speaker 2: is a pretty good song. Yeah, yeah, that's that's my 30 00:01:35,240 --> 00:01:39,280 Speaker 2: work around with But anyway, let's get to cases. Yeahses. 31 00:01:40,000 --> 00:01:43,360 Speaker 1: The reason why is because this is like a I 32 00:01:43,400 --> 00:01:44,960 Speaker 1: don't know and this is what I want to go into. 33 00:01:45,280 --> 00:01:49,040 Speaker 1: It's a beloved track that has become like you hear 34 00:01:49,080 --> 00:01:52,640 Speaker 1: it like stadiums and like every like like a lot 35 00:01:52,640 --> 00:01:55,400 Speaker 1: of weddings you go to it like when I when 36 00:01:55,400 --> 00:01:57,440 Speaker 1: you when you realize what it is, you're like, oh, 37 00:01:57,440 --> 00:02:00,240 Speaker 1: why is it? At these places it just doesn't like 38 00:02:00,520 --> 00:02:03,720 Speaker 1: the song, what the song's about, and the vibe and everything. 39 00:02:04,160 --> 00:02:04,880 Speaker 2: It has become. 40 00:02:05,320 --> 00:02:08,360 Speaker 1: It is like equivalent in some ways in certain communities 41 00:02:08,360 --> 00:02:13,240 Speaker 1: to what Don't Look back in Anger has become like 42 00:02:13,280 --> 00:02:16,120 Speaker 1: in just like this like sing along Fest, it's almost 43 00:02:16,160 --> 00:02:16,680 Speaker 1: like an anger. 44 00:02:16,760 --> 00:02:21,600 Speaker 2: It became like the like the the Bridge to Healing 45 00:02:21,760 --> 00:02:24,680 Speaker 2: for Manchester after that, like bombing in that at that 46 00:02:24,800 --> 00:02:27,640 Speaker 2: Arionic Brande show. It's insane what that song has become. 47 00:02:27,760 --> 00:02:32,240 Speaker 2: It's like, what I mean, great, whatever gets you through? Sure, yeah, anyway, 48 00:02:32,320 --> 00:02:33,160 Speaker 2: interesting and weird. 49 00:02:33,280 --> 00:02:35,160 Speaker 1: This is similar. This is similar where it's like I 50 00:02:35,560 --> 00:02:38,000 Speaker 1: don't know how this took off. When the song came out, 51 00:02:38,040 --> 00:02:40,560 Speaker 1: I remember being like okay, and it's by a band 52 00:02:40,560 --> 00:02:43,160 Speaker 1: that has like a few hits, but I'm like, I 53 00:02:43,520 --> 00:02:45,320 Speaker 1: just don't understand how it got to this point. And 54 00:02:45,360 --> 00:02:48,680 Speaker 1: I've never really like loved it. So it's just played 55 00:02:48,720 --> 00:02:51,200 Speaker 1: all these places and I'm always like okay, and I 56 00:02:51,240 --> 00:02:53,080 Speaker 1: just want to get off my chest with this episode. 57 00:02:53,160 --> 00:02:56,440 Speaker 1: And I know that I'm wrong. Here's I know. But 58 00:02:57,880 --> 00:03:00,400 Speaker 1: this is like coming from like a pretentious or like 59 00:03:00,480 --> 00:03:01,120 Speaker 1: a hater. 60 00:03:01,480 --> 00:03:04,360 Speaker 2: I'm a hater in this. You're allowed to like, what 61 00:03:04,480 --> 00:03:06,760 Speaker 2: is it? You know, when we get pretentious, let's talk poetry. 62 00:03:06,800 --> 00:03:08,800 Speaker 2: I'll give it a chance, is it, Mary Oliver? She 63 00:03:08,840 --> 00:03:11,480 Speaker 2: says something about like let the soft underbelly of your 64 00:03:11,600 --> 00:03:14,799 Speaker 2: whatever like whatever it wants to like, be whatever it wants. 65 00:03:14,840 --> 00:03:17,400 Speaker 2: So maybe you just don't like it. I hate whatever 66 00:03:17,400 --> 00:03:19,880 Speaker 2: you want to hate. That's right, hat. What's cool is 67 00:03:19,880 --> 00:03:22,680 Speaker 2: I have no idea. My gut, my gut guess is 68 00:03:22,720 --> 00:03:25,560 Speaker 2: not the right one. It's Seven Nation Army by White Stripes. 69 00:03:25,600 --> 00:03:26,919 Speaker 2: But I don't know what you're gonna say. 70 00:03:27,280 --> 00:03:30,720 Speaker 1: It's similar in some ways where that band like is. 71 00:03:31,040 --> 00:03:33,880 Speaker 1: It's more it's a band that you wouldn't think like 72 00:03:34,080 --> 00:03:36,720 Speaker 1: it's not like it's not like Black Eyed Peas. I 73 00:03:36,720 --> 00:03:39,600 Speaker 1: got a feeling that like belongs at a stadium, you 74 00:03:39,640 --> 00:03:40,080 Speaker 1: know what I mean? 75 00:03:40,640 --> 00:03:45,000 Speaker 2: And you know, yes, I. 76 00:03:44,920 --> 00:03:46,960 Speaker 1: Would say that, like I don't think anything else from 77 00:03:46,960 --> 00:03:50,680 Speaker 1: their catalog would work at like the era. 78 00:03:51,240 --> 00:03:55,880 Speaker 2: I don't can't handle you just going yes and moving. 79 00:03:55,640 --> 00:04:00,240 Speaker 1: Forward as in saying that I keep calling that that's 80 00:04:00,240 --> 00:04:01,840 Speaker 1: why this world's freak. 81 00:04:01,880 --> 00:04:03,080 Speaker 2: Go ahead, Yes, it's yes. 82 00:04:03,560 --> 00:04:05,760 Speaker 1: We're gonna have like shirts made by fans that just 83 00:04:05,760 --> 00:04:08,760 Speaker 1: say like vider like with like extra thhs. 84 00:04:11,400 --> 00:04:13,800 Speaker 2: Okay, so it's right. It's not Black Eyed Peas, it's 85 00:04:13,840 --> 00:04:17,200 Speaker 2: not white Stripes, it's not Green Jelly, it's not any 86 00:04:17,240 --> 00:04:18,960 Speaker 2: other like band with the color in the night in 87 00:04:19,000 --> 00:04:22,440 Speaker 2: the name. No, it's a the band. It's the band 88 00:04:22,880 --> 00:04:32,200 Speaker 2: a Droom. No, it's Mothmtic it's a the band. Okay, 89 00:04:33,200 --> 00:04:40,320 Speaker 2: have you on the road. Sorry, it's okay, it's it's 90 00:04:40,320 --> 00:04:43,960 Speaker 2: a the band whose song has become ubiquitous at things 91 00:04:44,000 --> 00:04:47,839 Speaker 2: like stadiums and weddings. Mm hmm. It's come out in 92 00:04:48,040 --> 00:04:51,320 Speaker 2: our lifetime and music listening lifetime for sure. 93 00:04:51,400 --> 00:04:53,520 Speaker 1: I would say like it started if it came out, 94 00:04:53,520 --> 00:04:55,599 Speaker 1: and probably I think I was in college, like we'reround 95 00:04:55,600 --> 00:04:59,640 Speaker 1: two thousand and five six wow three four five six. 96 00:05:00,120 --> 00:05:04,040 Speaker 2: Uh band Wow. I'm I'm so stoked. I have no idea, 97 00:05:04,240 --> 00:05:08,400 Speaker 2: no idea. I'm out, I'm ocage and I'm doing fine. 98 00:05:10,920 --> 00:05:13,960 Speaker 2: That's so funny. Oh God. 99 00:05:14,800 --> 00:05:16,720 Speaker 1: Like the fact that it's like at a stadium and 100 00:05:16,800 --> 00:05:19,480 Speaker 1: it's just like and he's touching the chest and he's 101 00:05:19,640 --> 00:05:21,680 Speaker 1: you know, like it's like this cheating song. 102 00:05:21,800 --> 00:05:24,960 Speaker 2: You're like, why is it you late? Did you see? 103 00:05:25,200 --> 00:05:27,560 Speaker 2: I forget his name? The kid he's on I think 104 00:05:27,600 --> 00:05:29,720 Speaker 2: he's on SNL now. I just I just watched part 105 00:05:29,760 --> 00:05:33,960 Speaker 2: of his comedy special on a Cuban Kid. Yes, And 106 00:05:34,080 --> 00:05:35,920 Speaker 2: there's a part of it where he's talking about going 107 00:05:36,000 --> 00:05:40,080 Speaker 2: to college in Ohio coming from Miami, and he was 108 00:05:40,160 --> 00:05:43,920 Speaker 2: like and the shock of like drinking around white people 109 00:05:44,480 --> 00:05:46,640 Speaker 2: and he's like and like being out in Miami. All 110 00:05:46,640 --> 00:05:48,440 Speaker 2: the songs were always, you know whatever. There was like 111 00:05:48,560 --> 00:05:51,840 Speaker 2: this propulsive dancing like movement body thing. And then he's like, 112 00:05:51,880 --> 00:05:54,040 Speaker 2: and all the songs these guys were listening to while 113 00:05:54,080 --> 00:05:57,479 Speaker 2: they got like recklessly drunk, was all this like really 114 00:05:57,800 --> 00:06:00,960 Speaker 2: sad and it was and he starts quoteving that song 115 00:06:01,160 --> 00:06:04,479 Speaker 2: and it's really really it's ideal because it's like, yeah, 116 00:06:04,520 --> 00:06:08,280 Speaker 2: he's like she's touching your chest or he's touching his 117 00:06:08,440 --> 00:06:10,960 Speaker 2: chest whatever, and it's like it's he picked the right thing. 118 00:06:11,120 --> 00:06:12,760 Speaker 2: So that's exactly what I'm talking about. 119 00:06:12,800 --> 00:06:15,760 Speaker 1: Then, yes, it's it's literally like I like when you 120 00:06:16,040 --> 00:06:18,000 Speaker 1: I can't help but not like listen to lyrics and 121 00:06:18,160 --> 00:06:19,800 Speaker 1: of course you. 122 00:06:19,880 --> 00:06:21,600 Speaker 2: Know, like you're like eatie in that way. My other 123 00:06:21,760 --> 00:06:24,719 Speaker 2: child Yeah yeah, two children, yes, mine, who both listen 124 00:06:24,760 --> 00:06:25,320 Speaker 2: to lyrics. 125 00:06:25,680 --> 00:06:27,600 Speaker 1: And it's just wild to me that that song is 126 00:06:27,880 --> 00:06:32,160 Speaker 1: so big and like, yeah, it's like being a karaoke 127 00:06:32,440 --> 00:06:34,320 Speaker 1: makes more sense right to me. I'm like, okay, I 128 00:06:34,400 --> 00:06:36,800 Speaker 1: get it, like it's it's a fun song. 129 00:06:37,320 --> 00:06:38,400 Speaker 2: Yeah, yep, you know. 130 00:06:38,560 --> 00:06:42,000 Speaker 1: And mister Brightside, Yeah, it's just it's just a I 131 00:06:42,080 --> 00:06:43,840 Speaker 1: want to get into it. I'm excited to listen to it. 132 00:06:43,920 --> 00:06:45,960 Speaker 1: And actually I hope I I hope I finished this 133 00:06:47,279 --> 00:06:50,400 Speaker 1: podcast as a lover as a lover and not a hater. 134 00:06:51,040 --> 00:06:53,479 Speaker 2: Well, we'll find out. But in the interim I'm going 135 00:06:53,520 --> 00:06:56,200 Speaker 2: to listen to a different podcast. Now, I'm just joking. 136 00:06:56,960 --> 00:07:10,760 Speaker 2: Find the song, all right, I'll be back here. We 137 00:07:10,840 --> 00:07:14,040 Speaker 2: are here, we are now entertainment. 138 00:07:14,120 --> 00:07:17,880 Speaker 1: I definitely have a lot of chances and you know, 139 00:07:18,160 --> 00:07:20,480 Speaker 1: you know, anti chances, But I want you to start. 140 00:07:20,560 --> 00:07:22,480 Speaker 2: Guys, I feel like this is that you're working something 141 00:07:22,520 --> 00:07:24,200 Speaker 2: out here, so I want you to start. Yeah. 142 00:07:24,520 --> 00:07:26,520 Speaker 1: Well, I also think it's really funny that there's the lyrics. 143 00:07:26,600 --> 00:07:29,680 Speaker 1: I don't know if anyone's ever like done this where 144 00:07:29,720 --> 00:07:31,520 Speaker 1: it's like, now they're going to bed and my stomach 145 00:07:31,640 --> 00:07:31,960 Speaker 1: is sick. 146 00:07:32,240 --> 00:07:34,120 Speaker 2: It's all in my head, but he's touched but she's 147 00:07:34,160 --> 00:07:37,400 Speaker 2: touching his dick. That's the rhyme. 148 00:07:37,680 --> 00:07:39,680 Speaker 1: Did they do that intentionally to sort of like? I 149 00:07:39,920 --> 00:07:41,640 Speaker 1: didn't really I never realized that if this was like 150 00:07:42,000 --> 00:07:45,240 Speaker 1: the idea is I look at the direct to go from. 151 00:07:46,320 --> 00:07:48,080 Speaker 1: So it's like, now they're going to bed and my 152 00:07:48,200 --> 00:07:50,160 Speaker 1: stomach is sick and it's all in my head, but 153 00:07:50,320 --> 00:07:51,720 Speaker 1: she's touching his chest. 154 00:07:52,440 --> 00:07:55,640 Speaker 2: Yeah, falling asleep taking a cab, So sleep and smoke 155 00:07:55,720 --> 00:08:01,440 Speaker 2: don't rhyme Cab and drag inferred implied rhyme and bed 156 00:08:01,520 --> 00:08:03,720 Speaker 2: in the head door or I'm sick and YoY. I 157 00:08:03,840 --> 00:08:06,680 Speaker 2: wonder if that's that's on purpose. Let's give them a chance. 158 00:08:07,280 --> 00:08:09,680 Speaker 2: That's a little yeah. I like that. 159 00:08:09,760 --> 00:08:12,560 Speaker 1: I like a little miss direct, especially because it's like 160 00:08:12,640 --> 00:08:14,920 Speaker 1: a little it's a little like it's a little blue. 161 00:08:17,000 --> 00:08:19,600 Speaker 2: That's a song we should come Did you just become? 162 00:08:21,960 --> 00:08:23,280 Speaker 2: That's the song we should like. 163 00:08:23,440 --> 00:08:24,119 Speaker 1: I'm blue? 164 00:08:25,600 --> 00:08:27,680 Speaker 2: Yeah, that's on my list anyway, Okay, we'll come back. 165 00:08:27,720 --> 00:08:30,280 Speaker 2: That's on my list. Ye. Get ready, folks, get ready, folks. 166 00:08:31,720 --> 00:08:36,199 Speaker 1: So I I love the baseline. I was listening to 167 00:08:36,320 --> 00:08:41,319 Speaker 1: the Yeah, yeah, the tone in the baseline really were 168 00:08:41,480 --> 00:08:44,800 Speaker 1: like hitting me today in a way that I never 169 00:08:44,880 --> 00:08:45,640 Speaker 1: really listened to it. 170 00:08:45,720 --> 00:08:48,400 Speaker 2: It's really prominent in the midst too. It's cool. It's 171 00:08:48,440 --> 00:08:50,640 Speaker 2: like really up front in a great way. 172 00:08:52,240 --> 00:08:54,559 Speaker 1: It's driving in a way that and I think this 173 00:08:54,760 --> 00:08:56,600 Speaker 1: is actually a good like sports song. 174 00:08:57,960 --> 00:09:06,679 Speaker 2: There goes my hero right where it's like it's it's that's. 175 00:09:08,200 --> 00:09:10,800 Speaker 1: Right, like yes, yeah, and this has that sort of 176 00:09:11,280 --> 00:09:13,560 Speaker 1: the drums and the base. I'm like, okay, I see 177 00:09:13,600 --> 00:09:16,679 Speaker 1: why that could be at like a sports stadium. But 178 00:09:16,840 --> 00:09:20,880 Speaker 1: I don't understand like thinking about all these like dudes. 179 00:09:20,640 --> 00:09:22,480 Speaker 2: Being like it was only a kid. 180 00:09:23,400 --> 00:09:26,360 Speaker 1: But I think, like this is such a funny word 181 00:09:26,480 --> 00:09:32,320 Speaker 1: to be like screaming like in between the Mets, you know, like. 182 00:09:34,679 --> 00:09:39,600 Speaker 2: Whatever, I feel like, Well, sorry, I want to Yeah, totally, 183 00:09:39,640 --> 00:09:41,199 Speaker 2: I could speak to that, or I could let you 184 00:09:41,280 --> 00:09:42,400 Speaker 2: cook for a little while here. 185 00:09:42,480 --> 00:09:44,240 Speaker 1: Yeah, I guess the Mets don't really take a time out. 186 00:09:44,320 --> 00:09:46,560 Speaker 2: I guess maybe then there can be a little break 187 00:09:46,640 --> 00:09:50,160 Speaker 2: in the action though, you know what I mean time Like, 188 00:09:50,320 --> 00:09:53,160 Speaker 2: you know, maybe it's like there's a relief picture coming in, 189 00:09:53,400 --> 00:09:56,360 Speaker 2: or maybe it's like there's a little someone gets a 190 00:09:56,360 --> 00:09:59,640 Speaker 2: little toe turf and needs to like recorded off the right, 191 00:10:00,800 --> 00:10:03,800 Speaker 2: baby Lulu, who's that now? 192 00:10:03,880 --> 00:10:04,000 Speaker 1: Now? 193 00:10:04,080 --> 00:10:12,640 Speaker 2: Who's that? The many masks? So it's so here's the thing. 194 00:10:12,840 --> 00:10:15,640 Speaker 2: This is, like I feel like what you're kind of 195 00:10:15,679 --> 00:10:18,360 Speaker 2: bringing into the room, which is great, is a pretty 196 00:10:19,679 --> 00:10:26,880 Speaker 2: rich tradition of like, okay, subtextual or even textual anthemic 197 00:10:27,400 --> 00:10:30,920 Speaker 2: moments that don't totally jive with the environment in which 198 00:10:30,960 --> 00:10:34,880 Speaker 2: they're often played or performed. So the primary one that 199 00:10:34,960 --> 00:10:38,080 Speaker 2: I've sit for since like my twenties or whatever. At 200 00:10:38,080 --> 00:10:39,839 Speaker 2: some point when you start to really like think about 201 00:10:39,880 --> 00:10:43,760 Speaker 2: this stuff in a different way, teens twenties. Freddie Mercury 202 00:10:44,360 --> 00:10:49,480 Speaker 2: is like the poster child for a particular kind of 203 00:10:49,679 --> 00:10:53,800 Speaker 2: like I know, he was like in some ways, at 204 00:10:53,880 --> 00:10:57,360 Speaker 2: least in a public sense of closeted. His sexuality was closeted, 205 00:10:57,440 --> 00:10:59,520 Speaker 2: but certainly not with respect to how he was like 206 00:10:59,679 --> 00:11:02,800 Speaker 2: performing it in public. In other ways, he didn't outwardly 207 00:11:02,960 --> 00:11:06,320 Speaker 2: say what his sexual preferences were, but he certainly wasn't 208 00:11:06,440 --> 00:11:08,599 Speaker 2: like there's you know, he kind of like defined a 209 00:11:08,679 --> 00:11:14,040 Speaker 2: certain kind of like butch queer identity right for a 210 00:11:14,080 --> 00:11:18,199 Speaker 2: long time, this person has sings and wrote to and 211 00:11:18,200 --> 00:11:22,000 Speaker 2: he's one of the most flamboyant live performers ever to 212 00:11:22,160 --> 00:11:27,400 Speaker 2: step on a stage in a beautiful, transcendent way. Every 213 00:11:27,600 --> 00:11:31,520 Speaker 2: stadium since nineteen eighty something has played We Will Rock 214 00:11:31,600 --> 00:11:34,280 Speaker 2: You and We Are the Champions. Now, those songs are 215 00:11:34,480 --> 00:11:39,280 Speaker 2: very right, Sure they lend themselves textually to that, but 216 00:11:39,480 --> 00:11:43,280 Speaker 2: like if you go subtextually, it's ironic that there's this 217 00:11:43,520 --> 00:11:50,080 Speaker 2: like pan sexual, queer identifying performer who's written the anthems 218 00:11:50,760 --> 00:11:54,520 Speaker 2: for these like hyper masculine like dude, you know what 219 00:11:54,600 --> 00:11:58,679 Speaker 2: I mean. That's so that's like that's a slight variation 220 00:11:58,800 --> 00:12:01,160 Speaker 2: on this theme because the songs themselves kind of do 221 00:12:01,360 --> 00:12:03,559 Speaker 2: work for like you know whatever, like we are we 222 00:12:03,679 --> 00:12:05,959 Speaker 2: will rock you, and we are the champions, you know 223 00:12:06,000 --> 00:12:08,600 Speaker 2: what I mean. It's like very but then you have songs. 224 00:12:08,760 --> 00:12:10,599 Speaker 2: I'm not bringing this up because I'm me. It is 225 00:12:10,720 --> 00:12:13,520 Speaker 2: like I don't know the last sporting event I went to. 226 00:12:13,720 --> 00:12:15,920 Speaker 2: You hear smells like teen Spirit at all of those 227 00:12:16,000 --> 00:12:20,760 Speaker 2: things too, And you hear it because it's anthemic, it's propulsive, 228 00:12:20,960 --> 00:12:24,480 Speaker 2: it's big, it's direct if you like. Then the first 229 00:12:24,600 --> 00:12:26,880 Speaker 2: lyric of the song is like load up on guns, 230 00:12:27,000 --> 00:12:29,640 Speaker 2: bring your foot like it's not. It's not. Even the 231 00:12:29,760 --> 00:12:32,040 Speaker 2: video for the song is making fun of that in 232 00:12:32,120 --> 00:12:35,079 Speaker 2: a way because it's got like anarchist cheerleaders in a 233 00:12:35,160 --> 00:12:39,320 Speaker 2: PEP rally, So like there is this friction between these 234 00:12:39,400 --> 00:12:41,840 Speaker 2: things that and seven Nation Army. If you break apart 235 00:12:41,920 --> 00:12:43,719 Speaker 2: what's being said, and if you get into like who 236 00:12:43,880 --> 00:12:47,200 Speaker 2: Jack White is? What that band is, it's two people, 237 00:12:47,400 --> 00:12:50,520 Speaker 2: one of them a very rudimentary but effective drummer. It's 238 00:12:51,400 --> 00:12:54,960 Speaker 2: whatever happens with these things. It's it like it's the. 239 00:12:54,960 --> 00:12:57,000 Speaker 1: Born in USA, right, It's we're going back to Born 240 00:12:57,040 --> 00:12:59,800 Speaker 1: in USA, like, and people taking that as like yeah, 241 00:13:00,679 --> 00:13:02,599 Speaker 1: and it's like they're not picking up and there's like 242 00:13:02,679 --> 00:13:05,679 Speaker 1: a hypocritical nature to it, because it's like I should 243 00:13:05,720 --> 00:13:08,200 Speaker 1: be happy that some of these songs are like crossing 244 00:13:08,280 --> 00:13:11,960 Speaker 1: over to mainstream and it might open it might open 245 00:13:12,040 --> 00:13:14,959 Speaker 1: some minds, like you know that that Freddie Mercury or 246 00:13:15,040 --> 00:13:17,800 Speaker 1: Elton John are like being played here and it's like, oh, 247 00:13:17,840 --> 00:13:20,240 Speaker 1: maybe that'll make a difference, and so often it doesn't 248 00:13:20,280 --> 00:13:22,800 Speaker 1: and that's like frustrating course or like and I think 249 00:13:22,840 --> 00:13:24,839 Speaker 1: the Killers are probably for me getting wrapped up in 250 00:13:24,920 --> 00:13:26,920 Speaker 1: some of this, but I bet you and I know 251 00:13:27,040 --> 00:13:29,199 Speaker 1: friends that are like they love the Killers albums and 252 00:13:29,280 --> 00:13:31,959 Speaker 1: this is probably like the Buddy Holly to Weezer or 253 00:13:32,000 --> 00:13:35,000 Speaker 1: something oh yeah yeah, or like even even more so, 254 00:13:35,200 --> 00:13:37,959 Speaker 1: like maybe like a Beverly Hills of Weezer, and you know, 255 00:13:38,080 --> 00:13:41,040 Speaker 1: and it's like and they're like, yeah, I don't really 256 00:13:41,120 --> 00:13:43,480 Speaker 1: like like if I'm playing the Killers album, I skip 257 00:13:43,559 --> 00:13:45,599 Speaker 1: mister Bright's side most of the time, but if it's on, 258 00:13:45,760 --> 00:13:48,080 Speaker 1: I love it and it's it got me into it, right, 259 00:13:48,200 --> 00:13:50,280 Speaker 1: It's like it's like that right, like and same with 260 00:13:50,400 --> 00:13:52,280 Speaker 1: like smells like teen Spirit. I love it when I 261 00:13:52,360 --> 00:13:55,520 Speaker 1: hear it, like on somewhere while Yeah, it's tough for 262 00:13:55,600 --> 00:13:57,079 Speaker 1: me to be like, I'm gonna listen to this song. 263 00:13:57,160 --> 00:14:00,480 Speaker 1: I've heard billions of times. Sure, but it doesn't take 264 00:14:00,520 --> 00:14:04,000 Speaker 1: anything away from that song. Yeah, you're just still saturated. Yeah, 265 00:14:04,120 --> 00:14:07,760 Speaker 1: it's a perfect song. Yeah, Yeah, it's incredible. That's actually 266 00:14:07,840 --> 00:14:11,199 Speaker 1: one that I think has like, it's amazing that it 267 00:14:11,320 --> 00:14:14,400 Speaker 1: still hits as well as it does for being overplayed 268 00:14:15,360 --> 00:14:15,920 Speaker 1: and there's not a. 269 00:14:15,960 --> 00:14:19,800 Speaker 2: Lot like that, you know, I still like we Will 270 00:14:19,880 --> 00:14:20,120 Speaker 2: rock You. 271 00:14:20,320 --> 00:14:22,320 Speaker 1: I was totally like, my daughter got my daughter got 272 00:14:22,320 --> 00:14:26,400 Speaker 1: into it, and it's it's I think it's like my 273 00:14:26,680 --> 00:14:27,920 Speaker 1: favorite guitar solo. 274 00:14:28,200 --> 00:14:31,080 Speaker 2: It's a great well. It's also so cool because there's 275 00:14:31,240 --> 00:14:37,960 Speaker 2: nothing there is nothing under it melodically. It's actually a 276 00:14:38,080 --> 00:14:41,440 Speaker 2: really radical decision arrangement wise, and we will rock You. 277 00:14:41,640 --> 00:14:46,480 Speaker 2: It's like there is no the only tone and we 278 00:14:46,600 --> 00:14:50,360 Speaker 2: will rock you is the vocal. That's the it's vocal 279 00:14:50,440 --> 00:14:53,680 Speaker 2: and percussion, and then they put a guitar solo in 280 00:14:53,800 --> 00:14:58,040 Speaker 2: the major key of the minor figure that the vote 281 00:14:58,040 --> 00:15:00,560 Speaker 2: because the vocal is kind of a minor thing. And 282 00:15:00,640 --> 00:15:02,400 Speaker 2: then all of a sudden, this guitar solo comes in 283 00:15:02,480 --> 00:15:05,040 Speaker 2: and it's like a major key thing, but there's no 284 00:15:05,320 --> 00:15:10,280 Speaker 2: in it. The bass doesn't come in the rhythm, guitar 285 00:15:10,400 --> 00:15:13,080 Speaker 2: doesn't come in. It's just drums and solo and you 286 00:15:13,240 --> 00:15:17,120 Speaker 2: don't need a goddamn thing with it. You're like, this rules, 287 00:15:17,280 --> 00:15:29,000 Speaker 2: this is so good. But I think the thing that 288 00:15:29,120 --> 00:15:31,560 Speaker 2: you're what's what I do think is a little different. 289 00:15:31,600 --> 00:15:33,280 Speaker 2: When we will rock you, when we are the champions 290 00:15:33,320 --> 00:15:36,440 Speaker 2: to mister bright'side or smells like teen Spirit or something 291 00:15:36,520 --> 00:15:38,560 Speaker 2: like that, and Seven Nation Army probably sits in the middle. 292 00:15:40,120 --> 00:15:42,760 Speaker 2: Is that with a song like mister Bright's side, or 293 00:15:42,800 --> 00:15:46,040 Speaker 2: even don't look back in anger to a degree smells 294 00:15:46,080 --> 00:15:49,760 Speaker 2: like teen Spirit for sure. What is being reacted to 295 00:15:50,760 --> 00:15:55,960 Speaker 2: holy in an environment like that is the dynamics, the propulsion, 296 00:15:56,840 --> 00:16:00,800 Speaker 2: the lyrics are out of the room. It's just this thing. 297 00:16:01,000 --> 00:16:03,320 Speaker 2: And that's the thing that makes for dissonance. That's the 298 00:16:03,440 --> 00:16:07,960 Speaker 2: rage against the machine thing where it's like you have 299 00:16:08,160 --> 00:16:12,240 Speaker 2: people who have loved that band for thirty years who 300 00:16:12,320 --> 00:16:17,840 Speaker 2: are like conservative politically or or whatever like, but they 301 00:16:17,920 --> 00:16:20,840 Speaker 2: love the aggression of it, they love the and I 302 00:16:21,120 --> 00:16:27,320 Speaker 2: find I personally do find that like totally fascinating because 303 00:16:27,360 --> 00:16:29,400 Speaker 2: to me, it's like I guess It's a little different 304 00:16:29,480 --> 00:16:32,840 Speaker 2: than like, I don't know, like a protest singer like 305 00:16:33,000 --> 00:16:36,320 Speaker 2: phil Oakes or something who was singing super leftist things, 306 00:16:36,360 --> 00:16:38,960 Speaker 2: but it was just him and his guitar. It's not 307 00:16:39,440 --> 00:16:42,280 Speaker 2: likely that someone will be able to get over that 308 00:16:42,720 --> 00:16:47,120 Speaker 2: in service of because the dynamics and are everything's laid bare. 309 00:16:47,760 --> 00:16:51,120 Speaker 2: But like someone could listen to all of rage against 310 00:16:51,120 --> 00:16:54,840 Speaker 2: the machine and not ever lock into what he's saying. 311 00:16:54,880 --> 00:16:55,960 Speaker 2: They could just be like I kind of like the 312 00:16:55,960 --> 00:16:57,520 Speaker 2: way he raps, and I love the way that the 313 00:16:57,720 --> 00:16:59,920 Speaker 2: it's cool that the guy does scratches on his guitar 314 00:17:00,120 --> 00:17:02,720 Speaker 2: and it's so aggressive and makes me like I like 315 00:17:02,840 --> 00:17:06,600 Speaker 2: to work out to it or whatever. And similarly with 316 00:17:06,720 --> 00:17:09,640 Speaker 2: something like Nirvana, it's like you once you don't even 317 00:17:09,680 --> 00:17:11,440 Speaker 2: have to dig very far to be like what that 318 00:17:11,720 --> 00:17:13,840 Speaker 2: person was, what he was trying to represent, what they 319 00:17:13,880 --> 00:17:16,800 Speaker 2: were representing is like super not like play me at 320 00:17:16,840 --> 00:17:19,679 Speaker 2: a Giants game at MetLife Stadium. It was like pretty 321 00:17:20,040 --> 00:17:23,520 Speaker 2: pretty deep rich irony that that became an outcome of 322 00:17:23,600 --> 00:17:27,560 Speaker 2: that band's success. But with this particular song, it's funny 323 00:17:27,600 --> 00:17:29,560 Speaker 2: that we started this, like as a joking around, I 324 00:17:29,840 --> 00:17:32,440 Speaker 2: brought up Marssie when you spoke about controversy because actually, 325 00:17:32,440 --> 00:17:34,359 Speaker 2: do you want to speak about structure for a second. 326 00:17:34,480 --> 00:17:36,560 Speaker 2: This guy's clearly a big Morrissey fan, and they're clearly 327 00:17:36,600 --> 00:17:39,000 Speaker 2: indebted by the Smiths. They cover them and stuff, but 328 00:17:39,200 --> 00:17:42,400 Speaker 2: like they having done no time with the Killers outside 329 00:17:42,400 --> 00:17:44,960 Speaker 2: of their singles and being like pretty agnostic about them. 330 00:17:45,040 --> 00:17:47,040 Speaker 2: Like I will say that when this song comes on, 331 00:17:47,960 --> 00:17:50,040 Speaker 2: I do have the reaction it's like, oh yeah, this 332 00:17:50,200 --> 00:17:56,840 Speaker 2: is like an undeniable, like propulsive, like really wonderfully arrived 333 00:17:56,960 --> 00:18:00,520 Speaker 2: at pop rock song of its era thousand and three. 334 00:18:01,080 --> 00:18:02,760 Speaker 2: It sounds like it came out in the wake of 335 00:18:02,880 --> 00:18:06,680 Speaker 2: like strokes transferredinand white stripes. It's not quite those things. 336 00:18:06,720 --> 00:18:09,280 Speaker 1: It's a little sanded not I was actually surprised this 337 00:18:09,359 --> 00:18:12,000 Speaker 1: time that it's it's actually because they're in the category 338 00:18:12,080 --> 00:18:14,320 Speaker 1: and that time, but it's nothing like that. Well, they 339 00:18:14,440 --> 00:18:16,760 Speaker 1: came after too, and I think what they kind of 340 00:18:16,800 --> 00:18:18,480 Speaker 1: did is a little bit after And I think what 341 00:18:18,560 --> 00:18:22,080 Speaker 1: they kind of did was took the idiosyncrasies of some 342 00:18:22,240 --> 00:18:25,560 Speaker 1: of those bands and like sanded and smoothed them to 343 00:18:25,680 --> 00:18:28,040 Speaker 1: make them more of like a This is like more 344 00:18:28,119 --> 00:18:32,800 Speaker 1: of a like it's a slightly less weird kind of 345 00:18:32,920 --> 00:18:35,280 Speaker 1: version of those things, but I think they're closer to 346 00:18:35,400 --> 00:18:38,280 Speaker 1: Emo for me, this song guitar is like you know 347 00:18:38,320 --> 00:18:41,960 Speaker 1: what you know, like yeah yeah. And I think also 348 00:18:42,119 --> 00:18:44,800 Speaker 1: the bass is so much more prominent in this than 349 00:18:44,880 --> 00:18:47,800 Speaker 1: in like certainly The Strokes or like I love Nikolai 350 00:18:47,920 --> 00:18:49,760 Speaker 1: whatever his name is from The Strokes as a bassist, 351 00:18:49,840 --> 00:18:51,840 Speaker 1: but the way his bass was recorded on those records, 352 00:18:51,840 --> 00:18:54,760 Speaker 1: it's almost like Jason Newstead from Metallica and Justice for 353 00:18:54,880 --> 00:18:55,760 Speaker 1: All where you're like, is. 354 00:18:55,760 --> 00:18:58,960 Speaker 2: There base on this record? Like you hear base notes? 355 00:18:59,840 --> 00:19:03,320 Speaker 2: It's also like the frequency is not like boom, you know. 356 00:19:03,960 --> 00:19:07,320 Speaker 2: But the thing with The Smiths. One of the things 357 00:19:07,520 --> 00:19:10,639 Speaker 2: Marrisy did in The Smiths as a lyricist that is 358 00:19:11,920 --> 00:19:18,680 Speaker 2: so identifiable to me structurally is he doesn't just repeat 359 00:19:18,720 --> 00:19:24,120 Speaker 2: the chorus. He repeats his verses often, and he does 360 00:19:24,200 --> 00:19:27,920 Speaker 2: it in this way sometimes where for whatever, sometimes he'll 361 00:19:27,960 --> 00:19:32,800 Speaker 2: like repeat half of a verse later, but he does 362 00:19:32,880 --> 00:19:36,320 Speaker 2: it in this way where when he does resituate it, 363 00:19:36,480 --> 00:19:41,520 Speaker 2: it somehow feels differently than the first time. And it's 364 00:19:41,720 --> 00:19:44,960 Speaker 2: I think it's his greatest strength at his high point 365 00:19:45,080 --> 00:19:47,960 Speaker 2: as a songwriter, and his greatest contribution actually to kind 366 00:19:47,960 --> 00:19:51,680 Speaker 2: of like structural songwriting in the last fifty years. That's total. 367 00:19:51,760 --> 00:19:57,359 Speaker 2: This song repeats its verse repeat, pre chorus repeat, chorus repeat. 368 00:19:57,480 --> 00:20:00,720 Speaker 2: There's no new lyric, no bridge, no bridge, the bridges 369 00:20:00,960 --> 00:20:05,520 Speaker 2: and also the minds, never the musical information. It's the 370 00:20:05,680 --> 00:20:09,800 Speaker 2: same chord progression effectively throughout the entire song, with the 371 00:20:09,840 --> 00:20:15,520 Speaker 2: exception of the pre chorus, so verse, chorus, outro bridge. 372 00:20:15,800 --> 00:20:20,199 Speaker 2: I never think they're all the same chords, which smells 373 00:20:20,200 --> 00:20:23,920 Speaker 2: like teen spirit except for the one little yeah like whatever. 374 00:20:24,040 --> 00:20:26,160 Speaker 2: But the rest of that song is all those four 375 00:20:26,240 --> 00:20:30,880 Speaker 2: chords repurposed in different ways. So that is also something 376 00:20:30,920 --> 00:20:35,080 Speaker 2: that works in its favors. It's like super effective, streamlined, 377 00:20:35,400 --> 00:20:39,120 Speaker 2: lean structurally, but all the parts they do the right 378 00:20:39,320 --> 00:20:42,760 Speaker 2: thing arrangement wise to make it feel different. And they 379 00:20:42,800 --> 00:20:45,640 Speaker 2: were also like, hell, those three parts are strong enough, 380 00:20:45,760 --> 00:20:46,639 Speaker 2: let's just run. 381 00:20:46,560 --> 00:20:49,760 Speaker 1: Them back and have no stops, have like a little yeah, 382 00:20:49,800 --> 00:20:51,399 Speaker 1: I have a little stop here and there to make 383 00:20:51,440 --> 00:20:53,520 Speaker 1: you feel like, okay, that's like we stop now we're 384 00:20:53,560 --> 00:20:54,840 Speaker 1: back in you know, like in the middle of the 385 00:20:54,920 --> 00:20:55,680 Speaker 1: second verse. 386 00:20:55,520 --> 00:20:57,240 Speaker 2: There's that like the only kiss thing. 387 00:20:57,480 --> 00:21:00,520 Speaker 1: Yeah yeah, but it's crazy, you're right like and and 388 00:21:00,880 --> 00:21:03,359 Speaker 1: at this time around listening, I was like picturing because 389 00:21:03,680 --> 00:21:06,919 Speaker 1: it's amazing. It's it's fate that you brought up Morrissey 390 00:21:06,960 --> 00:21:10,399 Speaker 1: because it's like him. You could picture Morrissey singing like 391 00:21:10,560 --> 00:21:13,560 Speaker 1: Jealousy the Saints in to the sea, you know, like 392 00:21:13,760 --> 00:21:16,760 Speaker 1: of course it's that whole chorus is like a is 393 00:21:16,840 --> 00:21:19,200 Speaker 1: like a Smith's chorus, even more so than the verse 394 00:21:19,240 --> 00:21:22,680 Speaker 1: because the verse is similar to but it's a little 395 00:21:22,720 --> 00:21:26,879 Speaker 1: bit more awkward than Morrissey would take on because Morrisey 396 00:21:26,920 --> 00:21:30,520 Speaker 1: will do I decree to day but like I can't 397 00:21:30,520 --> 00:21:32,760 Speaker 1: see me like I'm coming out of my cage and 398 00:21:32,880 --> 00:21:34,320 Speaker 1: I've been doing just fine. 399 00:21:34,560 --> 00:21:37,920 Speaker 2: Like it's a little too. It's also pretty staccato in 400 00:21:38,000 --> 00:21:42,760 Speaker 2: its delivery. It's a little bit more like like racing. Yeah, yeah, 401 00:21:43,240 --> 00:21:46,440 Speaker 2: I mean, And I think also there's a degree to which, 402 00:21:46,600 --> 00:21:52,160 Speaker 2: like I don't know, audiences at things like sporting events, 403 00:21:52,840 --> 00:21:58,200 Speaker 2: right change. The demographic slightly shifts as people age, so 404 00:21:58,320 --> 00:22:03,480 Speaker 2: each generation wants its own like common denominators. So it's 405 00:22:03,560 --> 00:22:05,920 Speaker 2: why like you'll hear you still, there'll be ones that 406 00:22:05,960 --> 00:22:08,000 Speaker 2: get big enough to be held over. We will rock 407 00:22:08,080 --> 00:22:12,120 Speaker 2: you smell like teen spirit my hear whatever. I remember it, sorry, 408 00:22:12,240 --> 00:22:14,480 Speaker 2: just because because of my This is because of my 409 00:22:14,560 --> 00:22:16,720 Speaker 2: personal identification with the band and also because of what 410 00:22:16,840 --> 00:22:19,680 Speaker 2: I think the band represented. The first time I heard 411 00:22:19,800 --> 00:22:23,440 Speaker 2: like throwing to a commercial on like a Fox football 412 00:22:23,560 --> 00:22:26,480 Speaker 2: game in the background on a Thanksgiving or something, and 413 00:22:26,600 --> 00:22:29,680 Speaker 2: like Smallen Spirit was the song they were doing, I 414 00:22:29,920 --> 00:22:33,280 Speaker 2: was like, what the fuck? But what it also touches 415 00:22:33,520 --> 00:22:36,960 Speaker 2: against is what you were saying earlier about like the 416 00:22:37,040 --> 00:22:42,320 Speaker 2: mainstreaming of things. The fact is, once you once your 417 00:22:42,640 --> 00:22:46,800 Speaker 2: thing as operating at a certain level, the co opting 418 00:22:47,000 --> 00:22:51,119 Speaker 2: nature of American mainstream culture. And I don't mean like, 419 00:22:51,280 --> 00:22:56,159 Speaker 2: I mean like really central dead red and sporting events 420 00:22:56,240 --> 00:23:00,840 Speaker 2: are the central dead red of American mainstream could true identification. 421 00:23:02,119 --> 00:23:04,679 Speaker 2: Once you're in a place where that stuff's paying attention 422 00:23:04,880 --> 00:23:08,560 Speaker 2: to you, you have kind of seeded control to a 423 00:23:08,760 --> 00:23:12,119 Speaker 2: degree of at least some aspects. Now you could do 424 00:23:12,200 --> 00:23:15,080 Speaker 2: what Kendrick Lamar did and go and like be like 425 00:23:15,320 --> 00:23:18,040 Speaker 2: I am unapologetically going to or bad but or any 426 00:23:18,080 --> 00:23:19,520 Speaker 2: but of these people that are like I'm going to 427 00:23:19,640 --> 00:23:25,480 Speaker 2: unapologetically present a vision of my artistry. And that's totally cool, 428 00:23:25,520 --> 00:23:28,280 Speaker 2: and that's what you do have control over. But how 429 00:23:28,440 --> 00:23:34,520 Speaker 2: that thing gets received recirculated, where it's held in the 430 00:23:34,600 --> 00:23:38,600 Speaker 2: eye of the beholder. What it means to people is 431 00:23:38,680 --> 00:23:40,560 Speaker 2: out the door, and the co opting nature of that 432 00:23:40,600 --> 00:23:45,159 Speaker 2: stuff is always going to be stronger than any individual 433 00:23:45,440 --> 00:23:49,119 Speaker 2: artists like ability to to wrangle it. And I think 434 00:23:49,240 --> 00:23:52,639 Speaker 2: that's what makes certain people who find themselves in that 435 00:23:52,720 --> 00:23:56,760 Speaker 2: position really uncomfortable and ultimately like in some ways like 436 00:23:57,359 --> 00:24:01,280 Speaker 2: incapable actually of like managing those country addictions. Other people 437 00:24:01,359 --> 00:24:04,119 Speaker 2: were it better than others. But what got us to 438 00:24:04,160 --> 00:24:07,680 Speaker 2: do with this song is yeah, like this to me, 439 00:24:07,920 --> 00:24:10,040 Speaker 2: it's not even a song about cheating. What I think 440 00:24:10,119 --> 00:24:14,399 Speaker 2: is actually the song's greatest strength as a lyric, I know, 441 00:24:14,800 --> 00:24:19,200 Speaker 2: is it's a song about projection and jealousy and the 442 00:24:19,320 --> 00:24:24,040 Speaker 2: things we do to ourselves in the service of because 443 00:24:24,040 --> 00:24:26,399 Speaker 2: it's I mean, that's throwaway lining because it's in the 444 00:24:26,520 --> 00:24:28,320 Speaker 2: rhythm of that, but when he says and it's all 445 00:24:28,400 --> 00:24:31,440 Speaker 2: in my head, and it's also like it's only a kiss, 446 00:24:31,760 --> 00:24:33,920 Speaker 2: Like it's also about the nature of like falling so 447 00:24:34,359 --> 00:24:37,480 Speaker 2: madly head over heels infatuated in love with the person 448 00:24:37,880 --> 00:24:40,560 Speaker 2: that you lose the plot completely and now you're fixated 449 00:24:40,600 --> 00:24:43,200 Speaker 2: on like who's that guy, who's that person they're talking 450 00:24:43,280 --> 00:24:46,600 Speaker 2: to what's and you're so far down the road and 451 00:24:46,960 --> 00:24:50,200 Speaker 2: maybe that's in subconscious way, in some subconscious way with 452 00:24:50,320 --> 00:24:52,960 Speaker 2: so many people have connected to about this song is like, 453 00:24:53,359 --> 00:24:57,159 Speaker 2: no one doesn't relate to that at some point, you 454 00:24:57,240 --> 00:24:57,760 Speaker 2: know what I mean. 455 00:24:58,000 --> 00:25:00,640 Speaker 1: And it's not even just about a relationship. Sometimes it's 456 00:25:00,640 --> 00:25:04,960 Speaker 1: also about you know, something with work or school parent. 457 00:25:04,720 --> 00:25:06,040 Speaker 2: Despair and your parents. 458 00:25:06,760 --> 00:25:08,480 Speaker 1: You're like, oh, what are they going to think? And 459 00:25:08,560 --> 00:25:10,600 Speaker 1: then you're like you're going through it and it's yeah, 460 00:25:10,600 --> 00:25:12,480 Speaker 1: it's on your head. Yeah, that's that is such a 461 00:25:12,880 --> 00:25:15,000 Speaker 1: I didn't pick up on that, Kevin, I love you 462 00:25:15,119 --> 00:25:18,080 Speaker 1: for that. That's a really big chancey. That's a that's 463 00:25:18,200 --> 00:25:18,640 Speaker 1: that's fun. 464 00:25:18,880 --> 00:25:21,800 Speaker 2: That's the best thing about the lyric. I also would say, 465 00:25:21,920 --> 00:25:25,280 Speaker 2: like there's other parts I laughed at during the lyric, 466 00:25:25,359 --> 00:25:27,840 Speaker 2: like what it says something about, Like does it say 467 00:25:28,600 --> 00:25:32,240 Speaker 2: swimming through or choking on sick lullabies? Alibi? 468 00:25:33,840 --> 00:25:39,119 Speaker 1: It's yeah, swimming through sick lullaby That's that's like the 469 00:25:39,640 --> 00:25:40,080 Speaker 1: back line. 470 00:25:40,160 --> 00:25:42,200 Speaker 2: It also made me think of where we come from, 471 00:25:42,359 --> 00:25:45,640 Speaker 2: like somebody like, yeah, I was swimming through sick lullabies, dude, 472 00:25:45,640 --> 00:25:50,320 Speaker 2: It's like not like disease like that, Like awesome like, yo, yo, yo, 473 00:25:50,720 --> 00:25:55,439 Speaker 2: I was swimming through sick lullabies, lullabies, bro sick yo. 474 00:25:55,640 --> 00:25:57,520 Speaker 2: My dad when I was a kid, my dad would 475 00:25:57,520 --> 00:25:58,000 Speaker 2: have sick. 476 00:25:59,359 --> 00:26:00,239 Speaker 1: This is out. 477 00:26:00,280 --> 00:26:02,400 Speaker 2: My brother texted me the other day where he came 478 00:26:02,440 --> 00:26:04,359 Speaker 2: in from shoveling, and he said that he walked He's like, 479 00:26:04,440 --> 00:26:06,159 Speaker 2: I don't know what this guy was talking about, but 480 00:26:06,240 --> 00:26:09,040 Speaker 2: I walked by this guy in the street and he said, Yo, 481 00:26:09,160 --> 00:26:12,360 Speaker 2: if you look at my IMDb page, all the credits 482 00:26:12,400 --> 00:26:15,800 Speaker 2: are crazy, but you know, nothing took But I didn't 483 00:26:15,840 --> 00:26:20,840 Speaker 2: take any yels though, just lessons. Wait was he talking 484 00:26:20,880 --> 00:26:22,840 Speaker 2: to Dan or like on the phone on the phone 485 00:26:22,920 --> 00:26:25,560 Speaker 2: while he was shovel Okay, okay, he just like turned 486 00:26:25,600 --> 00:26:27,920 Speaker 2: to Dan like and just said, all that that would 487 00:26:27,960 --> 00:26:30,480 Speaker 2: be so much better. That's great, but that but that's 488 00:26:30,520 --> 00:26:32,400 Speaker 2: what this makes me think of, like swimming through sick. 489 00:26:32,440 --> 00:26:34,639 Speaker 2: Well exactly like my dad used to sing me like 490 00:26:34,920 --> 00:26:36,560 Speaker 2: sick lullabies. 491 00:26:37,600 --> 00:26:44,119 Speaker 1: Not the generic stuff. You know, he was spit sick. 492 00:26:46,680 --> 00:26:49,359 Speaker 1: I will you know, I will fall asleep faster than anybody. 493 00:27:02,480 --> 00:27:04,960 Speaker 1: I want to go back to our comparisons of like 494 00:27:05,200 --> 00:27:09,520 Speaker 1: the Strokes era versus other I would say, yeah, a 495 00:27:09,640 --> 00:27:12,639 Speaker 1: full blown a full blown Franz Ferdinand song is the 496 00:27:12,720 --> 00:27:15,920 Speaker 1: other one that's like, well, somebody. 497 00:27:15,600 --> 00:27:18,240 Speaker 2: Told me that you about a boyfriend. 498 00:27:17,840 --> 00:27:21,320 Speaker 1: Like that that is fully like that's the Frans Ferdinand 499 00:27:21,440 --> 00:27:26,000 Speaker 1: era that that's a different song and at another huge hit, 500 00:27:26,400 --> 00:27:28,719 Speaker 1: Like honestly I could hear somebody told me played at 501 00:27:28,720 --> 00:27:29,840 Speaker 1: a sports event as well. 502 00:27:29,920 --> 00:27:33,200 Speaker 2: I'm sure, yeah, yeah, yeah, I think this is a 503 00:27:33,320 --> 00:27:39,280 Speaker 2: better song than that song is. But I totally and 504 00:27:39,359 --> 00:27:41,480 Speaker 2: I feel like like I've never been able to fully 505 00:27:41,640 --> 00:27:44,920 Speaker 2: cross the uh. I have friends who are like way 506 00:27:45,000 --> 00:27:46,840 Speaker 2: into them, and I also don't want to dispar it, 507 00:27:47,000 --> 00:27:49,879 Speaker 2: like I don't know what mister Bright's side is. Oh, 508 00:27:49,960 --> 00:27:54,600 Speaker 2: maybe he's sang like ultimately, He's sang ultimately, maybe like 509 00:27:54,720 --> 00:27:57,000 Speaker 2: this is the price I pay. Destiny is calling me 510 00:27:57,080 --> 00:27:59,200 Speaker 2: open up my eager eyes because I'm mister bright side. 511 00:27:59,240 --> 00:28:01,399 Speaker 2: Maybe there's a hopeful and that like he's saying like, 512 00:28:02,080 --> 00:28:03,920 Speaker 2: this is the price you pay for this kind of 513 00:28:03,960 --> 00:28:06,359 Speaker 2: love and infatuation, is that you're so unmoored that some 514 00:28:06,520 --> 00:28:09,280 Speaker 2: part of you is like going to be obsessed and fixated. 515 00:28:09,720 --> 00:28:12,560 Speaker 2: My destiny is calling me to be with this person. Open. 516 00:28:12,800 --> 00:28:16,200 Speaker 2: I'm eager to see. My eyes are now closed because 517 00:28:16,240 --> 00:28:18,720 Speaker 2: I'm like fixating on this, open up my eager eyes. 518 00:28:18,960 --> 00:28:21,200 Speaker 2: I'm mister brights. I want to be the optimist. I 519 00:28:21,320 --> 00:28:23,639 Speaker 2: want to be maybe that's what that means. I've never 520 00:28:23,720 --> 00:28:25,159 Speaker 2: really I think it's like he came up with a 521 00:28:25,200 --> 00:28:28,480 Speaker 2: cool sounding phrase and he was like, build this out. 522 00:28:29,240 --> 00:28:33,480 Speaker 2: But I would I will say, like, you know, they're singles. 523 00:28:34,440 --> 00:28:36,359 Speaker 2: I wish there there's a version of this where he's like. 524 00:28:36,359 --> 00:28:40,920 Speaker 1: Oh, I missed the positive and they're like, dude, you can't. 525 00:28:42,600 --> 00:28:46,240 Speaker 2: There's like a cutting room floor. I am the optimist 526 00:28:46,880 --> 00:28:52,240 Speaker 2: and they're like, no, I think that's what about I'm 527 00:28:52,360 --> 00:28:59,520 Speaker 2: optimiss prime like a rhymes, You're getting closer, it's not it. Yeah, 528 00:28:59,840 --> 00:29:04,120 Speaker 2: I definitely wonder. I mean I feel like he that song, 529 00:29:04,360 --> 00:29:05,600 Speaker 2: what's the one? Am I Human? 530 00:29:05,760 --> 00:29:05,800 Speaker 1: Or? 531 00:29:05,880 --> 00:29:11,280 Speaker 2: Am I dancer? Yes? He flirts with like he you know, 532 00:29:11,600 --> 00:29:14,800 Speaker 2: there's an earnestness and a commitment in his vocal delivery 533 00:29:14,880 --> 00:29:16,840 Speaker 2: that kind of makes it. I think Chris Martin is 534 00:29:16,880 --> 00:29:18,760 Speaker 2: a little bit like this too. Personally. I know mileage 535 00:29:18,800 --> 00:29:21,600 Speaker 2: may vary, and I think Coldplay has some undeniably great stuff, 536 00:29:21,600 --> 00:29:23,600 Speaker 2: and then I think Coleplay has taken a turn into 537 00:29:23,720 --> 00:29:26,240 Speaker 2: like that thing we talked about in that episode about 538 00:29:26,280 --> 00:29:29,480 Speaker 2: you two where you're just like striving so intensely to 539 00:29:29,600 --> 00:29:33,360 Speaker 2: remain like relevant that you're now like lost. Like I 540 00:29:33,480 --> 00:29:35,160 Speaker 2: might even talking about the music the music, but like 541 00:29:35,520 --> 00:29:37,480 Speaker 2: whenever I see Coldplay now and he's playing like some 542 00:29:37,680 --> 00:29:40,440 Speaker 2: kind of like and people are allowed to evolve, but 543 00:29:40,520 --> 00:29:44,600 Speaker 2: it's some kind of like reggaetone inspired thing where he's 544 00:29:44,640 --> 00:29:47,600 Speaker 2: wearing like he looks like he's like an extra from 545 00:29:47,680 --> 00:29:50,200 Speaker 2: like you know, The Road Warrior with like day glow 546 00:29:50,280 --> 00:29:52,400 Speaker 2: paint and stuff. I'm like, dude, what are you doing? 547 00:29:52,680 --> 00:29:57,680 Speaker 2: Just stop? But but it's like a Pitbull song or something. Yeah, 548 00:29:57,840 --> 00:30:01,400 Speaker 2: but with Chris Martin singing. Anyway, Also, that's a whole 549 00:30:01,400 --> 00:30:03,480 Speaker 2: other thing we could get to another chancey. I have 550 00:30:03,640 --> 00:30:06,640 Speaker 2: many issues with that song. I just want something just 551 00:30:07,000 --> 00:30:09,280 Speaker 2: like this because I'm like, well, don't you just want 552 00:30:09,320 --> 00:30:11,240 Speaker 2: the thing? Like what are you talking about? But anyway, 553 00:30:11,640 --> 00:30:15,800 Speaker 2: that being said, I feel like he Brandon Flowers flirts 554 00:30:15,880 --> 00:30:18,880 Speaker 2: with like there's a commitment that makes up for some 555 00:30:19,040 --> 00:30:22,560 Speaker 2: of what is kind of like comical absurdity in his lyrics. 556 00:30:22,600 --> 00:30:25,240 Speaker 2: There's like definitely moments where you're just like this is ridiculous, 557 00:30:25,240 --> 00:30:29,600 Speaker 2: Whereas I think someone like Morrissey in the Smiths and 558 00:30:29,760 --> 00:30:31,920 Speaker 2: again mile Edge may vary, and again I am in 559 00:30:32,000 --> 00:30:34,600 Speaker 2: no way endorsing the person Morrissey presently is because he's 560 00:30:34,680 --> 00:30:40,520 Speaker 2: kind of a nightmare. But he was genuinely funny, not funny, 561 00:30:40,720 --> 00:30:44,440 Speaker 2: like he was like funny. There was like really funny 562 00:30:44,560 --> 00:30:48,240 Speaker 2: lyrics in those songs, and then also yeah, like arch 563 00:30:48,480 --> 00:30:50,720 Speaker 2: and writerly and he was like you know, like he 564 00:30:50,880 --> 00:30:53,920 Speaker 2: wore those Oscar Wild influences for real. It was like 565 00:30:54,040 --> 00:30:57,480 Speaker 2: poetic and also subversive. That's what's so sad about what 566 00:30:57,560 --> 00:31:00,760 Speaker 2: happened to Marrissey, like socially politically is that like he 567 00:31:00,960 --> 00:31:05,760 Speaker 2: was this efitte, masculine, rejecting product of the British working 568 00:31:05,840 --> 00:31:08,920 Speaker 2: class who was singing about, like critically about the monarchy 569 00:31:09,040 --> 00:31:14,040 Speaker 2: and British education and gender politics and empire, and then 570 00:31:14,080 --> 00:31:16,440 Speaker 2: he became like this kind of grotesque, which is like 571 00:31:16,680 --> 00:31:18,920 Speaker 2: so many people in America right now dealing with that 572 00:31:19,040 --> 00:31:22,040 Speaker 2: with their parents and a lot of things. Maris he's 573 00:31:22,160 --> 00:31:24,480 Speaker 2: just like a version of that. But I feel like 574 00:31:25,800 --> 00:31:28,160 Speaker 2: that's sort of he's He to me is like the 575 00:31:28,320 --> 00:31:31,280 Speaker 2: mountaintop of this kind of thing. And I don't know 576 00:31:31,320 --> 00:31:33,800 Speaker 2: that I would quite put Brandon flowers at that level. 577 00:31:33,920 --> 00:31:36,560 Speaker 2: But I think he's taken the cues and he's done 578 00:31:36,640 --> 00:31:38,960 Speaker 2: something kind of obviously compelling with it because they're a 579 00:31:39,160 --> 00:31:43,320 Speaker 2: huge band and people love their stuff and yeah, anyway, 580 00:31:43,400 --> 00:31:45,840 Speaker 2: I just think it's like sometimes the lyrics are a 581 00:31:45,840 --> 00:31:47,520 Speaker 2: little ridiculous, but actually think for him, this is like 582 00:31:47,520 --> 00:31:49,960 Speaker 2: a pretty strong set of lyrics given what. 583 00:31:50,160 --> 00:31:52,640 Speaker 1: Yeah, the other song I know by them is I 584 00:31:52,800 --> 00:31:54,640 Speaker 1: hear a lot with like I got sold but I'm 585 00:31:54,640 --> 00:31:57,440 Speaker 1: not a soldier. Yeah, yeah, and that one's the same, 586 00:31:57,920 --> 00:32:00,160 Speaker 1: has the same issue where you're like, I guess I 587 00:32:00,320 --> 00:32:02,360 Speaker 1: know what you mean, but like it doesn't connect. 588 00:32:02,440 --> 00:32:04,680 Speaker 2: It just sounds good, soldier, It just sounds good. 589 00:32:04,840 --> 00:32:07,040 Speaker 1: Yeah, and he kind of went backwards, right, and yeah, 590 00:32:07,080 --> 00:32:10,400 Speaker 1: you're right, like, yeah, Morrissey is like a lot better 591 00:32:10,600 --> 00:32:12,720 Speaker 1: at like sticking that landing. 592 00:32:12,720 --> 00:32:15,640 Speaker 2: At least he was before he died in nineteen eighty eight. Yeah. 593 00:32:15,760 --> 00:32:18,240 Speaker 1: Yeah, which is the one where like each line. 594 00:32:20,960 --> 00:32:23,880 Speaker 2: To everyone's accident. Yeah, just in case you didn't know, 595 00:32:24,000 --> 00:32:26,080 Speaker 2: Mars he did pass away in nineteen eighty eight and 596 00:32:26,160 --> 00:32:28,120 Speaker 2: it's been a clone since that time. 597 00:32:28,280 --> 00:32:31,320 Speaker 1: But yeah, no, go ahead, there's a song that has 598 00:32:31,960 --> 00:32:33,640 Speaker 1: you know, it's so funny, it's like I can't remember 599 00:32:33,760 --> 00:32:36,240 Speaker 1: it what song it is. It's like each line gives 600 00:32:36,240 --> 00:32:40,960 Speaker 1: you a little bit more information and a Smiths song, yeah, 601 00:32:41,080 --> 00:32:43,240 Speaker 1: and it changes each time. And it's what's funny, is 602 00:32:43,280 --> 00:32:44,920 Speaker 1: like the only one I could think of that also 603 00:32:45,040 --> 00:32:48,000 Speaker 1: does that is that lit song that's like you make 604 00:32:48,080 --> 00:32:52,200 Speaker 1: me surprise me complete, you make me completely miserable, which 605 00:32:52,200 --> 00:32:55,560 Speaker 1: is amazing. So it's like that come complete, completely miserable. 606 00:32:55,880 --> 00:32:58,480 Speaker 1: And that's not like that's the mountaintop, that's the real 607 00:32:58,560 --> 00:33:00,880 Speaker 1: more season and there's another one like this. 608 00:33:01,080 --> 00:33:03,200 Speaker 2: Yeah, we'll find it or our listeners chancers can find it. 609 00:33:03,720 --> 00:33:05,360 Speaker 2: Is it girlfriend and a Karma? And no, no, no, 610 00:33:05,440 --> 00:33:05,800 Speaker 2: it's not that. 611 00:33:06,880 --> 00:33:09,840 Speaker 1: No, maybe like I've changed my plea guilty or something 612 00:33:10,080 --> 00:33:10,880 Speaker 1: I'm trying to remember. 613 00:33:11,440 --> 00:33:14,240 Speaker 2: Oh, we'll find it. I do just want to also 614 00:33:14,400 --> 00:33:16,920 Speaker 2: because when he said come, it did make me think 615 00:33:16,960 --> 00:33:19,080 Speaker 2: of come my lady, Come, Come my lady. And I 616 00:33:19,200 --> 00:33:22,160 Speaker 2: do just want to remind people that it is is 617 00:33:22,240 --> 00:33:25,640 Speaker 2: it was a tragic loss to shifty shell shock we 618 00:33:25,720 --> 00:33:28,040 Speaker 2: ever talked about on the pod, the behind the scenes 619 00:33:28,080 --> 00:33:30,720 Speaker 2: for that. Maybe we'll just know that briefly or is 620 00:33:30,760 --> 00:33:32,640 Speaker 2: that the most of all? Okay? 621 00:33:32,800 --> 00:33:38,680 Speaker 1: Okay, yeah, I you know, I feel like there's oh, 622 00:33:38,760 --> 00:33:40,440 Speaker 1: I got it, I got I'm so sorry I got 623 00:33:40,640 --> 00:33:42,960 Speaker 1: is it? It's it's that song, it's I know. It's 624 00:33:43,000 --> 00:33:44,560 Speaker 1: a song called I Know very Well How I Got 625 00:33:44,600 --> 00:33:47,160 Speaker 1: my Name? And he goes, is it a solo song 626 00:33:47,240 --> 00:33:49,840 Speaker 1: or a Smith's song? Yes, okay, solo song, and he goes, 627 00:33:50,120 --> 00:33:52,680 Speaker 1: you think you were my first love? You think you 628 00:33:52,800 --> 00:33:56,000 Speaker 1: were my first love, but you're wrong. You were the 629 00:33:56,200 --> 00:33:59,920 Speaker 1: only one. Oh yeah, it was coming gone, Like that's 630 00:34:00,080 --> 00:34:02,960 Speaker 1: agree misdirect all of that, like each line, I think 631 00:34:03,040 --> 00:34:04,040 Speaker 1: you were my first. 632 00:34:03,880 --> 00:34:05,200 Speaker 2: Love, but you're wrong. 633 00:34:05,600 --> 00:34:08,680 Speaker 1: Yeah, you're my only one who's coming gone? Like, oh man, 634 00:34:09,160 --> 00:34:11,320 Speaker 1: that is such and like so the first time you 635 00:34:11,440 --> 00:34:13,960 Speaker 1: hear that is unbelievable, you know what I mean? Like 636 00:34:14,040 --> 00:34:17,279 Speaker 1: that's such a fun version of the lip song. Yeah, 637 00:34:17,400 --> 00:34:20,400 Speaker 1: he was a huge Lit fan and then he was like, 638 00:34:20,520 --> 00:34:21,239 Speaker 1: I want to do that. 639 00:34:21,480 --> 00:34:25,440 Speaker 2: When did that song come out that you're talking about? Actually, 640 00:34:25,840 --> 00:34:30,120 Speaker 2: I think two thousand and nine that was it might 641 00:34:30,200 --> 00:34:33,320 Speaker 2: be right, piece of put out Records posthumously since nineteen, 642 00:34:33,440 --> 00:34:36,000 Speaker 2: but I feels like I've known it for so long. Well, 643 00:34:36,040 --> 00:34:37,719 Speaker 2: let's dude, that was seventeen years ago. 644 00:34:38,640 --> 00:34:41,040 Speaker 1: Yeah, yeah, Crazy'll think about that that means that Lit 645 00:34:41,440 --> 00:34:44,880 Speaker 1: was before it, and I think February twenty seventh, nineteen 646 00:34:44,920 --> 00:34:45,279 Speaker 1: eighty eight. 647 00:34:45,560 --> 00:34:50,240 Speaker 2: If we it's on, it's on sweighthead. If we oh, okay, 648 00:34:50,320 --> 00:34:53,000 Speaker 2: that was right right when he passed. So if we have, 649 00:34:53,880 --> 00:34:58,200 Speaker 2: if we have gotten anything through in this spot, it's 650 00:34:58,239 --> 00:35:02,960 Speaker 2: that whatever we wanted to talk about, mister Brightside killers 651 00:35:03,040 --> 00:35:05,640 Speaker 2: sporting events. Ultimately, I think we both give this song 652 00:35:05,719 --> 00:35:09,520 Speaker 2: a chance. Right, Yes, it's that Marcy was influenced by 653 00:35:09,600 --> 00:35:14,360 Speaker 2: Lit posthumously and most of his Tupac esque later material. 654 00:35:15,120 --> 00:35:17,759 Speaker 2: It was a debt to you make me come, you 655 00:35:17,880 --> 00:35:21,640 Speaker 2: make me complete, you make me completely miserable, And that's 656 00:35:22,400 --> 00:35:25,759 Speaker 2: really what we'd like you to think about as you 657 00:35:25,920 --> 00:35:28,840 Speaker 2: leave today. I do have a quick astress. 658 00:35:29,200 --> 00:35:37,080 Speaker 1: Yeah, I'm just playing you off that I didn't know 659 00:35:37,120 --> 00:35:40,480 Speaker 1: if it was like something that Zoom does. Yeah, I 660 00:35:40,560 --> 00:35:42,640 Speaker 1: did set a timer that was beautiful. 661 00:35:42,640 --> 00:35:45,680 Speaker 2: Sorry, I ruined it. I completely ruined it. No. 662 00:35:45,840 --> 00:35:48,920 Speaker 1: My only astress to the that we give it a 663 00:35:49,040 --> 00:35:52,400 Speaker 1: chance is that I kind of had expectations that maybe 664 00:35:52,440 --> 00:35:54,640 Speaker 1: after listening to this, I'd be like really excited to 665 00:35:54,719 --> 00:35:57,560 Speaker 1: listen to listen to the rest of the catalog, because like, 666 00:35:57,800 --> 00:36:00,440 Speaker 1: you're good friends that I have friends that love that 667 00:36:00,640 --> 00:36:03,400 Speaker 1: same I'm like, okay, okay, let me see, and I 668 00:36:03,560 --> 00:36:06,000 Speaker 1: actually feel that I as much as I think I 669 00:36:06,160 --> 00:36:07,880 Speaker 1: like this song a little bit more, I think I 670 00:36:08,080 --> 00:36:09,759 Speaker 1: like the band a little less. 671 00:36:11,960 --> 00:36:14,759 Speaker 2: Is that strange? Now a real give and take situation. 672 00:36:15,360 --> 00:36:18,320 Speaker 2: I think that I have exactly the amount of killers 673 00:36:18,360 --> 00:36:20,959 Speaker 2: I need in my life. And on that note,