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Speaker 1: Look man, oh I see you? Why and look over there?

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Speaker 1: How is that culture? Yes? Goodness culture? And listen to

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Speaker 1: this sound. Oh my god, that's a little bottle of

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Speaker 1: ove for your nerves. Move to move the spirits of

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Speaker 1: a nation as we absolutely get together today bow for

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Speaker 1: what is the three episode of Lost Culture? Can you

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Speaker 1: even raise your glass? If you are wrong hitting all

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Speaker 1: the runaways? More on that one later. I mean, we

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Speaker 1: started with that song pretty recently in an episode raise

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Speaker 1: your Glass Bay Pink. Well, not to sort of get

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Speaker 1: ahead of ourselves because it was the Jared episode I

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Speaker 1: believe it was, and I sort of get ahead of ourselves.

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Speaker 1: But the reason why it were so easy to sort

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Speaker 1: of quote unquote, as you said, start with raise your

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Speaker 1: Glass in that episode is because it's at the forefront

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Speaker 1: of the culture. Absolutely, and that is what this series

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Speaker 1: of episodes is about. Say that, say that keeps saying that. Well,

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Speaker 1: if you don't know, um, we've been sort of building

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Speaker 1: up to it for a while now, for a couple

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Speaker 1: of months at least. We are presenting you, the readers,

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Speaker 1: the publicists, with the three hundred songs of the Great

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Speaker 1: Global Songbook. What does that mean? What does it mean

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Speaker 1: to be on this book being the great global songbook.

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Speaker 1: It means that when you were released, whether that was

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Speaker 1: by streaming or even on a record years ago, you

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Speaker 1: had international impact instantly. This is the great global song book.

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Speaker 1: This is not the national song now. Lost culture has

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Speaker 1: no national pride. It's actually a world culture. Number sixteen

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Speaker 1: has no national pride. Nationalism will destroy us all and

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Speaker 1: it's destroying us currently now. But speaking sort of about

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Speaker 1: the world, um, one of the most important things in

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Speaker 1: the world is music. I think you can agree. Cheers

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Speaker 1: to that, cheers to that, and absolutely, let's just say

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Speaker 1: that the whole community, the whole Lost Coach expanded community

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Speaker 1: is here. We have you know, Hans, we have Anna,

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Speaker 1: we have Doug, and you know it's just family tonight.

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Speaker 1: We've been hearing the calls. Everyone's saying, we want lost culture.

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Speaker 1: Do culture catch up? Yes, we hear you will. Do

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Speaker 1: you want even better? Do you three hundred? Will do

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Speaker 1: you three d even better? Culture? Catch up? How about

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Speaker 1: how about for all time? For all how about from

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Speaker 1: music of all time? How about you wanted Lost Coach

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Speaker 1: to sort of get together in the room, look each

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Speaker 1: other dead in the eyes, and talk culture. You're gonna

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Speaker 1: get fucked in your asks. You're gonna get sucked in

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Speaker 1: your ass. Let me just say it's vibes, and the

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Speaker 1: vibe is different that we we we we say this

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Speaker 1: every time we meet back up again in person. It's

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Speaker 1: just not the same over zoom. It's just not the

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Speaker 1: same over zoom. And one of the one of the

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Speaker 1: great things about this is that not only can Bone

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Speaker 1: and I be together, but like we said, we have

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Speaker 1: the lost Coach expanded family here and they're all gonna

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Speaker 1: be making cameos today, which they don't even know, but

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Speaker 1: they're all going to come in and they're all gonna

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Speaker 1: tell us at some point, not right now, because I

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Speaker 1: saw you get up, Doug, and I didn't say now.

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Speaker 1: He went to go grab a coffee. He made a pot. Well,

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Speaker 1: don't come in yet, because I didn't say you didn't

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Speaker 1: say either, right, I did not make a peep. So

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Speaker 1: he was not invited. He's not invited in. So later

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Speaker 1: when he's invited and he can come in and he

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Speaker 1: can sort of say what lost culture he thinks has

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Speaker 1: done for him his career, Uh, you know, and really

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Speaker 1: the international community at large. Absolutely, I I think we

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Speaker 1: should waste no time. Well, and before we sort of

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Speaker 1: get into it, there is a twist. There's a twist,

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Speaker 1: there's a lot, there's a classic Lost Cultures twist. Um

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Speaker 1: with this episode, not only are you presenting the Great

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Speaker 1: Global Songbook, the songbook is a list, and the list

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Speaker 1: is a countdown. It's a countdown. There is a number

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Speaker 1: one song of all time we're in the world, and

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Speaker 1: there is a number three trid song in the world,

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Speaker 1: and it will be We have meticulously gone through this

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Speaker 1: list and it's an honor to be on the list.

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Speaker 1: It's an honor to be on the list. There is

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Speaker 1: no such thing as being on the list and being

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Speaker 1: a failure of a of a piece of culture, of

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Speaker 1: a song. You are in the Great Global Song But

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Speaker 1: this is some celebrated, celebrated this is people will be

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Speaker 1: singing this for generations to come. The children will be

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Speaker 1: singing the songs at graduations, weddings, funerals, children will be

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Speaker 1: singing the songs at weddings, at funerals. You know, here's

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Speaker 1: the thing, too, um, When when you when you get

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Speaker 1: when you If you are an artist on the list

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Speaker 1: and you want to reach out to us, please do

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Speaker 1: it through channels. Please do it through proper channels. Do

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Speaker 1: it through proper channels because the d M, you know,

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Speaker 1: it's so overwhelmed, so overwhelming for us. Oh my god,

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Speaker 1: you gotta go through your requests. So let's just say,

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Speaker 1: like I'm going through the list right now, Donna Summer,

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Speaker 1: if you're out there, you have some songs on the

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Speaker 1: go through channels, through channels, whatever that means. Yeah, whatever

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Speaker 1: that means to you, And I think we should start. Um,

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Speaker 1: you know, right before we we hit play bowen um

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Speaker 1: what he said something to us. He said, I'm just

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Speaker 1: reading the quote he came into this room earlier and said,

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Speaker 1: the flow can dictate the feel, the flow can dictate

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Speaker 1: the field. That's one of the hottest things he's ever said.

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Speaker 1: It really was sort of jarring, and I think in

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Speaker 1: the moment I sort of like responded in like a

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Speaker 1: nagging way because I think I was scared and how

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Speaker 1: aroused I was. When you when you have fear over

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Speaker 1: the arousal, when it feels forbidden, When it feels forbidden,

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Speaker 1: that can be some of the hottest moments in your life.

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Speaker 1: That's actually really coaching number fifty. When it feels forbidden,

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Speaker 1: that can actually some of the hottest moments in your life.

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Speaker 1: You know, what does that mean to you? The flow

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Speaker 1: can dictate the field. I think what he was trying

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Speaker 1: to say was that, you know, we don't have to

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Speaker 1: feel like we're spending too much time or not enough

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Speaker 1: time on and he saw in the flow can dictate

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Speaker 1: the field. You know, we're gonna be sitting here for

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Speaker 1: six hours. That's another thing. We're gonna be here all day.

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Speaker 1: And maybe we're even gonna have some surprise guests. Maybe

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Speaker 1: some surprise guests, maybe not too many, maybe not too few,

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Speaker 1: maybe not, maybe none. We'll see. We really created a playground,

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Speaker 1: a sandbox for different people to come through. We lay

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Speaker 1: and build castles. Yes, so, because that's what happens in

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Speaker 1: a sandbox. Really, you get into it and you build

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Speaker 1: a castle. And so I think that all we're really

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Speaker 1: trying to do with this is build a castle. That

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Speaker 1: is the three well, I think, and I'm being completely honest.

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Speaker 1: I looked through this list this morning. We've built a monument.

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Speaker 1: This will stand the test of cultural time. This is

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Speaker 1: a cannon list. This is cannon. This is like the

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Speaker 1: top two moments of culture. This is canon. I feel

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Speaker 1: like this list by self is its own moment in

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Speaker 1: culture history may have to make a new list. Well,

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Speaker 1: what do you say? I say, let's begin, because guess

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Speaker 1: what to quote a famous person? My ass been on pause? Yeah,

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Speaker 1: but I'm about to I'm about to press play, and

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Speaker 1: let's press play. What do you say? Um? Play that podcast?

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Speaker 1: Being a visual medium, I just totally mind hitting play

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Speaker 1: a button. But the wait, everyone listen. Okay, with that,

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Speaker 1: we have number three. Someone to watch over me. Ella Fitzgerald,

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Speaker 1: one of the most incredible communicators of story and music

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Speaker 1: of all times. Absolutely longing um the first time, you know,

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Speaker 1: one of the only times the word monogram is used

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Speaker 1: in a song, one of Gershwan's finest best songs, effortlessly

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Speaker 1: performed by whose vibrato is singular. You know, she just

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Speaker 1: and and just the last notes of the song You'll

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Speaker 1: never forget, oh me, that was sort of my Ella,

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Speaker 1: I was that was beautiful, So she congratulations Ella, that

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Speaker 1: you ain't You've just eked the three hundred spots you

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Speaker 1: made the list Number two hundred blurredlines Glee cast version cast.

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Speaker 1: I mean this was this elevated the material. This elevated

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Speaker 1: the material because the material, the source material is you know,

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Speaker 1: a little a little dubious. Let's just say it's a

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Speaker 1: little thick. It's a little thick. It's so to speak,

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Speaker 1: so to speak, and so does be spoken, so to

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Speaker 1: be spoken. But to have the artists of their generation,

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Speaker 1: the Glee cast be able to make it palatable, presentable,

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Speaker 1: appropriate for a Fox network for kids. Yeah, kids, kids,

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Speaker 1: Now we're singing a out the blurred lines. You know

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Speaker 1: what I means. We're singing it. It's not and it's

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Speaker 1: not kids, Bob, No, no, no, no, it's it's it's

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Speaker 1: gleek half. It's adult doing kids teens, four kids. That's

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Speaker 1: not kids, Bob. It's very different. You're passing down something

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Speaker 1: through intergenerational access. Absolutely, and I think that blurred lines

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Speaker 1: isn't important if you just read the lyrics sometimes on

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Speaker 1: some of these songs, if you really want to just

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Speaker 1: internalize the song, just read the lyrics and then be

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Speaker 1: like understand the kids, of course should hear this absolutely

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Speaker 1: palatable number. Venus, Lady Gaga, I mean transport me. Why

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Speaker 1: don't you why don't show another galaxy or or or

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Speaker 1: or our own solar system? Well to up for debate,

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Speaker 1: up for debate, you you what you might say, Venus

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Speaker 1: is not in this galaxy. We don't share a galaxy

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Speaker 1: with Venus. Well, honey, you I'll tell you what song

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Speaker 1: is in my heart, Venus Venus. Do you remember years

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Speaker 1: ago me, you and David went to karaoke in Williamsburg. Yes,

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Speaker 1: we did. But do you remember the time we performed

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Speaker 1: Venus at the People's Impromm. Yes? Oh, we had different memories.

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Speaker 1: See the fact that we have different indelible memories of Venus,

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Speaker 1: because I remember the time you and I did it

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Speaker 1: a karaoke and Willingsburg with Michael Hartney sitting in the

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Speaker 1: corner hearing this song for the first time, going what

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Speaker 1: the hell is this? And were we not the purveyors

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Speaker 1: of joy in that moment? Girl? We were? We were

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Speaker 1: like you know, importing. You know when you when you

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Speaker 1: meet a white lady in Los Angeles who sells artisanal

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Speaker 1: vinegar or whatever our vinegar was. Venus. We were the

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Speaker 1: people who were like, let me show you this beautiful

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Speaker 1: product before we move on. Favorite planet Neptune. I'm gonna

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Speaker 1: say Jupita, but I also have a spot for Mercury Mars.

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Speaker 1: Okay number two. I I will always love you with Houston.

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Speaker 1: Would you say this is a low placement for this

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Speaker 1: song that is considered by many to be one of

190
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Speaker 1: the greatest of all time. I think people will be

191
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Speaker 1: surprised by its placement, but I do not think it

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Speaker 1: is a low placement because it is where it is

193
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Speaker 1: in the list, and that means that's where it's falling

194
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Speaker 1: in the cannons. Where's the surprise coming from, then, Mama,

195
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Speaker 1: I guess people would people I think have really built

196
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Speaker 1: this song up. And let's just say it should be

197
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Speaker 1: built up. It's on the list. And when Dolly parton,

198
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Speaker 1: God created, God created and God, I think God was

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Speaker 1: really speaking through Dolly when he when she wrote this,

200
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Speaker 1: Dolly was channeling, was channeling the muse a God. Yeah,

201
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Speaker 1: God is the mused. That's actually a look out number.

202
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Speaker 1: God is first of all. And I think that I

203
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Speaker 1: think we can all agree that when Whitney Houston sang

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Speaker 1: the song, it really it got more famous. I would

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Speaker 1: say so, but there are two nine songs that are

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Speaker 1: better than this according to this songbook can Tonically, we

207
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Speaker 1: should also say this was not up to us. This

208
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Speaker 1: was not up to know. We did not decide where

209
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Speaker 1: things landed. Um, I'm sorry, can I ask I think

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Speaker 1: you might have more visibility into this process. Was it

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Speaker 1: was that the committee was, was Megan involved? I think that, um,

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Speaker 1: there was a blue ribbon panel of Megan McCain and

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Speaker 1: Abbey Huntsman and ribbon panel an even number of people

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Speaker 1: in case in case, they were just assuming that they

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Speaker 1: would be no ties and they would be in unanimous agreement,

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Speaker 1: and unanimous being two people mutual agreement exactly because usually

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Speaker 1: what happens is Megan sort of says, we're doing this,

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Speaker 1: and Abbey sort of says, maybe not, and then Megan says,

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Speaker 1: and then they do that thing. So, um, that's sort

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Speaker 1: of the way that list was decided, and we mere

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Speaker 1: we merely received the list. And with all that in mind,

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Speaker 1: just know that I will always love you. Does Land

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Speaker 1: of Two. That was an amazing essence of Megan McCain, Like,

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Speaker 1: but you don't have to say, you know, you know,

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Speaker 1: what would you say? My essence, like in um in

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Speaker 1: a sound is no, no, you can't use any words.

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Speaker 1: I can do you first because I was gonna go

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Speaker 1: for you. I was gonna go yeah. And I feel

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Speaker 1: that that's so I have them more. It's more a

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Speaker 1: little bit more like Rougher and yours is more analytical.

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Speaker 1: It's more m but sometimes people love the rougher and

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Speaker 1: with and and and with. That's in that spirit. Let's

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Speaker 1: get number two D. I'm gonna get you a good

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Speaker 1: green version. This is the country version. I'm gonna get

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Speaker 1: your good the green version. What makes it green? Is

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Speaker 1: there a synesthesia? They're like, I'm pleased that you asked?

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Speaker 1: So she she has two versions of the song, and

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Speaker 1: I guess we'll see if the other version made it off.

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Speaker 1: But this is a green version, so green version being

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Speaker 1: country version. She released two versions of her album Up.

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Speaker 1: One was more country and almost more top because she

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Speaker 1: was to one of the original crossover women. Absolutely greenest

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Speaker 1: country because the hills and I see it. Yeah, so

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Speaker 1: you can imagine the nature. Of course, country music is

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Speaker 1: very much made in nature outside. I didn't know that.

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Speaker 1: Oh yeah, yeah, yeah, yes, so they before they record

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Speaker 1: outside that well yeah, so so with country music, it

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Speaker 1: it's more about you know, hey, barley forces, fields, all

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Speaker 1: things that happen outside. So you have to sort of

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Speaker 1: be outside in order to sing correctly country. You know

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Speaker 1: what I mean, totally understand. For example, the song um

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Speaker 1: this Kiss, This Kiss was performed outside and when you

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Speaker 1: sing it inside try it's though, it doesn't sound right,

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Speaker 1: it's though I am I mean, I wasn't nenunciating. I

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Speaker 1: don't know what. I don't know what's going on. It

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Speaker 1: didn't fit well. It's because you were inside. That's really

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Speaker 1: what it was. That's really what it was. Let's most

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Speaker 1: move on two. I'm gonna get you a good Red

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Speaker 1: version Chia Twain more pop and Red is pop could

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Speaker 1: happen inside when you want to give this one a shot.

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Speaker 1: I don't know. I'm not familiar with the song. I'm

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Speaker 1: not you don't know. I'm gonna get you good. I'm

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Speaker 1: gonna get you some matter of it. We'll see. That's perfect.

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Speaker 1: We're inside and that's Red version. It was really resonant.

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Speaker 1: There was resident Red. You can bet your bottom dollar

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Speaker 1: and I'm you gonna be man just like I should.

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Speaker 1: I'll get you a good Oh my god, Red version,

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Speaker 1: Pokemon Found Dead, Pokemon Hilt Kilt, Red version, Green version,

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Speaker 1: more like Shanya Shanya Red version, Green version, We're like

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Speaker 1: fuck off. The number two on the list Italiano Kate Hudson.

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Speaker 1: The only time I've ever felt represented on screen is

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Speaker 1: Kate Hudson in the film nine person with long legs

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Speaker 1: singing about singing about Italian movies. Yes, so she The

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Speaker 1: thing about Kate Hudson and nine is she really wants

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Speaker 1: to live in an Italian movie, you know what I mean?

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Speaker 1: And she's she wants to go down the Yea minetto

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Speaker 1: and you know, like and you know she's just so

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Speaker 1: horned up for Italian cinema. Have you not been to Italy?

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Speaker 1: I have not been to Italy, So I guess you

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Speaker 1: could say I'm just as horny as she is for Italy.

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Speaker 1: And I don't think you need to go to I

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Speaker 1: have only been to Rome. I have not been to

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Speaker 1: the nice parts of Italy, and not that Romans in

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Speaker 1: a nice part. Butt Rome feels very touristy and not

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Speaker 1: quite as um. You don't get that Chinny my Italiano field, No, no, no.

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Speaker 1: If you want to do Chinny my Italiana to Venice, Venice,

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Speaker 1: what I meant, you gonna go Como exactly, gotta go

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Speaker 1: to Tera. Yeah. And you know the thing about Rome is,

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Speaker 1: you know, I'm sure the bathroom facilities aren't updated. Oh,

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Speaker 1: it's giving Colosseum, it's giving, it's giving the Forum, it's

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Speaker 1: giving the Forum and I'll tell you something about Rome.

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Speaker 1: There's death everywhere you look around the Colosseum. People were

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Speaker 1: people were dying. People were dying everywhere. And if that's

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Speaker 1: what you want to think about on your vacation, you

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Speaker 1: have to go to therapy. To go to therapy for

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Speaker 1: that one. I have a good therapist for you, Deborah, Deborah,

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Speaker 1: let's move on alright. So this is number Thunder by

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Speaker 1: Jesse j. One of the craziest vocals on any song

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Speaker 1: ever recorded. Oh it sounds like that that, it sounds

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Speaker 1: just like that. And talk about the reasons why this

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Speaker 1: was released in the UK before years before it was

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Speaker 1: ever released in the US. It's really shocking to know

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Speaker 1: this wasn't a hit song because it is so incredible

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Speaker 1: and amazing. And something that about Jesse J is like

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Speaker 1: Nicole Scherzing Or She's really only very famous in England,

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Speaker 1: which is really more acceptable for Jesse because she is English.

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Speaker 1: Nicole is sort of extremely American, but somehow can only

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Speaker 1: really register in the UK. Changing now here for Nicole.

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Speaker 1: I mean I recently saw Nicole do an intimate performance

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Speaker 1: and she was singing like she was Kate Hudson. What

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Speaker 1: does that mean? Very well, very well, yeah, extremely well. Yes,

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Speaker 1: I love the black and white. I love the play

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Speaker 1: of light, the way Contini puts his image through a prism.

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Speaker 1: We're on a different song, I know. But that's the

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Speaker 1: power of some songs on the But what a shame

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Speaker 1: for Jesse j that she sort of got overshadowed by Kate. No, no, no, well,

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Speaker 1: well they're technically in the placement. Jesse is overshadowing Kate.

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Speaker 1: But we we must. I think we might have to

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Speaker 1: revisit this throughout this list. Named Italiana was a better

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Speaker 1: song than I Will Always Love You by Whitney Houston. Sorry,

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Speaker 1: and that wasn't up to as that was up that

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Speaker 1: wasn't up to out of the Blue Ribbon panel. And also,

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Speaker 1: let's just say it, God created. Let's move on State

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Speaker 1: of Grace Scooter's version Taylor Swift. You know, there are

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Speaker 1: those subtle differences that you notice anytime an artist rerecords

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Speaker 1: one of their classic songs, and Taylor Swift is of

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Speaker 1: course doing this in her project to re record her

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Speaker 1: albums to own her masters. Every now and then you

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Speaker 1: listen to a song and go, I liked the original better.

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Speaker 1: I liked it when they didn't think of They didn't

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Speaker 1: have to think about what we might have to re

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Speaker 1: record this in the future. And there are multiple songs

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Speaker 1: on Red Taylor's version that I think we're maybe glossed over,

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Speaker 1: and State of Grace as the opening track of that

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Speaker 1: epic album, genre expansive, genre bending album, crossover smash hit.

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Speaker 1: It's it's interesting to listen to Taylor's version of State

337
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Speaker 1: of Grace and go I think I like Scooter's version.

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Speaker 1: You listen to the song and you say, now, where's

339
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Speaker 1: the girl? I knew, Now where's the girl? I knew

340
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Speaker 1: because I'm not hearing her. Because I'm not hearing her,

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Speaker 1: let me find her. I'm not feeling enough of the

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Speaker 1: color red and red is pop as we've as we've

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Speaker 1: learned from Jania Twain, red means pop, Red means pop,

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Speaker 1: and that there was something about in a post folk

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Speaker 1: folklore evermore world. I hope that Taylor re visits the

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Speaker 1: pop the truth you spoke just now. I hope she

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Speaker 1: hears it. You know, I would say this to her face.

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Speaker 1: I really would. I would watch, you would watch you

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Speaker 1: like to watch. Let's move on. This is a TI

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Speaker 1: The tie is sugar, We're going down fall Out boy

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Speaker 1: and stands sort of like, you know, two two energies

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Speaker 1: that were so undeniable that we could not as a

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Speaker 1: as a lost culture community decide which one would go

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Speaker 1: above and beyond below the other one. So this is

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Speaker 1: the only tie on the Great, great Great on the

356
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Speaker 1: Great Global Song but the Great Global Song Book. I mean,

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Speaker 1: you're you know, it's a little bit of a spoiler.

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Speaker 1: There are no other ties, and the rest of the

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Speaker 1: list I'm comfortable spoiling. I'm coomfortable spoiling that too. We

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Speaker 1: as a community, and again, it wasn't up to us,

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Speaker 1: it's except the community this we could not decide which

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Speaker 1: one was above or below the other. We do know

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Speaker 1: that both are above I will Always love You. Both

364
00:21:42,480 --> 00:21:45,280
Speaker 1: are above I Will Always Love You, which is great,

365
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Speaker 1: and they and everyone did an amazing job on it,

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Speaker 1: including Whitney. Well it's her version that's on the list.

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Speaker 1: I mean, I Will Always Love You by Dolly Partons.

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Speaker 1: It's not on the list, and so therefore sort of

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Speaker 1: doesn't really matter. So in the end, Whitney still want

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Speaker 1: out in a way. Now, Sugar, we're going down. What's

371
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Speaker 1: the feeling that you get when the song comes on?

372
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Speaker 1: Oh my god, Just as soon as Pete comes in with,

373
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Speaker 1: am I more than you bargained for? Yet you I'm

374
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Speaker 1: buckling in, up, down around. You know what I love

375
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Speaker 1: When he says the word weird, he goes sugar sugar swaga.

376
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Speaker 1: That's I never noticed that before. There are layers. There

377
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Speaker 1: are still layers even years later. To peel back now

378
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Speaker 1: just to sort of, you know, drop over to a

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Speaker 1: more sort of you know, dance moment, dance dance. How

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Speaker 1: do you feel when you hear this? I go now,

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Speaker 1: I guess, I guess I gotta follow. Anytime someone in

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Speaker 1: a song tells you to dance, I command you to dance.

383
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Speaker 1: You must follow the order military floor filler, the dance dances,

384
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Speaker 1: the floor filler. And you know it absolutely popped off

385
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Speaker 1: the music video when they're like thisance, etcetera, etcetera. It's

386
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Speaker 1: one of the greatest songs, and it's it's tied for

387
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Speaker 1: two on the Great Global Song Book two School in Life.

388
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Speaker 1: Beyonce a song that you've described to saving your life.

389
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Speaker 1: I will still say that I still believe that's true

390
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Speaker 1: about snaps me out of my depression. It's a song

391
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Speaker 1: let the readers get to know you in this moment. Well,

392
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Speaker 1: the song is about how, at any age you are

393
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Speaker 1: in school, and isn't that something amazing? That's something amazing

394
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Speaker 1: for people who miss school, for people who hate school,

395
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Speaker 1: for people who never who still have stressed dreams about

396
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Speaker 1: school even though they've been away from it for decades,

397
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Speaker 1: like me, decades. I think this song is a wonderful

398
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Speaker 1: encapsulation of life that you know you don't need. Who

399
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Speaker 1: needs a degree? Who needs a degree? And especially in

400
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Speaker 1: a post, in a post sort of COVID lance ape,

401
00:24:00,760 --> 00:24:04,439
Speaker 1: when student debt, student loan debt is still sort of

402
00:24:04,480 --> 00:24:10,480
Speaker 1: being foisted upon multiple generations of students, this really liberates

403
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Speaker 1: you from that thinking. Beyonce said, gap year, gap year.

404
00:24:15,560 --> 00:24:20,000
Speaker 1: With this one, she said, gap life, gap life. She said,

405
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Speaker 1: I don't even go to third grade. Girl, she said,

406
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Speaker 1: skip it all. Who needs that degree when your school?

407
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Speaker 1: In life? Who didn't go to school, didn't go point

408
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Speaker 1: blank period. Jesus Christ. You think Jesus went to school. No,

409
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Speaker 1: Jesus was helping out on the farm. Jesus Christ had

410
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Speaker 1: it was getting his hands dirty like a man should.

411
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Speaker 1: All right, let's say that right now. Jesus Christ getting

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Speaker 1: his hands dirty like a man. It ru culture number five,

413
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Speaker 1: Jesus Christ was getting his hands dirty like a man should,

414
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Speaker 1: getting schooled in the school of life. And then they

415
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Speaker 1: remembered her, and they remembered her beyond. Never forgot Beyonce.

416
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Speaker 1: Remember Jesus, I think for sure and more about Destiny

417
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Speaker 1: his child and members of Jesus later, members of Jesus

418
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Speaker 1: n total of the heart body build. Turn around. Every

419
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Speaker 1: now and then I take a look in the mirror,

420
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Speaker 1: and I'm never coming round every now and then. Every

421
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Speaker 1: now and then I get a little bit like your version,

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Speaker 1: and I'm coming out coming round every now and then

423
00:25:37,520 --> 00:25:39,240
Speaker 1: I take I get a little bit. What is it?

424
00:25:39,720 --> 00:25:42,920
Speaker 1: Every now and then I get a little bit. Then

425
00:25:42,920 --> 00:25:47,800
Speaker 1: I see the look in your brighte us every now

426
00:25:47,880 --> 00:25:51,960
Speaker 1: and then I follow upon, Hey, don't need you now tonight,

427
00:25:53,040 --> 00:25:59,879
Speaker 1: and I need you you home tied molle holding off

428
00:26:00,280 --> 00:26:05,200
Speaker 1: forever hell only get it right Good'll never be wrong,

429
00:26:05,760 --> 00:26:15,000
Speaker 1: Better than to the end of the night, forever to

430
00:26:15,160 --> 00:26:21,040
Speaker 1: night forever. Once upon a time I was falling in love. No,

431
00:26:21,200 --> 00:26:28,119
Speaker 1: I'm only falling apart. Nothing I can say totally that

432
00:26:28,160 --> 00:26:31,879
Speaker 1: says it all. When I hear that song, I feel

433
00:26:32,040 --> 00:26:35,359
Speaker 1: better than I did before, because I feel like I

434
00:26:35,400 --> 00:26:41,280
Speaker 1: exercised Catharsis. That's the word that there's no more cathartic song.

435
00:26:41,480 --> 00:26:43,960
Speaker 1: There are no more cathartic songs. I feel nothing when

436
00:26:43,960 --> 00:26:48,400
Speaker 1: I turn on the radio. I need Catharsis. Can TikTok song.

437
00:26:48,520 --> 00:26:52,760
Speaker 1: You can't experience Catharsis in two minutes. No, it's never ever,

438
00:26:53,160 --> 00:27:01,720
Speaker 1: ever gonna happen. Let's move on. Two seven Rape. This

439
00:27:01,760 --> 00:27:03,760
Speaker 1: is just this is just one of the best. This

440
00:27:03,800 --> 00:27:11,159
Speaker 1: is when she came forth. Number two six dorma classical.

441
00:27:11,600 --> 00:27:14,080
Speaker 1: Talk about this, this is one of the most beautiful

442
00:27:14,119 --> 00:27:17,840
Speaker 1: classical songs. You might hear Pavarotti spin this tune. You

443
00:27:17,920 --> 00:27:24,760
Speaker 1: might hear, um, he's at the turntable, yo, like all

444
00:27:24,800 --> 00:27:29,359
Speaker 1: the girls in the club, like playing my fucking song

445
00:27:29,480 --> 00:27:32,280
Speaker 1: play which didn't make the list. Um. And then Luciana

446
00:27:32,280 --> 00:27:40,119
Speaker 1: Pavarotti sort of spins Nestma, you are Italian deeply, no

447
00:27:40,600 --> 00:27:43,840
Speaker 1: I know, but you have Italian gene in you quality

448
00:27:44,160 --> 00:27:46,040
Speaker 1: and you fine. You think I'm just an Italian girl

449
00:27:46,040 --> 00:27:51,840
Speaker 1: from New York. Spiritually, I picture you in Amalfi The

450
00:27:51,880 --> 00:27:55,840
Speaker 1: Beautiful Man too. I think this is your spirit, especially

451
00:27:55,880 --> 00:27:59,359
Speaker 1: when I think about you ever since I mean talking

452
00:27:59,359 --> 00:28:03,640
Speaker 1: about Kata. How then it's a constant thing that even

453
00:28:03,720 --> 00:28:05,920
Speaker 1: I forget about you, having known you for so long,

454
00:28:06,080 --> 00:28:09,080
Speaker 1: you have that spirit in you of Kate. Well, when

455
00:28:09,119 --> 00:28:10,920
Speaker 1: I meet Kate Hudson one day, I'm just gonna go

456
00:28:11,000 --> 00:28:12,760
Speaker 1: up to her, tap around the shoulder and say you're

457
00:28:12,800 --> 00:28:18,560
Speaker 1: like me, and she'll get it. She's gonna be like, yeah,

458
00:28:19,080 --> 00:28:21,919
Speaker 1: for sure. And then she's gonna be like, wait, do

459
00:28:21,920 --> 00:28:25,040
Speaker 1: you want to go out back? Because it doesn't matter.

460
00:28:25,119 --> 00:28:28,840
Speaker 1: I'm Kate. Who is going to say anything to me.

461
00:28:29,200 --> 00:28:31,520
Speaker 1: My dad is Kurt Russell. My mom is Goldion, Like,

462
00:28:31,560 --> 00:28:34,720
Speaker 1: we can go out and smoke a fucking month. It's

463
00:28:34,720 --> 00:28:38,240
Speaker 1: not a big don't be a fucking nark on me. Now. Wait,

464
00:28:38,400 --> 00:28:41,800
Speaker 1: is her as her dad? No, her dad is literally

465
00:28:41,880 --> 00:28:45,320
Speaker 1: not not not So you know what her father figure

466
00:28:45,440 --> 00:28:48,320
Speaker 1: is Kurt Russell. And father figures are just as important

467
00:28:48,320 --> 00:28:51,760
Speaker 1: as father's. Oh absolutely, yeah, they really are. Father figures

468
00:28:51,760 --> 00:28:54,160
Speaker 1: are justin that's a real culture. Yeah, it's really call

469
00:28:54,160 --> 00:28:59,680
Speaker 1: at your number ninety nine. Father figures are just as

470
00:28:59,680 --> 00:29:06,320
Speaker 1: importan and his father's. Let's um, pretty girl rock Carrie Hilston.

471
00:29:07,040 --> 00:29:10,800
Speaker 1: Harry Hilson has a huge career, has a huge career

472
00:29:11,600 --> 00:29:15,760
Speaker 1: and you never, you never for her to identify to

473
00:29:15,920 --> 00:29:19,680
Speaker 1: I d herself so quickly in a song. My name

474
00:29:19,760 --> 00:29:23,200
Speaker 1: is Carrie. I'm so very fly. Oh my, it's a

475
00:29:23,240 --> 00:29:26,959
Speaker 1: little bit scary. I know, I know everything I need

476
00:29:27,040 --> 00:29:30,240
Speaker 1: to know about this girl. Yeah, it's like she's she's

477
00:29:30,720 --> 00:29:33,840
Speaker 1: begun the song and we know who she is and

478
00:29:33,880 --> 00:29:37,239
Speaker 1: that allows us to you know, really invest in her,

479
00:29:37,360 --> 00:29:40,000
Speaker 1: which we did, and now she's got a huge career.

480
00:29:40,360 --> 00:29:44,080
Speaker 1: Talk about the impact the line don't hate me because

481
00:29:44,080 --> 00:29:47,200
Speaker 1: I'm beautiful hat on the culture. Oh my god, major

482
00:29:47,440 --> 00:29:51,360
Speaker 1: major impact. I wouldn't stop hearing it for years. Don't

483
00:29:51,400 --> 00:29:53,880
Speaker 1: hate me because I'm beautiful. It's sort of a chicken

484
00:29:53,880 --> 00:29:56,840
Speaker 1: of the egg. Chicken of the egg. It's sort of

485
00:29:56,880 --> 00:29:59,360
Speaker 1: a chicken of the egg. Did Carrie say it? Or

486
00:29:59,800 --> 00:30:03,080
Speaker 1: or did your you know, your floor mat in your

487
00:30:03,160 --> 00:30:07,560
Speaker 1: dorm at you know, Pace University say it? And it's

488
00:30:07,560 --> 00:30:09,360
Speaker 1: that's the start of Chicken of the the Chicken of

489
00:30:09,360 --> 00:30:12,880
Speaker 1: the egg. All right, let's move on number four. Get

490
00:30:12,880 --> 00:30:18,959
Speaker 1: ready for this one? A thousand miles Vanessa Carlton No no, no, no, no, no, dude,

491
00:30:19,400 --> 00:30:23,320
Speaker 1: no no no. You know immediately what song is you

492
00:30:23,360 --> 00:30:28,200
Speaker 1: already know and immediately like it's crazy that it's not

493
00:30:28,240 --> 00:30:30,240
Speaker 1: a lot would you agree? And I'm being serious. Not

494
00:30:30,360 --> 00:30:35,560
Speaker 1: a lot of songs are recognizable by the first lyrics.

495
00:30:36,120 --> 00:30:39,360
Speaker 1: Sometimes you gotta you gotta hook someone in with the chorus.

496
00:30:39,400 --> 00:30:41,760
Speaker 1: Sometimes like the way that you can index the song

497
00:30:41,920 --> 00:30:44,520
Speaker 1: is by singing the chorus or the bridge the first

498
00:30:44,600 --> 00:30:46,640
Speaker 1: first lyrics like I just you can say pretty, gird

499
00:30:46,720 --> 00:30:49,560
Speaker 1: rock is the same, but don't he because of beautiful

500
00:30:49,560 --> 00:30:53,480
Speaker 1: is maybe more important? Then my name is Carrie for

501
00:30:53,600 --> 00:30:56,400
Speaker 1: a thousand miles, the most important lyric of that song

502
00:30:56,560 --> 00:31:00,400
Speaker 1: is making my way downtown, wagon, fast phase, the spass,

503
00:31:00,400 --> 00:31:04,120
Speaker 1: and a homebound And also not even just the first words,

504
00:31:04,120 --> 00:31:08,160
Speaker 1: the first musical notes, Yes, I don't know better notes,

505
00:31:08,280 --> 00:31:11,280
Speaker 1: I don't know a better note. Better notes put together,

506
00:31:11,400 --> 00:31:16,600
Speaker 1: put together in terms of song two three tiny moves

507
00:31:16,840 --> 00:31:20,760
Speaker 1: Miss Beginnings Chang played by Maya Rudolph on Deep House

508
00:31:20,800 --> 00:31:22,640
Speaker 1: Dish on Saturday Night Live. This was one of the

509
00:31:22,680 --> 00:31:26,880
Speaker 1: greatest moments in sketch comedy history for me, Deep Hout

510
00:31:26,920 --> 00:31:31,800
Speaker 1: Dish absolutely same um, James Anderson, We do not deserve you.

511
00:31:32,320 --> 00:31:35,920
Speaker 1: These are many moves, these are the moves I do well.

512
00:31:35,920 --> 00:31:38,280
Speaker 1: I'll just not to move with you. I start with

513
00:31:38,320 --> 00:31:42,320
Speaker 1: my tiny moves. Tilt and freak tilt, tilt and freak

514
00:31:42,800 --> 00:31:47,560
Speaker 1: tilt and freak tilt, tilt and freak, don't start a

515
00:31:47,760 --> 00:31:56,760
Speaker 1: dangerous situation, tilt and freak tilt tilt Parameters. I was waiting.

516
00:31:56,920 --> 00:31:59,960
Speaker 1: I thought it was exploring your frames, but it was parameters.

517
00:32:00,960 --> 00:32:04,920
Speaker 1: It's just you. There's It doesn't get better than that

518
00:32:05,280 --> 00:32:09,680
Speaker 1: on a comedy level, on a songwriting level, like on

519
00:32:09,160 --> 00:32:15,000
Speaker 1: a on a corio level, like the moves. I honestly

520
00:32:15,040 --> 00:32:17,640
Speaker 1: I'll never forget watching it. It was the Matthew Fox

521
00:32:17,640 --> 00:32:20,920
Speaker 1: episode of SNL that was like you, like, that's your culture.

522
00:32:21,000 --> 00:32:24,720
Speaker 1: My culture was literally coming up in one and also,

523
00:32:24,960 --> 00:32:26,840
Speaker 1: never forget it did not make the list, but that

524
00:32:26,920 --> 00:32:32,800
Speaker 1: was when Amy Poehler played Miss Latissa stro and co

525
00:32:33,040 --> 00:32:38,680
Speaker 1: Co Co Cologne. I wanted co Co co Co cologne

526
00:32:39,000 --> 00:32:43,000
Speaker 1: for Christmas. Two ounces is not enough, Three ounces is

527
00:32:43,040 --> 00:32:46,560
Speaker 1: not enough, fun ounces is not enough. Five depends on

528
00:32:46,560 --> 00:32:50,440
Speaker 1: the brand. I want to spray myself in spray cologne.

529
00:32:50,640 --> 00:32:55,560
Speaker 1: It's Christmas um and that is more. There's more to

530
00:32:55,560 --> 00:32:58,760
Speaker 1: the song, but wow, put respect on James Anderson's name now.

531
00:33:00,640 --> 00:33:03,520
Speaker 1: Prior guest of Hey, listen to this episode of Last culture,

532
00:33:03,640 --> 00:33:06,200
Speaker 1: go back and listen or else or else the next up,

533
00:33:06,360 --> 00:33:12,160
Speaker 1: number two, I'm here Cynthia talk about the importance of

534
00:33:12,200 --> 00:33:21,560
Speaker 1: the Color Purple. Noah, The Color Purple was an incredibly

535
00:33:21,600 --> 00:33:24,880
Speaker 1: important and influential film. You know. Steven Spielberg directed this

536
00:33:24,960 --> 00:33:27,280
Speaker 1: film in the mid eighties, and not only was it

537
00:33:27,360 --> 00:33:29,479
Speaker 1: a launching pad, you know, not only for the careers

538
00:33:29,480 --> 00:33:33,200
Speaker 1: of Whoopi Goldberg and Oprah Winfrey, um, but really what

539
00:33:33,240 --> 00:33:35,360
Speaker 1: this did was it told a story that needed to

540
00:33:35,360 --> 00:33:39,360
Speaker 1: be told. Alice Walker novel and you know, like we've

541
00:33:39,400 --> 00:33:42,360
Speaker 1: also seen it, you know, brought to Broadway by Oprah

542
00:33:42,400 --> 00:33:45,920
Speaker 1: Winfrey and great Tony winning success by Lashawn's and Cynthia

543
00:33:46,000 --> 00:33:49,440
Speaker 1: Arriva myself. And you know, now Cynthia Arrivo is Alphabet

544
00:33:49,560 --> 00:33:51,200
Speaker 1: is Alphabet. So that's sort of if you can sort

545
00:33:51,200 --> 00:33:53,080
Speaker 1: of see the trajectory there. It's like you go, this

546
00:33:53,160 --> 00:33:55,200
Speaker 1: is and this is what everyone dreams of. You You

547
00:33:55,320 --> 00:33:58,760
Speaker 1: dream of Celey and then Alphabet and then Alphabet. See

548
00:33:58,840 --> 00:34:02,200
Speaker 1: the alphab The pipeline is the dream. It is any

549
00:34:02,240 --> 00:34:06,800
Speaker 1: actor you know that Cynthia Riba has played Sey, Aretha

550
00:34:06,840 --> 00:34:13,600
Speaker 1: Franklin and Alphaba, the Three Dolls. And then I'm I

551
00:34:13,600 --> 00:34:15,160
Speaker 1: feel like we're missing one. I feel like there's a

552
00:34:15,200 --> 00:34:20,879
Speaker 1: fourth doll. Um it's Celey, Alphaba Aretha and who else

553
00:34:20,920 --> 00:34:23,640
Speaker 1: did Cynthia play? Who's the Oh my god, let me

554
00:34:23,719 --> 00:34:25,799
Speaker 1: let me just see really quickly. I need to there's

555
00:34:25,840 --> 00:34:28,359
Speaker 1: one doll that we're missing. I just know it. I

556
00:34:28,480 --> 00:34:33,280
Speaker 1: just know it. Well, Harriet, Oh, of course, Harriet iconic

557
00:34:33,360 --> 00:34:37,960
Speaker 1: Harriet Tubman is is with a fourth doll. Okay, moving on,

558
00:34:38,600 --> 00:34:40,960
Speaker 1: and this, this is true. This song is better than

559
00:34:41,000 --> 00:34:47,440
Speaker 1: the previous song on a roll number as isn't an

560
00:34:47,600 --> 00:34:50,960
Speaker 1: iconic that Miley Cyrus said, you know what, I Am

561
00:34:51,000 --> 00:34:55,200
Speaker 1: going to be another perfection. So many characters live inside Miley.

562
00:34:55,640 --> 00:34:58,680
Speaker 1: She's like, um, a chameleon. She's a chameleon. She's like

563
00:34:59,400 --> 00:35:04,160
Speaker 1: David bow So many characters David. She's like David Bowie.

564
00:35:04,239 --> 00:35:07,719
Speaker 1: You know what Miley Cyrus said. She said, fuck you

565
00:35:08,400 --> 00:35:12,239
Speaker 1: David Bowie, David Bowie, she said, fuck you, Daniel day Lewis,

566
00:35:13,080 --> 00:35:18,160
Speaker 1: fuck you Jared Leto. I'm gonna do my way. I'm

567
00:35:18,160 --> 00:35:22,480
Speaker 1: gonna do my way and sing a nine inch nails

568
00:35:22,840 --> 00:35:27,640
Speaker 1: banger and make it slutty pop. Oh my god, when

569
00:35:27,640 --> 00:35:32,319
Speaker 1: you hear, oh honey, it's like a thousand miles. It's

570
00:35:32,560 --> 00:35:36,200
Speaker 1: you're so right. It is truly one of those songs

571
00:35:36,560 --> 00:35:42,560
Speaker 1: that is welcome every time, every time. Drug alert. Uh,

572
00:35:42,920 --> 00:35:44,840
Speaker 1: there's gonna be a few songs on this list that

573
00:35:44,880 --> 00:35:48,279
Speaker 1: we're gonna say drug alert. Sometimes you listen to a

574
00:35:48,320 --> 00:35:50,520
Speaker 1: song and it feels like a drug and then whether

575
00:35:50,600 --> 00:35:52,640
Speaker 1: or not you're whether or not you're sober, you can

576
00:35:52,680 --> 00:35:58,440
Speaker 1: experience the high of listening to a song like on

577
00:35:58,560 --> 00:36:00,640
Speaker 1: a Roll by Ashley, I feel like them on Papa's

578
00:36:00,640 --> 00:36:07,279
Speaker 1: even talking about to come on, come on. She's basically singing, Hey,

579
00:36:07,320 --> 00:36:11,160
Speaker 1: I'm a whole and not no, not no for me.

580
00:36:11,719 --> 00:36:17,720
Speaker 1: Number two. My hair looks fierce Amanda Lapore nightlife legend,

581
00:36:18,320 --> 00:36:22,239
Speaker 1: pop music superstar. My hair looks fierce is amazing. I'm

582
00:36:22,280 --> 00:36:25,120
Speaker 1: also partial to doing it my way, doing it my way.

583
00:36:25,160 --> 00:36:27,560
Speaker 1: I wake up in the morning between three and four,

584
00:36:27,840 --> 00:36:30,200
Speaker 1: and I go to the bathroom between four and five.

585
00:36:30,320 --> 00:36:32,400
Speaker 1: Like she's giving us her schedule. What I mean what?

586
00:36:32,680 --> 00:36:35,680
Speaker 1: And but she she's constantly walking us through what she's life.

587
00:36:35,800 --> 00:36:38,680
Speaker 1: So in this song, she says, I just show up

588
00:36:38,800 --> 00:36:41,000
Speaker 1: all done up, dance, doing my thing, get paid, and

589
00:36:41,040 --> 00:36:44,520
Speaker 1: I'm out. And you know what that is? Exactly how

590
00:36:44,560 --> 00:36:46,680
Speaker 1: I want my night to go. Oh my god. Okay,

591
00:36:46,680 --> 00:36:50,440
Speaker 1: can we say that we were recently somewhere where Amandalapore

592
00:36:50,440 --> 00:36:53,360
Speaker 1: showed up, Yes, and it was just like, this is

593
00:36:53,400 --> 00:36:56,040
Speaker 1: her life and she's figured it out. She comes in,

594
00:36:56,400 --> 00:36:59,359
Speaker 1: sits down, shows up, shows up, chats to a couple

595
00:36:59,400 --> 00:37:01,359
Speaker 1: of chats with a couple of people, all done up.

596
00:37:02,400 --> 00:37:04,759
Speaker 1: She's out, she gets paid, she's out. I just show

597
00:37:04,840 --> 00:37:08,320
Speaker 1: up all done up, dance, do my thing, get paid,

598
00:37:08,640 --> 00:37:12,480
Speaker 1: and I'm out. Sometimes she doesn't even dance, and that's amazing.

599
00:37:13,080 --> 00:37:18,560
Speaker 1: She needn't. She has to prove nothing to God, it's

600
00:37:18,600 --> 00:37:22,840
Speaker 1: really cultural. Number two, Amandola Port has nothing to prove

601
00:37:23,239 --> 00:37:29,080
Speaker 1: that Tatiana doing same parts instead of Roxy Andrews first

602
00:37:29,080 --> 00:37:36,040
Speaker 1: and Rude Paul's Jack Race all starts to there's nothing

603
00:37:36,280 --> 00:37:41,520
Speaker 1: there's nothing wrong with rox Anderson's now and we've all

604
00:37:41,560 --> 00:37:44,520
Speaker 1: as a community. I was thinking about this today, You

605
00:37:44,520 --> 00:37:46,239
Speaker 1: were thinking about this today. I was thinking about this

606
00:37:46,280 --> 00:37:50,520
Speaker 1: today when I was reviewing the list. As a community,

607
00:37:50,600 --> 00:37:54,600
Speaker 1: have we have we bullied this poor person. See here's

608
00:37:54,600 --> 00:37:56,920
Speaker 1: the thing about Roxy Andrews, and we can say this

609
00:37:57,160 --> 00:38:00,719
Speaker 1: a natural bully herself, but had to do work to

610
00:38:00,800 --> 00:38:02,520
Speaker 1: not be that and then wasn't And now I think

611
00:38:02,520 --> 00:38:06,840
Speaker 1: it's all good fun, but I wonder if it was

612
00:38:07,239 --> 00:38:10,239
Speaker 1: okay for us as a community. And I'm saying us

613
00:38:10,239 --> 00:38:13,200
Speaker 1: because I feel because I've I've taken ownership, taking ownership,

614
00:38:13,200 --> 00:38:19,799
Speaker 1: I've partaken in this using her trauma the bus to

615
00:38:19,920 --> 00:38:22,799
Speaker 1: make fun of her, and I'm kind of being I'm

616
00:38:22,840 --> 00:38:26,799
Speaker 1: kind of seriously opening up this conversation saying, you know,

617
00:38:27,719 --> 00:38:32,200
Speaker 1: everyone in agreement that her verse in Reggie Roche is garbage,

618
00:38:33,760 --> 00:38:37,520
Speaker 1: like it's the only one I know by heart. And

619
00:38:38,160 --> 00:38:39,759
Speaker 1: to make it clear, I know you want my baby.

620
00:38:39,880 --> 00:38:52,920
Speaker 1: That's why we're skipping. Were sipping um something like I forget.

621
00:38:53,000 --> 00:38:55,799
Speaker 1: So maybe I'm not off so but and that's the

622
00:38:55,840 --> 00:38:58,000
Speaker 1: beauty of that's the beauty of that versus that you

623
00:38:58,120 --> 00:39:01,560
Speaker 1: think you have a total understanding of it and yet

624
00:39:01,560 --> 00:39:04,000
Speaker 1: you don't. And that's why I think we should maybe reconsider.

625
00:39:05,160 --> 00:39:07,839
Speaker 1: I know that the version with Tatiana doing the same

626
00:39:07,880 --> 00:39:12,840
Speaker 1: parts is what's on the list. I think as a

627
00:39:12,840 --> 00:39:15,839
Speaker 1: community we really have to examine ourselves. Should we make

628
00:39:15,960 --> 00:39:18,120
Speaker 1: history right now and spit in the face of the

629
00:39:18,120 --> 00:39:21,000
Speaker 1: blue ribbon panel and say the original ide wrote you

630
00:39:21,280 --> 00:39:32,120
Speaker 1: is actually what's here? Yeah, number RuPaul atendum. I never

631
00:39:32,160 --> 00:39:33,719
Speaker 1: would have predicted that we would have spit in the

632
00:39:33,760 --> 00:39:35,799
Speaker 1: face of the Blue Ribbon panel, and we're gonna be

633
00:39:35,880 --> 00:39:39,319
Speaker 1: hearing about it, probably on Twitter, which we should all

634
00:39:39,360 --> 00:39:43,359
Speaker 1: be leaving. I know I'm not I know we're on

635
00:39:43,400 --> 00:39:51,719
Speaker 1: the last um and I am telling you I'm not

636
00:39:51,760 --> 00:39:57,720
Speaker 1: going by both Jennifers and Amber Riley for multiple women

637
00:39:57,880 --> 00:40:03,839
Speaker 1: to definitively approach this song a very difficult song to sing.

638
00:40:04,440 --> 00:40:09,320
Speaker 1: Oh yeah, but for the fact that multiple women can

639
00:40:09,400 --> 00:40:14,120
Speaker 1: walk up to this goliath as David herself, I'm gonna

640
00:40:14,120 --> 00:40:18,279
Speaker 1: fling my stone and and it's range, she sung. You

641
00:40:18,320 --> 00:40:21,359
Speaker 1: have to be able to go all the way up

642
00:40:21,400 --> 00:40:24,719
Speaker 1: there with your voice, you know, and be powerful, and

643
00:40:24,760 --> 00:40:26,600
Speaker 1: you have to go. You have to be able to

644
00:40:26,640 --> 00:40:32,759
Speaker 1: say and make it like your own every time. You know.

645
00:40:33,080 --> 00:40:39,160
Speaker 1: No disrespect to Hudson and Amber, but something about Jennifer

646
00:40:39,200 --> 00:40:44,520
Speaker 1: Holiday doing that eight shows a week is a lot.

647
00:40:44,719 --> 00:40:46,520
Speaker 1: She had to do that a lot, a lot more

648
00:40:46,560 --> 00:40:48,640
Speaker 1: times than the other girls. And of course we never

649
00:40:48,680 --> 00:40:51,680
Speaker 1: forget her American Idol performance of the song where she

650
00:40:53,040 --> 00:40:54,960
Speaker 1: I don't know what happened, I don't know what happened.

651
00:40:55,120 --> 00:40:57,840
Speaker 1: She she's a little possessed. Every time she's saying, I

652
00:40:57,880 --> 00:40:59,319
Speaker 1: think you have to did there has to be a

653
00:40:59,320 --> 00:41:04,000
Speaker 1: demon inside? Well, Effie takes over your Effie and Effie

654
00:41:04,200 --> 00:41:07,080
Speaker 1: is demonic. Effie has had a demon put in her,

655
00:41:07,160 --> 00:41:10,880
Speaker 1: the reverse exorcism. In that scene, I think it's the

656
00:41:10,880 --> 00:41:12,640
Speaker 1: moment where they say, Effie, we all got pain. A

657
00:41:12,719 --> 00:41:14,959
Speaker 1: demon entered her. Did you see me get the chills?

658
00:41:15,960 --> 00:41:18,279
Speaker 1: A demon might have entered you, honey. I might need

659
00:41:18,680 --> 00:41:21,000
Speaker 1: I might need a shaman to come. I might have

660
00:41:21,040 --> 00:41:23,640
Speaker 1: to blow air through a tube and they suck out

661
00:41:23,760 --> 00:41:26,000
Speaker 1: you know the team. I hate it when that happens.

662
00:41:26,160 --> 00:41:29,319
Speaker 1: Number two hundred seventy. Do you want to come over?

663
00:41:29,560 --> 00:41:33,400
Speaker 1: Britney spears. It's a song that causes joy in the

664
00:41:33,440 --> 00:41:37,360
Speaker 1: hearts of I think many millions, but I can pinpoint

665
00:41:37,360 --> 00:41:39,799
Speaker 1: the moment when I brought us much much joy. Was

666
00:41:40,040 --> 00:41:43,120
Speaker 1: New Year's Eve a couple of years ago, COVID New Year's,

667
00:41:43,160 --> 00:41:46,839
Speaker 1: COVID New Year's, that first COVID New Year's where we

668
00:41:46,840 --> 00:41:49,680
Speaker 1: we're very careful. We obviously got tested, but that we

669
00:41:49,800 --> 00:41:52,080
Speaker 1: got a house and it was just a few of us,

670
00:41:53,560 --> 00:41:57,200
Speaker 1: had a few drinks, absolutely played some songs, had a

671
00:41:57,200 --> 00:42:01,279
Speaker 1: good time, but the tide shift did honey, when do

672
00:42:01,320 --> 00:42:03,479
Speaker 1: you want to come over? By Britney Spears came on, Yeah,

673
00:42:03,719 --> 00:42:05,719
Speaker 1: do you want to come over? Sort of will make

674
00:42:05,760 --> 00:42:08,680
Speaker 1: you really move And it made us sort of all

675
00:42:08,840 --> 00:42:12,720
Speaker 1: strut around a little pool table. Remember that, I remember

676
00:42:12,719 --> 00:42:14,600
Speaker 1: that we all just ran around a pool table. But okay,

677
00:42:14,600 --> 00:42:15,799
Speaker 1: can I say what what do we say? What song

678
00:42:15,880 --> 00:42:17,840
Speaker 1: do we say? We said total comes to the hardest.

679
00:42:17,840 --> 00:42:23,120
Speaker 1: Catharsis no song just catharsis better. No song does coy

680
00:42:23,160 --> 00:42:25,200
Speaker 1: better than do you want to come over? Do you

681
00:42:25,239 --> 00:42:27,400
Speaker 1: want to come over? I love that it's like a

682
00:42:27,400 --> 00:42:29,440
Speaker 1: little bit not even a V sound, it's a B sound.

683
00:42:29,600 --> 00:42:31,920
Speaker 1: Do you want to come over? Do you want to

684
00:42:31,920 --> 00:42:35,120
Speaker 1: come over? Just let me know, like, do you want

685
00:42:35,120 --> 00:42:38,759
Speaker 1: to come over? If I could, you know, I don't

686
00:42:38,760 --> 00:42:40,840
Speaker 1: think I'm the greatest flirt, but I think if I

687
00:42:40,960 --> 00:42:43,680
Speaker 1: were to remember, if I were to, you know, access

688
00:42:44,200 --> 00:42:46,640
Speaker 1: the part of me that is, I would just think

689
00:42:46,640 --> 00:42:50,160
Speaker 1: of this song. Yeah. I think next time you have

690
00:42:50,200 --> 00:42:54,440
Speaker 1: a flirty um uh instinct, just think of yourself as

691
00:42:54,440 --> 00:42:57,240
Speaker 1: Britney Spears And do you want to come over? Should

692
00:42:57,239 --> 00:42:59,880
Speaker 1: we change the I was gonna say change the V

693
00:43:00,040 --> 00:43:05,360
Speaker 1: would be come over? It This is freedom. This is

694
00:43:05,440 --> 00:43:09,600
Speaker 1: We've earned this. This is our three hundred episode three hundred.

695
00:43:10,320 --> 00:43:15,400
Speaker 1: We have earned the right to do everything we do today,

696
00:43:16,320 --> 00:43:20,160
Speaker 1: such as say that this next song is only a

697
00:43:20,160 --> 00:43:22,279
Speaker 1: little bit better than do you want to Come Over?

698
00:43:23,320 --> 00:43:29,400
Speaker 1: Number two Natural Woman the Franklin written by Carol King

699
00:43:29,680 --> 00:43:36,080
Speaker 1: looking out on the morning I used to feel someone

700
00:43:36,239 --> 00:43:44,800
Speaker 1: inspired m hm. One of the best bridges. Oh baby,

701
00:43:44,920 --> 00:43:47,520
Speaker 1: what you done to me? What you done to me?

702
00:43:50,360 --> 00:43:57,680
Speaker 1: Making me feel so good at side? Not just don't

703
00:43:57,680 --> 00:44:02,720
Speaker 1: want to be close to you, you'll make me feel

704
00:44:02,920 --> 00:44:10,480
Speaker 1: so I mean any of these songs that make us sing.

705
00:44:11,600 --> 00:44:13,560
Speaker 1: I had to look back at Doug. Let's get Dug

706
00:44:13,560 --> 00:44:16,719
Speaker 1: in here. Do we want to hear your is this

707
00:44:16,760 --> 00:44:21,400
Speaker 1: Mike gone? Okay? This is an important moment because you

708
00:44:21,440 --> 00:44:24,279
Speaker 1: know we've we've now gone through twenty five of the

709
00:44:24,320 --> 00:44:27,120
Speaker 1: songs of the top three hundred, and we need and

710
00:44:29,160 --> 00:44:32,319
Speaker 1: which is surreal, come in and close the door for

711
00:44:32,360 --> 00:44:35,680
Speaker 1: sound purposes. Thank you to use this one which which

712
00:44:35,719 --> 00:44:37,319
Speaker 1: makes you an Well here, there's lots of ship on

713
00:44:37,320 --> 00:44:39,759
Speaker 1: that seat. That one's on over here, so come on

714
00:44:39,840 --> 00:44:41,960
Speaker 1: over here. So I guess what I want to know

715
00:44:42,239 --> 00:44:44,439
Speaker 1: is so far, what do you think of the list.

716
00:44:44,440 --> 00:44:46,279
Speaker 1: Do you think do you agree? Do you even know

717
00:44:46,360 --> 00:44:50,800
Speaker 1: a lot of you know about half of the songs

718
00:44:50,840 --> 00:44:53,760
Speaker 1: that you said, okay and they're great and they're great.

719
00:44:53,880 --> 00:44:55,880
Speaker 1: What what kind of songs are you looking for? Like?

720
00:44:55,920 --> 00:45:00,960
Speaker 1: What do you hope makes the list? I hope it's diverse. Okay, Well,

721
00:45:00,960 --> 00:45:03,080
Speaker 1: I think we've done that. I do too. I mean

722
00:45:03,120 --> 00:45:06,920
Speaker 1: you went from Beyonce to fall Out Boy to Bonnie

723
00:45:07,000 --> 00:45:10,520
Speaker 1: Tyler to Aretha, Like, yeah, that's what I like. That's culture.

724
00:45:10,600 --> 00:45:13,680
Speaker 1: That's a culture. That's right. I've heard, I've heard you.

725
00:45:13,719 --> 00:45:16,640
Speaker 1: We've had nice Beatles conversations with you before, We've had

726
00:45:16,920 --> 00:45:20,040
Speaker 1: nice Katie Perry Celine de Young conversations. What what do

727
00:45:20,080 --> 00:45:24,440
Speaker 1: you think is the pinnacle of music Beatles for me?

728
00:45:24,840 --> 00:45:28,640
Speaker 1: Of pop music? Yeah, the Beatles, I think that changed

729
00:45:28,840 --> 00:45:32,960
Speaker 1: every Well, we can reveal to you right now, that's okay,

730
00:45:33,040 --> 00:45:35,360
Speaker 1: there's nothing. Here's what Here's what I would say to you,

731
00:45:35,560 --> 00:45:37,640
Speaker 1: here's what I throw out there. I don't think our

732
00:45:37,680 --> 00:45:40,640
Speaker 1: next artist on the list gave a funk about the

733
00:45:40,640 --> 00:45:43,600
Speaker 1: Beatles when she recorded this track. And I want to know,

734
00:45:43,719 --> 00:45:45,520
Speaker 1: a if you even know this song or if you

735
00:45:45,520 --> 00:45:49,000
Speaker 1: even know this artist, because number two hundred and seventy

736
00:45:49,040 --> 00:45:52,680
Speaker 1: five My Head and My Heart Ava Max. Do you

737
00:45:52,760 --> 00:45:57,239
Speaker 1: know who Ava Max is? No? I think you would

738
00:45:57,280 --> 00:45:59,360
Speaker 1: do a better job. Okay, So that's sort of a

739
00:45:59,440 --> 00:46:03,200
Speaker 1: pop singer songwriter. And one thing about her is she

740
00:46:03,280 --> 00:46:06,400
Speaker 1: has one side of her hair is really long and

741
00:46:06,520 --> 00:46:09,000
Speaker 1: one side of her hair is really short. You've you've

742
00:46:09,000 --> 00:46:12,680
Speaker 1: seen her, yes, yeah, impressions on that. You think it's

743
00:46:12,680 --> 00:46:16,319
Speaker 1: a great She's been doing it for years now. At

744
00:46:16,320 --> 00:46:17,960
Speaker 1: this point, do you think it's it's something she can

745
00:46:18,000 --> 00:46:20,239
Speaker 1: just sustain for the rest of her career. I doubt

746
00:46:20,280 --> 00:46:23,920
Speaker 1: she'll want to. Yeah. I think at this point she

747
00:46:23,960 --> 00:46:26,160
Speaker 1: has committed too long and she just has to stick

748
00:46:26,200 --> 00:46:29,120
Speaker 1: with it for the rest of her life. Yeah, so

749
00:46:29,200 --> 00:46:31,200
Speaker 1: she's gonna be an old woman in the nursing home

750
00:46:31,280 --> 00:46:34,919
Speaker 1: with you know, with with one with one side long

751
00:46:34,960 --> 00:46:38,319
Speaker 1: and one side short. Now, but when this song, oh

752
00:46:38,400 --> 00:46:41,360
Speaker 1: my god, it's it's a it's kind of a sampling

753
00:46:41,400 --> 00:46:46,360
Speaker 1: of around the world, but it's just one of the

754
00:46:46,440 --> 00:46:49,719
Speaker 1: most powerful. This is what this is. This is a

755
00:46:49,800 --> 00:46:52,719
Speaker 1: Drugg Alert song. Drugg Alert. Yeah, there's gonna be lots

756
00:46:52,719 --> 00:46:55,600
Speaker 1: of drugs done. So you So, Doug, just to ask

757
00:46:55,640 --> 00:46:59,239
Speaker 1: you a question, Um, what's the sort of um when

758
00:46:59,280 --> 00:47:01,160
Speaker 1: you were out there are going to concerts were you

759
00:47:01,160 --> 00:47:04,239
Speaker 1: would into the Grateful Dead. I've been to a bunch

760
00:47:04,239 --> 00:47:08,560
Speaker 1: of Grateful Dead shows and you smoked reefer. Yes, m m,

761
00:47:08,840 --> 00:47:11,160
Speaker 1: so this is sort of the straight culture with drugs.

762
00:47:11,960 --> 00:47:14,520
Speaker 1: But I really I want that. Oh my god. Josh

763
00:47:14,520 --> 00:47:16,440
Speaker 1: Sharp and Aaron Jackson just went to a fish concert

764
00:47:16,440 --> 00:47:20,440
Speaker 1: at Madison Square Garden where a man fell from fell

765
00:47:21,120 --> 00:47:24,800
Speaker 1: from the nosebleeds and lived and lived to tell the tale.

766
00:47:25,120 --> 00:47:28,319
Speaker 1: That is. But you know, but a fish concert, I

767
00:47:28,360 --> 00:47:32,200
Speaker 1: think everyone is is vibing, sort of fucked up, but

768
00:47:32,200 --> 00:47:35,000
Speaker 1: but having a good time. I I respect it. I

769
00:47:35,000 --> 00:47:36,719
Speaker 1: would love to. I would love to have gone to

770
00:47:36,760 --> 00:47:40,960
Speaker 1: a Grateful Dead concert. But dot would you want to

771
00:47:40,960 --> 00:47:45,360
Speaker 1: go to the Gramatical Ball the Lady Gaga concerts? I

772
00:47:45,440 --> 00:47:48,319
Speaker 1: like Lady's talentible. She appears on the list many times.

773
00:47:48,320 --> 00:47:49,839
Speaker 1: She appears on the list many are you excited for her?

774
00:47:50,080 --> 00:47:52,480
Speaker 1: Her Top Gun song? I haven't I didn't know it

775
00:47:52,520 --> 00:47:54,600
Speaker 1: was coming. She'll be doing the song from the new

776
00:47:54,640 --> 00:47:58,080
Speaker 1: Top Gun film starring Tom Cruise. Well, that will encourage

777
00:47:58,120 --> 00:48:00,879
Speaker 1: me to actually tune in. I have a few Okay,

778
00:48:00,880 --> 00:48:02,239
Speaker 1: so it's gonna be. It's sort of trying to be

779
00:48:02,239 --> 00:48:04,920
Speaker 1: the new take my breath away. I like it kind

780
00:48:04,920 --> 00:48:07,600
Speaker 1: of cool. Doug, what do you think has been the

781
00:48:07,880 --> 00:48:10,480
Speaker 1: cultural impact of Lost cultures? Doesn't? How has it changed

782
00:48:10,520 --> 00:48:12,839
Speaker 1: your life to be a part of it? Oh man,

783
00:48:12,920 --> 00:48:16,120
Speaker 1: that's that's a lot. That's a lot to put into words.

784
00:48:16,239 --> 00:48:19,439
Speaker 1: But I would have to say, you really opened me

785
00:48:19,600 --> 00:48:22,839
Speaker 1: up culturally to the gay community more than I ever

786
00:48:22,960 --> 00:48:26,160
Speaker 1: have and I love it. Well, We're happy, Tony. What

787
00:48:26,200 --> 00:48:29,400
Speaker 1: do you love and not like about the gay community?

788
00:48:29,880 --> 00:48:33,200
Speaker 1: I mean, what's not to love? Thank you, thank you,

789
00:48:33,360 --> 00:48:35,040
Speaker 1: and we really want to thank you for being here

790
00:48:35,080 --> 00:48:37,560
Speaker 1: to announce help us announce two hundred seventy five My

791
00:48:37,560 --> 00:48:39,520
Speaker 1: Head in My Heart by Eva Max. Thank you so much.

792
00:48:39,520 --> 00:48:43,240
Speaker 1: Thank you so much. Now let's let's to be really

793
00:48:43,280 --> 00:48:45,319
Speaker 1: love Doug so much. We love Doug, and thank you

794
00:48:45,320 --> 00:48:47,760
Speaker 1: for being part of the fabric of lost culture. I mean,

795
00:48:47,800 --> 00:48:50,239
Speaker 1: thanks for having me, Thanks for always making us sound

796
00:48:50,280 --> 00:48:54,600
Speaker 1: really good, making us laugh, setting a good vibe for

797
00:48:54,600 --> 00:48:58,880
Speaker 1: the guess get lost. Thanks, Thanks, it's been amazing to

798
00:48:58,920 --> 00:49:01,200
Speaker 1: have you. And then we'll be checking in with you later.

799
00:49:01,360 --> 00:49:12,960
Speaker 1: Everyone give an Aposta product. We're not making good time

800
00:49:13,000 --> 00:49:19,000
Speaker 1: at all. No so keeping number two seventy four Stronger

801
00:49:19,120 --> 00:49:22,319
Speaker 1: Martie Cover and Girls Alison Williams. I think it was

802
00:49:22,520 --> 00:49:26,600
Speaker 1: better than Kanye West. Absolutely, here we go. Number two three,

803
00:49:26,920 --> 00:49:29,960
Speaker 1: Meet Me at Our spot Willow and a boy named Tyler.

804
00:49:31,400 --> 00:49:34,280
Speaker 1: The band the duo between Tyler and Willow is called

805
00:49:34,440 --> 00:49:38,200
Speaker 1: The Anxiety The Anxiety, so it's kind of chaotically credited

806
00:49:38,200 --> 00:49:41,040
Speaker 1: and listed on Spotify or the streaming services or whatever.

807
00:49:41,680 --> 00:49:45,560
Speaker 1: It's Willow The Anxiety and this this this Tyler Fellow.

808
00:49:45,680 --> 00:49:49,680
Speaker 1: Well speaking of um, you know, Roxy Andrews and Willow

809
00:49:50,719 --> 00:49:54,920
Speaker 1: the number two seventy two with My Hair Willow speaking

810
00:49:54,920 --> 00:49:58,120
Speaker 1: of Roxy Andrews from several songs ago. I mean, remember

811
00:49:58,120 --> 00:50:00,200
Speaker 1: when Willow came out with this. I'll never forget. I

812
00:50:00,200 --> 00:50:03,160
Speaker 1: had an internship at the show teen Mom Too, and

813
00:50:03,200 --> 00:50:07,239
Speaker 1: I worked for a woman named Unique and I one

814
00:50:07,320 --> 00:50:10,759
Speaker 1: day Unique was playing the song with My Hair by

815
00:50:10,840 --> 00:50:13,040
Speaker 1: Willow and she said to me. She turned to me,

816
00:50:13,080 --> 00:50:15,240
Speaker 1: I was an intern, and she said, I love this song.

817
00:50:15,640 --> 00:50:18,080
Speaker 1: And I was like, you know, she's twelve. And she

818
00:50:18,760 --> 00:50:21,360
Speaker 1: sat back in her chair and she looked at me

819
00:50:21,400 --> 00:50:23,600
Speaker 1: and she said, are you telling me I was dancing

820
00:50:23,640 --> 00:50:26,279
Speaker 1: to a twelve year old in the club, and I

821
00:50:26,360 --> 00:50:30,160
Speaker 1: was like, I think that's what happened, and she laughed

822
00:50:30,239 --> 00:50:32,919
Speaker 1: and laughed and laughed, and then she couldn't ever get

823
00:50:32,960 --> 00:50:36,120
Speaker 1: over that she was twelve. I still am not over

824
00:50:36,400 --> 00:50:38,279
Speaker 1: the fact that she was twelve years old. I think

825
00:50:38,280 --> 00:50:41,440
Speaker 1: it made me a little a little uneasy. Even at

826
00:50:41,440 --> 00:50:43,400
Speaker 1: the time, I was like, yeah, but this is a

827
00:50:44,360 --> 00:50:46,680
Speaker 1: this is a little girl pop up up the beds

828
00:50:46,680 --> 00:50:49,680
Speaker 1: on the swag on it. It was like watching like

829
00:50:49,800 --> 00:50:55,160
Speaker 1: Chloe Chloe Grace murat State Hunt in k Yeah, but

830
00:50:55,200 --> 00:50:57,120
Speaker 1: I don't know what sort of it sort of makes

831
00:50:57,120 --> 00:51:01,240
Speaker 1: you really hopeful about the younger kids. Huh yeah, number

832
00:51:01,280 --> 00:51:04,200
Speaker 1: two hundred seventy one, and this is gonna get us

833
00:51:04,200 --> 00:51:08,600
Speaker 1: into trouble, get us into trouble. Wild Wild West, Sorry Smith,

834
00:51:09,320 --> 00:51:12,720
Speaker 1: Wild Wild West? Is that song that's pretty good? Oh

835
00:51:12,719 --> 00:51:16,160
Speaker 1: my god? Even the trailer of the movie Do Do

836
00:51:16,160 --> 00:51:19,279
Speaker 1: Do It would play on TV growing up, and it'd

837
00:51:19,320 --> 00:51:22,439
Speaker 1: be like, that looks like the coolest movie ever made.

838
00:51:22,480 --> 00:51:29,440
Speaker 1: Salamahayak culture, Salmahiak culture. Garcel Beauvais culture so lutely Kevin

839
00:51:29,520 --> 00:51:33,920
Speaker 1: Klein Cluvin Klein culture, and yes, Will Smith culture and

840
00:51:33,960 --> 00:51:35,560
Speaker 1: also you see a little bit of his butt in

841
00:51:35,560 --> 00:51:37,840
Speaker 1: the movie. You always say this every time we mentioned

842
00:51:39,120 --> 00:51:42,479
Speaker 1: in our three hundred episodes. It's a recurring theme. Let's

843
00:51:43,000 --> 00:51:46,320
Speaker 1: I think you've mentioned it number two seventy Men in

844
00:51:46,440 --> 00:51:51,120
Speaker 1: Black apologies Will Smith, this Men in Black, this song

845
00:51:51,719 --> 00:51:58,040
Speaker 1: Man in Black. Yeah, then they go then black. You know.

846
00:51:58,360 --> 00:52:02,840
Speaker 1: As as as much as Will Smith's music hasn't aged

847
00:52:03,040 --> 00:52:05,359
Speaker 1: terribly well and it but it's been, it's aged well

848
00:52:05,480 --> 00:52:07,840
Speaker 1: enough to end up on the list, he did do

849
00:52:07,960 --> 00:52:11,759
Speaker 1: a great job of blending the R and B with

850
00:52:11,800 --> 00:52:15,080
Speaker 1: the hip hop absolutely, and also he always he he

851
00:52:15,120 --> 00:52:18,000
Speaker 1: was always going to say, I have a movie, Well,

852
00:52:18,000 --> 00:52:22,120
Speaker 1: I'm gonna make that title of synergy. And what I

853
00:52:22,239 --> 00:52:25,080
Speaker 1: what I want to shout out most respect to is

854
00:52:25,120 --> 00:52:27,239
Speaker 1: everyone that works in the Men in Black Attraction at

855
00:52:27,320 --> 00:52:31,280
Speaker 1: Universal Studios, Florida, because that song plays in a loop

856
00:52:31,360 --> 00:52:34,080
Speaker 1: at the gift shop and it's never anything else. And

857
00:52:34,160 --> 00:52:36,319
Speaker 1: I have to I have to really salute everyone that

858
00:52:36,360 --> 00:52:41,160
Speaker 1: works there for not we're raising and all the right ways,

859
00:52:42,000 --> 00:52:44,720
Speaker 1: all my underdogs, the people working at Men in Black,

860
00:52:44,760 --> 00:52:47,600
Speaker 1: the rhyme, the dirty little freaks, dirty little freaks. We

861
00:52:47,680 --> 00:52:51,560
Speaker 1: hope you survive hearing Men in Black at least um

862
00:52:52,400 --> 00:53:00,680
Speaker 1: two hundred times a day, number two Miami truly graphically

863
00:53:00,800 --> 00:53:04,560
Speaker 1: but definitely putting in the city when the heat is

864
00:53:04,640 --> 00:53:06,560
Speaker 1: on on that on, the abuse to the brick and

865
00:53:06,600 --> 00:53:14,400
Speaker 1: then malcome to Miamimi iconical. I'm there, I see the neon,

866
00:53:14,480 --> 00:53:17,360
Speaker 1: I see the art deco. I'm I'm at South Beach,

867
00:53:18,040 --> 00:53:21,600
Speaker 1: I'm on coke. I was gonna bring up cocaine. I'm

868
00:53:21,640 --> 00:53:27,440
Speaker 1: at the w Hotel getting sucked off. I'm there, I'm

869
00:53:27,480 --> 00:53:31,319
Speaker 1: getting sucked off while I'm sucking on a mohedo? Thank you?

870
00:53:32,120 --> 00:53:34,440
Speaker 1: How good does that sound? Right now? A mohedo sounds

871
00:53:34,440 --> 00:53:39,120
Speaker 1: so good? But how do we order mohitos? Hey? Is

872
00:53:39,120 --> 00:53:41,400
Speaker 1: it a thing of you can still order cocktails to go?

873
00:53:41,840 --> 00:53:46,520
Speaker 1: Maybe not in l a. Okay, find out to figure

874
00:53:46,560 --> 00:53:49,279
Speaker 1: it out, because we're because we're craving mohitoes, because we

875
00:53:49,320 --> 00:53:51,440
Speaker 1: started talking about the city of Miami. Because because the

876
00:53:51,480 --> 00:53:54,080
Speaker 1: song with Miami by Will Smith is on the list. Okay,

877
00:53:54,320 --> 00:53:59,880
Speaker 1: alright to sixty eight Smooth Operator by shot Day Smooth

878
00:54:01,440 --> 00:54:05,320
Speaker 1: she really was a smooth uperator from the album Diamond Life.

879
00:54:05,640 --> 00:54:09,600
Speaker 1: She had a diamond life. She has a diamond life still. Yeah,

880
00:54:10,000 --> 00:54:12,360
Speaker 1: you know when you when you sort of this is

881
00:54:12,360 --> 00:54:17,800
Speaker 1: what I would call like like heightened advanced, like elevated elevator.

882
00:54:18,840 --> 00:54:25,600
Speaker 1: Oh yeah, elevated elevator. Elevated elevator. That's all there is

883
00:54:25,640 --> 00:54:28,000
Speaker 1: to say. I have nothing else to say about that.

884
00:54:28,239 --> 00:54:30,880
Speaker 1: Let's move on. Although wait, can I say no? I

885
00:54:30,920 --> 00:54:33,200
Speaker 1: want you to say it's not off of this album,

886
00:54:33,200 --> 00:54:38,120
Speaker 1: but we played um we did play Promise, the follow

887
00:54:38,200 --> 00:54:42,040
Speaker 1: up to Diamond Life, this album on Fire Island. Yes, Oh,

888
00:54:42,080 --> 00:54:45,360
Speaker 1: I remember when we were making like grilling stuff vibe.

889
00:54:45,840 --> 00:54:47,440
Speaker 1: It was and the sun was setting and we were

890
00:54:47,480 --> 00:54:51,600
Speaker 1: like eating food. It was the perfect vibe that was iconic,

891
00:54:51,680 --> 00:54:55,600
Speaker 1: sort of bow and yang um vibe creation. I put

892
00:54:55,640 --> 00:54:57,960
Speaker 1: it on. I was like, this is like cooking music

893
00:54:59,200 --> 00:55:02,120
Speaker 1: and cook We did and cook. Sometimes elevator music goes

894
00:55:02,120 --> 00:55:08,000
Speaker 1: into cooking music, smooth, more like good cooking, good cookie. Hey,

895
00:55:08,480 --> 00:55:14,160
Speaker 1: let's go number two seven on my own from Who's

896
00:55:14,200 --> 00:55:18,560
Speaker 1: Your Favorite? Who's your Favorite? M What's Your Face? This

897
00:55:18,600 --> 00:55:24,800
Speaker 1: is a really complicated, difficult to explore, but the best

898
00:55:24,840 --> 00:55:29,520
Speaker 1: singer of all time. Michelle took Epony into New Heights

899
00:55:30,160 --> 00:55:32,680
Speaker 1: and it's not on the list, but when she dies

900
00:55:32,719 --> 00:55:35,440
Speaker 1: in a little fall of rain, she gives it everything.

901
00:55:36,320 --> 00:55:39,080
Speaker 1: She's in that fucking page boy, cap the trench coat

902
00:55:39,160 --> 00:55:42,279
Speaker 1: on stage. Go go to YouTube. And also, here's the thing.

903
00:55:42,680 --> 00:55:45,160
Speaker 1: When you're listening to on my Own and it starts

904
00:55:45,160 --> 00:55:49,120
Speaker 1: with on my Own, you funked up. It's supposed to

905
00:55:49,640 --> 00:55:51,839
Speaker 1: listen to the version that starts with and now I'm

906
00:55:51,880 --> 00:55:59,320
Speaker 1: on alone again. Don't want to Yeah, his three, I

907
00:55:59,480 --> 00:56:03,719
Speaker 1: goes and she goes, the city goes to Beth and

908
00:56:03,800 --> 00:56:14,000
Speaker 1: I can live in son my head. Beautiful song, and

909
00:56:14,040 --> 00:56:18,080
Speaker 1: you're transported to a time when everyone was dirty and

910
00:56:18,160 --> 00:56:22,320
Speaker 1: wet except for Marius. Mary's was always clean, keeping it clean,

911
00:56:22,360 --> 00:56:25,680
Speaker 1: and Miss Cosette too, squeaky clean, weaky clean. You know,

912
00:56:25,719 --> 00:56:28,200
Speaker 1: there's a lot of cloud more like no no dirt

913
00:56:28,239 --> 00:56:37,800
Speaker 1: on my face. Honey, honey, let's keep going. Stole Stole

914
00:56:37,960 --> 00:56:42,080
Speaker 1: by Kelly Rowland is do you know this? I don't

915
00:56:42,080 --> 00:56:47,319
Speaker 1: get noticed. Oh my god, Bowen, you're playing it. We

916
00:56:47,520 --> 00:56:52,680
Speaker 1: don't have time. We the flow will dictate the field.

917
00:56:52,160 --> 00:56:59,759
Speaker 1: We didn't even we didn't even have this problem in

918
00:56:59,800 --> 00:57:02,279
Speaker 1: the two hundred and the two. We got to this

919
00:57:02,320 --> 00:57:07,160
Speaker 1: point at like number Okay, here's what I'll say. I'm

920
00:57:07,160 --> 00:57:09,240
Speaker 1: not going to play the song, but Stole by Kelly

921
00:57:09,320 --> 00:57:12,920
Speaker 1: Rowland is all about people who died too young, and

922
00:57:12,960 --> 00:57:16,400
Speaker 1: it was her first big single, and she talks about

923
00:57:16,720 --> 00:57:19,000
Speaker 1: someone who played basketball and then I think got involved

924
00:57:19,000 --> 00:57:21,320
Speaker 1: in bad ship and ended up dying. And one of

925
00:57:21,360 --> 00:57:23,560
Speaker 1: her riffs at the end of the song is he

926
00:57:23,720 --> 00:57:32,680
Speaker 1: had game. Oh Greg was always getting bang from twenty

927
00:57:34,040 --> 00:57:35,760
Speaker 1: oh wait and then this is the sun when she

928
00:57:35,800 --> 00:57:39,360
Speaker 1: goes um like Marilyn Monroe. Yeah, I know this song.

929
00:57:41,240 --> 00:57:45,080
Speaker 1: Still wait, we are mixing horrible time. I'm so stressed out.

930
00:57:45,560 --> 00:57:50,120
Speaker 1: Number two Bang bang my Baby shot me Down, Nancy Sinatra,

931
00:57:50,760 --> 00:57:53,680
Speaker 1: number two D sixty four, Bang bang my Baby shot

932
00:57:53,720 --> 00:57:57,640
Speaker 1: me Down. And number two D sixty three Bang bang

933
00:57:57,720 --> 00:58:00,520
Speaker 1: my Baby shot me down. Oh my, would you like

934
00:58:00,560 --> 00:58:03,680
Speaker 1: to perform it? I was five and he was six.

935
00:58:03,800 --> 00:58:07,680
Speaker 1: Weet rode on horses made of sticks. He wont black

936
00:58:07,680 --> 00:58:11,480
Speaker 1: and dye will white. He would always win the fight.

937
00:58:12,480 --> 00:58:16,520
Speaker 1: Bang bang he shut me down. Oh my god, vulnerable

938
00:58:17,080 --> 00:58:25,560
Speaker 1: bang bang the ground, bang bang that awful sound bang

939
00:58:25,600 --> 00:58:33,680
Speaker 1: bang my baby shot me down. We'll have to perform

940
00:58:33,680 --> 00:58:35,960
Speaker 1: that scene at the Duke Pleaux this summer. Just do

941
00:58:36,080 --> 00:58:42,240
Speaker 1: the end, uh oh like like the last chorus. I'll

942
00:58:42,240 --> 00:58:44,240
Speaker 1: just do the little the last like the last sort

943
00:58:44,280 --> 00:58:57,400
Speaker 1: of belt. Yes, bang Bang Baby shot me down. Number

944
00:58:57,400 --> 00:59:02,720
Speaker 1: two D sixty two Bang Bang este Jay Enough said,

945
00:59:02,880 --> 00:59:05,400
Speaker 1: I mean three of the greatest talents coming together to

946
00:59:05,720 --> 00:59:08,280
Speaker 1: sort of deliver an answer to Lady Marmalade, which do

947
00:59:08,360 --> 00:59:11,439
Speaker 1: not make the list. It's mean Jesse and Ari. If

948
00:59:11,440 --> 00:59:16,640
Speaker 1: they test me, they sorry, Let's keep going. It's the botlet.

949
00:59:16,640 --> 00:59:24,919
Speaker 1: It was number If I Dream, If I Dream, It's

950
00:59:24,960 --> 00:59:28,280
Speaker 1: one of the most beautiful melodies and whenever you hear it,

951
00:59:28,360 --> 00:59:30,400
Speaker 1: start to play when one of the queens gets emotional

952
00:59:30,440 --> 00:59:33,200
Speaker 1: talking to their child self. You are a fine god.

953
00:59:33,280 --> 00:59:38,680
Speaker 1: You are really affective. Do do do do do do do?

954
00:59:39,480 --> 00:59:43,240
Speaker 1: You're so affected. I think that Lucian guy wrote this.

955
00:59:44,160 --> 00:59:50,120
Speaker 1: Number two D sixty Satisfied one of the greats Renee

956
00:59:50,600 --> 00:59:55,120
Speaker 1: Lynn Lynn Shout Shout out to Lynn shout out, who

957
00:59:55,160 --> 00:59:57,240
Speaker 1: was writing new songs for the Little Mermaids. Let's not

958
00:59:57,240 --> 01:00:00,440
Speaker 1: forget new songs for the Little Mermaids. P chance we

959
01:00:00,480 --> 01:00:05,440
Speaker 1: get a fish singing something like satisfied by her Chance

960
01:00:05,520 --> 01:00:09,400
Speaker 1: Scuttle played by Nora lom Aquafina. He's at to me

961
01:00:09,480 --> 01:00:12,440
Speaker 1: because I'm a Scott His sister satuside. I have to

962
01:00:12,520 --> 01:00:15,240
Speaker 1: be naive to sit that aside to that is why

963
01:00:15,520 --> 01:00:18,400
Speaker 1: Hi interesting to his eyes and now that's his ride.

964
01:00:18,520 --> 01:00:24,680
Speaker 1: Now that's going in delicate, don't satisfied Num jungle Ki

965
01:00:26,600 --> 01:00:30,360
Speaker 1: and the music video really elevated this one. High production value,

966
01:00:30,480 --> 01:00:33,040
Speaker 1: high production value, like I could have seen, you know,

967
01:00:33,480 --> 01:00:35,600
Speaker 1: this could be a big budget film. And I love

968
01:00:35,640 --> 01:00:38,160
Speaker 1: when the music video tells a story, and I love

969
01:00:38,200 --> 01:00:41,400
Speaker 1: to see pop stars act. Yes, you know, and BB's

970
01:00:41,400 --> 01:00:44,040
Speaker 1: a harbor a pop star. She's one of the biggest

971
01:00:44,040 --> 01:00:46,160
Speaker 1: pop stars and she's really acting. And there's no scene

972
01:00:46,200 --> 01:00:49,160
Speaker 1: in the I don't really want to spoil, but there

973
01:00:49,240 --> 01:00:51,240
Speaker 1: is a scene in the beginning of the music video

974
01:00:51,440 --> 01:00:56,920
Speaker 1: where she is interrogating someone and she says, who sent you? Said?

975
01:00:57,480 --> 01:01:01,520
Speaker 1: Who sent you me? Using line read and she laughs

976
01:01:01,560 --> 01:01:11,640
Speaker 1: like this, yeah, I'm pussy bit, which did not make

977
01:01:11,640 --> 01:01:14,760
Speaker 1: the list. La la la la. That is that is

978
01:01:14,840 --> 01:01:22,840
Speaker 1: Jungle Kitty. You're right. Next up Seasons of Seasons of

979
01:01:22,920 --> 01:01:26,880
Speaker 1: Love rents one of the most amazing songs when you

980
01:01:26,920 --> 01:01:29,360
Speaker 1: can just stand on stage as a company and connect

981
01:01:29,400 --> 01:01:31,920
Speaker 1: with an audience merely through song, and it really is

982
01:01:31,960 --> 01:01:34,040
Speaker 1: like sort of like it's it's like a transitional song

983
01:01:34,120 --> 01:01:37,160
Speaker 1: into into you know, an act of of rent. You know,

984
01:01:37,200 --> 01:01:40,320
Speaker 1: it's it's really it's really powerful. And I think measuring

985
01:01:40,360 --> 01:01:42,520
Speaker 1: your life and love is something we can all live by.

986
01:01:42,640 --> 01:01:44,360
Speaker 1: It all live by that. And Tracy Towns in the

987
01:01:44,360 --> 01:01:54,760
Speaker 1: movie version measure Measure Your Live seven King of Anything.

988
01:01:55,920 --> 01:01:57,840
Speaker 1: I love this song because it made us. It gave

989
01:01:57,920 --> 01:02:01,440
Speaker 1: us a new comeback, which was dade you King of Anything.

990
01:02:02,080 --> 01:02:04,560
Speaker 1: So far we have two of out of the four

991
01:02:04,640 --> 01:02:07,960
Speaker 1: leads of girls five ever represented on the song, Renee Sarah,

992
01:02:09,080 --> 01:02:10,880
Speaker 1: and there will be no more, There will be no

993
01:02:11,000 --> 01:02:12,840
Speaker 1: Busy Phillips and Paula Pell did not make this. They

994
01:02:12,880 --> 01:02:15,160
Speaker 1: did not actually did not make the last What are

995
01:02:15,160 --> 01:02:18,160
Speaker 1: we supposed to have Paula Pell on this podcast? She'll

996
01:02:18,160 --> 01:02:21,000
Speaker 1: be on. Yeah, she's the best. But I remember like

997
01:02:21,040 --> 01:02:23,320
Speaker 1: it was like confirmed happening, and then didn't I know.

998
01:02:23,440 --> 01:02:25,280
Speaker 1: I think I think I got sick. You got sick.

999
01:02:25,320 --> 01:02:28,160
Speaker 1: Something happened. I think everyone was sick. Everyone was sick,

1000
01:02:30,720 --> 01:02:34,120
Speaker 1: shallow Live at the Oscars, Lady Gaga and Bradley Cooper.

1001
01:02:34,240 --> 01:02:36,640
Speaker 1: Who could forget? I was gonna say, who could forget?

1002
01:02:36,960 --> 01:02:40,160
Speaker 1: Oh my god, any one to three? Who could forget?

1003
01:02:40,560 --> 01:02:42,840
Speaker 1: When she was a little sharp and he was really

1004
01:02:42,880 --> 01:02:48,120
Speaker 1: flat and they signed together and you know to be

1005
01:02:48,240 --> 01:02:50,800
Speaker 1: real though, that moment at the end where the cameras

1006
01:02:50,920 --> 01:02:55,440
Speaker 1: in their face and they basically like have a post coital,

1007
01:02:55,600 --> 01:02:59,120
Speaker 1: post nut clarity, look at each other as if we

1008
01:02:59,120 --> 01:03:02,680
Speaker 1: had just watched them fuck in front of hundreds of people,

1009
01:03:03,640 --> 01:03:07,680
Speaker 1: thousands of people, and that it was culture. It was.

1010
01:03:07,800 --> 01:03:11,480
Speaker 1: It was like it was like it did. And not

1011
01:03:11,520 --> 01:03:13,480
Speaker 1: that this goes without saying and everyone agrees with this,

1012
01:03:13,600 --> 01:03:16,680
Speaker 1: but it was one of those Oscar moments that you're like, Wow,

1013
01:03:16,720 --> 01:03:18,680
Speaker 1: this is the os only at the Oscars. It was

1014
01:03:18,760 --> 01:03:21,880
Speaker 1: only at the Oscars moment, and it was culture and

1015
01:03:22,000 --> 01:03:25,320
Speaker 1: shallow talk about knowing it from the beginning. Tell them

1016
01:03:25,320 --> 01:03:30,040
Speaker 1: is something girl, that we were recording this epid this

1017
01:03:30,200 --> 01:03:34,920
Speaker 1: podcast the day the trailer dropped in June or something

1018
01:03:35,680 --> 01:03:37,680
Speaker 1: too long ago, too long ago, but like we were

1019
01:03:37,720 --> 01:03:43,040
Speaker 1: off book on the fucking song that day. Business Modern

1020
01:03:43,400 --> 01:03:48,480
Speaker 1: wound an amazing singer and Grammy Award winner Bradley Cooper,

1021
01:03:50,120 --> 01:03:55,200
Speaker 1: all about that base trainer. This was a body positivity,

1022
01:03:55,400 --> 01:04:01,920
Speaker 1: body positivity, Bobby positivity, more like a Bobby positivity, say

1023
01:04:02,000 --> 01:04:04,920
Speaker 1: that I love that body as a really culture number seventeen,

1024
01:04:05,240 --> 01:04:12,400
Speaker 1: body positivity more like body positivity. Number hands Sea little

1025
01:04:12,760 --> 01:04:19,120
Speaker 1: Little Number two, Sending the clowns Stephens. This is a

1026
01:04:19,240 --> 01:04:23,560
Speaker 1: moment in A Little Night Music where Desiree realizes that,

1027
01:04:24,320 --> 01:04:28,440
Speaker 1: you know, while she really truly believed and invested in

1028
01:04:28,480 --> 01:04:31,320
Speaker 1: this man who is the love of her life, that

1029
01:04:31,480 --> 01:04:34,640
Speaker 1: per chance he is really not going to go on

1030
01:04:34,680 --> 01:04:37,080
Speaker 1: that ride with her. He will not opt into the

1031
01:04:37,120 --> 01:04:39,720
Speaker 1: love that they share. And she has to sit there

1032
01:04:39,760 --> 01:04:45,480
Speaker 1: and really debate out loud with herself just exactly you know,

1033
01:04:45,960 --> 01:04:48,240
Speaker 1: not even really a debate. I mean, she's really she's

1034
01:04:48,240 --> 01:04:51,520
Speaker 1: it's contemplative, and it's devastating. This is one of the

1035
01:04:51,560 --> 01:04:54,080
Speaker 1: most devastating songs in musical theater. But I have a question, Yeah,

1036
01:04:55,520 --> 01:04:59,640
Speaker 1: is this one of the songs? Is this a song

1037
01:04:59,640 --> 01:05:03,800
Speaker 1: about realizing that you're a jester? Flop? Mhm, sending the

1038
01:05:03,840 --> 01:05:09,440
Speaker 1: clowns More like I am the jester, Like I really flopped.

1039
01:05:11,080 --> 01:05:17,840
Speaker 1: I am a low Jesse flowing in the square the

1040
01:05:18,000 --> 01:05:21,800
Speaker 1: clowns square, send it in the clowns. And then she

1041
01:05:21,840 --> 01:05:32,120
Speaker 1: goes me, I am the clown, beautiful, beautiful Jimmy Buffett,

1042
01:05:32,200 --> 01:05:34,680
Speaker 1: go on vacation. Why don't you listen to a song

1043
01:05:34,720 --> 01:05:37,440
Speaker 1: and go right to vacation in your head? Oh my god,

1044
01:05:37,560 --> 01:05:39,919
Speaker 1: and I'm there. The songs that are on this list

1045
01:05:39,920 --> 01:05:43,040
Speaker 1: are in some way transportive. I think there are not

1046
01:05:43,080 --> 01:05:44,960
Speaker 1: that many songs on this list that take you to

1047
01:05:45,000 --> 01:05:49,520
Speaker 1: a place. Maybe we'll smith me Miami, but Margarita, built

1048
01:05:49,480 --> 01:05:52,600
Speaker 1: by Jimmy Buffett takes you there. And can we talk

1049
01:05:52,600 --> 01:05:56,680
Speaker 1: about being a global brand, honey entrepreneur? He wrote a

1050
01:05:56,720 --> 01:06:00,280
Speaker 1: song and it became a global brand. Where I want

1051
01:06:00,280 --> 01:06:03,680
Speaker 1: to go have a confortter today? Today, I want to

1052
01:06:03,720 --> 01:06:07,280
Speaker 1: have a cheeseburger in Paradise. You can get it today.

1053
01:06:07,720 --> 01:06:11,240
Speaker 1: Hind fifty seven and French fried potatoes. You better know

1054
01:06:11,360 --> 01:06:13,400
Speaker 1: that's going to be on the plate. Nowhere else did

1055
01:06:13,440 --> 01:06:16,720
Speaker 1: they serve Hind fifty seven and French fried potatoes? Wasted

1056
01:06:16,760 --> 01:06:23,640
Speaker 1: away again, Let's go alcoholic rightsholic rights leader of the pack.

1057
01:06:25,880 --> 01:06:28,880
Speaker 1: This is this is just It's a stage play at

1058
01:06:29,920 --> 01:06:32,680
Speaker 1: one of an innovative song in that it starts out

1059
01:06:32,680 --> 01:06:38,680
Speaker 1: with a scene starting multiple people. Yes, well there she

1060
01:06:38,840 --> 01:06:45,360
Speaker 1: is a tasking Betty. Is that Jimmy's bringing your wearing must?

1061
01:06:48,040 --> 01:06:49,680
Speaker 1: Is he coming to? Is it coming to? Is it

1062
01:06:49,680 --> 01:06:54,120
Speaker 1: coming to? Day by way? Waiting? I'm mad, I'm at again?

1063
01:06:56,000 --> 01:06:59,120
Speaker 1: He turned around inside me get the picture yes, we

1064
01:06:59,240 --> 01:07:03,120
Speaker 1: see that we are those two A girl, we are

1065
01:07:03,160 --> 01:07:07,080
Speaker 1: those girls, but we know we're kind of I think

1066
01:07:07,120 --> 01:07:08,520
Speaker 1: you and I are both. I met him at the

1067
01:07:08,560 --> 01:07:13,080
Speaker 1: candy store. I'm at the cast. Remember when Hillary Duff

1068
01:07:13,120 --> 01:07:15,680
Speaker 1: played this girl on American Dreams, the television show No

1069
01:07:16,120 --> 01:07:21,840
Speaker 1: Perfect all right, the next song two Girls Go Bad

1070
01:07:22,360 --> 01:07:27,640
Speaker 1: the starship and Layton mister annoy it sime, Yeah, you're

1071
01:07:27,720 --> 01:07:33,040
Speaker 1: Daddy's little girl. This was peak Layton Mester. And you know,

1072
01:07:33,280 --> 01:07:35,680
Speaker 1: I would say she might have peaked when she's still

1073
01:07:35,680 --> 01:07:39,680
Speaker 1: peeking because she's married to Adam Brody. Huge, huge, hot,

1074
01:07:40,360 --> 01:07:44,520
Speaker 1: What a great couple. I'm really obsessed with that. Imagine

1075
01:07:45,320 --> 01:07:47,320
Speaker 1: being the star of the c and then the star

1076
01:07:47,480 --> 01:07:51,400
Speaker 1: of Gossip Girl, gossip Girl itself and they get together

1077
01:07:51,480 --> 01:07:54,120
Speaker 1: and didn't he also date Rachel Bilson. They did date

1078
01:07:54,160 --> 01:07:55,880
Speaker 1: when when they were shooting. So he sort of has

1079
01:07:55,920 --> 01:07:58,960
Speaker 1: a type which is like Brunette's star of a teen soap.

1080
01:08:00,320 --> 01:08:02,520
Speaker 1: He was. I think he's one of the most He's

1081
01:08:02,520 --> 01:08:04,760
Speaker 1: one of the most attractive people in the world. He's

1082
01:08:04,800 --> 01:08:07,080
Speaker 1: really good. Seth Cohen, I was like, there's no one better.

1083
01:08:07,160 --> 01:08:12,640
Speaker 1: Remember there was? He was the original Internet boyfriend. Seth

1084
01:08:13,000 --> 01:08:15,360
Speaker 1: and also like, how genius to make him like such

1085
01:08:15,360 --> 01:08:18,320
Speaker 1: a fucking freako nerd. And I was like, this guy's

1086
01:08:18,320 --> 01:08:22,719
Speaker 1: a fucking Cretan. And meanwhile he was like, literally, I would,

1087
01:08:22,760 --> 01:08:25,400
Speaker 1: I would, I would like to equal parts sit on

1088
01:08:25,520 --> 01:08:27,519
Speaker 1: his face and he could sit on mine, which I

1089
01:08:27,560 --> 01:08:30,519
Speaker 1: can't say about everyone so pretty and like the episode

1090
01:08:30,520 --> 01:08:33,720
Speaker 1: where he loses his virginity, um to summer, it's like

1091
01:08:33,760 --> 01:08:36,160
Speaker 1: he has like he has a shirt off. But he

1092
01:08:36,360 --> 01:08:38,680
Speaker 1: was like, no, one's looked better. No, he looked so

1093
01:08:38,720 --> 01:08:41,800
Speaker 1: good and also natural because so that was sex. And

1094
01:08:41,840 --> 01:08:44,960
Speaker 1: she goes, yep, oh my god. They were so great together.

1095
01:08:45,000 --> 01:08:48,439
Speaker 1: They were so good to comestract when she would go Cohen, Cohen,

1096
01:08:48,920 --> 01:08:57,880
Speaker 1: remember Samara, And then she ended up being I think

1097
01:08:57,880 --> 01:09:01,000
Speaker 1: she was she at the big event. She might have

1098
01:09:01,000 --> 01:09:03,680
Speaker 1: been at the big events, but she um, I mean

1099
01:09:03,800 --> 01:09:09,200
Speaker 1: her line was confidence Cohen. If you leave that sounded

1100
01:09:09,479 --> 01:09:13,800
Speaker 1: the last confidence that she was so good in that.

1101
01:09:13,840 --> 01:09:15,519
Speaker 1: But if you do go back and watch it, like

1102
01:09:15,640 --> 01:09:18,000
Speaker 1: does not really hold up on a writing, You're like, wait,

1103
01:09:18,000 --> 01:09:21,360
Speaker 1: this is horrible writing. It gives me hope, though you

1104
01:09:21,400 --> 01:09:24,880
Speaker 1: can write a horrible show that lasted impacts that in

1105
01:09:24,880 --> 01:09:39,080
Speaker 1: the hearts thinking about that number Firework by Katy Perry.

1106
01:09:39,920 --> 01:09:44,920
Speaker 1: There's so for you songs that could ever start. I

1107
01:09:44,920 --> 01:09:47,000
Speaker 1: mean talking about first opening lyrics do you ever feel

1108
01:09:47,040 --> 01:09:48,800
Speaker 1: like a Plastic bag? And then it went on to

1109
01:09:48,880 --> 01:09:52,360
Speaker 1: become a hit despite do you ever feel like a

1110
01:09:52,400 --> 01:09:56,160
Speaker 1: plastic bag? Amazing. Okay, we're actually making good time because

1111
01:09:56,160 --> 01:09:59,920
Speaker 1: we're at fifty and we're an hour end. That's perfect,

1112
01:10:00,200 --> 01:10:02,120
Speaker 1: so we have fifty more to go. If we spend

1113
01:10:02,160 --> 01:10:04,759
Speaker 1: another hour to two hour episode of a hundred songs,

1114
01:10:05,240 --> 01:10:08,679
Speaker 1: and if we keep it up, well, let's just keep going.

1115
01:10:08,720 --> 01:10:12,080
Speaker 1: Let's just keep going. Number two hundred drivers License by

1116
01:10:14,040 --> 01:10:18,120
Speaker 1: documented moment and on this podcast of me not knowing

1117
01:10:18,160 --> 01:10:20,479
Speaker 1: this song, you introducing it to me, Me going, who's this?

1118
01:10:20,520 --> 01:10:26,840
Speaker 1: Olivia Rodrigo girl? Weeks later, I stand even more weeks

1119
01:10:26,920 --> 01:10:30,479
Speaker 1: after that, the whole country stand, and then the world

1120
01:10:30,520 --> 01:10:33,240
Speaker 1: because this again is the great global song, is an

1121
01:10:33,240 --> 01:10:44,559
Speaker 1: international galactic even the great tattoo Jan Sparks just lack

1122
01:10:44,640 --> 01:10:52,080
Speaker 1: a tattoo. I always have you really? Kind of that lyric?

1123
01:10:52,200 --> 01:10:56,879
Speaker 1: Is really it just like a tattoo? I always have you? Yeah?

1124
01:10:56,920 --> 01:10:59,679
Speaker 1: You really? I guess it's kind of giving, Stucker, It's giving.

1125
01:11:00,600 --> 01:11:05,680
Speaker 1: It's giving. Girl. Here's a laser treatment. You can go

1126
01:11:05,720 --> 01:11:08,960
Speaker 1: to yeah, hello Hello. It might hurt, but what hurts

1127
01:11:08,960 --> 01:11:11,519
Speaker 1: more the embarrassment you have to carry with you because

1128
01:11:11,520 --> 01:11:15,200
Speaker 1: of that damn tattoo. It's two, so big and colorful.

1129
01:11:15,240 --> 01:11:21,479
Speaker 1: I assume colorful tattoos. Yeah, your name, it depends, okay,

1130
01:11:22,320 --> 01:11:28,200
Speaker 1: Number two for delicious definition make the boys go loc

1131
01:11:31,080 --> 01:11:37,160
Speaker 1: This is an autobiography one hundred percent. And we've said

1132
01:11:37,320 --> 01:11:40,720
Speaker 1: it's a rural culture. That Actually Ashley Simpson's autobiography is

1133
01:11:40,760 --> 01:11:44,120
Speaker 1: the best autobiography, but this is a close second. It's

1134
01:11:44,200 --> 01:11:47,800
Speaker 1: number two. It's number two, and even autobiography isn't even

1135
01:11:47,800 --> 01:11:50,760
Speaker 1: on the list, So it's different strokes. It's different strokes.

1136
01:11:50,800 --> 01:11:54,439
Speaker 1: There are songs from autobiography on the list, that's that's

1137
01:11:54,520 --> 01:12:01,400
Speaker 1: for certain. But for Delicious by Fergy, I it's a

1138
01:12:01,439 --> 01:12:04,320
Speaker 1: crazy song. This this is actually a specific time in

1139
01:12:04,360 --> 01:12:06,840
Speaker 1: the culture when you could write a song like let's

1140
01:12:06,840 --> 01:12:12,560
Speaker 1: say Wind It Up by Gwen Stefani or for Delicious

1141
01:12:12,560 --> 01:12:16,280
Speaker 1: by Fergie London Bridge by Fergie, songs that like had

1142
01:12:17,280 --> 01:12:21,080
Speaker 1: nine different things going on in this like there's this

1143
01:12:21,160 --> 01:12:24,160
Speaker 1: is a crazy it's one of the most insane songs ever.

1144
01:12:24,200 --> 01:12:26,120
Speaker 1: And it starts with that like bee hivel like but

1145
01:12:27,200 --> 01:12:30,720
Speaker 1: and then also FLEs this definition. First of all, there

1146
01:12:30,800 --> 01:12:34,559
Speaker 1: is no definition. It's not and and so so. And

1147
01:12:34,720 --> 01:12:38,360
Speaker 1: what she's saying is that for delicious, by definition, make

1148
01:12:38,439 --> 01:12:41,320
Speaker 1: the boys go loco, which doesn't make sense, like for

1149
01:12:41,520 --> 01:12:45,599
Speaker 1: delicious meaning make the boys logo, Like that's a verb.

1150
01:12:45,760 --> 01:12:51,000
Speaker 1: What did you do last night, delicious? Huh? For delicious,

1151
01:12:51,000 --> 01:12:54,439
Speaker 1: well I went out and for delicious that, oh you

1152
01:12:54,520 --> 01:12:56,760
Speaker 1: made the boys go loco? Well, yeah, that's what it

1153
01:12:56,800 --> 01:13:01,080
Speaker 1: means by definition for delicious definition, And it's one of

1154
01:13:01,080 --> 01:13:03,880
Speaker 1: those grammatical things in a song that like people only

1155
01:13:03,920 --> 01:13:06,200
Speaker 1: focus on concrete jungle over dreams are made of. Oh

1156
01:13:06,280 --> 01:13:09,600
Speaker 1: that doesn't make grammatical sense. No, furgolicious definition make the

1157
01:13:09,720 --> 01:13:13,120
Speaker 1: boys go crazy. They always claim they know me, come

1158
01:13:13,200 --> 01:13:16,240
Speaker 1: to me, But I'm the f to the r G

1159
01:13:16,439 --> 01:13:19,200
Speaker 1: the end can know other Lady put it down like me.

1160
01:13:19,280 --> 01:13:20,880
Speaker 1: Think about how famous you have to be to even

1161
01:13:20,880 --> 01:13:22,720
Speaker 1: put this song out. People have to know who you are.

1162
01:13:22,920 --> 01:13:25,280
Speaker 1: They have to buy into the reality that we as

1163
01:13:25,280 --> 01:13:27,519
Speaker 1: the listening audience, know who Furgi is, so that when

1164
01:13:27,560 --> 01:13:30,720
Speaker 1: she's saying all these things, we sort of understand. We

1165
01:13:30,760 --> 01:13:33,080
Speaker 1: can see it, smell it, taste, to fuck its snort

1166
01:13:33,160 --> 01:13:37,160
Speaker 1: it that her name is Fergi and that and also

1167
01:13:37,520 --> 01:13:41,000
Speaker 1: that people call her Stacy but she's the F to

1168
01:13:41,040 --> 01:13:43,800
Speaker 1: the r G the and cannot the lady put it down?

1169
01:13:43,840 --> 01:13:48,840
Speaker 1: Like U work it, Miss Elliott? Is it worth it?

1170
01:13:49,080 --> 01:13:53,200
Speaker 1: Say yes? This was one of the songs. I think

1171
01:13:53,200 --> 01:13:55,519
Speaker 1: I was like nine years old when this song came

1172
01:13:55,560 --> 01:13:59,719
Speaker 1: out eleven but slamming your bussy to the ground. My

1173
01:14:00,040 --> 01:14:02,439
Speaker 1: mom was in was driving her Toyota c N, a

1174
01:14:02,479 --> 01:14:05,960
Speaker 1: minivan on my way to piano lessons, and the song

1175
01:14:06,000 --> 01:14:12,680
Speaker 1: would come on Kiss FM and like call before you

1176
01:14:12,680 --> 01:14:17,120
Speaker 1: come and need to shave my chat shot. I go, okay,

1177
01:14:17,360 --> 01:14:21,599
Speaker 1: I guess I am an adult now because I am.

1178
01:14:22,120 --> 01:14:24,720
Speaker 1: I want to shave my chot chop before the man

1179
01:14:24,840 --> 01:14:29,519
Speaker 1: comes over. Speaking of the man, number one minute man,

1180
01:14:29,920 --> 01:14:35,480
Speaker 1: Miss Elliott bricked me up. Show me what No one minute?

1181
01:14:37,040 --> 01:14:40,600
Speaker 1: Ms Elliott one of the greatest. You. Everyone needs to

1182
01:14:40,720 --> 01:14:43,200
Speaker 1: if you partake in marijuana, smoke a bowl. Just watch

1183
01:14:43,280 --> 01:14:47,479
Speaker 1: the old the videos, the I can't stand the rain

1184
01:14:47,600 --> 01:14:50,000
Speaker 1: one what what? What? What? Which One's that? What's that

1185
01:14:50,040 --> 01:14:52,320
Speaker 1: one called? It doesn't matter. We're a little we're a

1186
01:14:52,360 --> 01:14:56,200
Speaker 1: little buzzed already drinking Champs tonight, I'm gonna Mick you

1187
01:14:56,320 --> 01:14:59,360
Speaker 1: want me, Mike, you want me, and I'm gonna give

1188
01:14:59,360 --> 01:15:05,960
Speaker 1: you some sent ship. Oh yeah, the rains fly. That's

1189
01:15:05,960 --> 01:15:11,479
Speaker 1: what I meant, okay. Number two Control Elliott. This is

1190
01:15:11,479 --> 01:15:15,120
Speaker 1: one of those songs that could make you snap, like

1191
01:15:15,160 --> 01:15:18,040
Speaker 1: if you hear it, like music makes you lose kids.

1192
01:15:19,160 --> 01:15:21,640
Speaker 1: And then it's just like it's it's like it's like

1193
01:15:21,680 --> 01:15:23,599
Speaker 1: for Delicio at the beginning, where you're just like your

1194
01:15:23,640 --> 01:15:27,200
Speaker 1: brain has no choice, like it has to like four,

1195
01:15:27,720 --> 01:15:30,880
Speaker 1: It's like it's like the equivalent of a strobe light Yes,

1196
01:15:31,080 --> 01:15:36,960
Speaker 1: musically like ultraman like strobe effect gives kids seizures in Japan.

1197
01:15:37,120 --> 01:15:40,439
Speaker 1: You could get a seizure from listening. You could Number

1198
01:15:40,479 --> 01:15:48,120
Speaker 1: two hundred, get your freak on, Mr Elliott, now go,

1199
01:15:50,600 --> 01:15:55,240
Speaker 1: now go. I mean like she fucking hawks the Lugi

1200
01:15:55,320 --> 01:15:57,920
Speaker 1: in this song, and we still said I would like

1201
01:15:57,960 --> 01:15:59,920
Speaker 1: to listen to it again and again and again and again.

1202
01:16:01,800 --> 01:16:03,800
Speaker 1: I just had a visceral response to you doing it

1203
01:16:03,840 --> 01:16:12,439
Speaker 1: because she fucking ghost for it. She really let's keep going.

1204
01:16:12,520 --> 01:16:18,040
Speaker 1: Number two forty one so beautiful, My immortal Evanescence talk

1205
01:16:18,080 --> 01:16:22,880
Speaker 1: about this song, this song like Skyrocket and Evanescence. You know,

1206
01:16:23,000 --> 01:16:26,599
Speaker 1: they're so famous still and they're they're as big as

1207
01:16:26,640 --> 01:16:30,439
Speaker 1: you two. You know, the big cold Play. It's cold Play,

1208
01:16:30,520 --> 01:16:34,439
Speaker 1: you too, Evanescence. These are the big names of now.

1209
01:16:34,880 --> 01:16:36,559
Speaker 1: And it started with of course bring Me to Life,

1210
01:16:36,560 --> 01:16:38,400
Speaker 1: which did not make the list because when they followed

1211
01:16:38,400 --> 01:16:40,680
Speaker 1: it up with My Immortal, that's when you need to

1212
01:16:40,680 --> 01:16:47,479
Speaker 1: ever here, to stay. When you'll cry, I boy your tears,

1213
01:16:48,240 --> 01:17:06,000
Speaker 1: you'll not hold your years, and he'll see me. It's

1214
01:17:06,040 --> 01:17:11,880
Speaker 1: like a hymn, hymn number two hundred and forty Bitty

1215
01:17:11,920 --> 01:17:16,000
Speaker 1: Batty bum Bum Selena, the queen of the Hanno music

1216
01:17:16,880 --> 01:17:21,640
Speaker 1: gone too soon, and she said, Betty bum Bum. The

1217
01:17:21,760 --> 01:17:28,559
Speaker 1: world said absolutely absolutely number two nine. Leave get out Jojo.

1218
01:17:29,320 --> 01:17:32,600
Speaker 1: When she was thirteen years old, she came out and

1219
01:17:32,720 --> 01:17:38,040
Speaker 1: she said, I'm singing this song the house down, Leave

1220
01:17:38,240 --> 01:17:46,599
Speaker 1: gett out now now now you and me now can't

1221
01:17:48,200 --> 01:17:56,760
Speaker 1: for you two big back. Wonder about you said that

1222
01:17:57,040 --> 01:17:59,360
Speaker 1: you would treat me right when you were just a

1223
01:17:59,479 --> 01:18:03,080
Speaker 1: wish waste of time. But this there was something major

1224
01:18:03,120 --> 01:18:06,280
Speaker 1: about Jojo being in at least being class of two

1225
01:18:06,320 --> 01:18:08,960
Speaker 1: thousand and eight in high school, like she was our age.

1226
01:18:09,800 --> 01:18:12,000
Speaker 1: I think she was like the first big pop star

1227
01:18:12,240 --> 01:18:15,080
Speaker 1: that was our Age putting out. I think she was, well,

1228
01:18:15,160 --> 01:18:17,160
Speaker 1: you're famously a little younger than me, but like she

1229
01:18:17,320 --> 01:18:20,160
Speaker 1: was young. I think she's borne. When can we look

1230
01:18:20,160 --> 01:18:22,639
Speaker 1: it up? Really puts her in your sort of purview.

1231
01:18:24,760 --> 01:18:30,120
Speaker 1: She's she's decemb So, she's our Age. She's she's not Taylor,

1232
01:18:30,240 --> 01:18:33,320
Speaker 1: She's she's she's Jojo. I'll never forget sitting in information

1233
01:18:33,400 --> 01:18:36,240
Speaker 1: processing class in ninth grade when she really came out

1234
01:18:36,280 --> 01:18:38,439
Speaker 1: with leave Gut Out. And the senior that I used

1235
01:18:38,439 --> 01:18:40,280
Speaker 1: to sit next to her name was Jasmine, and she

1236
01:18:40,360 --> 01:18:42,160
Speaker 1: turned to me and she said, I can't believe this

1237
01:18:42,240 --> 01:18:46,120
Speaker 1: girl's thirteen, and you're like, I'm thirteen, and I was

1238
01:18:46,200 --> 01:18:49,760
Speaker 1: like I was fourteen. And that's when we started hooking up.

1239
01:18:50,760 --> 01:18:54,840
Speaker 1: You hooked up with the senior. Oh my god, just

1240
01:18:55,040 --> 01:18:57,800
Speaker 1: a little bit better than that song is number two eight.

1241
01:18:58,320 --> 01:19:02,240
Speaker 1: Don't stop believing Arnie. I mean, an amazing sound that

1242
01:19:02,280 --> 01:19:06,240
Speaker 1: has so many lives, so many live journey and then

1243
01:19:06,320 --> 01:19:09,400
Speaker 1: Family Guy brings it back, Glee brings it back. Sopranos,

1244
01:19:09,720 --> 01:19:14,400
Speaker 1: The Sopranos brings it back. Oh my god, stop the

1245
01:19:14,600 --> 01:19:19,960
Speaker 1: end blackout just and when the Glee kids sang this one.

1246
01:19:20,680 --> 01:19:22,360
Speaker 1: You knew the Glee kids were going to be then

1247
01:19:22,439 --> 01:19:26,360
Speaker 1: capable of something like blurred lines or then capable of

1248
01:19:26,479 --> 01:19:30,879
Speaker 1: something like walking on Sunshine mashed up with Halo by Beyonce.

1249
01:19:35,120 --> 01:19:39,480
Speaker 1: You know, Darren Chris would sing Teenage Dreams so beautifully,

1250
01:19:39,520 --> 01:19:41,560
Speaker 1: even though he didn't sing this, He didn't sing in

1251
01:19:41,600 --> 01:19:44,800
Speaker 1: the store, and you know in the story. Don't stop believing.

1252
01:19:44,920 --> 01:19:46,519
Speaker 1: I know what you mean. Don't give me that look

1253
01:19:47,360 --> 01:19:52,360
Speaker 1: you I'm not just respecting Darren Chris as a gay king.

1254
01:19:52,640 --> 01:19:58,880
Speaker 1: He's not even gay. Hey, at number two seven, this

1255
01:19:59,000 --> 01:20:05,400
Speaker 1: one really is fame us single Ladies Famous, Oh do

1256
01:20:05,439 --> 01:20:07,479
Speaker 1: you remember? Do you remember the dance that she used

1257
01:20:07,479 --> 01:20:10,640
Speaker 1: to do? To remember this? Dance like this? Didn't she

1258
01:20:10,680 --> 01:20:13,439
Speaker 1: have two people? Yeah, there was two girls behind her

1259
01:20:13,960 --> 01:20:15,599
Speaker 1: and they were all doing the dance. And I think

1260
01:20:15,640 --> 01:20:18,400
Speaker 1: the dance if we were we're not. But if this

1261
01:20:18,600 --> 01:20:20,840
Speaker 1: was a dance list, I think it might even make

1262
01:20:20,920 --> 01:20:25,280
Speaker 1: the top of the world. It would be Salsa, Ramba,

1263
01:20:25,680 --> 01:20:32,200
Speaker 1: single Ladies, the click, ballet, freestyle, wedding dances, father Daughter,

1264
01:20:33,040 --> 01:20:39,479
Speaker 1: um Cho, smooth Macarena, Soldier Boy, Soldier Boy. Those are

1265
01:20:39,560 --> 01:20:41,000
Speaker 1: those would be the sort of the top ten, but

1266
01:20:41,479 --> 01:20:44,559
Speaker 1: this is not a dance list and the Great Galactic song.

1267
01:20:44,640 --> 01:20:46,839
Speaker 1: This is the Great Galactic song, but it's sort of changing.

1268
01:20:47,600 --> 01:20:52,320
Speaker 1: Um okay, So next up, and speaking of dances number

1269
01:20:52,320 --> 01:20:57,679
Speaker 1: two or thirty six, rio, do you remember the dance

1270
01:20:58,520 --> 01:21:09,720
Speaker 1: I think so red two together? Hey, did you ever

1271
01:21:09,800 --> 01:21:11,920
Speaker 1: get self conscious when you were doing the Maccarina dance

1272
01:21:11,920 --> 01:21:15,280
Speaker 1: about shaking your ass at the end? I always committed,

1273
01:21:15,800 --> 01:21:18,640
Speaker 1: and you know, I would get so shy so that

1274
01:21:18,760 --> 01:21:22,320
Speaker 1: that girl who sings in between the choruses was was

1275
01:21:22,360 --> 01:21:24,960
Speaker 1: telling the story that people don't pay attention to. Yeah

1276
01:21:25,040 --> 01:21:28,000
Speaker 1: no if they weren't, Like she was flirting with a

1277
01:21:28,080 --> 01:21:33,040
Speaker 1: boy named Nicorino in the song yeah Nico no no

1278
01:21:33,120 --> 01:21:39,519
Speaker 1: no no, oh yeah me. Well and then and then

1279
01:21:40,000 --> 01:21:43,160
Speaker 1: like literally one of my first moments in the culture

1280
01:21:43,160 --> 01:21:47,320
Speaker 1: of going now who is she? Yeah right, It was

1281
01:21:47,360 --> 01:21:50,040
Speaker 1: one of the first now who is she? Moments? Can

1282
01:21:50,080 --> 01:21:57,519
Speaker 1: I just say that, Um, this is how the song goes. Wait,

1283
01:21:57,600 --> 01:22:02,240
Speaker 1: that's not how it goes that's this is not the pops,

1284
01:22:02,360 --> 01:22:08,000
Speaker 1: the pop version, oh radio version, No, what the fuck

1285
01:22:08,160 --> 01:22:14,519
Speaker 1: you're here? You go? This is my girl? Oh my god,

1286
01:22:14,640 --> 01:22:23,360
Speaker 1: bo that you're transporting. Oh my god, you're absolutely shaking

1287
01:22:23,400 --> 01:22:26,000
Speaker 1: your ass when this comes on. It's so this was

1288
01:22:26,040 --> 01:22:30,320
Speaker 1: a simpler time. This is the time was so simple.

1289
01:22:30,840 --> 01:22:34,720
Speaker 1: Oh my god, does she start the song? I think so?

1290
01:22:36,920 --> 01:22:43,559
Speaker 1: Oh you oh but he and he's really good going

1291
01:22:43,680 --> 01:23:02,920
Speaker 1: for it. You can hear her grinning, Yeah, you can. Wow,

1292
01:23:04,520 --> 01:23:08,240
Speaker 1: she is And then you said you hear the men

1293
01:23:08,439 --> 01:23:13,800
Speaker 1: sort of saying, hey, ma wow. People don't realize that

1294
01:23:13,880 --> 01:23:18,160
Speaker 1: that's a real storytelling song. Yeah. That she's like the best,

1295
01:23:18,560 --> 01:23:23,120
Speaker 1: the fucking star of the show. Absolutely of the venue.

1296
01:23:23,600 --> 01:23:27,920
Speaker 1: Number two. There are worst things I could do. Stockard Channing.

1297
01:23:29,800 --> 01:23:33,479
Speaker 1: You know, it's interesting that you put Stockard on this

1298
01:23:34,200 --> 01:23:36,599
Speaker 1: because I know I know of one other person who's

1299
01:23:36,600 --> 01:23:39,000
Speaker 1: done a good version of this, The Hudgeons. The Hudgeons well,

1300
01:23:39,080 --> 01:23:43,080
Speaker 1: stay tuned, Stay tuned. Stockard should have been Oscar nominated

1301
01:23:43,160 --> 01:23:47,559
Speaker 1: for this. Absolutely absolutely number two four. Since you've been gone,

1302
01:23:47,880 --> 01:23:53,760
Speaker 1: Kelly Clarkson, this feels low, well, this feels low. Speak

1303
01:23:53,800 --> 01:23:55,960
Speaker 1: on your behalf and I think you agree. I didn't

1304
01:23:56,160 --> 01:23:57,720
Speaker 1: make the list. It wasn't up to me, I know,

1305
01:23:57,960 --> 01:24:00,320
Speaker 1: but I think, but you must have a response to this,

1306
01:24:01,000 --> 01:24:03,680
Speaker 1: or an emotional response to being at two hundred thirty four.

1307
01:24:03,840 --> 01:24:05,400
Speaker 1: Here's what I'll say it's on the list, and so

1308
01:24:05,479 --> 01:24:07,840
Speaker 1: therefore it's like I can only complain so much. I

1309
01:24:07,880 --> 01:24:10,599
Speaker 1: would say that this is a sort of banger forever,

1310
01:24:10,760 --> 01:24:13,360
Speaker 1: and it did sort of kick start the conversation about

1311
01:24:13,479 --> 01:24:17,240
Speaker 1: Max Martin. Okay the first that's not really true though,

1312
01:24:17,240 --> 01:24:20,360
Speaker 1: because I was working at Factory Boys for years Britney spears.

1313
01:24:20,439 --> 01:24:22,240
Speaker 1: But anyway, I know what you mean. What I want

1314
01:24:22,280 --> 01:24:24,200
Speaker 1: to say is that since You've been gone made Max

1315
01:24:24,280 --> 01:24:27,639
Speaker 1: Martin Okay, okay, number two D thirty three a better

1316
01:24:27,720 --> 01:24:30,639
Speaker 1: song woman since You've been gone. The Electric Slide. Disc

1317
01:24:30,760 --> 01:24:36,120
Speaker 1: jockeys at block parties bought Mitzvah's Sweet sixteen's graduation parties.

1318
01:24:36,439 --> 01:24:39,400
Speaker 1: You hear the Electric Slide and you're expected to know

1319
01:24:39,600 --> 01:24:44,400
Speaker 1: it and you're expected to sort of dance to it

1320
01:24:44,600 --> 01:24:46,439
Speaker 1: the same way that like, do they do it? Don't

1321
01:24:46,439 --> 01:24:49,200
Speaker 1: the dance student thirteen going on thirty? I think they

1322
01:24:49,320 --> 01:24:52,559
Speaker 1: do Thriller? Well, I think before Thriller at some point

1323
01:24:52,600 --> 01:24:55,120
Speaker 1: they do not on the list. Nonetheless they do the

1324
01:24:55,160 --> 01:24:58,360
Speaker 1: Electric Slide. May maybe not. No, I'm getting it wrong.

1325
01:24:58,479 --> 01:25:00,640
Speaker 1: Do you if you if if it came on right now,

1326
01:25:00,720 --> 01:25:04,280
Speaker 1: could you do it? Well? I don't really remember it

1327
01:25:05,560 --> 01:25:10,640
Speaker 1: anything electrics like you go you go do do do

1328
01:25:11,160 --> 01:25:13,400
Speaker 1: Do Do Do Do Do Do Do Do Do Do

1329
01:25:14,640 --> 01:25:17,640
Speaker 1: Do Do Do Do do do do do do I

1330
01:25:17,720 --> 01:25:22,360
Speaker 1: guess I could sort of fake it can see it's electric. Wow,

1331
01:25:22,400 --> 01:25:24,240
Speaker 1: this is one of the best songs ever. It's on

1332
01:25:24,280 --> 01:25:31,000
Speaker 1: the list. Yeah, okay. Number Frosty the Snowman Apple our

1333
01:25:31,040 --> 01:25:36,400
Speaker 1: first Christmas song, and Fiona Apple has her own amazing

1334
01:25:36,479 --> 01:25:39,799
Speaker 1: original songs, but she chose to cover Frosty the Snowman

1335
01:25:40,680 --> 01:25:42,880
Speaker 1: and that was the most impactful song in her career.

1336
01:25:43,120 --> 01:25:45,920
Speaker 1: I think that she she knows what's going to move people,

1337
01:25:46,479 --> 01:25:49,679
Speaker 1: and it's Frosty. Yeah, and I don't. I never thought

1338
01:25:49,720 --> 01:25:53,439
Speaker 1: of Frosty as being like angsty until now. Well, the

1339
01:25:53,640 --> 01:25:57,439
Speaker 1: story is angsty. He melts, he goes away, he dies,

1340
01:25:57,600 --> 01:26:02,360
Speaker 1: he dies, he gets Frosty dies, and he like carrals

1341
01:26:02,479 --> 01:26:06,560
Speaker 1: the child, He like manipulates the children like Frosty is not.

1342
01:26:06,880 --> 01:26:10,160
Speaker 1: Frosty was a sick pedophile and that's what Fiona is

1343
01:26:10,200 --> 01:26:14,000
Speaker 1: good about writing about is good with is good writing

1344
01:26:14,120 --> 01:26:19,720
Speaker 1: about men who manipulate predators, predators. Frosty the Snowman was

1345
01:26:19,760 --> 01:26:28,920
Speaker 1: a predator. Rot ro number slide chat chat. Now, y'all

1346
01:26:29,240 --> 01:26:31,000
Speaker 1: this is another one I would get self conscious about

1347
01:26:31,000 --> 01:26:32,880
Speaker 1: at the chi because they when they say cha, you

1348
01:26:32,920 --> 01:26:36,120
Speaker 1: sort of have to like shake a little ass. I

1349
01:26:36,160 --> 01:26:37,960
Speaker 1: guess I just wasn't in my body as much as

1350
01:26:38,040 --> 01:26:41,640
Speaker 1: you were as a child. Oh I I mean you

1351
01:26:41,680 --> 01:26:44,800
Speaker 1: didn't do the thing like you know a middle school

1352
01:26:44,880 --> 01:26:46,680
Speaker 1: dance where you're grinding. I mean that we we we

1353
01:26:46,880 --> 01:26:49,799
Speaker 1: were dancing in the age of the grind. We definitely

1354
01:26:49,960 --> 01:26:52,880
Speaker 1: came of age in the time of grind um. But

1355
01:26:53,000 --> 01:26:55,240
Speaker 1: I wasn't grinding to chat child, real smooth. No, but

1356
01:26:55,280 --> 01:26:57,320
Speaker 1: I'm saying like you weren't comfortable in your body while

1357
01:26:57,479 --> 01:27:00,559
Speaker 1: like chocha slide would play like after Yeah by Usser,

1358
01:27:01,439 --> 01:27:04,880
Speaker 1: remember get low by little John, Oh my god, to

1359
01:27:05,040 --> 01:27:10,000
Speaker 1: the windows, to the wow, to the sweat drop down.

1360
01:27:10,920 --> 01:27:18,920
Speaker 1: Men are so disgusting, Little John Frosty. It's insane. Let's

1361
01:27:19,000 --> 01:27:24,439
Speaker 1: move away from men. Number it's raining man the weather.

1362
01:27:24,560 --> 01:27:28,120
Speaker 1: Girls couldn't I guess we couldn't escape from this? Is

1363
01:27:28,320 --> 01:27:30,519
Speaker 1: this is this is a song that he is really beautiful.

1364
01:27:30,520 --> 01:27:33,680
Speaker 1: I mean, and could you imagine it's raining men? Well,

1365
01:27:33,800 --> 01:27:37,120
Speaker 1: first of all, like practically this would be a lot

1366
01:27:37,160 --> 01:27:42,920
Speaker 1: of thinking about the men. What are they thinking? Oh

1367
01:27:43,040 --> 01:27:46,240
Speaker 1: my God, I'm falling down. You know what? This is

1368
01:27:46,479 --> 01:27:48,960
Speaker 1: iconically like sort of like disposable men, you know what

1369
01:27:49,040 --> 01:27:51,280
Speaker 1: I mean? Like it's raining then like whatever, who cares?

1370
01:27:51,800 --> 01:27:54,519
Speaker 1: But you know what I love about this song when

1371
01:27:54,560 --> 01:27:57,040
Speaker 1: it starts and she goes hi and the other one

1372
01:27:57,120 --> 01:28:03,439
Speaker 1: goes hi. Way, y'all were and have we got news

1373
01:28:03,920 --> 01:28:08,679
Speaker 1: for you? Better listen? Just the levels there, you could

1374
01:28:08,680 --> 01:28:11,640
Speaker 1: tell it was different people and also the choice to

1375
01:28:11,760 --> 01:28:14,880
Speaker 1: do to save these lines like this get ready, are

1376
01:28:14,960 --> 01:28:18,960
Speaker 1: your lovely girls? And leave those umbrellas at all? It

1377
01:28:19,120 --> 01:28:22,800
Speaker 1: just keeps getting higher and bigger and build to build.

1378
01:28:22,840 --> 01:28:26,360
Speaker 1: They and they started at a ten Hi Hi. What

1379
01:28:26,400 --> 01:28:27,560
Speaker 1: do you think they end up? What number do you

1380
01:28:27,600 --> 01:28:33,280
Speaker 1: think they end up at? Absolutely way off the charts number?

1381
01:28:34,840 --> 01:28:38,479
Speaker 1: Where are Your Christmas? Taylor Momson and Faith Hill We

1382
01:28:38,600 --> 01:28:41,519
Speaker 1: have the film version and the sort of pop radio version,

1383
01:28:42,200 --> 01:28:45,000
Speaker 1: both equally valid. It would be a tie if it

1384
01:28:45,040 --> 01:28:48,000
Speaker 1: weren't for the fact that they're basically the same song. Now,

1385
01:28:48,120 --> 01:28:52,240
Speaker 1: what do you think this question is asking she can't

1386
01:28:52,280 --> 01:28:56,599
Speaker 1: find Christmas? And she's asked it's like very Judy Bloom.

1387
01:28:56,720 --> 01:29:00,599
Speaker 1: It's like, are you there, God, where are you Christmas? Yeah,

1388
01:29:01,080 --> 01:29:03,479
Speaker 1: it's really a song about maturation. I think it's not

1389
01:29:03,640 --> 01:29:06,080
Speaker 1: just fear about losing Christmas. It's I think a fear

1390
01:29:06,120 --> 01:29:08,760
Speaker 1: of what am I going to become as I get older,

1391
01:29:08,840 --> 01:29:11,439
Speaker 1: as I'm exposed to more truths, as i move forward

1392
01:29:11,479 --> 01:29:14,600
Speaker 1: in my life Me Cindy lu Who What's going to

1393
01:29:14,720 --> 01:29:17,280
Speaker 1: become of me as I stepped forward into adulthood? If

1394
01:29:17,360 --> 01:29:20,840
Speaker 1: Christmas changes, does that mean I'm going to change as well?

1395
01:29:21,000 --> 01:29:23,759
Speaker 1: And what will I become as I become an adult?

1396
01:29:23,840 --> 01:29:26,439
Speaker 1: This song is deeper than it's being given credit for it.

1397
01:29:26,439 --> 01:29:30,840
Speaker 1: And it was written by Maria Carrey. There is no

1398
01:29:31,120 --> 01:29:34,120
Speaker 1: song quite like this in the Christmas cannon, and it

1399
01:29:34,240 --> 01:29:36,439
Speaker 1: made the list, and it made the last number two

1400
01:29:37,760 --> 01:29:43,920
Speaker 1: corn Natalie, and I mean this bitch wore a fucking

1401
01:29:44,240 --> 01:29:47,240
Speaker 1: zip up hoodie, a sweater or whatever the hell, and

1402
01:29:47,400 --> 01:29:50,479
Speaker 1: she made into a moment she gave, she gave when

1403
01:29:50,520 --> 01:29:54,519
Speaker 1: she was like when she goes and it goes, and

1404
01:29:54,640 --> 01:29:58,360
Speaker 1: she's like spins around that iconic thing that years ago.

1405
01:29:58,439 --> 01:30:00,640
Speaker 1: I tried to write a sketch wou it was like,

1406
01:30:00,800 --> 01:30:02,600
Speaker 1: I don't know what it was, but I think it

1407
01:30:02,600 --> 01:30:05,240
Speaker 1: was just people hanging out and the people would just

1408
01:30:05,280 --> 01:30:07,840
Speaker 1: go do the dance. I think no one got it

1409
01:30:07,920 --> 01:30:10,360
Speaker 1: and it did not make it into the show. That's okay.

1410
01:30:10,560 --> 01:30:11,800
Speaker 1: But you can use the for us to know if

1411
01:30:11,840 --> 01:30:13,080
Speaker 1: you want. I'll use it for us to know. I'll

1412
01:30:13,120 --> 01:30:15,800
Speaker 1: try to find it. I thought I saw a man

1413
01:30:15,960 --> 01:30:19,960
Speaker 1: brought to life. He was warm, he came around, and

1414
01:30:20,080 --> 01:30:23,880
Speaker 1: he was dignified, showing me what it was to cry.

1415
01:30:25,080 --> 01:30:29,280
Speaker 1: But she couldn't be then, man, I don't You don't

1416
01:30:29,320 --> 01:30:34,519
Speaker 1: seem to know, seem to care. What's your heart is for? Well,

1417
01:30:34,600 --> 01:30:38,240
Speaker 1: I don't know him anymore. There's nothing where he used

1418
01:30:38,280 --> 01:30:42,960
Speaker 1: to lie. Inspiration has gone dry. That's what's going on.

1419
01:30:44,280 --> 01:30:48,600
Speaker 1: Nothing's right out time. I'm about out of faith. This

1420
01:30:48,960 --> 01:30:52,800
Speaker 1: is how fel I'm called the nye am shame lying

1421
01:30:52,920 --> 01:30:58,280
Speaker 1: naked on the floor. Lusion never changed and do something real.

1422
01:30:59,000 --> 01:31:02,000
Speaker 1: I'm wide away and I can see the perfect sky

1423
01:31:02,120 --> 01:31:12,280
Speaker 1: is tie. You're I'm already turne turn amazing. It's so good,

1424
01:31:12,560 --> 01:31:16,479
Speaker 1: it's amazing, Oh my god. Then the lyrics are like

1425
01:31:16,600 --> 01:31:20,960
Speaker 1: low key amazing, like you're thinking about it. Illusion never

1426
01:31:21,120 --> 01:31:24,519
Speaker 1: changed into something real. I'm why the waken. I can

1427
01:31:24,560 --> 01:31:28,200
Speaker 1: see the perfect sky is torn? What the fuck? I

1428
01:31:28,280 --> 01:31:30,639
Speaker 1: remember just being scandalized by lying naked on the floor.

1429
01:31:30,680 --> 01:31:35,160
Speaker 1: It was like naked on the floor. How many times

1430
01:31:35,200 --> 01:31:36,840
Speaker 1: have you been lying? How many times in your life

1431
01:31:36,840 --> 01:31:39,320
Speaker 1: have you lined naked on the floor? Not that many.

1432
01:31:39,520 --> 01:31:41,600
Speaker 1: Now I don't really like naked on the floor. I

1433
01:31:41,720 --> 01:31:44,840
Speaker 1: light naked in the bed. I like naked in the couch.

1434
01:31:45,160 --> 01:31:47,759
Speaker 1: I I yeah, all the time. I walk around naked often.

1435
01:31:48,479 --> 01:31:52,080
Speaker 1: But on the floor, you are at your lowest. Now

1436
01:31:52,120 --> 01:31:55,680
Speaker 1: the floor is filthy. But you and why you had

1437
01:31:55,720 --> 01:31:57,840
Speaker 1: to get naked before you ended up on the floor.

1438
01:31:57,960 --> 01:32:10,439
Speaker 1: You can't get lower than the floor. Number two, just

1439
01:32:10,640 --> 01:32:16,519
Speaker 1: a little bit, a little bit more mm hmm. Number

1440
01:32:16,560 --> 01:32:23,880
Speaker 1: two creep. Famously, Katrina Rogers is famous favorite song of

1441
01:32:23,960 --> 01:32:27,240
Speaker 1: all time. There was a time when she would call

1442
01:32:27,400 --> 01:32:30,240
Speaker 1: this her favorite song, which is so funny to me

1443
01:32:31,280 --> 01:32:35,720
Speaker 1: and knowing what this is about, so creep. Yeah, just

1444
01:32:36,000 --> 01:32:40,280
Speaker 1: keep it on the download. It's about cheating. If Katrina

1445
01:32:40,320 --> 01:32:42,880
Speaker 1: loves it, it's like it's like my dad real and

1446
01:32:42,960 --> 01:32:45,760
Speaker 1: loving believe by share Maybe on the list we'll see

1447
01:32:46,200 --> 01:32:51,920
Speaker 1: say anyway, that almost for you, Katrina two Vita Loca

1448
01:32:52,240 --> 01:32:58,000
Speaker 1: Ricky Martina Rights. This is a song about a gay

1449
01:32:58,040 --> 01:33:03,080
Speaker 1: man worshiping a woman. Yeah, she is also to sing

1450
01:33:03,160 --> 01:33:07,400
Speaker 1: it like that black cats, and it's like almost not singing.

1451
01:33:07,439 --> 01:33:12,519
Speaker 1: It's sort of like it's Bob Dylan. Yeah, Ricky Martin,

1452
01:33:12,600 --> 01:33:15,000
Speaker 1: this isle is a Bob Dylan song, and that's a rule.

1453
01:33:15,080 --> 01:33:21,599
Speaker 1: Culture Culture. Number twenty four is a Bob Dylan song.

1454
01:33:22,560 --> 01:33:30,759
Speaker 1: That Cat's gonna make Me fun. That girl to consider

1455
01:33:30,920 --> 01:33:35,519
Speaker 1: covering the song before he perishing, croaks, croaks, Hey, it's

1456
01:33:35,600 --> 01:33:46,479
Speaker 1: do the next one. Number two intuition from oh three

1457
01:33:46,520 --> 01:33:51,559
Speaker 1: oh four her pop horror moment, And unfortunately Jewel has

1458
01:33:51,600 --> 01:33:55,080
Speaker 1: sort of politically been troublesome lately, has she. She's very

1459
01:33:56,120 --> 01:34:03,599
Speaker 1: she loves, she loves one Joe Rogan, Yeah, she loves.

1460
01:34:03,640 --> 01:34:07,920
Speaker 1: She's from Alaska, girl, I don't know what that means.

1461
01:34:09,200 --> 01:34:12,840
Speaker 1: Are very contrivutive, We're gonna we're gonna cut that, okay,

1462
01:34:12,920 --> 01:34:22,000
Speaker 1: intuition probably all hartre here Sean, what is that in direction?

1463
01:34:23,920 --> 01:34:27,320
Speaker 1: What a weird singer, crazy singer. But we love her

1464
01:34:27,840 --> 01:34:32,200
Speaker 1: and she appears on the list numerous more times. Number

1465
01:34:32,240 --> 01:34:37,240
Speaker 1: two twenty three Cottony Joe Rednecks the band not necessarily

1466
01:34:37,400 --> 01:34:41,760
Speaker 1: the people. Sure Rednecks like the song contnight Joe. I

1467
01:34:42,000 --> 01:34:44,840
Speaker 1: used to love this song. Remember this song, Cotton it

1468
01:34:44,920 --> 01:34:46,840
Speaker 1: was there's a time when Cotton Eye Joe and like

1469
01:34:47,760 --> 01:34:53,960
Speaker 1: the fucking Hamster song. Cotton Joe was always my favorite

1470
01:34:54,040 --> 01:34:56,559
Speaker 1: song at like one of these types of events where

1471
01:34:56,640 --> 01:34:59,519
Speaker 1: these songs would be because and do you know Cotton

1472
01:34:59,560 --> 01:35:01,720
Speaker 1: I Joe? Do you know the dance? I don't know

1473
01:35:01,800 --> 01:35:04,040
Speaker 1: the dance? Would you like to see? Yes? Okay, Matt,

1474
01:35:04,040 --> 01:35:08,840
Speaker 1: it's taking off the headphones. It goes like this, well, man,

1475
01:35:09,040 --> 01:35:12,040
Speaker 1: go Nando. I've been married a long time ago to

1476
01:35:12,080 --> 01:35:15,639
Speaker 1: come from it and to go to come from Nando. Oh.

1477
01:35:18,360 --> 01:35:20,360
Speaker 1: So it's like honestly in my bones, like in my

1478
01:35:20,479 --> 01:35:23,680
Speaker 1: body for yeah. But you saw and watching me do

1479
01:35:23,760 --> 01:35:25,240
Speaker 1: the dance, you thought it was fun, right, it was?

1480
01:35:25,360 --> 01:35:28,040
Speaker 1: It looked so fun. I was. I was. I was

1481
01:35:28,160 --> 01:35:32,000
Speaker 1: square dancing with the guys and girls. Yeah, yeah, yeah,

1482
01:35:32,040 --> 01:35:34,000
Speaker 1: I love it and it really gets everyone onto the floor.

1483
01:35:34,080 --> 01:35:36,360
Speaker 1: And also it's it's like it's better than the Electric

1484
01:35:36,400 --> 01:35:38,760
Speaker 1: Slide in Marcarina because when you get it right, it

1485
01:35:38,800 --> 01:35:41,080
Speaker 1: feels like you actually challenge yourself via have you dance?

1486
01:35:41,240 --> 01:35:42,920
Speaker 1: This is the thing though, and this is part of

1487
01:35:42,960 --> 01:35:46,240
Speaker 1: why Marcarina and Chaa Slide and Earn the Electric Slide

1488
01:35:46,640 --> 01:35:51,200
Speaker 1: took office because they're slow. Right, it's boom boom boom boom.

1489
01:35:51,479 --> 01:35:53,519
Speaker 1: Cone Joe is but that, but that, but that, but

1490
01:35:54,040 --> 01:35:57,320
Speaker 1: it's it's just that, like the BPM is a little

1491
01:35:57,360 --> 01:36:01,439
Speaker 1: bit more engaging. It's it's a it gets your heart

1492
01:36:01,520 --> 01:36:05,560
Speaker 1: rate up. It actually predated Berries, predated Cottony Joe was

1493
01:36:05,600 --> 01:36:07,760
Speaker 1: the original Berries. And that's a real culture. Number one

1494
01:36:07,840 --> 01:36:12,200
Speaker 1: Hunt Cottony was the original Berries. Just even doing Cottony Joel,

1495
01:36:12,280 --> 01:36:14,759
Speaker 1: you get the same workout that you would add Berries.

1496
01:36:15,040 --> 01:36:17,400
Speaker 1: You just burned a thousand calories. Shout out to Ian,

1497
01:36:17,600 --> 01:36:21,679
Speaker 1: Shout out to Ian mcganrew Um, Okay, number two. Number

1498
01:36:21,680 --> 01:36:26,559
Speaker 1: talk about another fast paced song, be My Lover Love Bush.

1499
01:36:27,240 --> 01:36:29,840
Speaker 1: We did a performance of this when we hosted our

1500
01:36:29,880 --> 01:36:33,800
Speaker 1: show The List at the Public Hotel. Um. That was

1501
01:36:34,000 --> 01:36:35,880
Speaker 1: a great performance. I wish we still had it, I

1502
01:36:36,080 --> 01:36:39,439
Speaker 1: know where, I don't know. We never filmed anything we did.

1503
01:36:39,600 --> 01:36:42,080
Speaker 1: I know we sept popular, let except popular let But

1504
01:36:42,200 --> 01:36:45,240
Speaker 1: this song, I mean like and just a great I

1505
01:36:45,400 --> 01:36:47,920
Speaker 1: like quintessentially this and like show Me Love by Robin

1506
01:36:48,120 --> 01:36:51,439
Speaker 1: s like might be on the List, like quintessential, like pop,

1507
01:36:51,640 --> 01:36:57,440
Speaker 1: huge pop house, nineties house moments brought it into the mainstream,

1508
01:36:57,520 --> 01:37:02,400
Speaker 1: and this song just like the the vocal the vocal

1509
01:37:02,640 --> 01:37:07,639
Speaker 1: who at all the time you want? If you want

1510
01:37:07,680 --> 01:37:12,519
Speaker 1: to be my love, I wanna beat my lava. No,

1511
01:37:14,120 --> 01:37:18,559
Speaker 1: you got You know what I love about this vocal

1512
01:37:18,680 --> 01:37:21,240
Speaker 1: is it's full thrownd Yes. They said, hey girl, you

1513
01:37:21,240 --> 01:37:22,760
Speaker 1: don't know. You don't have to do all that, And

1514
01:37:22,840 --> 01:37:25,000
Speaker 1: she said, you don't know what. I don't know what

1515
01:37:25,080 --> 01:37:27,759
Speaker 1: I have to do. I'm a la bush la bush

1516
01:37:28,400 --> 01:37:31,280
Speaker 1: the mouth the mouth is that what that means? What

1517
01:37:32,040 --> 01:37:37,479
Speaker 1: la boca? Oh my god that French laboush is the

1518
01:37:37,560 --> 01:37:41,519
Speaker 1: mouth in French. Someone's opening a door. Oh my god.

1519
01:37:41,560 --> 01:37:45,599
Speaker 1: We have our first guest. Yeah, first Cup game, come

1520
01:37:45,640 --> 01:37:47,880
Speaker 1: on good? Oh my god, oh my god. We have

1521
01:37:47,960 --> 01:37:50,200
Speaker 1: our first special guest here to help us with the

1522
01:37:50,280 --> 01:37:54,200
Speaker 1: top three with the Great Global Songbook Introduce Yourself Now

1523
01:37:54,920 --> 01:38:00,680
Speaker 1: credit titled yes that's working now, Greta, You've come in

1524
01:38:00,720 --> 01:38:03,560
Speaker 1: an amazing time. We are at number two two on

1525
01:38:03,640 --> 01:38:10,280
Speaker 1: the list. It was be my Lover by love anything

1526
01:38:10,880 --> 01:38:15,760
Speaker 1: anything you want to say about this song. I don't

1527
01:38:15,760 --> 01:38:19,040
Speaker 1: want to say thank you for wearing the jest for

1528
01:38:19,160 --> 01:38:22,360
Speaker 1: my boys today, I mean every day. But I was

1529
01:38:22,400 --> 01:38:24,120
Speaker 1: going to a little sweitch around to go to the gym,

1530
01:38:24,200 --> 01:38:26,240
Speaker 1: and I said it has to be a less culture.

1531
01:38:27,439 --> 01:38:29,599
Speaker 1: So are you are you stopping here on your way

1532
01:38:29,600 --> 01:38:31,519
Speaker 1: to the gym? I'm stopping here on my way to

1533
01:38:31,560 --> 01:38:34,799
Speaker 1: the gym, so sort of endorphans before the endorphants exactly.

1534
01:38:35,400 --> 01:38:38,960
Speaker 1: We're so thrilled to see a shocking honor to be

1535
01:38:39,080 --> 01:38:42,160
Speaker 1: on the three hundredth episode. Well in your family or

1536
01:38:42,160 --> 01:38:45,759
Speaker 1: your family and you need a mimosa. You can't possibly

1537
01:38:45,800 --> 01:38:48,160
Speaker 1: because you can't possibly because I'm gonna go and bust

1538
01:38:48,240 --> 01:38:51,320
Speaker 1: my ass on the stair mask because tonight I do

1539
01:38:51,479 --> 01:38:53,840
Speaker 1: believe and hope that we are all eating fajita. Yes,

1540
01:38:54,320 --> 01:39:01,800
Speaker 1: we're having a little birthday to me. Now, I'm really

1541
01:39:01,880 --> 01:39:05,040
Speaker 1: excited that that you are gonna be here for this

1542
01:39:05,200 --> 01:39:07,320
Speaker 1: next one because bow and by the way, let's just

1543
01:39:07,479 --> 01:39:10,040
Speaker 1: I'm cutting this out. I see that is also Frosty

1544
01:39:10,080 --> 01:39:13,240
Speaker 1: the Snowman. Oh Ship. Okay, so it should be what

1545
01:39:13,280 --> 01:39:15,679
Speaker 1: do you want to replace that with? Um, we're actually

1546
01:39:15,720 --> 01:39:18,160
Speaker 1: gonna it's gonna be iconic because we're gonna have gratitudes.

1547
01:39:18,479 --> 01:39:20,000
Speaker 1: What is the song that should be on the top

1548
01:39:20,080 --> 01:39:23,519
Speaker 1: three hundred that should be here? Um, no doubt, it

1549
01:39:23,560 --> 01:39:28,000
Speaker 1: should be Natalie and Bruglia line Naked Trusted It. You

1550
01:39:28,040 --> 01:39:29,920
Speaker 1: know what else. It should be. It should be um,

1551
01:39:31,120 --> 01:39:33,479
Speaker 1: it should be it should be liquid Dream, Liquid Dream,

1552
01:39:33,920 --> 01:39:36,639
Speaker 1: liquid dream by Okay, okay, perfect, all right, but that's

1553
01:39:36,640 --> 01:39:44,519
Speaker 1: not yet. The number two is push It sep iconic song, now,

1554
01:39:44,680 --> 01:39:52,160
Speaker 1: push It, et cetera. Oh baby, baby, baby baby, get

1555
01:39:52,280 --> 01:39:59,240
Speaker 1: up on this probably the most like performed song in cinema.

1556
01:39:59,439 --> 01:40:03,000
Speaker 1: One might very not only do we get the song,

1557
01:40:03,040 --> 01:40:05,560
Speaker 1: you has to get dance, dance and the thing is

1558
01:40:05,840 --> 01:40:07,719
Speaker 1: this song. Let's just put it out there on the table.

1559
01:40:08,000 --> 01:40:10,600
Speaker 1: It makes you want to fuck and get down and

1560
01:40:10,680 --> 01:40:17,800
Speaker 1: have sex, you know if that beat that he and

1561
01:40:19,360 --> 01:40:25,479
Speaker 1: you push it by night sweat Come girls? What was?

1562
01:40:25,640 --> 01:40:27,519
Speaker 1: What is the movie I'm thinking of where that is

1563
01:40:27,720 --> 01:40:31,200
Speaker 1: like the friendship thing between that Is it sweetest thing?

1564
01:40:31,960 --> 01:40:34,640
Speaker 1: I don't know, but it's like their thing where they

1565
01:40:34,880 --> 01:40:37,120
Speaker 1: meet up and they do it out like a sleep overnight.

1566
01:40:38,000 --> 01:40:41,120
Speaker 1: Oh my god, I'm seeing like I think it's sweetest thing.

1567
01:40:41,400 --> 01:40:46,360
Speaker 1: Push It, Push it movie in a movie, friends, push

1568
01:40:46,439 --> 01:40:52,840
Speaker 1: it in a movie. Something Borrowed, Something borrowed, borrowed, and

1569
01:40:53,240 --> 01:40:55,720
Speaker 1: first of the films Something Borrowed to take real estate

1570
01:40:55,840 --> 01:40:59,960
Speaker 1: on our top three is absolutely perfect. Perfect Something World

1571
01:41:00,000 --> 01:41:01,439
Speaker 1: one of those movies that had a good trailer and

1572
01:41:01,479 --> 01:41:04,040
Speaker 1: then was not good. Now two twenty we had a

1573
01:41:04,120 --> 01:41:06,880
Speaker 1: repeat of a prior song, so we did ask Gretta

1574
01:41:06,960 --> 01:41:10,240
Speaker 1: to give us her contribution to this and I'm thrilled.

1575
01:41:10,320 --> 01:41:15,920
Speaker 1: I'm thrilled. It's the perfect liquid Dream. Yes, Ashley Parker

1576
01:41:15,960 --> 01:41:20,040
Speaker 1: angel everyone yea remember him. They were all really attractive.

1577
01:41:20,200 --> 01:41:23,720
Speaker 1: We were all really attractive, and not only did they

1578
01:41:23,800 --> 01:41:30,479
Speaker 1: offer liquid Dream, but also is it all Let's talk

1579
01:41:30,560 --> 01:41:35,200
Speaker 1: about the lyrics of liquid Dream, then painting the perfect woman.

1580
01:41:36,920 --> 01:41:42,080
Speaker 1: She's got a body like Jennifer, Right, I do about

1581
01:41:42,080 --> 01:41:44,240
Speaker 1: a girl who's a mix of Destiny's Child. There we

1582
01:41:44,280 --> 01:41:49,479
Speaker 1: go with a little touch of Madonna's with Janet Jackson's

1583
01:41:50,479 --> 01:41:53,519
Speaker 1: throwing a body like Jennifer. You got the star of

1584
01:41:53,640 --> 01:41:57,600
Speaker 1: my liquid Dream, which is about coming. Yes, and like

1585
01:41:57,760 --> 01:42:00,639
Speaker 1: I knew that at the time. Also the line, she's

1586
01:42:00,720 --> 01:42:06,320
Speaker 1: a morph a morphraudic dream from a magazine. Now this

1587
01:42:06,760 --> 01:42:10,720
Speaker 1: hot girl, she's not your average girl, she's a mad

1588
01:42:11,000 --> 01:42:15,679
Speaker 1: dream from a magazine. Well, she's so fine day designed

1589
01:42:15,720 --> 01:42:22,160
Speaker 1: to blow your mind. She's a dominator, supermodel, beauty Queen's dominator,

1590
01:42:22,280 --> 01:42:28,080
Speaker 1: supermodel beauty Angelina Jolie's lips to kiss in the dark

1591
01:42:28,360 --> 01:42:32,320
Speaker 1: underneath Cindy C's beauty mark. When it comes to the test,

1592
01:42:33,000 --> 01:42:37,599
Speaker 1: she's Tyras the best and Selmahiac brings the rest. These

1593
01:42:37,680 --> 01:42:41,080
Speaker 1: men are gay, These are game man, these are gay.

1594
01:42:42,560 --> 01:42:45,800
Speaker 1: Liquid Dream says them standing and they're talking. The Liquid

1595
01:42:45,880 --> 01:42:48,240
Speaker 1: Dream was them having a martini with them. I've ever

1596
01:42:48,320 --> 01:42:52,200
Speaker 1: been hearing Liquid Dream play blast in the clubs this pride.

1597
01:42:54,200 --> 01:42:57,240
Speaker 1: You will appreciate this, both of you will. It's just

1598
01:42:57,479 --> 01:42:59,400
Speaker 1: unlocked memory for me. The first time I went to

1599
01:42:59,479 --> 01:43:03,200
Speaker 1: Universal Videos Hollywood, the first time it was in l A.

1600
01:43:03,520 --> 01:43:05,880
Speaker 1: Don't tell me were it? Well? Know that album had

1601
01:43:05,920 --> 01:43:09,280
Speaker 1: just come out, and that album that my sister bought

1602
01:43:09,479 --> 01:43:12,960
Speaker 1: was in my disc man that entire time. We were

1603
01:43:12,960 --> 01:43:15,759
Speaker 1: in Los Angeles and I just we played. I played

1604
01:43:15,800 --> 01:43:18,800
Speaker 1: that album start to finish, over and over and over again.

1605
01:43:19,120 --> 01:43:22,519
Speaker 1: Was Oh Town a Pearlman creation they were making the band.

1606
01:43:23,960 --> 01:43:28,200
Speaker 1: Watched them come together, we did did and they really

1607
01:43:28,240 --> 01:43:30,439
Speaker 1: were like they were a group of like horny looking guys.

1608
01:43:30,760 --> 01:43:33,040
Speaker 1: Really I wonder how much of them were gay? There

1609
01:43:33,120 --> 01:43:35,519
Speaker 1: was four, right, it was four, I think it was four.

1610
01:43:36,000 --> 01:43:38,880
Speaker 1: Ashley Parker angel as he well he just looks gay.

1611
01:43:39,280 --> 01:43:41,160
Speaker 1: I think, Am I making this up? But was Ashley

1612
01:43:41,200 --> 01:43:46,920
Speaker 1: Parker Angel in a relationship with Ashley Simpson. Spiritually that

1613
01:43:47,080 --> 01:43:50,040
Speaker 1: feels right, but of course Ashley Simpson I con dated

1614
01:43:50,120 --> 01:43:54,920
Speaker 1: Ryan Cabrera for sure. Who's not on the Ashley wait?

1615
01:43:55,080 --> 01:43:58,599
Speaker 1: Oh my god? They had once Wait okay, Ashley had

1616
01:43:58,680 --> 01:44:02,760
Speaker 1: a son named Lyric Lenon born August two five, and

1617
01:44:02,840 --> 01:44:06,240
Speaker 1: Lyric is an actor and appeared in American horror story Hotel. Well,

1618
01:44:06,280 --> 01:44:10,200
Speaker 1: you know how he came to be because Ashley Parker

1619
01:44:10,240 --> 01:44:13,920
Speaker 1: Angel had a liquid reality into a woman and that

1620
01:44:14,080 --> 01:44:17,639
Speaker 1: he basically like probably was thinking of a dominated supermanol

1621
01:44:17,640 --> 01:44:24,920
Speaker 1: beauty and Salma Hayak brought the rest. What does that mean?

1622
01:44:25,200 --> 01:44:27,320
Speaker 1: I would just like to say that lou Perlman did

1623
01:44:27,439 --> 01:44:30,400
Speaker 1: manage them. He did iconic, so he probably was like

1624
01:44:30,439 --> 01:44:32,880
Speaker 1: you guys thinking about how you want to come and

1625
01:44:32,960 --> 01:44:38,240
Speaker 1: they're like okay, um, So number two, I love you

1626
01:44:38,560 --> 01:44:43,479
Speaker 1: always forever, Lewis. This is that song you hear in

1627
01:44:43,600 --> 01:44:46,160
Speaker 1: the doctor's office. It's that song you hear on FM

1628
01:44:46,280 --> 01:44:49,599
Speaker 1: radio in the car when you're driving around. You always

1629
01:44:50,640 --> 01:44:56,160
Speaker 1: love me forever and never stopping up but whatever, everywhere

1630
01:44:56,560 --> 01:45:01,800
Speaker 1: and everything, I'll never forget. She really sang this from

1631
01:45:01,880 --> 01:45:06,840
Speaker 1: her beautiful soul and she said, you go the most

1632
01:45:07,080 --> 01:45:12,479
Speaker 1: unbelievable blue I've seen. She made me say you could

1633
01:45:12,520 --> 01:45:16,840
Speaker 1: see the blue eyes eyes. This song gives me a

1634
01:45:17,040 --> 01:45:23,080
Speaker 1: gorgeous fall afternoon. It's an autumnal romance for me. Or yeah, no,

1635
01:45:23,200 --> 01:45:24,760
Speaker 1: fall Afternoon is good. I was going to say, but

1636
01:45:24,880 --> 01:45:27,599
Speaker 1: it's not quite that. It's like pool side and spring,

1637
01:45:27,760 --> 01:45:30,240
Speaker 1: but maybe not. But fall in Spring speak to each

1638
01:45:30,240 --> 01:45:37,880
Speaker 1: other because they're not hot or too cold. Absolutely, they're mirrors. No,

1639
01:45:38,080 --> 01:45:41,639
Speaker 1: definitely no, no j is on the list en hold

1640
01:45:41,760 --> 01:45:45,920
Speaker 1: on Wilson Phillips sort of living in the same time period. Totally.

1641
01:45:46,760 --> 01:45:49,519
Speaker 1: I really do appreciate it coming back in a big

1642
01:45:49,560 --> 01:45:52,559
Speaker 1: way after bridesmaid I was going to say Bridesmaids gorgeous

1643
01:45:52,600 --> 01:45:57,479
Speaker 1: song when you're hold hold on the Falling Monday, I

1644
01:45:57,520 --> 01:46:01,040
Speaker 1: mean really, really, really just And you know what I

1645
01:46:01,120 --> 01:46:03,400
Speaker 1: love about this song is they're saying, I know this pain.

1646
01:46:04,640 --> 01:46:07,680
Speaker 1: Why do you lock yourself up in these chains? No

1647
01:46:07,840 --> 01:46:10,760
Speaker 1: one can live your life except for you. Don't ever

1648
01:46:11,080 --> 01:46:18,880
Speaker 1: let nobody st open your heart and you'll find open

1649
01:46:19,000 --> 01:46:20,880
Speaker 1: your heart and your mind. Is it really fair to

1650
01:46:21,120 --> 01:46:24,320
Speaker 1: Is it really fair to feel this way inside? Some

1651
01:46:24,680 --> 01:46:26,599
Speaker 1: day somebody's going to make you want to turn around

1652
01:46:26,640 --> 01:46:31,160
Speaker 1: and say goodbye. Until then, baby, are you gonna let

1653
01:46:31,240 --> 01:46:33,040
Speaker 1: him hold it? Time to make you cry? This is

1654
01:46:33,160 --> 01:46:37,880
Speaker 1: Girl by Destiny's Child's spiritual successor successor. This is white Girl,

1655
01:46:38,000 --> 01:46:41,040
Speaker 1: White Girl. This is white Girl. It's actually a culture number.

1656
01:46:41,120 --> 01:46:48,000
Speaker 1: Forty holds Phillips is White Girl by Destiny's Child. Let's

1657
01:46:48,040 --> 01:46:50,680
Speaker 1: move on And this song is very famous, but it's

1658
01:46:50,720 --> 01:46:54,320
Speaker 1: only a little bit better than hold On and liquid Dream.

1659
01:46:55,320 --> 01:47:01,000
Speaker 1: Respect et Queen Queen of Soul, A wreath of Franklin.

1660
01:47:01,880 --> 01:47:06,200
Speaker 1: The Franklin. I mean, there's not to say, come on.

1661
01:47:06,400 --> 01:47:11,000
Speaker 1: She she literally spelled it out just a little bit, mr,

1662
01:47:12,160 --> 01:47:15,400
Speaker 1: just a little bit, just a little bit. Hey. Then

1663
01:47:15,439 --> 01:47:22,240
Speaker 1: when she went rear reary respect just so you know, Um,

1664
01:47:22,479 --> 01:47:25,240
Speaker 1: I wasn't my gospel choir in high school and truly

1665
01:47:25,320 --> 01:47:28,000
Speaker 1: as a prank, they made me sing respect in front

1666
01:47:28,120 --> 01:47:33,000
Speaker 1: of my entire high school my senior year. Uh, let's

1667
01:47:33,080 --> 01:47:36,680
Speaker 1: just say it was not what you want because you're

1668
01:47:36,720 --> 01:47:40,360
Speaker 1: more jazz vocalist, You're not really a vocalist. But that

1669
01:47:40,520 --> 01:47:46,080
Speaker 1: was good. It maybe got it. Remember when Kelly Clarkson

1670
01:47:46,160 --> 01:47:48,280
Speaker 1: was a iconic white girl who's saying respect on American

1671
01:47:48,320 --> 01:47:50,400
Speaker 1: idol and then shot into the hearts of millions. Yeah

1672
01:47:50,840 --> 01:47:54,760
Speaker 1: you think that was the moment? Yes, respect, she slayd that,

1673
01:47:54,920 --> 01:47:58,960
Speaker 1: she slaved that all right? And better than respect, they're

1674
01:47:59,000 --> 01:48:01,400
Speaker 1: just a little bit better than our yes ect, bring

1675
01:48:01,560 --> 01:48:05,800
Speaker 1: back my girls, RuPaul. So at the there comes a

1676
01:48:05,840 --> 01:48:08,400
Speaker 1: time in every episode of RuPaul's Drag Race where RuPaul

1677
01:48:08,400 --> 01:48:10,760
Speaker 1: has to bring back her girls to get critiqued and

1678
01:48:10,880 --> 01:48:12,519
Speaker 1: to find out it's going to be eliminated. And so

1679
01:48:12,800 --> 01:48:15,240
Speaker 1: naturally this was an opportunity for her to make a song.

1680
01:48:16,320 --> 01:48:18,519
Speaker 1: Hence we have bring back what's the famous lyric in

1681
01:48:18,600 --> 01:48:20,600
Speaker 1: the first In the first verse, she's going back to

1682
01:48:20,680 --> 01:48:25,000
Speaker 1: the workroom. Do you think, oh no, no, no, no,

1683
01:48:25,200 --> 01:48:29,640
Speaker 1: it's with Cranberry. Thank you, Dolly think you're do? I

1684
01:48:29,760 --> 01:48:33,280
Speaker 1: just know bring back my Yes, that's sort of thing,

1685
01:48:33,640 --> 01:48:38,479
Speaker 1: bye bye, bring back bye talk with cranberry. Thank you? Do?

1686
01:48:40,040 --> 01:48:41,920
Speaker 1: I think I ordered that from both I voted that

1687
01:48:42,000 --> 01:48:45,600
Speaker 1: from both of you at certain times. V thank you

1688
01:48:46,000 --> 01:48:50,679
Speaker 1: for me. It's more with grapefruit, right, what's your favorite

1689
01:48:50,680 --> 01:48:55,839
Speaker 1: thing to put with vodka? Um? Gosh, like an espresso?

1690
01:49:01,720 --> 01:49:08,880
Speaker 1: This cold bitch okay number two hundred fifteen, obsessed, carry

1691
01:49:09,280 --> 01:49:12,120
Speaker 1: you a mom and pop, I'm a corporation, I'm the

1692
01:49:12,200 --> 01:49:18,519
Speaker 1: press conference. You a conversation? Oh why are you so

1693
01:49:18,840 --> 01:49:23,120
Speaker 1: obsessed with me? Want to en it's really a testament

1694
01:49:23,160 --> 01:49:26,640
Speaker 1: to mean girls. Yeah, what is that? Lying? That just

1695
01:49:26,840 --> 01:49:33,800
Speaker 1: sex with me? When everybody knows God that you're good? Impressed?

1696
01:49:33,880 --> 01:49:37,160
Speaker 1: Last man, I still couldn't get this. Get to Losional.

1697
01:49:37,400 --> 01:49:42,120
Speaker 1: You get to Losional, but you're losing your mind. It's confused.

1698
01:49:42,200 --> 01:49:45,439
Speaker 1: And y'all you're confused. You know why you wasteing your time?

1699
01:49:45,800 --> 01:49:49,519
Speaker 1: Because I got you offpu, I got blex thing? Are right?

1700
01:49:49,600 --> 01:49:55,080
Speaker 1: So you're like a baby when next? Oh, oh boy,

1701
01:49:55,200 --> 01:49:59,000
Speaker 1: why are you so obsessed with me? Do you feel

1702
01:49:59,080 --> 01:50:02,280
Speaker 1: that that's great? Yes? And how do you feel that

1703
01:50:02,320 --> 01:50:04,400
Speaker 1: this is the first time Maria carry has been on

1704
01:50:04,479 --> 01:50:10,639
Speaker 1: this list? I believe I feel that, um where it's

1705
01:50:10,680 --> 01:50:13,400
Speaker 1: the beginning of something. I would have said. I would

1706
01:50:13,439 --> 01:50:17,400
Speaker 1: have voted for honey, Okay, interesting, that's interesting that you think.

1707
01:50:17,800 --> 01:50:23,160
Speaker 1: And I also would have voted for no, that's what myo? No, no, no, no, no, no. Yeah.

1708
01:50:23,840 --> 01:50:27,000
Speaker 1: Um Number two fourteen, Get out of my dreams, Get

1709
01:50:27,080 --> 01:50:30,679
Speaker 1: into my car. Are you guys familiar with this? Get

1710
01:50:30,800 --> 01:50:36,479
Speaker 1: out of my dreams? Oh? Get into mock up. This

1711
01:50:36,640 --> 01:50:39,560
Speaker 1: was at a time when you know, pedophiles were everywhere.

1712
01:50:40,600 --> 01:50:42,960
Speaker 1: Get into my white van and never see your parents again.

1713
01:50:43,200 --> 01:50:45,960
Speaker 1: I mean, that's what I think. It's it's not, it's not.

1714
01:50:46,040 --> 01:50:49,760
Speaker 1: It hasn't aged well. Pedophiles were everywhere. The song came out,

1715
01:50:50,360 --> 01:50:52,679
Speaker 1: and now you had kids listening to the song anytime

1716
01:50:52,840 --> 01:50:55,839
Speaker 1: some some cube bitches like that person is a pedophile.

1717
01:50:55,880 --> 01:50:58,280
Speaker 1: I know. That was the eighties, that was the It

1718
01:50:58,360 --> 01:51:01,240
Speaker 1: was a different time. Pedophiles joining anymore. Now they're gone,

1719
01:51:01,280 --> 01:51:03,560
Speaker 1: they're eradicated because we don't have songs like this on

1720
01:51:03,640 --> 01:51:08,439
Speaker 1: the radio. Yes, it made the list. A better song

1721
01:51:08,520 --> 01:51:13,960
Speaker 1: than Respect by Aretha Franklin. He's huge, he's so famous.

1722
01:51:15,200 --> 01:51:21,320
Speaker 1: Goodbye el checks. Speaking of speaking of killing a man,

1723
01:51:22,320 --> 01:51:23,639
Speaker 1: I don't know when we the last time we talked

1724
01:51:23,680 --> 01:51:26,920
Speaker 1: about this was but speaking of killing a man, goodbye earl,

1725
01:51:27,240 --> 01:51:29,519
Speaker 1: goodbye earl. And you know it's it sort of says

1726
01:51:29,560 --> 01:51:33,000
Speaker 1: to women like, here's a way out. They should make

1727
01:51:33,040 --> 01:51:37,120
Speaker 1: a movie of this. Who would be the stars, the

1728
01:51:37,200 --> 01:51:40,680
Speaker 1: three of us? Yeah, you're so right. Why did I

1729
01:51:41,560 --> 01:51:45,000
Speaker 1: why did you ask that question? Wait? Can we option this? Yes?

1730
01:51:45,680 --> 01:51:49,080
Speaker 1: I think that hold on getting a call? Actually did

1731
01:51:49,160 --> 01:51:53,240
Speaker 1: just I did just get a call. Oh Sagamore Beach, Massachusetts.

1732
01:51:53,320 --> 01:51:59,800
Speaker 1: Pick up, it's Hollywood. Hello, talk to me of thing.

1733
01:52:00,280 --> 01:52:05,880
Speaker 1: You just came across my desk. What's the desk? Look

1734
01:52:06,240 --> 01:52:16,679
Speaker 1: sounds really real, Jennifer, Jennifer, Jennifer. I am now only

1735
01:52:16,760 --> 01:52:20,320
Speaker 1: picking up the phone like in an eighties movie in Hollywood.

1736
01:52:20,360 --> 01:52:23,840
Speaker 1: Talk to me, Talk to me, to me, you got

1737
01:52:24,000 --> 01:52:27,439
Speaker 1: you got Greta? Yeah, talk me. Who's playing Earl Sebastian

1738
01:52:32,560 --> 01:52:35,920
Speaker 1: He he's born Earl? Yeah? Yeah, I love him? Oh

1739
01:52:36,000 --> 01:52:39,599
Speaker 1: my god. Anyway, I think I'm serious, like we should

1740
01:52:39,640 --> 01:52:43,720
Speaker 1: be option Okay, I'm techting. We're texting Olivia right after

1741
01:52:43,760 --> 01:52:49,280
Speaker 1: this literally flick called me. Yeah, I like our agents.

1742
01:52:49,560 --> 01:52:51,760
Speaker 1: Fucking That's what you get with the chicks. You get

1743
01:52:51,880 --> 01:52:54,839
Speaker 1: narrative that can be so easily translated to something cinematic.

1744
01:52:54,960 --> 01:52:58,200
Speaker 1: You get a whole movie written on spack. Where where

1745
01:52:58,360 --> 01:53:02,040
Speaker 1: is you get? You get beat cheeks, the whole thing.

1746
01:53:02,600 --> 01:53:05,160
Speaker 1: You take it into the meeting. You say it's gonna

1747
01:53:05,200 --> 01:53:11,400
Speaker 1: take us a week. Oh my god, all the time,

1748
01:53:11,880 --> 01:53:15,400
Speaker 1: all this time, alright, Number number two hundred and twelve,

1749
01:53:15,840 --> 01:53:19,439
Speaker 1: Work from Home, The fifth Harmony. I Ain't worried about nothing,

1750
01:53:19,560 --> 01:53:21,920
Speaker 1: I ain't worried about Nada. When I put this song on,

1751
01:53:22,720 --> 01:53:25,599
Speaker 1: I'm sending you pick after picture. I'm gonna get you fired.

1752
01:53:26,360 --> 01:53:28,240
Speaker 1: These bitches want to fire one of this man to

1753
01:53:28,320 --> 01:53:31,960
Speaker 1: lose his job. They said executive decisions, and who could

1754
01:53:32,000 --> 01:53:34,600
Speaker 1: forget that? That live performance, I think it was the

1755
01:53:34,600 --> 01:53:37,120
Speaker 1: Billboard Music Awards or something where they're on the construction

1756
01:53:37,200 --> 01:53:40,920
Speaker 1: site and I think Normany with the little tool. With

1757
01:53:40,960 --> 01:53:47,080
Speaker 1: the little tool, someone's hammering a tractor tire. She's like

1758
01:53:47,160 --> 01:53:51,519
Speaker 1: hammering a tire. She's like. One of my favorites is

1759
01:53:51,760 --> 01:53:55,200
Speaker 1: in the music video when one of the hot, you know,

1760
01:53:55,320 --> 01:53:59,960
Speaker 1: construction guys unrolls the blooper in the upside down there

1761
01:54:00,479 --> 01:54:02,320
Speaker 1: and then she puts a big hammer on the table

1762
01:54:02,360 --> 01:54:04,800
Speaker 1: and basically just suggest like your dick should be this big,

1763
01:54:05,920 --> 01:54:09,920
Speaker 1: and she points to it like what is that? What

1764
01:54:10,080 --> 01:54:13,960
Speaker 1: is that mine? You know her always on the night.

1765
01:54:15,560 --> 01:54:22,280
Speaker 1: I can stand nights alone and I don't need explanation,

1766
01:54:23,200 --> 01:54:31,000
Speaker 1: because baby, you don't gotta go to work work work, work, work,

1767
01:54:31,240 --> 01:54:35,320
Speaker 1: work work. You gotta put to work work work, work, work,

1768
01:54:35,600 --> 01:54:39,320
Speaker 1: work work one note, one note, one one dream, one

1769
01:54:39,440 --> 01:54:52,320
Speaker 1: Dream number two eleven Concrete Angel Martina McBride. Do you

1770
01:54:52,400 --> 01:54:55,360
Speaker 1: guys know this one? Of course do I know this song?

1771
01:54:55,600 --> 01:55:03,360
Speaker 1: It's about a kid that dies. Cong cong Crete sad.

1772
01:55:03,760 --> 01:55:06,880
Speaker 1: I know everyone paused the episode, listen to the song

1773
01:55:07,160 --> 01:55:11,560
Speaker 1: and come back for more fun. Okay, we're back. This

1774
01:55:11,720 --> 01:55:15,240
Speaker 1: is an original song, number ten number. He's a little

1775
01:55:15,280 --> 01:55:18,640
Speaker 1: obsessed with me culture it should be Matt Rodgers. It's

1776
01:55:18,680 --> 01:55:21,840
Speaker 1: just it's all credit goes. Let it. He's a little

1777
01:55:21,880 --> 01:55:28,400
Speaker 1: obsessed with me. He's a little obsessed with me. He's

1778
01:55:28,440 --> 01:55:31,640
Speaker 1: a little obsessed with me in the morning and night.

1779
01:55:31,880 --> 01:55:35,240
Speaker 1: He's a little obsessed with me. When us say all right,

1780
01:55:35,520 --> 01:55:40,000
Speaker 1: he's a little obsessed with me. He's a little obsessed

1781
01:55:40,040 --> 01:55:46,840
Speaker 1: with me. It's Matt Rogers down. I want that to

1782
01:55:46,920 --> 01:55:49,320
Speaker 1: be my ringtone. It can be, It can be. You

1783
01:55:49,400 --> 01:55:52,280
Speaker 1: can figure that out on the old internet garage bandits

1784
01:55:52,560 --> 01:55:57,360
Speaker 1: number two hundred and nine. Get the Party Started, Shirley

1785
01:55:57,440 --> 01:56:01,800
Speaker 1: Bassie is that. It's Get the Party Started by Pink

1786
01:56:02,080 --> 01:56:06,840
Speaker 1: but performed by Shirley Bassey. God, this party on a sad.

1787
01:56:10,680 --> 01:56:13,600
Speaker 1: You've not seen it. I've seen this. MAT's body just

1788
01:56:13,800 --> 01:56:18,360
Speaker 1: became one of those like floats that you say, yeah,

1789
01:56:19,840 --> 01:56:25,680
Speaker 1: body started on a Saturday everybody's waiting for me to

1790
01:56:28,760 --> 01:56:38,000
Speaker 1: number gold Golden Night, Weakness, Golden Night. I'll do what

1791
01:56:38,200 --> 01:56:44,960
Speaker 1: I please. This is peak Tina Peaked, Tina, hair on point,

1792
01:56:46,560 --> 01:56:53,600
Speaker 1: gown on point, giving James Bond like galvanized theme song.

1793
01:56:53,720 --> 01:56:55,360
Speaker 1: Would you say this is the best Bond song I

1794
01:56:55,360 --> 01:56:58,800
Speaker 1: ever made? It's my favorite, It's one of the best.

1795
01:56:59,840 --> 01:57:02,280
Speaker 1: I actually I do love Madonna. I do love die Another.

1796
01:57:02,440 --> 01:57:06,760
Speaker 1: I guess another day. That is a good one. I'm

1797
01:57:07,000 --> 01:57:12,760
Speaker 1: gonna make. That was like her true Robot era. I

1798
01:57:13,320 --> 01:57:15,640
Speaker 1: love that I missed. I think we're going back to that.

1799
01:57:15,960 --> 01:57:19,800
Speaker 1: I think so. I hope, so, I hope. So We're

1800
01:57:21,640 --> 01:57:24,680
Speaker 1: We're almost We're almost there. Number two Dred seven never

1801
01:57:24,960 --> 01:57:29,440
Speaker 1: Enough from the Greatest Showman Lauren Already. When I first

1802
01:57:29,560 --> 01:57:32,480
Speaker 1: saw The Greatest Showman and this song played, I was

1803
01:57:32,560 --> 01:57:37,000
Speaker 1: in tears, crying because I was so high. And you

1804
01:57:37,040 --> 01:57:38,760
Speaker 1: thought I was going to say so moved that too,

1805
01:57:39,080 --> 01:57:41,160
Speaker 1: that it's a chicken of the egg, the Chicken of

1806
01:57:41,240 --> 01:57:42,920
Speaker 1: the Egg. And I turned to Sudy and I said,

1807
01:57:42,920 --> 01:57:44,520
Speaker 1: this is the greatest song of all time, and she said,

1808
01:57:44,560 --> 01:57:52,040
Speaker 1: you're so stupid. We forget the zendaia of it all

1809
01:57:52,120 --> 01:57:58,360
Speaker 1: as well. I would just like ear. I'm not gonna no,

1810
01:57:58,480 --> 01:58:01,080
Speaker 1: no no. It looks like Zendia sticks and Diet. It

1811
01:58:01,120 --> 01:58:04,120
Speaker 1: looks like it should be's and Diet. Replay, rewrite the Stars.

1812
01:58:05,360 --> 01:58:09,600
Speaker 1: It's a gorgeous song. You know want you. It's not

1813
01:58:09,760 --> 01:58:16,560
Speaker 1: a secret A no you want Zach g Effron is

1814
01:58:16,600 --> 01:58:19,520
Speaker 1: one of our greatest singers. It's true you. I mean

1815
01:58:20,240 --> 01:58:24,040
Speaker 1: everyone hopes that he like revisits that he does. He

1816
01:58:24,160 --> 01:58:27,040
Speaker 1: does have his roots in musical theater, specifically high school,

1817
01:58:27,080 --> 01:58:29,919
Speaker 1: and I wish he wouldn't forget that. I think he's forgotten.

1818
01:58:30,000 --> 01:58:32,040
Speaker 1: I don't want to see him like with bear grills

1819
01:58:32,400 --> 01:58:34,880
Speaker 1: eating raw chicken. I don't want to see him like,

1820
01:58:35,200 --> 01:58:37,840
Speaker 1: you know, in in a gross out comedy with Roberts

1821
01:58:37,840 --> 01:58:39,760
Speaker 1: in Narrow. I don't want to see anyone debasing themselves.

1822
01:58:39,800 --> 01:58:42,120
Speaker 1: I want to see my guy in a fucking suit.

1823
01:58:42,720 --> 01:58:54,240
Speaker 1: Tap dancing, Yeah, that's show biz, kid kid number. This

1824
01:58:54,400 --> 01:58:59,920
Speaker 1: was probably we were all in high school in this huge, big, big, big,

1825
01:59:00,080 --> 01:59:03,760
Speaker 1: big big. Remember when Tato was I'm like a bird

1826
01:59:03,840 --> 01:59:05,520
Speaker 1: and then all of a sudden she was promiscuous girl.

1827
01:59:05,640 --> 01:59:09,280
Speaker 1: It was insane And the collaboration with Timberland, Yeah, huge,

1828
01:59:09,600 --> 01:59:14,880
Speaker 1: don't don't be mad, don't be mean. You are the

1829
01:59:15,000 --> 01:59:18,640
Speaker 1: Nelly and you are the Timberland. Yeah. I was really

1830
01:59:18,920 --> 01:59:21,200
Speaker 1: I was really shocked as a as a as a teenager,

1831
01:59:21,280 --> 01:59:23,840
Speaker 1: I was like, wow, you can really have it all

1832
01:59:24,280 --> 01:59:29,720
Speaker 1: you can. This song made me be proud to be

1833
01:59:29,800 --> 01:59:33,360
Speaker 1: a promiscuous girl. Did you identify as a promiscuous girl?

1834
01:59:34,880 --> 01:59:37,320
Speaker 1: It's just so funny that it's called promiscuous. It's not

1835
01:59:37,440 --> 01:59:42,400
Speaker 1: even like like she used the big word promiscuous girl.

1836
01:59:42,840 --> 01:59:46,320
Speaker 1: Like imagine like someone refers to as promiscuous girl, like

1837
01:59:46,960 --> 01:59:50,200
Speaker 1: we know you fuck a lot of people. Promiscuous girl. Hey,

1838
01:59:50,280 --> 01:59:54,920
Speaker 1: promiscuous girl. I think it's a sexy little turn. It

1839
01:59:55,080 --> 01:59:57,920
Speaker 1: just kind of doesn't roll off the tongue. Promiscuous girl.

1840
01:59:59,200 --> 02:00:03,480
Speaker 1: It's very it's very Cinderella in trouble. You're getting in

1841
02:00:03,560 --> 02:00:09,200
Speaker 1: trouble by the headmaster at school. Girl, promiscuous girl, you're

1842
02:00:09,280 --> 02:00:13,680
Speaker 1: teasing me, you're teasing me. I know what I won't

1843
02:00:14,160 --> 02:00:19,280
Speaker 1: and I got what need can missus by. Let's get

1844
02:00:19,320 --> 02:00:25,080
Speaker 1: to the point, because we got a rule you. Next

1845
02:00:25,440 --> 02:00:29,720
Speaker 1: number two five, RuPaul appears again to see that walk RuPaul.

1846
02:00:30,640 --> 02:00:33,480
Speaker 1: I listened to this song a lot more than I

1847
02:00:33,560 --> 02:00:37,960
Speaker 1: think people know. Still this was a big song, you

1848
02:00:38,040 --> 02:00:41,960
Speaker 1: knoween season six of drag Race, the Ncle del rio

1849
02:00:42,040 --> 02:00:44,760
Speaker 1: a doorge Laano Courtney act era of drag Race. That's

1850
02:00:44,800 --> 02:00:46,920
Speaker 1: one of my favorite seasons, absolutely, and I think this

1851
02:00:47,080 --> 02:00:52,760
Speaker 1: was like the first true RuPaul bop supermodel, supermodel. But

1852
02:00:52,920 --> 02:00:56,960
Speaker 1: what about Me? That was after But season five was

1853
02:00:57,160 --> 02:01:00,440
Speaker 1: the beginning. There's no beginning of the US do your

1854
02:01:00,520 --> 02:01:03,920
Speaker 1: life so people sleep on. Don't be jealous of my buggie.

1855
02:01:04,040 --> 02:01:06,640
Speaker 1: Don't be jealous of my buggy. You can say that

1856
02:01:06,800 --> 02:01:10,360
Speaker 1: you are not, but I always you looking. When did

1857
02:01:11,240 --> 02:01:17,040
Speaker 1: they call me mother? Calling mother? Was after season eight

1858
02:01:17,160 --> 02:01:20,600
Speaker 1: or nine, around eight nine, that was amery. That was ten.

1859
02:01:21,520 --> 02:01:24,040
Speaker 1: I can't back in the house. I can't believe you

1860
02:01:24,080 --> 02:01:26,040
Speaker 1: know that that sound was really good. Oh my god,

1861
02:01:26,120 --> 02:01:27,800
Speaker 1: but it's not on the left on the list number.

1862
02:01:28,560 --> 02:01:30,160
Speaker 1: This is one of the greatest songs of all time,

1863
02:01:30,680 --> 02:01:40,720
Speaker 1: no more truly a lisp a lisp legend song. Oh

1864
02:01:41,800 --> 02:01:45,160
Speaker 1: I'm getting a little tired of your broken promise. And

1865
02:01:45,280 --> 02:01:49,800
Speaker 1: then just like but then the second verse like like

1866
02:01:49,880 --> 02:01:51,960
Speaker 1: a lady, when you open doors and doors that you

1867
02:01:52,040 --> 02:01:53,960
Speaker 1: want to friend when you're with your boys and boys,

1868
02:01:54,040 --> 02:01:55,800
Speaker 1: how are you gonna play me? When about your clothes,

1869
02:01:55,840 --> 02:01:59,160
Speaker 1: your clothes, where your doors and girls? You know what

1870
02:01:59,240 --> 02:02:01,640
Speaker 1: you know. But I have the nerve and nerve but

1871
02:02:01,800 --> 02:02:05,360
Speaker 1: there when I'm up pages that you want a chance

1872
02:02:05,400 --> 02:02:10,320
Speaker 1: to chance this is Please. No, I'm not the one

1873
02:02:10,560 --> 02:02:13,800
Speaker 1: say it Again't say it again. Oh I believe that

1874
02:02:14,120 --> 02:02:16,560
Speaker 1: I don't. I mean Kennie Williams, who I iconically had

1875
02:02:16,600 --> 02:02:20,680
Speaker 1: another single come out that I that I listened to.

1876
02:02:21,600 --> 02:02:26,360
Speaker 1: But we always forget Adrian Bylon was. But the thing is,

1877
02:02:26,680 --> 02:02:28,880
Speaker 1: and we will never forget her. But we need to

1878
02:02:28,920 --> 02:02:30,879
Speaker 1: get her a new job because the real is being canceled.

1879
02:02:31,320 --> 02:02:33,720
Speaker 1: So we have to protect Adrian, violent and all costs.

1880
02:02:33,760 --> 02:02:37,360
Speaker 1: I stand number two D three. Don't rain on my parade,

1881
02:02:37,560 --> 02:02:42,320
Speaker 1: Barber stands. I mean, the son's a ball of butter.

1882
02:02:43,840 --> 02:02:48,160
Speaker 1: Don't bring around the cloud rain on my parade. She said,

1883
02:02:48,760 --> 02:02:55,680
Speaker 1: um hap, sir, she demanded it. Yes what there was

1884
02:02:55,800 --> 02:02:58,320
Speaker 1: no debate. There's no debate. You were to handle her hat.

1885
02:02:59,040 --> 02:03:05,040
Speaker 1: I gotta have my by sir, amazing the fanny number

1886
02:03:06,720 --> 02:03:10,600
Speaker 1: beneath my wings. Bette Midler must have been cold there

1887
02:03:10,640 --> 02:03:19,839
Speaker 1: in my shadow. Hi flies the flyer, high fly, so high, sky,

1888
02:03:20,720 --> 02:03:26,520
Speaker 1: so high. I almost touched this guy. Thank you, Thank you,

1889
02:03:27,400 --> 02:03:34,840
Speaker 1: Thank God for you wouldn't beneath my high. It's one

1890
02:03:34,880 --> 02:03:37,520
Speaker 1: of the best songs ever. Sing it to you your

1891
02:03:37,560 --> 02:03:41,040
Speaker 1: Canty Center honors. No, you're I'm not your hero, You're

1892
02:03:41,160 --> 02:03:43,280
Speaker 1: my hero. You'll sing it to me. You're everything I

1893
02:03:43,400 --> 02:03:48,200
Speaker 1: wish I could be, I could fly high. I'll sing

1894
02:03:48,320 --> 02:03:52,120
Speaker 1: it for both of you. Must have been cold there

1895
02:03:52,400 --> 02:04:02,280
Speaker 1: in my shadow. Never have sunline on your face? Wow, wow,

1896
02:04:03,080 --> 02:04:11,440
Speaker 1: number class Catherine Data Jones And that's it. No other renditions.

1897
02:04:11,440 --> 02:04:14,040
Speaker 1: Can you know the song? Class from Chicago? Give it

1898
02:04:14,120 --> 02:04:19,080
Speaker 1: to me really quick? Whatever happened to you? Please? Thank you?

1899
02:04:19,440 --> 02:04:24,480
Speaker 1: And yes, yeah I do, hold on, hold on, I'm

1900
02:04:24,480 --> 02:04:26,440
Speaker 1: pulling up the lyrics. Yeah, we should do a close read.

1901
02:04:27,120 --> 02:04:33,680
Speaker 1: Whatever happened to fair dealing and pure ethics and nice matters?

1902
02:04:34,600 --> 02:04:37,360
Speaker 1: Why is it everyone? Now? Is this a pay to

1903
02:04:37,520 --> 02:04:44,320
Speaker 1: the What have I happened to? Class Class? And whatever

1904
02:04:44,480 --> 02:04:48,840
Speaker 1: happened to please Mehi? And yes, thank you? When how

1905
02:04:49,280 --> 02:04:52,560
Speaker 1: charming there are we? Son of a bitch? Is that

1906
02:04:52,640 --> 02:05:00,200
Speaker 1: a snake in the grass? Whatever happened to class class? Oh,

1907
02:05:00,520 --> 02:05:04,120
Speaker 1: there ain't no Jennalan Joven up the doors. There ain't

1908
02:05:04,160 --> 02:05:07,840
Speaker 1: no ladies down, There's only pigs and whores and even

1909
02:05:07,960 --> 02:05:12,920
Speaker 1: kids will not get down to past. Nobody's got no class.

1910
02:05:13,720 --> 02:05:20,600
Speaker 1: Oh you were about today? It's ripe and theft Jesus Christ. Hey,

1911
02:05:20,720 --> 02:05:27,680
Speaker 1: there's no decency, lad, nobody's got no class. Every guy,

1912
02:05:27,960 --> 02:05:32,640
Speaker 1: that's not every girl. It is a twat. Holy shit,

1913
02:05:33,000 --> 02:05:42,120
Speaker 1: holy shit, what a shame? A shame? What became class

1914
02:05:48,320 --> 02:05:52,320
Speaker 1: this episode? If we found our harmony, we would slay that.

1915
02:05:52,920 --> 02:05:54,480
Speaker 1: Oh my god, can we just do this next one

1916
02:05:54,520 --> 02:05:58,160
Speaker 1: because it connects again? This next one is meaningful to me.

1917
02:05:59,080 --> 02:06:02,080
Speaker 1: And you're gonna this is the last song of this episode,

1918
02:06:02,720 --> 02:06:06,640
Speaker 1: number all that Jazz Katherine Dada Jones and that's it.

1919
02:06:07,920 --> 02:06:13,160
Speaker 1: Why is a specialty? Puck the car No spot with

1920
02:06:13,600 --> 02:06:19,080
Speaker 1: jan has Coal in the piano. This was a moment.

1921
02:06:19,440 --> 02:06:25,160
Speaker 1: This was a moment in cinema history. And oh the

1922
02:06:29,120 --> 02:06:31,880
Speaker 1: remember when Renee popped in Oh my god, that was

1923
02:06:31,920 --> 02:06:34,360
Speaker 1: when you understood what the diagetic of the whole movie was.

1924
02:06:35,760 --> 02:06:39,280
Speaker 1: This is a song. And tell me if I sounds stupid,

1925
02:06:39,880 --> 02:06:42,920
Speaker 1: I watched this movie and I see this song being performed,

1926
02:06:42,960 --> 02:06:45,800
Speaker 1: and I go, well, the twenties wasn't that long ago.

1927
02:06:47,520 --> 02:06:57,720
Speaker 1: The twenties people wanted sex, alcohol, just mystery, they want

1928
02:06:57,760 --> 02:07:01,760
Speaker 1: to hot whoopie. Yeah, I can I say something. I

1929
02:07:01,840 --> 02:07:05,160
Speaker 1: don't think I've ever really had hotcha whoopee. I don't

1930
02:07:05,160 --> 02:07:06,920
Speaker 1: think I've ever had hot whoope either. I think we

1931
02:07:07,000 --> 02:07:13,560
Speaker 1: can hotcha whoopee to me means like that whoopee that

1932
02:07:13,880 --> 02:07:17,160
Speaker 1: is so good it gets it gets you feeling like

1933
02:07:18,560 --> 02:07:23,200
Speaker 1: we can't have hotcha whoopee in our culture because there's

1934
02:07:23,320 --> 02:07:25,840
Speaker 1: no I don't deserve it. We don't deserve it. We

1935
02:07:25,920 --> 02:07:29,080
Speaker 1: also the phones have the Internet, and phones have taken

1936
02:07:29,080 --> 02:07:32,560
Speaker 1: away hot to whoopee. I think we need we need

1937
02:07:32,600 --> 02:07:34,400
Speaker 1: to try our best to get back to hotch whoopee.

1938
02:07:34,440 --> 02:07:37,120
Speaker 1: For the sake of the planet, for the sake of

1939
02:07:37,360 --> 02:07:41,280
Speaker 1: human kind. Oh my god, we have made it through

1940
02:07:41,560 --> 02:07:44,320
Speaker 1: one hundred of the top three hundred songs in the

1941
02:07:44,440 --> 02:07:47,240
Speaker 1: Great Global Song Book. How do you feel so far above?

1942
02:07:47,320 --> 02:07:51,840
Speaker 1: I'm really terrified that we are going too slowly, But

1943
02:07:51,960 --> 02:07:54,760
Speaker 1: each of these songs deserves their praise for being on

1944
02:07:54,840 --> 02:07:58,000
Speaker 1: the list. We are talking. I mean, they told us

1945
02:07:58,000 --> 02:07:59,880
Speaker 1: they want a culture catch up, and they're getting one.

1946
02:08:00,640 --> 02:08:03,800
Speaker 1: Greta Tilman, as a family member of last culture, want

1947
02:08:03,800 --> 02:08:06,600
Speaker 1: to thank you as a merch owner. Oh my god,

1948
02:08:06,800 --> 02:08:09,200
Speaker 1: I'm so I like it was an honor to even

1949
02:08:09,280 --> 02:08:11,840
Speaker 1: be thought of, said, we only reached out to a

1950
02:08:11,920 --> 02:08:14,200
Speaker 1: few family members of last coach to come in and

1951
02:08:14,280 --> 02:08:16,680
Speaker 1: help us count down the three hundred, and we're so

1952
02:08:16,840 --> 02:08:18,960
Speaker 1: happy that we can send you on an endorphin high

1953
02:08:19,000 --> 02:08:22,720
Speaker 1: to the gym. I'm just you know this, this podcast

1954
02:08:22,920 --> 02:08:26,320
Speaker 1: is culture. Thank you. We can't say it, so we

1955
02:08:26,440 --> 02:08:29,000
Speaker 1: have to look to other people. It is culture. It's culture,

1956
02:08:29,280 --> 02:08:31,360
Speaker 1: and it's an honored part of the l see you.

1957
02:08:32,480 --> 02:08:36,200
Speaker 1: You are one of the heroes the pantheon. Bo I

1958
02:08:36,240 --> 02:08:38,080
Speaker 1: think we're gonna see all the kids tomorrow. For the

1959
02:08:38,160 --> 02:08:42,240
Speaker 1: continuation of the list, see tomorrow, two hundred through one

1960
02:08:42,320 --> 02:08:45,120
Speaker 1: hundred in theory, in theory, in theory, we'll see, we'll

1961
02:08:45,120 --> 02:08:47,760
Speaker 1: see in practice this and we end every episode with

1962
02:08:47,840 --> 02:08:58,920
Speaker 1: a song, Oh, I'm already to see you tomorrow, Seeing

1963
02:08:58,920 --> 02:09:02,960
Speaker 1: it tomorrow in Station Station Sta