1 00:00:02,279 --> 00:00:04,840 Speaker 1: Give it a chance, give it a chance, give it 2 00:00:04,880 --> 00:00:06,920 Speaker 1: a chick. Come on and give it a chance. Give 3 00:00:06,960 --> 00:00:09,280 Speaker 1: it a chance, give it a chance, give. 4 00:00:09,160 --> 00:00:09,680 Speaker 2: It a chance. 5 00:00:09,720 --> 00:00:11,400 Speaker 3: Come on and give it a you want to give 6 00:00:11,440 --> 00:00:13,520 Speaker 3: it a chance, Give it a chance. 7 00:00:13,440 --> 00:00:18,960 Speaker 1: Give it a chance. Just hey, it's me. Check check check. 8 00:00:19,000 --> 00:00:21,040 Speaker 1: We're here for give it a chance. 9 00:00:21,480 --> 00:00:26,160 Speaker 2: The listeners, the Chancers are excited for another ripping, roaring episode, 10 00:00:26,400 --> 00:00:28,840 Speaker 2: and our microphones are working. And this is the peak 11 00:00:28,880 --> 00:00:31,440 Speaker 2: behind the curtain of how we get set up. 12 00:00:33,000 --> 00:00:33,839 Speaker 1: In this episode. 13 00:00:33,880 --> 00:00:36,159 Speaker 2: We're going to take a look behind the scenes to 14 00:00:36,200 --> 00:00:38,360 Speaker 2: see how we do this thing where we just hit 15 00:00:38,440 --> 00:00:39,240 Speaker 2: record and talk. 16 00:00:42,320 --> 00:00:45,839 Speaker 4: Uh sometimes case you really get me, you really, I 17 00:00:45,840 --> 00:00:48,479 Speaker 4: mean you understand me, but you really get me, like 18 00:00:48,560 --> 00:00:49,560 Speaker 4: you really get me. I really. 19 00:00:49,600 --> 00:00:51,840 Speaker 1: I'm the laugher. 20 00:00:51,960 --> 00:00:55,320 Speaker 4: Yeah yeah, you get my goat and you get and 21 00:00:55,400 --> 00:00:58,360 Speaker 4: you get Billy goat Gronigan. That's a little echo. So 22 00:00:58,400 --> 00:01:01,040 Speaker 4: I guess sing with the little kids. The little kids, 23 00:01:01,080 --> 00:01:03,360 Speaker 4: you might ask Chancers, I teach little kids. I don't 24 00:01:03,360 --> 00:01:04,360 Speaker 4: hang out with little kids. 25 00:01:04,560 --> 00:01:06,679 Speaker 2: We're going to peek back the curtain and see what 26 00:01:06,760 --> 00:01:08,920 Speaker 2: we do when we're not Chanson. 27 00:01:09,440 --> 00:01:13,360 Speaker 1: It's me hanging out in a schoolyard. 28 00:01:13,720 --> 00:01:16,560 Speaker 4: In my pajamas staring. 29 00:01:18,200 --> 00:01:22,920 Speaker 2: I'll peek at how strange our lives are because we 30 00:01:22,959 --> 00:01:24,880 Speaker 2: are free at eleven. 31 00:01:24,480 --> 00:01:27,800 Speaker 1: Thirty to do a podcast from our home. 32 00:01:28,560 --> 00:01:32,000 Speaker 4: Will I will. Before you start, I will pull the 33 00:01:32,280 --> 00:01:33,760 Speaker 4: camera back. Pull the camera back. 34 00:01:33,959 --> 00:01:37,520 Speaker 1: Pull. We're going to pull the camera back. Whid it out. 35 00:01:38,120 --> 00:01:42,800 Speaker 4: Let's see if I'm wearing pants on the zoom. I am? 36 00:01:42,959 --> 00:01:45,280 Speaker 4: I am. There was a I play in a band 37 00:01:45,319 --> 00:01:49,400 Speaker 4: called Bad Books. Sometimes It's myself and the band Manchester Orchestra, 38 00:01:50,040 --> 00:01:54,160 Speaker 4: and we were doing a phone interview for our first 39 00:01:54,280 --> 00:01:58,559 Speaker 4: record in twenty ten. And I was in Brooklyn, and Andy, 40 00:01:58,600 --> 00:02:01,960 Speaker 4: who sings for Manchester, was in Alfaretta, Georgia, and the 41 00:02:02,040 --> 00:02:03,880 Speaker 4: journalist was I think in Manhattan anyway. It was a 42 00:02:03,880 --> 00:02:07,800 Speaker 4: three way call, and at some point Andy was like, hey, man, 43 00:02:07,840 --> 00:02:10,240 Speaker 4: where are you right now? And I did happen to 44 00:02:10,320 --> 00:02:12,520 Speaker 4: be This was before I had a kid. This was 45 00:02:12,600 --> 00:02:14,760 Speaker 4: and I was just like walking around. I was just 46 00:02:14,760 --> 00:02:17,120 Speaker 4: walking around park Slope. And when I picked my head up, 47 00:02:17,240 --> 00:02:23,400 Speaker 4: I was in a playground alone, like the only adult 48 00:02:23,400 --> 00:02:25,640 Speaker 4: without kids at the playground. I was just like I was. 49 00:02:25,680 --> 00:02:27,680 Speaker 4: I had a cup of coffee. We were having this conversation. 50 00:02:27,760 --> 00:02:29,680 Speaker 4: Andy was like Hey, could you be a little bit 51 00:02:29,760 --> 00:02:32,040 Speaker 4: less lovely bones for this conversation? 52 00:02:33,320 --> 00:02:34,720 Speaker 1: Wait, with lovely Bones? 53 00:02:35,040 --> 00:02:38,680 Speaker 4: That's that movie? I think I believe it's a movie 54 00:02:38,680 --> 00:02:41,560 Speaker 4: with Stanley Tucci and Sierra. 55 00:02:41,400 --> 00:02:45,320 Speaker 1: Charron in tuc but I don't even know it. 56 00:02:45,480 --> 00:02:48,680 Speaker 4: I think Stanley too is the kind of dude who's 57 00:02:48,720 --> 00:02:49,799 Speaker 4: hanging out with. 58 00:02:49,919 --> 00:02:52,760 Speaker 1: Nefarious purps at a playground. 59 00:02:53,960 --> 00:02:57,120 Speaker 4: And it was a time listeners. Maybe you know the movie. 60 00:02:57,160 --> 00:02:59,600 Speaker 4: It was a funny line to me. It fell flat 61 00:02:59,600 --> 00:03:01,679 Speaker 4: with Kate in real time in this moment because he 62 00:03:01,720 --> 00:03:04,360 Speaker 4: had never seen the film. Anyway, I'm glad we've covered 63 00:03:04,960 --> 00:03:11,919 Speaker 4: soft soft, inappropriate early stuff right away. Yeah, well, let's 64 00:03:12,160 --> 00:03:12,560 Speaker 4: on track. 65 00:03:13,000 --> 00:03:15,680 Speaker 1: Well, well, let's take you out of the playground and 66 00:03:15,760 --> 00:03:20,120 Speaker 1: back to where we both are individually now, and that 67 00:03:20,200 --> 00:03:22,160 Speaker 1: might be a clue from where we are where we 68 00:03:22,200 --> 00:03:24,520 Speaker 1: are now might be a clue of what kind of 69 00:03:24,760 --> 00:03:30,639 Speaker 1: song we're doing? Wow? Okay, apartment home No? Oh now 70 00:03:31,240 --> 00:03:39,720 Speaker 1: home house a home okay? So I don't know, No, 71 00:03:39,760 --> 00:03:40,800 Speaker 1: I don't know if you know this song. 72 00:03:40,840 --> 00:03:44,280 Speaker 2: It's called home okay and it's by Edward Sharp and 73 00:03:44,320 --> 00:03:45,320 Speaker 2: the Magnetic Zeros. 74 00:03:45,440 --> 00:03:48,800 Speaker 4: Oh it's stomp stomp clap core right. 75 00:03:48,840 --> 00:03:51,680 Speaker 1: Yes, So there's been this like so I don't I know. 76 00:03:51,760 --> 00:03:54,200 Speaker 2: I remember when the song came out and now and 77 00:03:54,240 --> 00:03:56,720 Speaker 2: everyone like loved it. It was like everywhere and there 78 00:03:56,760 --> 00:03:58,600 Speaker 2: was like a version of like a little kid like 79 00:03:58,600 --> 00:04:01,480 Speaker 2: a little I think a little girl and dad kids bop. No, 80 00:04:01,640 --> 00:04:04,280 Speaker 2: like just a viral video. Oh that's actually the. 81 00:04:04,200 --> 00:04:06,040 Speaker 1: First I heard of the song. And then I was like, oh, 82 00:04:06,080 --> 00:04:06,400 Speaker 1: let me. 83 00:04:06,800 --> 00:04:11,920 Speaker 2: But there's this backlash that's like about like millennial cringe. 84 00:04:12,400 --> 00:04:15,040 Speaker 2: I guess, like I guess like this generation liked it. 85 00:04:15,160 --> 00:04:17,720 Speaker 2: Our gender or I don't know you are, you're a erae. 86 00:04:17,880 --> 00:04:20,719 Speaker 4: I'm like a cusp on the Oregon Trail generation where 87 00:04:20,760 --> 00:04:24,640 Speaker 4: a cusp gen X very beginning of millennial. I'm probably 88 00:04:25,160 --> 00:04:27,480 Speaker 4: trend more gen X, I think than millennial. 89 00:04:27,560 --> 00:04:31,080 Speaker 2: But yeah, so the Milens they they were really loving 90 00:04:31,080 --> 00:04:35,600 Speaker 2: the song, and I think the Z the Z's they 91 00:04:35,600 --> 00:04:38,280 Speaker 2: were like, this was the worst song ever written. They 92 00:04:38,320 --> 00:04:43,080 Speaker 2: said it's the worst song ever written, and they went about. 93 00:04:43,600 --> 00:04:46,440 Speaker 4: I want to know more about that before maybe that's 94 00:04:46,480 --> 00:04:48,600 Speaker 4: for after we listen. I actually kind of want to 95 00:04:48,600 --> 00:04:50,520 Speaker 4: hear more about the sort of because I will say, 96 00:04:50,640 --> 00:04:52,560 Speaker 4: maybe we can just set the table a little bit. 97 00:04:52,640 --> 00:04:54,719 Speaker 4: And again, I am so sorry about the lovely Bones 98 00:04:54,760 --> 00:04:58,080 Speaker 4: thing as we set the table. I do just want 99 00:04:58,120 --> 00:05:05,479 Speaker 4: to say I was like completely ambivalent, slash ignorant to 100 00:05:05,560 --> 00:05:07,479 Speaker 4: this song, like I knew it because it was it 101 00:05:07,560 --> 00:05:09,719 Speaker 4: was a big hit, like you couldn't kind of I 102 00:05:09,760 --> 00:05:12,200 Speaker 4: always kind of and I mean no disparagement. I remember 103 00:05:12,240 --> 00:05:15,040 Speaker 4: they did like a tiny desk concert that I think 104 00:05:15,279 --> 00:05:18,760 Speaker 4: was a big thing. I actually think I played music 105 00:05:19,120 --> 00:05:21,760 Speaker 4: in another project with a guy who was like a 106 00:05:21,800 --> 00:05:25,040 Speaker 4: member of their larger ensemble touring band. I think he 107 00:05:25,080 --> 00:05:28,520 Speaker 4: played with us anyway, So I played with one of 108 00:05:28,560 --> 00:05:32,119 Speaker 4: the Magnetic Zeros in some other context once two thousand 109 00:05:32,160 --> 00:05:35,279 Speaker 4: and nine or ten. It seemed like he played like 110 00:05:35,279 --> 00:05:37,440 Speaker 4: a trash can in that band or something like it 111 00:05:37,640 --> 00:05:37,960 Speaker 4: was like. 112 00:05:37,920 --> 00:05:39,839 Speaker 1: A trash he played played the trash. 113 00:05:40,360 --> 00:05:42,640 Speaker 4: There was a lot of like that, kind of like 114 00:05:42,640 --> 00:05:46,640 Speaker 4: like found percussive elements or something like that. And I 115 00:05:46,680 --> 00:05:48,400 Speaker 4: got the sense they were kind of like a very 116 00:05:48,440 --> 00:05:54,839 Speaker 4: particular era of like Coachella adjacent, urban outfitters adjacent, like 117 00:05:54,839 --> 00:05:58,680 Speaker 4: like bohemian. But maybe they all came from education too, 118 00:05:58,800 --> 00:06:01,359 Speaker 4: I don't know. It seemed like a very specific thing. 119 00:06:02,360 --> 00:06:04,599 Speaker 4: The song was fine. I didn't really it was a 120 00:06:04,640 --> 00:06:06,600 Speaker 4: five out of ten. For me, I didn't. It wasn't 121 00:06:06,680 --> 00:06:08,280 Speaker 4: like a well, we got to get into the song. 122 00:06:08,360 --> 00:06:10,320 Speaker 4: That's what I remember. Maybe now I'll think it's an 123 00:06:10,320 --> 00:06:10,920 Speaker 4: eight or two. 124 00:06:11,000 --> 00:06:13,560 Speaker 2: That's why I'm kind of pumped. I haven't really listened 125 00:06:13,640 --> 00:06:15,960 Speaker 2: or could be a two. I haven't listened to this 126 00:06:16,040 --> 00:06:17,479 Speaker 2: song in a really long time. I remember when it 127 00:06:17,520 --> 00:06:19,800 Speaker 2: came out. I did really like that version where it 128 00:06:19,839 --> 00:06:22,560 Speaker 2: was a little kid and her dad singing it, I mean, 129 00:06:23,520 --> 00:06:25,640 Speaker 2: and it was I was like I thought that they 130 00:06:25,680 --> 00:06:29,480 Speaker 2: wrote it, and I was like, well better, it's so sweet, 131 00:06:30,040 --> 00:06:32,800 Speaker 2: and that the other viral one of like kids was 132 00:06:32,839 --> 00:06:35,840 Speaker 2: like a bunch of kids singing that it feels like. 133 00:06:35,880 --> 00:06:39,240 Speaker 1: We're never go backwards? Baby is that? 134 00:06:39,600 --> 00:06:42,960 Speaker 2: And Paula It's yeah, it's tame and Paula and it's 135 00:06:43,440 --> 00:06:45,440 Speaker 2: feels like we go going backwards and it's a It 136 00:06:45,560 --> 00:06:48,240 Speaker 2: was a bunch of like sixth graders or fifth graders 137 00:06:48,279 --> 00:06:51,000 Speaker 2: singing it, and I was like, wow, that's like so fun. 138 00:06:51,440 --> 00:06:53,359 Speaker 2: I mean made you realize like, oh, I guess like 139 00:06:53,440 --> 00:06:56,440 Speaker 2: music teachers are just like our age and listening to like. 140 00:06:56,800 --> 00:06:59,400 Speaker 1: Right, like it's not just totally well. 141 00:06:59,440 --> 00:07:01,960 Speaker 2: I went to Catholic school growing up, so it was 142 00:07:02,000 --> 00:07:04,320 Speaker 2: always like, you know, Christ has. 143 00:07:06,920 --> 00:07:07,560 Speaker 1: The best. 144 00:07:07,880 --> 00:07:11,440 Speaker 4: The hit for me was always let us proclaim the 145 00:07:11,680 --> 00:07:19,000 Speaker 4: mystery of fame. Man, it's all the monots. It's actually 146 00:07:19,320 --> 00:07:20,840 Speaker 4: severe in a kind of cool way. 147 00:07:20,920 --> 00:07:24,920 Speaker 2: There's a couple of church songs that there's another one too, 148 00:07:25,960 --> 00:07:26,320 Speaker 2: I don't know. 149 00:07:26,560 --> 00:07:27,200 Speaker 4: Spoon Man. 150 00:07:28,280 --> 00:07:31,880 Speaker 2: Yes, spoon Man is like an underrated Christ song. 151 00:07:32,800 --> 00:07:35,280 Speaker 4: Actually, Yo, Soun'm going did have a lot of like 152 00:07:35,320 --> 00:07:38,320 Speaker 4: They had a song called Jesus Christ Pose. He was 153 00:07:38,400 --> 00:07:41,720 Speaker 4: clearly doing a kind of like Christ via Seattle thing 154 00:07:41,920 --> 00:07:45,560 Speaker 4: Chris Cornell. Anyway, No, I'm trying to Cornell. 155 00:07:45,960 --> 00:07:49,400 Speaker 1: I'm trying to find the other like songs that I liked. 156 00:07:50,840 --> 00:07:52,640 Speaker 1: Oh church songs, do you remember? 157 00:07:53,160 --> 00:07:54,080 Speaker 4: And they would. 158 00:07:53,960 --> 00:07:57,480 Speaker 1: Lift you up on the eagles wings. 159 00:07:57,520 --> 00:07:58,280 Speaker 4: That's a nice one. 160 00:07:58,360 --> 00:07:59,760 Speaker 1: I just tried to find one of those. 161 00:07:59,800 --> 00:08:01,640 Speaker 2: And one of them that I see that I don't 162 00:08:01,680 --> 00:08:03,680 Speaker 2: know is called Come Jesus, Come, and all I could 163 00:08:03,680 --> 00:08:05,000 Speaker 2: think of his companies. 164 00:08:05,960 --> 00:08:10,000 Speaker 1: Come, Sid you gotta give me Jesus and you gotta 165 00:08:10,040 --> 00:08:10,920 Speaker 1: give me his bread. 166 00:08:12,760 --> 00:08:15,200 Speaker 2: Okay, so let's jump into this song and back, get 167 00:08:15,320 --> 00:08:18,840 Speaker 2: back on track, get out of the playground. 168 00:08:20,440 --> 00:08:21,800 Speaker 1: And get into the home. 169 00:08:22,280 --> 00:08:24,240 Speaker 4: While you pause the pod, feel free to take a 170 00:08:24,280 --> 00:08:26,040 Speaker 4: two and a half hour pause and watch two thousand 171 00:08:26,040 --> 00:08:28,760 Speaker 4: and nine The Lovely Bones starring Stanley Tushi and Sharshower 172 00:08:28,880 --> 00:08:29,160 Speaker 4: on him. 173 00:08:30,800 --> 00:08:33,320 Speaker 1: What's it called home? It's called Home by Edward Sharp. 174 00:08:33,440 --> 00:08:46,040 Speaker 1: I'm doing music video too. Sorry, all right, bye, so sorry. 175 00:08:46,080 --> 00:08:48,480 Speaker 4: I think I listened to like the extended Maybe you 176 00:08:48,559 --> 00:08:49,720 Speaker 4: have like the single version? 177 00:08:50,240 --> 00:08:50,599 Speaker 1: I don't know. 178 00:08:50,800 --> 00:08:53,040 Speaker 2: Yeah, yeah, yeah, no, I was it the one with 179 00:08:53,120 --> 00:08:55,920 Speaker 2: the third verses like a spoken like conversation. 180 00:08:56,440 --> 00:08:59,360 Speaker 4: It was, and then there was like a down chorus 181 00:08:59,480 --> 00:08:59,839 Speaker 4: after that. 182 00:09:00,240 --> 00:09:03,760 Speaker 1: I had that. I just listened a little faster than you. 183 00:09:05,760 --> 00:09:08,640 Speaker 1: This was four minutes and forty one seconds long. Yeah, 184 00:09:09,559 --> 00:09:14,880 Speaker 1: casey mm hmm. I don't really like this song. Okay, 185 00:09:15,320 --> 00:09:19,360 Speaker 1: so you're in the camp. Maybe you're more Z than X. Honestly, 186 00:09:19,480 --> 00:09:20,520 Speaker 1: I'm gens. Zen. 187 00:09:21,520 --> 00:09:22,000 Speaker 4: Is that a thing? 188 00:09:22,800 --> 00:09:22,839 Speaker 2: Like? 189 00:09:23,400 --> 00:09:26,960 Speaker 1: Is it like thing is in you put in your lip? 190 00:09:27,040 --> 00:09:29,880 Speaker 2: That's like those like there's like diph kind of like 191 00:09:29,960 --> 00:09:30,880 Speaker 2: dip but it's a packet. 192 00:09:30,960 --> 00:09:32,400 Speaker 1: Yeah, you're gens is it? 193 00:09:32,559 --> 00:09:37,840 Speaker 4: But is it? Is it a tobacco magotine? Because I didn't. 194 00:09:37,840 --> 00:09:38,960 Speaker 4: I used to be called snooze. 195 00:09:39,280 --> 00:09:41,439 Speaker 1: That was the thing. That's another thing that's a different one. 196 00:09:41,559 --> 00:09:43,600 Speaker 1: But yeah, Zen is like the it got big. 197 00:09:43,679 --> 00:09:45,760 Speaker 2: They were like in those little like hockey puck size, 198 00:09:45,800 --> 00:09:48,599 Speaker 2: yeah things, and there they are big with generations z 199 00:09:48,760 --> 00:09:52,200 Speaker 2: It's interesting that they're generations in that was a thing. 200 00:09:52,920 --> 00:09:55,719 Speaker 4: That was a thing twenty two years ago, twenty three 201 00:09:56,160 --> 00:09:56,560 Speaker 4: years ago. 202 00:09:57,120 --> 00:09:57,880 Speaker 1: Not tobacco. 203 00:09:58,320 --> 00:09:59,680 Speaker 4: It's just like something else. 204 00:09:59,800 --> 00:10:04,880 Speaker 2: It's just like it's straight nick, straight nick, it's nicorette 205 00:10:05,720 --> 00:10:07,440 Speaker 2: as if but like you just leave it in your mouth. 206 00:10:07,520 --> 00:10:08,840 Speaker 1: I know a lot of people do it and they're 207 00:10:08,880 --> 00:10:12,960 Speaker 1: like it helps me focus. Okay, well, you know, good, 208 00:10:13,040 --> 00:10:13,400 Speaker 1: that's good. 209 00:10:13,480 --> 00:10:14,000 Speaker 4: Actually what what? 210 00:10:14,160 --> 00:10:15,719 Speaker 1: I don't need to have a perspective on that. And 211 00:10:15,880 --> 00:10:17,679 Speaker 1: plus we give it a chance. 212 00:10:18,400 --> 00:10:25,200 Speaker 2: It's true, yea sinners, Yeah, you don't have to confess 213 00:10:25,240 --> 00:10:26,720 Speaker 2: your zins to mens. 214 00:10:28,960 --> 00:10:30,680 Speaker 4: And if you do, let us brook laim the mystery 215 00:10:30,720 --> 00:10:33,960 Speaker 4: of faith. Give give the mystery of faith a chance. 216 00:10:34,000 --> 00:10:35,720 Speaker 4: By the way, we are sponsored by the cat. 217 00:10:36,880 --> 00:10:44,160 Speaker 1: Come to baby, Come okay, talk to me about this 218 00:10:44,280 --> 00:10:47,120 Speaker 1: because I want to hear your opinion. I want to. 219 00:10:49,040 --> 00:10:49,439 Speaker 4: I want to. 220 00:10:49,720 --> 00:10:51,439 Speaker 1: I don't. I don't like it. 221 00:10:52,559 --> 00:10:56,760 Speaker 4: I think it's a really catchy song. I think I 222 00:10:56,880 --> 00:11:02,320 Speaker 4: think it's that chorus is a really undeniable chorus, very immediate, 223 00:11:02,480 --> 00:11:05,720 Speaker 4: very catchy. I do understand the kind of like sweetness 224 00:11:06,480 --> 00:11:09,599 Speaker 4: inherent in the kind of like you know, genesis of 225 00:11:09,640 --> 00:11:11,760 Speaker 4: a love story back and forth, and the kind of 226 00:11:11,880 --> 00:11:14,640 Speaker 4: like so this the song makes me immediately think of 227 00:11:14,720 --> 00:11:16,880 Speaker 4: two songs that are better than it, that do it 228 00:11:17,360 --> 00:11:19,840 Speaker 4: a version of it? Maybe three, but two. 229 00:11:19,880 --> 00:11:21,480 Speaker 1: Off the top of my head, Oh, I got one too. 230 00:11:22,480 --> 00:11:25,560 Speaker 1: One is which is like sort. 231 00:11:25,360 --> 00:11:28,400 Speaker 4: Of contemporary in the timeline, but I think slightly earlier, 232 00:11:28,520 --> 00:11:30,839 Speaker 4: definitely from a more kind of like legitimate, sort of 233 00:11:30,960 --> 00:11:35,360 Speaker 4: underground space. It also became an abused song, an overplayed song. 234 00:11:35,480 --> 00:11:38,120 Speaker 4: But that multi peacher song that was in Juno, Yes, 235 00:11:38,360 --> 00:11:42,439 Speaker 4: that's a better version of this song. More interesting idiosyncrasies 236 00:11:42,559 --> 00:11:46,280 Speaker 4: present in the lyrics, I believe. I think the singers 237 00:11:46,360 --> 00:11:49,520 Speaker 4: are genuinely like Kimmy and Adam that's there, like weirder people, 238 00:11:50,280 --> 00:11:52,599 Speaker 4: and I think their weirdnesses are expressed in ways that 239 00:11:52,640 --> 00:11:55,920 Speaker 4: are more like I don't know if they're weirder people, 240 00:11:55,920 --> 00:11:57,360 Speaker 4: I should, you know what I mean. I think that 241 00:11:57,920 --> 00:11:59,480 Speaker 4: it comes across the way that feels a little bit 242 00:11:59,520 --> 00:12:02,839 Speaker 4: more like aic and lived in, and their voice is 243 00:12:03,040 --> 00:12:05,920 Speaker 4: it's a less like this is like the marvelization of 244 00:12:06,000 --> 00:12:08,280 Speaker 4: that kind of a song like it's damped up and 245 00:12:08,480 --> 00:12:10,640 Speaker 4: like it's like that feels a little bit more like 246 00:12:10,720 --> 00:12:13,400 Speaker 4: something that that multi Peaches song feels a little bit 247 00:12:13,440 --> 00:12:15,720 Speaker 4: more like something you would write in your living room 248 00:12:15,760 --> 00:12:17,719 Speaker 4: with your friend and record on a four track, you 249 00:12:17,760 --> 00:12:20,480 Speaker 4: know what I mean. And for my personal tastes and 250 00:12:20,600 --> 00:12:23,480 Speaker 4: sensibilities that I prefer that. And the other one that 251 00:12:23,559 --> 00:12:27,839 Speaker 4: I think is like just so it's like the best 252 00:12:28,000 --> 00:12:30,079 Speaker 4: version of this, it's that John Priene song with I 253 00:12:30,120 --> 00:12:32,360 Speaker 4: think it's like, is it iris dement maybe the in 254 00:12:32,440 --> 00:12:35,760 Speaker 4: Spite of Ourselves? He thinks, oh my jokes are corny. 255 00:12:35,960 --> 00:12:42,079 Speaker 4: Combat movies make him horny, Like yeah, that song is 256 00:12:42,320 --> 00:12:45,840 Speaker 4: like the foundation text I think for like every song 257 00:12:46,000 --> 00:12:48,439 Speaker 4: like this to me or it's like the gold standard 258 00:12:48,559 --> 00:12:51,200 Speaker 4: rather that I think it's it's a really beautiful version 259 00:12:51,200 --> 00:12:53,360 Speaker 4: of it. So it's probably not a great sign when 260 00:12:53,360 --> 00:12:55,360 Speaker 4: a song makes you think of two better versions of 261 00:12:55,440 --> 00:12:58,800 Speaker 4: the song you're listening to. That's probably not an awesome 262 00:12:58,880 --> 00:12:59,920 Speaker 4: thing for the song. 263 00:13:00,640 --> 00:13:02,599 Speaker 1: I got some other ones, right, Oh yeah, let's do 264 00:13:02,679 --> 00:13:08,440 Speaker 1: that now, Rainy gay women, I will not feel so alone? 265 00:13:09,520 --> 00:13:13,080 Speaker 2: Yeah yeah, yeah, that's like thirty tons of yeah. Oh wow, 266 00:13:13,280 --> 00:13:14,160 Speaker 2: you remember the numbers. 267 00:13:14,640 --> 00:13:16,840 Speaker 4: I'm a bit of a dillinologist, dude. We'll do another 268 00:13:16,920 --> 00:13:17,400 Speaker 4: rip about that. 269 00:13:18,320 --> 00:13:21,000 Speaker 2: Yeah, it's that's that's the other one that comes up 270 00:13:21,080 --> 00:13:27,160 Speaker 2: with Janet, the the stuff like the stompclap genre, like 271 00:13:27,240 --> 00:13:29,800 Speaker 2: it's sort of like this, that's like the grandfather of that, 272 00:13:30,240 --> 00:13:33,120 Speaker 2: right wow, good good point. Yeah, and I think that 273 00:13:33,640 --> 00:13:35,959 Speaker 2: there's a back and forth that reminds me of Summer 274 00:13:36,080 --> 00:13:36,880 Speaker 2: Nights from Greece. 275 00:13:37,280 --> 00:13:37,840 Speaker 1: Oh my god. 276 00:13:38,679 --> 00:13:41,439 Speaker 4: Well well the foundation text yeah, yeah, yeah, that's it. 277 00:13:41,679 --> 00:13:42,640 Speaker 4: That's the actual one. 278 00:13:42,760 --> 00:13:45,400 Speaker 1: I even think like I Got You Babe has that, like. 279 00:13:47,120 --> 00:13:50,199 Speaker 4: Yes, but yeah, I Got You Babe has a it 280 00:13:50,400 --> 00:13:54,920 Speaker 4: is a definite sanded pop version of a Dylan thing, 281 00:13:55,760 --> 00:13:58,800 Speaker 4: like the way that's delivered, you know what I mean, Like, yeah, baby, 282 00:13:59,080 --> 00:14:02,400 Speaker 4: I Got you Babe. It's definitely like yeah, it's that's 283 00:14:02,520 --> 00:14:05,959 Speaker 4: totally like a like a like a television version of 284 00:14:06,040 --> 00:14:07,360 Speaker 4: a Bob Dylan song or something. 285 00:14:07,440 --> 00:14:08,640 Speaker 1: Yeah, yeah, yeah yeah. 286 00:14:08,679 --> 00:14:11,240 Speaker 2: I wonder if if they were considered that at the time, 287 00:14:11,360 --> 00:14:14,080 Speaker 2: sort of like because their sixties, right, so I wonder 288 00:14:14,120 --> 00:14:15,599 Speaker 2: if they were like a polished almost like how the 289 00:14:15,679 --> 00:14:18,559 Speaker 2: Monkeys were like a sort of totally fabricated Beatles. Although 290 00:14:18,640 --> 00:14:22,560 Speaker 2: my uncle was like the Monkeys were still good. You've 291 00:14:22,600 --> 00:14:26,600 Speaker 2: heard of Kirk Cobain, Yeah, once in a while. There's 292 00:14:26,600 --> 00:14:28,800 Speaker 2: a funny quote where he was asked about his Beatles 293 00:14:28,880 --> 00:14:31,000 Speaker 2: influence in their music, and he said, actually, the most 294 00:14:31,040 --> 00:14:32,760 Speaker 2: of the best Beatles record I ever heard was the 295 00:14:32,840 --> 00:14:34,400 Speaker 2: Chipmunks sing sing the Beatles. 296 00:14:34,760 --> 00:14:35,400 Speaker 1: That's funny. 297 00:14:35,680 --> 00:14:37,160 Speaker 4: It's better than the real mccola. 298 00:14:48,280 --> 00:14:50,000 Speaker 1: Let me go back to the beef, right, because I 299 00:14:50,080 --> 00:14:51,120 Speaker 1: wanted to talk about. 300 00:14:52,600 --> 00:14:55,000 Speaker 2: So I think basically someone just posted like this is 301 00:14:55,040 --> 00:14:57,680 Speaker 2: the worst song ever, and they linked it to the 302 00:14:57,760 --> 00:15:01,400 Speaker 2: Tiny Desk version two and and there was like ninety 303 00:15:01,680 --> 00:15:06,240 Speaker 2: million interactions based on this with people like to it 304 00:15:06,520 --> 00:15:09,320 Speaker 2: for it, and then it was big enough that that 305 00:15:09,680 --> 00:15:12,960 Speaker 2: Edward Sharp guy weighed in and he basically was like, 306 00:15:13,520 --> 00:15:16,000 Speaker 2: I understand that, like your issues with it and stuff, 307 00:15:16,040 --> 00:15:18,640 Speaker 2: but it's not a bad song. And he was like 308 00:15:18,920 --> 00:15:21,640 Speaker 2: he told the story, which I think is really sweet. 309 00:15:22,200 --> 00:15:26,360 Speaker 2: His dad was turning eighty or ninety and asked him 310 00:15:26,440 --> 00:15:29,360 Speaker 2: to sing ninety year old birthday and he asked him 311 00:15:29,400 --> 00:15:32,200 Speaker 2: to sing the song at the birthday party, and it 312 00:15:32,320 --> 00:15:34,000 Speaker 2: was just a piano there, and so he had to 313 00:15:34,160 --> 00:15:36,920 Speaker 2: like play it with just like whole chords, like on 314 00:15:37,000 --> 00:15:41,040 Speaker 2: a piano at a restaurant at noon, and he's like, 315 00:15:41,880 --> 00:15:44,360 Speaker 2: that's my that's like my favorite version of the song. 316 00:15:45,000 --> 00:15:47,480 Speaker 2: And so like that's interesting that like when you have 317 00:15:47,600 --> 00:15:49,480 Speaker 2: a song so big that your family is like, can 318 00:15:49,520 --> 00:15:51,160 Speaker 2: you play the song? And you kind of have to, 319 00:15:52,320 --> 00:15:55,760 Speaker 2: and you know, so you know when you kind of 320 00:15:55,880 --> 00:15:58,600 Speaker 2: you have to take it all in. Because as much 321 00:15:58,720 --> 00:16:03,760 Speaker 2: as I with you that this genre feels a little 322 00:16:04,720 --> 00:16:10,880 Speaker 2: hack or something, you know, I do think that it's 323 00:16:11,000 --> 00:16:12,440 Speaker 2: got smart parts. 324 00:16:12,600 --> 00:16:12,720 Speaker 1: Right. 325 00:16:12,800 --> 00:16:16,440 Speaker 2: It's got this opening, it's got melodies that are catchy 326 00:16:16,560 --> 00:16:19,240 Speaker 2: that aren't even related to the singing, and it's even got. 327 00:16:19,160 --> 00:16:22,000 Speaker 1: That bam like that stuff. 328 00:16:22,520 --> 00:16:24,840 Speaker 2: So like I give it credit for like it's it 329 00:16:24,960 --> 00:16:28,040 Speaker 2: does have some craftsmanship. I think it's like a little hokey. 330 00:16:28,160 --> 00:16:31,240 Speaker 2: It's it's like it's primed for a wedding, you know 331 00:16:31,280 --> 00:16:33,960 Speaker 2: what I mean, Like like I don't know if it's 332 00:16:34,040 --> 00:16:37,320 Speaker 2: like the Bride and Groom, but it can be, you know, 333 00:16:37,920 --> 00:16:38,480 Speaker 2: if it's one of. 334 00:16:38,480 --> 00:16:41,080 Speaker 1: Those like outdoor ways or like the Bride's barefoot. 335 00:16:41,480 --> 00:16:44,880 Speaker 2: I think like there's definitely some of that bohemian I 336 00:16:44,920 --> 00:16:49,000 Speaker 2: will also give like millennials credit for this era, which 337 00:16:49,280 --> 00:16:51,880 Speaker 2: let me see what year this was do you do 338 00:16:51,920 --> 00:16:52,440 Speaker 2: you have a guess? 339 00:16:52,920 --> 00:16:54,520 Speaker 4: I'm gonna guess twenty ten. 340 00:16:55,800 --> 00:16:58,120 Speaker 1: It was released January twenty ten, so it was like 341 00:16:58,360 --> 00:17:01,120 Speaker 1: recorded and it didn't really take off probably until twenty tents. 342 00:17:01,160 --> 00:17:02,000 Speaker 1: You're on the money. 343 00:17:02,480 --> 00:17:05,399 Speaker 2: This is also like right, this is also like Little 344 00:17:05,520 --> 00:17:09,800 Speaker 2: John like lmfao, you know, like, yeah. 345 00:17:09,640 --> 00:17:12,120 Speaker 4: I think that's around the same time. Well, maybe Little 346 00:17:12,160 --> 00:17:15,800 Speaker 4: John's a little earlier because Vampire Weekend singing about Little 347 00:17:15,840 --> 00:17:18,480 Speaker 4: John in two thousand and eight. So but it's the 348 00:17:18,480 --> 00:17:20,840 Speaker 4: same same like three four year window. 349 00:17:20,960 --> 00:17:23,640 Speaker 2: Yeah, I'm looking at some hits and it's like kid 350 00:17:23,760 --> 00:17:26,720 Speaker 2: Cutty Day and Night and it's like Robin Dancing on 351 00:17:26,840 --> 00:17:30,200 Speaker 2: my own. Yeah, it's like a Beautiful Monster by Neo, 352 00:17:30,520 --> 00:17:33,920 Speaker 2: like you know California Girls, Katie Perry, Like that's this 353 00:17:34,080 --> 00:17:35,760 Speaker 2: era so like and that's all. 354 00:17:35,880 --> 00:17:36,160 Speaker 1: I think. 355 00:17:36,160 --> 00:17:38,280 Speaker 2: A lot of that is kind of all over the place. 356 00:17:38,359 --> 00:17:41,280 Speaker 2: So for something like this to cut through. Oh and 357 00:17:41,359 --> 00:17:46,400 Speaker 2: there's that Neon Trees song animal like wow, yeah, Ularue Bulletproof, 358 00:17:46,600 --> 00:17:47,960 Speaker 2: Like it's a weird time. 359 00:17:48,640 --> 00:17:52,120 Speaker 4: When was the uh, oh my god, it's another one 360 00:17:52,160 --> 00:17:55,320 Speaker 4: of the it's when is the Luminears twenty twelve? 361 00:17:55,560 --> 00:17:57,560 Speaker 1: This is this is definitely Luminears era. 362 00:17:58,119 --> 00:18:00,119 Speaker 4: But this these that's I'm thing, and maybe these these 363 00:18:00,160 --> 00:18:03,720 Speaker 4: guys were like pre they might have been Premion years. 364 00:18:04,760 --> 00:18:06,600 Speaker 4: Ooh the Premoneres. 365 00:18:06,680 --> 00:18:07,560 Speaker 1: This is what I'm yeah. 366 00:18:07,680 --> 00:18:10,920 Speaker 2: Yeah, so it was a little yeah, twenty twelve, I'm 367 00:18:10,920 --> 00:18:14,000 Speaker 2: seeing Lumineers like and then a little like they got 368 00:18:14,400 --> 00:18:15,320 Speaker 2: twenty sixteen. 369 00:18:15,359 --> 00:18:16,199 Speaker 1: They had some hits too. 370 00:18:16,240 --> 00:18:19,000 Speaker 4: I think, well, they dude, the Lumineers, which I completely 371 00:18:19,080 --> 00:18:21,840 Speaker 4: lost track of, they like play City the Field now, 372 00:18:22,040 --> 00:18:25,760 Speaker 4: yeah they've been They play city Field like they played 373 00:18:25,840 --> 00:18:27,720 Speaker 4: city Field last year as like a headlining act. 374 00:18:27,760 --> 00:18:29,440 Speaker 1: I was like, what the Lumineers are that big? 375 00:18:29,560 --> 00:18:33,520 Speaker 4: That's crazy. I think everything you just said is so true, 376 00:18:33,520 --> 00:18:35,560 Speaker 4: and I also think you made What made me really 377 00:18:35,680 --> 00:18:37,919 Speaker 4: want to give it a chance is actually the fact that. 378 00:18:38,200 --> 00:18:43,560 Speaker 1: Any sort of anything like this that's not like a something. 379 00:18:43,280 --> 00:18:46,320 Speaker 4: That's just like a piece of culture, that's not like 380 00:18:46,440 --> 00:18:50,000 Speaker 4: something that's like offensive or bigoted or like malicious or 381 00:18:50,119 --> 00:18:53,920 Speaker 4: violent or something that just ends up being like this 382 00:18:54,520 --> 00:18:57,800 Speaker 4: much of a source of like savagery on the internet. 383 00:18:57,920 --> 00:18:59,560 Speaker 4: I want to give a chance to because I'm just like, guys, 384 00:18:59,600 --> 00:19:02,000 Speaker 4: it's a fucking song. You can like like or not 385 00:19:02,280 --> 00:19:04,600 Speaker 4: like it, But you don't need ninety million people do 386 00:19:04,720 --> 00:19:07,399 Speaker 4: not need to be inveighing on like whether it is 387 00:19:07,480 --> 00:19:09,760 Speaker 4: the quote literal worst song ever. Now, it's also like 388 00:19:09,800 --> 00:19:12,400 Speaker 4: there's a part of me that because of I don't 389 00:19:12,440 --> 00:19:15,480 Speaker 4: know however coming up and punk or a'll turn it 390 00:19:15,520 --> 00:19:18,160 Speaker 4: in the adjacent whatever you want to call it. Stuff 391 00:19:18,200 --> 00:19:20,080 Speaker 4: that's like a little subcultural. I also think it's like 392 00:19:20,119 --> 00:19:22,000 Speaker 4: a little funny when someone posts something that says like 393 00:19:22,080 --> 00:19:24,600 Speaker 4: this is the worst song ever, it's a little funny, 394 00:19:25,160 --> 00:19:27,879 Speaker 4: and then it tips very quickly into something that I'm like, 395 00:19:28,119 --> 00:19:30,800 Speaker 4: all right, and I, you know, there's a few things 396 00:19:30,840 --> 00:19:33,240 Speaker 4: that I want to try to, like neatly try to 397 00:19:33,280 --> 00:19:37,240 Speaker 4: get to. So that is that is an over correction 398 00:19:37,480 --> 00:19:40,080 Speaker 4: to call this the worst song ever. It is an 399 00:19:40,160 --> 00:19:43,720 Speaker 4: over correction to have that volume of people inveighing about 400 00:19:44,080 --> 00:19:46,680 Speaker 4: ripping this apart with sort of like talons or whatever. 401 00:19:46,840 --> 00:19:49,200 Speaker 4: And I think his responses actually sounds pretty measured. And 402 00:19:49,280 --> 00:19:52,359 Speaker 4: it's also like I hope, for his sake, if the 403 00:19:52,520 --> 00:19:55,600 Speaker 4: abiding memory of this song is the time he played 404 00:19:55,640 --> 00:19:58,159 Speaker 4: it at a birthday party for his dad in a 405 00:19:58,240 --> 00:20:01,960 Speaker 4: restaurant on a piano, that's like that is actually worth 406 00:20:02,080 --> 00:20:06,960 Speaker 4: more and like what actually matters about being alive then 407 00:20:07,240 --> 00:20:10,080 Speaker 4: playing a tiny desk concert or Coachella or having your 408 00:20:10,119 --> 00:20:11,960 Speaker 4: song in a movie or having a bunch of people 409 00:20:11,960 --> 00:20:13,920 Speaker 4: on the internet. I tell you it sucks, like the 410 00:20:14,040 --> 00:20:16,000 Speaker 4: only and if there's a certain argument through which the 411 00:20:16,119 --> 00:20:18,000 Speaker 4: only thing that actually matters is the time he played 412 00:20:18,000 --> 00:20:20,159 Speaker 4: it for his fucking father at a birthday party. But 413 00:20:20,280 --> 00:20:22,800 Speaker 4: that's a different podcast, maybe a different conversation. 414 00:20:23,040 --> 00:20:23,240 Speaker 1: Yeah. 415 00:20:23,520 --> 00:20:26,480 Speaker 4: The other thing I would say is that I do 416 00:20:26,760 --> 00:20:30,159 Speaker 4: think you're right to point out like diversity or breadth 417 00:20:30,240 --> 00:20:32,440 Speaker 4: of like what's going on culturally when there's a space 418 00:20:32,520 --> 00:20:35,080 Speaker 4: for something like this alongside those things. That's like, I 419 00:20:35,240 --> 00:20:37,560 Speaker 4: do think that exists at all times. I'm sure there's 420 00:20:37,600 --> 00:20:40,080 Speaker 4: kids coming up now that would point to that there's 421 00:20:40,119 --> 00:20:42,639 Speaker 4: a really wide range of sort of I also, I 422 00:20:42,720 --> 00:20:45,600 Speaker 4: do think there's a nineties kid that was like a 423 00:20:45,720 --> 00:20:48,760 Speaker 4: really there was a lot of like real wild shit 424 00:20:48,920 --> 00:20:49,960 Speaker 4: all in the top ten. 425 00:20:50,600 --> 00:20:51,960 Speaker 1: Yeah, for sure, for sure. 426 00:20:52,240 --> 00:20:54,600 Speaker 2: But I think people don't think that it happened again 427 00:20:55,160 --> 00:20:57,680 Speaker 2: after the nineties. I think I think a lot of 428 00:20:57,720 --> 00:21:00,760 Speaker 2: times people are like true that they're like, oh, it's 429 00:21:00,800 --> 00:21:03,240 Speaker 2: been like, you know, pop music has been sort of 430 00:21:03,400 --> 00:21:06,080 Speaker 2: like it's all the same thing. And I think when 431 00:21:06,119 --> 00:21:08,159 Speaker 2: you look back, you realize, like, oh no, things did 432 00:21:08,240 --> 00:21:10,560 Speaker 2: come up, and it's like it's not just the nineties 433 00:21:10,600 --> 00:21:14,960 Speaker 2: having stuff like how bizarre by omens Yeah yeah, and also. 434 00:21:15,160 --> 00:21:18,720 Speaker 1: Next it's like jam yeah, yeah, that always happens. Yeah. 435 00:21:18,960 --> 00:21:21,000 Speaker 2: I think this is like the twenty tens. It's like 436 00:21:21,040 --> 00:21:24,080 Speaker 2: the last message of like hit songs. Like I think 437 00:21:24,760 --> 00:21:26,720 Speaker 2: I think now you kind of get some songs that 438 00:21:26,840 --> 00:21:30,040 Speaker 2: pop up that like will just sort of become very 439 00:21:30,119 --> 00:21:32,359 Speaker 2: big still, but like it's not, it's less. 440 00:21:32,400 --> 00:21:33,399 Speaker 1: The machine is weirder. 441 00:21:34,000 --> 00:21:36,159 Speaker 4: It's weirder. And I think the part of why I 442 00:21:36,280 --> 00:21:39,720 Speaker 4: do think part of why that is a maybe I 443 00:21:39,760 --> 00:21:42,520 Speaker 4: don't know if maybe we'll call it for our purposes 444 00:21:42,600 --> 00:21:47,320 Speaker 4: like a popular slight misconception, is that I actually think 445 00:21:47,480 --> 00:21:50,600 Speaker 4: that's about maybe this is subconscious. I think there's a 446 00:21:50,640 --> 00:21:52,520 Speaker 4: few things about that. One is I think it's about 447 00:21:52,560 --> 00:21:55,000 Speaker 4: the way it sounds like. I think there was a 448 00:21:55,080 --> 00:21:58,920 Speaker 4: point where country music started to We've talked about this 449 00:21:59,040 --> 00:22:01,719 Speaker 4: on this show, but country music, for instance, like starts 450 00:22:01,760 --> 00:22:06,520 Speaker 4: to incorporate aspects of like technicolor pop and hip hop 451 00:22:06,960 --> 00:22:09,359 Speaker 4: in its delivery and production choices to like sort of 452 00:22:09,400 --> 00:22:11,440 Speaker 4: athleticize it a little bit more to have to be 453 00:22:11,480 --> 00:22:13,720 Speaker 4: able to compete. Actually if you hear it in like 454 00:22:13,880 --> 00:22:18,280 Speaker 4: the supermarket between like a super bright hip hop song 455 00:22:18,359 --> 00:22:21,520 Speaker 4: and a like pop song. I also think like rock 456 00:22:22,000 --> 00:22:25,200 Speaker 4: music or what's called like alternative rock music starts to 457 00:22:25,320 --> 00:22:29,720 Speaker 4: also incorporate aspects of like boom, like really big kind 458 00:22:29,760 --> 00:22:33,120 Speaker 4: of like almost like dance stuff from BDM and hip 459 00:22:33,160 --> 00:22:37,040 Speaker 4: hop and pop. And I think that also what it's 460 00:22:37,119 --> 00:22:40,280 Speaker 4: what's funny about this stuff that like what kick stomp 461 00:22:40,680 --> 00:22:44,119 Speaker 4: whatever was called stomp clap stop clamp stop. 462 00:22:43,960 --> 00:22:47,119 Speaker 1: Clamp, yeah, stop clamp stomp clap, and. 463 00:22:47,240 --> 00:22:50,080 Speaker 4: Like there's like a woohoo thing and whistling all of 464 00:22:50,160 --> 00:22:53,159 Speaker 4: that stuff. Even this stuff the way there's like a 465 00:22:53,240 --> 00:22:55,160 Speaker 4: little bit of a like the way it's like beefed 466 00:22:55,359 --> 00:22:57,440 Speaker 4: up to kind of have this so like there's like 467 00:22:57,480 --> 00:23:01,120 Speaker 4: a little pulse to it that feels a little there's 468 00:23:01,160 --> 00:23:03,440 Speaker 4: a way in which things start to get like pushed 469 00:23:03,600 --> 00:23:06,480 Speaker 4: towards each other. And then also even the way things 470 00:23:06,520 --> 00:23:09,320 Speaker 4: are like mixed and mastered, there's a way that like 471 00:23:09,440 --> 00:23:12,720 Speaker 4: you could have it on a Spotify playlist where like 472 00:23:13,080 --> 00:23:15,760 Speaker 4: eight songs from disparate genres play in a row. But 473 00:23:15,920 --> 00:23:18,159 Speaker 4: they all kind of I kind of get what it 474 00:23:18,240 --> 00:23:21,560 Speaker 4: means when someone's like it all sounds the same. It's 475 00:23:21,640 --> 00:23:26,200 Speaker 4: not literally that this sounds like Kanye West, sounds like 476 00:23:26,440 --> 00:23:30,159 Speaker 4: Taylor Swift sounds like but it is like there is 477 00:23:30,240 --> 00:23:36,440 Speaker 4: a way music is now made to compete in the 478 00:23:36,560 --> 00:23:41,040 Speaker 4: marketplace that is homogenizing, frankly, and that's from a more 479 00:23:41,119 --> 00:23:44,480 Speaker 4: like a technical perspective than it is like I don't know, 480 00:23:45,600 --> 00:23:50,160 Speaker 4: chord choices or whatever. I wonder if that's subconsciously part 481 00:23:50,200 --> 00:23:52,000 Speaker 4: of why there is something. And also I do think 482 00:23:52,040 --> 00:23:55,200 Speaker 4: the movement from like terrestrial radio and MTV towards like 483 00:23:55,880 --> 00:23:58,560 Speaker 4: streaming and stuff like that has has changed the way 484 00:23:58,640 --> 00:24:03,160 Speaker 4: we like categorize and think about these eras. 485 00:24:03,359 --> 00:24:06,720 Speaker 2: I mean, I think I kind of I'm confused, Like, 486 00:24:07,040 --> 00:24:09,640 Speaker 2: you know, I don't really know why that a generation 487 00:24:09,760 --> 00:24:12,800 Speaker 2: would hate this song so much. Partially, maybe it's just 488 00:24:12,960 --> 00:24:16,000 Speaker 2: like it was on a lot as they were growing up, 489 00:24:16,800 --> 00:24:22,120 Speaker 2: and you know, it just that they just decided to pick. 490 00:24:21,960 --> 00:24:22,600 Speaker 4: On this one. 491 00:24:23,119 --> 00:24:26,480 Speaker 2: Or like there was this sort of like bohemian like 492 00:24:26,600 --> 00:24:29,080 Speaker 2: style of dress that people that was sort of this 493 00:24:29,880 --> 00:24:33,200 Speaker 2: post hipster in terms of like the Williamsburg hipster and 494 00:24:33,280 --> 00:24:36,440 Speaker 2: it was this hybrid like like wearing like you know 495 00:24:36,560 --> 00:24:39,800 Speaker 2: that that that you know that suspenders and it's like 496 00:24:39,920 --> 00:24:41,359 Speaker 2: country hipster or something like that. 497 00:24:41,720 --> 00:24:43,680 Speaker 4: And also it's a little la it's a little like 498 00:24:43,800 --> 00:24:47,159 Speaker 4: East It's like it's like free people anthropology. It's like 499 00:24:47,200 --> 00:24:48,879 Speaker 4: a little there's like a little bit of a like 500 00:24:49,080 --> 00:24:51,959 Speaker 4: of a like you said the wedding with the barefoot bride, 501 00:24:52,119 --> 00:24:55,320 Speaker 4: there's a little bit of a like it's like tourist 502 00:24:55,560 --> 00:24:58,640 Speaker 4: Nashville by way of tourist East, La. Kid. 503 00:24:59,000 --> 00:25:09,160 Speaker 1: Yeah, Yeah, And it feels faux. 504 00:25:09,320 --> 00:25:11,920 Speaker 2: It feels like like there's this like sort of because 505 00:25:11,920 --> 00:25:14,560 Speaker 2: you're it's like, you know, it's a it's one hundred 506 00:25:14,560 --> 00:25:16,720 Speaker 2: thousand dollars wedding that where you're taking your shoes off. 507 00:25:17,240 --> 00:25:19,800 Speaker 2: I guess my question is, yeah, going back to you 508 00:25:19,880 --> 00:25:22,480 Speaker 2: had a thought, why why does this generation hate it? 509 00:25:22,960 --> 00:25:25,600 Speaker 4: I think that there's the like I will say this 510 00:25:26,000 --> 00:25:30,800 Speaker 4: again as we've covered uh ad infinitum, and we'll cover again. 511 00:25:31,000 --> 00:25:33,639 Speaker 4: I'm a forty five almost forty six year old man, 512 00:25:33,680 --> 00:25:34,040 Speaker 4: so I'm not. 513 00:25:34,240 --> 00:25:34,720 Speaker 1: Even say that. 514 00:25:35,119 --> 00:25:37,200 Speaker 4: But what so I don't know what I know? 515 00:25:37,400 --> 00:25:39,280 Speaker 1: Is this that's not true? 516 00:25:40,520 --> 00:25:43,800 Speaker 4: Look, i I'm looking both ways before I say this. 517 00:25:44,080 --> 00:25:47,280 Speaker 1: I lie about my age, like all the time. I 518 00:25:47,440 --> 00:25:47,960 Speaker 1: lie about it. 519 00:25:48,040 --> 00:25:49,680 Speaker 4: Can you see my book in the hairline? 520 00:25:49,760 --> 00:25:50,919 Speaker 1: Dude, I I. 521 00:25:52,800 --> 00:25:54,960 Speaker 4: I so, I don't know. I'm not a member of 522 00:25:55,040 --> 00:25:58,560 Speaker 4: gen Z. But what I do think is like the lyrics, 523 00:25:58,720 --> 00:26:02,160 Speaker 4: I will say this, I found the lyrics, not the chorus. 524 00:26:02,320 --> 00:26:05,399 Speaker 4: You're right about to point out the melodic strengths, the 525 00:26:05,800 --> 00:26:09,399 Speaker 4: the the what's the word for oh my god? For 526 00:26:09,520 --> 00:26:13,760 Speaker 4: how the song is built, not structural arrangement. The arrangement strengths, and. 527 00:26:13,880 --> 00:26:15,280 Speaker 1: The chorus home is wherever. 528 00:26:15,640 --> 00:26:18,879 Speaker 4: That's very catchy, it's romantic, it's it's it's actually a 529 00:26:18,960 --> 00:26:20,960 Speaker 4: lovely sentiment and it's delivered well. 530 00:26:21,040 --> 00:26:21,480 Speaker 1: I do like that. 531 00:26:21,560 --> 00:26:24,200 Speaker 4: It's also sort of like the song starts on the 532 00:26:24,359 --> 00:26:27,080 Speaker 4: minor of the core of the key it's in. There's 533 00:26:27,119 --> 00:26:29,040 Speaker 4: a little like, it's not it's not it could be 534 00:26:29,160 --> 00:26:31,440 Speaker 4: so much more bright and sunny actually than it is. 535 00:26:31,600 --> 00:26:32,840 Speaker 4: There's a little hint. 536 00:26:32,720 --> 00:26:34,680 Speaker 1: Of darkness in that. I thought that's nice. Yeah, I 537 00:26:34,760 --> 00:26:35,000 Speaker 1: love that. 538 00:26:35,600 --> 00:26:39,920 Speaker 4: But what I do think is the lyrics are they're 539 00:26:40,000 --> 00:26:44,240 Speaker 4: like cartoonish comic book. They're a little bit like not 540 00:26:44,480 --> 00:26:46,560 Speaker 4: the chorus, I mean, the verse is all the like man, 541 00:26:46,760 --> 00:26:49,600 Speaker 4: the you know, Jesus Christ and honey Pie and Martin 542 00:26:49,720 --> 00:26:51,720 Speaker 4: Luther or a baby doll, Like, there's something about it 543 00:26:51,800 --> 00:26:54,320 Speaker 4: that's a little bit like It's like I think it 544 00:26:54,359 --> 00:26:58,000 Speaker 4: feels cheap, and I think it feels hacky, and I 545 00:26:58,160 --> 00:27:01,000 Speaker 4: think that I don't and look, everything's got to be 546 00:27:01,200 --> 00:27:03,960 Speaker 4: like the ghost of Electricity howls and the bones of 547 00:27:03,960 --> 00:27:06,000 Speaker 4: her face or whatever. Not everything's gonna be like. But 548 00:27:06,359 --> 00:27:10,000 Speaker 4: there is something where like I think. So for me, 549 00:27:11,080 --> 00:27:14,520 Speaker 4: something I struggle with with music like this is that 550 00:27:14,640 --> 00:27:18,480 Speaker 4: it literally, as we just discussed, but also figuratively, wear's 551 00:27:18,640 --> 00:27:24,120 Speaker 4: the clothes of deeper meaning and authenticity and some kind 552 00:27:24,160 --> 00:27:26,240 Speaker 4: of like in this instance like post you know, it's 553 00:27:26,280 --> 00:27:30,960 Speaker 4: like dust Bowl john Steinbeck by way of Coachella, Like, now, 554 00:27:31,160 --> 00:27:33,159 Speaker 4: is that their fault? They're part of a broader thing. 555 00:27:33,200 --> 00:27:34,919 Speaker 4: They weren't the only people doing this kind of thing. 556 00:27:35,160 --> 00:27:38,400 Speaker 4: They probably were pretty bohemian in their private lives or whatever. 557 00:27:38,440 --> 00:27:40,920 Speaker 4: I don't know. Maybe that guy really did fall out 558 00:27:40,960 --> 00:27:43,520 Speaker 4: of a window and have to go to the hospital, 559 00:27:43,560 --> 00:27:45,639 Speaker 4: and she was smoking a stick whatever it is. But 560 00:27:46,440 --> 00:27:49,520 Speaker 4: there's something about the cute sea way they're talking to 561 00:27:49,640 --> 00:27:51,760 Speaker 4: each other and here that feels it's a little cringe. 562 00:27:51,840 --> 00:27:54,080 Speaker 4: And I do think that gen Z has a real 563 00:27:54,240 --> 00:27:57,760 Speaker 4: antenna for that shit. And I also think maybe there's 564 00:27:57,800 --> 00:28:00,639 Speaker 4: something to be said also for the like there's something 565 00:28:00,720 --> 00:28:03,399 Speaker 4: about feeling maybe for these kids. And this will be 566 00:28:03,520 --> 00:28:06,160 Speaker 4: like I'll wrap with this because also I don't want 567 00:28:06,160 --> 00:28:08,359 Speaker 4: to get us off into a totally different direction. But 568 00:28:08,520 --> 00:28:10,720 Speaker 4: maybe this is an instance where these kids that feel 569 00:28:10,760 --> 00:28:15,680 Speaker 4: like they're inheriting a real precarious and treacherous world where 570 00:28:15,680 --> 00:28:21,760 Speaker 4: their material conditions are largely degraded in comparison to every generation, 571 00:28:21,880 --> 00:28:24,280 Speaker 4: especially in the West and especially in America that's come 572 00:28:24,359 --> 00:28:27,600 Speaker 4: before it. Maybe there's something about like watching people who 573 00:28:27,680 --> 00:28:30,240 Speaker 4: you presume have some kind of money or status or 574 00:28:30,320 --> 00:28:36,000 Speaker 4: whatever cause playing bohemian poverty while they like stomp clap 575 00:28:36,080 --> 00:28:39,760 Speaker 4: their way through a kind of like cringe inducing series 576 00:28:39,840 --> 00:28:42,160 Speaker 4: of like maybe there's something about it that feels like 577 00:28:42,240 --> 00:28:45,640 Speaker 4: differently offensive. Maybe it's why a kid who was into 578 00:28:45,760 --> 00:28:49,040 Speaker 4: like maybe serious like not like people like in that 579 00:28:49,200 --> 00:28:51,960 Speaker 4: Gen X generation that were like so offended by what 580 00:28:52,120 --> 00:28:54,600 Speaker 4: was happening with like the Sunset Strip and stuff like that. 581 00:28:55,080 --> 00:28:57,160 Speaker 4: Maybe it's because they were like they were like kind 582 00:28:57,160 --> 00:28:59,920 Speaker 4: of like depression kids. They're not just I don't just 583 00:29:00,160 --> 00:29:03,360 Speaker 4: mean like mental health wise. They were like growing up 584 00:29:03,360 --> 00:29:05,520 Speaker 4: in these depressed towns where there was you know what 585 00:29:05,600 --> 00:29:07,440 Speaker 4: I mean, So they were like, yeah, fuck these people 586 00:29:07,480 --> 00:29:10,960 Speaker 4: that are selling me this like bullshit lifestyle. And maybe 587 00:29:11,000 --> 00:29:12,960 Speaker 4: that's what a gen Z kid feels when they look 588 00:29:13,000 --> 00:29:14,880 Speaker 4: at this. They're like the song kind of sucks, and 589 00:29:14,960 --> 00:29:19,240 Speaker 4: also like I actually don't have any fucking like there's 590 00:29:19,280 --> 00:29:21,080 Speaker 4: not a lot to me to look forward to materially 591 00:29:21,120 --> 00:29:24,000 Speaker 4: in the future as things look right now, and these 592 00:29:24,040 --> 00:29:28,200 Speaker 4: people are like playing this free people version of like 593 00:29:28,400 --> 00:29:30,920 Speaker 4: the Grapes of Wrath or something. I don't know, maybe 594 00:29:30,960 --> 00:29:32,760 Speaker 4: I'm giving it too much, but you know what I 595 00:29:32,840 --> 00:29:34,320 Speaker 4: mean when I say that, that's. 596 00:29:34,320 --> 00:29:36,280 Speaker 1: That's no I do. Yeah, that all makes a lot 597 00:29:36,360 --> 00:29:36,680 Speaker 1: of sense. 598 00:29:36,720 --> 00:29:38,560 Speaker 2: And I want to go back to a point you 599 00:29:38,600 --> 00:29:41,000 Speaker 2: made with the lyrics, because I agreed there's a way 600 00:29:41,080 --> 00:29:43,520 Speaker 2: to do it better. And I've always been a fan 601 00:29:43,800 --> 00:29:45,680 Speaker 2: going back to another song that's a back and forth 602 00:29:46,480 --> 00:29:50,160 Speaker 2: Island's in the Stream, right, great song, And I even 603 00:29:50,280 --> 00:29:51,960 Speaker 2: just think like maybe when I met. 604 00:29:51,840 --> 00:29:53,680 Speaker 1: You there was peace unknown. I set out to get 605 00:29:53,720 --> 00:29:55,000 Speaker 1: you with a fine tooth comb. 606 00:29:55,080 --> 00:29:59,560 Speaker 2: It's like that's off the off the bat it's already 607 00:30:00,200 --> 00:30:03,880 Speaker 2: like kind of visual and abstract, but like to the point. 608 00:30:04,120 --> 00:30:06,560 Speaker 2: And I think, like it's brave to do a song 609 00:30:06,720 --> 00:30:09,760 Speaker 2: that's really to the point, Like to do a song 610 00:30:09,800 --> 00:30:12,720 Speaker 2: where you say like I love you is it takes 611 00:30:12,720 --> 00:30:15,080 Speaker 2: a lot of it because everyone said it it's trite, 612 00:30:15,720 --> 00:30:17,800 Speaker 2: But there's a way to do it. And I think that, 613 00:30:18,600 --> 00:30:21,440 Speaker 2: and I think, like you can say, but even just 614 00:30:21,560 --> 00:30:23,720 Speaker 2: like this chorus, like islands in the stream, that's what 615 00:30:23,800 --> 00:30:26,960 Speaker 2: we are. It's so fun, you know, like quetic. 616 00:30:26,760 --> 00:30:30,720 Speaker 4: Too, dude, that's that's actually like there's a lot in that. Actually, Yeah, 617 00:30:30,840 --> 00:30:33,920 Speaker 4: I'll never tell you what isn't it. I'll never tell 618 00:30:33,960 --> 00:30:36,840 Speaker 4: you about that what I think about it, because you don't. 619 00:30:36,880 --> 00:30:38,880 Speaker 4: I would never tell you. But there's a lot in it. 620 00:30:38,960 --> 00:30:40,480 Speaker 4: And I'll just say that I'll leave it there. I'll 621 00:30:40,520 --> 00:30:43,640 Speaker 4: be withholding. I'll never tell you case. I'll never. 622 00:30:45,400 --> 00:30:46,760 Speaker 1: Do you have any back and forth songs? 623 00:30:47,080 --> 00:30:49,760 Speaker 4: Yeah, this one. I actually wrote this Edward Sharp song. 624 00:30:50,560 --> 00:30:51,840 Speaker 1: What a to us that would be. 625 00:30:53,600 --> 00:30:55,640 Speaker 4: I think there's a part in a Bad Book song 626 00:30:55,720 --> 00:30:59,600 Speaker 4: where Andy and I sing like and I think maybe 627 00:30:59,600 --> 00:31:02,600 Speaker 4: even ins Whittaker. I think I start the final verse 628 00:31:02,680 --> 00:31:06,520 Speaker 4: and then he I don't know if I have a song. 629 00:31:07,800 --> 00:31:10,200 Speaker 4: There is a song in this new project I have 630 00:31:10,360 --> 00:31:13,040 Speaker 4: with Caroline from the band brother Bird where I wrote 631 00:31:13,080 --> 00:31:15,160 Speaker 4: the song, but it's treated like a duet like we 632 00:31:15,320 --> 00:31:18,000 Speaker 4: sing it back and forth. So maybe that's the first 633 00:31:18,120 --> 00:31:21,400 Speaker 4: like one I could really think of. Maybe mm I'm 634 00:31:21,440 --> 00:31:23,280 Speaker 4: never going to use the pod to promote my own shit, 635 00:31:23,440 --> 00:31:25,560 Speaker 4: so people have to find it on their own. But yeah, 636 00:31:25,760 --> 00:31:26,880 Speaker 4: I'll never tell them either. 637 00:31:27,000 --> 00:31:28,360 Speaker 1: But Jenny and I had us. 638 00:31:28,960 --> 00:31:30,800 Speaker 2: I've written some songs for this back and forth, and 639 00:31:30,880 --> 00:31:33,360 Speaker 2: Jenny and I have one song where it's like the 640 00:31:33,400 --> 00:31:36,480 Speaker 2: Bridge or something where it's like it's like it's you know, 641 00:31:36,600 --> 00:31:38,400 Speaker 2: like a man and woman back and forth, not Jenny 642 00:31:38,400 --> 00:31:39,640 Speaker 2: and I like a from our perspective. 643 00:31:39,800 --> 00:31:40,800 Speaker 4: Yeah, yeah, yeah, I. 644 00:31:41,120 --> 00:31:43,320 Speaker 2: Want to marry thee and then like you'll be my 645 00:31:43,440 --> 00:31:47,200 Speaker 2: bride to be and if I die before I wake great, 646 00:31:49,560 --> 00:31:50,280 Speaker 2: that's great. 647 00:31:51,160 --> 00:31:55,840 Speaker 1: Oh that's really good. Yeah that's the Hi lyrics. That's 648 00:31:55,880 --> 00:31:58,120 Speaker 1: better than this. That's funnier and more original than anything 649 00:31:58,160 --> 00:32:01,080 Speaker 1: in this fucking song. Now, this is the part where 650 00:32:01,120 --> 00:32:02,000 Speaker 1: we go walk you. 651 00:32:02,440 --> 00:32:04,640 Speaker 4: I just don't like like look, I just think look, 652 00:32:04,680 --> 00:32:07,280 Speaker 4: and I know we're coming up hot and heavy. Pumpkin 653 00:32:07,360 --> 00:32:11,000 Speaker 4: Pie chocolate candy, Jesus Christ, that's stupid. I'm sorry, Like 654 00:32:11,080 --> 00:32:12,960 Speaker 4: they were multiple times in this song where I just 655 00:32:13,120 --> 00:32:16,360 Speaker 4: was like, ugh, cause there's I get what they're doing, 656 00:32:16,880 --> 00:32:20,080 Speaker 4: and they should. I would like it done better, and 657 00:32:20,200 --> 00:32:23,160 Speaker 4: I think it is done better other places, for instance, 658 00:32:23,440 --> 00:32:26,560 Speaker 4: in the literal thing you just shared from your own band. 659 00:32:26,640 --> 00:32:29,360 Speaker 4: I'm not just saying that to you because you're like this, 660 00:32:29,640 --> 00:32:31,520 Speaker 4: And so maybe that's also part of it, that there's 661 00:32:31,520 --> 00:32:33,920 Speaker 4: people who's just like they see through it and they 662 00:32:33,960 --> 00:32:36,920 Speaker 4: think it's bullshit. And also it's beautiful that he played 663 00:32:36,960 --> 00:32:38,600 Speaker 4: this song and it was meaningful for him at his 664 00:32:38,680 --> 00:32:41,960 Speaker 4: father's ninetieth birthday as a person who's had to play. 665 00:32:41,800 --> 00:32:44,880 Speaker 1: A song of his own at like a thing like 666 00:32:45,000 --> 00:32:45,680 Speaker 1: that family. 667 00:32:45,960 --> 00:32:49,320 Speaker 4: Yes, yeah, I think that there's that's that's a real 668 00:32:49,440 --> 00:32:51,960 Speaker 4: abiding memory. But yeah, is it the worst song ever written? 669 00:32:52,560 --> 00:32:55,800 Speaker 4: I wouldn't say that. Do I think it's a good song. 670 00:32:56,040 --> 00:32:59,640 Speaker 4: I think it's it's it's it's catchy and undeniable and 671 00:32:59,680 --> 00:33:01,560 Speaker 4: some bases there are aspects of it that I like, 672 00:33:01,680 --> 00:33:05,840 Speaker 4: But I really do not like the lyrical aspect of 673 00:33:05,920 --> 00:33:08,360 Speaker 4: this song. And I think some of the genre choices 674 00:33:08,440 --> 00:33:11,880 Speaker 4: ended up not aging especially well that's for me all right, 675 00:33:12,320 --> 00:33:15,479 Speaker 4: gen Z you have this one yo gemme is let 676 00:33:15,560 --> 00:33:16,720 Speaker 4: me can I bumm us in. 677 00:33:17,960 --> 00:33:20,240 Speaker 1: Yeah, we're sponsored by Sin. Make sure you pop that 678 00:33:20,280 --> 00:33:25,760 Speaker 1: ship in your mouth, but that tongue in your mouth. 679 00:33:26,120 --> 00:33:28,680 Speaker 4: And also we are sponsored by Howard Zen's The People's 680 00:33:28,760 --> 00:33:31,760 Speaker 4: History of the United States, and so make sure you 681 00:33:31,840 --> 00:33:33,320 Speaker 4: pop us in while you read some zin. 682 00:33:34,320 --> 00:33:35,840 Speaker 1: Thanks for listening, zinners. 683 00:33:37,160 --> 00:33:44,800 Speaker 3: Let us proclaim the mystery that's a mortals in. Everybody's 684 00:33:44,840 --> 00:33:48,400 Speaker 3: going on with Zen today. You know what that sound means. 685 00:33:49,760 --> 00:33:50,400 Speaker 3: Get z in 686 00:34:00,280 --> 00:34:00,320 Speaker 2: Y