1
00:00:01,840 --> 00:00:04,360
Speaker 1: Give it a chance, give it a chance, Give it

2
00:00:04,400 --> 00:00:06,560
Speaker 1: a chance. Good Morning, give it a chance, Give it

3
00:00:06,600 --> 00:00:09,600
Speaker 1: a chance, Give it a chance, Give it a chance. Morning,

4
00:00:09,680 --> 00:00:12,000
Speaker 1: give it. You want to give it a chance, give

5
00:00:12,039 --> 00:00:20,479
Speaker 1: it a chance, give it a chance. Just give it. Aye, everybody, Yes,

6
00:00:21,200 --> 00:00:29,480
Speaker 1: that's right. We're back. Better than Evner Besner, than ever heavy.

7
00:00:29,520 --> 00:00:37,839
Speaker 1: I got a classic. WHOA Okay, this one is I

8
00:00:37,880 --> 00:00:41,440
Speaker 1: think could be on like lists. I'm not sure. I

9
00:00:41,479 --> 00:00:46,040
Speaker 1: think this is like government lists. Actually yeah, I think

10
00:00:46,120 --> 00:00:48,400
Speaker 1: maybe some of the members of this band are have

11
00:00:50,440 --> 00:00:53,159
Speaker 1: but to call them a band, well, yeah, they're definitely

12
00:00:53,159 --> 00:00:55,960
Speaker 1: a band. But this song has a lot of history

13
00:00:55,960 --> 00:00:58,120
Speaker 1: and a lot of story, a lot of it is.

14
00:00:58,200 --> 00:01:00,240
Speaker 1: It is of an era that I think you and

15
00:01:00,280 --> 00:01:06,400
Speaker 1: I love, love to hate maybe but love, and I'm

16
00:01:06,440 --> 00:01:08,759
Speaker 1: excited to listen to it. I haven't listened to it.

17
00:01:09,000 --> 00:01:11,319
Speaker 1: I mean, it's a song that I've heard. It's in

18
00:01:11,440 --> 00:01:15,000
Speaker 1: movies and stuff. But oh my god, ironically and and

19
00:01:15,080 --> 00:01:18,000
Speaker 1: unironically like it was in movies.

20
00:01:17,720 --> 00:01:21,560
Speaker 2: It was in movies and stuff. Ironically and unironically, this

21
00:01:21,640 --> 00:01:22,000
Speaker 2: is great.

22
00:01:22,080 --> 00:01:23,840
Speaker 1: It was released in nineteen ninety nine, which is a

23
00:01:23,880 --> 00:01:24,800
Speaker 1: sweet spot.

24
00:01:25,040 --> 00:01:27,120
Speaker 2: Okay, this is this is good for our pod Yeah,

25
00:01:27,120 --> 00:01:30,319
Speaker 2: it's lots of opportunity there for Chancey no Chancey in

26
00:01:30,360 --> 00:01:30,920
Speaker 2: ninety nine.

27
00:01:31,560 --> 00:01:33,959
Speaker 1: You know what's really interesting about it? And we'll go

28
00:01:34,040 --> 00:01:36,520
Speaker 1: into like some of the a factoi that I know

29
00:01:36,680 --> 00:01:39,080
Speaker 1: that I didn't know until like a fan of this

30
00:01:39,160 --> 00:01:41,960
Speaker 1: other band that they sample.

31
00:01:42,840 --> 00:01:46,479
Speaker 2: This is mytory, like you're building a mystery? Is Sarah McLaughlin.

32
00:01:48,200 --> 00:01:51,080
Speaker 1: I wouldn't put her on this podcast really, maybe he's

33
00:01:51,120 --> 00:01:55,600
Speaker 1: too good. It's a song. I'll just tell you the

34
00:01:55,640 --> 00:01:57,880
Speaker 1: band name and you'll know the song because I think

35
00:01:57,880 --> 00:02:01,920
Speaker 1: it's they only have one. Okay. The band is called

36
00:02:03,000 --> 00:02:03,920
Speaker 1: crazy Town.

37
00:02:04,560 --> 00:02:10,960
Speaker 2: Oh this is a come a Bibic come classic lady. Yeah,

38
00:02:11,120 --> 00:02:12,880
Speaker 2: it's about gravy, this song.

39
00:02:13,320 --> 00:02:16,680
Speaker 1: It's what it's about, gravy. Yes, yeah, it has to be.

40
00:02:16,760 --> 00:02:19,760
Speaker 1: It must be. That's like I could definitely. I'm already

41
00:02:19,800 --> 00:02:22,280
Speaker 1: like I've already brought up the song and the lyrics

42
00:02:22,320 --> 00:02:25,720
Speaker 1: and I'm I'm teeming with excitement of where this kid.

43
00:02:25,919 --> 00:02:27,760
Speaker 1: The song is called Butterfly.

44
00:02:27,800 --> 00:02:29,760
Speaker 2: Yeah, sure is. This is gonna be a hard one

45
00:02:29,880 --> 00:02:33,280
Speaker 2: for OKD. I'm not gonna lie. This is no time like,

46
00:02:33,520 --> 00:02:34,919
Speaker 2: this is a song that I'm like, whoof?

47
00:02:36,000 --> 00:02:39,160
Speaker 1: So this is good. It's to store a purpose. Right,

48
00:02:39,240 --> 00:02:42,920
Speaker 1: It's like it's like generic brand olymp biscuit. It's like

49
00:02:43,000 --> 00:02:44,200
Speaker 1: really interesting.

50
00:02:43,840 --> 00:02:54,160
Speaker 2: Like wow, generic brand Limp biscuit is uh, that's really

51
00:02:54,560 --> 00:02:57,360
Speaker 2: plumbing the depths, you know what I mean?

52
00:02:57,400 --> 00:03:00,280
Speaker 1: Like Limp biscuit is like serially buying a box and

53
00:03:00,360 --> 00:03:02,600
Speaker 1: this is like the bag serial, right, and you know.

54
00:03:03,240 --> 00:03:04,200
Speaker 2: You buy in your hand.

55
00:03:04,520 --> 00:03:08,400
Speaker 1: Yeah, but you know sometimes you know that that bag

56
00:03:08,440 --> 00:03:10,280
Speaker 1: serial can surprise you, and it's quite nice.

57
00:03:10,720 --> 00:03:13,760
Speaker 2: Let's find out for surprise today I have. I'm gonna

58
00:03:13,800 --> 00:03:17,640
Speaker 2: really bring all of my chancey focus, all of my

59
00:03:18,200 --> 00:03:23,240
Speaker 2: chancey availabilities on this because it feels this one's be

60
00:03:23,320 --> 00:03:24,680
Speaker 2: so far, of all of them, the one that I

61
00:03:24,720 --> 00:03:25,480
Speaker 2: have the most.

62
00:03:26,320 --> 00:03:27,839
Speaker 1: No, I think you could do it. You know why.

63
00:03:28,080 --> 00:03:29,680
Speaker 1: The reason why you can do it is because you're

64
00:03:29,720 --> 00:03:33,760
Speaker 1: such a sexy, sexy, pretty little thing. Oh no, it's

65
00:03:33,880 --> 00:03:35,800
Speaker 1: just the Alba in the video for this song, or

66
00:03:36,040 --> 00:03:40,520
Speaker 1: he's in every video ninety nine albums and everyone was

67
00:03:40,560 --> 00:03:42,520
Speaker 1: she in any music videos or just make that up.

68
00:03:42,840 --> 00:03:45,720
Speaker 1: I don't know. I think maybe like she was in

69
00:03:45,760 --> 00:03:48,240
Speaker 1: movies that had a music video of like you know, attached,

70
00:03:48,280 --> 00:03:51,160
Speaker 1: and maybe that's how the she gets snuck in. But yeah,

71
00:03:51,360 --> 00:03:53,760
Speaker 1: like I could picture this in movies around that time,

72
00:03:53,920 --> 00:03:56,840
Speaker 1: Like I said, ironic and ironic. Well, let's let's let's

73
00:03:56,840 --> 00:03:59,960
Speaker 1: listen obviously, right, we'll play a little snippet, but you'll

74
00:04:00,080 --> 00:04:02,440
Speaker 1: you'll go and listen to the full song on your

75
00:04:02,480 --> 00:04:04,800
Speaker 1: own little streaming apps and we'll be right back after

76
00:04:04,840 --> 00:04:05,240
Speaker 1: that if you.

77
00:04:05,200 --> 00:04:09,040
Speaker 2: Want to, if you want to, Yes, come malady, come come.

78
00:04:14,560 --> 00:04:14,760
Speaker 1: Yeah.

79
00:04:14,800 --> 00:04:17,560
Speaker 2: I made an executive decision which might not be I'm

80
00:04:17,600 --> 00:04:20,040
Speaker 2: sorry to all our chances out there. I stopped it

81
00:04:20,040 --> 00:04:22,320
Speaker 2: with thirty eight seconds left because I feel like it's

82
00:04:22,400 --> 00:04:25,640
Speaker 2: just going to keep he just keeps going. But does

83
00:04:25,640 --> 00:04:26,320
Speaker 2: something happen?

84
00:04:26,760 --> 00:04:29,279
Speaker 1: I know, No, I don't think so. It's the UK

85
00:04:29,480 --> 00:04:32,600
Speaker 1: like I don't the UK mix, it's the UK dance

86
00:04:32,640 --> 00:04:35,280
Speaker 1: mix where it just keeps going. I know what you mean.

87
00:04:35,279 --> 00:04:37,880
Speaker 1: I kind of I bailed slightly early, which isn't a

88
00:04:38,000 --> 00:04:39,760
Speaker 1: very chancy thing to do.

89
00:04:39,920 --> 00:04:41,920
Speaker 2: But no, I like it though. It's kind of nice.

90
00:04:42,000 --> 00:04:44,520
Speaker 2: That was a unanimous decision and it kind of feels

91
00:04:44,600 --> 00:04:47,320
Speaker 2: right for this song. And also that's that's a chancy

92
00:04:47,480 --> 00:04:48,600
Speaker 2: first for me.

93
00:04:49,160 --> 00:04:50,720
Speaker 1: Yeah, oh for sure. Yeah, I'm good.

94
00:04:50,760 --> 00:04:51,839
Speaker 2: I know it's going on here.

95
00:04:52,080 --> 00:04:54,680
Speaker 1: Maybe like I've stopped, Maybe with like ten seconds. But

96
00:04:55,120 --> 00:04:57,440
Speaker 1: I also watched the music videos and so I'm like,

97
00:04:57,480 --> 00:04:59,360
Speaker 1: I don't know if this is just like an extra.

98
00:05:01,080 --> 00:05:03,040
Speaker 2: You know, that's something the chances should know. There is

99
00:05:03,080 --> 00:05:06,160
Speaker 2: a difference in methodology. Casey does usually watch the video

100
00:05:06,839 --> 00:05:09,599
Speaker 2: and I usually listen to it on a streaming service

101
00:05:09,760 --> 00:05:13,680
Speaker 2: of my choice, the Illusion of choice or whatever. But yeah,

102
00:05:13,760 --> 00:05:16,000
Speaker 2: the one that I use, and uh and.

103
00:05:16,160 --> 00:05:19,039
Speaker 1: And I read the lyrics while I do that, I did.

104
00:05:19,080 --> 00:05:21,920
Speaker 1: I definitely I go back and forth between the lyrics

105
00:05:21,960 --> 00:05:26,039
Speaker 1: and the VID. I have to say this, you know this, dude,

106
00:05:26,120 --> 00:05:28,040
Speaker 1: I found this fact out. Did you know that the

107
00:05:28,279 --> 00:05:34,919
Speaker 1: music that Boom Dumn like that main thing is do

108
00:05:34,920 --> 00:05:38,159
Speaker 1: you know what that's from? No, So if you look

109
00:05:38,160 --> 00:05:42,480
Speaker 1: at the credits of the song, yeah, songwriters Anthony Keatis,

110
00:05:42,560 --> 00:05:46,240
Speaker 1: Chad Smith, John f Shanti Flee and then the other

111
00:05:46,240 --> 00:05:48,800
Speaker 1: people in the band are in there too. But it's

112
00:05:48,839 --> 00:05:53,359
Speaker 1: a sample from a really old Red Hot Chili Peppers tune.

113
00:05:53,920 --> 00:05:57,799
Speaker 1: It's an outro like like the Flea and for Shanty,

114
00:05:57,839 --> 00:06:01,040
Speaker 1: I think we're just like jamming and it's just it's

115
00:06:01,080 --> 00:06:03,120
Speaker 1: a small snipp but they took that and they it's

116
00:06:03,160 --> 00:06:06,960
Speaker 1: the entire song. Wow, isn't that crazy that they I mean,

117
00:06:07,040 --> 00:06:09,800
Speaker 1: it's not that crazy that they're behind this song in

118
00:06:09,839 --> 00:06:11,680
Speaker 1: a way. No, you know what I mean, because I

119
00:06:11,680 --> 00:06:15,840
Speaker 1: think I think Redout Chili Peppers is you know, as

120
00:06:15,880 --> 00:06:22,440
Speaker 1: an inspiration. I would, I mean inspiration, I would, I would.

121
00:06:22,680 --> 00:06:24,599
Speaker 1: You know, there's things to knock even about the Red

122
00:06:24,600 --> 00:06:27,200
Speaker 1: Hot Chili Peppers, but like, I will take them over

123
00:06:27,360 --> 00:06:29,760
Speaker 1: crazy Town any day of the week.

124
00:06:29,880 --> 00:06:35,360
Speaker 2: Listen, this could be its own breakout like season I have.

125
00:06:35,680 --> 00:06:38,919
Speaker 2: The Redout Chili Peppers are a serious fault to me,

126
00:06:40,120 --> 00:06:42,279
Speaker 2: this will I'll just spend thirty seconds on this. I

127
00:06:42,320 --> 00:06:48,400
Speaker 2: think they might be the band. I completely understand why

128
00:06:48,880 --> 00:06:53,320
Speaker 2: there is a whole like legion of people I respect

129
00:06:53,520 --> 00:06:58,320
Speaker 2: that take that band really seriously and they might. For me,

130
00:06:59,160 --> 00:07:04,479
Speaker 2: they really are like almost beyond any redemption. And I

131
00:07:04,520 --> 00:07:06,880
Speaker 2: get it. I totally get it. Mother's Milk was great,

132
00:07:07,040 --> 00:07:09,880
Speaker 2: and you know, blood sugar sex totally. For some reason,

133
00:07:10,000 --> 00:07:14,080
Speaker 2: his thing is like unconscionable for me.

134
00:07:14,480 --> 00:07:14,880
Speaker 1: Keids.

135
00:07:15,280 --> 00:07:17,800
Speaker 2: It's a real red line. It's an actual like I'm

136
00:07:17,840 --> 00:07:19,920
Speaker 2: like the minute it starts, I'm like, I can't do this.

137
00:07:20,080 --> 00:07:23,240
Speaker 2: It's just not for me. But yes, you are correct

138
00:07:23,240 --> 00:07:25,040
Speaker 2: and identifying that's not that I don't see that there

139
00:07:25,080 --> 00:07:27,040
Speaker 2: are cool parts in it and blah blah blah. He

140
00:07:27,440 --> 00:07:30,200
Speaker 2: for me is never cool. I don't think any of

141
00:07:30,240 --> 00:07:32,400
Speaker 2: what he's doing is cool. That's just me going on

142
00:07:32,440 --> 00:07:36,000
Speaker 2: the record. That being said, Yeah, they actually like come

143
00:07:36,040 --> 00:07:39,480
Speaker 2: from a thing, they helped build a thing. They've got

144
00:07:39,800 --> 00:07:42,080
Speaker 2: you know, and those dudes are actually like especially I

145
00:07:42,080 --> 00:07:44,280
Speaker 2: don't know John Forshanti, he's got some cool stuff going

146
00:07:44,320 --> 00:07:45,080
Speaker 2: on totally.

147
00:07:45,120 --> 00:07:46,520
Speaker 1: Yeah, I love this. I like a lot of his

148
00:07:46,600 --> 00:07:49,680
Speaker 1: solo albums, and obviously Flea plays so well and it

149
00:07:49,760 --> 00:07:52,120
Speaker 1: seems like a really cool, totally thing. Guy. There's a

150
00:07:52,120 --> 00:07:54,000
Speaker 1: lot to take away from a lot, like a lot

151
00:07:54,040 --> 00:07:57,200
Speaker 1: of I give that band a lot, and it's this

152
00:07:57,360 --> 00:08:01,080
Speaker 1: band is really nowhere near there. But I will sit.

153
00:08:01,040 --> 00:08:01,920
Speaker 2: Drinking from the well.

154
00:08:02,040 --> 00:08:05,040
Speaker 1: For sure they did something with this. This song could

155
00:08:05,080 --> 00:08:06,680
Speaker 1: be in like I said, the song could be in

156
00:08:07,200 --> 00:08:11,640
Speaker 1: this soundtrack to a movie at any time right now.

157
00:08:11,680 --> 00:08:14,800
Speaker 2: I'm sure it is. Someone's putting it on something today.

158
00:08:15,400 --> 00:08:17,679
Speaker 1: Yeah, like and and now it's mostly tongue in cheek,

159
00:08:17,760 --> 00:08:20,920
Speaker 1: like if if there was like a DC comic book

160
00:08:20,960 --> 00:08:23,120
Speaker 1: like or Guardians of the Galaxy, I you know what

161
00:08:23,160 --> 00:08:25,440
Speaker 1: I mean. And they were walking through and this song

162
00:08:25,520 --> 00:08:27,520
Speaker 1: played and it's sort of tongue in cheek. I'd be like,

163
00:08:27,600 --> 00:08:30,040
Speaker 1: all right, I bought my head. I recognize the song.

164
00:08:30,120 --> 00:08:32,320
Speaker 1: I know what they're doing. It's funny, yeah, you know.

165
00:08:32,480 --> 00:08:34,320
Speaker 1: And I think the band would be like, that's great too,

166
00:08:34,360 --> 00:08:36,240
Speaker 1: That's how you should use our music. It's like it's

167
00:08:36,320 --> 00:08:40,640
Speaker 1: not that serious whatever. Fun and it's like it's now.

168
00:08:40,760 --> 00:08:43,880
Speaker 1: The problems with this song. One of the problems is

169
00:08:43,960 --> 00:08:47,040
Speaker 1: it's so like kind of like grossly sexual.

170
00:08:47,320 --> 00:08:51,520
Speaker 2: Yeah, the innuendo's barely innuendo. It's like single on Tandra.

171
00:08:51,480 --> 00:08:53,880
Speaker 1: He wants to be so clever. Let's start at the top, right,

172
00:08:53,880 --> 00:08:57,520
Speaker 1: it's such a sexy, sexy, pretty little thing. Fierce nipple pierce.

173
00:08:57,600 --> 00:09:01,040
Speaker 1: You got me sprung with your tongue ring like really

174
00:09:01,520 --> 00:09:03,120
Speaker 1: like chills do chills?

175
00:09:03,400 --> 00:09:06,160
Speaker 2: No? I mean like I think he sounds badass and

176
00:09:06,240 --> 00:09:09,800
Speaker 2: she sounds like bad ass. Like right, I'm like, damn,

177
00:09:09,880 --> 00:09:15,120
Speaker 2: she is a butterfly. He is crazy.

178
00:09:15,160 --> 00:09:21,400
Speaker 1: He is crazy town. He lives in crazy town, all right,

179
00:09:21,440 --> 00:09:23,320
Speaker 1: but I want to find some chances. And I will

180
00:09:23,320 --> 00:09:27,959
Speaker 1: say that like I think that, you know, to say,

181
00:09:28,040 --> 00:09:30,280
Speaker 1: like I think this gets thrown around a lot where

182
00:09:30,320 --> 00:09:33,280
Speaker 1: people are like, no, but he's a good rapper, right,

183
00:09:33,880 --> 00:09:36,240
Speaker 1: He's like, it's it's what does that mean? Like what

184
00:09:36,280 --> 00:09:38,600
Speaker 1: are you like? Because if you're not really saying anything,

185
00:09:38,640 --> 00:09:39,720
Speaker 1: are you that good of a rapper?

186
00:09:39,760 --> 00:09:40,040
Speaker 2: Right? Right?

187
00:09:40,120 --> 00:09:42,199
Speaker 1: That's kind of part of it. But I will say that,

188
00:09:42,280 --> 00:09:46,240
Speaker 1: like with the flow, there's times there's times where I'm like, oh,

189
00:09:46,320 --> 00:09:48,800
Speaker 1: that's kind of fun. Like in the second half, in

190
00:09:48,880 --> 00:09:50,960
Speaker 1: the second verse, like he does a few little things

191
00:09:50,960 --> 00:09:53,040
Speaker 1: that I'm like, like, if I just read the lyrics,

192
00:09:53,080 --> 00:09:54,840
Speaker 1: I wouldn't think of that's how it would go. And

193
00:09:54,880 --> 00:09:57,520
Speaker 1: then he kind of does things kind of kind of fun,

194
00:09:57,679 --> 00:10:00,520
Speaker 1: and I think like it's a it's a part already song,

195
00:10:00,520 --> 00:10:02,040
Speaker 1: and he keeps it, keeps it fun.

196
00:10:02,200 --> 00:10:04,640
Speaker 2: Yep, yep, no doubt. And I also feel like he

197
00:10:04,679 --> 00:10:06,520
Speaker 2: did there were a few things happening where I was like, oh,

198
00:10:06,520 --> 00:10:10,120
Speaker 2: he's actually like messing around with some interior rhyme stuff,

199
00:10:10,200 --> 00:10:13,480
Speaker 2: which is like at least shows a degree of like

200
00:10:13,840 --> 00:10:17,840
Speaker 2: construction awareness and a kind of like ability to play

201
00:10:17,880 --> 00:10:22,199
Speaker 2: around inside the structure that not even like some fairly

202
00:10:22,240 --> 00:10:25,640
Speaker 2: successful hip hop song artists who've had like a hip

203
00:10:25,679 --> 00:10:29,120
Speaker 2: hop single or whatever that actually had some saturation that

204
00:10:29,559 --> 00:10:33,120
Speaker 2: is like a step beyond the entry level for what

205
00:10:33,280 --> 00:10:37,400
Speaker 2: a like pop friendly hip hop artist is capable of,

206
00:10:37,480 --> 00:10:40,440
Speaker 2: at least in this timeframe. I mean it's also like

207
00:10:40,920 --> 00:10:43,400
Speaker 2: sorry to stay on that lane. I did agree with that,

208
00:10:43,480 --> 00:10:45,320
Speaker 2: and yeah, like part of the give it a chancy

209
00:10:45,440 --> 00:10:47,640
Speaker 2: thing to me is like you know, you gotta you

210
00:10:47,720 --> 00:10:50,200
Speaker 2: gotta find it where you can. And the fact that

211
00:10:50,200 --> 00:10:53,480
Speaker 2: he could actually this isn't like, you know, completely like

212
00:10:54,320 --> 00:11:00,880
Speaker 2: skill less skill less hip hop expression. Is it Like no, sorry,

213
00:11:00,880 --> 00:11:03,199
Speaker 2: I'm not going to anti chancy yet. So I agree

214
00:11:03,240 --> 00:11:06,160
Speaker 2: with you about that. And also you're right that chorus.

215
00:11:06,400 --> 00:11:08,760
Speaker 2: The reason it is still tongue in cheek or not

216
00:11:09,000 --> 00:11:11,320
Speaker 2: like pops up in popular culture is because like that's

217
00:11:11,320 --> 00:11:13,760
Speaker 2: a super catchy chorus and that is not an easy

218
00:11:13,800 --> 00:11:15,560
Speaker 2: thing to do. I think people. I can tell you

219
00:11:15,600 --> 00:11:18,480
Speaker 2: that for sure. To just be like let me shoot

220
00:11:18,520 --> 00:11:20,600
Speaker 2: out something that people will have in their heads for

221
00:11:20,640 --> 00:11:24,160
Speaker 2: twenty five years is not that is something to be

222
00:11:24,280 --> 00:11:24,800
Speaker 2: reckoned with.

223
00:11:25,160 --> 00:11:28,360
Speaker 1: Yeah, and it's a and it's a true hip hop

224
00:11:28,440 --> 00:11:32,079
Speaker 1: chorus in terms of like it's it's like a kin

225
00:11:32,200 --> 00:11:35,880
Speaker 1: to hip hop hooray that actually even that has more

226
00:11:35,920 --> 00:11:38,240
Speaker 1: singing in it. This is a true like this is

227
00:11:38,320 --> 00:11:40,400
Speaker 1: like that Wu Tang song that's like You're all that

228
00:11:40,480 --> 00:11:42,640
Speaker 1: I need. I'll be there. Yeah, if you keep it

229
00:11:42,679 --> 00:11:43,679
Speaker 1: real with me, I'll keep going.

230
00:11:43,720 --> 00:11:43,960
Speaker 2: Yeah.

231
00:11:44,000 --> 00:11:46,280
Speaker 1: Like it's it's catchy in that it's not trying to

232
00:11:46,320 --> 00:11:49,200
Speaker 1: sing or anything. It's pop with just it is kind

233
00:11:49,240 --> 00:11:52,080
Speaker 1: of a rip off of come Baby, Come baby baby,

234
00:11:52,120 --> 00:11:55,920
Speaker 1: come come right, like Wayne, yeah, a little bit right,

235
00:11:56,040 --> 00:11:59,560
Speaker 1: come come a lady, Come come lady. I'm saying for sure. Yeah,

236
00:11:59,559 --> 00:12:03,120
Speaker 1: it's like it's yeah, it's definitely like but but you know,

237
00:12:03,960 --> 00:12:09,680
Speaker 1: my my backwards cap off to them. I went into

238
00:12:09,720 --> 00:12:12,920
Speaker 1: this thinking, oh, these are bad rappers, like I couldn't remember,

239
00:12:13,000 --> 00:12:14,520
Speaker 1: Like I just thought it was the song was a

240
00:12:14,600 --> 00:12:17,400
Speaker 1: joke and these guys are bad at rap and you're right,

241
00:12:17,480 --> 00:12:19,720
Speaker 1: like there is there are. I mean there's some things

242
00:12:19,720 --> 00:12:22,880
Speaker 1: that are like fierce nipple Piers is like too much,

243
00:12:23,200 --> 00:12:24,240
Speaker 1: you know, like that is.

244
00:12:24,280 --> 00:12:26,560
Speaker 2: Like yeah, I mean we're going if we can, if

245
00:12:26,600 --> 00:12:29,800
Speaker 2: we can volley back and forth between Chancy and Anti Chancy.

246
00:12:30,600 --> 00:12:32,760
Speaker 2: There were definitely things that happened where I said out

247
00:12:32,840 --> 00:12:36,079
Speaker 2: loud like oh come on, and like one of them

248
00:12:36,120 --> 00:12:37,959
Speaker 2: that I totally forgot. I don't know if I've ever

249
00:12:38,080 --> 00:12:40,800
Speaker 2: dropped into like the verse lyrics of this song.

250
00:12:41,080 --> 00:12:42,319
Speaker 1: Yeah, I don't think I ever.

251
00:12:42,200 --> 00:12:45,040
Speaker 2: Did the thing about I'm trying to find it out.

252
00:12:45,040 --> 00:12:47,760
Speaker 2: Oh yeah yeah yeah. He says, my lifestyle is wild.

253
00:12:48,040 --> 00:12:51,240
Speaker 2: I was living like a wild child. I was like, dude,

254
00:12:51,360 --> 00:12:54,680
Speaker 2: that's that's actually like, that's actually nothing.

255
00:12:55,040 --> 00:12:58,200
Speaker 1: That's actually saying nothing. It's so it's.

256
00:12:58,040 --> 00:13:00,000
Speaker 2: Saying the same thing so many times. It almost like

257
00:13:00,160 --> 00:13:03,920
Speaker 2: just becomes a creative in the song where you're like, what, you're.

258
00:13:03,840 --> 00:13:08,000
Speaker 1: Right, because there's life style and in living my life

259
00:13:08,040 --> 00:13:11,520
Speaker 1: styles wild, I was living like a wild child.

260
00:13:11,679 --> 00:13:14,760
Speaker 2: Yeah, yeah, yeah, you're like, okay, gotcha. And there's some

261
00:13:14,800 --> 00:13:17,360
Speaker 2: stuff like logistically I know that they weren't probably worrying

262
00:13:17,400 --> 00:13:19,880
Speaker 2: too hard about logistics, but where it says or logically

263
00:13:19,960 --> 00:13:22,160
Speaker 2: not logistics, Yeah, they were worrying about the logistics of

264
00:13:22,160 --> 00:13:24,360
Speaker 2: how to build the song. But also where he says

265
00:13:24,360 --> 00:13:28,520
Speaker 2: something in that same beer snipple piers yes, yes, like

266
00:13:28,559 --> 00:13:32,079
Speaker 2: as a lyric, Race says, the only thing I really

267
00:13:32,160 --> 00:13:36,880
Speaker 2: know is she's got sex appeal. Yes, that's the only

268
00:13:36,920 --> 00:13:40,959
Speaker 2: thing he knows. But then he says, you're always there

269
00:13:41,000 --> 00:13:43,920
Speaker 2: to lift me up when times get rough, And I

270
00:13:44,000 --> 00:13:47,160
Speaker 2: was lost, but now I'm found ever since you've been around,

271
00:13:47,280 --> 00:13:49,680
Speaker 2: and I'm like, the only thing you know is that

272
00:13:49,720 --> 00:13:54,319
Speaker 2: she's got sex appeal. But also also she has saved

273
00:13:54,360 --> 00:13:58,640
Speaker 2: your life of the flaming fuselage, the wreckage. You were

274
00:13:58,679 --> 00:14:00,200
Speaker 2: you were a wild child parole.

275
00:14:00,720 --> 00:14:03,360
Speaker 1: It's crazy that you're right. He's like, I can't like

276
00:14:03,440 --> 00:14:07,520
Speaker 1: because imagine the drama of this. I can't sleep, I

277
00:14:07,559 --> 00:14:11,240
Speaker 1: can't hold still. The only thing I really know is

278
00:14:11,280 --> 00:14:14,360
Speaker 1: that she has sex appeal. Like it's such a strange thing.

279
00:14:14,400 --> 00:14:17,199
Speaker 1: It's like, wait, what it's like you can't you can't

280
00:14:17,280 --> 00:14:19,920
Speaker 1: sleep or you know, like but that's all you know,

281
00:14:20,080 --> 00:14:23,080
Speaker 1: and then you know suddenly later she's always there to

282
00:14:23,120 --> 00:14:27,360
Speaker 1: live always, like we do like in like improv class

283
00:14:27,400 --> 00:14:30,280
Speaker 1: in school, they always say like avoid saying words like

284
00:14:30,360 --> 00:14:32,760
Speaker 1: always and never because like it really means like.

285
00:14:33,360 --> 00:14:35,600
Speaker 2: It's fine, yeah yeah, in.

286
00:14:35,600 --> 00:14:38,720
Speaker 1: Casual conversation when you're like, yeah, no, I always do that,

287
00:14:39,360 --> 00:14:41,440
Speaker 1: I probably means like you always do it, and so

288
00:14:41,480 --> 00:14:43,240
Speaker 1: you have to take a face value like and yes,

289
00:14:43,560 --> 00:14:45,040
Speaker 1: it's like always.

290
00:14:45,440 --> 00:15:01,840
Speaker 2: Yeah. This is probably an example though of like we've

291
00:15:01,880 --> 00:15:04,360
Speaker 2: talked about this, there's like nothing more subjective than like

292
00:15:04,400 --> 00:15:07,280
Speaker 2: what's what's a good song and what's bad song? What's

293
00:15:07,280 --> 00:15:10,520
Speaker 2: a you know, what's a successful I don't mean successful

294
00:15:10,560 --> 00:15:13,120
Speaker 2: with respect to like numbers, I mean like successful with

295
00:15:13,160 --> 00:15:16,680
Speaker 2: respect to like execution. This is a song where it's

296
00:15:16,720 --> 00:15:23,440
Speaker 2: like from my specific taste biases, it's just a song

297
00:15:23,520 --> 00:15:27,440
Speaker 2: like this was never gonna penetrate it just like there's

298
00:15:27,520 --> 00:15:32,320
Speaker 2: too many roadblocks and I love good hip hop. I

299
00:15:32,400 --> 00:15:34,960
Speaker 2: love a good love song. I even like a good

300
00:15:35,000 --> 00:15:36,920
Speaker 2: song every once in a while. It's about like the

301
00:15:37,000 --> 00:15:42,200
Speaker 2: kind of specific hormonal craziness that like uh, physical attraction

302
00:15:42,720 --> 00:15:47,080
Speaker 2: can you know, invoke in the human race, but those

303
00:15:47,200 --> 00:15:49,920
Speaker 2: things combined. I don't know why I thought of Jessica album,

304
00:15:49,960 --> 00:15:51,680
Speaker 2: but it's something about like I feel like this song

305
00:15:51,720 --> 00:15:55,040
Speaker 2: would be on in five different Jessica album movies where

306
00:15:55,040 --> 00:15:57,160
Speaker 2: they were like kind of like ogling, like kind of

307
00:15:57,200 --> 00:16:00,160
Speaker 2: like a belly T shirt she'd be wearing, yeah yeah,

308
00:16:00,200 --> 00:16:02,840
Speaker 2: while she like opens her locker or something like that, right,

309
00:16:03,200 --> 00:16:05,680
Speaker 2: un Ironically, there's just something about this.

310
00:16:05,800 --> 00:16:07,200
Speaker 1: I think it's we talk about.

311
00:16:06,960 --> 00:16:08,440
Speaker 2: This in a different episode. It might have been the

312
00:16:08,520 --> 00:16:11,880
Speaker 2: No Doubt one, but there's something about like when something

313
00:16:11,960 --> 00:16:14,440
Speaker 2: like impresses itself on you in such a way as

314
00:16:14,480 --> 00:16:22,120
Speaker 2: like this is sexy, No, this is it right away.

315
00:16:22,200 --> 00:16:22,800
Speaker 1: It's just like.

316
00:16:24,280 --> 00:16:27,720
Speaker 2: That so funny, and I feel like that's this thing

317
00:16:27,840 --> 00:16:30,040
Speaker 2: is really like, and I look the whole thing too.

318
00:16:30,120 --> 00:16:33,560
Speaker 2: It's like what's more fertile and whether it's rock and roll,

319
00:16:33,640 --> 00:16:37,160
Speaker 2: hip hop, fucking go before that, like certain poets or

320
00:16:37,280 --> 00:16:39,840
Speaker 2: artists as far back as there are things people look

321
00:16:39,880 --> 00:16:42,680
Speaker 2: at and engage with and like the bad Boy, the

322
00:16:42,840 --> 00:16:46,360
Speaker 2: rock on tour, you know whatever, and look that goes

323
00:16:46,360 --> 00:16:50,280
Speaker 2: across gender identity and identification. Taylor Swift is currently making

324
00:16:50,320 --> 00:16:52,480
Speaker 2: a career out of being like, aren't I the worst

325
00:16:52,480 --> 00:16:53,640
Speaker 2: person to date ever?

326
00:16:53,720 --> 00:16:54,320
Speaker 1: You know what I mean?

327
00:16:54,360 --> 00:16:58,160
Speaker 2: And like billions of dollars change ins around that conversation.

328
00:16:58,640 --> 00:17:02,040
Speaker 2: But I like there's a certain point where I'm like,

329
00:17:02,760 --> 00:17:05,520
Speaker 2: I just hearing a dude who's like, yeah, man, I'm

330
00:17:05,520 --> 00:17:07,760
Speaker 2: a badass, and like you're kind of a badass too,

331
00:17:07,800 --> 00:17:08,840
Speaker 2: because your tongue ring.

332
00:17:09,520 --> 00:17:10,960
Speaker 1: I'm just like yeah, yeah, yeah.

333
00:17:11,000 --> 00:17:13,440
Speaker 2: But also, I'm forty four years old, but I don't

334
00:17:13,480 --> 00:17:15,760
Speaker 2: think I like this when I was twenty four years old.

335
00:17:15,880 --> 00:17:18,080
Speaker 2: But the chance that's to say this, sorry, the reason

336
00:17:18,080 --> 00:17:19,639
Speaker 2: I brought any of that up case I was to

337
00:17:19,680 --> 00:17:24,000
Speaker 2: say I have to almost chance on a curve on

338
00:17:24,040 --> 00:17:27,480
Speaker 2: a song like this, because it's like just not something

339
00:17:27,680 --> 00:17:32,720
Speaker 2: I would ever find myself gravitating towards. So I don't

340
00:17:32,720 --> 00:17:37,600
Speaker 2: want to just totally evisceraate it based on that, right

341
00:17:38,000 --> 00:17:41,440
Speaker 2: being said, even in its context, like is this better

342
00:17:41,480 --> 00:17:45,119
Speaker 2: than Limp Biscuit? Is this worse than Limp Biscuit? Like

343
00:17:45,480 --> 00:17:46,200
Speaker 2: what's the lot?

344
00:17:46,359 --> 00:17:48,840
Speaker 1: Like this is like this is actually a lot different.

345
00:17:48,920 --> 00:17:52,560
Speaker 1: It's actually like I think if if I were like

346
00:17:52,600 --> 00:17:54,840
Speaker 1: a really big like all like an like a purest,

347
00:17:54,920 --> 00:17:58,280
Speaker 1: like a rap purest, yes, I think I would prefer

348
00:17:58,359 --> 00:18:01,720
Speaker 1: this to Limp Biscuit because yeah, I think Limp Biscuit.

349
00:18:02,400 --> 00:18:06,080
Speaker 1: As much as they are taking elements that are fun

350
00:18:06,119 --> 00:18:09,560
Speaker 1: of hip hop there, they are also taking a lot

351
00:18:09,600 --> 00:18:11,520
Speaker 1: from rock. And if let's say I'm purist and I'm

352
00:18:11,520 --> 00:18:15,359
Speaker 1: like not really into even like maybe maybe I'm not

353
00:18:15,400 --> 00:18:19,960
Speaker 1: even into like uh run DMC because it's too rock,

354
00:18:20,040 --> 00:18:22,560
Speaker 1: Like you know, let's say like there's I think, like

355
00:18:22,800 --> 00:18:26,200
Speaker 1: you know, I want like a specificat this beat is fun,

356
00:18:26,280 --> 00:18:29,760
Speaker 1: like it's it's really it's really catchy, like the drums

357
00:18:29,880 --> 00:18:32,640
Speaker 1: when the drums come in, it's like a head nod song.

358
00:18:33,000 --> 00:18:36,600
Speaker 1: And so I would say, like olymp Biscuit doesn't really

359
00:18:36,960 --> 00:18:40,320
Speaker 1: give you that. So I think if this was like

360
00:18:40,359 --> 00:18:43,080
Speaker 1: on the radio and I'm just a hip hop guy

361
00:18:43,359 --> 00:18:46,800
Speaker 1: and I hear this this, I like this now, like

362
00:18:47,560 --> 00:18:49,359
Speaker 1: I think once it goes in, like I you know,

363
00:18:49,520 --> 00:18:53,359
Speaker 1: there's a lot of artists that like do this sexual rap.

364
00:18:53,720 --> 00:18:56,800
Speaker 1: Like Kanye kind of puts one on like once every album,

365
00:18:56,920 --> 00:18:59,600
Speaker 1: like he'll put one that's a little too he was

366
00:18:59,640 --> 00:19:01,080
Speaker 1: like like full lot.

367
00:19:01,359 --> 00:19:03,399
Speaker 2: His is more like he's trying to like that's just

368
00:19:03,440 --> 00:19:06,720
Speaker 2: a different expression of his like shock doctrine thing where

369
00:19:06,760 --> 00:19:10,000
Speaker 2: he's like because he's rapping about like he's trying to

370
00:19:10,040 --> 00:19:13,000
Speaker 2: like be very explicit in a way that's like also

371
00:19:13,080 --> 00:19:17,880
Speaker 2: in very Kanye the vocabulary that yeah, where you're like okay, dude,

372
00:19:18,400 --> 00:19:22,160
Speaker 2: yeah yeah, this is more soul Tree or something like that.

373
00:19:22,320 --> 00:19:26,680
Speaker 1: Yeah. Yeah. But like even like like an Acnelly put

374
00:19:26,680 --> 00:19:28,879
Speaker 1: it in your mouth, don't know if you know, like

375
00:19:28,920 --> 00:19:30,239
Speaker 1: so put it in my mouth, like do you know?

376
00:19:30,400 --> 00:19:32,880
Speaker 1: I know it? Yeah. So even a song like that

377
00:19:33,240 --> 00:19:36,280
Speaker 1: is I just I feel uncomfortable with it. I don't

378
00:19:36,280 --> 00:19:38,400
Speaker 1: know why, Like it's I mean, I guess I know why,

379
00:19:38,480 --> 00:19:41,240
Speaker 1: but it's it's just sort of like it's not really

380
00:19:41,280 --> 00:19:42,720
Speaker 1: where I want my art to be.

381
00:19:43,720 --> 00:19:46,119
Speaker 2: I don't know, not really this is we're opening up.

382
00:19:46,200 --> 00:19:48,720
Speaker 2: This is great, We're opening up some real healing opportunities

383
00:19:48,760 --> 00:19:51,080
Speaker 2: on chancy today. It's also not really like I'm gonna

384
00:19:51,080 --> 00:19:53,520
Speaker 2: say something. I'm really this. I might get lit up

385
00:19:53,560 --> 00:19:57,760
Speaker 2: for this, you know what? Is what Another thing that

386
00:19:57,800 --> 00:20:00,000
Speaker 2: could be possibly argued is one of the most subjective

387
00:20:00,040 --> 00:20:02,359
Speaker 2: of things is like how people want their sex and

388
00:20:02,400 --> 00:20:05,119
Speaker 2: sexuality to be, how they want to express themselves and

389
00:20:05,160 --> 00:20:09,879
Speaker 2: live those things in their private personal spheres. For me,

390
00:20:10,720 --> 00:20:15,200
Speaker 2: something like put it in my mouth. That's not exactly

391
00:20:15,280 --> 00:20:18,400
Speaker 2: the way I want to express my sexuality either. So

392
00:20:18,440 --> 00:20:21,000
Speaker 2: that's just for me. That doesn't mean that's great that

393
00:20:21,000 --> 00:20:23,080
Speaker 2: that exists for other people. But I like a little

394
00:20:23,080 --> 00:20:26,359
Speaker 2: more subtlety and nuance in my piey.

395
00:20:26,520 --> 00:20:30,679
Speaker 1: That song's crazy, I'm just thinking of because it's a

396
00:20:30,680 --> 00:20:32,760
Speaker 1: back and forth between a woman and a man and

397
00:20:32,760 --> 00:20:34,840
Speaker 1: the woman is saying put it in my mouth, and

398
00:20:34,880 --> 00:20:42,639
Speaker 1: he's going, your motherfucking mouth. It's such a strange song.

399
00:20:43,200 --> 00:20:50,159
Speaker 1: It's so funny she said it in a mouth, motherfucking mouth.

400
00:20:50,320 --> 00:20:55,480
Speaker 1: Like it's crazy. Now going back to like going.

401
00:20:55,240 --> 00:20:57,679
Speaker 2: Back, Yeah, there was something you said about olymp Biscuit

402
00:20:57,720 --> 00:20:59,200
Speaker 2: that I wanted to say about this song.

403
00:20:59,480 --> 00:21:00,159
Speaker 1: It is fun me.

404
00:21:00,359 --> 00:21:03,280
Speaker 2: This song does sound and I don't know which came first.

405
00:21:03,320 --> 00:21:05,199
Speaker 2: And it's the reason I thought of Limp Biscuit was

406
00:21:05,200 --> 00:21:08,760
Speaker 2: because I do think there's a dursty and flow to

407
00:21:08,920 --> 00:21:12,040
Speaker 2: this dude's I think he might be a slightly better

408
00:21:12,160 --> 00:21:16,080
Speaker 2: rapper than fred Durst, but there is something pretty there's

409
00:21:16,080 --> 00:21:19,320
Speaker 2: a similarity to aspects of like the delivery, I think.

410
00:21:20,000 --> 00:21:22,600
Speaker 2: But I do think there's that one lymp Biscuit song

411
00:21:22,640 --> 00:21:24,720
Speaker 2: that I think had method man on it.

412
00:21:24,840 --> 00:21:26,000
Speaker 1: Yeah and together now.

413
00:21:26,280 --> 00:21:29,560
Speaker 2: Yeah, and that's sort of that's the closest day even

414
00:21:29,560 --> 00:21:32,240
Speaker 2: though the topicality is really great, that's the closest they

415
00:21:32,240 --> 00:21:33,520
Speaker 2: get to this energy.

416
00:21:33,840 --> 00:21:36,720
Speaker 1: And I think Frederick's trying a little harder in that.

417
00:21:36,880 --> 00:21:40,520
Speaker 2: Because he he was on with like a real rapper,

418
00:21:39,920 --> 00:21:42,320
Speaker 2: I got to bring it, and I think that might

419
00:21:42,359 --> 00:21:44,840
Speaker 2: be like my favorite. I don't really know a ton

420
00:21:44,880 --> 00:21:47,600
Speaker 2: of the Olympiscuit catalog besides the songs that were popular,

421
00:21:48,240 --> 00:21:50,399
Speaker 2: but like of them, that was always the one that

422
00:21:50,440 --> 00:21:51,760
Speaker 2: I was like, that's the best one.

423
00:21:51,960 --> 00:21:53,960
Speaker 1: That's a really interesting one too, because I think the

424
00:21:54,040 --> 00:21:57,120
Speaker 1: last time I listened to my perspective was. They're both

425
00:21:57,560 --> 00:22:01,080
Speaker 1: like Fred's trying a little two too hard to be

426
00:22:01,080 --> 00:22:04,280
Speaker 1: better and he loses like some of his thing. And

427
00:22:04,320 --> 00:22:06,919
Speaker 1: I think it almost feels like Method Man like phoned

428
00:22:06,920 --> 00:22:08,119
Speaker 1: it in a little bit in a way that.

429
00:22:08,080 --> 00:22:11,040
Speaker 2: I'm sure, dude, have you ever seen the footage of

430
00:22:11,119 --> 00:22:14,720
Speaker 2: jay Z recording the thing with Lincoln Park. Yes, it's

431
00:22:14,800 --> 00:22:20,000
Speaker 2: just like re recording his raps from Black Album.

432
00:22:19,760 --> 00:22:20,879
Speaker 1: Or Blueprint, whatever it was.

433
00:22:21,640 --> 00:22:25,639
Speaker 2: I think phoning it in is exactly those dudes. Sure,

434
00:22:25,640 --> 00:22:27,800
Speaker 2: the ones that were like that are like real good.

435
00:22:27,840 --> 00:22:29,920
Speaker 2: I'm sure in an environment like that first of all,

436
00:22:30,320 --> 00:22:34,160
Speaker 2: just the way sort of like who's cooler Method Man

437
00:22:34,240 --> 00:22:37,160
Speaker 2: or olymp Biscuit, who is objectively thought of as cool?

438
00:22:37,200 --> 00:22:37,760
Speaker 1: You know what I mean?

439
00:22:37,760 --> 00:22:39,960
Speaker 2: Like in the culture places, those those dudes want to

440
00:22:40,000 --> 00:22:43,480
Speaker 2: matter who's objectively thought of as cooler, like Lincoln Park

441
00:22:43,680 --> 00:22:45,520
Speaker 2: or jay Z. So there's a way it moves in

442
00:22:45,560 --> 00:22:48,879
Speaker 2: the studio where I could just feel like one party

443
00:22:48,920 --> 00:22:51,399
Speaker 2: is a lot more interested in like currying favor with

444
00:22:51,480 --> 00:22:54,280
Speaker 2: the other for a variety of reasons, for sure, And

445
00:22:54,320 --> 00:22:56,439
Speaker 2: I feel like you watch that in jay Z's I mean,

446
00:22:56,520 --> 00:22:58,320
Speaker 2: jay Z phoning it in two thousand and one is

447
00:22:58,320 --> 00:23:01,680
Speaker 2: still pretty compelling as is method Man in nineteen ninety

448
00:23:01,720 --> 00:23:04,080
Speaker 2: nine or two thousand or whatever. But you're totally right.

449
00:23:04,160 --> 00:23:06,200
Speaker 2: Those dudes looked at that as like I'm getting paid

450
00:23:06,240 --> 00:23:08,639
Speaker 2: how much to do what? And it'll look it up

451
00:23:08,680 --> 00:23:10,920
Speaker 2: to who All right, cool methan man.

452
00:23:11,080 --> 00:23:14,240
Speaker 1: Though it's interesting because he does seem like or I

453
00:23:14,240 --> 00:23:17,240
Speaker 1: could at least maybe maybe I'm projecting or thinking out

454
00:23:17,280 --> 00:23:20,119
Speaker 1: too much. But with Olympus Get, they were such a force,

455
00:23:20,240 --> 00:23:22,320
Speaker 1: as you could tell at that time. It changed a lot,

456
00:23:22,359 --> 00:23:24,439
Speaker 1: and in a similar way like Eminem was too, but

457
00:23:24,560 --> 00:23:27,760
Speaker 1: like it was really like it was such a cross,

458
00:23:27,800 --> 00:23:30,120
Speaker 1: like a true crossover. Like the fact that that got

459
00:23:30,440 --> 00:23:33,479
Speaker 1: and and fred Durst most of the time is almost

460
00:23:33,640 --> 00:23:36,359
Speaker 1: making fun of or it feels like sometimes he's like

461
00:23:36,440 --> 00:23:38,439
Speaker 1: I'm not going to do the rock thing real, I

462
00:23:38,440 --> 00:23:39,880
Speaker 1: don't care, and I'm not going to do the rap

463
00:23:39,920 --> 00:23:41,399
Speaker 1: thing real like it was kind of which which I

464
00:23:41,400 --> 00:23:43,720
Speaker 1: give him credit for totally. What that turned out to

465
00:23:43,760 --> 00:23:45,359
Speaker 1: be is like when you listen to it, sometimes you're like,

466
00:23:45,520 --> 00:23:48,280
Speaker 1: this is okay, Like he kind of he also phones

467
00:23:48,320 --> 00:23:50,680
Speaker 1: it all in, like his whole rhyme the same word,

468
00:23:50,760 --> 00:23:54,080
Speaker 1: and it's like just lazy. But I could see a

469
00:23:54,119 --> 00:23:56,200
Speaker 1: method man. He's the kind of guy in my opinion,

470
00:23:56,200 --> 00:23:58,880
Speaker 1: that has tries to do a lot in a good way.

471
00:23:59,040 --> 00:24:01,760
Speaker 1: I'm saying like meaning like he's now like an actor

472
00:24:01,800 --> 00:24:03,439
Speaker 1: and he tries to do things. He tries to take

473
00:24:03,520 --> 00:24:06,480
Speaker 1: dramatic roles. He like pushes it. He does songs with

474
00:24:06,480 --> 00:24:08,600
Speaker 1: all different kinds of people that I bet you he's like,

475
00:24:08,800 --> 00:24:11,720
Speaker 1: this is another experiment for me, like I'm gonna try

476
00:24:11,760 --> 00:24:14,119
Speaker 1: and I think it's it's not so much that, in

477
00:24:14,160 --> 00:24:16,560
Speaker 1: my opinion, that he didn't care, which I think there's

478
00:24:16,600 --> 00:24:18,480
Speaker 1: part of it maybe like that, but I think it's

479
00:24:18,520 --> 00:24:20,840
Speaker 1: also like, let me try to do it the way

480
00:24:20,880 --> 00:24:22,960
Speaker 1: this guy does it, And I think that's fun that

481
00:24:23,000 --> 00:24:25,080
Speaker 1: he was like he's an artist that's like, let me

482
00:24:25,119 --> 00:24:27,000
Speaker 1: try the olymp biscuit style for this one song.

483
00:24:27,000 --> 00:24:29,560
Speaker 2: Who cares totally And that's also I think. You know,

484
00:24:29,600 --> 00:24:31,879
Speaker 2: it's like there's certain sports teams that the rap on

485
00:24:31,920 --> 00:24:34,399
Speaker 2: them is like they play to the level of their competition,

486
00:24:35,040 --> 00:24:37,320
Speaker 2: like they were Knicks teams growing up, where if they

487
00:24:37,320 --> 00:24:39,800
Speaker 2: were they would be so frustrating because if they were

488
00:24:39,840 --> 00:24:42,240
Speaker 2: playing I don't know, I'm stepping into my brother Dan's

489
00:24:42,280 --> 00:24:45,000
Speaker 2: lane on this one with the shout out to Dan

490
00:24:45,040 --> 00:24:47,800
Speaker 2: Devine basketball podcast Superstar.

491
00:24:47,760 --> 00:24:49,359
Speaker 1: By Ted Lacrosse with him in high school.

492
00:24:49,520 --> 00:24:53,200
Speaker 2: That's right, the points of commonalty multiple that being said,

493
00:24:54,560 --> 00:24:57,040
Speaker 2: there is something where like that team, if they were

494
00:24:57,040 --> 00:24:59,520
Speaker 2: playing the Bulls or the Heat or one of the

495
00:24:59,560 --> 00:25:02,159
Speaker 2: other teams in the league, they would always compete with

496
00:25:02,200 --> 00:25:04,479
Speaker 2: them like ferociously. But then they play like, you know,

497
00:25:05,480 --> 00:25:08,480
Speaker 2: a bottom barrel kind of dregs team and they'd lose.

498
00:25:09,200 --> 00:25:10,960
Speaker 2: And you feel like because that night they sort of

499
00:25:11,000 --> 00:25:12,760
Speaker 2: like maybe it was like they took a night off

500
00:25:12,800 --> 00:25:15,560
Speaker 2: a little bit, or they thought like, well, maybe there

501
00:25:15,600 --> 00:25:18,320
Speaker 2: is something to like there's almost your playing games within

502
00:25:18,400 --> 00:25:21,960
Speaker 2: the game. Someone like like method Man's like, oh, let's

503
00:25:21,960 --> 00:25:24,440
Speaker 2: see what it's like to like roll around in Fred

504
00:25:24,560 --> 00:25:27,840
Speaker 2: Durst's sty for this song. You might be like, that's cool.

505
00:25:27,920 --> 00:25:30,440
Speaker 2: Could you just be method Man? But I do love

506
00:25:30,480 --> 00:25:35,119
Speaker 2: on this pod we strays have been sprayed in all directions,

507
00:25:35,400 --> 00:25:37,720
Speaker 2: and that might say something about the ultimate thing that

508
00:25:37,880 --> 00:25:41,639
Speaker 2: makes it hardest to give Butterfly by crazy Town Inn

509
00:25:42,119 --> 00:25:45,560
Speaker 2: serious Chancey. It's a little bit of a black hole,

510
00:25:45,600 --> 00:25:47,800
Speaker 2: it's a little bit of a vacuum. Like to talk

511
00:25:47,840 --> 00:25:49,520
Speaker 2: about crazy Town, I don't know how to do that

512
00:25:49,560 --> 00:25:53,520
Speaker 2: without talking about when Biscuit, the culture in which it

513
00:25:53,600 --> 00:25:59,159
Speaker 2: was built, RHCP, Red Hot Chili Pep, even Dan Devine,

514
00:25:59,200 --> 00:26:01,600
Speaker 2: the Knicks got a I mean like I'm bringing you.

515
00:26:01,520 --> 00:26:16,840
Speaker 1: Know in ninety nine, I was like twelve or thirteen,

516
00:26:17,560 --> 00:26:20,880
Speaker 1: and I'm not gonna lie. I thought, so wait, let

517
00:26:20,880 --> 00:26:22,879
Speaker 1: me think I was born eighty five. Yeah, so I

518
00:26:22,920 --> 00:26:26,840
Speaker 1: was fifteen. I was fourteen fourteen, right, So my cousin

519
00:26:26,960 --> 00:26:29,679
Speaker 1: had like an early down like a Napster thing. I

520
00:26:29,680 --> 00:26:31,560
Speaker 1: think I had Napster two. But he had like a

521
00:26:31,560 --> 00:26:35,000
Speaker 1: better Internet, and he could just he illegally downloaded so

522
00:26:35,040 --> 00:26:39,000
Speaker 1: many songs. Honestly, he should go to prison. But he

523
00:26:39,000 --> 00:26:44,520
Speaker 1: he made me a CD with this with obviously Olympus,

524
00:26:44,560 --> 00:26:47,680
Speaker 1: Get the People Named with power Man five thousand. Oh.

525
00:26:47,720 --> 00:26:51,280
Speaker 1: I forgot about that thing with like yeah, like with

526
00:26:51,359 --> 00:26:54,800
Speaker 1: like this era. And I liked that CD at least

527
00:26:54,960 --> 00:26:56,760
Speaker 1: I liked this at like there was a time in

528
00:26:56,800 --> 00:26:58,520
Speaker 1: my life and I could put myself there. I'm not

529
00:26:58,560 --> 00:27:01,960
Speaker 1: afraid to put myself there or or where on as

530
00:27:02,000 --> 00:27:04,520
Speaker 1: a part of who the version of me. There's a

531
00:27:04,640 --> 00:27:06,919
Speaker 1: there's a version of Casey Jose that and I and

532
00:27:07,000 --> 00:27:10,520
Speaker 1: I like that Casey Jose that was into this and

533
00:27:10,520 --> 00:27:12,480
Speaker 1: and and so when I say into it, meaning like

534
00:27:12,520 --> 00:27:14,320
Speaker 1: it was a it was a popular thing that I

535
00:27:14,359 --> 00:27:17,600
Speaker 1: was like listening to there's you know like they were

536
00:27:17,640 --> 00:27:20,400
Speaker 1: they were like the worst Offspring album I probably had

537
00:27:20,440 --> 00:27:22,040
Speaker 1: and listened to it and liked it, like not the

538
00:27:22,080 --> 00:27:24,080
Speaker 1: one that came out first. That like you got duped

539
00:27:24,119 --> 00:27:26,879
Speaker 1: into it like like a battle. Like I was like

540
00:27:26,920 --> 00:27:29,680
Speaker 1: into and and I'm again like I'm okay with that.

541
00:27:29,800 --> 00:27:32,040
Speaker 1: Like there was a know what I bought? Oh, this

542
00:27:32,160 --> 00:27:34,240
Speaker 1: is so funny. This is this goes right into this.

543
00:27:35,040 --> 00:27:37,639
Speaker 1: There was a band called Methods of Mayhem, which.

544
00:27:37,520 --> 00:27:39,680
Speaker 2: I remember that I was right.

545
00:27:39,720 --> 00:27:42,040
Speaker 1: He was the drummer of Motley Crow. He was this

546
00:27:42,240 --> 00:27:45,560
Speaker 1: rapper in it. Tommy Lee got behind the mic with

547
00:27:45,600 --> 00:27:48,480
Speaker 1: this other guy and they had a song called get Naked,

548
00:27:48,600 --> 00:27:52,000
Speaker 1: and like his opening thing is just like like everybody's

549
00:27:52,000 --> 00:27:56,119
Speaker 1: seen my penis, like you know, like people masturbated to me.

550
00:27:56,280 --> 00:27:58,879
Speaker 1: Like he's like, that's what his that's what the song's about.

551
00:27:59,200 --> 00:28:02,160
Speaker 1: And that's I was on that CD too, and that song.

552
00:28:02,280 --> 00:28:04,840
Speaker 1: I mean I could I could probably recant quite a

553
00:28:04,840 --> 00:28:07,400
Speaker 1: bit of it. Yeah, that's all in this weird era

554
00:28:07,520 --> 00:28:10,800
Speaker 1: that was like and probably like I'm glad that I

555
00:28:10,840 --> 00:28:13,440
Speaker 1: came out the way I personally came out, because those

556
00:28:13,800 --> 00:28:17,480
Speaker 1: ideals and values are really and then like going back

557
00:28:17,480 --> 00:28:20,720
Speaker 1: to like the sexual stuff, it's really not like if

558
00:28:20,720 --> 00:28:23,240
Speaker 1: someone was like, I have these sexual opinions and I

559
00:28:23,240 --> 00:28:25,000
Speaker 1: want to talk about them in an open forum, I'd

560
00:28:25,000 --> 00:28:27,280
Speaker 1: be like, okay, but they scratch the surface. It's really

561
00:28:27,320 --> 00:28:29,480
Speaker 1: just like you got me sprung with your tongue ring.

562
00:28:29,520 --> 00:28:33,679
Speaker 1: You're not really saying anything that's really unique or like, Okay,

563
00:28:33,800 --> 00:28:36,120
Speaker 1: you want to express you want to explore your sexuality,

564
00:28:36,200 --> 00:28:38,720
Speaker 1: like go for it. They're not really exploring it. They're

565
00:28:38,720 --> 00:28:41,720
Speaker 1: like hitting upon it and not really like you're not

566
00:28:41,760 --> 00:28:45,600
Speaker 1: really giving me a new you know, like yes, you know,

567
00:28:45,760 --> 00:28:48,320
Speaker 1: like even even like going back, like even jay Z

568
00:28:48,520 --> 00:28:51,400
Speaker 1: being like in that verse and Drunken Love where he

569
00:28:51,520 --> 00:28:54,800
Speaker 1: says things like like I like or you know, like

570
00:28:54,840 --> 00:28:57,400
Speaker 1: I ride it with my surfboard, like Beyonce said, you

571
00:28:57,440 --> 00:28:59,720
Speaker 1: know there's something that's like kind of a unique way

572
00:28:59,760 --> 00:29:00,480
Speaker 1: of saying it.

573
00:29:00,600 --> 00:29:02,880
Speaker 2: Or I had never heard that ship before that song.

574
00:29:02,960 --> 00:29:05,440
Speaker 2: Maybe that existed in corners. I'm just not digging around

575
00:29:05,480 --> 00:29:08,840
Speaker 2: in but I was like, oh that's funny, Yeah, totally.

576
00:29:08,920 --> 00:29:12,040
Speaker 1: That's that that is. I think that's maybe a more

577
00:29:12,040 --> 00:29:15,560
Speaker 1: creative version of what they're trying to do. Totally, the

578
00:29:15,600 --> 00:29:18,600
Speaker 1: whole song is. But another thing is like when I

579
00:29:18,640 --> 00:29:20,880
Speaker 1: close my eyes, even without the music video, this whole

580
00:29:20,920 --> 00:29:23,320
Speaker 1: song is a spring break MTV.

581
00:29:23,720 --> 00:29:27,320
Speaker 2: Well totally, and that is actually something. There's a million

582
00:29:27,400 --> 00:29:29,560
Speaker 2: things in what you just said that are like so fertile,

583
00:29:29,640 --> 00:29:31,760
Speaker 2: so much in there, but one thing, so be careful.

584
00:29:31,800 --> 00:29:34,360
Speaker 2: I don't want you to pop out a baby, but

585
00:29:34,960 --> 00:29:37,080
Speaker 2: unless that's you want to.

586
00:29:37,560 --> 00:29:39,160
Speaker 1: The only thing I know about myself as I have

587
00:29:39,200 --> 00:29:39,720
Speaker 1: sex appeal.

588
00:29:40,000 --> 00:29:42,680
Speaker 2: That's the one thing. But also beyond that, you have

589
00:29:42,800 --> 00:29:46,800
Speaker 2: been there for me, like constantly away from like everything,

590
00:29:47,040 --> 00:29:49,880
Speaker 2: but you do have a lot of sex appeal, you know.

591
00:29:50,040 --> 00:29:52,280
Speaker 2: I feel like, for one thing about the subject of

592
00:29:52,360 --> 00:29:57,120
Speaker 2: you still liking that Casey Jost that encountered that CD

593
00:29:57,280 --> 00:30:00,680
Speaker 2: and loved those songs we have to it's that's insane.

594
00:30:01,080 --> 00:30:05,480
Speaker 2: That's tyrannical and a problem in the opposite direction. If

595
00:30:05,520 --> 00:30:09,840
Speaker 2: like once you've got you've heard your first like whatever

596
00:30:10,120 --> 00:30:13,400
Speaker 2: like Guided by Voices CD or something, you're supposed to

597
00:30:13,480 --> 00:30:19,320
Speaker 2: act like you never like like my entire pre Nirvana musical,

598
00:30:20,440 --> 00:30:22,880
Speaker 2: like the things that really set the seeds for me

599
00:30:22,960 --> 00:30:25,800
Speaker 2: that weren't like my brother's music, my mom's music, the sixties,

600
00:30:25,800 --> 00:30:28,000
Speaker 2: this early the seventies, eighties, stuff that I was hearing

601
00:30:28,000 --> 00:30:30,600
Speaker 2: around my house as a little kid. It was all

602
00:30:30,680 --> 00:30:35,800
Speaker 2: that like Poison Warrant, Motley Crue, Slaughter, Guns n' Roses.

603
00:30:35,800 --> 00:30:37,600
Speaker 2: I used to come home from school and put on

604
00:30:37,640 --> 00:30:40,720
Speaker 2: what was then dial MTV, like pret what was a

605
00:30:40,800 --> 00:30:43,520
Speaker 2: vote top five videos every day that you voted on,

606
00:30:44,200 --> 00:30:47,360
Speaker 2: and like really was invested in, like will Motley Crue

607
00:30:47,360 --> 00:30:51,200
Speaker 2: beat skid Row today for like the top Spot and

608
00:30:51,320 --> 00:30:54,120
Speaker 2: Nirvana coming out didn't like it did kill a lot

609
00:30:54,160 --> 00:30:56,400
Speaker 2: of those bands for me. I know, we're but it did,

610
00:30:56,520 --> 00:30:59,240
Speaker 2: But I'd still listened to Guns n' Roses. Like while

611
00:30:59,280 --> 00:31:01,320
Speaker 2: I was listening to all of that, they stayed on

612
00:31:01,400 --> 00:31:05,840
Speaker 2: the longest for me. And then after Nirvana, it's like

613
00:31:05,880 --> 00:31:09,480
Speaker 2: the only things I was buying were like Melvin's Boredom's

614
00:31:10,160 --> 00:31:13,880
Speaker 2: shown in Knife, Bikini Kilt. That stuff was in there

615
00:31:13,920 --> 00:31:16,920
Speaker 2: because he liked it. But I also was buying like

616
00:31:17,120 --> 00:31:21,880
Speaker 2: Bush Candlebox. You know, there was a Sonic Youth record

617
00:31:22,040 --> 00:31:24,600
Speaker 2: next to the you know whatever, the first Stone Double

618
00:31:24,640 --> 00:31:28,280
Speaker 2: Pilot's record. So I feel like there's no shame in

619
00:31:28,320 --> 00:31:31,440
Speaker 2: liking anything. I think the stuff that you said though,

620
00:31:31,440 --> 00:31:34,200
Speaker 2: that's also really this song is a prompt to reflect

621
00:31:34,280 --> 00:31:38,440
Speaker 2: on it's probably fair to say without going too weird,

622
00:31:38,560 --> 00:31:41,160
Speaker 2: too serious with like you know, less than five minutes

623
00:31:41,200 --> 00:31:44,840
Speaker 2: left in our podcast to say like four men. Male

624
00:31:45,000 --> 00:31:50,360
Speaker 2: presenting people, especially like cisgendered, heteronormative, whatever language want to use.

625
00:31:50,360 --> 00:31:53,200
Speaker 2: Male presenting people. A lot of what's presented to you

626
00:31:53,240 --> 00:31:56,880
Speaker 2: as like models for sex and sexuality in pop music,

627
00:31:57,000 --> 00:31:59,920
Speaker 2: they're pretty repulsive, pretty noxious. It's a lot of like

628
00:32:00,080 --> 00:32:04,560
Speaker 2: hosturing bullshit that's actually like really bad for you to

629
00:32:04,640 --> 00:32:08,360
Speaker 2: internalize as you move forward and relating with other people

630
00:32:08,400 --> 00:32:11,960
Speaker 2: and certainly trying to have like something like or whatever

631
00:32:12,000 --> 00:32:15,520
Speaker 2: you want to call it, evolved sexual relationships with people.

632
00:32:16,000 --> 00:32:18,720
Speaker 2: And so this whole time frame and the stuff I

633
00:32:18,960 --> 00:32:21,000
Speaker 2: certainly was hearing when I was eight years old, like

634
00:32:21,080 --> 00:32:25,360
Speaker 2: Axel Rose and Vince Neil and these troglodites, it was

635
00:32:25,480 --> 00:32:27,040
Speaker 2: not great for that.

636
00:32:27,680 --> 00:32:29,600
Speaker 1: I kind of think it's always going to exist though,

637
00:32:29,640 --> 00:32:32,680
Speaker 1: because of course, you know, even like you know, with

638
00:32:32,800 --> 00:32:35,840
Speaker 1: kids now, it's like it's tough with uh Meghan Stallion

639
00:32:35,920 --> 00:32:39,240
Speaker 1: and Nicki Minaj being so like her even just her

640
00:32:39,400 --> 00:32:43,280
Speaker 1: name Minaj is like donan all that. But it's also

641
00:32:43,400 --> 00:32:45,160
Speaker 1: like I even think that they are a little bit

642
00:32:45,160 --> 00:32:47,680
Speaker 1: better with the expression. And it's supposed to be for adults.

643
00:32:47,680 --> 00:32:51,040
Speaker 1: It's just packaged for children, and it's weird, like it

644
00:32:51,040 --> 00:32:53,640
Speaker 1: gets into a weird territory, and this was that as well.

645
00:32:53,960 --> 00:32:56,000
Speaker 1: I don't know. I don't have a solve for that.

646
00:32:56,040 --> 00:32:57,920
Speaker 1: I just think it's I want to call out that

647
00:32:57,960 --> 00:32:59,960
Speaker 1: it will always exist unfortunately, of course.

648
00:33:00,160 --> 00:33:03,440
Speaker 2: Well, and I think it's because sexuality and sex is

649
00:33:03,480 --> 00:33:07,160
Speaker 2: such a fragile thing actually that one of the ways

650
00:33:07,200 --> 00:33:10,960
Speaker 2: we overcompensate for that fragility is by projecting, especially mem

651
00:33:11,000 --> 00:33:15,960
Speaker 2: but these images of like like it's an overcompensatory braggadocious thing.

652
00:33:16,400 --> 00:33:18,520
Speaker 2: And the thing you just isolated, which is part of

653
00:33:18,560 --> 00:33:20,680
Speaker 2: this is now we're getting into. So I love this shit.

654
00:33:20,720 --> 00:33:23,120
Speaker 2: We're getting into FLMs of the unknown. One thing I

655
00:33:23,200 --> 00:33:27,040
Speaker 2: will say about that is I actually think, unfortunately, there's

656
00:33:27,080 --> 00:33:29,840
Speaker 2: this quote that's like the greatest dreams of the oppressed

657
00:33:30,200 --> 00:33:33,960
Speaker 2: are to be the oppressor, and so sometimes when there

658
00:33:34,040 --> 00:33:36,680
Speaker 2: is that kind of like super sex forward, I think

659
00:33:36,800 --> 00:33:39,240
Speaker 2: there can be an overcorrection in the opposite direction.

660
00:33:39,400 --> 00:33:39,600
Speaker 1: Too.

661
00:33:39,880 --> 00:33:42,040
Speaker 2: A boys club still a boys club, even if it's

662
00:33:42,080 --> 00:33:44,320
Speaker 2: just girls in it. And so I think that's part

663
00:33:44,360 --> 00:33:47,400
Speaker 2: of where I'd like to see it somewhere beyond that, too,

664
00:33:48,120 --> 00:33:51,400
Speaker 2: where like maybe there's like healthier, more advancing, more three

665
00:33:51,400 --> 00:33:54,720
Speaker 2: dimensional conversations about this shit in music and around it.

666
00:33:54,800 --> 00:33:58,320
Speaker 1: The overcorrection and being like and being like, let's get

667
00:33:58,400 --> 00:34:01,320
Speaker 1: rid of it all is bad. It's like, let's just

668
00:34:01,360 --> 00:34:02,680
Speaker 1: have a more nuanced conversation.

669
00:34:02,800 --> 00:34:04,560
Speaker 2: Lets get rid of it all, or let's have it

670
00:34:04,680 --> 00:34:09,480
Speaker 2: all in all the time. Either of those case. Just

671
00:34:09,600 --> 00:34:11,960
Speaker 2: keep the eyes on something. And I want you to know.

672
00:34:12,520 --> 00:34:14,399
Speaker 1: I know it's time.

673
00:34:14,800 --> 00:34:20,439
Speaker 2: It's time to butterfly, my sugar baby, my dumbles door.

674
00:34:21,920 --> 00:34:24,560
Speaker 1: I'm ending this positive on this song. I feel good

675
00:34:24,600 --> 00:34:27,920
Speaker 1: about it. I'm glad that it exists, and I feel

676
00:34:28,080 --> 00:34:30,160
Speaker 1: I'm glad I like it. I support it.

677
00:34:30,480 --> 00:34:32,160
Speaker 2: I was happy to hear it today. It's an awesome

678
00:34:32,200 --> 00:34:34,279
Speaker 2: song to have on while you're shopping. Not that I've

679
00:34:34,280 --> 00:34:35,920
Speaker 2: been shopping while we do this pod, but it does

680
00:34:36,000 --> 00:34:39,520
Speaker 2: have FLI I'm going to do puberty as we speak.

681
00:34:39,520 --> 00:34:41,279
Speaker 2: It's all this sex and sexuality talk.

682
00:34:42,080 --> 00:34:44,520
Speaker 1: Well on that. I'll let you do that. It's your

683
00:34:44,760 --> 00:34:47,879
Speaker 1: that's your choice. Love you, thank you for being here,

684
00:34:47,960 --> 00:34:50,359
Speaker 1: thank you for listening. Everybody, We'll see you next week.

685
00:34:50,400 --> 00:35:00,319
Speaker 1: I'm the chances. Yeah,