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Speaker 1: Give it a chance, Give it a chance, Give it

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Speaker 1: a chance.

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Speaker 2: Come morning, give it a chance.

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Speaker 3: Give it a chance, Give it a chance, Give it

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Speaker 3: a chance.

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Speaker 1: Morning, Give it a Do you want to give it

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Speaker 1: a chance, Give it a chance, give it a chance.

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Speaker 2: Just give it. Just to let you know, behind the scenes, chancers.

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Speaker 3: Take them back, take them backstage just before.

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Speaker 2: Can I tell them, well you you want to tell

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Speaker 2: them what you said? Or can I tell them what

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Speaker 2: you said? No?

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Speaker 3: You please?

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Speaker 2: Casey logged on and said, I look like I'm in

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Speaker 2: the matrix, like really good for a non viewing list

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Speaker 2: like for a non viewing listeners. And if you are, yeah,

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Speaker 2: well there could be real reasons. There could be medical reasons,

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Speaker 2: there could be life reasons.

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Speaker 1: I'm wearing like a shirt and tie and jacket and

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Speaker 1: I'm in like what looks like a green.

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Speaker 2: Space.

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Speaker 1: Yeah yeah, yeah, it's very uh, it's very like Neo

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Speaker 1: when he's like mister Andrews just like it, like you know,

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Speaker 1: in his office and like.

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Speaker 3: He hasn't taken a pill yet.

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Speaker 2: Yeah, exactly. And then we were also having some tech

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Speaker 2: issues and I while while case was in matrix, I

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Speaker 2: was going, oh, no, on no, it's a problem for

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Speaker 2: you so that's the kind of stuff that goes on BTS,

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Speaker 2: not the K pop megastars BTS.

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Speaker 3: Behind the scenes. Yeah, now we had a we have

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Speaker 3: to jump in this episode. But I do want to

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Speaker 3: just say that.

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Speaker 1: We've both had the privilege of playing together and seeing

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Speaker 1: each other play songs, and it's been so delightful the

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Speaker 1: last two weeks, Like within this time, I opened for you,

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Speaker 1: doing comedy songs for you, and then I was playing

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Speaker 1: real songs and you came to visit that show. It

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Speaker 1: was great, and it was great. It was I've been

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Speaker 1: seeing you so much in person.

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Speaker 2: I know, it's the most I've seen you and our

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Speaker 2: other two friends, Brian Bonds and Chris O'Brien in a

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Speaker 2: three week window. I've seen both of you, like the

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Speaker 2: three of you numerous.

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Speaker 3: Times, too much, too much, some saying no, it's.

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Speaker 2: Actually like oh right, it's like nice to hang out

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Speaker 2: with people in real physical life. Casey was great and

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Speaker 2: to multi hyphen it, that's how I describe you. Multi

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Speaker 2: hite Yeah, really really good. Check out less Vinyl, l

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Speaker 2: E s Vinyl. It's really good. I don't even know

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Speaker 2: I could talk to you about that. I know we

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Speaker 2: got to get in the EPP. But it was really

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Speaker 2: really good and.

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Speaker 3: I'm trying to find a segue into the so basically.

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Speaker 2: Oh and also he hadn't read a fake advertisement from

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Speaker 2: this show on stage, which was vile. Truly, truly, truly

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Speaker 2: truly what's the word for that? Like, it was raunchy?

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Speaker 2: It was raunchy. We were working blue.

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Speaker 1: Yeahholy, unholy? What's the the the the.

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Speaker 2: Unwritten by Betel? Yes, yes, so that's that.

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Speaker 3: We're not doing Natasha Bettingfield.

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Speaker 2: Feel the way, Unniceking.

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Speaker 3: These words are my words.

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Speaker 1: Okay, Now the the segue is it was me?

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Speaker 3: Wait what this weekend I saw you so much? It

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Speaker 3: was you know, it was me.

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Speaker 2: This weekend I saw you so much? It was me.

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Speaker 3: I thought this would be like an obvious one.

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Speaker 2: It was me as lyrics from the song it was

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Speaker 2: me a sixth sense is from the sixth sense I

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Speaker 2: see dead people.

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Speaker 3: Well that's I'm saying the opposite of what it was you?

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Speaker 3: You know it was it was me?

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Speaker 2: Is you? Was it was me? It is you?

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Speaker 3: It was it wasn't me?

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Speaker 2: Ah, should even go me on a camera that way?

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Speaker 1: I apologize that my Usually I'm so much better at

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Speaker 1: like the hinty stuff and now some of my worst How.

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Speaker 2: Are you supposed to know? I mean, listen, I'm not

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Speaker 2: going to say that. I always think your work is great. Wow,

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Speaker 2: it wasn't me.

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Speaker 1: I know we've been so this was like when we

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Speaker 1: first pitched this, it was like one of the ones

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Speaker 1: that we were like, this is one we'll do.

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Speaker 3: And I can't believe it's taken this long to do it.

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Speaker 1: I think partially because I'm going in and being like,

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Speaker 1: I think this song is good. It's just weird and funny,

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Speaker 1: but it's like it almost feels like a comedy song.

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Speaker 1: But I'm so excited to hear Shaggy's voice. I haven't

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Speaker 1: like put this song on ever.

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Speaker 2: Do you know that? I don't know? On my streaming

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Speaker 2: platform of choice, it says it wasn't me featuring Ricardo Ducent.

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Speaker 2: Do you know who Ricardo Ducent is? It's the other

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Speaker 2: the other They come it button again, Yeah, away they

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Speaker 2: go next door. It was me. That's a different song.

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Speaker 2: That's like when OJ did if I did it, If

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Speaker 2: I did it, it might have been me. Oh that's

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Speaker 2: really really good. That's really a fit. Yeah I have

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Speaker 2: so maybe I'll tell the chance is a funny story

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Speaker 2: about if the glove don't fit, it must have quit.

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Speaker 2: Later in the epp.

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Speaker 1: Okay, I met I met some chancers at your show

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Speaker 1: and we talked about the hinting the guessing at the

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Speaker 1: top of the episode. Really now, it's always fun. The

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Speaker 1: one person also told me you got to keep Kevin

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Speaker 1: on track.

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Speaker 2: Good luck with that. Also for that person is no, no, no,

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Speaker 2: no lovingly no no. Yeah.

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Speaker 1: It came from like I was like, I love the podcast,

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Speaker 1: it's so great, but you gotta keep Kevin on track.

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Speaker 2: Huh, push comes to shove. I was conceived in love.

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Speaker 2: We'll do that another time, just the two of us.

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Speaker 2: Will Smith of course, will post Chris Rock. I gotta

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Speaker 2: stay on track.

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Speaker 1: I gotta say, we got to do that Will Smith freestyle.

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Speaker 1: We heard the one oh I have it's so good.

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Speaker 2: That already says like I bite off more than I

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Speaker 2: can chew and then yep, yeah, but listen, I do

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Speaker 2: have to stay on track. But also we should just

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Speaker 2: do the slap. We should do give it a chance.

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Speaker 2: Keep my wife's name out out. Yeah, that's what it is.

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Speaker 2: A rest in peace.

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Speaker 1: I know it's it's tough because i've I'm I've grew

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Speaker 1: up like such a big Will Smith fan that like,

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Speaker 1: I give him a chance too much, And that's my

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Speaker 1: that's my problem.

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Speaker 3: That's my problem.

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Speaker 1: Problematic trait, my toxic trait is that I like Will Smith.

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Speaker 2: Like if you that'll never happen. This will never happen.

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Speaker 2: We got again into the app. I get it. You

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Speaker 2: always slapped me at the podcast Awards. But if you

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Speaker 2: ever were on a dating site, which you won't be

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Speaker 2: ever again, but if you ever were my problematic trait.

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Speaker 2: I like Will Smith too much, that's it.

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Speaker 3: And that was me.

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Speaker 2: Yeah, okay, here we go. Enjoyed it, but you got

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Speaker 2: me on the counter.

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Speaker 1: On the sofa.

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Speaker 2: Wow, what a journey.

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Speaker 3: This is gonna be a tough episode just because I

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Speaker 3: like it so much.

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Speaker 2: No, it's great. We're allowed, You're allowed.

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Speaker 1: It's so easy for me to give this a chance.

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Speaker 1: I I love reggae. You don't know this about me.

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Speaker 2: I maybe how do you know? I don't know that

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Speaker 2: about you?

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Speaker 3: You don't know that about me. I know the things

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Speaker 3: you know about me. I love reggae.

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Speaker 1: I love like that era of like nineties, like you

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Speaker 1: know that sounds like.

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Speaker 4: Everyone falls in Oh yeah yeah, and then there's like

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Speaker 4: by then that you know, like what you want and

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Speaker 4: what you really really.

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Speaker 2: Want, like that era of like Spice Girls. I think

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Speaker 2: that was the Spice Girl. Oh yeah, you talked about

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Speaker 2: like like mister LoVa man s about that kind of

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Speaker 2: stuff like that was like a little earlier maybe, I

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Speaker 2: guess so, yes.

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Speaker 3: But that's what I like. I like that music so much.

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Speaker 2: Great So as soon as like that great School Dances.

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Speaker 1: That voice he like literally puts on you hear him talk,

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Speaker 1: he does not sound like that, which blew my mind

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Speaker 1: when I first like heard normal. Yeah, and I I

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Speaker 1: love that voice.

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Speaker 3: I love that. I love the like the sort of

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Speaker 3: the language.

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Speaker 1: You know, like like yeah, you know, like that's I

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Speaker 1: can't even do it.

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Speaker 3: I'm not going to Chet Hanks try actually try to

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Speaker 3: do it. I should try.

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Speaker 1: I don't want to, you know, but like I also

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Speaker 1: when I see that, like I watched an interview recently

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Speaker 1: where chet Hanks was like talking about like why he

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Speaker 1: thinks it's okay that he can do it.

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Speaker 3: Much like, which what was his give it a chance?

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Speaker 2: My toxic trait is I give give chet Hanks a

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Speaker 2: chance to chance. You've seen that episode of Atlanta. Isn't

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Speaker 2: that a thing? That they like reference him. That's really great. Yeah. Yeah,

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Speaker 2: so yeah the idea trinity to the bone, that's it,

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Speaker 2: Trinity to the bone. Yeah, yeah, yeah, that episode.

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Speaker 1: Of Atlanta is so good and yeah, you know, like

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Speaker 1: it's I could see why you love a culture so

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Speaker 1: much that you're like I didn't want to start talking

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Speaker 1: like it.

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Speaker 3: And it's like.

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Speaker 2: It's totally it's not like it's specific there. I guess

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Speaker 2: it becomes more potentially problematic, or not even potentially, I

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Speaker 2: guess it becomes more problematic or flirts with being problematic

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Speaker 2: when it goes like across certain lines like I don't know,

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Speaker 2: sexual identity or certainly race, like certain cultural defense definitions

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Speaker 2: where like somebody's like appropriating something. But it's also like

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Speaker 2: how many kids I knew a bunch of kids that

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Speaker 2: grew up on like Staten Island that in the early

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Speaker 2: two thousands were going to like Don Hill's tiss was

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Speaker 2: and they and acting like they were like the oasis

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Speaker 2: or something, or you know what I mean, Like you

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Speaker 2: your your personality becomes a composite of the things to

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Speaker 2: which you're attracted.

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Speaker 1: And yeah, and I don't think anyone's going to be

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Speaker 1: mad at appropriation until they start making a ton of

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Speaker 1: money off of that.

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Speaker 2: Well that's part of it. Isn't that a thing right

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Speaker 2: now with Jack Harlow, isn't he like getting in trouble

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Speaker 2: kind of for this exact thing, like talking about how

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Speaker 2: he needed to be black he wanted to be like

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Speaker 2: blacker to make his new Yeah, yeah, okay, just put

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Speaker 2: it away. Put it away.

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Speaker 1: So when you're at the top and you're appropriate, like

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Speaker 1: so like they're like Joan Bergio went to Jamaica and

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Speaker 1: there was this like white guy that's just like a

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Speaker 1: part of their culture who like fully hasn't like is

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Speaker 1: embraced there and is taking on and he like like

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Speaker 1: he basically helped Joe like lost the wedding ring and.

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Speaker 3: He like helped him find works for the hotel or whatever.

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Speaker 1: And Joe was like perplexed by it. But it made

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Speaker 1: me realize, like, yeah, if you're just like that level,

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Speaker 1: like no one's goming totally out on your appropriation.

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Speaker 2: You know, certainly like if you and if you like

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Speaker 2: grow up in a thing, you're like, yeah, that's I

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Speaker 2: don't know, I don't know anything about this person. But

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Speaker 2: if it's like a working class person in a job

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Speaker 2: from a place where that's the context, that's the yeah,

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Speaker 2: and you're like, well, that's just that's John, that's how

224
00:10:28,559 --> 00:10:33,160
Speaker 2: John is. Yeah, yeah, yeah, No, it's funny. I didn't realize.

225
00:10:33,559 --> 00:10:35,800
Speaker 2: I did not realize that that's not how I've never

226
00:10:35,800 --> 00:10:37,720
Speaker 2: heard Shaggy speak. I didn't realize it was not his

227
00:10:37,800 --> 00:10:40,000
Speaker 2: speaking voice. I mean, I figured there's some amount of this,

228
00:10:40,080 --> 00:10:42,520
Speaker 2: it's like amplified for this, But I didn't realize he

229
00:10:42,679 --> 00:10:44,560
Speaker 2: is he genuinely like, Hey, how's it going, casey?

230
00:10:45,400 --> 00:10:47,440
Speaker 3: He talks, Yeah, he does, he is. I think he

231
00:10:47,480 --> 00:10:48,040
Speaker 3: almost has.

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Speaker 1: I could be wrong, but I kind of remember him

233
00:10:50,000 --> 00:10:51,400
Speaker 1: having almost like a British accent.

234
00:10:51,559 --> 00:10:53,760
Speaker 2: Maybe do you know his name.

235
00:10:55,320 --> 00:10:56,240
Speaker 3: Kevin something?

236
00:10:56,480 --> 00:10:57,440
Speaker 2: Is that true? Oh?

237
00:10:57,480 --> 00:10:58,640
Speaker 3: Oh, I thought you were looking at it.

238
00:10:58,800 --> 00:11:02,600
Speaker 2: Because there's eleven song writers on this song. Oh also

239
00:11:02,600 --> 00:11:04,520
Speaker 2: an Eddie Murphy sample and a.

240
00:11:04,600 --> 00:11:08,680
Speaker 1: War sample, which is crazy again like this the beat

241
00:11:08,760 --> 00:11:09,400
Speaker 1: is so good.

242
00:11:09,440 --> 00:11:15,079
Speaker 2: Ohectually Richard Burrell. Okay, that's him. So he is the one, two, three, four, five,

243
00:11:15,240 --> 00:11:21,040
Speaker 2: six seven. He's the eighth songwriter of this eleven eleven

244
00:11:21,679 --> 00:11:24,720
Speaker 2: people wrote this song. Sounds like it sounds like eight

245
00:11:24,800 --> 00:11:25,400
Speaker 2: of eleven.

246
00:11:25,600 --> 00:11:26,840
Speaker 3: I don't know what is going on.

247
00:11:27,080 --> 00:11:30,440
Speaker 1: There's a lot of his first big hit, you know,

248
00:11:31,040 --> 00:11:33,520
Speaker 1: mister love the Man, No, what was it they.

249
00:11:33,520 --> 00:11:34,400
Speaker 3: Going to miss double?

250
00:11:34,960 --> 00:11:39,559
Speaker 2: Oh, mister bombas I knew it was mister something es

251
00:11:39,679 --> 00:11:42,520
Speaker 2: and he wrote that eighth songwriter.

252
00:11:42,960 --> 00:11:45,640
Speaker 3: Yeah, that's yeah, that's the and it's the same dreads.

253
00:11:45,720 --> 00:11:49,160
Speaker 2: He just writes the because he lent Adam Doris the

254
00:11:49,200 --> 00:11:52,800
Speaker 2: dreads and the only mind he was stumbling through the body.

255
00:11:52,880 --> 00:11:59,959
Speaker 1: Oh yeah, that's yeah. You can't dip in another chance

256
00:12:00,200 --> 00:12:01,520
Speaker 1: in this Chancey's right.

257
00:12:01,559 --> 00:12:04,040
Speaker 2: He did write a that song. He actually wrote I

258
00:12:04,160 --> 00:12:06,880
Speaker 2: Want to be Bob Feeling, and then he wrote mister Jones.

259
00:12:07,320 --> 00:12:10,160
Speaker 2: He was someone just a little more funky. That's what

260
00:12:10,240 --> 00:12:12,840
Speaker 2: he wrote. Yeah, because he knows about funk.

261
00:12:12,880 --> 00:12:17,600
Speaker 1: All right, please contend, Okay, So yeah, he he did

262
00:12:17,640 --> 00:12:18,800
Speaker 1: mister Boombastic, which.

263
00:12:18,720 --> 00:12:20,360
Speaker 2: Was a huge hit, big hit.

264
00:12:20,480 --> 00:12:23,760
Speaker 1: Yeah, yeah, and a great another another great song, you know, yes,

265
00:12:23,800 --> 00:12:26,120
Speaker 1: and then so this song, it really the one thing

266
00:12:26,160 --> 00:12:29,600
Speaker 1: that teeters On is like, is this sort of like

267
00:12:29,640 --> 00:12:32,480
Speaker 1: a joke, right, because like it's it's set up like

268
00:12:32,600 --> 00:12:33,480
Speaker 1: it's basically like.

269
00:12:33,480 --> 00:12:37,560
Speaker 3: A Diet Lonely Island song, totally like the way that

270
00:12:37,600 --> 00:12:38,280
Speaker 3: it's back and.

271
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Speaker 1: Forth like, but you know, she caught me on the counter.

272
00:12:40,880 --> 00:12:43,040
Speaker 1: It wasn't me, you know, like she watched him.

273
00:12:43,400 --> 00:12:46,000
Speaker 2: I did last out loud numerous times. Like there's a

274
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Speaker 2: line where he says, I think it's after he says sorry,

275
00:12:50,720 --> 00:12:54,839
Speaker 2: the library says I even had her in the shower. Yeah,

276
00:12:55,040 --> 00:13:00,839
Speaker 2: she even caught me on camera. That's it's like, yeah funny,

277
00:13:01,240 --> 00:13:03,160
Speaker 2: and that in between each line is like the other

278
00:13:03,200 --> 00:13:05,320
Speaker 2: guy going it wasn't like you like your boy, just

279
00:13:05,320 --> 00:13:08,440
Speaker 2: being like, yo, you never stray from Yeah it was me.

280
00:13:09,080 --> 00:13:12,079
Speaker 1: I even said it was me, Yeah, it wasn't you.

281
00:13:12,360 --> 00:13:16,920
Speaker 1: Yeah yeah, And then I wrote up a confession.

282
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Speaker 5: It wasn't you.

283
00:13:25,160 --> 00:13:32,880
Speaker 2: About well, you were on a path. I didn't mean

284
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Speaker 2: to take you off the path. I'm sorry.

285
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Speaker 1: I think all I was saying was that it's a

286
00:13:37,080 --> 00:13:39,760
Speaker 1: is this a comedy song? Like it was their intent?

287
00:13:40,240 --> 00:13:42,280
Speaker 1: I think I didn't think their intent was probably just

288
00:13:42,400 --> 00:13:46,120
Speaker 1: like it's a mix because it's funny, but it's not

289
00:13:46,320 --> 00:13:48,600
Speaker 1: like like his verses aren't comedic.

290
00:13:49,920 --> 00:13:52,080
Speaker 2: I think that's fair. I feel like, I mean, I

291
00:13:52,080 --> 00:13:56,960
Speaker 2: think they had to know it's audacious, and anything that's

292
00:13:57,000 --> 00:14:01,360
Speaker 2: audacious flirts with being funny. There's like those those things

293
00:14:01,360 --> 00:14:03,199
Speaker 2: like live those I don't know whatever it is. It

294
00:14:03,240 --> 00:14:06,080
Speaker 2: feels like those neural pathways live near one another where

295
00:14:06,120 --> 00:14:09,800
Speaker 2: you're like, oh my god, it's like whatever. It's titillating,

296
00:14:09,920 --> 00:14:11,600
Speaker 2: kind of like being like, oh my god, I can't

297
00:14:11,640 --> 00:14:14,040
Speaker 2: believe this person saying that, and that's pretty. Then that

298
00:14:14,120 --> 00:14:16,840
Speaker 2: can become like I'm laughing because I can't believe this

299
00:14:16,920 --> 00:14:22,360
Speaker 2: person saying that. I will say I had never ever

300
00:14:22,840 --> 00:14:27,480
Speaker 2: locked in on the intro, which I don't even know. Yeah,

301
00:14:27,600 --> 00:14:29,720
Speaker 2: like the spoken intro. I don't remind her at all.

302
00:14:30,360 --> 00:14:32,120
Speaker 3: Yeah, I forgot until we were listening.

303
00:14:32,200 --> 00:14:35,680
Speaker 2: And I love when he's like I love that the conceitas.

304
00:14:36,240 --> 00:14:42,200
Speaker 2: Ricardo is going to Shaggy Orville and he's like, open up,

305
00:14:42,280 --> 00:14:45,240
Speaker 2: I need to talk to you. And then he's like, Yo,

306
00:14:45,280 --> 00:14:48,200
Speaker 2: what do you want man? A little skit, A little

307
00:14:48,200 --> 00:14:50,680
Speaker 2: little skit, which is why, like you said, is it's

308
00:14:50,720 --> 00:14:53,400
Speaker 2: diet lonely Island. And what I'm wondering is is lonely

309
00:14:53,480 --> 00:14:57,080
Speaker 2: Island diet Shaggy and Ricardo because what he's saying here

310
00:14:57,160 --> 00:14:58,960
Speaker 2: is also like I love what he says, my girl

311
00:14:59,080 --> 00:15:01,160
Speaker 2: just caught me, and shagg he goes, you let her

312
00:15:01,280 --> 00:15:06,160
Speaker 2: catch you. It's such stupid dude, shit, like, it's really

313
00:15:06,320 --> 00:15:06,800
Speaker 2: so good.

314
00:15:06,960 --> 00:15:08,840
Speaker 1: You're not You're not a real player if you if

315
00:15:08,840 --> 00:15:11,640
Speaker 1: you let her catch you, that's right, that's right. Player

316
00:15:11,800 --> 00:15:13,480
Speaker 1: was used so much at this time, it was like

317
00:15:13,560 --> 00:15:14,480
Speaker 1: peak being.

318
00:15:14,240 --> 00:15:17,000
Speaker 2: A player totally. And he even says like, that's the thing.

319
00:15:17,040 --> 00:15:20,200
Speaker 2: I definitely didn't know what Also, I don't know what

320
00:15:20,280 --> 00:15:23,960
Speaker 2: to do say it wasn't you is insane. I Also,

321
00:15:24,160 --> 00:15:27,320
Speaker 2: I had never I probably know every word of the choruses,

322
00:15:27,440 --> 00:15:32,000
Speaker 2: the pre choruses and choruses. I had never ever been

323
00:15:32,040 --> 00:15:34,880
Speaker 2: able to really lock in on a single word of

324
00:15:34,960 --> 00:15:37,840
Speaker 2: the verses, so to sit here and read them while

325
00:15:37,920 --> 00:15:41,560
Speaker 2: I listen to them is you know. The first thing

326
00:15:41,680 --> 00:15:44,840
Speaker 2: Shaggy says in this song besides maybe it wasn't Me,

327
00:15:45,000 --> 00:15:48,800
Speaker 2: is how you give your woman access to your villa?

328
00:15:50,200 --> 00:15:54,320
Speaker 2: Your villa? Dude? It's yeah, how are you going to give?

329
00:15:54,560 --> 00:15:57,000
Speaker 2: And it's like, I love that the Shaggy character in

330
00:15:57,040 --> 00:16:00,440
Speaker 2: this is actually kind of more like he's kind of

331
00:16:00,440 --> 00:16:04,080
Speaker 2: like horrified by his not by his friend's actions, by

332
00:16:04,120 --> 00:16:07,000
Speaker 2: how lame it is that his friend let him go.

333
00:16:07,400 --> 00:16:09,280
Speaker 2: He's like, Yo, how are you going to let her

334
00:16:09,280 --> 00:16:12,560
Speaker 2: in your house? Dude? And then it quickly goes to like,

335
00:16:13,680 --> 00:16:16,360
Speaker 2: you better watch your back before she turns into her killer.

336
00:16:16,520 --> 00:16:18,840
Speaker 2: There's numerous references in the verses to like, if she's

337
00:16:18,840 --> 00:16:20,560
Speaker 2: got a gun, she's gonna yes.

338
00:16:21,280 --> 00:16:21,680
Speaker 4: I like that.

339
00:16:21,800 --> 00:16:24,280
Speaker 1: It's like it's not like it's not like, oh, man,

340
00:16:24,360 --> 00:16:26,680
Speaker 1: come on in, like like let me help you through.

341
00:16:26,720 --> 00:16:30,000
Speaker 1: This is like hard Emotionally, he's like, don't come in.

342
00:16:30,840 --> 00:16:32,880
Speaker 1: This happen to her.

343
00:16:33,640 --> 00:16:36,800
Speaker 2: Stay out there. Yeah. Yeah, First of all, you're a

344
00:16:36,840 --> 00:16:40,320
Speaker 2: loser and a herb. Secondly, now we've established the terms,

345
00:16:40,800 --> 00:16:43,520
Speaker 2: make sure she doesn't kill you. And also, I'll remind

346
00:16:43,560 --> 00:16:46,360
Speaker 2: you six or eight times you are a loser and

347
00:16:46,480 --> 00:16:49,920
Speaker 2: a herb for getting caught. Anytime we stray from that,

348
00:16:50,040 --> 00:16:51,920
Speaker 2: I need to make sure we bring it back to

349
00:16:52,000 --> 00:16:54,160
Speaker 2: that because it's mad embarrassing for you.

350
00:16:54,240 --> 00:16:56,200
Speaker 3: Also, keep in mind you didn't even do it.

351
00:16:57,880 --> 00:17:00,960
Speaker 2: If you had done it, yeah, these are for getting caught.

352
00:17:01,240 --> 00:17:04,119
Speaker 2: But let's remind ourselves you didn't do it. Yo. But

353
00:17:04,200 --> 00:17:06,359
Speaker 2: she saw me do it. I was. She had a

354
00:17:06,359 --> 00:17:09,920
Speaker 2: camera out, she saw me doing it multiple places, the shower,

355
00:17:10,000 --> 00:17:12,440
Speaker 2: the counter, she watched the whole thing. That's a question

356
00:17:12,480 --> 00:17:14,560
Speaker 2: I have with the logical interior logical of the song.

357
00:17:14,600 --> 00:17:16,600
Speaker 2: So was she like, you know, just like I was

358
00:17:16,680 --> 00:17:19,040
Speaker 2: enjoying it well, and then maybe she's a voyeur. It

359
00:17:19,080 --> 00:17:20,359
Speaker 2: could be a thing, could be a kink. We're not

360
00:17:20,400 --> 00:17:22,160
Speaker 2: here to king, shame on, give it a chance. But

361
00:17:22,480 --> 00:17:25,440
Speaker 2: the other thing is, yeah, case he will kink. Shame well,

362
00:17:25,680 --> 00:17:28,000
Speaker 2: she will, she will, she will.

363
00:17:28,280 --> 00:17:30,440
Speaker 3: The other thing is you should only be doing missionary

364
00:17:31,640 --> 00:17:32,160
Speaker 3: and that's.

365
00:17:31,960 --> 00:17:34,720
Speaker 2: Why I have this student tie on.

366
00:17:35,280 --> 00:17:36,440
Speaker 3: And the matrix. We only do.

367
00:17:39,560 --> 00:17:42,919
Speaker 2: The other thing is like I really like the idea.

368
00:17:43,040 --> 00:17:46,879
Speaker 2: This is niche, niche, niche shit. In the Marvel Comics universe,

369
00:17:46,920 --> 00:17:48,960
Speaker 2: there's this character Uatu the Watcher.

370
00:17:49,480 --> 00:17:51,640
Speaker 3: Yes, and all watch.

371
00:17:51,640 --> 00:17:55,360
Speaker 2: He's amazing because he's a it's a god like, a

372
00:17:55,400 --> 00:17:58,000
Speaker 2: god like, one of the most powerful characters of the

373
00:17:58,160 --> 00:18:02,520
Speaker 2: entire But all it can do is watch what happens,

374
00:18:02,600 --> 00:18:06,800
Speaker 2: like bravo, all it can do and yeah, watch you

375
00:18:06,920 --> 00:18:09,600
Speaker 2: just stands there and like when Thanos destroys half the

376
00:18:09,600 --> 00:18:12,240
Speaker 2: population in the universe, watchers just like and I was

377
00:18:12,280 --> 00:18:15,440
Speaker 2: so sad to have to watch that happen. Yo, This

378
00:18:15,560 --> 00:18:20,000
Speaker 2: dude's chick is watch watch, that's what it is. She's

379
00:18:20,040 --> 00:18:23,639
Speaker 2: cursed to be like she's like at first on the counter,

380
00:18:23,920 --> 00:18:27,040
Speaker 2: then in the shower, she takes out her camera, she records,

381
00:18:27,400 --> 00:18:29,200
Speaker 2: and then she just has to stand there and then

382
00:18:29,240 --> 00:18:31,000
Speaker 2: So that's the thing. I'm like, Yo, Shaggy, I get

383
00:18:31,040 --> 00:18:32,920
Speaker 2: where you're coming from. But don't worry a watch. You's

384
00:18:32,920 --> 00:18:35,159
Speaker 2: not gonna kill anybody a watch. You can't even step in.

385
00:18:35,680 --> 00:18:38,520
Speaker 2: That's true, but they must not know that yet. They

386
00:18:38,560 --> 00:18:40,720
Speaker 2: just probably feel the force of this god and think, oh,

387
00:18:40,760 --> 00:18:42,040
Speaker 2: it's gonna shoot me with a gun.

388
00:18:42,520 --> 00:18:45,120
Speaker 1: You're you're so right about hold on to go back

389
00:18:45,119 --> 00:18:48,359
Speaker 1: and set, because you said she even filmed me on

390
00:18:48,480 --> 00:18:51,240
Speaker 1: camera and you did this, which is like a Camquarner motion.

391
00:18:51,320 --> 00:18:53,080
Speaker 2: Yeah, none ever time.

392
00:18:53,119 --> 00:18:57,480
Speaker 1: This is cell phone footage, maybe like a little camera phone.

393
00:18:57,480 --> 00:18:59,520
Speaker 1: But that's like we're talking like the file is probably

394
00:18:59,560 --> 00:19:01,920
Speaker 1: like a veg A file, which is like you could

395
00:19:01,920 --> 00:19:04,600
Speaker 1: probably only get like twenty really grainy seconds.

396
00:19:04,960 --> 00:19:07,600
Speaker 2: The Geographer's Guild of America the VGA. Sorry, go ahead.

397
00:19:09,040 --> 00:19:11,200
Speaker 1: So yeah, she probably had a camp quarter. So she's

398
00:19:11,200 --> 00:19:14,080
Speaker 1: like burning footage. She's like it's tape.

399
00:19:14,520 --> 00:19:16,160
Speaker 3: She's like, you know, spending tape.

400
00:19:16,200 --> 00:19:19,240
Speaker 1: She might even be like like recording over like a memory,

401
00:19:19,680 --> 00:19:22,800
Speaker 1: like a nice vacation, and she's going to be replacing

402
00:19:22,840 --> 00:19:23,240
Speaker 1: with this.

403
00:19:23,200 --> 00:19:25,600
Speaker 3: So that she could use his evidence with the with

404
00:19:25,680 --> 00:19:26,320
Speaker 3: the neighborhood.

405
00:19:27,359 --> 00:19:30,320
Speaker 2: Maybe that's it, that's I like the idea. That does

406
00:19:30,400 --> 00:19:33,639
Speaker 2: make it sadder, even sadder that she's recording over like

407
00:19:33,680 --> 00:19:39,280
Speaker 2: their time in Cancun together with him butt naked, banging

408
00:19:40,119 --> 00:19:44,520
Speaker 2: on the bathroom floor. Really colorful language, really colorful language.

409
00:19:44,800 --> 00:19:51,480
Speaker 1: Like he's like, picture us, yeah, yeah, picture yeah, yeah, Shaggy, picture.

410
00:19:51,200 --> 00:19:53,840
Speaker 2: Us, shagg He's like, I'll picture it, but you cannot

411
00:19:54,280 --> 00:19:57,600
Speaker 2: enter my home. You have to stay outside. So one

412
00:19:57,600 --> 00:19:59,920
Speaker 2: thing Shaggy does say, because sorry, I to go back

413
00:20:00,040 --> 00:20:02,520
Speaker 2: what she said to what you said earlier, he does

414
00:20:02,640 --> 00:20:06,200
Speaker 2: tell his friend to be a true player, you have

415
00:20:06,280 --> 00:20:09,639
Speaker 2: to know how to play. It's true. Like this whole

416
00:20:09,640 --> 00:20:12,760
Speaker 2: thing is like the era of like peak, I'm a player,

417
00:20:12,880 --> 00:20:14,360
Speaker 2: even like what was the Fat Joe? Was it Fat

418
00:20:14,400 --> 00:20:20,639
Speaker 2: Joe or big pun? Don't want to be no more?

419
00:20:20,920 --> 00:20:21,560
Speaker 3: That is it?

420
00:20:21,680 --> 00:20:24,000
Speaker 2: Oh yeah?

421
00:20:24,960 --> 00:20:26,440
Speaker 3: Is like getting out of his grave.

422
00:20:28,200 --> 00:20:31,359
Speaker 2: To like shout out to all the altered beast Heads

423
00:20:31,359 --> 00:20:34,719
Speaker 2: original saga genesis, Rise from your grave, shout out, shout out,

424
00:20:34,720 --> 00:20:38,520
Speaker 2: shout out. But yo, I do feel like I'm sorry.

425
00:20:38,560 --> 00:20:41,240
Speaker 2: I think like he also he says to his friend

426
00:20:41,480 --> 00:20:44,600
Speaker 2: best review the situation that you caught up in a

427
00:20:45,600 --> 00:20:47,959
Speaker 2: if I was the friend to be Like, dude, I

428
00:20:48,000 --> 00:20:50,760
Speaker 2: am reviewing the situation. I've come to your door. It's

429
00:20:50,800 --> 00:20:55,040
Speaker 2: three am. I'm reviewing. Yeah, yeah, yeah, yeah. I know

430
00:20:55,119 --> 00:20:56,560
Speaker 2: you won't let me in the villa. And that's a

431
00:20:56,600 --> 00:20:59,440
Speaker 2: critical mistake. You've already reminded me of that. I let

432
00:20:59,480 --> 00:21:00,720
Speaker 2: her in the villain.

433
00:21:00,480 --> 00:21:02,560
Speaker 3: No, let me. I need your villa. I need to

434
00:21:02,560 --> 00:21:03,280
Speaker 3: come into your villa.

435
00:21:03,320 --> 00:21:05,159
Speaker 2: And he's like, you cannot enter into my villain. You're

436
00:21:05,200 --> 00:21:08,600
Speaker 2: a loser and a herb. You fucked up, you're embarrassing.

437
00:21:08,680 --> 00:21:10,920
Speaker 2: You're not a player. But also you didn't do it.

438
00:21:11,640 --> 00:21:14,760
Speaker 1: Shaggy might assume that he's a vampire and he doesn't

439
00:21:14,800 --> 00:21:15,480
Speaker 1: want to let him.

440
00:21:16,560 --> 00:21:20,480
Speaker 2: And this is way precenters post post lots of other

441
00:21:20,560 --> 00:21:21,360
Speaker 2: vampire stories.

442
00:21:21,680 --> 00:21:23,639
Speaker 3: Yeah, I interview with the vampire probably.

443
00:21:23,359 --> 00:21:25,359
Speaker 2: Yeah, and also the other what's the other one Quentin

444
00:21:25,440 --> 00:21:29,480
Speaker 2: qt qte.

445
00:21:28,640 --> 00:21:32,040
Speaker 3: Yeah yeah, probably post. I gotta talk about the music.

446
00:21:32,000 --> 00:21:34,280
Speaker 2: Yeah, let's go. I'll take about the bridge too.

447
00:21:34,359 --> 00:21:35,320
Speaker 3: This is some of the best.

448
00:21:35,480 --> 00:21:37,280
Speaker 1: This is some of my favorite music we've had on

449
00:21:37,160 --> 00:21:40,800
Speaker 1: the on the show, because I think I think the

450
00:21:40,840 --> 00:21:43,120
Speaker 1: track is beautiful. I love Halfway through the verse. There's

451
00:21:43,119 --> 00:21:46,240
Speaker 1: that like bell that comes in that's like ding ding, yes,

452
00:21:46,280 --> 00:21:49,400
Speaker 1: and it's like I always like that. I instantly want

453
00:21:49,400 --> 00:21:51,840
Speaker 1: to dance to this. I feel like I want to

454
00:21:51,840 --> 00:21:53,360
Speaker 1: put my hands up in the air and I want

455
00:21:53,359 --> 00:21:55,639
Speaker 1: to dance to this at a party. Oh yeah, I

456
00:21:55,680 --> 00:21:59,159
Speaker 1: think it's I think the snare is unbelievable, you know

457
00:21:59,200 --> 00:22:01,720
Speaker 1: what I mean, like the beats great, and you know,

458
00:22:01,960 --> 00:22:04,320
Speaker 1: he they slam a bridge. This is this is a

459
00:22:04,320 --> 00:22:07,119
Speaker 1: song that does not need a bridge. It doesn't and

460
00:22:07,160 --> 00:22:09,800
Speaker 1: they kill the bridge. They killed the bridge. It does

461
00:22:09,840 --> 00:22:11,760
Speaker 1: not need a bridge. If this never had a bridge,

462
00:22:11,880 --> 00:22:14,479
Speaker 1: no one would notice or care. But the fact that

463
00:22:14,480 --> 00:22:17,040
Speaker 1: they do such a the bridge made me realize, Okay, wait,

464
00:22:17,080 --> 00:22:19,600
Speaker 1: this is a Ricardo song and not a shaggy song.

465
00:22:19,760 --> 00:22:22,600
Speaker 2: Yeah, oh well that's the secret to this song. It's

466
00:22:22,640 --> 00:22:26,760
Speaker 2: like it's like smooth Carlos Santana. It's great guitar part

467
00:22:26,800 --> 00:22:31,160
Speaker 2: by Carlo Santana. It's round. I mean, I'm not saying

468
00:22:31,200 --> 00:22:33,200
Speaker 2: I will do that another time. That would be very

469
00:22:33,240 --> 00:22:33,920
Speaker 2: That song is.

470
00:22:34,440 --> 00:22:36,680
Speaker 3: Seven inches from the midisk?

471
00:22:37,160 --> 00:22:39,639
Speaker 2: Does he say that? Is that the lyric seven inches

472
00:22:39,640 --> 00:22:55,560
Speaker 2: from the midcious under yo? And then also you know

473
00:22:55,600 --> 00:22:59,360
Speaker 2: what I really can't handle from from Carlos Santana, from

474
00:22:59,359 --> 00:23:01,720
Speaker 2: that era when he came back and had that massive

475
00:23:01,800 --> 00:23:03,160
Speaker 2: supernatural whatever it was called.

476
00:23:03,480 --> 00:23:05,000
Speaker 3: Let me guess, not Maria, Maria.

477
00:23:05,160 --> 00:23:07,760
Speaker 2: That's what I can't help. It's not that I but

478
00:23:07,800 --> 00:23:10,440
Speaker 2: when he goes, I just can't hindle one. It goes, Yes,

479
00:23:11,760 --> 00:23:13,080
Speaker 2: he starts like talking.

480
00:23:14,520 --> 00:23:16,640
Speaker 3: East Coast.

481
00:23:18,480 --> 00:23:20,240
Speaker 2: And then but I also think it's funny that in

482
00:23:20,320 --> 00:23:25,440
Speaker 2: that song thingy goes played by Carlos Santana. I can't

483
00:23:25,440 --> 00:23:28,400
Speaker 2: handle that. It's really really good, all right, but yo,

484
00:23:28,800 --> 00:23:31,920
Speaker 2: I'm sorry. Honestly I didn't leave lead us astray that time.

485
00:23:32,080 --> 00:23:33,920
Speaker 2: What I was trying to say was, in both of

486
00:23:33,960 --> 00:23:38,400
Speaker 2: those instances, Okay, that's not a Santana hit. That's whoever

487
00:23:38,440 --> 00:23:41,120
Speaker 2: that was singing that hook. And that's a Rob Thomas

488
00:23:41,160 --> 00:23:45,040
Speaker 2: hit with assistance from Carlos, this is a Ricardo docent.

489
00:23:46,160 --> 00:23:49,200
Speaker 2: No Ricardo David's.

490
00:23:51,680 --> 00:23:53,840
Speaker 1: Wait, can I tell you one other things about how

491
00:23:53,840 --> 00:23:54,919
Speaker 1: forgettable his name is?

492
00:23:54,960 --> 00:23:57,359
Speaker 3: Like no one even knows who he is?

493
00:23:58,080 --> 00:24:01,239
Speaker 2: Second Ricardo do so? Do you see e nt?

494
00:24:01,359 --> 00:24:01,639
Speaker 3: Okay?

495
00:24:02,160 --> 00:24:03,760
Speaker 2: But yeah, I mean it's not gonna he doesn't hold

496
00:24:03,760 --> 00:24:06,200
Speaker 2: a candle name wise to Shaggy Waggy.

497
00:24:06,680 --> 00:24:08,520
Speaker 3: But yo, he should he shouldn't you know what he

498
00:24:08,520 --> 00:24:10,399
Speaker 3: should have done. I'm gonna tell you right now, but

499
00:24:10,720 --> 00:24:12,520
Speaker 3: you know what I'm about to say. Scooby should have

500
00:24:12,520 --> 00:24:15,160
Speaker 3: said Scooby. Yeah, I said, okay, I'll be Scooby.

501
00:24:15,440 --> 00:24:16,320
Speaker 2: You know the number.

502
00:24:16,400 --> 00:24:18,439
Speaker 3: And it would have crushed.

503
00:24:18,560 --> 00:24:20,360
Speaker 2: He would have crushed, would have heard a song from

504
00:24:20,359 --> 00:24:22,600
Speaker 2: Shaggy and Scooby would have even bigger, would have been

505
00:24:22,640 --> 00:24:23,240
Speaker 2: even bigger.

506
00:24:23,359 --> 00:24:26,600
Speaker 3: He could spell a different s k oh oh b

507
00:24:26,800 --> 00:24:28,080
Speaker 3: I s k you.

508
00:24:28,200 --> 00:24:29,119
Speaker 2: With an umlunt.

509
00:24:29,800 --> 00:24:32,000
Speaker 3: Yeah, Scooby, Scooby.

510
00:24:32,560 --> 00:24:35,000
Speaker 2: I was on the R train. I don't know, twenty

511
00:24:35,080 --> 00:24:39,240
Speaker 2: years ago. It's real, this is real, this AI. I

512
00:24:39,320 --> 00:24:44,399
Speaker 2: was going from AI alert six fingers, Oh no, well

513
00:24:44,480 --> 00:24:48,960
Speaker 2: Smith eatings for I was on uh. I was on

514
00:24:49,000 --> 00:24:51,520
Speaker 2: the R train going from Bay Ridge to somewhere else,

515
00:24:51,560 --> 00:24:54,000
Speaker 2: going through Sunset Park. A group of kids get on

516
00:24:54,000 --> 00:24:57,600
Speaker 2: the train and it's like, I don't know, primary Spanish

517
00:24:57,680 --> 00:24:59,600
Speaker 2: beaking kids. I don't know where their family is from

518
00:24:59,640 --> 00:25:01,600
Speaker 2: original but they get on the train and I'm on

519
00:25:01,640 --> 00:25:03,959
Speaker 2: the train and they it's like eight kids and they

520
00:25:04,040 --> 00:25:08,240
Speaker 2: just start going Yo, Scooby do, Yo, Scooby do, and

521
00:25:08,400 --> 00:25:10,840
Speaker 2: oh my god, I'm like not thinking. I'm like reading

522
00:25:10,840 --> 00:25:13,680
Speaker 2: a book, probably something like I don't know, Ernest Hemingway

523
00:25:13,800 --> 00:25:15,360
Speaker 2: or something, but I'm reading a book.

524
00:25:15,200 --> 00:25:17,600
Speaker 3: On the tay.

525
00:25:18,800 --> 00:25:21,880
Speaker 2: Performative reading, performative reading. But I'm reading on the train

526
00:25:21,920 --> 00:25:24,119
Speaker 2: and I'm praying and I'm praying and I'm reading. Yes,

527
00:25:24,520 --> 00:25:26,320
Speaker 2: And I realized, like I picked my head up and

528
00:25:26,320 --> 00:25:27,920
Speaker 2: they're all like looking at me and pointing it. It's

529
00:25:27,920 --> 00:25:31,080
Speaker 2: because they thought I looked like not this shaggy not Orville,

530
00:25:31,160 --> 00:25:32,320
Speaker 2: but shaggy shaggy.

531
00:25:32,400 --> 00:25:33,960
Speaker 3: Yeah yeah, O G shag o.

532
00:25:34,040 --> 00:25:35,919
Speaker 2: G shagg And I was like, I just laughed, like

533
00:25:36,000 --> 00:25:37,639
Speaker 2: that's really good. Like what am I going to say

534
00:25:37,640 --> 00:25:39,679
Speaker 2: about a dude with reddish hair and a beard?

535
00:25:39,720 --> 00:25:40,240
Speaker 3: Oh my ass?

536
00:25:40,359 --> 00:25:43,199
Speaker 1: Yeah, but I will say that that that age demographic

537
00:25:43,280 --> 00:25:45,800
Speaker 1: of kids I've been afraid of my entire.

538
00:25:45,600 --> 00:25:47,080
Speaker 3: Life, and out I was their age.

539
00:25:47,280 --> 00:25:48,320
Speaker 2: Yeah yeah, yeah.

540
00:25:48,040 --> 00:25:51,280
Speaker 3: Since before, since you're a kid, you see this this.

541
00:25:51,200 --> 00:25:53,800
Speaker 1: Group of kids that are like, I don't know, fourteen

542
00:25:53,840 --> 00:25:56,520
Speaker 1: to eighteen, that's right, And I'm afraid of them. I

543
00:25:56,560 --> 00:25:58,359
Speaker 1: was afraid of them when I was their age. I

544
00:25:58,359 --> 00:26:00,840
Speaker 1: was afraid of them after. I'm afraid now I passed

545
00:26:00,880 --> 00:26:03,320
Speaker 1: them on the street. I am going to just keep

546
00:26:03,359 --> 00:26:08,760
Speaker 1: my head down and keep going across demographic I tell

547
00:26:08,760 --> 00:26:11,600
Speaker 1: you the story that my friend told me. So he

548
00:26:11,720 --> 00:26:14,520
Speaker 1: passed this group and they made fun of him, and

549
00:26:14,800 --> 00:26:16,280
Speaker 1: he like didn't know what to do, Like they like

550
00:26:16,280 --> 00:26:17,919
Speaker 1: were kind of like in his face and stuff, and

551
00:26:17,920 --> 00:26:18,440
Speaker 1: he kept watching.

552
00:26:18,440 --> 00:26:18,920
Speaker 2: Oh my god.

553
00:26:18,960 --> 00:26:20,840
Speaker 1: And then the next day, these same kids were there

554
00:26:20,880 --> 00:26:22,600
Speaker 1: and they saw him coming and they were getting ready

555
00:26:22,640 --> 00:26:25,880
Speaker 1: and he said to them, I have cancer.

556
00:26:26,400 --> 00:26:30,320
Speaker 3: And they've left them alone, and they've left him alone.

557
00:26:30,320 --> 00:26:32,440
Speaker 2: Since what did they do? What did they say?

558
00:26:32,560 --> 00:26:34,439
Speaker 1: He literally was like, I should have said this the

559
00:26:34,440 --> 00:26:36,000
Speaker 1: first day, and now I like I thought of it

560
00:26:36,040 --> 00:26:36,440
Speaker 1: too late.

561
00:26:36,560 --> 00:26:38,440
Speaker 3: If it happens tomorrow, I can't wait. I'm going to

562
00:26:38,520 --> 00:26:40,959
Speaker 3: say it. And they were like, I'm sorry, man. They

563
00:26:40,960 --> 00:26:42,520
Speaker 3: were like, we didn't know, we didn't know.

564
00:26:43,119 --> 00:26:46,680
Speaker 2: Wow, genius level move.

565
00:26:47,400 --> 00:26:48,960
Speaker 3: Yeah, of weird stolen valor.

566
00:26:49,440 --> 00:26:54,920
Speaker 2: Yeah, appropriation, that's appropriation. That's a particular appropriation. Wow. That

567
00:26:55,080 --> 00:26:56,600
Speaker 2: is so heavy and.

568
00:26:56,640 --> 00:26:59,399
Speaker 1: Amazing, so insane on so many levels. But this is

569
00:26:59,400 --> 00:27:01,919
Speaker 1: a testament to how scary that age group is that

570
00:27:02,040 --> 00:27:02,720
Speaker 1: you would.

571
00:27:02,440 --> 00:27:06,119
Speaker 2: Go with a terminal illness. Yeah, yeah, like what could

572
00:27:06,240 --> 00:27:10,440
Speaker 2: possibly offset what's about to happen. I gotta go big.

573
00:27:10,960 --> 00:27:14,479
Speaker 3: I gotta go big or go home. I gotta just

574
00:27:14,520 --> 00:27:15,800
Speaker 3: like turning around going back home.

575
00:27:15,840 --> 00:27:18,200
Speaker 2: I mean I've fully that's yeah. I mean I've done

576
00:27:18,240 --> 00:27:19,960
Speaker 2: that for less. I've done that. If I see like

577
00:27:19,960 --> 00:27:23,080
Speaker 2: my neighbor waiting out for you, I can't do this today.

578
00:27:23,480 --> 00:27:27,240
Speaker 2: Yeah I have cancer. No, I will like walk the

579
00:27:27,320 --> 00:27:29,879
Speaker 2: other way around the block sometimes because I'm like I

580
00:27:29,920 --> 00:27:44,560
Speaker 2: can't have an interaction right now. Anyway. Look, bridge is killer.

581
00:27:46,160 --> 00:27:49,240
Speaker 2: Arrangement is killer. I also think it's like kind of interesting.

582
00:27:49,520 --> 00:27:53,440
Speaker 2: There's no what's cool about the bridge is usually a bridge,

583
00:27:53,480 --> 00:27:55,919
Speaker 2: there'll be a dynamic shift where it either like pushes

584
00:27:56,000 --> 00:27:58,040
Speaker 2: up a little more or kind of comes back into

585
00:27:58,119 --> 00:28:01,760
Speaker 2: itself a little bit. Same can be said sometimes for

586
00:28:01,880 --> 00:28:04,679
Speaker 2: versus and choruses. There's like usually subtle or not so subtle,

587
00:28:04,720 --> 00:28:06,879
Speaker 2: depending on the model. This is kind of like a

588
00:28:06,920 --> 00:28:10,960
Speaker 2: steady dynamic. And then what happens is like little things

589
00:28:11,040 --> 00:28:12,439
Speaker 2: come in and out. Like in the bridge, there's an

590
00:28:12,480 --> 00:28:14,919
Speaker 2: instrumental almost like a glockenspiel or something like that that

591
00:28:15,040 --> 00:28:17,560
Speaker 2: like kind of follows his vocal melody or like or

592
00:28:17,600 --> 00:28:18,800
Speaker 2: it plays off of it.

593
00:28:19,240 --> 00:28:21,160
Speaker 1: And there's like a steel drum too in that part

594
00:28:21,280 --> 00:28:24,760
Speaker 1: that might be it's louder and maybe yeah, maybe it's

595
00:28:24,760 --> 00:28:27,159
Speaker 1: the same part, but it's louder than everything else in

596
00:28:27,160 --> 00:28:28,879
Speaker 1: a way that I was like, Oh, that's really nice

597
00:28:28,920 --> 00:28:31,880
Speaker 1: that it's like cool, it's a textural and it's.

598
00:28:32,080 --> 00:28:35,760
Speaker 2: Well produced, well arranged. And I also feel like by

599
00:28:35,920 --> 00:28:38,520
Speaker 2: not having the dynamics dip too much once the beat

600
00:28:38,600 --> 00:28:41,200
Speaker 2: actually comes in, it's sort of sometimes that could become

601
00:28:41,240 --> 00:28:43,840
Speaker 2: too samey, but this actually like just like keeps it

602
00:28:43,920 --> 00:28:47,200
Speaker 2: floating in this cool way, keeps the propulsive. I also

603
00:28:47,200 --> 00:28:50,120
Speaker 2: think it's kind of cool that it's like that. It's

604
00:28:50,160 --> 00:28:52,080
Speaker 2: almost like the honey came in that the she caught

605
00:28:52,080 --> 00:28:55,040
Speaker 2: me red handed, creep more that thing that's the chorus,

606
00:28:55,080 --> 00:28:57,080
Speaker 2: I guess, right, and then the but she come me

607
00:28:57,120 --> 00:29:00,320
Speaker 2: on the counter that's the pre chorus. Chorus. Well, it's

608
00:29:02,040 --> 00:29:06,760
Speaker 2: like he does he does the verse, and then that

609
00:29:06,920 --> 00:29:09,680
Speaker 2: happens and the only reason so they're both in it together,

610
00:29:10,120 --> 00:29:12,640
Speaker 2: so it's him, so it's like shaggy and then it's

611
00:29:12,680 --> 00:29:16,880
Speaker 2: the two of them, and then it's just Ricard Cardot Docent. Yeah. Yeah,

612
00:29:17,080 --> 00:29:20,880
Speaker 2: I mean, it's it's like kind of a cool Welsh

613
00:29:21,080 --> 00:29:24,880
Speaker 2: constructed and also the pre chorus could be it's as

614
00:29:25,000 --> 00:29:27,160
Speaker 2: catchy as the chorus it wasn't me.

615
00:29:28,200 --> 00:29:30,960
Speaker 1: The line it wasn't me has other people on it too.

616
00:29:31,000 --> 00:29:32,960
Speaker 1: It's not just Shaggy, Oh it's Baggy. There's like a

617
00:29:33,040 --> 00:29:36,000
Speaker 1: list of backing vocalists. So but it makes me think

618
00:29:36,040 --> 00:29:38,719
Speaker 1: that this was not originally like that. I bet you

619
00:29:38,760 --> 00:29:41,240
Speaker 1: that if they he was, there's a world where a

620
00:29:41,400 --> 00:29:43,720
Speaker 1: universe where that wasn't Shaggy and it was someone else.

621
00:29:44,280 --> 00:29:46,600
Speaker 1: And because he probably wrote this song and was like,

622
00:29:46,640 --> 00:29:49,720
Speaker 1: who can we get? Yeah, leave verses open, Let's bring

623
00:29:49,720 --> 00:29:52,120
Speaker 1: shag Shaggy would be great. Let's get Shaggy. Maybe there

624
00:29:52,160 --> 00:29:55,960
Speaker 1: was other people that he considered for this, you know snow.

625
00:29:55,840 --> 00:29:59,320
Speaker 4: Oh, so you so you think this wasn't you think

626
00:29:59,360 --> 00:30:03,640
Speaker 4: this is a this is some song into one hundred

627
00:30:03,720 --> 00:30:06,320
Speaker 4: percent Ricardo plus nine eleven people wrote the song.

628
00:30:06,480 --> 00:30:08,600
Speaker 1: But I think this was like Ricardo was like, we

629
00:30:08,600 --> 00:30:11,840
Speaker 1: need to attach somebody to this, and interesting, it wasn't me,

630
00:30:11,880 --> 00:30:13,719
Speaker 1: it was other people. And then I think they probably

631
00:30:13,800 --> 00:30:15,920
Speaker 1: I'm guessing. Look, I know that I do the research.

632
00:30:15,960 --> 00:30:17,640
Speaker 1: I'm the research guy, and I didn't do the research,

633
00:30:17,680 --> 00:30:18,440
Speaker 1: but I'm actually.

634
00:30:18,280 --> 00:30:20,320
Speaker 2: Interesting, on the day you wear this suit, you don't

635
00:30:20,360 --> 00:30:23,360
Speaker 2: do the research and I look like I look, yeah,

636
00:30:23,520 --> 00:30:26,920
Speaker 2: this is what happens the mature Fitzgerald, I cancer Fitzgerald,

637
00:30:27,360 --> 00:30:29,760
Speaker 2: this is this is And.

638
00:30:29,840 --> 00:30:32,440
Speaker 1: I wanted to I wanted to just I forgot to

639
00:30:32,480 --> 00:30:35,160
Speaker 1: say that. Remember my my friend who plays in my band,

640
00:30:36,240 --> 00:30:38,160
Speaker 1: said that he's such a big fan, he's such a

641
00:30:38,160 --> 00:30:41,920
Speaker 1: big fan of this podcast. He considers himself a stage

642
00:30:41,920 --> 00:30:46,080
Speaker 1: four chance. He did say that, And that's a shocker.

643
00:30:46,200 --> 00:30:49,560
Speaker 1: But since we've already gone down this territory, we we're

644
00:30:49,560 --> 00:30:51,120
Speaker 1: giving ourselves permission for it.

645
00:30:51,200 --> 00:30:54,320
Speaker 3: Give us a chance to give us a line like that.

646
00:30:54,760 --> 00:30:56,240
Speaker 2: Yes, and but.

647
00:30:56,240 --> 00:31:00,040
Speaker 1: Remember it wasn't us plausible, wasn't I didn't say it

648
00:31:00,080 --> 00:31:03,120
Speaker 1: wasn't stage four chanceer heavy.

649
00:31:04,040 --> 00:31:05,920
Speaker 2: Really heavy, really good. And if any of the rest

650
00:31:05,920 --> 00:31:09,600
Speaker 2: of you feel similarly afflicted, make sure you smash the subscribe.

651
00:31:10,600 --> 00:31:12,320
Speaker 1: If you want to know from a diet need answer

652
00:31:12,400 --> 00:31:15,360
Speaker 1: to a stage four chancer, the meds.

653
00:31:15,120 --> 00:31:21,400
Speaker 2: You need, the meds you need. Smash the subscribe, Smash subscribe.

654
00:31:21,760 --> 00:31:28,280
Speaker 2: Oh god, that's insane. I think I'm gonna need to

655
00:31:28,320 --> 00:31:32,920
Speaker 2: get taken into Sloan caddering why it's running stage chanswer,

656
00:31:35,200 --> 00:31:39,200
Speaker 2: that's insane. But yo, I do just want to as

657
00:31:39,200 --> 00:31:41,840
Speaker 2: we start to move towards landing this plane. I do

658
00:31:42,000 --> 00:31:47,120
Speaker 2: just want to say, also just a god tear, funny

659
00:31:47,480 --> 00:31:51,840
Speaker 2: conceit and execution, just to have you. You're like the

660
00:31:52,240 --> 00:31:54,280
Speaker 2: dude being like, but yo, I did this, and then

661
00:31:54,320 --> 00:31:57,360
Speaker 2: the other du go. He's like he's speaking for him,

662
00:31:57,400 --> 00:31:59,480
Speaker 2: like he's reminding him. Like when you get in front

663
00:31:59,520 --> 00:32:02,920
Speaker 2: of her, all you're saying over and over again is

664
00:32:03,120 --> 00:32:07,120
Speaker 2: it wasn't me. And she's gonna go, but I have

665
00:32:07,160 --> 00:32:09,320
Speaker 2: the video footage right here, and he goes, oh, yeah,

666
00:32:09,920 --> 00:32:12,880
Speaker 2: but I I saw you on the counter. It wasn't me.

667
00:32:13,960 --> 00:32:17,760
Speaker 2: That's insane. It's so good. It's like sitting that.

668
00:32:18,080 --> 00:32:21,480
Speaker 1: It's pre gaslighting, you know, It's like it's the this

669
00:32:21,600 --> 00:32:22,920
Speaker 1: was the original gas lighting.

670
00:32:23,320 --> 00:32:26,640
Speaker 2: Oh and that might be a reason to actually not

671
00:32:26,720 --> 00:32:27,520
Speaker 2: give it a chance.

672
00:32:28,840 --> 00:32:31,080
Speaker 3: Oh my gosh, Kevin, that's brave.

673
00:32:31,520 --> 00:32:36,200
Speaker 2: I know, and honestly, like I do expect to be

674
00:32:36,480 --> 00:32:41,000
Speaker 2: commended on the web, on the reddit r slash, give

675
00:32:41,040 --> 00:32:45,640
Speaker 2: it a chance if that exists. I will never.

676
00:32:46,240 --> 00:32:48,680
Speaker 3: If it does, it's like something else that not reallydy.

677
00:32:49,360 --> 00:32:50,000
Speaker 2: That's true.

678
00:32:50,080 --> 00:32:50,680
Speaker 3: That's true.

679
00:32:50,960 --> 00:32:54,120
Speaker 2: No, I've I've learned that I cannot those that's those

680
00:32:56,000 --> 00:32:58,320
Speaker 2: you know, so bad.

681
00:32:59,640 --> 00:33:02,120
Speaker 1: No one other thing I want to say, because we

682
00:33:02,160 --> 00:33:05,840
Speaker 1: talked about the production. Now, this era of like I'm

683
00:33:05,840 --> 00:33:09,040
Speaker 1: gonna just go into hip hop especially could be very sparse.

684
00:33:09,560 --> 00:33:12,480
Speaker 3: You get a song like like a like a Swiss

685
00:33:12,480 --> 00:33:13,680
Speaker 3: Beats would always make songs like.

686
00:33:16,760 --> 00:33:18,880
Speaker 1: And it was great for what it is, right, and

687
00:33:18,920 --> 00:33:21,520
Speaker 1: it's like so bare bones and it like really, lets

688
00:33:21,600 --> 00:33:24,480
Speaker 1: the rap shine, it, lets Dmax shine because the beat

689
00:33:24,560 --> 00:33:28,560
Speaker 1: is like exactly nothing, and they're like, let's put more

690
00:33:28,560 --> 00:33:31,400
Speaker 1: work into the drums than anything else where is this?

691
00:33:31,640 --> 00:33:36,840
Speaker 1: And I think similar has another little Chancey Cisco Thong song.

692
00:33:37,480 --> 00:33:44,160
Speaker 1: The Thong song production is unbelievable. It's like so crazy. Yeah,

693
00:33:44,320 --> 00:33:47,120
Speaker 1: it's very it's like a parade. And I think these

694
00:33:47,160 --> 00:33:49,320
Speaker 1: two are similar. And I actually would say that even

695
00:33:49,320 --> 00:33:51,120
Speaker 1: that big pun song that you were talking about before

696
00:33:51,320 --> 00:33:54,040
Speaker 1: still not a player. That's got a lot too. And

697
00:33:54,080 --> 00:33:56,120
Speaker 1: some of this, of course is like you're sampling from

698
00:33:56,400 --> 00:34:04,080
Speaker 1: better source. You're sampling from the Goat, the musical Goat.

699
00:34:05,600 --> 00:34:07,800
Speaker 2: Else. Yeah, yeah, I mean he did have a legit

700
00:34:07,880 --> 00:34:09,920
Speaker 2: hit song. It was pretty good, didn't he didn't that

701
00:34:10,040 --> 00:34:12,480
Speaker 2: Eddie Murphy was not I'm always feel like somebody's watching me.

702
00:34:12,520 --> 00:34:14,680
Speaker 2: He had a hit single in the.

703
00:34:14,640 --> 00:34:16,080
Speaker 3: Eighties did with Michael Jackson.

704
00:34:16,360 --> 00:34:21,640
Speaker 2: Yeah, yeah, I think so yes, great production and like

705
00:34:21,760 --> 00:34:24,600
Speaker 2: and dynamic rich. Yeah, it's funny. It's like one of

706
00:34:24,640 --> 00:34:28,480
Speaker 2: two directions. It was either super maximalist or super spare.

707
00:34:28,760 --> 00:34:31,160
Speaker 2: But like Wu Tang and that stuff too, which was

708
00:34:31,200 --> 00:34:33,640
Speaker 2: like that rhymey, it's pretty spare, but then like some

709
00:34:33,719 --> 00:34:41,359
Speaker 2: repurposed piano sample from something and yeah karate chobs Well, yeah,

710
00:34:41,640 --> 00:34:44,600
Speaker 2: it's like karate from the Tenacious D record. There is

711
00:34:44,680 --> 00:34:47,239
Speaker 2: one thing that I also wanted to point out which

712
00:34:47,280 --> 00:34:50,600
Speaker 2: I was genuinely impressed by in the song lyrically, in

713
00:34:50,680 --> 00:34:56,080
Speaker 2: the second verse Shaggy Orville, he does a rhyme run

714
00:34:56,200 --> 00:34:58,560
Speaker 2: the first half of it. It's an aaa a rhyme

715
00:34:58,640 --> 00:35:01,000
Speaker 2: run where he says, make sure, make make you no,

716
00:35:01,160 --> 00:35:04,520
Speaker 2: say that she really don't know have right for VEX.

717
00:35:05,000 --> 00:35:08,640
Speaker 2: You think he's gonna say sex right away whenever you

718
00:35:09,280 --> 00:35:13,080
Speaker 2: see you make the jigglow flex. I don't know a

719
00:35:13,200 --> 00:35:17,920
Speaker 2: smattie else a favor you in a decomplex seeing his

720
00:35:18,080 --> 00:35:21,880
Speaker 2: believing so you better change your specs X. I know

721
00:35:22,160 --> 00:35:24,480
Speaker 2: I love saying that, like he's and now what I'm

722
00:35:24,480 --> 00:35:28,200
Speaker 2: almost like, is he talking to her. He's like, put

723
00:35:28,360 --> 00:35:31,680
Speaker 2: new glasses on and you'll see he's him.

724
00:35:32,200 --> 00:35:34,000
Speaker 1: He's saying that this is what he should say, this

725
00:35:34,040 --> 00:35:35,040
Speaker 1: is what Ricardo should say.

726
00:35:35,080 --> 00:35:37,600
Speaker 3: He's like, this is what you do say this to her.

727
00:35:37,920 --> 00:35:41,320
Speaker 2: Or that and perhaps also double meaning. Maybe he's telling

728
00:35:41,320 --> 00:35:46,400
Speaker 2: his friend Ricardo, seeing his believing he. Ricardo is like,

729
00:35:46,600 --> 00:35:50,320
Speaker 2: I did it. And Shaggie's like, what these specs on? Dog?

730
00:35:50,760 --> 00:35:53,840
Speaker 2: You didn't? Wow?

731
00:35:54,040 --> 00:35:55,439
Speaker 3: And that's like very sixth sense.

732
00:35:56,040 --> 00:36:00,920
Speaker 2: I know he sees that people. So I guess ultimately

733
00:36:00,960 --> 00:36:04,640
Speaker 2: it's like original gas lighting. When Edie was a kid,

734
00:36:04,680 --> 00:36:08,359
Speaker 2: she used to call Benjamin Franklin a rigimind Franklin. Oh wow,

735
00:36:08,520 --> 00:36:12,640
Speaker 2: you thought that was his name, Origimind Franklin for gas lighting. Yes,

736
00:36:13,880 --> 00:36:16,040
Speaker 2: so that's no chancey, But everything else we give this

737
00:36:16,160 --> 00:36:17,040
Speaker 2: a big chance.

738
00:36:17,400 --> 00:36:19,399
Speaker 3: Big chance. I'm a I'm a fan.

739
00:36:19,480 --> 00:36:21,719
Speaker 1: I love the song, I love the music, I love

740
00:36:21,760 --> 00:36:26,160
Speaker 1: the it's I'm if I'm like going to like a

741
00:36:26,160 --> 00:36:28,160
Speaker 1: wedding or something. I don't want to hear deep cuts.

742
00:36:28,160 --> 00:36:30,720
Speaker 1: I want to hear jams. All right, this is a jam.

743
00:36:30,800 --> 00:36:33,000
Speaker 2: This is a jam. Yo. Do you know what this

744
00:36:33,160 --> 00:36:34,759
Speaker 2: just made me think of? And then a well, that's

745
00:36:34,760 --> 00:36:35,120
Speaker 2: all I.

746
00:36:35,080 --> 00:36:37,960
Speaker 3: Have to say tell me because you went yes.

747
00:36:37,960 --> 00:36:41,000
Speaker 2: Related this is like it wasn't me. And then Dave

748
00:36:41,040 --> 00:36:44,799
Speaker 2: Matthews is like I did it. Wow around the same

749
00:36:44,840 --> 00:36:47,320
Speaker 2: time too, around those around the same world.

750
00:36:47,760 --> 00:36:48,440
Speaker 5: Full zerk.

751
00:36:52,560 --> 00:36:56,920
Speaker 2: Well on that, what better place to leave it again?

752
00:36:57,360 --> 00:37:00,000
Speaker 2: Shout out to everybody who ever gives us a chance.

753
00:37:00,120 --> 00:37:02,719
Speaker 2: She smash the subscribe, you get that IV drip. You

754
00:37:02,800 --> 00:37:06,920
Speaker 2: need pizza prais Pizza Pais pizza praise.

755
00:37:08,040 --> 00:37:08,719
Speaker 1: Just sh