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

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

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

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Speaker 1: Go morning, give it a 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 1: Just give it. Hi, Kevin Devine, Hi, case ready for

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Speaker 1: another omar?

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Speaker 2: I am so ready. I you know, I just want

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Speaker 2: to tell everybody Casey and everybody else listening. They are

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Speaker 2: doing just everywhere around me today. But the giant saw

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Speaker 2: circular saws that they put in the ground and Fourth

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Speaker 2: Avenue in Brooklyn is getting a fucking.

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Speaker 1: Rock old fashioned construction.

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Speaker 2: Yes, so if you hear it, honestly, get over it.

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Speaker 1: Get over it.

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Speaker 2: We bring this to you live from the streets of Philadelphia. Sorry,

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Speaker 2: it's not true.

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Speaker 1: What we in Brooklyn is called Philadelphia.

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Speaker 2: Well where I am in Brooklyn South b K right. Hm,

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Speaker 2: it's close. Like I'm closer to Philly than I am

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Speaker 2: to you, than a.

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Speaker 1: Lot of people, than a lot of people, then a

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Speaker 1: lot of people. You're closer to Philadelphia than I I

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Speaker 1: mean Philadelphia. That know, a lot of people.

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Speaker 2: Thank you, and I do appreciate the corrections.

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Speaker 1: Call your janet because we're in for it. Today.

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Speaker 2: Wait a minute, call my Janet, call your Janet because

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Speaker 2: we're in for it today.

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Speaker 1: Oh that's not a time. Sorry, Okay, I know everything

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Speaker 1: seems like a hint.

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Speaker 2: I actually am speaking to Janet after the our taping today.

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Speaker 2: Let's know, how about wow, I should.

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Speaker 1: Tell you you have this? Do you? First? You have

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Speaker 1: this therapy sash.

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Speaker 2: Yes, musical therapy session, and then we also are therapy

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Speaker 2: sessions are like we conduct a musical, we sing back

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Speaker 2: and forth, we do Hamilton, yeah mostly Yeah.

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Speaker 1: Speaking of Hamilton, we are tackling a song in the

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Speaker 1: category of rap, which is Hamilton is one of the

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Speaker 1: greatest raps of all day.

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Speaker 2: No one has ever been more excited to hear that, Manuel, Miranda.

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Speaker 2: But you just said that's codifying lin Manuel. Yeah.

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Speaker 1: So when when you think of the greats of rappers? Uh,

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Speaker 1: because I want you. I want to just set it

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Speaker 1: up like a similar sort of two or two episodes

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Speaker 1: ago a Revolution number nine, where this is a very

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Speaker 1: good artist with a with a song that people think

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Speaker 1: is the worst of their catalog. So I want to see,

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Speaker 1: just like, who are some if not your favorite, but

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Speaker 1: just who the world thinks are sort of the top.

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Speaker 2: Rap rappers I mean, who who does the world think

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Speaker 2: of the top rappers right now?

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Speaker 1: All times?

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Speaker 2: Okay, it's Kendrick all time. I guess people would say,

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Speaker 2: like Biggie Jay Z to Park. If it was like

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Speaker 2: O G Status, I guess people would say like, oh, man, No,

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Speaker 2: for me, it's run DMC. For me, it's the then

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Speaker 2: public enemy. For me it's and then some people it's like, oh,

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Speaker 2: for me, it's that Snead O'Connor song on Universal Mother.

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Speaker 1: That's it. That's all we're doing.

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Speaker 2: I kidding, we could do that, we wanted to do so. Yeah.

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Speaker 2: And then like I guess, you know. And then of course,

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Speaker 2: in the early two thousands, controversial but undeniable, you got

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Speaker 2: Slim Shady Eminem feuding with ic P. So I got

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Speaker 2: something of them in there in Saint Clown Pass, Clint Eastwood, Gorillas.

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Speaker 1: I might you meant actually like.

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Speaker 2: Glow Rilla.

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Speaker 1: Wow, look at you stretching the person that you have

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Speaker 1: not mentioned. But I think is you know you you

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Speaker 1: you talked about their contemporaries, is nas Oh God, of course, yeah, no, No,

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Speaker 1: I think like might be.

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Speaker 2: The best of all time, right records exactly exactly.

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Speaker 1: You hit upon the category really well, like you hit

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Speaker 1: all the people that I would I would also put

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Speaker 1: up there, and I think, NOAs is this? You know,

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Speaker 1: like I think a lot of people are like, he's

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Speaker 1: the when he did it the best, he did it

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Speaker 1: the best? Yes, yes, And then you know, I think

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Speaker 1: some people feel like some of his work is tapered

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Speaker 1: off and some of our newer records are actually kind

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Speaker 1: of cool or like there's there's songs on it that

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Speaker 1: are really fun. So he's always kind of stayed relevant

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Speaker 1: and like a favorite for certain people. But there's one song.

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Speaker 2: I know what you're doing.

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Speaker 1: I do is it?

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Speaker 2: I know I can. It's not be what I want

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Speaker 2: to be, which I kind of like that song. I

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Speaker 2: think it's sweet. I think so okay, but it's not

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Speaker 2: that song. Okay, what is it?

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Speaker 1: So this is sort of like going out of our usual,

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Speaker 1: like it's a song that everybody knows. I don't think

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Speaker 1: people know.

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Speaker 2: This song, but everybody knows NAS.

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Speaker 1: Everyone knows NAS, and I think that this is It's

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Speaker 1: So I listened to like just the opening of it,

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Speaker 1: and I turned it off immediately because I was like,

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Speaker 1: I gotta talk to Kevin about this.

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Speaker 2: I can't even listen to this any further until I.

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Speaker 1: Speak to Kevin. Yeah, that's and that's exactly how I felt.

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Speaker 1: And I don't even want to continue talking right now

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Speaker 1: because I want us to listen to it and to

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Speaker 1: dive in. Is that did I give a good precursor

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Speaker 1: you lest you turned them out?

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Speaker 2: I'm I'm out and I'll see you next week. No, Yeah,

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Speaker 2: that's that's a great. It's a great. It's a great.

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Speaker 1: It's a great. Okay, So, without further ado, this song

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Speaker 1: is called big Girl by nos.

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Speaker 2: All right, so I guess I gotta look that up.

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Speaker 2: Is it g I R L?

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Speaker 1: It is the traditional spelling?

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Speaker 2: All right?

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Speaker 1: Both?

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Speaker 2: All right?

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Speaker 3: Seek sexy s got whoa you?

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Speaker 1: Big?

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Speaker 2: Good? First of all, to anyone that did play along

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Speaker 2: as we ask you to and go and listen to that,

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Speaker 2: I kind of want to issue an apology. I hope

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Speaker 2: you were not in a public space. I hope you

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Speaker 2: were not like at your job. We probably should have

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Speaker 2: said an s F dub.

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Speaker 1: Yes.

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Speaker 2: Also, at the bottom, it says you know when you

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Speaker 2: read it along with the words, when you read the

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Speaker 2: lyrics along with the the track on the streaming platform

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Speaker 2: of my choice. At the bottom it says report a

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Speaker 2: concern and I was like, yeah, I will report several

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Speaker 2: I'm concerned case. I don't know where you want to start.

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Speaker 2: I know Nostradamus was a controversial moment for Nas. This

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Speaker 2: was kind of like the Nayber. This is like the

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Speaker 2: bottom of the trough for him in the first part

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Speaker 2: of his career, before the jay Z Beef, Big Nights things.

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Speaker 2: He comes back with Ether, He's like thought of as

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Speaker 2: it's like, you know, woke him back up. This is

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Speaker 2: I don't know, homie. The floor is yours, the world

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Speaker 2: is yours. Like another no, wow, But you're really good, dude.

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Speaker 3: I know.

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Speaker 2: It's not just Kurt. It's not just Elliott, it's not

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Speaker 2: just Janet, it's not just Leonard, it's not just Shanade.

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Speaker 2: It's also like I have deep, deep cuts.

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Speaker 1: Yeah. So yeah, So I always kind of have a

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Speaker 1: problem and it's not just being you know, an elder now,

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Speaker 1: but like I've always sort of like had an issue

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Speaker 1: with like when songs get too sexual and I feel

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Speaker 1: that way with like songs like put it in my

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Speaker 1: Mouth and like I remember being like the first time

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Speaker 1: I heard it, being like, oh that's funny, and then

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Speaker 1: like I can't ever put this song on. Kanye does

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Speaker 1: this a lot. Kanye goes like like one track on

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Speaker 1: every album he does one where it's just like overly

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Speaker 1: sexual and I don't really know who that's for, Like

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Speaker 1: it's just not really my cup. But uh Nas is

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Speaker 1: often a very good lyricist that makes really good choices,

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Speaker 1: and I kind of think that his choices in this

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Speaker 1: are really I don't know, lame. Like there's even like

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Speaker 1: the second verse, there's a section where I'm so bored,

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Speaker 1: Like it's it's like even his delivery is just like

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Speaker 1: and then when went to the zoo went then I

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Speaker 1: took you girl, and I took you to poo, took

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Speaker 1: you to the nice thing, like it was just like

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Speaker 1: his delivery is like quiet.

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Speaker 3: Like you take it to the zoo, like he lost,

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Speaker 3: I do like that, take it to the ice cream you.

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Speaker 2: Don't eat daar and get your rice dream but blizz Yeah,

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Speaker 2: but like well that almost speaks to in that section

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Speaker 2: like a loss of conviction right like and even him

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Speaker 2: and himself, he was like what do I even kind

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Speaker 2: of do it just like mumbling through it, dude. I look,

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Speaker 2: our show is called give it a Chance, Yes, right,

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Speaker 2: m hm, So what I will say here is given

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Speaker 2: that we have covered in the past on our program

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Speaker 2: some questionable to not even questionable proficiency with respect to

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Speaker 2: what might be loosely categorized as hip hop delivery. Wise, right,

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Speaker 2: this is garbage. But it is even in the passage

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Speaker 2: you identify, which is a little bit of an autopilot

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Speaker 2: delivery passage. This dude's so good at you know, the

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Speaker 2: sort of like mechanical part of hip hop, the like

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Speaker 2: syllabic construction, the like how things the interior rhyme, the

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Speaker 2: how did things fall with they're supposed to fall it

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Speaker 2: even when it's like one part autopilot another part like

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Speaker 2: abject nonsense and yeah, like over sexualized. It's like we

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Speaker 2: were having a conversation actually off Chancey about you brought

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Speaker 2: up a lyric that I love from a band. We

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Speaker 2: were talking about a record, des Parcedos, that Paola record.

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Speaker 2: But there's that line about sort of like the world

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Speaker 2: at large where they talk about it's a locker room

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Speaker 2: of CFOs making racist jokes, which is like a great

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Speaker 2: picture of exactly the people. You're like, fucking stop ruining

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Speaker 2: everything anyway, And if you don't like that, Chances, you know,

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Speaker 2: love it. Or leave it. But I will just say

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Speaker 2: there is like in that there's this like you know,

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Speaker 2: interior rhyme, syllabic construction. How do you kind of like

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Speaker 2: deliver the message the best way A dude like Nas

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Speaker 2: could do that shit in his sleep, right, the construction

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Speaker 2: of words and how to get that raft across the river.

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Speaker 2: It just so happens that in this instance he's using

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Speaker 2: those skills for the forces of evil and that hyper

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Speaker 2: sexualized thing. That's why I brought the this Parsadoes thing up.

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Speaker 2: It's locker room bullshit, like who the fuck cares if

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Speaker 2: you're I could see being like fourteen or something and

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Speaker 2: being like, whoa he said she creamed your jeans?

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Speaker 1: Right?

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Speaker 2: The problem is Nas wasn't fourteen when he wrote this,

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Speaker 2: and neither is. I mean, perhaps there's an argument that

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Speaker 2: we made in the case of Kanye, there's other shit

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Speaker 2: going on there that's about, like, I don't know, some

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Speaker 2: sort of arrested development, some sort of there's mental health

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Speaker 2: things in the picture there. But I also think part

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Speaker 2: of some of these subcultures is actually any like male

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Speaker 2: dominated sub or not subculture is like machismo, right, like

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Speaker 2: showing yourself to be this like, and part of that

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Speaker 2: is like some sort of fucking belt notch pelt wearing

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Speaker 2: conquest thing. The thing I'm confused about this is if

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Speaker 2: that indicates I'm always like it's such a bummer, If

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Speaker 2: that actually resonates as sexy, yeah, but also that maybe

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Speaker 2: that sounds like I'm shaming people and everyone can get

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Speaker 2: off on it.

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Speaker 1: Of course we touched upon that with Butterfly right and

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Speaker 1: give Butterfly over. This is that there's an enthusiasm rapping.

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Speaker 1: It's better rapping, much better rapping, and people who earned

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Speaker 1: it now there's there's a there's an enthusiasm with them

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Speaker 1: and with most like fourteen year olds who rap like

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Speaker 1: this where they're just discovering it and they're like the thing,

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Speaker 1: the chancey I'll give it is that they're having fun

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Speaker 1: doing it, and that's infectious. Like eminem when he's like

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Speaker 1: when he was younger and he was like, you know

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Speaker 1: the stuff that he's saying, which I feel like he's

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Speaker 1: still does some of it, some of it he doesn't.

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Speaker 1: He's like young and he's having fun and that's infectious, right,

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Speaker 1: Like youth is so infectious. None of this feels like

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Speaker 1: he's having fun with it. And even like the moments

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Speaker 1: where like you're you. I am impressed with some of

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Speaker 1: his yeah, like you said, like his rhyming or just

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Speaker 1: even his flows, but it seems like he's not even

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Speaker 1: committing to it, so like why did like why make it?

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Speaker 1: Like it feels like a demo that he was like,

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Speaker 1: I guess we'll put it out.

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Speaker 2: I think the difference between someone like Eminem at the

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Speaker 2: in like nineteen ninety nine, especially those first two records

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Speaker 2: where it's really leaning heavily into the like shock thing,

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Speaker 2: and the first record is funnier than the second record.

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Speaker 2: I think it's by the second record, like more psychodrama

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Speaker 2: starts to enter the picture with Eminem, but none of

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Speaker 2: that stuff. Even when he's talking about sex, it's like

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Speaker 2: cartoonish and in some ways like part of the joke,

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Speaker 2: like he's kind of like I don't think, I don't know.

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Speaker 2: I kind of don't know much of Eminem's music after

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Speaker 2: like two thousand and two, except for the songs everybody

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Speaker 2: knows well, the ubiquitous singles. I don't know any full

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Speaker 2: album of his. Like my mom will randomly send our

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Speaker 2: family text thread like song of the day, and it's

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Speaker 2: usually like you know Buffy, Saint Marie or Joni mitchell Er.

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Speaker 2: And then every once in a while it's like an

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Speaker 2: odd curve ball from like Recovery by Eminem, No Way

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Speaker 2: to God, and.

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Speaker 1: She's like the way your mom will send a like

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Speaker 1: song of a Day, and it is it has been

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Speaker 1: on multiple occasions, a deep Eminem cut.

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Speaker 2: From later in his career, and it's it's non singles.

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Speaker 2: It's usually something like she sent us a song that

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Speaker 2: was like him rapping about his friend Proof that died.

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Speaker 1: I know that song and I love that song. I

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Speaker 1: can't believe your mom knows that song. It's called Difficult. Yeah,

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Speaker 1: it's so good.

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Speaker 2: It's so funny because.

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Speaker 1: Like it's made me cry. Your mom knows that song.

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Speaker 1: I've told friends to be like can you listen to

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Speaker 1: the song? And they won't do it. Your mom? I could.

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Speaker 2: I could like talk and text my mouth. Yeah yeah,

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Speaker 2: you could walk up to her at the first chance

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Speaker 2: he open. We're gonna have which you know we'll talk

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Speaker 2: about on our next step. But no, I have no

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Speaker 2: idea what that is. I just made the first Oh yeah, but.

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Speaker 1: You can go on tour with Kevin's mom and live Yeah.

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Speaker 2: Twenty thousand seat venue. See if you can get a ticket.

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Speaker 2: They don't sell out right away. But yeah, no. So

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Speaker 2: the reason I bring that up and my mom, you know,

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Speaker 2: just shout out to Path of Vine is just to say,

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Speaker 2: it's the eminem thing I've never felt for all of

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Speaker 2: his myriad flaws and failings or things that you could

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Speaker 2: criticize like anybody, and he's got his the sexualization thing

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Speaker 2: in his music. Maybe later he tries like act like

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Speaker 2: sexy in a song, and I'm sure that would be

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Speaker 2: really embarrassing to listen to, like that character trying to

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Speaker 2: be sexy. But I think where he gets like, yeah,

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Speaker 2: first of all, there's the youthful sort of insustions of it,

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Speaker 2: but there's also just like it's not trying to be hot,

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Speaker 2: he's like trying to He's like making it into some

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Speaker 2: kind of like almost grotesque joke. The difference here is

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Speaker 2: it's like it's that same it's the same thing. I'm

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00:14:43,040 --> 00:14:45,880
Speaker 2: not interested in in fucking rock music like Buck Cherry

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Speaker 2: or what seems cool to me when I was nine

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Speaker 2: years old about the Sunset Strip bands that by the

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Speaker 2: time I was thirteen years old was like, oh no,

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Speaker 2: that's like by the time you'd had any kind of

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Speaker 2: like conversation with a girl that was like a pu

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Speaker 2: us into person two and you were like, oh, actually,

298
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Speaker 2: like this is really fucking lame. What's confusing to me

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Speaker 2: about this that I'd love to get into with you.

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Speaker 2: There's so much happening lyrically that is capital be berserk

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Speaker 2: and it'll touched upon it capital C confusing. I can

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Speaker 2: start anywhere you want, or I could let you set

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Speaker 2: the table for that.

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Speaker 1: The elephant in the room is you're a big girl now,

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00:15:36,520 --> 00:15:38,560
Speaker 1: which is like a thing you say to it to

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Speaker 1: me like a to a child, like a like a

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Speaker 1: young girl. That's just like you're a big girl. Now,

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Speaker 1: you can wash your hands, you're a big girl. Now,

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Speaker 1: you could go potty. And now he's saying like you're

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Speaker 1: a big girl. Now you could have sex and it's.

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Speaker 2: Like fully grown with your hormones now. That's the second

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Speaker 2: lyric of the.

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Speaker 1: Song also has like a song on a later album,

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Speaker 1: like a few albums after this, where it's just like

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Speaker 1: about daughters and like having a daughter and it's like

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Speaker 1: actually a pretty good song and but like it's so

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Speaker 1: confusing me, don't Yeah, that's it. That's that's the one

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Speaker 1: that NAS does featuring Ed litt Ed. Yeah, he thre down,

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Speaker 1: he hasn't noticed, he's been gone since.

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Speaker 2: Yeah the third sheer.

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Speaker 1: That's right right on red right, it's right on murder

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Speaker 1: murder of Ed read red one. Uh he he he

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Speaker 1: has been quiet, but.

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Speaker 2: Sorry I threw you up. NAS has a song about

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Speaker 2: daughters a few albums later, talking to a little to

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Speaker 2: a woman this way. Yeah.

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Speaker 1: So it's it's like it's like it's also like who

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Speaker 1: told him that he could sing? It's like when it's

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Speaker 1: actually like what you know, you know when Eminem sings

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

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Speaker 1: Like there's certain rappers that Kanye does it too, although

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Speaker 1: Kanye like auto tunes of the time now, but there's

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Speaker 1: been times he didn't and you're like, okay ah, but yeah,

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Speaker 1: you're a big girl now.

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Speaker 2: It's almost like master p or something.

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Speaker 1: It's like singing yeah may say.

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Speaker 2: Yeah. I feel like that's kind of the vibe that's

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Speaker 2: happening here because Eminem's kind of like it's a chorus

339
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Speaker 2: and I'm saying it now, right, you know, that's at

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00:17:21,800 --> 00:17:23,480
Speaker 2: least he's got like there's like a melody.

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Speaker 1: Yeah, but he does like a high end low for it.

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00:17:27,280 --> 00:17:31,560
Speaker 1: It's like it's like seems so like affected and panned,

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00:17:32,920 --> 00:17:35,800
Speaker 1: like oh yeah, you know, it's like thickened. This is

344
00:17:35,840 --> 00:17:40,200
Speaker 1: so odd and yeah, masterpiece of good comp for it.

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Speaker 1: But I don't know where this song is supposed to

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Speaker 1: play because it's like not totally a club song. It's like,

347
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Speaker 1: are you just like was he like, oh my my

348
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Speaker 1: friends are going to listen to this in their car.

349
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Speaker 2: It's too lyrical to be a club song. And the

350
00:17:53,840 --> 00:17:57,040
Speaker 2: chorus is too weak, like like not like us is

351
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Speaker 2: a club song and it's very lyrical, but the chorus

352
00:18:01,600 --> 00:18:06,359
Speaker 2: is so simple, so repetitive, and the beat is so

353
00:18:06,480 --> 00:18:10,239
Speaker 2: infectious and undeniable that you can sneak in like you know,

354
00:18:10,640 --> 00:18:16,520
Speaker 2: Bob Dylan esque nineteen sixty five tumbling, fucking snowballing lyrical stuff.

355
00:18:16,520 --> 00:18:18,040
Speaker 2: And then if the chorus comes back to it, they're

356
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Speaker 2: not like us, repeat it over and over again, and

357
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Speaker 2: like also if so happens that if you put any

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Speaker 2: thing in a song where everyone in the club stops

359
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Speaker 2: and goes a minor, like everyone will get there. There's hooks,

360
00:18:28,080 --> 00:18:31,760
Speaker 2: there's hooks. There's not a hook in this song to

361
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Speaker 2: speak of, Like every time the chorus came back, I

362
00:18:33,720 --> 00:18:38,480
Speaker 2: was like, in fact anti chancy from a structural song perspective.

363
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Speaker 2: When the chorus started again at the end, I audibly

364
00:18:42,480 --> 00:18:46,760
Speaker 2: set out loud, oh no, like usually the chorus you like,

365
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Speaker 2: you're like, oh, the chorus is bad.

366
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Speaker 1: No, yeah, you're right.

367
00:18:49,760 --> 00:18:52,320
Speaker 2: The chorus comes here, and I'm like, oh god, because

368
00:18:52,480 --> 00:18:59,399
Speaker 2: also the whole Daddy's little girl thing. Look again, not

369
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Speaker 2: to people get into that ship, get into it, whatever

370
00:19:02,800 --> 00:19:05,040
Speaker 2: you want to get into. I have the right. I

371
00:19:05,119 --> 00:19:08,760
Speaker 2: reserve the right to be like that is perfectly fine.

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Speaker 1: But you say, but you say, don't call me daddy.

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Speaker 2: Yeah, when I'm when I'm in the midst of.

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Speaker 1: What, all right, this is your time?

375
00:19:20,840 --> 00:19:23,920
Speaker 2: All right, fine, this is my time. Fine. In musical therapy, no,

376
00:19:24,000 --> 00:19:27,200
Speaker 2: I'm just saying, like when I'm doing s S sex stuff,

377
00:19:27,640 --> 00:19:30,600
Speaker 2: I'm always like sort of like whisper singing, like don't come.

378
00:19:30,800 --> 00:19:33,840
Speaker 1: In Betty like that kind of I know that about you.

379
00:19:34,119 --> 00:19:36,280
Speaker 2: So though a wisp and I'll send to our fans

380
00:19:36,359 --> 00:19:38,679
Speaker 2: is like, I'm a fucking verge, dude.

381
00:19:39,280 --> 00:19:41,320
Speaker 1: You're on the verge, though you're.

382
00:19:42,920 --> 00:19:46,359
Speaker 2: I'm a verge on the verge. And so I don't know,

383
00:19:46,720 --> 00:19:49,240
Speaker 2: be into whatever you're into. This is to me, it's

384
00:19:49,240 --> 00:19:52,600
Speaker 2: this is gross, this is this is like too much.

385
00:19:53,119 --> 00:19:54,760
Speaker 2: I don't want to be hearing about a borton the

386
00:19:54,760 --> 00:19:55,800
Speaker 2: next Michael Jordan.

387
00:19:56,320 --> 00:19:59,040
Speaker 1: Yes, which actually you just made it sound even cooler,

388
00:19:59,280 --> 00:20:01,280
Speaker 1: like I was kind of more into it there.

389
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Speaker 2: Well, yeah, I'm brought into a lot of like high

390
00:20:05,560 --> 00:20:07,400
Speaker 2: end hip hop sessions to kind of punch things.

391
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Speaker 1: Up, like I know that, I know that about you.

392
00:20:10,119 --> 00:20:11,760
Speaker 2: Like you should say nowadays.

393
00:20:13,960 --> 00:20:17,120
Speaker 1: Sorry you wrote that, right, you just wrote the nowadays part.

394
00:20:17,280 --> 00:20:19,240
Speaker 1: You were like what about it started with nowadays and

395
00:20:19,320 --> 00:20:20,560
Speaker 1: then Eminem took it from there.

396
00:20:20,680 --> 00:20:22,600
Speaker 2: Well, it was like nowadays the already wants to talk

397
00:20:22,640 --> 00:20:24,399
Speaker 2: if ever color is gray, and I was like, favorite

398
00:20:24,400 --> 00:20:26,560
Speaker 2: color is gray. It is like pretty abstract, and I

399
00:20:26,560 --> 00:20:28,719
Speaker 2: was like, I think we should change it, like what

400
00:20:28,760 --> 00:20:30,200
Speaker 2: if it was like nowadays everybody wants to talk with

401
00:20:30,280 --> 00:20:31,600
Speaker 2: they got something to say, and and I was like

402
00:20:31,600 --> 00:20:33,480
Speaker 2: that is pretty good, and doctor Dre was like print

403
00:20:33,480 --> 00:20:34,439
Speaker 2: it and then I got.

404
00:20:34,280 --> 00:20:35,960
Speaker 1: It and your mom was there and like.

405
00:20:35,960 --> 00:20:37,880
Speaker 2: My mom was there and she was like I love

406
00:20:37,920 --> 00:20:39,920
Speaker 2: recovery and I'm like we didn't even make that yet.

407
00:20:39,960 --> 00:20:46,240
Speaker 1: This is exact kid, but you will. I still can't

408
00:20:46,240 --> 00:20:48,640
Speaker 1: get over that your mom sends like deep track eminem

409
00:20:48,680 --> 00:20:51,440
Speaker 1: songs from late in this catalog, and that's I can't

410
00:20:51,440 --> 00:20:53,200
Speaker 1: believe that song that she one of the songs she

411
00:20:53,280 --> 00:20:56,640
Speaker 1: sent is a song that I genuinely love that song,

412
00:20:56,760 --> 00:20:59,800
Speaker 1: that difficult song. Like there's parts in it where he's

413
00:20:59,840 --> 00:21:03,240
Speaker 1: just like he's talking about how he like has gifts

414
00:21:03,240 --> 00:21:05,640
Speaker 1: that he put in Proof's casket and he's.

415
00:21:05,480 --> 00:21:10,920
Speaker 2: Oh, yeah him, Well, I get chilled. Real it's it's

416
00:21:10,680 --> 00:21:16,120
Speaker 2: it is. It's very, very finally drawn and relatable, which

417
00:21:16,119 --> 00:21:20,600
Speaker 2: can actually be a bridge back to this experience there

418
00:21:20,680 --> 00:21:22,560
Speaker 2: was when I was I was a journalism student. I

419
00:21:22,560 --> 00:21:25,280
Speaker 2: went to Fordham University in New York, and there was

420
00:21:25,359 --> 00:21:29,040
Speaker 2: a teacher there shout out to Fordam, what's up that

421
00:21:30,440 --> 00:21:37,920
Speaker 2: I just guess I also love shouting out a sporting

422
00:21:38,000 --> 00:21:41,560
Speaker 2: program I never once engaged with ever, and I don't

423
00:21:41,560 --> 00:21:43,760
Speaker 2: think I might have gone to one basketball game up

424
00:21:43,800 --> 00:21:47,960
Speaker 2: in the Bronx. Oh there's your ticks, dog, show me

425
00:21:48,000 --> 00:21:52,119
Speaker 2: them tics. But yo, so also line disease season coming

426
00:21:52,200 --> 00:21:56,680
Speaker 2: up as things that those ticks you definitely need to

427
00:21:56,680 --> 00:21:59,280
Speaker 2: show me them tics if in fact get on follow

428
00:21:59,359 --> 00:22:02,680
Speaker 2: us on Instagram? Is it at give it a chance? Pods?

429
00:22:02,800 --> 00:22:03,680
Speaker 1: Is that?

430
00:22:04,560 --> 00:22:06,520
Speaker 2: And if you have any ticks, if you have any

431
00:22:06,520 --> 00:22:09,280
Speaker 2: fear of life? These both of us are certified doctors,

432
00:22:09,280 --> 00:22:14,080
Speaker 2: and we will take a look at them tick.

433
00:22:12,480 --> 00:22:17,280
Speaker 1: Pics, the t pics. I will even take a fucking

434
00:22:17,280 --> 00:22:17,880
Speaker 1: bull's eye.

435
00:22:18,240 --> 00:22:25,640
Speaker 2: Yo, honestly, no, but seriously, seriously, there was a teacher

436
00:22:25,720 --> 00:22:31,920
Speaker 2: at Fordham and he used to say specificity breeds believability.

437
00:22:32,480 --> 00:22:35,560
Speaker 2: And I will say that that is true and that

438
00:22:35,600 --> 00:22:39,680
Speaker 2: this song is too specific and I believe every word

439
00:22:40,040 --> 00:22:44,240
Speaker 2: and I fucking hate it because what is being depicted?

440
00:22:44,640 --> 00:22:49,720
Speaker 2: Can you please walk me through what happens in the

441
00:22:49,840 --> 00:22:52,680
Speaker 2: verse where there's a fight, That's what I'm talking about.

442
00:22:53,080 --> 00:22:55,080
Speaker 1: Yeah, that whole section. I was like, so, I like

443
00:22:55,119 --> 00:22:57,080
Speaker 1: got distracted. I was so bored by it.

444
00:22:57,480 --> 00:23:01,159
Speaker 2: But what even I actually from a narrative active, I

445
00:23:01,200 --> 00:23:06,400
Speaker 2: want to know what actually happens? Like does he I'm

446
00:23:06,680 --> 00:23:12,240
Speaker 2: confused because he he gets in a fight with the

447
00:23:12,320 --> 00:23:16,080
Speaker 2: girl and another girl. The girl is fighting another girl

448
00:23:16,400 --> 00:23:19,480
Speaker 2: and he holds that girl so the other girl can

449
00:23:19,560 --> 00:23:20,919
Speaker 2: hit the girl. Do you do you know what I'm

450
00:23:20,960 --> 00:23:21,560
Speaker 2: talking about?

451
00:23:21,600 --> 00:23:23,680
Speaker 1: So you could jab her? Yeah? The only thing left

452
00:23:23,720 --> 00:23:25,840
Speaker 1: to do was to grab her so you could jab

453
00:23:25,880 --> 00:23:27,080
Speaker 1: her get a cheap shot.

454
00:23:27,200 --> 00:23:27,920
Speaker 2: What's going on there?

455
00:23:28,000 --> 00:23:31,760
Speaker 1: Now here come the cops. Yeah, yeah, that's an interesting

456
00:23:31,840 --> 00:23:38,760
Speaker 1: tactic for sure. That good secificity right, like you're right

457
00:23:38,840 --> 00:23:42,240
Speaker 1: like about the specificity. Like a better version of this

458
00:23:42,280 --> 00:23:45,200
Speaker 1: is there's that that Wu Tang song where he says,

459
00:23:45,480 --> 00:23:49,360
Speaker 1: Queen Queen Bees ease the guns in, meaning like it's

460
00:23:49,400 --> 00:23:51,879
Speaker 1: easier to like bring a like you know, if you

461
00:23:51,960 --> 00:23:54,160
Speaker 1: need to just bring a gun into a club when

462
00:23:54,200 --> 00:23:57,479
Speaker 1: you you know, you give it to your Queen Bees. Yes,

463
00:23:58,520 --> 00:24:02,120
Speaker 1: and she brings Queen Bees the guns in. And specificity

464
00:24:02,119 --> 00:24:03,760
Speaker 1: of that is like crazy.

465
00:24:04,160 --> 00:24:05,560
Speaker 2: Is that ghost face? Who is?

466
00:24:05,680 --> 00:24:07,040
Speaker 1: I think it's Inspected Deck.

467
00:24:07,160 --> 00:24:09,440
Speaker 2: Okay, well, I mean it's yeah. Also also high end.

468
00:24:09,480 --> 00:24:11,560
Speaker 2: I just saw a thing recently, because I do keep

469
00:24:11,680 --> 00:24:15,359
Speaker 2: up thirty years posthumous, but I do keep up. Inspected

470
00:24:15,359 --> 00:24:18,200
Speaker 2: Deck was apparently on a Tupac song.

471
00:24:18,280 --> 00:24:19,360
Speaker 1: Did you saw that? Yes?

472
00:24:19,400 --> 00:24:22,440
Speaker 2: I know that was this is too good. You can't

473
00:24:22,480 --> 00:24:26,800
Speaker 2: be on here And the verse was great, The verse

474
00:24:26,960 --> 00:24:27,320
Speaker 2: was great.

475
00:24:29,160 --> 00:24:31,399
Speaker 1: Yeah, he I think I'd say that's in the first

476
00:24:31,480 --> 00:24:34,399
Speaker 1: verse of that song Triumph he Inspected Deck says it,

477
00:24:34,440 --> 00:24:37,440
Speaker 1: And yeah, I forgot the lyric, he says black wou jackets,

478
00:24:37,480 --> 00:24:39,560
Speaker 1: which he also is like not only saying that like

479
00:24:39,920 --> 00:24:42,639
Speaker 1: they're like the kind of jacket they're wearing, but also

480
00:24:43,320 --> 00:24:47,000
Speaker 1: shouting out merch. I know, well it's queen beesies and

481
00:24:47,080 --> 00:24:48,160
Speaker 1: guns and it's incredible.

482
00:24:48,480 --> 00:24:52,080
Speaker 2: Maybe my favorite thing, which is about before, I remember

483
00:24:52,320 --> 00:24:54,679
Speaker 2: Wu Tang Clans like a band. I remember the I

484
00:24:54,720 --> 00:24:57,800
Speaker 2: remember where I was the first time I heard the

485
00:24:58,240 --> 00:25:00,880
Speaker 2: first song heard by them was method Man and where

486
00:25:00,920 --> 00:25:03,720
Speaker 2: I was. It was Halloween nineteen ninety three and I

487
00:25:03,760 --> 00:25:05,639
Speaker 2: was at a party in bay Ridge and it was

488
00:25:05,680 --> 00:25:08,480
Speaker 2: the first time I ever got drunk. And I remember

489
00:25:08,600 --> 00:25:12,639
Speaker 2: like not knowing how to drink, drinking a what was

490
00:25:12,640 --> 00:25:15,800
Speaker 2: like a sixteen like a tall boy of Crazy Horse,

491
00:25:15,880 --> 00:25:18,199
Speaker 2: small liquor that someone was able to get from. And

492
00:25:18,200 --> 00:25:20,720
Speaker 2: we were on an overpass in Bay Ridge and went

493
00:25:20,760 --> 00:25:22,320
Speaker 2: to a party where I didn't know anyone with my

494
00:25:22,480 --> 00:25:26,679
Speaker 2: one friend and he was going to names Daniel Loriano,

495
00:25:26,680 --> 00:25:29,159
Speaker 2: shout out to Daniel Loreano, and he was going to

496
00:25:29,160 --> 00:25:30,679
Speaker 2: meet up with this he was had a crush on

497
00:25:30,720 --> 00:25:34,000
Speaker 2: this girl and we went to name I don't remember, okay, okay,

498
00:25:34,680 --> 00:25:38,320
Speaker 2: I think it was actually Lil Susie who sang take Me,

499
00:25:39,359 --> 00:25:42,119
Speaker 2: take Me in You. She was in my class on

500
00:25:42,240 --> 00:25:43,960
Speaker 2: an I seventy five shout out to Paulo.

501
00:25:44,800 --> 00:25:47,560
Speaker 1: I don't even I'm lost, so lost, take me back

502
00:25:47,600 --> 00:25:48,159
Speaker 1: to the party.

503
00:25:48,359 --> 00:25:50,199
Speaker 2: Yeah. Yeah, So I at the party, I had to

504
00:25:50,240 --> 00:25:52,959
Speaker 2: lay down on the floor in this kid's bathroom and

505
00:25:53,000 --> 00:25:55,280
Speaker 2: his mom came and knocked on the door and was like,

506
00:25:55,359 --> 00:25:57,320
Speaker 2: who are you? And I was laying on the floor

507
00:25:57,320 --> 00:26:00,159
Speaker 2: and I was like, I'm Daniel's friend Kevin, and she like,

508
00:26:00,280 --> 00:26:03,080
Speaker 2: get out of here. And I went outside and got

509
00:26:03,119 --> 00:26:07,320
Speaker 2: pelted with eggs like it's passing min elloween, drunk hanging

510
00:26:07,359 --> 00:26:09,760
Speaker 2: onto a fence. So my career drinking started in a

511
00:26:09,840 --> 00:26:12,320
Speaker 2: really great spot. But I do remember being on the

512
00:26:12,440 --> 00:26:14,800
Speaker 2: floor an M E t h O D man playing

513
00:26:14,920 --> 00:26:17,040
Speaker 2: and being like, oh my god, this song's really cool.

514
00:26:17,920 --> 00:26:20,200
Speaker 1: How could you even so your association with it is

515
00:26:20,240 --> 00:26:25,320
Speaker 1: still positive? Well, good, Yeah, that speaks to the song.

516
00:26:25,560 --> 00:26:28,080
Speaker 1: But did you also know the hall of notes sample?

517
00:26:29,080 --> 00:26:31,280
Speaker 2: No? And that when I heard it, then yeah, then

518
00:26:31,760 --> 00:26:32,200
Speaker 2: that thing.

519
00:26:32,240 --> 00:26:35,440
Speaker 1: Is not that M E T h O D. It's

520
00:26:35,480 --> 00:26:37,280
Speaker 1: like there's a hall of notes. I didn't know until

521
00:26:37,480 --> 00:26:39,040
Speaker 1: maybe a couple of years ago.

522
00:26:39,119 --> 00:26:40,720
Speaker 2: But I don't think I knew that till right now.

523
00:26:41,080 --> 00:26:43,040
Speaker 1: Yeah, this is a song that's called like E D

524
00:26:43,480 --> 00:26:46,440
Speaker 1: H O D It's like wow, and it's a Hall

525
00:26:46,480 --> 00:26:50,200
Speaker 1: and Oats thing. He also there's a thing where he's

526
00:26:50,240 --> 00:26:52,680
Speaker 1: talking about it where he didn't even know all these references,

527
00:26:52,720 --> 00:26:55,040
Speaker 1: but he knew he was making them. That's like, hey,

528
00:26:55,160 --> 00:26:59,719
Speaker 1: you get off that my cloud right, stones right, stones right.

529
00:26:59,760 --> 00:27:01,880
Speaker 1: So there's that, and then there's like there's a bunch

530
00:27:01,920 --> 00:27:04,560
Speaker 1: of things like references he's making in it that he's

531
00:27:04,680 --> 00:27:06,879
Speaker 1: just like pulling from all these different places that he

532
00:27:06,960 --> 00:27:09,400
Speaker 1: doesn't even they're cool. They're really cool.

533
00:27:09,600 --> 00:27:11,720
Speaker 2: I found it hard. It's hard to find. Oh you

534
00:27:11,960 --> 00:27:15,880
Speaker 2: remember he says that there too. But I do want

535
00:27:15,920 --> 00:27:18,000
Speaker 2: to say at the end of all of it, what

536
00:27:18,119 --> 00:27:20,439
Speaker 2: I was starting and then I got off track by

537
00:27:20,480 --> 00:27:23,840
Speaker 2: my own shit Wu Tang you brought about merch Black

538
00:27:24,040 --> 00:27:26,840
Speaker 2: Wu Jackets. One of the coolest things about them is

539
00:27:26,840 --> 00:27:29,360
Speaker 2: that they were like a DIY outfit when they first

540
00:27:29,400 --> 00:27:31,560
Speaker 2: started like fucking selling merch out of the trunk of

541
00:27:31,640 --> 00:27:34,200
Speaker 2: their car at their shows. Like it'd literally be like

542
00:27:34,320 --> 00:27:36,520
Speaker 2: come outside, open the trunk and there's like all the

543
00:27:36,560 --> 00:27:39,320
Speaker 2: Wu Tang shit. I always thought that was so and

544
00:27:39,400 --> 00:27:41,800
Speaker 2: it's funny. Maybe because of growing up on Staten Island,

545
00:27:41,840 --> 00:27:45,080
Speaker 2: they were like the cultural export you were most proud of, right,

546
00:27:45,200 --> 00:27:47,440
Speaker 2: Like everybody was like we got Wu Tang, that's cool.

547
00:27:49,000 --> 00:27:50,720
Speaker 1: And being there at the moment where it was still

548
00:27:51,200 --> 00:27:53,000
Speaker 1: still what we have, that's still the thing we have.

549
00:27:53,400 --> 00:27:56,080
Speaker 2: It's like and then being but also like being there

550
00:27:56,119 --> 00:27:59,359
Speaker 2: when there was this punk rock hardcore scene happening. It

551
00:27:59,440 --> 00:28:01,600
Speaker 2: was like the two things that anybody that I was

552
00:28:01,640 --> 00:28:04,520
Speaker 2: around was like stoked on was like that scene and

553
00:28:04,720 --> 00:28:07,280
Speaker 2: Wu Tang was like state Nyland's like badge of honor.

554
00:28:07,320 --> 00:28:08,240
Speaker 2: It's true or whatever.

555
00:28:19,000 --> 00:28:22,720
Speaker 1: So I really loved this era in a lot of

556
00:28:22,760 --> 00:28:25,080
Speaker 1: ways of hip hop. But there's a thing that came

557
00:28:25,200 --> 00:28:27,520
Speaker 1: up a lot that would always bother me. And it's

558
00:28:27,560 --> 00:28:31,200
Speaker 1: a fake harpsichord and this song has like loads of

559
00:28:31,320 --> 00:28:34,280
Speaker 1: it and the call and so like the beat's not bad,

560
00:28:34,440 --> 00:28:37,040
Speaker 1: Like the high hats are really repetitive, which is like

561
00:28:37,720 --> 00:28:41,160
Speaker 1: kind of but I understand what he's doing, Like matching

562
00:28:41,240 --> 00:28:43,360
Speaker 1: his vocals to the high hats is like really smart

563
00:28:43,400 --> 00:28:45,760
Speaker 1: and it's something that that rapper Twista does all the time,

564
00:28:46,160 --> 00:28:48,200
Speaker 1: who's like a fast rap rapper, And I think he's

565
00:28:48,240 --> 00:28:50,480
Speaker 1: going for like a fast rap thing in this cussive.

566
00:28:50,560 --> 00:28:52,360
Speaker 2: Yeah, yeah, he like won he wasn't he like the

567
00:28:52,400 --> 00:28:55,600
Speaker 2: Guinness Book of World Records Fastest Rapper at some point

568
00:28:55,720 --> 00:28:57,040
Speaker 2: twist yeah for sure.

569
00:28:56,920 --> 00:29:00,840
Speaker 1: For that sounds right, but this is him trying that.

570
00:29:01,040 --> 00:29:04,640
Speaker 1: But also, but I there's a lot of like every

571
00:29:04,880 --> 00:29:06,840
Speaker 1: every album, like there's like a May song. There's like

572
00:29:06,880 --> 00:29:08,680
Speaker 1: a May song on one of his albums that has

573
00:29:08,840 --> 00:29:12,480
Speaker 1: like this sort of the the chords underneath are with

574
00:29:12,640 --> 00:29:15,880
Speaker 1: like some sort of Rhodes kind of Worlitzer, nice piano,

575
00:29:16,000 --> 00:29:18,960
Speaker 1: but then they drop in this like fake harpsichord that

576
00:29:19,200 --> 00:29:21,920
Speaker 1: is just like meant to be like regal but sexy,

577
00:29:22,080 --> 00:29:25,280
Speaker 1: and it's like give me a clav or something. But

578
00:29:25,480 --> 00:29:28,400
Speaker 1: like the harpsichord is just like especially since it's so

579
00:29:28,640 --> 00:29:31,120
Speaker 1: kind of fake and sounding, it's so distracting.

580
00:29:31,720 --> 00:29:34,400
Speaker 2: Well, I think that was a transitional time in production.

581
00:29:34,640 --> 00:29:38,280
Speaker 2: It feels like where totally the technology was jumping and

582
00:29:38,840 --> 00:29:41,800
Speaker 2: advancing in leaps, but we were on our way to

583
00:29:41,880 --> 00:29:44,120
Speaker 2: where we are now. Where like like I was listening

584
00:29:44,200 --> 00:29:48,640
Speaker 2: to there's some song I don't know that Edie asks

585
00:29:48,680 --> 00:29:51,160
Speaker 2: to listen to. It's like, oh my fellas, I can't

586
00:29:51,160 --> 00:29:53,040
Speaker 2: remember the guy's name, but it's like some super like

587
00:29:53,240 --> 00:29:56,880
Speaker 2: hyped up beat clubs song that she heard on I'm sure,

588
00:29:56,960 --> 00:29:59,400
Speaker 2: like you know kids YouTube or someone's short it from

589
00:29:59,480 --> 00:30:02,160
Speaker 2: Roadblock or whatever the hell it is club maybe the

590
00:30:02,200 --> 00:30:05,240
Speaker 2: club she was out at the club, but like she

591
00:30:05,440 --> 00:30:07,160
Speaker 2: was trying to tell. She was like telling me, like

592
00:30:07,240 --> 00:30:09,160
Speaker 2: all the instruments, like, oh, I like the way that

593
00:30:09,280 --> 00:30:11,840
Speaker 2: piano pieces. I like that that kickdrum. It sounds good

594
00:30:11,840 --> 00:30:13,840
Speaker 2: with that kick drum. And I think all of this

595
00:30:14,080 --> 00:30:16,040
Speaker 2: was played live, And I was like, I think it's

596
00:30:16,200 --> 00:30:19,400
Speaker 2: very cool. I would be very surprised if literally anything

597
00:30:19,560 --> 00:30:22,800
Speaker 2: on this was played live because it's just all and

598
00:30:22,920 --> 00:30:25,560
Speaker 2: that's not a criticism. It's just we live when we

599
00:30:25,680 --> 00:30:27,840
Speaker 2: live and now what when we live now? And I

600
00:30:27,960 --> 00:30:29,560
Speaker 2: use some of these things too, even in my own

601
00:30:29,680 --> 00:30:33,240
Speaker 2: very modest, pedestrian explorations in my own music, like we

602
00:30:33,400 --> 00:30:36,280
Speaker 2: can fine tune shit in the box. Yeah, it's all

603
00:30:36,320 --> 00:30:39,000
Speaker 2: computer stuff. This was the moment where that was like

604
00:30:39,040 --> 00:30:41,760
Speaker 2: I remember this was like around this was like around

605
00:30:41,800 --> 00:30:44,560
Speaker 2: the time that we were starting to record music ourselves

606
00:30:44,680 --> 00:30:47,240
Speaker 2: in our little band in studios, and I remember it

607
00:30:47,360 --> 00:30:50,160
Speaker 2: was like not tape, but it wasn't pro tools really

608
00:30:50,240 --> 00:30:52,520
Speaker 2: yet it was like a d It was called these

609
00:30:52,560 --> 00:30:56,720
Speaker 2: tapes like VCRs, but it was like VCR tapes rather.

610
00:30:57,560 --> 00:31:00,520
Speaker 2: Is that what like the Miracle demos were done Miracle

611
00:31:00,560 --> 00:31:03,440
Speaker 2: of eighty six probably the first record under my name

612
00:31:03,600 --> 00:31:05,000
Speaker 2: was done on that too. I don't think we get

613
00:31:05,040 --> 00:31:06,920
Speaker 2: a record in pro tools till like two thousand and

614
00:31:06,960 --> 00:31:10,480
Speaker 2: two or three. But that's all just to say. I

615
00:31:10,680 --> 00:31:14,240
Speaker 2: think that some of the MIDI stuff, the direct to

616
00:31:14,400 --> 00:31:17,640
Speaker 2: computer stuff, the like, some it was just like kind

617
00:31:17,680 --> 00:31:22,960
Speaker 2: of shitty sounding, yeah yeah, really like cheap sound.

618
00:31:23,040 --> 00:31:26,120
Speaker 1: Yeah, MIDI used to have such a negative connotation to it,

619
00:31:26,160 --> 00:31:28,760
Speaker 1: where now it sounds a lot better. Similarly, like I

620
00:31:28,880 --> 00:31:30,880
Speaker 1: was listening to that going back to eminem that and

621
00:31:31,040 --> 00:31:33,560
Speaker 1: fifty patiently waiting song oh.

622
00:31:33,480 --> 00:31:35,680
Speaker 2: Yeah yeah, patiently waiting for a.

623
00:31:35,760 --> 00:31:38,480
Speaker 1: Track to explode on. But it starts with this bad

624
00:31:38,600 --> 00:31:45,200
Speaker 1: horn that's like and it sounds so cheap now that

625
00:31:45,400 --> 00:31:47,280
Speaker 1: like I want them to like redo it because it

626
00:31:47,320 --> 00:31:49,520
Speaker 1: could sound so good and it's still good, Like there's

627
00:31:49,560 --> 00:31:54,080
Speaker 1: this I will I'm going to I've just I feel

628
00:31:54,280 --> 00:31:56,480
Speaker 1: on your to do list. Yeah, I just feel bad,

629
00:31:56,560 --> 00:31:57,880
Speaker 1: Like they got a lot going on right now.

630
00:31:58,520 --> 00:32:00,400
Speaker 2: I listen, I have to bounce into two minutes and

631
00:32:00,440 --> 00:32:02,520
Speaker 2: five seconds. I have a hard out, so I'm just

632
00:32:02,600 --> 00:32:05,560
Speaker 2: making sure like because that's how must zoom we have

633
00:32:05,760 --> 00:32:06,960
Speaker 2: left zoom juice.

634
00:32:07,040 --> 00:32:08,280
Speaker 1: We're running out of zoom juice.

635
00:32:08,320 --> 00:32:10,760
Speaker 2: No, dude, I gotta listen. The reason I've just just

636
00:32:10,880 --> 00:32:12,480
Speaker 2: sort of like like all over the place about the

637
00:32:12,520 --> 00:32:15,120
Speaker 2: songs because like I got a date with this big girl, like.

638
00:32:15,320 --> 00:32:17,320
Speaker 1: Right after this big girl.

639
00:32:17,400 --> 00:32:20,520
Speaker 2: Now she's like sixty eight now, but it's gonna be nice.

640
00:32:20,600 --> 00:32:23,080
Speaker 1: Give me it. Let's just hit some chances like it.

641
00:32:23,240 --> 00:32:26,400
Speaker 1: Let's hit some let's end positive, say some positive things

642
00:32:26,400 --> 00:32:26,760
Speaker 1: about it.

643
00:32:27,200 --> 00:32:30,640
Speaker 2: He's a great rapper who can in his sleep wrap

644
00:32:30,760 --> 00:32:35,000
Speaker 2: circles around probably ninety eight percent of people who do

645
00:32:35,120 --> 00:32:37,760
Speaker 2: the thing he does, which is always worth acknowledging. And

646
00:32:38,000 --> 00:32:42,120
Speaker 2: this song is a product of and victim of the

647
00:32:42,280 --> 00:32:48,040
Speaker 2: time in which it was produced. Damn right case.

648
00:32:48,200 --> 00:32:51,880
Speaker 1: I think that was really positive and nice. Yeah, I

649
00:32:52,040 --> 00:32:56,240
Speaker 1: think that I agree with in terms of like you

650
00:32:56,320 --> 00:33:01,280
Speaker 1: could tell he's beyond competent, know like he knows exactly

651
00:33:01,960 --> 00:33:04,800
Speaker 1: why he's doing these things. Like his the lyrics I

652
00:33:04,840 --> 00:33:07,200
Speaker 1: don't love, but I like his structure of it, Like

653
00:33:07,320 --> 00:33:10,440
Speaker 1: if you you know the rhymes within rhymes and that

654
00:33:10,560 --> 00:33:13,160
Speaker 1: stuff like we talk about a big fan of it,

655
00:33:13,720 --> 00:33:16,120
Speaker 1: knows how to do it. Just the subject matters.

656
00:33:16,200 --> 00:33:20,360
Speaker 2: Really not my cup, No, dude, it shouldn't be your cup.

657
00:33:20,720 --> 00:33:23,800
Speaker 2: It should be nobody cup. And I ain't shaming when.

658
00:33:23,680 --> 00:33:26,600
Speaker 1: I say it, but that cup is do do the

659
00:33:26,680 --> 00:33:29,160
Speaker 1: cup really over pc

660
00:33:34,280 --> 00:33:34,320
Speaker 2: A