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Speaker 1: Too Much Information is a production of I Heart Radio.

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Speaker 1: Hello everyone, and welcome to Too Much Information, the show

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Speaker 1: that brings you the secret histories and little known fascinating

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Speaker 1: facts and figures behind your favorite TV shows, movies, music,

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Speaker 1: and more. I think I shuffled the order there. For

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Speaker 1: the first time ever, I wrote down a bunch of

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Speaker 1: outcasts slang for this, and I don't know how to

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Speaker 1: pronounce it. This is my intro to let you know

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Speaker 1: the first of many outcasts slang terms I will be

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Speaker 1: cramming into this episode. Uh, and I'm Alex Heigel and

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Speaker 1: I'm Jordan. Runto Jordan three thousand. You're Jordan three thousand,

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Speaker 1: and I'm Big and you're Big, Alice. We're talking about

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Speaker 1: one of the greatest songs of the twenty one century,

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Speaker 1: a perennial dance floor crowding classic whose brilliant performance and

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Speaker 1: airtight pop construction blies the bone deep existential and romance

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Speaker 1: dread at its core. That's right, we're talking about Outcast,

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Speaker 1: or more specifically, we're talking about Andre three thousands. Hey,

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Speaker 1: how many bands you get into with greatest hits? I

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Speaker 1: know that's like a pop critic faux paw. You mean,

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Speaker 1: how many bands I would actually buy their greatest hits album. No,

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Speaker 1: how many bands did you get into because you have

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Speaker 1: like the greatest hits because like for me, was Zeppelin

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Speaker 1: like early days, latter days, forty les, yeah, Echoes, yeah, yeah, echoes. Uh.

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Speaker 1: I'm sure there's got to be more Billy Joel Oh. Sure.

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Speaker 1: All of which is to say is that I got

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Speaker 1: into Outcast right when. I mean it was right after

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Speaker 1: Miss Jackson, so it was right around Stanconia. But I

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Speaker 1: didn't own that record until I go I actually got

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Speaker 1: the greatest Hits collection. And I don't think there's any

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Speaker 1: shame in that, because like, if you're a kid from

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Speaker 1: like suburban Pennsylvania, you don't get a lot of Atlanta rap.

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Speaker 1: So what is this record? It's called Dre and Big

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Speaker 1: Boy Present Outcast, Yes, And so that came out in

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Speaker 1: two thousand one, So then we still had a couple

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Speaker 1: of years before Speaker Box Love, Blow and Hey and yeah. Man.

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Speaker 1: When this song came out, I was just like this

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Speaker 1: is so good. But before that, I like, you know,

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Speaker 1: Miss Jackson is great. Do you are you not? Cast? Guy?

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Speaker 1: I don't know a lot of them beyond Bombs over

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Speaker 1: bag Dad, Miss Jackson, that song might be non twist.

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Speaker 1: Category that is one of the fastest rap songs one

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Speaker 1: six pm. Yeah, that's what someone I read online once

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Speaker 1: referred to as wrapping ass wrapping because it's so dim fast.

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Speaker 1: But you know, I'm sure that you, as a wedding DJ,

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Speaker 1: have thoughts on hey that extend past It's um, it's

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Speaker 1: a Harris why sure? Yeah, yeah, this was definitely a

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Speaker 1: guaranteed floor filler, and so I always look on it. Finally,

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Speaker 1: it's a weird one too, because it doesn't really sound dated.

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Speaker 1: It's so distinctly its own thing. And when you're a

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Speaker 1: wedding DJ, you're basically looking to play three categories of song. First,

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Speaker 1: you've got the contemporary top forty, which i'll loosely define

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Speaker 1: as anything released in the last three to five years.

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Speaker 1: Then you have the classics, your big Chill soundtrack, Motown,

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Speaker 1: your family friendly disco, James Brown, all that kind of stuff.

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Speaker 1: The real sweet spot is category three, which is the

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Speaker 1: stuff that's not old enough to be considered classic, but

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Speaker 1: songs that people sort of forgot about and then when

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Speaker 1: you play them, they're just thrilled to hear it again.

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Speaker 1: But you gotta be careful with those kind of songs

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Speaker 1: because if you miscalculate, you might just play a song

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Speaker 1: that's old and stale, which is like Sonic the Hedgehog

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Speaker 1: falling into the water. You're done. That's very bad. But like,

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Speaker 1: I don't know, A b Winehouse covering Valerie was a

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Speaker 1: big one for me when I was doing this consistently,

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Speaker 1: like a decade ago. I bet at this point we

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Speaker 1: found Love by Rihanna and Calvin Harris might be a

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Speaker 1: good example of that. Now that song is like ten

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Speaker 1: of eleven years old. But you people will be excited

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Speaker 1: to hear that again. You know what I heard once

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Speaker 1: at a wedding that blew my mind how many people

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Speaker 1: were in it? That fun song? Yeah, that bad. But

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Speaker 1: like if you play Uptown Funk, for example, that's just

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Speaker 1: straight up old like that would not that I mean,

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Speaker 1: people would like it, sure, but they're they're shame in that.

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Speaker 1: But anyway, it's an inexact science that relies mostly on

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Speaker 1: personal preference in the vibe of the room. But hey,

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Speaker 1: it was one of those rare songs that was somehow

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Speaker 1: always welcome, and in my experience it never really had

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Speaker 1: its old and stale phase. I mean, to trot out

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Speaker 1: an old, tired cliche. It was basically an instant classic.

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Speaker 1: And I think it's because sonically it wasn't of its time,

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Speaker 1: like you know that justin Bieber's scrillic song or some

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Speaker 1: of Vichy produced track. And it wasn't a pastiche like

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Speaker 1: Uptown Funk or one of those songs that made the

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Speaker 1: sound old. It was just its own, weird, singular thing,

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Speaker 1: drawing on everyone from the Beatles to Prints to the

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Speaker 1: Smith's apparently. I mean, these aren't obscure influences, but they're

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Speaker 1: assembled in a really equay. Yeah, And you know, it

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Speaker 1: may hearten you to know that in five thirty eight

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Speaker 1: of the Dat Had Driven Wonkery attempted to configure the

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Speaker 1: Ultimate Wedding Playlist, getting over a hundred submissions with more

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Speaker 1: than three thousand unique songs to populate this and hey,

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Speaker 1: I was number one. I mean, well deserved, I know.

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Speaker 1: It's just it's just like, let me ask you, this

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Speaker 1: is it the saddest song that also blows up weddings? Well,

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Speaker 1: you got Dancing Queen's. It's it's probably sadder than Dancing Queen.

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Speaker 1: But because it's specifically about the dissolution of a relationship.

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Speaker 1: It has to occupy a unique place, right you get

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Speaker 1: you get your things, like every breath you take. Because

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Speaker 1: I can't tell you how many first dances that songs

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Speaker 1: for me, and it's about basically so I mean people,

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Speaker 1: I mean, as we'll learn in this episode, people don't

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Speaker 1: listen to lyrics. That's shot. I always have a real

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Speaker 1: soft spot for the song if you'll indulge me for

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Speaker 1: a moment, because it features and one of my fault

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Speaker 1: time favorite memories from my high school experience. Uh, the

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Speaker 1: spring musical at my high school was a very big deal,

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Speaker 1: and in my junior year we were doing Grease. I

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Speaker 1: was Vince Fontane naturally, and I got to live out

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Speaker 1: my happy days, wonder years fantasy for a few months

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Speaker 1: as we all got dressed up in fifties outfits and

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Speaker 1: sang songs. It was great. And on the final day

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Speaker 1: of the show, we had a Sunday matinee and an

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Speaker 1: evening show that same night. So after the matinee show,

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Speaker 1: we all just stayed in our costumes all afternoon and

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Speaker 1: had this impromptu party outside of the auditorium right by

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Speaker 1: the football fields. It was like the end scene of Grease. Basically,

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Speaker 1: we're all in these fifties outfits. Someone ordered pizzas and

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Speaker 1: we just hung out, and someone had the bright idea

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Speaker 1: to get a bunch of cars and roll down all

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Speaker 1: the windows and turned their radios all to the same station,

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Speaker 1: so there's just sound playing everywhere. So there we were,

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Speaker 1: all dressed in these really dead on fifties outfits, dancing

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Speaker 1: in the parking lot the football field. Some adventurous people

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Speaker 1: climbed up the ladders onto the flat roof of the

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Speaker 1: school where it looks like some kind of like sixties

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Speaker 1: beach party movie. And there were two songs I remember

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Speaker 1: playing the Beatles, Twist and Shout and Hey Yeah, and

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Speaker 1: we're all just twisting in our poodle skirts and Cuban

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Speaker 1: shirts and whatever the hell I was wearing, and blazers

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Speaker 1: and spit curls and ponytails and doing a sock cop

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Speaker 1: outside to Hey, and it was great. So I will

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Speaker 1: I will always love this song for that reason. That's

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Speaker 1: so funny, because they had the whole video for Roses

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Speaker 1: is explicitly Greece well, and the Hey video too. Yeah,

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Speaker 1: that's true, although that's a little more sixte right, Yeah,

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Speaker 1: have have a line also goes um well from the

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Speaker 1: still ongoing debate about this song's time signature for the

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Speaker 1: marathon filming process. Mr three thousand referred to for the

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Speaker 1: video Please Andre. Mr three thousand was my father. So

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Speaker 1: the way this song temporarily forestalled the death of Polaroid,

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Speaker 1: here's everything you didn't know about. Hey, this this one's

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Speaker 1: called Hush that Fuss. I'm just gonna do every one

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Speaker 1: of these, every one of these section headers. Uh. In

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Speaker 1: the early days of the twenty one century, Outcast was

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Speaker 1: at a crossroads. They had made three records that made

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Speaker 1: them into a beloved, if not quite enormous rap act.

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Speaker 1: In the nineties. You know, they were huge in Atlanta,

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Speaker 1: but I don't think they've really had their big breakthrough

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Speaker 1: until Miss Jackson. Because fours I beg pardon Southern Playlistic,

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Speaker 1: Cadillac Music, Music's son playlists. I don't want to. I

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Speaker 1: can't wrap this stuff because I can't do the voice. Yeah,

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Speaker 1: I have to read it in like the Peewee Herman voice,

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Speaker 1: A t Aliens and Quemini. All these went platinum and

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Speaker 1: broke the Billboard two hundred and the US R and

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Speaker 1: Beach charts. But it's Stankonia that breaks them worldwide, you know,

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Speaker 1: so fresh and so clean, but also specifically Miss Jackson.

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Speaker 1: I remember when I saw him at Coachella when they

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Speaker 1: reunited and they did Miss Jackson and everyone in the

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Speaker 1: crowd is rapping to all lyrics until you get too

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Speaker 1: big boys vote verse and he does the B team

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Speaker 1: to the Bean b and it just the whole crowd

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Speaker 1: just dropped out. So it's like all of governors in

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Speaker 1: Park or whatever wherever it was held, was like rapping

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Speaker 1: along to every word that bar. No one could handle it.

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Speaker 1: But yeah, Stanconia puts them on the charts in Australia, Germany, Ireland,

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Speaker 1: New Zealand, Sweden, Switzerland, and the UK, going five times

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Speaker 1: platinum in the process, but in the inevitable downturn that

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Speaker 1: follows any kind of international success. Andre three thousand, who

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Speaker 1: has been loosely pigeonholed as the weird one of the

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Speaker 1: group because he was, you know, wearing football pads and

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Speaker 1: bright green pants and all manner of things. Uh, and

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Speaker 1: he was sort of the less traditional rapper. I mean,

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Speaker 1: it's really funny reading interviews with these two guys because

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Speaker 1: people have taught, like specifically to Andre, They're like, oh,

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Speaker 1: you're like the weird one on the group, and and

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Speaker 1: Andre's like big boys favorite artist is Kate Bush. I

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Speaker 1: didn't graduate high school. He graduated near the top of

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Speaker 1: their class. So it's just it's it's an interesting dynamic

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Speaker 1: that they've been like forced into. But anyway, he left

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Speaker 1: Atlanta to go to l A to pursue a career

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Speaker 1: as an actor, and he started working on a solo record,

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Speaker 1: which fortunately because the whole acting thing doing really paran.

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Speaker 1: Hey yeah, Hendrix, do you ever see Four Brothers, the

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Speaker 1: movie with him and Marquis Mark. Oh yeah, yeah, dude,

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Speaker 1: that must have been an awkward set. Anyway, he was

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Speaker 1: talking to XXL Andre and he he said, Uh, this

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Speaker 1: one was different because the way that I approached the writing,

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Speaker 1: I didn't want to rap on the songs. I wanted

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Speaker 1: the flow to be more melodic. It didn't start in

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Speaker 1: the studio because if you have a bunch of people around,

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Speaker 1: they're coming from the party and I'm in there singing

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Speaker 1: falsetto those vibes didn't match. So I found places to

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Speaker 1: sing without feedback, which was a solo pursuit. I think

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Speaker 1: he talked about this the first time he had pro

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Speaker 1: tools available at his house, so he was just like

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Speaker 1: demoing a bunch of stuff. He was basically making bedroom pop. Uh.

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Speaker 1: He had five songs in the bag, including Hay, which

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Speaker 1: was not called Hey at this point and had actually

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Speaker 1: been finished in the year two thousand. He wrote it

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Speaker 1: on the Stink, only a tour before he even told

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Speaker 1: Big Boy about anything. Meanwhile, Big Boy had already recorded

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Speaker 1: a batch of his own songs, and so the pair

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Speaker 1: they were going to put out their Clash, they were

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Speaker 1: gonna put out their Sandinista, They're gonna do two solo records,

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Speaker 1: or I guess more accurately, Kiss they were gonna do

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Speaker 1: put out two solo records. This was in two thousand four.

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Speaker 1: Andre his talking to Rolling Stone, he said The Love

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Speaker 1: Below was originally supposed to be a solo album. At

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Speaker 1: the last minute, management and the record company said it

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Speaker 1: wasn't a good time to do that, So Big Boy

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Speaker 1: did speaker Box. But I was taking so long to

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Speaker 1: finish The Love Below that he wanted to release that

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Speaker 1: as a solo album. So eventually, I guess between the

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Speaker 1: label and management and they're kind of interior discussions, they

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Speaker 1: settle on the idea of making a double album that

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Speaker 1: would sort of go through these. Each one of them

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Speaker 1: would have, like I guess, loose themes or a narrative

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Speaker 1: to it. Originally, I think he was sort of thinking

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Speaker 1: of this record as a soundtrack, he told Huffing to Post.

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Speaker 1: There was never a screenplay, but I did envision a

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Speaker 1: story about a guy that went to Paris, and each

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Speaker 1: song represented a different woman. The concept started off as songs.

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Speaker 1: Then I reached out to a buddy to talk about

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Speaker 1: filming it. We were green, and I didn't realize how

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Speaker 1: long it would take to get done. I do wonder

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Speaker 1: which of these women is Erica Badou because she's Miss Jackson,

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Speaker 1: or she's the woman who Miss Jackson's mom is supposed

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Speaker 1: to be. That's about as is my understanding. I heard

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Speaker 1: that they were trying to make a movie about the

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Speaker 1: Clem and I too, about the songs that Clem and

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Speaker 1: I and that fell through like almost and they kind

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Speaker 1: of got together for idlewhild which all right, who do

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Speaker 1: you text? Section? For this happy sad bop. Andre had

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Speaker 1: a really interesting set of inspirations in mind. He said,

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Speaker 1: the song isn't on up biographical, it's more like fantasies

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Speaker 1: or tangents based on real life moments from my life

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Speaker 1: spark a thought. When I'm writing the story was set

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Speaker 1: in the fifties, I don't want to get that grease thing.

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Speaker 1: So the song was me trying to do a Woody

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Speaker 1: Allen kind of thing, a humorous kind of honesty. This

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Speaker 1: is to the Helpington Post. He said, we actually reached

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Speaker 1: out to Woody Allen to appear in the video for

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Speaker 1: Hey Yeah, but his schedule didn't work. Though. Can you

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Speaker 1: imagine if he was like the host of like the

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Speaker 1: Ryan Phillippie part at the beginning of my video. I can't,

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Speaker 1: Oh my god. Musically, Andre told MPR, I had to

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Speaker 1: tell Aretha Franklin that Say a Little Prayer had a

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Speaker 1: lot to do with the song Hey Yeah. There's similar

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Speaker 1: time signatures. It's hard to explain, and we'll get into

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Speaker 1: the time signatures later. It's very hard to explain, but

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Speaker 1: listening to that song, the way the loop comes back around,

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Speaker 1: it's kind of how I devised Hey Yeah. And I

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Speaker 1: had to tell her that she's a big part of

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Speaker 1: that song. Imagine. I just can't imagine telling a Wretha Franklin,

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Speaker 1: like you inspired my song and she's like, who the

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Speaker 1: hell are you? Yeah, yeah. Andre also told The Guardian

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Speaker 1: in two thousand four that quote, believe it or not,

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Speaker 1: I was listening to a lot of punk bands like

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Speaker 1: the Buzzcocks and Ramons while I was making this record.

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Speaker 1: He also told MTV in two thousand three, quote, I

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Speaker 1: personally wish I would have written that Smith song. Last night.

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Speaker 1: I dreamt that somebody loved me, calling it genius, that

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Speaker 1: it's a great song. I get Ramons. I get buzz

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Speaker 1: Cocks a little bit too, because it's like power poppy.

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Speaker 1: But I get Ramons really because that's like they're just

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Speaker 1: doing fifties pop through barge amplifiers and the insane speed.

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Speaker 1: I mean, what's that mean. I don't know what heys

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Speaker 1: ppms are. It's probably not. I know. I never did

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Speaker 1: that DJ return tables. That was never. Yeah. Lyrically, hey is,

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Speaker 1: according to Andre, quote largely about the state of relations

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Speaker 1: in the two thousands. It's about people who stay together,

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Speaker 1: keeping relationships because of tradition because somebody told them you

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Speaker 1: guys should be together. But often you suffer because of

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Speaker 1: this for the rest of your life. He continued, So hey, yeah,

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Speaker 1: it's really about saying, get the hell out of here,

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Speaker 1: you know, we just live, and that's why the working

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Speaker 1: title of the song was thank God for Mom and Dad,

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Speaker 1: which is a line in the song, thank God for

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Speaker 1: mom and Dad for sticking together because we don't know

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Speaker 1: how we meaning people in the early two thousands when

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Speaker 1: the divorce rate was skyrocketing. And we mentioned this at

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Speaker 1: the top of the episode. It's funny how many songs

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Speaker 1: we've tackled on this podcast that have been really sad,

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Speaker 1: songs that sound happy or at least have a very

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Speaker 1: kind of dark underbelly. There's the melancholy of Dancing Queen,

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Speaker 1: the self destruction of Margharitaville, the end of Innocent's anthem

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Speaker 1: American Pie, and I guess I should say cappetite for destruction,

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Speaker 1: which is just a den of yeah and now this

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Speaker 1: and Outcasts even tweeted a meme from their official Twitter

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Speaker 1: account a few years ago, basically including a graph for

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Speaker 1: how we're supposed to react to Hey yeah. The first

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Speaker 1: fifth is simply a bob and the rest is thus

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Speaker 1: at a song ever written, and at its core, it's

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Speaker 1: a song about staying together in a bad, toxic relationship

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Speaker 1: because you're afraid of being alone. You know, My baby

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Speaker 1: don't mess around because she loves me, this I know

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Speaker 1: for sure, But does she really want to as in

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Speaker 1: mess around but can't stand to see any walk out

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Speaker 1: that door? And this whole notion of loneliness is addressed

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Speaker 1: with surprisingly poetic lyrics that are totally buried under the

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Speaker 1: buoyant production. I've heard this song a thousand times in

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Speaker 1: my life, and it wasn't until prepared for this episode

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Speaker 1: that I actually read them. If what they say is

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Speaker 1: nothing is forever, then what makes love the exception? Why

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Speaker 1: are we still in denial when we know we're not

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Speaker 1: happy here? That is an incredible line, and the arrangement

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Speaker 1: highlights it because everything drops out right there, you know,

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Speaker 1: happy God, Yeah, but everything before that. If what they

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Speaker 1: say is nothing is forever, that what makes love the exact? Yeah,

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Speaker 1: that's that's incredible to me. That's the keys. Some of

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Speaker 1: the people think that he's actually like this was kind

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Speaker 1: of about the struggles of outcasts stand together too. That's

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Speaker 1: just totally unfretts some genius where it's just like people

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Speaker 1: like writing with one hand, you know, and being like,

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Speaker 1: maybe he meant that, maybe you meant that. But after

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Speaker 1: all these really deep lines, he kind of undercuts this

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Speaker 1: whole notion by singing, you all don't want to hear me,

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Speaker 1: you just want to dance. And he's calling all of

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Speaker 1: the listeners out about being denial about the true meaning

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Speaker 1: of this song, just like the couple he's singing about

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Speaker 1: are in denial about their relationship. I just think it's

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Speaker 1: really clever what he does with the lyrics and the production,

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Speaker 1: as we'll talk about later, the actual chord progression to

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Speaker 1: this song, how it all signifies these really complex emotions

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Speaker 1: and themes in a way that just goes down so

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Speaker 1: easy they don't even notice. You know what else went

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Speaker 1: down easy was the tracking. Uh. He showed up at

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Speaker 1: the studio in December of two thousand two just with

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Speaker 1: an acoustic guitar as John Fry was the engineer in

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Speaker 1: the session, told MTV in two thousand four, Andre had

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Speaker 1: the bulk of it already conceptualized in his head. It

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Speaker 1: happened quite fast. We recorded the skeleton part, with the

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Speaker 1: intro and the first verse and hook all in one night. Uh.

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Speaker 1: And he said this is why, he said, I've never

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Speaker 1: seen him write anything down lyrically. What he likes to

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Speaker 1: do is drive around and live it and think about it,

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Speaker 1: and he comes in and says, ready, I can't remember

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Speaker 1: him ever coming in to do vocals unprepared. That's like

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Speaker 1: jay Z doesn't write down his rhymes either. And Uh.

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Speaker 1: Roger Ebert wrote his reviews fifteen minutes after seeing the movie,

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Speaker 1: and there's apparently a big backlog of stuff stashed from

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Speaker 1: these takes. Um I kept going. He was saying, we

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Speaker 1: recorded a lot of vocals and lived with them and

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Speaker 1: trashed them. Uh. There were so many different versions of

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Speaker 1: that song. If I had the files, I could let

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Speaker 1: you hear twenty different versions. We had one of the

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Speaker 1: verses with him singing through a vocoder, which how do

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Speaker 1: you describe a vocoder like this? Robotic? It's the to

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Speaker 1: do an impression, the daft punk sound, the daft pun Uh.

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Speaker 1: He said it was cool at the time, but it

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Speaker 1: didn't work. And this is one of my favorite bands

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Speaker 1: for I said the song didn't even really stand out

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Speaker 1: to him at the beginning. He said, by the time

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Speaker 1: Andrew got Andre got done with it, he had to

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Speaker 1: go back and check his FiOS to see if he

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Speaker 1: even worked on it. He was like, I don't remember

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Speaker 1: what song about was? So then Andrea's other vocals at

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Speaker 1: a place called Larabee Studios, also in l a and

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Speaker 1: a guy named Pete Novak said he would do thirty

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Speaker 1: or forty takes of each line, like Axel Rose and

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Speaker 1: Dusty Springfield. One of the many ways that two thousands

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Speaker 1: like Dusty Springfield. Uh yeah. Novac would say, all right,

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Speaker 1: I better put that one aside. That was a great performance,

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Speaker 1: and then he would come in and listen to them,

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Speaker 1: and the one he would like would be the one

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Speaker 1: I was about to erase. After a while working with him,

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Speaker 1: I said, I'm not even gonna try to read him.

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Speaker 1: But Novac knew that the shake it like a Polaroid

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Speaker 1: picture line. It was a classic from the start. He said.

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Speaker 1: When I was working, I would take on rough demos

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Speaker 1: to work on them. And when my girlfriend heard it,

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Speaker 1: she was like, what does that line mean? And Novac

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Speaker 1: did the hand motion, you know, waving the picture in

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Speaker 1: the air, and then it all made sense and she

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Speaker 1: was like, wait, that's a great line, and I guess

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Speaker 1: Andre Free associated the line about Beyonce and Lucy lou

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Speaker 1: One of the Beyonce's videos was on at the time

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Speaker 1: that he was writing his lyrics, and Lucy Lou I

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Speaker 1: assume was because Charlie's Angels was on I don't know,

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Speaker 1: or because on Ally mcbeil she's not. No. I actually so,

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Speaker 1: I actually tried to figure out which Beyonce video would

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Speaker 1: have been and if he was doing this in December

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Speaker 1: two oh three. Bonnie and Clyde was released in October

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Speaker 1: of two thousand two. So I guess we could say

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Speaker 1: with a degree of certainty because it damn sure wasn't

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Speaker 1: work it out from the Austin Powers track. Uh. So,

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Speaker 1: I guess we could say with some degree of statistical

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Speaker 1: certainty that it would be a three bonding cliente. And

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Speaker 1: as for Lucy Lou, I assume it was not Ballistic

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Speaker 1: Colan X versus sever co starring Antonio Bandada. Ah, let

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Speaker 1: me just check that again. What do you think it's

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Speaker 1: gotta be Charlie's Angel Yeah, I mean, I can't imagine

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Speaker 1: allmycbeel later seasons of Almybel being on in Chicago. She

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Speaker 1: was in Chicago in two thousand two. As what, I

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Speaker 1: don't know. I saw Chicago once because your mom made you.

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Speaker 1: I actually don't remember why I saw that. Um, Lucy Lou,

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Speaker 1: Philmography Cipher. Yeah, Ballistics X versus sever I told you,

399
00:21:44,680 --> 00:21:51,760
Speaker 1: in which she plays sever Jordan's obviously Christ up here

400
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Speaker 1: covered in flop sweat. You're not giving me a single

401
00:21:54,240 --> 00:21:58,639
Speaker 1: down the court night after night, caring you giving me

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00:21:58,680 --> 00:22:03,560
Speaker 1: a single damn thing to work on anyway. A few

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Speaker 1: evenings after the initial tracking, Andre returned to the song

404
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Speaker 1: with one of his favorite session musicians, a man by

405
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Speaker 1: the name of Kevin Kendricks, who played the bass part

406
00:22:11,200 --> 00:22:14,760
Speaker 1: on a synthesizer, and Kendricks played keys in the funk

407
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Speaker 1: band Cameo of Word Up Fame. Also, I love this one,

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Speaker 1: Andre calls, okay, now, ladies. The yeah is from one woman,

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Speaker 1: a woman the name of Rebecca to nine, an assistant

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Speaker 1: to the studio engineer whose voice is layered again and

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Speaker 1: again and again to make it sound like a crowd. Otherwise,

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Speaker 1: Andre's voice is the only one heard on this track.

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Speaker 1: I think he's everything else too. I think the other

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Speaker 1: guys just basse yeah yes, much like his outcast namesake

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Speaker 1: Possum Aluicious Jenkins. Andre is all things to all people.

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Speaker 1: As you meditate on that, we'll be right back with

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00:22:54,160 --> 00:23:06,600
Speaker 1: more too much information after these messages. Yeah, okay, So

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Speaker 1: now we have to get to the under the hood part.

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Speaker 1: We're gonna get in a little Rick Beatto music theory

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Speaker 1: YouTube song exploder. They welcome to song exploder. Uh number

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Speaker 1: one is the harmony of this song. Andre was just

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Speaker 1: learning guitar when he first wrote the song. He told

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Speaker 1: g Q that, hey, I uses literally the first chords

424
00:23:27,920 --> 00:23:30,960
Speaker 1: he learned on the instrument, which U, yeah, I feel

425
00:23:30,960 --> 00:23:33,480
Speaker 1: comfortable agreeing with that. It's like the first chords everyone

426
00:23:33,560 --> 00:23:37,199
Speaker 1: learns on the instrument G, C, D E. But this

427
00:23:37,200 --> 00:23:39,480
Speaker 1: is where it gets funny. So if you're learning guitar

428
00:23:39,520 --> 00:23:41,480
Speaker 1: and you learned all these with the with the jazz

429
00:23:41,560 --> 00:23:46,040
Speaker 1: wonks kind of derisively called cowboy chords, all the open shapes,

430
00:23:46,359 --> 00:23:47,920
Speaker 1: you pretty quickly learned how to do the one for

431
00:23:48,119 --> 00:23:54,080
Speaker 1: five progression. See if this is still in tune close

432
00:23:54,200 --> 00:23:56,880
Speaker 1: enough for government work. So the one four five progression,

433
00:23:57,400 --> 00:23:59,000
Speaker 1: you've heard it in every sense of the basis for

434
00:23:59,000 --> 00:24:02,040
Speaker 1: the twelve bar blues spaces for like folk songs in

435
00:24:02,080 --> 00:24:04,520
Speaker 1: the world, and in the key of G which hayou

436
00:24:04,720 --> 00:24:12,280
Speaker 1: is in, it's uh G see D all major. Now

437
00:24:13,880 --> 00:24:17,320
Speaker 1: what that means is that if you throw in an

438
00:24:17,320 --> 00:24:27,760
Speaker 1: E after that D, which does you know, So that's

439
00:24:27,800 --> 00:24:31,960
Speaker 1: called a deceptive cadence because normally the way that music

440
00:24:32,080 --> 00:24:35,119
Speaker 1: western harmony at least works is there are certain chords

441
00:24:35,119 --> 00:24:37,600
Speaker 1: that point quote unquote to the next chord, so you

442
00:24:37,720 --> 00:24:42,399
Speaker 1: expect it creates the sensation of movement, and the easiest

443
00:24:42,400 --> 00:24:44,000
Speaker 1: way to get back to your home court is by

444
00:24:44,040 --> 00:24:46,840
Speaker 1: putting the five in front of it. So G G

445
00:24:47,119 --> 00:24:50,440
Speaker 1: A B C D. The five of G is a D.

446
00:24:51,440 --> 00:24:58,800
Speaker 1: So you hear that g uh, you want it to

447
00:24:58,840 --> 00:25:03,080
Speaker 1: go back to the G. But but he throws that

448
00:25:03,280 --> 00:25:07,360
Speaker 1: e in there. That's what we call a deceptive harmony

449
00:25:07,560 --> 00:25:11,200
Speaker 1: in uh in music in Rick Peatto hashtag Peatto. Yeah,

450
00:25:11,200 --> 00:25:13,520
Speaker 1: so it's interesting. It's something that he It's like the

451
00:25:13,720 --> 00:25:15,479
Speaker 1: respect thing. It's like when they were like, we need

452
00:25:15,520 --> 00:25:17,720
Speaker 1: a bridge for respect, and so they threw the bridge

453
00:25:17,720 --> 00:25:20,240
Speaker 1: in from another song they had just played, and it

454
00:25:20,320 --> 00:25:25,440
Speaker 1: unexpectedly works perfectly in like a semi complex modulation. Love

455
00:25:25,440 --> 00:25:29,000
Speaker 1: it happy little accidents, just like Bob Ross bringing it back. Yeah,

456
00:25:29,080 --> 00:25:31,399
Speaker 1: I mean, it's the thing that's cool about is that

457
00:25:31,480 --> 00:25:33,960
Speaker 1: it really throws off the sense of expectation and it

458
00:25:34,040 --> 00:25:37,520
Speaker 1: keeps the audience interested. And that's what the best pop

459
00:25:37,560 --> 00:25:39,600
Speaker 1: songs do, is that it kind of plays with your

460
00:25:39,600 --> 00:25:43,840
Speaker 1: expectation and teases you a bit, but in a way

461
00:25:43,880 --> 00:25:45,960
Speaker 1: that's new and fresh, because I mean, if it just

462
00:25:46,240 --> 00:25:49,159
Speaker 1: was that standard, you know, one four or five progression,

463
00:25:49,520 --> 00:25:53,840
Speaker 1: that's a million different songs. That's blue suede shoes that shake,

464
00:25:53,920 --> 00:25:58,760
Speaker 1: rattle and roll, that's every early rock song you've ever heard. Yeah,

465
00:25:59,000 --> 00:26:01,160
Speaker 1: you know, it's not every rock song you've ever heard.

466
00:26:01,240 --> 00:26:05,160
Speaker 1: Eleven four. Oh yeah, this is one of those things

467
00:26:05,160 --> 00:26:07,920
Speaker 1: that I feel like gets on listicles all the time,

468
00:26:08,000 --> 00:26:11,040
Speaker 1: like twenties songs. You never knew. We're in an odd

469
00:26:11,040 --> 00:26:14,760
Speaker 1: time signature. Obviously, I just could say that's a listical

470
00:26:14,840 --> 00:26:16,880
Speaker 1: I've never seen, but oh no, I feel like I've

471
00:26:16,880 --> 00:26:20,119
Speaker 1: seen it a hundred times. One is um obviously is

472
00:26:20,160 --> 00:26:24,320
Speaker 1: take five by the Dave Brewbette. Yeah. But the other

473
00:26:24,359 --> 00:26:28,200
Speaker 1: one that I always see is if I remember this

474
00:26:28,280 --> 00:26:33,960
Speaker 1: baseline money, Oh, it's like seven eight Yeah, Okay, I

475
00:26:33,960 --> 00:26:37,040
Speaker 1: can't play that, don't put that in. Yeah it's seven four. Um.

476
00:26:37,080 --> 00:26:39,520
Speaker 1: But so everyone says this is in eleven four, but

477
00:26:39,600 --> 00:26:41,240
Speaker 1: that's not accurate. I mean, that's the thing. You don't

478
00:26:41,240 --> 00:26:44,240
Speaker 1: count this song in eleven It's three measures of four,

479
00:26:45,640 --> 00:26:48,159
Speaker 1: one of two four and then two more four so

480
00:26:48,240 --> 00:26:50,399
Speaker 1: that adds up to twenty two beats, which is why

481
00:26:50,480 --> 00:26:53,159
Speaker 1: people say it's in eleven four. But that's not true

482
00:26:53,240 --> 00:26:57,640
Speaker 1: because most odd meters are counted in groups of an

483
00:26:57,640 --> 00:27:02,240
Speaker 1: odd plus an even. So you here five four, you

484
00:27:02,280 --> 00:27:04,879
Speaker 1: can count it as one two, one two three or

485
00:27:05,000 --> 00:27:08,760
Speaker 1: one two three one two. Take five is about but

486
00:27:11,520 --> 00:27:14,680
Speaker 1: that's one two three, one two, one two three one two.

487
00:27:16,040 --> 00:27:20,000
Speaker 1: He's the one that probably I would count that as

488
00:27:20,040 --> 00:27:22,480
Speaker 1: one two one two one two three. So anyway, that's

489
00:27:22,520 --> 00:27:24,360
Speaker 1: how you get. But but that's not what he does

490
00:27:24,400 --> 00:27:26,920
Speaker 1: because all of these are in four. It's one two

491
00:27:26,920 --> 00:27:29,800
Speaker 1: three four two two three four three two three four

492
00:27:29,920 --> 00:27:33,080
Speaker 1: one two, and then he starts back over in four.

493
00:27:33,240 --> 00:27:37,040
Speaker 1: So all of this is to say you can count

494
00:27:37,040 --> 00:27:39,679
Speaker 1: the whole song in four, as long as you remember

495
00:27:39,720 --> 00:27:42,960
Speaker 1: to put the one bar of two into the all

496
00:27:43,000 --> 00:27:45,440
Speaker 1: of which forestalls the fact that he counts the song

497
00:27:45,520 --> 00:27:50,960
Speaker 1: off in four. Three. Oh yeah, that's right. How do

498
00:27:51,080 --> 00:27:54,200
Speaker 1: people like? It's eleven? It counts it all its starts

499
00:27:54,200 --> 00:27:59,840
Speaker 1: the song in Jesus Christ beatto. Yeah, we mentioned earlier

500
00:28:00,000 --> 00:28:02,600
Speaker 1: at Aretha Franklin's version. If I Say a Little Prayer

501
00:28:02,760 --> 00:28:06,080
Speaker 1: by Backrack was a huge influence on this song, and

502
00:28:06,119 --> 00:28:08,760
Speaker 1: it uses a similar set of tricks on the chorus

503
00:28:08,960 --> 00:28:12,840
Speaker 1: Forever Forever stand yo huh, and I Will Love You.

504
00:28:13,160 --> 00:28:16,320
Speaker 1: That whole part of the verses are written in four four,

505
00:28:16,480 --> 00:28:19,040
Speaker 1: and there's a measure of two four followed by three

506
00:28:19,040 --> 00:28:21,480
Speaker 1: measures of four four, And the chorus is played in

507
00:28:21,480 --> 00:28:24,119
Speaker 1: the pattern of a measure of four four, a measure

508
00:28:24,119 --> 00:28:26,720
Speaker 1: of three four, and a measure of four four, with

509
00:28:26,760 --> 00:28:30,640
Speaker 1: both of these patterns repeating themselves throughout their respective sections.

510
00:28:30,720 --> 00:28:34,400
Speaker 1: So these patterns are sometimes analyzed as emulating ten four

511
00:28:34,400 --> 00:28:37,960
Speaker 1: in the verses and eleven four in the choruses. Oh no,

512
00:28:38,360 --> 00:28:40,400
Speaker 1: I've gone crossed. I was gonna say this is the

513
00:28:40,400 --> 00:28:42,480
Speaker 1: most in the weeds we've gotten about. Well, I guess

514
00:28:42,520 --> 00:28:45,360
Speaker 1: the respect thing when we talked about the bridge that

515
00:28:45,400 --> 00:28:47,480
Speaker 1: got a little into it. But this is the first

516
00:28:47,520 --> 00:28:53,960
Speaker 1: time I've had an instrument. Yeah, getting back to the

517
00:28:54,000 --> 00:28:56,040
Speaker 1: court progression. I just think it's interesting that they use

518
00:28:56,120 --> 00:29:00,920
Speaker 1: a deceptive cadence considering the you know, deceptively eepen mournful

519
00:29:01,000 --> 00:29:06,680
Speaker 1: lyrics in this very up, up beat, up tempo poppy song. Musically,

520
00:29:06,720 --> 00:29:08,640
Speaker 1: it leaves you hanging. It leaves you in a state

521
00:29:08,680 --> 00:29:10,880
Speaker 1: of limbo, just like the couple in the song. It's

522
00:29:11,080 --> 00:29:13,480
Speaker 1: really clever. Did you know why even the one Beatles

523
00:29:13,480 --> 00:29:15,760
Speaker 1: one is called when you go to the if here

524
00:29:15,800 --> 00:29:19,720
Speaker 1: and see and you go to the four the Beatles one,

525
00:29:19,760 --> 00:29:24,560
Speaker 1: as you do, you'd make that major chord minor before

526
00:29:24,600 --> 00:29:27,320
Speaker 1: you go back to one. They call it a backdoor cadence.

527
00:29:28,120 --> 00:29:30,760
Speaker 1: I was like what they did on them for me

528
00:29:30,840 --> 00:29:33,479
Speaker 1: to you that I got so long to hold. They

529
00:29:33,480 --> 00:29:35,160
Speaker 1: were very proud of that. I said that was like

530
00:29:35,160 --> 00:29:40,960
Speaker 1: the first minor chord because they like hanal sex commercial break.

531
00:29:43,920 --> 00:29:45,560
Speaker 1: I had that one in my pocket the whole time

532
00:29:47,640 --> 00:29:49,920
Speaker 1: all the society as we touched on earlier. Hey, Yeah,

533
00:29:49,960 --> 00:29:52,880
Speaker 1: it wasn't even the song's original title. At one point

534
00:29:52,880 --> 00:29:55,160
Speaker 1: it was called thank God for Mom and Dad and

535
00:29:55,400 --> 00:29:58,840
Speaker 1: Cee Lo Green, who was an associate of Outcasts. Another

536
00:29:58,880 --> 00:30:03,400
Speaker 1: fellow at Lantem told Okay Player that when he first

537
00:30:03,400 --> 00:30:06,200
Speaker 1: heard an unfinished version of Hey, it was called the

538
00:30:06,400 --> 00:30:10,160
Speaker 1: Ingredients of a Camp. I wonder if putting us on

539
00:30:10,240 --> 00:30:13,040
Speaker 1: with that maybe, I don't know. There's a whole part

540
00:30:13,040 --> 00:30:14,840
Speaker 1: about the song about you know, just winning you in

541
00:30:14,920 --> 00:30:20,160
Speaker 1: his caddy, So yeah, I don't know. Anyway, Speaking of

542
00:30:20,200 --> 00:30:23,040
Speaker 1: the Beatles, this brings us to the video for the song,

543
00:30:23,080 --> 00:30:25,760
Speaker 1: which is obviously a play on the Beatles performance if

544
00:30:25,760 --> 00:30:27,880
Speaker 1: I want to hold your hand on the Ed Sullivan Show.

545
00:30:28,600 --> 00:30:32,480
Speaker 1: This whole notion was the idea of director Brian Barber,

546
00:30:32,920 --> 00:30:37,960
Speaker 1: and Andre amazingly had never seen the iconic clip of

547
00:30:38,040 --> 00:30:40,880
Speaker 1: the Beatles on Sullivan, which I find hard to believe.

548
00:30:41,160 --> 00:30:44,400
Speaker 1: Barbara told MTV in two thousand three. Andre was really

549
00:30:44,440 --> 00:30:46,600
Speaker 1: into it, but he never wants to repeat anything, so

550
00:30:46,640 --> 00:30:49,520
Speaker 1: he said, let's not do Sullivan. Let's make it seem

551
00:30:49,560 --> 00:30:53,520
Speaker 1: like the Americans invaded England. That's why the Love Below

552
00:30:53,560 --> 00:30:56,120
Speaker 1: band is performing on an English show in the video,

553
00:30:56,480 --> 00:30:58,960
Speaker 1: but listening the same kind of wild response that the

554
00:30:59,000 --> 00:31:01,600
Speaker 1: Beatles did when they was played on Sliva's program in

555
00:31:01,600 --> 00:31:06,719
Speaker 1: February of ninety four. Apparently, director Brian Barber wasn't allowed

556
00:31:06,760 --> 00:31:09,680
Speaker 1: to hear the song until the morning they started filming

557
00:31:09,680 --> 00:31:13,760
Speaker 1: the video for a Yeah, which must have added untold

558
00:31:13,920 --> 00:31:16,800
Speaker 1: logistical headaches, but he said it was the first time

559
00:31:16,840 --> 00:31:18,840
Speaker 1: he worked on a video where he wasn't sick of

560
00:31:18,880 --> 00:31:21,920
Speaker 1: the song by the end of it, so it worked

561
00:31:21,920 --> 00:31:24,600
Speaker 1: out well. I guess that's a shade and a lot

562
00:31:24,640 --> 00:31:28,160
Speaker 1: of other people, especially let's look at his videography for

563
00:31:28,160 --> 00:31:30,440
Speaker 1: a moment well right before that, it was ludicrous, then

564
00:31:30,480 --> 00:31:34,440
Speaker 1: Macy Gray, then J. C. Chaz Chas shot Chas is

565
00:31:35,320 --> 00:31:38,040
Speaker 1: he of Late of n Sync. The song Blowing Me

566
00:31:38,160 --> 00:31:41,160
Speaker 1: Up Comma with Her Love. This song was filmed over

567
00:31:41,200 --> 00:31:43,600
Speaker 1: two days in August on a sound stage at the

568
00:31:43,680 --> 00:31:46,840
Speaker 1: Universal Studio lot in l A and the non Andre

569
00:31:47,040 --> 00:31:52,480
Speaker 1: aspects of the video included one hundred female extras who screamed, screaming,

570
00:31:52,680 --> 00:31:56,360
Speaker 1: screaming female extras, and Ryan Philippi, friend of the pod.

571
00:31:56,520 --> 00:32:03,800
Speaker 1: Ryan Philippi uh In probably legally blonde right probably mentioned

572
00:32:03,880 --> 00:32:08,080
Speaker 1: him is in his his res adjacent capacity, which makes

573
00:32:08,160 --> 00:32:13,040
Speaker 1: him a friend of the pot twice. But Andre obviously

574
00:32:13,080 --> 00:32:16,320
Speaker 1: had the He did the lord's work on this music video.

575
00:32:16,360 --> 00:32:19,720
Speaker 1: He was playing Um Deep Breath. Here, the band leader

576
00:32:19,800 --> 00:32:23,520
Speaker 1: Ice Cold, the guitarist Johnny Vulture, the backup trio the

577
00:32:23,600 --> 00:32:29,240
Speaker 1: Love Haters, bassist Possum Jenkins, the drummer's name Dukie Blossom

578
00:32:29,360 --> 00:32:33,600
Speaker 1: Gain the third, and the keyboardist Benjamin Andre. And so

579
00:32:33,680 --> 00:32:35,600
Speaker 1: each one of those they had to film three angles

580
00:32:35,600 --> 00:32:39,440
Speaker 1: of those performances for coverage. So that's eight characters times

581
00:32:39,640 --> 00:32:43,040
Speaker 1: up to three times. That's at least as many as

582
00:32:43,040 --> 00:32:47,600
Speaker 1: twenty four uh separate performances in two days, and uh,

583
00:32:47,640 --> 00:32:51,080
Speaker 1: he hadn't worked any of this out beforehand, so he

584
00:32:51,320 --> 00:32:54,080
Speaker 1: just he just went. I think they did the lead

585
00:32:54,120 --> 00:32:56,560
Speaker 1: singer one first, so all of his dancing, he was

586
00:32:56,640 --> 00:32:58,400
Speaker 1: fresh for it. And then I think I think I

587
00:32:58,480 --> 00:33:01,000
Speaker 1: read that Barbara said, Uh, the last thing he did

588
00:33:01,080 --> 00:33:03,960
Speaker 1: was Yeah, it was him, uh sitting down, which he

589
00:33:04,120 --> 00:33:08,560
Speaker 1: was very excited to do, telling you, man, sitting down

590
00:33:08,640 --> 00:33:12,360
Speaker 1: is while playing music is where it's at. Yeah, standards

591
00:33:12,440 --> 00:33:16,480
Speaker 1: for suckers. Apparently he worked really hard trying to learn

592
00:33:16,520 --> 00:33:18,680
Speaker 1: the proper way to finger his bass part, so that

593
00:33:18,760 --> 00:33:24,440
Speaker 1: is miming looked as authentic as possible Rick and Bucker bass. Yeah. Yeah,

594
00:33:25,120 --> 00:33:27,680
Speaker 1: and they achieved all the multiple take things by using

595
00:33:28,120 --> 00:33:31,000
Speaker 1: I don't know what the actual system is, but it

596
00:33:31,080 --> 00:33:34,000
Speaker 1: must have been akin to the one that David Cronenberg

597
00:33:34,080 --> 00:33:37,240
Speaker 1: used on Dead Ringers. That's one where Jeremy Iron plays twins,

598
00:33:37,680 --> 00:33:39,840
Speaker 1: and it was basically this. I think at the time

599
00:33:39,880 --> 00:33:42,840
Speaker 1: it was much more novel than when they were making

600
00:33:42,880 --> 00:33:45,760
Speaker 1: the Heyo video. But you basically program the same set

601
00:33:45,760 --> 00:33:47,280
Speaker 1: of moves on a camera and put it on a

602
00:33:47,360 --> 00:33:50,360
Speaker 1: track so that they will repeat the exact same moves

603
00:33:50,400 --> 00:33:53,440
Speaker 1: with like metronomic precision over the course of multiple takes.

604
00:33:54,440 --> 00:33:57,560
Speaker 1: But it must be said that Phil Collins had done

605
00:33:57,560 --> 00:34:00,280
Speaker 1: the whole playing a whole band by himself thing, much

606
00:34:00,320 --> 00:34:03,560
Speaker 1: like the Simpsons. Phil Collins the constant it for his

607
00:34:03,720 --> 00:34:09,360
Speaker 1: video for Two Hearts, and Paul McCartney did something similar

608
00:34:09,400 --> 00:34:11,719
Speaker 1: for the Coming Up video in ninety nine, but he

609
00:34:11,800 --> 00:34:14,200
Speaker 1: had some help from Linda. But it's a great video.

610
00:34:14,920 --> 00:34:18,960
Speaker 1: Mm hmm. What do people think the first music video is?

611
00:34:19,640 --> 00:34:21,560
Speaker 1: Was it video Killed? Now? That was the first one.

612
00:34:23,320 --> 00:34:25,600
Speaker 1: I mean you could take it all the way back

613
00:34:25,680 --> 00:34:28,560
Speaker 1: to the stuff that the Beatles were doing with like

614
00:34:28,600 --> 00:34:31,879
Speaker 1: Michael Lindsay Hog pre Get Back a rock and roll

615
00:34:31,920 --> 00:34:34,640
Speaker 1: circus the sixties. There were a lot of like avant

616
00:34:34,640 --> 00:34:40,720
Speaker 1: garde already videos and that accompanied singles who had happy Jack,

617
00:34:41,239 --> 00:34:44,000
Speaker 1: which was what they were like breaking into a bank

618
00:34:44,120 --> 00:34:46,359
Speaker 1: or something I forget. Yeah, I mean they went back

619
00:34:46,360 --> 00:34:49,560
Speaker 1: into the sixties. My to me, it starts with the

620
00:34:49,560 --> 00:34:52,880
Speaker 1: Beatles doing Paperback Writer and Rain. Michael Lindsay Hogg directed

621
00:34:52,920 --> 00:34:58,360
Speaker 1: him in color, really professionally done. Um, I'm sure there

622
00:34:58,400 --> 00:35:00,960
Speaker 1: are earlier ones that you could make an argument for that,

623
00:35:01,080 --> 00:35:03,319
Speaker 1: but those are the ones that really feel like they

624
00:35:03,360 --> 00:35:05,640
Speaker 1: belong on MTV and they wouldn't look out of place

625
00:35:05,719 --> 00:35:07,920
Speaker 1: as opposed to some of these others that are black

626
00:35:07,920 --> 00:35:12,640
Speaker 1: and white a little lower quality. Buggles was seventy nine. Yeah,

627
00:35:12,680 --> 00:35:15,200
Speaker 1: I mean they're I mean, you've got the Boat Rhapsody videos,

628
00:35:16,840 --> 00:35:18,960
Speaker 1: so I mean they had them as a promotion. I

629
00:35:19,000 --> 00:35:21,320
Speaker 1: mean we talked about on the Brave litld Toast episode.

630
00:35:21,320 --> 00:35:22,920
Speaker 1: The Van Dyke Parks was the head of the audio

631
00:35:23,040 --> 00:35:25,840
Speaker 1: visual department at Warner Brothers in seventy It was the

632
00:35:25,880 --> 00:35:30,120
Speaker 1: first department at a major record label that existed to

633
00:35:30,160 --> 00:35:32,239
Speaker 1: basically make videos. I mean, it was something that had

634
00:35:32,280 --> 00:35:36,080
Speaker 1: been around since the mid sixties, since the Beatles couldn't

635
00:35:36,120 --> 00:35:38,120
Speaker 1: be everywhere at once and they had to send these

636
00:35:38,200 --> 00:35:41,479
Speaker 1: videos out. But in terms of the actual first one,

637
00:35:41,960 --> 00:35:44,400
Speaker 1: I'm gonna I'm gonna say it now, I'm gonna say

638
00:35:44,800 --> 00:35:47,160
Speaker 1: feels Paperback Writer. That really feels right to me. I

639
00:35:47,200 --> 00:35:50,400
Speaker 1: know they had earlier ones with day Tripper, but uh,

640
00:35:50,920 --> 00:35:54,759
Speaker 1: that one just feels like the most finished, the most complete, right, Well,

641
00:35:54,840 --> 00:35:59,279
Speaker 1: do you count Silly Symphonies, Mary Melodies? Uh, well, then

642
00:35:59,280 --> 00:36:02,520
Speaker 1: you get into like and Asia and yeah, and then

643
00:36:02,560 --> 00:36:05,880
Speaker 1: just right, okay, all right, all right, of course you

644
00:36:05,960 --> 00:36:14,640
Speaker 1: called it for the Beatles, uh, speaking of nothing, speaking

645
00:36:14,840 --> 00:36:21,720
Speaker 1: of style, as Andre three thousand also asked Ralph Lauren

646
00:36:21,760 --> 00:36:25,520
Speaker 1: to appear in the video. I guess because the backup

647
00:36:25,560 --> 00:36:30,880
Speaker 1: singers exactly. They were a nod to Ralph. And this

648
00:36:30,960 --> 00:36:33,279
Speaker 1: is Andre speaking the Daily Mail in two thousand eight.

649
00:36:33,440 --> 00:36:36,360
Speaker 1: People are always commenting on the green Tartan trousers I

650
00:36:36,400 --> 00:36:39,160
Speaker 1: wore in the Hey Yeah video. I designed those using

651
00:36:39,200 --> 00:36:42,120
Speaker 1: fabric I found in my hometown. I got a seamstress

652
00:36:42,160 --> 00:36:43,919
Speaker 1: to sew them up for me. And then the year

653
00:36:43,960 --> 00:36:45,920
Speaker 1: the single came out, I started to see more and

654
00:36:45,960 --> 00:36:49,080
Speaker 1: more green and people's collections. I don't know about that,

655
00:36:49,160 --> 00:36:52,479
Speaker 1: but we'll give it. I do love his style. He's

656
00:36:52,960 --> 00:36:57,560
Speaker 1: dressed so amazingly. But I completely forgot about this. In

657
00:36:57,600 --> 00:37:02,520
Speaker 1: the middle of all this fashion and multi andre um,

658
00:37:02,560 --> 00:37:05,520
Speaker 1: there's a coffin full of flowers on the stage. Do

659
00:37:05,560 --> 00:37:08,719
Speaker 1: you remember that? I totally missed that until I rewatched it.

660
00:37:09,239 --> 00:37:12,360
Speaker 1: You're reading this and Barbara said, we originally had a

661
00:37:12,360 --> 00:37:14,840
Speaker 1: totally different song and a different idea for the video

662
00:37:14,920 --> 00:37:17,960
Speaker 1: that involved a casket, but we decided we should keep

663
00:37:18,000 --> 00:37:21,040
Speaker 1: it anyway, since The name of the album is The

664
00:37:21,160 --> 00:37:26,719
Speaker 1: Love Below, which kind of ties in he said. He said,

665
00:37:26,719 --> 00:37:28,759
Speaker 1: the album is about a guy searching for his love,

666
00:37:28,960 --> 00:37:31,760
Speaker 1: his love of music, women, his mother, and we wanted

667
00:37:31,800 --> 00:37:33,960
Speaker 1: to bring in the casket to play up the theme

668
00:37:34,000 --> 00:37:36,759
Speaker 1: of this guy wondering is love dead and can re

669
00:37:36,760 --> 00:37:39,680
Speaker 1: revive it? I think they just spent the money and

670
00:37:40,239 --> 00:37:43,080
Speaker 1: orm already had moved the thing onto the sound stage,

671
00:37:43,200 --> 00:37:46,879
Speaker 1: and the teamsters wanted over time to move it back out.

672
00:37:48,320 --> 00:37:50,799
Speaker 1: Either way, you can't argue with results, folks. The clip

673
00:37:50,880 --> 00:37:52,960
Speaker 1: one Video of the Year honors in two thousand four

674
00:37:52,960 --> 00:37:56,000
Speaker 1: at the BT Awards, the Soul Train Music Awards, and

675
00:37:56,120 --> 00:37:58,880
Speaker 1: the MTV v M A s which we are taping

676
00:37:58,920 --> 00:38:04,120
Speaker 1: this on the very evening of in two thousand Instead

677
00:38:04,160 --> 00:38:08,240
Speaker 1: of watching, I just want to read this yet another

678
00:38:08,440 --> 00:38:12,120
Speaker 1: outcast character name. Maybe not as good as Possums Allu

679
00:38:12,120 --> 00:38:19,560
Speaker 1: Wishous Jenkins, but Francis the Savannah chitlind Pimp. It's gonna

680
00:38:19,600 --> 00:38:22,239
Speaker 1: let you read all these It's just say sound like

681
00:38:22,320 --> 00:38:25,399
Speaker 1: it's like Southern, It's like hip hop, Monty Python. It's

682
00:38:25,440 --> 00:38:30,319
Speaker 1: so it's so absurd, even though it debuted after the

683
00:38:30,360 --> 00:38:33,359
Speaker 1: previous single, The Way You Move Heyak quickly shot up

684
00:38:33,360 --> 00:38:37,040
Speaker 1: the charts, where it stayed at number one for nine weeks.

685
00:38:37,560 --> 00:38:39,840
Speaker 1: It was the first song to reach one million downloads

686
00:38:39,840 --> 00:38:42,880
Speaker 1: on iTunes. And this is really interesting because although iTunes

687
00:38:42,960 --> 00:38:45,480
Speaker 1: launched in two thousand one, two thou three was the

688
00:38:45,560 --> 00:38:48,880
Speaker 1: year that it was made Windows compatible, which at that

689
00:38:48,960 --> 00:38:53,160
Speaker 1: point was by far and away the more popular operating system,

690
00:38:53,160 --> 00:38:55,880
Speaker 1: so that truly made it universal. And it's hard to

691
00:38:55,920 --> 00:38:58,360
Speaker 1: express how revolutionary it was at the time to be

692
00:38:58,400 --> 00:39:01,920
Speaker 1: able to legally download a sing Goal seven direct to

693
00:39:01,920 --> 00:39:05,200
Speaker 1: your computer for just cents without having the shell out

694
00:39:05,239 --> 00:39:08,480
Speaker 1: for the whole album. So in the year the iTunes

695
00:39:08,560 --> 00:39:11,560
Speaker 1: became a general platform and iPods or flying off the shelves,

696
00:39:11,640 --> 00:39:14,800
Speaker 1: Hey Yeah, it became ubiquitous. And this was also the

697
00:39:14,880 --> 00:39:17,440
Speaker 1: year fifty cents, Get Rich or Die Trying, which was

698
00:39:17,480 --> 00:39:20,839
Speaker 1: emblematic of the gangster rap phase at the time. Hey

699
00:39:20,920 --> 00:39:25,080
Speaker 1: Yeah basically ignored the sound of the streets entirely. Andrea

700
00:39:25,120 --> 00:39:27,840
Speaker 1: says that when he sent hey at radio, he purposely

701
00:39:27,960 --> 00:39:30,719
Speaker 1: didn't tell people who it was by He said this

702
00:39:30,840 --> 00:39:33,120
Speaker 1: the NPR. He said, if we put the name outcast

703
00:39:33,160 --> 00:39:35,640
Speaker 1: on it, it would have been judged differently, which is true,

704
00:39:36,520 --> 00:39:39,680
Speaker 1: and because of his genre agnostic sound, It hit a

705
00:39:39,840 --> 00:39:43,120
Speaker 1: number of different charts simultaneously, which added to is ubiquity,

706
00:39:43,400 --> 00:39:45,120
Speaker 1: not just the hot R and B and hip hop

707
00:39:45,160 --> 00:39:48,319
Speaker 1: singles and tracks, but also the Top forty mainstream and

708
00:39:48,480 --> 00:39:52,840
Speaker 1: the adult Top forty and Billboards Alternative Songs charts. So

709
00:39:52,920 --> 00:39:56,640
Speaker 1: that's really interesting to me. And it's genre fluidity has

710
00:39:56,719 --> 00:39:59,200
Speaker 1: meant that has been covered by a very wide spectrum

711
00:39:59,239 --> 00:40:02,480
Speaker 1: of artists. The blows my mind everyone from Wheezer to

712
00:40:02,600 --> 00:40:06,120
Speaker 1: book or t and the MG's to Miley Cyrus. Name

713
00:40:06,160 --> 00:40:10,680
Speaker 1: another song that all those people and like every ass

714
00:40:10,880 --> 00:40:13,719
Speaker 1: in a college quad with an acoustic guitars, this and

715
00:40:13,880 --> 00:40:16,400
Speaker 1: what I got by Sublime, You will never in a

716
00:40:16,520 --> 00:40:20,319
Speaker 1: million years with all of midas is Gold and all

717
00:40:20,400 --> 00:40:24,879
Speaker 1: of King Solomon's wisdom. Ever, guess what the second most

718
00:40:24,880 --> 00:40:28,880
Speaker 1: popular track on iTunes was in two thousand three, Never

719
00:40:29,360 --> 00:40:34,880
Speaker 1: give Me the smallest hint you can um not end. Yeah,

720
00:40:35,200 --> 00:40:40,439
Speaker 1: but so so close. She has number four, Number two

721
00:40:41,480 --> 00:40:44,960
Speaker 1: Fallen by Sarah McLaughlin, a Sarah McLaughlin song, I do

722
00:40:45,000 --> 00:40:51,160
Speaker 1: not remember number two no fall in as in like

723
00:40:51,280 --> 00:40:55,359
Speaker 1: past tense, like someone who fell. I don't remember this song.

724
00:40:55,680 --> 00:40:58,759
Speaker 1: Apparently the number one album was Jack Johnson that makes

725
00:40:58,760 --> 00:41:03,120
Speaker 1: on and on. Yeah. Wow, that's funny time capsule. If

726
00:41:03,160 --> 00:41:07,319
Speaker 1: I could put time in a bottle. Uh fun fact. Hey.

727
00:41:07,400 --> 00:41:10,879
Speaker 1: I was determined by Billboard in January two so just

728
00:41:10,920 --> 00:41:12,759
Speaker 1: this year. So this is up to date to be

729
00:41:12,880 --> 00:41:17,120
Speaker 1: one of just thirteen number one hits in the twenty

730
00:41:17,160 --> 00:41:21,800
Speaker 1: one century to have only one credited writer the other twelve.

731
00:41:23,440 --> 00:41:27,040
Speaker 1: I can't believe it starts with this Vertical Horizons Everything

732
00:41:27,080 --> 00:41:29,759
Speaker 1: you Want from the year two thousand, next up Matchbox

733
00:41:29,800 --> 00:41:33,880
Speaker 1: Twenties Bent Rob Thomas also from the year two thousand,

734
00:41:33,920 --> 00:41:37,800
Speaker 1: Alicia Key's Fallen two thousand one, Nickelback's How You Remind

735
00:41:37,880 --> 00:41:41,560
Speaker 1: Me from two thousand one. Also a song called bad

736
00:41:41,719 --> 00:41:46,440
Speaker 1: Day from two thousand six written by Daniel had a

737
00:41:46,480 --> 00:41:53,920
Speaker 1: Bad Day. You don't know that I know the fuel.

738
00:41:53,920 --> 00:41:58,480
Speaker 1: I know the fuel song Bad Bad that's two thousand

739
00:41:58,560 --> 00:42:01,760
Speaker 1: said it's plain white. Ta Hey there to Lallah another

740
00:42:01,880 --> 00:42:04,520
Speaker 1: song played by everyone who learns how to pick a

741
00:42:04,560 --> 00:42:08,960
Speaker 1: couple of basic guitar chords. Uh, that's um, Tom Higginson

742
00:42:09,440 --> 00:42:12,360
Speaker 1: Soldier Boy, Crank that Soldier Boy from two thousand seven.

743
00:42:13,200 --> 00:42:18,120
Speaker 1: Owl Cities Fireflies, one of the most universally derided songs

744
00:42:18,200 --> 00:42:22,760
Speaker 1: ever from two thousand nine Ussher featuring will i Am. OMG.

745
00:42:23,360 --> 00:42:26,319
Speaker 1: That was a will i Am solo hit. Man, Well

746
00:42:26,360 --> 00:42:30,160
Speaker 1: I Am had a good, like five years stretch. Remember

747
00:42:30,160 --> 00:42:32,919
Speaker 1: when Black Eyed Peas were like socially conscious hip hop?

748
00:42:33,080 --> 00:42:37,279
Speaker 1: This is pre my humps, yeah, pre fer yeah yeah,

749
00:42:38,360 --> 00:42:41,920
Speaker 1: uh where were we? Rihanna featuring Calvin Harris We Found

750
00:42:41,920 --> 00:42:45,200
Speaker 1: Love as a Calvin Harris joint from two thousand eleven

751
00:42:45,400 --> 00:42:49,880
Speaker 1: for Else Happy from and Edge Shearon's Perfect from Seen.

752
00:42:50,120 --> 00:42:52,319
Speaker 1: So what you can deduce from that is that there

753
00:42:52,320 --> 00:42:54,160
Speaker 1: has not been a number one hit in the past

754
00:42:54,239 --> 00:42:56,799
Speaker 1: five years that was only written by one person. And

755
00:42:56,880 --> 00:42:59,160
Speaker 1: this gets into the Diane Warren thing where she came

756
00:42:59,239 --> 00:43:02,880
Speaker 1: for she Kane. Oh god, you tweeted about you know,

757
00:43:03,040 --> 00:43:06,120
Speaker 1: when I write all my songs myself, why don't Beyonce's songs,

758
00:43:06,160 --> 00:43:10,640
Speaker 1: I'll have seventeen kel writers on it? And then the

759
00:43:10,800 --> 00:43:16,120
Speaker 1: dream I believe how to say, Well, it's because of sampling, yeah,

760
00:43:16,160 --> 00:43:19,680
Speaker 1: but it's also it's also because of the way this

761
00:43:19,719 --> 00:43:22,239
Speaker 1: stuff is written now. I mean, like you, I think

762
00:43:22,280 --> 00:43:25,640
Speaker 1: a lot of this has to do with um digital studios, man,

763
00:43:25,800 --> 00:43:28,319
Speaker 1: I mean not because you can just work on a

764
00:43:28,360 --> 00:43:31,200
Speaker 1: song in seventeen different studios. And this gets into how

765
00:43:31,239 --> 00:43:34,200
Speaker 1: people even consider what makes us part of a song

766
00:43:34,239 --> 00:43:36,600
Speaker 1: because chords aren't copyrighted, right, But if you have like

767
00:43:36,600 --> 00:43:38,840
Speaker 1: a key if you have like a keyboard hook, that

768
00:43:38,880 --> 00:43:41,480
Speaker 1: can be done in one studio, flown over to somebody

769
00:43:41,520 --> 00:43:44,200
Speaker 1: else because you maybe wrote the hook or the defining

770
00:43:44,280 --> 00:43:46,680
Speaker 1: part of the song, like a melodic element, you get

771
00:43:46,680 --> 00:43:48,279
Speaker 1: a credit on it. Then it gets flown over to

772
00:43:48,320 --> 00:43:51,040
Speaker 1: somebody who might write the top line, the vocal melody,

773
00:43:51,080 --> 00:43:53,239
Speaker 1: but not the lyrics, so they get a credit on it.

774
00:43:53,280 --> 00:43:55,440
Speaker 1: Then ain't goes over to the person who writes the lyrics.

775
00:43:55,480 --> 00:43:58,080
Speaker 1: Then it goes over to the artist. Father John Misty

776
00:43:58,120 --> 00:43:59,520
Speaker 1: had this whole thing where he talked about doing co

777
00:43:59,600 --> 00:44:01,560
Speaker 1: writes for pop stars and he, you know, he's like,

778
00:44:01,640 --> 00:44:05,080
Speaker 1: you send them a ream of lyrics and all your

779
00:44:05,160 --> 00:44:07,640
Speaker 1: lyrics are in blue, and their changes are in red,

780
00:44:08,040 --> 00:44:10,120
Speaker 1: and there will be like three lines of red in

781
00:44:10,120 --> 00:44:12,160
Speaker 1: an ocean of blue, and they get a credit. That's

782
00:44:12,160 --> 00:44:14,680
Speaker 1: why the is a slang for it. Change the word,

783
00:44:14,719 --> 00:44:17,000
Speaker 1: get a third. You know. It's why if you do

784
00:44:17,040 --> 00:44:19,440
Speaker 1: a guest verse on a song, if you're like a rapper,

785
00:44:19,480 --> 00:44:21,279
Speaker 1: you can get a songwriting credit on it, even though

786
00:44:21,280 --> 00:44:24,319
Speaker 1: you probably never met that person until you started doing

787
00:44:24,320 --> 00:44:26,080
Speaker 1: the song live. You just did your feature in the

788
00:44:26,080 --> 00:44:28,719
Speaker 1: back of your bus or whatever. Like you know, Little

789
00:44:28,719 --> 00:44:32,640
Speaker 1: Wayne was on like seventeen thousand tracks but in his

790
00:44:32,840 --> 00:44:36,240
Speaker 1: insane period and probably never met any of those people.

791
00:44:36,280 --> 00:44:37,799
Speaker 1: They were like little Way in the check cleared, we

792
00:44:37,840 --> 00:44:39,160
Speaker 1: need you to do a verse, and he would just

793
00:44:39,200 --> 00:44:40,600
Speaker 1: set it up in the back of the bus and

794
00:44:40,920 --> 00:44:43,239
Speaker 1: punch it in. Yeah, I don't know. I that's just

795
00:44:43,239 --> 00:44:46,279
Speaker 1: me spitballing. I'm sure Beyonce fans will come at us.

796
00:44:48,560 --> 00:44:52,640
Speaker 1: That's good, that's fine, was very even handed. We'll find out.

797
00:44:56,440 --> 00:44:58,400
Speaker 1: We're going to take a quick break, but we'll be

798
00:44:58,520 --> 00:45:00,839
Speaker 1: right back with more. Too much of ormation in just

799
00:45:00,880 --> 00:45:16,600
Speaker 1: a moment. The real question about, hey, how did it

800
00:45:16,680 --> 00:45:23,480
Speaker 1: impact Polaroid good segue. Yes, even though the people working

801
00:45:23,520 --> 00:45:26,280
Speaker 1: on the track knew that the line was a classic,

802
00:45:27,120 --> 00:45:30,760
Speaker 1: Andre through thousand had just reassociated it without any idea

803
00:45:30,840 --> 00:45:35,120
Speaker 1: that he was Butterfly, affecting a whole series of cultural shifts.

804
00:45:35,520 --> 00:45:38,320
Speaker 1: Although they never disclosed how much the song impacted their sales,

805
00:45:38,440 --> 00:45:43,000
Speaker 1: Polaroid quickly capitalized on their moment. They sponsored parties stocked

806
00:45:43,000 --> 00:45:49,000
Speaker 1: with their cameras for guests to shake like a Polaroid picture.

807
00:45:49,560 --> 00:45:52,239
Speaker 1: As they say, I didn't find that on any I

808
00:45:52,280 --> 00:45:55,239
Speaker 1: had to go through like old Bloomberg archives really like

809
00:45:55,320 --> 00:45:58,880
Speaker 1: Internet archive articles for that. Yeah. They also I guess

810
00:45:59,120 --> 00:46:02,080
Speaker 1: broker to deal with outcast to carry cameras on stage

811
00:46:02,160 --> 00:46:05,360
Speaker 1: during their performances that the Grammys, the performance on New

812
00:46:05,400 --> 00:46:08,920
Speaker 1: Year's Eve TV special Saturday Live, and the Vibe Wars.

813
00:46:09,320 --> 00:46:11,239
Speaker 1: I mean, yeah, that's money on the table right there.

814
00:46:11,640 --> 00:46:14,799
Speaker 1: But the company was also moved to update the answers

815
00:46:14,800 --> 00:46:18,520
Speaker 1: section on the Polaroid website in response to the song's lyrics,

816
00:46:18,520 --> 00:46:21,960
Speaker 1: explaining that the modern version of their polaroid film drives

817
00:46:22,000 --> 00:46:25,839
Speaker 1: behind a clear plastic window, so shaking doesn't actually help

818
00:46:25,920 --> 00:46:29,600
Speaker 1: them dry the image quote never touches air, so shaking

819
00:46:29,600 --> 00:46:32,799
Speaker 1: your waving has no effect. The updated copy red and

820
00:46:32,840 --> 00:46:36,080
Speaker 1: in fact, shaking your waving can actually damage the image.

821
00:46:36,480 --> 00:46:39,560
Speaker 1: Rapid movement during development can cause portions of the film

822
00:46:39,600 --> 00:46:43,240
Speaker 1: that permanently separate, or can cause blobs in the picture.

823
00:46:43,719 --> 00:46:47,919
Speaker 1: A casual shake, though typically doesn't affect it. So Hey

824
00:46:48,280 --> 00:46:53,200
Speaker 1: obviously resulted in a spike in Polaroid sales, but unfortunately

825
00:46:53,200 --> 00:46:56,239
Speaker 1: it was just a temporary reprieve. Polaroid would eventually just

826
00:46:56,360 --> 00:46:59,280
Speaker 1: continue the sale of the original Polaroid cameras and film

827
00:46:59,600 --> 00:47:03,160
Speaker 1: and decla bankruptcy in two thousand eight. Goodnight, Sweet Prints.

828
00:47:04,280 --> 00:47:07,359
Speaker 1: And of course, where would we be in the two

829
00:47:07,400 --> 00:47:13,200
Speaker 1: thousand's without some clueless in white war criminal attempting to

830
00:47:13,239 --> 00:47:16,000
Speaker 1: serve the zeitgeist for his own gain. And so we

831
00:47:16,080 --> 00:47:21,200
Speaker 1: got retired General Wesley Clark, who on a campaign stop

832
00:47:21,400 --> 00:47:25,200
Speaker 1: almost got dangerously close to the Steve Busemi, Hello, how

833
00:47:25,200 --> 00:47:28,759
Speaker 1: do you do? Fellow kids me by saying I don't

834
00:47:28,800 --> 00:47:31,080
Speaker 1: know much about hip hop, but I do know how

835
00:47:31,120 --> 00:47:33,800
Speaker 1: outcasts can make you shake it like a polaroid picture,

836
00:47:34,840 --> 00:47:38,520
Speaker 1: and shortly after abandoned his bid for the Democratic presidential nomination.

837
00:47:39,680 --> 00:47:44,319
Speaker 1: That's always as bad as Howard Dean same year, right, yeah,

838
00:47:44,600 --> 00:47:49,239
Speaker 1: oh yeah, it must have been the deaner um. He

839
00:47:49,280 --> 00:47:54,680
Speaker 1: doesn't mind when I call him man oh boy. Well,

840
00:47:54,960 --> 00:47:59,719
Speaker 1: speaking of things from two thousand four that have aged poorly, Hey,

841
00:48:00,120 --> 00:48:03,480
Speaker 1: or at least Andre's possessiveness or fondness of it played

842
00:48:03,520 --> 00:48:06,600
Speaker 1: an extremely roundabout role in one of two thousand fours

843
00:48:06,600 --> 00:48:10,799
Speaker 1: low points in Big Boy was talking to ESPN. He says,

844
00:48:10,800 --> 00:48:12,880
Speaker 1: we were supposed to perform at the super Bowl. We

845
00:48:12,920 --> 00:48:15,320
Speaker 1: had two songs. We had The Way You Move and Hey,

846
00:48:15,840 --> 00:48:18,000
Speaker 1: and Dre didn't want to split the songs up. He

847
00:48:18,040 --> 00:48:21,000
Speaker 1: didn't want to cut them. He wanted to do both. So,

848
00:48:21,239 --> 00:48:23,440
Speaker 1: I mean, you know, because this is a super Bowl performance,

849
00:48:23,440 --> 00:48:25,640
Speaker 1: you do a medley, right, like nobody gets to do

850
00:48:25,840 --> 00:48:28,400
Speaker 1: full songs, right. I don't know, don't quote me on

851
00:48:28,440 --> 00:48:32,040
Speaker 1: that anyway. Uh So, I guess the super Bowl told them,

852
00:48:32,040 --> 00:48:33,959
Speaker 1: when the NFL told them, you can't do it, you can't.

853
00:48:33,960 --> 00:48:36,400
Speaker 1: But he wanted to perform both songs in full, and

854
00:48:36,400 --> 00:48:40,040
Speaker 1: they didn't give them enough time. So outcast passed. And

855
00:48:40,120 --> 00:48:42,279
Speaker 1: Big Boy for his part, you know, he said that

856
00:48:42,400 --> 00:48:44,120
Speaker 1: he was pushing Andre. He was like, come on, dude's

857
00:48:44,160 --> 00:48:46,880
Speaker 1: the super Bowl, Like, let's do this, and Andre said no.

858
00:48:47,000 --> 00:48:51,840
Speaker 1: He put his Natalie attired foot down. So the halftime

859
00:48:52,000 --> 00:48:58,120
Speaker 1: slot goes to Justin Timberlake and Janet Jackson, who performance

860
00:48:58,280 --> 00:49:01,160
Speaker 1: in which Timberlake ripped off part of Jackson's outfit to

861
00:49:01,200 --> 00:49:06,840
Speaker 1: reveal her bare breast, lodged the phrases nipplegate and wardrobe

862
00:49:06,840 --> 00:49:11,440
Speaker 1: malfunction into the popular consciousness and also derailed poor Janet's

863
00:49:11,480 --> 00:49:16,080
Speaker 1: career for a while, while justin popping Locked to Freedom,

864
00:49:16,080 --> 00:49:20,520
Speaker 1: the son of a bitch been marrying Jessica Biel. God

865
00:49:20,880 --> 00:49:23,480
Speaker 1: it wasn't Less Moonvez who had like an outrageous heart

866
00:49:23,520 --> 00:49:32,160
Speaker 1: on for like destroying Jen Jackson's career, and now he deposed. Yeah, yeah, anyway,

867
00:49:32,200 --> 00:49:35,200
Speaker 1: Big boys said. He said that Dre's son told him, Daddy,

868
00:49:35,239 --> 00:49:39,200
Speaker 1: you should have performed at the super Bowl. That's that's

869
00:49:39,360 --> 00:49:42,680
Speaker 1: that's a knife twist, he says. We look at it

870
00:49:42,719 --> 00:49:44,759
Speaker 1: now and laugh, but hopefully they'll in fight us back.

871
00:49:45,000 --> 00:49:48,680
Speaker 1: I agree. Uh. CBS had a rough outcast related year

872
00:49:48,719 --> 00:49:52,000
Speaker 1: in two thousand four, just weeks after the Super Bowl. Uh,

873
00:49:52,040 --> 00:49:57,640
Speaker 1: Andre did hey at I don't even Grammy's yeah, and

874
00:49:58,000 --> 00:50:01,840
Speaker 1: I was wearing a Native American head dress, and prompted

875
00:50:01,880 --> 00:50:05,680
Speaker 1: the Native American Cultural Center to stage of boycott against CBS.

876
00:50:06,520 --> 00:50:09,840
Speaker 1: The group's chairman, Andrew brother Elk, said that the boycott

877
00:50:09,880 --> 00:50:13,360
Speaker 1: was not an attack on outcast, but a response to

878
00:50:13,400 --> 00:50:16,320
Speaker 1: the idea that it was okay to use other cultures symbols.

879
00:50:16,719 --> 00:50:18,719
Speaker 1: They can go out and make fools of themselves if

880
00:50:18,760 --> 00:50:21,239
Speaker 1: they want to, but we are going to question the

881
00:50:21,239 --> 00:50:25,600
Speaker 1: commercialization of our symbols. Our point is, how could no

882
00:50:25,640 --> 00:50:28,440
Speaker 1: one involved in the production of the broadcast say this

883
00:50:28,520 --> 00:50:32,319
Speaker 1: is not entertainment, this is racism. That is a an

884
00:50:32,320 --> 00:50:35,640
Speaker 1: early argument, and what we now talked about is appropriation.

885
00:50:36,360 --> 00:50:39,640
Speaker 1: Uh CBS issued an apology, and in that Daily Mail

886
00:50:39,760 --> 00:50:42,080
Speaker 1: interview we talked about earlier, Andre did mention that he

887
00:50:42,120 --> 00:50:47,320
Speaker 1: claims Native American heritage. So there's that. Just like Jimmy Hendix,

888
00:50:47,520 --> 00:50:51,520
Speaker 1: who famously played in a movie that is not very

889
00:50:51,520 --> 00:50:55,319
Speaker 1: good and tanked, isn't that the inspiration? Oh, you never

890
00:50:55,440 --> 00:50:57,640
Speaker 1: see yet, I'll watch thirty Rock, So more of my

891
00:50:57,680 --> 00:51:00,160
Speaker 1: references Land. There's a whole bit in thirty Rock about

892
00:51:00,280 --> 00:51:03,840
Speaker 1: Jenna Lands a spot in a Janice Choplin biopic, and

893
00:51:03,880 --> 00:51:06,720
Speaker 1: they have not secured the rights to either her music

894
00:51:06,960 --> 00:51:10,360
Speaker 1: or actual life story. So it goes through an increasing

895
00:51:10,920 --> 00:51:13,879
Speaker 1: series of changes until the character is called Janey jimp

896
00:51:14,000 --> 00:51:17,399
Speaker 1: Jorp and they're doing they're doing a performance that's like

897
00:51:17,640 --> 00:51:20,560
Speaker 1: just it's like a loose pastiche of of her songs,

898
00:51:20,560 --> 00:51:23,880
Speaker 1: but Jimmie Hendricks is playing the saxophone instead of the guitar.

899
00:51:24,480 --> 00:51:26,839
Speaker 1: Just it's like, that's the all is by my side thing.

900
00:51:26,880 --> 00:51:28,800
Speaker 1: They didn't have any anddrickx Rights. Don't they just have

901
00:51:28,880 --> 00:51:31,200
Speaker 1: them do covers? Did you like House the Rising Sun?

902
00:51:31,280 --> 00:51:34,200
Speaker 1: And I don't know I saw that briefly. Oh you

903
00:51:34,239 --> 00:51:40,480
Speaker 1: actually saw it? Good for you, buddy, anyway, Yeah, I don't.

904
00:51:40,480 --> 00:51:42,480
Speaker 1: I don't think I saw this Grammy's thing. But they

905
00:51:42,520 --> 00:51:46,600
Speaker 1: did bring out perennial music industry favorites, the USC Trojan's

906
00:51:46,640 --> 00:51:49,680
Speaker 1: Marching Band. Don't they play on Tusk? On the Fleet

907
00:51:49,719 --> 00:51:52,040
Speaker 1: with Max? Do play on Tusk? And I believe they

908
00:51:52,080 --> 00:51:54,719
Speaker 1: also perform with Radiohead at one point that the two

909
00:51:54,800 --> 00:51:57,360
Speaker 1: thousand nine Grammys. Man, who knew they had such a

910
00:51:57,360 --> 00:51:59,359
Speaker 1: cozy relationship with the girl? What do you have on

911
00:51:59,400 --> 00:52:04,239
Speaker 1: the executive get made to USC Trojans Marching Band? I

912
00:52:04,239 --> 00:52:10,000
Speaker 1: want to hear that Susaphone sting? Anyway? Oh yeah, I mean, well,

913
00:52:10,040 --> 00:52:13,520
Speaker 1: we're on the topic of Andre three thousands up Panchon

914
00:52:13,880 --> 00:52:18,520
Speaker 1: for dressing up in elaborate costumes for every performance. We

915
00:52:18,880 --> 00:52:21,440
Speaker 1: have to reference this. I mean, on one show, he

916
00:52:21,600 --> 00:52:24,640
Speaker 1: and his backing musicians might be dressed as tennis players.

917
00:52:24,920 --> 00:52:27,920
Speaker 1: On another, they might be dressed as horse racing jockeys.

918
00:52:28,400 --> 00:52:30,440
Speaker 1: And yeah, on those Grammys performance they had a t

919
00:52:30,680 --> 00:52:34,279
Speaker 1: P and dancers dressed like this is the word I'm

920
00:52:34,320 --> 00:52:41,839
Speaker 1: seeing you squaws. Uh yeah, yeah, that's uh, that's interesting. Yeah,

921
00:52:41,880 --> 00:52:43,960
Speaker 1: I remember the I think it's the Rosa Parks video

922
00:52:44,000 --> 00:52:45,920
Speaker 1: where he is just wearing like a set of football

923
00:52:45,960 --> 00:52:49,719
Speaker 1: pads as a shirt, which rules. Uh, there's that Key

924
00:52:49,719 --> 00:52:51,839
Speaker 1: and Peel sketch where they have him like dressed as

925
00:52:51,880 --> 00:52:55,759
Speaker 1: like a fanciful elf, like like a feather in his

926
00:52:55,880 --> 00:53:00,000
Speaker 1: like a Robin Hood cap um. You know. I feel

927
00:53:00,120 --> 00:53:03,080
Speaker 1: there's for every song there is the statistical certainty that

928
00:53:03,200 --> 00:53:04,960
Speaker 1: someone has done this. But I just thought this was

929
00:53:04,960 --> 00:53:07,320
Speaker 1: funny and researching this. In two thousand four, at least

930
00:53:07,360 --> 00:53:11,520
Speaker 1: four Australians petition to their government to replace the nation's

931
00:53:11,560 --> 00:53:16,680
Speaker 1: official national anthem advanced Australia Fair with Heya. Obviously the

932
00:53:16,760 --> 00:53:19,480
Speaker 1: numbers were not on their side, but still the country's

933
00:53:19,760 --> 00:53:22,759
Speaker 1: Prime Minister at the time, Malcolm Turnbull, was moved to

934
00:53:22,840 --> 00:53:25,800
Speaker 1: respond to the petition in a letter that read, in part,

935
00:53:26,560 --> 00:53:30,680
Speaker 1: the Australian National anthem is widely accepted and popularly supported

936
00:53:30,680 --> 00:53:34,200
Speaker 1: by a majority of Australians, probably not the Aborigines. Uh.

937
00:53:34,239 --> 00:53:37,480
Speaker 1: The Australian government has no plans to change the anthem,

938
00:53:37,680 --> 00:53:42,560
Speaker 1: which is surely a blow too cold chisel. I have

939
00:53:42,640 --> 00:53:46,640
Speaker 1: been advancing Caisson as the national anthem of Australia for

940
00:53:46,800 --> 00:53:49,440
Speaker 1: at least five years. They will not answer my emails.

941
00:53:50,280 --> 00:53:52,359
Speaker 1: Jordan tell us about the likelihood that hey I will

942
00:53:52,360 --> 00:53:55,439
Speaker 1: get you in a car accident. Yes, just this year,

943
00:53:55,520 --> 00:53:59,480
Speaker 1: a driving study commissioned and analyzed by Past Me Fast,

944
00:54:00,040 --> 00:54:02,879
Speaker 1: No Idea Who that is? About the songs and Spotify's

945
00:54:02,920 --> 00:54:07,279
Speaker 1: twenty most popular driving playlist, which is nearly songs and

946
00:54:07,360 --> 00:54:11,600
Speaker 1: assess their quote distractions score to find out which song

947
00:54:11,760 --> 00:54:19,399
Speaker 1: leads to drivers being distract distractor? What's the methodology on that? Pms?

948
00:54:21,600 --> 00:54:24,239
Speaker 1: Hey Yeah apparently was ranked as the worst song to

949
00:54:24,320 --> 00:54:27,720
Speaker 1: have on while driving, with a distraction score of seventy

950
00:54:27,719 --> 00:54:32,520
Speaker 1: two point six, followed by Mr Brightside by the Killers

951
00:54:32,600 --> 00:54:37,480
Speaker 1: at sixty nine point six. I don't, I mean, okay,

952
00:54:37,920 --> 00:54:40,799
Speaker 1: I'm trying to find what what the common ealities are

953
00:54:40,800 --> 00:54:43,640
Speaker 1: between those two songs. I don't. I mean. This is

954
00:54:43,680 --> 00:54:46,640
Speaker 1: the listical writer's quandary, Like you find these studies and

955
00:54:46,680 --> 00:54:49,160
Speaker 1: then you dig deep into it and it's like something

956
00:54:49,160 --> 00:54:51,640
Speaker 1: they just commissioned. But I don't know. I guess it

957
00:54:51,680 --> 00:54:53,839
Speaker 1: means like I guess it's like what songs people animatedly,

958
00:54:54,320 --> 00:54:57,080
Speaker 1: You're funny. We mentioned Happy earlier. I distinctly remember in

959
00:54:57,120 --> 00:54:59,839
Speaker 1: the when I was in the content mining industry, deep

960
00:54:59,840 --> 00:55:02,880
Speaker 1: in the trenches, some woman had tweeted that she was

961
00:55:03,040 --> 00:55:06,160
Speaker 1: tweeting about how much she loved the song Happy and

962
00:55:06,200 --> 00:55:13,120
Speaker 1: then died in a car accident because she was driving. Yeah. Well,

963
00:55:13,160 --> 00:55:15,000
Speaker 1: I will tell you what I do think is dangerous

964
00:55:15,040 --> 00:55:18,759
Speaker 1: songs that you sing along to and they're belters, and

965
00:55:18,800 --> 00:55:21,680
Speaker 1: you start getting a little dizzy because you're like gasping

966
00:55:21,719 --> 00:55:25,440
Speaker 1: for breath and you start seeing the stars. I've personally

967
00:55:25,560 --> 00:55:27,800
Speaker 1: fallen victim to that. I mean, obviously I've never crashed,

968
00:55:27,920 --> 00:55:30,440
Speaker 1: but yeah, I think the one for me is anything

969
00:55:30,480 --> 00:55:35,480
Speaker 1: I can steering wheel drum. Uh. I I don't steering

970
00:55:35,480 --> 00:55:44,880
Speaker 1: wheel drum. I gas pedal, Like, yeah, that is distracted driving. Yeah. Uh,

971
00:55:44,920 --> 00:55:48,320
Speaker 1: Well we've arrived at the outro, which I'm calling chunky Fire,

972
00:55:49,800 --> 00:55:55,520
Speaker 1: which is another outcast term. Uh. Grant Land name this

973
00:55:55,640 --> 00:55:58,600
Speaker 1: the best song of the millennium after March Madness style

974
00:55:58,680 --> 00:56:03,000
Speaker 1: racket of six songs. But anyone who's been following Andrea

975
00:56:03,200 --> 00:56:06,959
Speaker 1: or outcast career Andre, specifically his career for the past

976
00:56:06,960 --> 00:56:09,120
Speaker 1: couple of years kind of knows that he's not really

977
00:56:09,120 --> 00:56:11,959
Speaker 1: interested in making music or at least releasing the music

978
00:56:12,000 --> 00:56:14,879
Speaker 1: that he is making at the time. And you could

979
00:56:14,880 --> 00:56:18,120
Speaker 1: probably pin a lot of that to this era. Speaker Box.

980
00:56:18,160 --> 00:56:22,440
Speaker 1: The Love Below went eleven times platinum. That has to

981
00:56:22,440 --> 00:56:24,440
Speaker 1: be one of the last records to notch those kind

982
00:56:24,440 --> 00:56:26,960
Speaker 1: of figures because you get Spotify what within the next

983
00:56:26,960 --> 00:56:32,360
Speaker 1: ten years you got all Extreme maybe too, the second

984
00:56:32,440 --> 00:56:35,840
Speaker 1: rap album after Miseducation of Lauren Hill to win Album

985
00:56:35,840 --> 00:56:37,920
Speaker 1: of the Year at the Grammys. And then they followed

986
00:56:37,960 --> 00:56:42,680
Speaker 1: it up to the soundtrack to the film Idlewild, which

987
00:56:42,719 --> 00:56:47,280
Speaker 1: they started and it was directed by Barber anyway, depressing.

988
00:56:47,760 --> 00:56:51,920
Speaker 1: Uh that was the last proper outcast album actually, and

989
00:56:51,960 --> 00:56:56,120
Speaker 1: then uh big Boy releases um his solo album, The

990
00:56:56,160 --> 00:56:59,360
Speaker 1: Sir Lucius Left Foot, Son of Chico Dusty. That album

991
00:56:59,480 --> 00:57:03,440
Speaker 1: rules in two. But yeah, So in that g Q

992
00:57:03,560 --> 00:57:06,200
Speaker 1: interview from seventeen, which is great because Andre talks about

993
00:57:06,200 --> 00:57:10,919
Speaker 1: how he's been spending time making bootleg Anito Baker t shirts. Um,

994
00:57:11,640 --> 00:57:15,000
Speaker 1: it's just like God love him. He's talking to g

995
00:57:15,160 --> 00:57:17,240
Speaker 1: Q and he says, around the time of Hay, I

996
00:57:17,280 --> 00:57:21,280
Speaker 1: was diagnosed with quote this social thing I didn't notice

997
00:57:21,280 --> 00:57:23,680
Speaker 1: it until it became an entertainer. I don't know if

998
00:57:23,680 --> 00:57:25,760
Speaker 1: it's the shock of all kinds of people coming up

999
00:57:25,760 --> 00:57:27,960
Speaker 1: to you or the expectations, but I got to this

1000
00:57:28,000 --> 00:57:29,480
Speaker 1: place where it was hard for me to be in

1001
00:57:29,560 --> 00:57:33,080
Speaker 1: public without feeling watched or really nervous. It started to

1002
00:57:33,120 --> 00:57:35,560
Speaker 1: bleed over into my normal life. I just meet new

1003
00:57:35,600 --> 00:57:37,680
Speaker 1: people and I would freak out or have to leave.

1004
00:57:38,440 --> 00:57:40,440
Speaker 1: I just chucked it off as, oh, yeah, man, I

1005
00:57:40,480 --> 00:57:42,479
Speaker 1: need to take a break. And I started to notice

1006
00:57:42,520 --> 00:57:44,840
Speaker 1: it getting worse and worse, because the more you run

1007
00:57:44,920 --> 00:57:47,680
Speaker 1: from it, the worse it gets. I just started getting

1008
00:57:47,680 --> 00:57:51,120
Speaker 1: to myself, spending more time with myself and stopped touring,

1009
00:57:51,440 --> 00:57:53,680
Speaker 1: and it felt great for me to do that. It

1010
00:57:53,680 --> 00:57:57,120
Speaker 1: just sounds like he had anxiety, man, like clinical anxiety,

1011
00:57:57,320 --> 00:58:00,400
Speaker 1: you know, or at least social, or just didn't want

1012
00:58:00,400 --> 00:58:03,720
Speaker 1: to be having to do Hey, yof the seven thousand

1013
00:58:03,760 --> 00:58:06,720
Speaker 1: times a night for a bunch of crackers. Yeah. I

1014
00:58:06,760 --> 00:58:09,480
Speaker 1: mean this gets to the whole question of like, oh,

1015
00:58:09,520 --> 00:58:13,120
Speaker 1: maybe this isn't a mental disorder, Maybe this is a

1016
00:58:13,160 --> 00:58:17,280
Speaker 1: totally normal reaction to a completely insane situation in which

1017
00:58:17,280 --> 00:58:20,480
Speaker 1: I find myself. Yeah, but outcasts came back from their

1018
00:58:20,560 --> 00:58:23,080
Speaker 1: hiatus for a reunion tour in two thousand and fourteen,

1019
00:58:23,240 --> 00:58:26,200
Speaker 1: but then Andre pulled back from making music full time.

1020
00:58:26,880 --> 00:58:29,760
Speaker 1: He's popped up on different remixes here and there, and

1021
00:58:29,800 --> 00:58:34,160
Speaker 1: of course he, as you say, unmemorably played Jimmy Hendrix

1022
00:58:34,480 --> 00:58:37,280
Speaker 1: in the quote we didn't get the actual life Rights

1023
00:58:37,320 --> 00:58:39,800
Speaker 1: biopic All is by my Side. If you touched on

1024
00:58:39,880 --> 00:58:43,160
Speaker 1: earlier release in twenty fourteen, you I understand you have

1025
00:58:43,240 --> 00:58:46,800
Speaker 1: a figure out of left field Andre three thousand moment. Yeah.

1026
00:58:46,840 --> 00:58:48,600
Speaker 1: Like I said, he's been a bunch of features over

1027
00:58:48,600 --> 00:58:51,080
Speaker 1: the years, which is like, as I also touched on earlier,

1028
00:58:51,160 --> 00:58:53,439
Speaker 1: is a pretty easy thing. You just leave a certain

1029
00:58:53,520 --> 00:58:55,560
Speaker 1: number of bars in your songs and you reach out

1030
00:58:55,560 --> 00:58:56,960
Speaker 1: to someone and say, hey, well write you a check

1031
00:58:57,040 --> 00:58:58,680
Speaker 1: to wrap on it. And he does. He's on a

1032
00:58:58,680 --> 00:59:02,840
Speaker 1: bunch of stuff. But in on in myn Mother's Day.

1033
00:59:03,240 --> 00:59:06,800
Speaker 1: He released two surprise songs on his SoundCloud, one of

1034
00:59:06,840 --> 00:59:10,400
Speaker 1: which was a seventeen minute instrumental track called Look Mom

1035
00:59:10,560 --> 00:59:14,800
Speaker 1: No Hands on which he plays bass clarinet with James

1036
00:59:14,800 --> 00:59:20,480
Speaker 1: Blake on piano. James Blake, remember him, M Remember James Blake?

1037
00:59:21,160 --> 00:59:26,360
Speaker 1: Remember that record? Uh yeah, it's on Uh, you remember

1038
00:59:26,440 --> 00:59:30,960
Speaker 1: James Blake. I thought he did that Joni Mitchell cover. No, yeah,

1039
00:59:31,160 --> 00:59:33,280
Speaker 1: I can't imagine you being into that. I like that record.

1040
00:59:33,880 --> 00:59:36,520
Speaker 1: I heard good things. I just I like you have

1041
00:59:36,560 --> 00:59:42,440
Speaker 1: no more room in my heart. Jordan run told story,

1042
00:59:43,240 --> 00:59:50,360
Speaker 1: that's your bio, that's your biopic title. Uh yeah. Anyway.

1043
00:59:50,880 --> 00:59:55,840
Speaker 1: Talking to Rick Ruben on Reuben's Broken Record podcast, Andre

1044
00:59:56,000 --> 00:59:59,320
Speaker 1: said quote, I haven't been making music much, man. My

1045
00:59:59,440 --> 01:00:02,480
Speaker 1: focus is not there, my confidence is not there. I

1046
01:00:02,640 --> 01:00:04,920
Speaker 1: tinker a lot. I'll just go to a piano and

1047
01:00:04,920 --> 01:00:07,480
Speaker 1: I'll set my iPhone down and just record what I'm doing,

1048
01:00:07,720 --> 01:00:10,640
Speaker 1: moving my fingers and whatever happens. But I haven't been

1049
01:00:10,680 --> 01:00:15,040
Speaker 1: motivated to do a serious project. Here's an idea, Andre

1050
01:00:15,160 --> 01:00:22,640
Speaker 1: three thousand. Billy Joel, two retired pop geniuses piano, yeah,

1051
01:00:22,920 --> 01:00:27,600
Speaker 1: or some kind of like buddy movie. When they just

1052
01:00:27,640 --> 01:00:30,280
Speaker 1: try to inspire each other. They talk about how I

1053
01:00:30,320 --> 01:00:32,760
Speaker 1: would love to see a Buddy cop movie starring those two.

1054
01:00:33,840 --> 01:00:40,760
Speaker 1: Billy Joel is Larry Stonerman, surly cop on the Eve

1055
01:00:40,880 --> 01:00:44,560
Speaker 1: on the verge of retirement. Andre three thousand is Possum

1056
01:00:44,600 --> 01:00:49,280
Speaker 1: Aloysius Jenkins Uh, a hot shot young detective who moved

1057
01:00:49,320 --> 01:00:52,120
Speaker 1: out of Long Island to make his way in the

1058
01:00:52,160 --> 01:00:54,480
Speaker 1: big world, and they have to solve the murder of

1059
01:00:56,480 --> 01:01:06,400
Speaker 1: here's another person from Long Island good enoughing, No he's not.

1060
01:01:06,480 --> 01:01:09,720
Speaker 1: But for the purposes of this bit uh Long Island

1061
01:01:09,880 --> 01:01:15,640
Speaker 1: celebrities Natalie Portman, they have to solve the murder. Yeah,

1062
01:01:15,800 --> 01:01:21,400
Speaker 1: Billy Crystal m getting closer. Alright, no bad ideas and brainstorming.

1063
01:01:21,400 --> 01:01:24,920
Speaker 1: We'll get to it. Um yeah, I mean that's a bummer.

1064
01:01:24,960 --> 01:01:26,760
Speaker 1: I feel bad for him. It's sad that someone who's

1065
01:01:26,760 --> 01:01:28,440
Speaker 1: written one of the greatest songs of all time does

1066
01:01:28,440 --> 01:01:31,200
Speaker 1: not have the confidence in himself. But he doesn't have

1067
01:01:31,280 --> 01:01:33,120
Speaker 1: to do this. I mean he broke one of the

1068
01:01:34,120 --> 01:01:37,400
Speaker 1: is he's got cash. Um yeah, I don't know. I

1069
01:01:37,440 --> 01:01:43,439
Speaker 1: hope Andre is happy. Big Boy I'm so painfully white. Yeah.

1070
01:01:43,440 --> 01:01:47,040
Speaker 1: Big Boy has kept releasing music and touring consistently good music,

1071
01:01:47,080 --> 01:01:50,040
Speaker 1: often with the guy Sleepy Brown is not who sings

1072
01:01:50,040 --> 01:01:53,000
Speaker 1: the hook on like you Move God Love Big Boy.

1073
01:01:53,040 --> 01:01:54,880
Speaker 1: He's very diplomat. Oh, he's gonna put out the Kate

1074
01:01:54,960 --> 01:01:57,720
Speaker 1: Bush collab at some point. I've showed you this before,

1075
01:01:57,800 --> 01:02:01,120
Speaker 1: right that time is now out now with the Kate

1076
01:02:01,160 --> 01:02:05,240
Speaker 1: Bushes Son's happening Big Boy. The world clamors for this

1077
01:02:05,360 --> 01:02:08,960
Speaker 1: drop in like two thousand thirteen or fourteen. This video

1078
01:02:09,080 --> 01:02:12,200
Speaker 1: for Pitchfork when viral of Big Boy gushing over running

1079
01:02:12,240 --> 01:02:15,960
Speaker 1: up that Hill many years before the Zoomers discovered it,

1080
01:02:16,240 --> 01:02:19,640
Speaker 1: and Uh, I believe they have worked something out. But

1081
01:02:19,760 --> 01:02:21,960
Speaker 1: all of which is to say is that Big Boys

1082
01:02:22,200 --> 01:02:25,400
Speaker 1: continually fielded questions about and J and the possibility of

1083
01:02:25,760 --> 01:02:28,360
Speaker 1: a new Outcast album. Five years ago, he was talking

1084
01:02:28,400 --> 01:02:31,440
Speaker 1: to the Atlanta Journal Constitution. Uh, and he said, I've

1085
01:02:31,440 --> 01:02:34,560
Speaker 1: always said whenever Dre is ready, I'm always ready. Right now,

1086
01:02:34,600 --> 01:02:37,080
Speaker 1: he's focusing on different things and we respect that as

1087
01:02:37,080 --> 01:02:40,360
Speaker 1: a brotherhood. We text each other every day. That's my brother.

1088
01:02:40,760 --> 01:02:43,280
Speaker 1: We've done everything there is to do in music. We

1089
01:02:43,320 --> 01:02:46,480
Speaker 1: won the highest prize, we sold the most records. We

1090
01:02:46,560 --> 01:02:49,480
Speaker 1: started when we were seventeen years old. Let the man

1091
01:02:49,520 --> 01:02:53,400
Speaker 1: breathe a little bit, amen. Uh. And then this was

1092
01:02:53,440 --> 01:02:56,680
Speaker 1: just last December. He was answering reader questions in the Guardian.

1093
01:02:57,000 --> 01:02:59,959
Speaker 1: He said there's a lot of unreleased music around here,

1094
01:03:00,280 --> 01:03:03,360
Speaker 1: but when asked about a reunion for a new Outcast record,

1095
01:03:03,400 --> 01:03:06,720
Speaker 1: he said, you would have to talk to the Lord Jesus.

1096
01:03:07,520 --> 01:03:10,960
Speaker 1: Only he knows Jamie Jamie, can you get a word

1097
01:03:10,960 --> 01:03:12,640
Speaker 1: out to the Lord Jesus to get him on the show?

1098
01:03:16,040 --> 01:03:19,440
Speaker 1: Want to ask him about about podcast? Tell you the

1099
01:03:19,480 --> 01:03:23,840
Speaker 1: only person who hasn't hasn't covered Hey, ohs more Jesus.

1100
01:03:24,520 --> 01:03:31,120
Speaker 1: The Mormon Tabernacle Choir. That was That was Rule featuring

1101
01:03:31,160 --> 01:03:38,000
Speaker 1: the usc Trojans Merchant Band and Stevie Nicks as herself

1102
01:03:38,520 --> 01:03:42,200
Speaker 1: and Gary Clark Jr. Who else do then? Joe Bonham

1103
01:03:42,200 --> 01:03:45,080
Speaker 1: mass up? Who else do they pull out for all

1104
01:03:45,080 --> 01:03:49,160
Speaker 1: these Grammy ex traffick ANSAs, Dave Carol, Dave Growl on

1105
01:03:49,280 --> 01:03:57,520
Speaker 1: drums and Paul Schaffern Stevie van zandeh and uh wait

1106
01:03:58,520 --> 01:04:01,160
Speaker 1: tonight so we brought his scarf drape over the mic

1107
01:04:01,240 --> 01:04:05,840
Speaker 1: stands and Les Claypool on bass. Wow, we've pitched a

1108
01:04:05,840 --> 01:04:09,600
Speaker 1: lot of terrible ideas verbal contract folks. I don't have

1109
01:04:09,640 --> 01:04:11,800
Speaker 1: anything else to say about it. Hey, I think we've

1110
01:04:11,800 --> 01:04:14,360
Speaker 1: said as much can be said about it. It's a

1111
01:04:14,400 --> 01:04:17,240
Speaker 1: fantastic song. I wish Andrea all the peace in the world.

1112
01:04:17,440 --> 01:04:19,160
Speaker 1: Crowd the dance floor at your next wedding when this

1113
01:04:19,200 --> 01:04:22,400
Speaker 1: song comes on. I'm Alex Hegel, thank you for listening.

1114
01:04:22,440 --> 01:04:25,360
Speaker 1: This has been too much information and I'm Jordan runt Talk.

1115
01:04:25,440 --> 01:04:33,760
Speaker 1: We'll catch you next time. Too Much Information was a

1116
01:04:33,800 --> 01:04:36,960
Speaker 1: production of I Heart Radio. The show's executive producers are

1117
01:04:36,960 --> 01:04:40,000
Speaker 1: Noel Brown and Jordan runt Talk. The supervising producer is

1118
01:04:40,040 --> 01:04:43,120
Speaker 1: Mike John's. The show was researched, written and hosted by

1119
01:04:43,200 --> 01:04:46,160
Speaker 1: Jordan run Talk and Alex Hegel, with original music by

1120
01:04:46,200 --> 01:04:49,080
Speaker 1: Seth Applebaum and the Ghost Funk Orchestra. If you like

1121
01:04:49,160 --> 01:04:51,320
Speaker 1: what you heard, please subscribe and leave us a review.

1122
01:04:51,600 --> 01:04:54,160
Speaker 1: For more podcasts on iHeart Radio, visit the I heart

1123
01:04:54,240 --> 01:04:57,080
Speaker 1: Radio app, Apple podcast, or wherever you listen to your

1124
01:04:57,120 --> 01:05:05,480
Speaker 1: favorite shows at a time That La La at back

1125
01:05:05,600 --> 01:05:07,680
Speaker 1: Fast int