1 00:00:02,279 --> 00:00:04,840 Speaker 1: Give it a chance, give it a chance, give it 2 00:00:04,880 --> 00:00:07,000 Speaker 1: a chick. Good morning, Give it a chance, Give it 3 00:00:07,040 --> 00:00:09,680 Speaker 1: a chance, Give it a chance, Give it a chance. 4 00:00:09,680 --> 00:00:11,400 Speaker 1: Good morning, Give it a Do you want to give 5 00:00:11,440 --> 00:00:14,240 Speaker 1: it a chance? Give it a chance, give it a chance. 6 00:00:14,400 --> 00:00:18,280 Speaker 1: Just give what's up? 7 00:00:19,840 --> 00:00:21,919 Speaker 2: You know me? Is that y'all know me to the 8 00:00:21,960 --> 00:00:25,160 Speaker 2: same LOGI but I've been low key until I've been 9 00:00:25,239 --> 00:00:29,400 Speaker 2: low key. Well you got a little basketball hoop going 10 00:00:29,400 --> 00:00:30,000 Speaker 2: on right there. 11 00:00:30,320 --> 00:00:32,960 Speaker 1: Yeah. So I'm in somebody else's office because I needed 12 00:00:33,000 --> 00:00:36,080 Speaker 1: some peace and quiet for my podcast and my listeners 13 00:00:36,080 --> 00:00:37,960 Speaker 1: who I love and I'm obsessed with. 14 00:00:38,200 --> 00:00:43,400 Speaker 2: Send me money. Oh are you in mister Belding's office? 15 00:00:43,800 --> 00:00:46,000 Speaker 2: Are you in by the bell? 16 00:00:46,560 --> 00:00:48,279 Speaker 1: I'm in so much I'm gonna get expelled. 17 00:00:48,320 --> 00:00:51,360 Speaker 2: Dude, you are you about to get expelled? Like today? 18 00:00:51,680 --> 00:00:53,639 Speaker 1: I'm about to get expelled right now because I want 19 00:00:53,640 --> 00:00:55,880 Speaker 1: to focus on my music career with my two brothers. 20 00:00:57,360 --> 00:01:04,320 Speaker 2: Wait, I think answers. I think that's a clue. It's 21 00:01:04,319 --> 00:01:07,000 Speaker 2: like Blues Clues or not Blues Clues, Door the Explorer, 22 00:01:07,360 --> 00:01:12,840 Speaker 2: so chancers, Yeah, I know it, you do, Hanson? 23 00:01:13,319 --> 00:01:17,200 Speaker 1: Oh my god, yo, our minds are intertwined. 24 00:01:17,440 --> 00:01:19,640 Speaker 2: I know. It's like it's like it's like a new 25 00:01:19,680 --> 00:01:22,160 Speaker 2: episode of Severance. I mean, I'm out of your any 26 00:01:22,160 --> 00:01:24,000 Speaker 2: you'r any. I'm Audi. I'm out of your any you'r 27 00:01:24,040 --> 00:01:24,680 Speaker 2: any I'm Audi. 28 00:01:25,240 --> 00:01:29,960 Speaker 1: That's a big spoiler. Guys, very excited for this one 29 00:01:30,000 --> 00:01:32,959 Speaker 1: because this is on a lot of like people's lists 30 00:01:33,360 --> 00:01:35,800 Speaker 1: of like songs they like can't listen to, and I've 31 00:01:35,880 --> 00:01:37,640 Speaker 1: kind of always thought it was a bop. 32 00:01:38,000 --> 00:01:43,399 Speaker 2: They're they well done, You're welcome, well done, Beef Wellington. 33 00:01:44,720 --> 00:01:47,280 Speaker 2: I feel like, uh yeah, look, I mean we'll get 34 00:01:47,319 --> 00:01:50,240 Speaker 2: into it. We'll get into it obviously before we go 35 00:01:50,280 --> 00:01:54,120 Speaker 2: any further. Must it's it's mandatory for me to point 36 00:01:54,160 --> 00:01:57,880 Speaker 2: out these three little boys at this point, especially a 37 00:01:57,920 --> 00:02:01,800 Speaker 2: lot of like just esthetically teeny bopper Cobanian vibe. So 38 00:02:01,920 --> 00:02:05,440 Speaker 2: gotta point out Nirvana within five men, just to point 39 00:02:05,440 --> 00:02:10,720 Speaker 2: out that, you know, I do think I used to 40 00:02:10,760 --> 00:02:12,960 Speaker 2: see there was a T shirt, like a bootleg T 41 00:02:13,080 --> 00:02:15,640 Speaker 2: shirt or some probably some kind of like niche like 42 00:02:15,720 --> 00:02:18,200 Speaker 2: skater brand or something that had them on it, and 43 00:02:18,240 --> 00:02:19,600 Speaker 2: said Nirvana. 44 00:02:19,240 --> 00:02:21,280 Speaker 1: Yeah, that's really fun, that's really good. 45 00:02:21,520 --> 00:02:26,360 Speaker 2: Okay, So without bring this is of course system of it, dount, No, 46 00:02:26,520 --> 00:02:43,880 Speaker 2: this is this is bop by Hanson. I mean, listen, yeah, 47 00:02:44,400 --> 00:02:47,239 Speaker 2: before we get into anything. Holy cow, I just kept 48 00:02:47,280 --> 00:02:52,119 Speaker 2: scrolling and scrolling so many lyrics, and the lyrics were 49 00:02:52,160 --> 00:02:54,799 Speaker 2: all the same lyrics. I'm not don't we'll get into 50 00:02:54,800 --> 00:02:56,480 Speaker 2: the lyrics. These people were eight years old and they 51 00:02:56,480 --> 00:02:58,880 Speaker 2: wrote it. You can't really judge it too harshly, but 52 00:03:00,600 --> 00:03:04,799 Speaker 2: my goodness, there's two parts of the song. How much 53 00:03:04,800 --> 00:03:07,160 Speaker 2: can be said? How many times you gotta say it? 54 00:03:07,520 --> 00:03:09,679 Speaker 1: I will say though, that we talk about bridges a lot. 55 00:03:09,720 --> 00:03:12,320 Speaker 1: I thought this bridge was very successful. I liked it. 56 00:03:12,360 --> 00:03:15,400 Speaker 2: I want you to tell me what the bridge is? 57 00:03:15,800 --> 00:03:18,000 Speaker 2: What is the bridge in this song? Which part do 58 00:03:18,040 --> 00:03:19,359 Speaker 2: you identify as the bridge? 59 00:03:19,639 --> 00:03:23,200 Speaker 1: Well, it kind of becomes several different things in one, 60 00:03:23,400 --> 00:03:27,519 Speaker 1: but I think it begins with can you tell me? No, 61 00:03:27,600 --> 00:03:29,760 Speaker 1: you can't because you don't know. Can you tell me? 62 00:03:30,040 --> 00:03:31,799 Speaker 1: You say you can, but you don't know. 63 00:03:32,480 --> 00:03:34,160 Speaker 2: So there's some things I want to talk about about that. 64 00:03:34,240 --> 00:03:36,680 Speaker 2: But I feel like it's like really coming at this 65 00:03:36,800 --> 00:03:40,240 Speaker 2: the wrong way. If I start with my anti chancy 66 00:03:40,400 --> 00:03:44,160 Speaker 2: being the lyrics of a fourth grader. 67 00:03:44,640 --> 00:03:47,680 Speaker 1: Well here my other thought is, I don't think that 68 00:03:47,720 --> 00:03:50,040 Speaker 1: this was written by them. I mean, I think elements 69 00:03:50,040 --> 00:03:52,960 Speaker 1: of it what were But if you listen to this recording, 70 00:03:52,960 --> 00:03:55,160 Speaker 1: that kid's not playing drums, and then there's a whole 71 00:03:55,400 --> 00:03:57,560 Speaker 1: pretty good bass on it that no one seems to. 72 00:03:57,560 --> 00:03:59,080 Speaker 2: Do you think it's not them performing. 73 00:03:59,640 --> 00:04:01,960 Speaker 1: Oh no, I mean there's a huge bassline there that 74 00:04:02,720 --> 00:04:04,680 Speaker 1: so it's a guitar player, a keyboard player in that 75 00:04:04,840 --> 00:04:05,960 Speaker 1: childhood plays drums. 76 00:04:06,120 --> 00:04:08,600 Speaker 2: Yes, And then now I was probably thirty one years old, 77 00:04:08,680 --> 00:04:11,000 Speaker 2: thirty four years old, it's forty years old. I don't 78 00:04:11,040 --> 00:04:12,320 Speaker 2: know how old he is something. 79 00:04:12,200 --> 00:04:17,520 Speaker 1: Like that, but I think that that's definitely like studio 80 00:04:17,600 --> 00:04:21,560 Speaker 1: musicians playing maybe everything. I even don't know if they 81 00:04:21,600 --> 00:04:24,120 Speaker 1: wrote it, because maybe they did. Look, maybe they did. 82 00:04:24,200 --> 00:04:25,800 Speaker 1: I give benefit. I want to give them the band. 83 00:04:25,839 --> 00:04:27,640 Speaker 2: I mean, yo, look, I'm telling you. It says right 84 00:04:27,680 --> 00:04:31,280 Speaker 2: here on my streaming platform of choice. It says Isaac 85 00:04:31,320 --> 00:04:35,960 Speaker 2: Hanson vocals, guitar, it says ih Isaac Hanson, Okay. Then 86 00:04:36,000 --> 00:04:43,680 Speaker 2: it says thh Taylor Hanson vocals, piano, guitar, keyboards, lead, vocals, drums, guitar, 87 00:04:44,680 --> 00:04:50,680 Speaker 2: and then it says z Hanson drums, vocals. The Dust 88 00:04:50,880 --> 00:04:53,000 Speaker 2: Brothers produced this, which is. 89 00:04:52,960 --> 00:04:56,520 Speaker 1: So crazy because because because the drums make me think 90 00:04:56,560 --> 00:04:59,039 Speaker 1: of that I was thinking of Beck. I was thinking 91 00:04:59,040 --> 00:05:02,200 Speaker 1: of Beac Boys in the drums. Like the way it started, 92 00:05:02,240 --> 00:05:03,880 Speaker 1: I was like, oh, this is a sample. It felt 93 00:05:03,920 --> 00:05:06,240 Speaker 1: like a sample. I think he's but he's playing that 94 00:05:06,640 --> 00:05:08,919 Speaker 1: and yeah, wow. 95 00:05:08,920 --> 00:05:11,359 Speaker 2: Says it's a combo of Taylor and z Now on 96 00:05:11,440 --> 00:05:14,080 Speaker 2: my streaming platform of choice, doesn't even tell tells me, 97 00:05:14,200 --> 00:05:17,400 Speaker 2: tells me. It doesn't even tells me Z's name, just 98 00:05:17,480 --> 00:05:21,599 Speaker 2: as z dot Hanson, what is his name? Their name 99 00:05:21,720 --> 00:05:26,880 Speaker 2: is Zach Zach Okay, Zach Hanson, Zachary Hanson, and it says, Look, 100 00:05:27,000 --> 00:05:29,400 Speaker 2: it doesn't say like, I'll tell you this. There's a guy, 101 00:05:29,920 --> 00:05:34,080 Speaker 2: the mixing engineer who I think was a very famous 102 00:05:34,080 --> 00:05:37,880 Speaker 2: and successful mixing engineer. The name always this name always 103 00:05:37,920 --> 00:05:41,360 Speaker 2: kills me. Tom Lord Algae. 104 00:05:41,800 --> 00:05:43,560 Speaker 1: Oh great name, great name. 105 00:05:43,600 --> 00:05:45,520 Speaker 2: I think he worked. I think I met this person. 106 00:05:45,600 --> 00:05:48,840 Speaker 2: I think he worked on this, this songwriter, Rachel Yamagata's 107 00:05:48,920 --> 00:05:51,240 Speaker 2: music that I did some touring with. I think, like, 108 00:05:51,600 --> 00:05:53,839 Speaker 2: I'm I feel like I met this person. I remember 109 00:05:53,880 --> 00:06:00,240 Speaker 2: like being incapable of maintaining an inner seriousness about meeting 110 00:06:00,279 --> 00:06:02,400 Speaker 2: a person whose name was Tom Lord Algae. I was 111 00:06:02,400 --> 00:06:03,880 Speaker 2: just like that, come on, dude. 112 00:06:04,839 --> 00:06:05,240 Speaker 1: I love it. 113 00:06:05,760 --> 00:06:06,919 Speaker 2: This is impossible for me. 114 00:06:08,440 --> 00:06:10,360 Speaker 1: A name you would make up like in a song 115 00:06:10,560 --> 00:06:12,679 Speaker 1: and exactly improvised. 116 00:06:12,200 --> 00:06:15,360 Speaker 2: And then there he was, all six two of them. 117 00:06:15,360 --> 00:06:20,200 Speaker 2: Don't drink a wabble if my mind remembers correctly. Sorry, 118 00:06:20,640 --> 00:06:22,360 Speaker 2: back to the chancy. We don't need to give a 119 00:06:22,440 --> 00:06:24,920 Speaker 2: chancey to Tla Tom Lord Alge. We all know he's 120 00:06:24,960 --> 00:06:28,599 Speaker 2: got the chancy at the wazoo. Okay, so yours your 121 00:06:28,680 --> 00:06:31,599 Speaker 2: contention is because we can get come back to the lyrics. 122 00:06:32,040 --> 00:06:34,400 Speaker 2: I love this is already in a beautiful way chaotic. 123 00:06:34,480 --> 00:06:36,440 Speaker 2: Are we chancing? Are we anti chancing? It's hard to 124 00:06:36,480 --> 00:06:37,279 Speaker 2: tell right away. 125 00:06:37,400 --> 00:06:37,919 Speaker 1: Yeah. 126 00:06:38,040 --> 00:06:40,560 Speaker 2: My question is your contention is that you don't think 127 00:06:40,560 --> 00:06:42,320 Speaker 2: they're performing this on the track. 128 00:06:42,800 --> 00:06:44,880 Speaker 1: I mean, there's definitely I think it's sweetened. I think 129 00:06:44,880 --> 00:06:47,800 Speaker 1: it's sweetened with other studio musicians. I don't doubt that 130 00:06:47,839 --> 00:06:49,920 Speaker 1: they probably all played something on it. And I don't 131 00:06:49,920 --> 00:06:52,359 Speaker 1: even doubt that they're not good at playing their instruments. 132 00:06:52,440 --> 00:06:55,240 Speaker 2: They're very good apparently at by all accounts, at all 133 00:06:55,279 --> 00:06:57,719 Speaker 2: of those things they've aged into. It continued. I have 134 00:06:57,800 --> 00:06:59,720 Speaker 2: like there are grown ass people. I know there are 135 00:06:59,760 --> 00:07:02,840 Speaker 2: still like active Hansen fans. They like go see them 136 00:07:02,880 --> 00:07:03,280 Speaker 2: live and. 137 00:07:03,240 --> 00:07:06,239 Speaker 1: Stuff No I and I bet you that they've created 138 00:07:06,440 --> 00:07:10,000 Speaker 1: like a whole you know, discography of of stuff that 139 00:07:10,280 --> 00:07:13,080 Speaker 1: has been good and in fact, like the chancey I 140 00:07:13,120 --> 00:07:15,680 Speaker 1: give this song is that I like it. I even 141 00:07:15,720 --> 00:07:18,280 Speaker 1: think that the chorus, which which in a a in 142 00:07:18,360 --> 00:07:21,040 Speaker 1: a good in a bad and good way, feels like 143 00:07:21,680 --> 00:07:24,080 Speaker 1: when you know, when like dummy lyrics, like when you're like, oh, 144 00:07:24,120 --> 00:07:26,640 Speaker 1: I know what the song's gonna be. And I think 145 00:07:26,680 --> 00:07:28,720 Speaker 1: if you forced lyrics onto it, which you could have, 146 00:07:29,600 --> 00:07:31,920 Speaker 1: I think it like kind of pulls back the curtain 147 00:07:32,000 --> 00:07:34,720 Speaker 1: and shows like the process of a songwriter. And I 148 00:07:34,720 --> 00:07:37,960 Speaker 1: think it's really fun that they like they whoever decided 149 00:07:38,000 --> 00:07:40,240 Speaker 1: this took the risk to be like, let's not just 150 00:07:40,280 --> 00:07:44,600 Speaker 1: fill it in. It's so infectious and I give I 151 00:07:44,680 --> 00:07:48,000 Speaker 1: give them flowers for it does kind of taste it 152 00:07:48,120 --> 00:07:50,000 Speaker 1: like Ellen Apple released as a phone and they're like, 153 00:07:50,040 --> 00:07:52,040 Speaker 1: it takes a brave choice to remove the headphone jack 154 00:07:52,200 --> 00:07:54,440 Speaker 1: it's brave to put in the thing that's like not 155 00:07:54,640 --> 00:07:58,600 Speaker 1: finished totally. And I can't help but get Jackson five 156 00:07:58,720 --> 00:08:01,920 Speaker 1: vibes and that's like my favorite era of you know, 157 00:08:02,120 --> 00:08:05,600 Speaker 1: Michael Jackson and his his singing is like it's it's 158 00:08:05,640 --> 00:08:08,960 Speaker 1: the you know, it's pop music is is always kind 159 00:08:08,960 --> 00:08:13,560 Speaker 1: of best when it's like four children by children. It's 160 00:08:13,600 --> 00:08:15,560 Speaker 1: the fubu of music for kids. 161 00:08:15,800 --> 00:08:18,600 Speaker 2: This is I want that shit to get aggregated. That 162 00:08:18,760 --> 00:08:22,880 Speaker 2: is so good. Pop music's always at its best when 163 00:08:22,880 --> 00:08:25,080 Speaker 2: it's four children by children. 164 00:08:27,080 --> 00:08:28,120 Speaker 1: I know what You're right. 165 00:08:27,960 --> 00:08:34,240 Speaker 2: Though, because it ultimately is a confection, like pop music is. Look, 166 00:08:34,400 --> 00:08:37,920 Speaker 2: I don't know what. I don't know enough sort of 167 00:08:37,920 --> 00:08:41,080 Speaker 2: like musicology historically or whatever to know about Like, I 168 00:08:41,080 --> 00:08:44,679 Speaker 2: don't know, I even I'm not super well versed in this, 169 00:08:44,840 --> 00:08:47,400 Speaker 2: like like other people who've made like careers out of it, 170 00:08:47,480 --> 00:08:49,640 Speaker 2: even from like the fifties forward, but I do know, like, 171 00:08:49,760 --> 00:08:52,800 Speaker 2: let's start with things like Elvis and stuff like that, 172 00:08:52,920 --> 00:08:55,920 Speaker 2: you know, like the Big Bopper and Chubby Check or 173 00:08:55,960 --> 00:08:57,800 Speaker 2: all that kind of shit, and then obviously through the 174 00:08:57,800 --> 00:09:02,360 Speaker 2: Beatles and forward. Pop music is kind of I mean, 175 00:09:02,400 --> 00:09:04,200 Speaker 2: these kid kids are even kind of younger than the 176 00:09:04,280 --> 00:09:07,280 Speaker 2: demo in some ways. But pop music is a like 177 00:09:08,200 --> 00:09:10,960 Speaker 2: it's a confection. It's supposed to be something sweet and 178 00:09:11,040 --> 00:09:15,600 Speaker 2: kind of like sugary and kind of like best served 179 00:09:15,760 --> 00:09:20,679 Speaker 2: to and digested by you know, young, excitable people. That 180 00:09:20,720 --> 00:09:23,720 Speaker 2: doesn't mean that there's not sometimes things that become that 181 00:09:23,800 --> 00:09:25,760 Speaker 2: move around in that space that are like a higher 182 00:09:25,800 --> 00:09:28,880 Speaker 2: concept or higher quality, or that there's not like relative 183 00:09:29,080 --> 00:09:32,760 Speaker 2: you know, better and worse versions of it. But I 184 00:09:32,800 --> 00:09:34,880 Speaker 2: do think even for adults, like I think part of 185 00:09:34,920 --> 00:09:38,720 Speaker 2: what like the whole like poptimism movement in like music criticism, 186 00:09:39,320 --> 00:09:41,960 Speaker 2: with trying to like rest back the kind of like 187 00:09:42,040 --> 00:09:45,680 Speaker 2: the way people write about, like writing about Sabrina Carpenter, 188 00:09:45,760 --> 00:09:49,360 Speaker 2: the way one might write about like Bob Dylan and 189 00:09:49,360 --> 00:09:51,679 Speaker 2: Neil Young or something. I think that was a corrective 190 00:09:51,760 --> 00:09:55,120 Speaker 2: to be like, we can actually also engage with texts 191 00:09:55,200 --> 00:09:58,160 Speaker 2: like this that aren't just like by like you know, 192 00:09:58,320 --> 00:10:03,000 Speaker 2: canonical old white guys or whatever. I think sometimes there's 193 00:10:03,000 --> 00:10:05,599 Speaker 2: an over correction with that, where we're now supposed to 194 00:10:05,600 --> 00:10:07,720 Speaker 2: talk about Taylor Swift the way we talk about like 195 00:10:07,840 --> 00:10:10,240 Speaker 2: Mount Eerie or something like that. I think those are 196 00:10:10,280 --> 00:10:13,800 Speaker 2: like really different things. But I digress with this. What 197 00:10:13,880 --> 00:10:16,959 Speaker 2: I think the point of this music is is almost 198 00:10:17,320 --> 00:10:21,320 Speaker 2: for adults, it's actually to reconnect to that inner child 199 00:10:21,520 --> 00:10:24,920 Speaker 2: part in you that like sweetness, that like and so 200 00:10:25,000 --> 00:10:27,000 Speaker 2: I think part of why this appealed because this didn't 201 00:10:27,040 --> 00:10:29,679 Speaker 2: just appeal to like twelve year olds. There were like 202 00:10:29,840 --> 00:10:31,800 Speaker 2: grown ups that like this, and it's because of what 203 00:10:31,840 --> 00:10:35,960 Speaker 2: you're saying. It's obviously a Jackson five homage that like 204 00:10:36,160 --> 00:10:40,320 Speaker 2: open faced major chord kind of like joyful and yearning. 205 00:10:40,480 --> 00:10:43,440 Speaker 2: The quality of the vocal performance, it's totally going for 206 00:10:43,520 --> 00:10:47,240 Speaker 2: that kind of like it's a kid pantomiming R and B. 207 00:10:47,880 --> 00:10:50,679 Speaker 2: But kids who can like sing and play and they 208 00:10:50,720 --> 00:10:54,800 Speaker 2: know the source material. And I think that that's really 209 00:10:54,960 --> 00:10:57,400 Speaker 2: You're right, You're right to point out that's its like 210 00:10:57,520 --> 00:11:05,719 Speaker 2: strongest suit. This is like infectious inarguable pop music for 211 00:11:06,080 --> 00:11:14,960 Speaker 2: kids by kids. 212 00:11:22,240 --> 00:11:25,760 Speaker 1: I love the vocal quality of the lead singer Tailor. 213 00:11:25,920 --> 00:11:27,840 Speaker 2: He's singing his ass off, yeah, yeah. 214 00:11:27,679 --> 00:11:30,360 Speaker 1: Yeah, And it's like there's like a squeakiness that like 215 00:11:30,720 --> 00:11:33,000 Speaker 1: that Michael Jackson had when he was like a kid, 216 00:11:33,280 --> 00:11:36,040 Speaker 1: where it's like, really what he sounds like is what 217 00:11:36,120 --> 00:11:42,000 Speaker 1: like a woman in their twenties, like like a what's 218 00:11:42,080 --> 00:11:42,600 Speaker 1: what's uh? 219 00:11:43,000 --> 00:11:43,160 Speaker 2: Who? 220 00:11:43,400 --> 00:11:46,640 Speaker 1: Who was Gladys Knight? Like you know what? It's like 221 00:11:47,000 --> 00:11:50,960 Speaker 1: these like these like high vocal like it's John Lennon 222 00:11:51,000 --> 00:11:53,000 Speaker 1: also wanted like to sound like the. 223 00:11:53,400 --> 00:12:02,080 Speaker 2: The the Cherrell's. 224 00:11:58,480 --> 00:12:00,640 Speaker 1: Because like if you look at songs like Happiness is 225 00:12:00,679 --> 00:12:04,520 Speaker 1: a warm gun where a bang bang shoo sho. Totally 226 00:12:04,559 --> 00:12:07,000 Speaker 1: like that stuff is like all do wop inspired, and 227 00:12:07,360 --> 00:12:09,480 Speaker 1: obviously Michael Jackson was and this is you know, it's 228 00:12:09,520 --> 00:12:12,559 Speaker 1: it's definitely the next iteration of that. But I just was, 229 00:12:12,760 --> 00:12:13,640 Speaker 1: can I read something? 230 00:12:14,440 --> 00:12:15,959 Speaker 2: You can? Just I don't know if you can. You 231 00:12:16,040 --> 00:12:17,160 Speaker 2: might be under arrest. 232 00:12:17,840 --> 00:12:21,600 Speaker 1: Yeah, okay, well guess what I'm risking it? So all right, 233 00:12:21,679 --> 00:12:23,000 Speaker 1: So this is what the Hansen Bros. 234 00:12:23,040 --> 00:12:23,319 Speaker 2: Said. 235 00:12:23,600 --> 00:12:26,079 Speaker 1: What the song talks about is you've got to hold 236 00:12:26,120 --> 00:12:29,160 Speaker 1: on to the things that really matter. Umbop represents a 237 00:12:29,160 --> 00:12:32,079 Speaker 1: frame of time or the futility of life. Things are 238 00:12:32,080 --> 00:12:34,440 Speaker 1: going to be gone, whether it's your age or your youth, 239 00:12:34,559 --> 00:12:36,880 Speaker 1: or maybe the money you have or whatever it is, 240 00:12:37,160 --> 00:12:39,320 Speaker 1: and all that's going to be left are the people 241 00:12:39,360 --> 00:12:42,600 Speaker 1: you've nurtured and have really built to be your backbone 242 00:12:42,640 --> 00:12:45,640 Speaker 1: and your support system. I'm laughing because that's so funny, 243 00:12:45,640 --> 00:12:47,680 Speaker 1: because like, as much as that is really beautiful, that 244 00:12:47,720 --> 00:12:48,880 Speaker 1: you're like, you remember when. 245 00:12:48,800 --> 00:12:50,920 Speaker 2: I said boo boop, Yeah, I was gonna say the. 246 00:12:50,880 --> 00:12:54,400 Speaker 1: Futility of life is you know, it's so funny, But also. 247 00:12:54,280 --> 00:12:56,680 Speaker 2: I need to have a critical question about that quote. 248 00:12:57,360 --> 00:13:01,000 Speaker 2: When is the attribution of that quote? Is that quote 249 00:13:01,080 --> 00:13:03,720 Speaker 2: that cannot be like nineteen ninety six or whatever this 250 00:13:03,760 --> 00:13:07,640 Speaker 2: song gotten before, Okay, because I was gonna say that 251 00:13:07,720 --> 00:13:09,600 Speaker 2: must have been for like any a VH one thing 252 00:13:09,720 --> 00:13:10,480 Speaker 2: or something. 253 00:13:10,280 --> 00:13:14,080 Speaker 1: Like for the interview by song facts like to like 254 00:13:14,240 --> 00:13:14,559 Speaker 1: and I. 255 00:13:14,679 --> 00:13:16,720 Speaker 2: What I was gonna say, it's funny. I'm glad it 256 00:13:16,760 --> 00:13:20,320 Speaker 2: was affirmed by the writer. I never knew until I 257 00:13:20,400 --> 00:13:23,080 Speaker 2: was reading the lyrics along with listening to the song 258 00:13:23,600 --> 00:13:26,840 Speaker 2: that umbop was used at one point in this song 259 00:13:27,000 --> 00:13:29,960 Speaker 2: as a stand in for the passage of time, like 260 00:13:30,000 --> 00:13:32,200 Speaker 2: as a measurement of time. There's a part where he 261 00:13:32,360 --> 00:13:35,960 Speaker 2: says he says something done, yeah, and he says something 262 00:13:36,080 --> 00:13:40,960 Speaker 2: yeah exactly mbop it's done. Uh umbop they're in an 263 00:13:41,080 --> 00:13:44,040 Speaker 2: umbop they're gone, and an umbop they're not there, and 264 00:13:44,080 --> 00:13:47,040 Speaker 2: an umbop they're gone, and an umbop they're not there 265 00:13:48,160 --> 00:13:50,880 Speaker 2: until you lose your hair ooh, which you don't care. Look, 266 00:13:50,880 --> 00:13:52,160 Speaker 2: there's some stuff I want to talk about a lot 267 00:13:52,160 --> 00:13:55,680 Speaker 2: of the lyrics, but that being said, yeah, it does seem 268 00:13:55,800 --> 00:13:58,800 Speaker 2: they are like there is this thing moving through the song. 269 00:13:58,840 --> 00:14:01,280 Speaker 2: I think that's correctly identify by the writer, which might 270 00:14:01,320 --> 00:14:02,559 Speaker 2: sound like a funy thing to say because you're like, 271 00:14:02,600 --> 00:14:04,200 Speaker 2: of course it is, they wrote it. I think there's 272 00:14:04,200 --> 00:14:06,640 Speaker 2: sometimes they hear songwriters talk about their songs and I'm like, 273 00:14:06,720 --> 00:14:08,559 Speaker 2: I don't care if you think that's what it's about. 274 00:14:09,200 --> 00:14:12,400 Speaker 3: Yeah, yeah, yeah, yeah, yeah totally, or like that might 275 00:14:12,480 --> 00:14:15,439 Speaker 3: be what it's about, but you did not execute at 276 00:14:15,440 --> 00:14:18,080 Speaker 3: the level of writing with like metaphor or whatever that 277 00:14:18,120 --> 00:14:19,520 Speaker 3: You're like, there's things someone might be like. 278 00:14:19,520 --> 00:14:23,040 Speaker 2: Yo, that's supposed to stand in for, like the passage 279 00:14:23,080 --> 00:14:26,920 Speaker 2: of time, and you're like, no, it's not what How 280 00:14:27,240 --> 00:14:29,400 Speaker 2: explain break it down for me? How this one? I 281 00:14:29,440 --> 00:14:30,480 Speaker 2: can see it? I get it. 282 00:14:30,520 --> 00:14:32,320 Speaker 1: Sure. The other side of the coin of that is 283 00:14:32,400 --> 00:14:35,200 Speaker 1: like chocolate rain, which we discussed, which was like it's 284 00:14:35,360 --> 00:14:37,320 Speaker 1: I didn't even realize it was about that, and it's 285 00:14:37,360 --> 00:14:40,600 Speaker 1: so to the point it's clearly this is what it 286 00:14:40,680 --> 00:14:43,280 Speaker 1: is about, and you're like, oh wow, like they beat 287 00:14:43,320 --> 00:14:45,560 Speaker 1: it overhead and I still didn't. Well, the truth is 288 00:14:45,560 --> 00:14:48,080 Speaker 1: I never really listened to it, but from like the 289 00:14:48,080 --> 00:14:50,480 Speaker 1: memes you see it around, like I didn't put it together, 290 00:14:50,760 --> 00:14:53,160 Speaker 1: and it's like got such meaning behind it and it's 291 00:14:53,280 --> 00:14:53,920 Speaker 1: very obvious. 292 00:14:53,960 --> 00:14:56,640 Speaker 2: But that was almost too, like that was also like 293 00:14:56,800 --> 00:14:59,840 Speaker 2: a dare in some way. I wonder about his intentionality 294 00:14:59,840 --> 00:15:03,880 Speaker 2: with that too, because it's like that's he effectively wrote 295 00:15:04,000 --> 00:15:07,280 Speaker 2: like a hard rain's gonna fall, yeah yeah or something, 296 00:15:07,720 --> 00:15:10,480 Speaker 2: or like uh, it's all right, mom, only bleeding. But 297 00:15:10,520 --> 00:15:14,840 Speaker 2: then he made it into like a cartoon mimified, like 298 00:15:15,320 --> 00:15:18,360 Speaker 2: no one was gonna find the meaning in that, because 299 00:15:18,360 --> 00:15:21,640 Speaker 2: it was like completely presented as a I mean, that's 300 00:15:21,680 --> 00:15:23,960 Speaker 2: like such an effective trojan horse that like you forget 301 00:15:23,960 --> 00:15:26,880 Speaker 2: to push the horse through the gate or something like 302 00:15:26,920 --> 00:15:29,280 Speaker 2: you just leave it outside. It was like too good 303 00:15:29,320 --> 00:15:32,520 Speaker 2: for its own it's album good. It was too good 304 00:15:32,560 --> 00:15:32,920 Speaker 2: for its. 305 00:15:32,880 --> 00:15:35,840 Speaker 1: Own own good. And that's the next Hanson song. 306 00:15:36,080 --> 00:15:37,240 Speaker 2: It's like no. 307 00:15:38,440 --> 00:15:40,160 Speaker 1: The other thing that's in this is that they said 308 00:15:40,440 --> 00:15:43,680 Speaker 1: the lyrics weren't inspired by one one artist in portrayo, 309 00:15:44,200 --> 00:15:47,000 Speaker 1: the first music that got into was fifties and sixties. 310 00:15:47,080 --> 00:15:50,080 Speaker 1: If anything. Mbab was inspired by the Beach Boys. And 311 00:15:50,480 --> 00:15:52,960 Speaker 1: you can see that, right, and so that definitely I 312 00:15:53,000 --> 00:15:53,560 Speaker 1: see that too. 313 00:15:54,160 --> 00:15:57,480 Speaker 2: Would and it be nice mbomb your hair's gone wood 314 00:15:57,520 --> 00:15:59,600 Speaker 2: and it be nice mumbob it's back. 315 00:16:01,480 --> 00:16:02,960 Speaker 1: It wouldn't it be nice though, if you lose your 316 00:16:02,960 --> 00:16:03,880 Speaker 1: hair and it comes back. 317 00:16:04,160 --> 00:16:05,080 Speaker 2: That's a nice mashy. 318 00:16:05,400 --> 00:16:07,840 Speaker 1: I'm actually trying to find some anti chances because I 319 00:16:07,880 --> 00:16:09,760 Speaker 1: give it so much of a chance because it's by 320 00:16:09,840 --> 00:16:11,560 Speaker 1: children for children and. 321 00:16:12,960 --> 00:16:15,920 Speaker 2: But CDC, Yeah, DC. 322 00:16:16,680 --> 00:16:21,440 Speaker 1: It's by a c DC. I think it's so lovely 323 00:16:21,480 --> 00:16:25,520 Speaker 1: in certain ways, and I can understand how if you know, 324 00:16:25,560 --> 00:16:27,920 Speaker 1: I think probably the hatred of it came at the time, 325 00:16:28,800 --> 00:16:31,280 Speaker 1: like you know, like it's it's this happens where there's 326 00:16:31,320 --> 00:16:34,160 Speaker 1: like you know, whether it's like justin Bieber peaches on 327 00:16:34,200 --> 00:16:36,680 Speaker 1: the radio every day or just like everywhere you go 328 00:16:37,440 --> 00:16:39,560 Speaker 1: you start to be like, Okay, maybe do we have 329 00:16:39,600 --> 00:16:41,560 Speaker 1: to hear that song again, or like a Taylor Swift 330 00:16:41,600 --> 00:16:44,920 Speaker 1: song like Shaken or Saturated. Yeah, And I mean it 331 00:16:44,960 --> 00:16:48,520 Speaker 1: happens with everyone. It's like it's like the White Stripes 332 00:16:48,520 --> 00:16:51,280 Speaker 1: had a like a football game. Now it's like damn 333 00:16:51,040 --> 00:16:54,200 Speaker 1: d like every time you're like, okay, it's you know. 334 00:16:54,480 --> 00:16:57,120 Speaker 1: But I bet that's where most of that, at the time, 335 00:16:57,200 --> 00:17:00,200 Speaker 1: the hatred of umbab came. And I do believe that 336 00:17:00,240 --> 00:17:03,320 Speaker 1: people probably now hear it and they're like, oh yeah, 337 00:17:03,400 --> 00:17:03,880 Speaker 1: remember this. 338 00:17:04,280 --> 00:17:07,560 Speaker 2: Oh absolutely, I mean I think and I do think 339 00:17:07,600 --> 00:17:10,320 Speaker 2: there's a few things I think it was there's a 340 00:17:10,359 --> 00:17:14,080 Speaker 2: saturation point that gets hit and then people can't. It's yeah, 341 00:17:14,119 --> 00:17:16,959 Speaker 2: it's like anything that becomes ubiquity. People love it on 342 00:17:17,040 --> 00:17:20,040 Speaker 2: the way, and then it's the ubiquity and then everyone's like, 343 00:17:20,119 --> 00:17:23,320 Speaker 2: I cannot hear this again, And of course there's some 344 00:17:23,359 --> 00:17:25,000 Speaker 2: people who never love it on the way. I think 345 00:17:25,040 --> 00:17:27,639 Speaker 2: the other thing with them, though, is with something like this, 346 00:17:28,560 --> 00:17:32,680 Speaker 2: exactly what is its super strength is it's simultaneously it's 347 00:17:32,680 --> 00:17:36,040 Speaker 2: super weakness. These are three like clean cut. This is 348 00:17:36,080 --> 00:17:39,040 Speaker 2: like the most vanilla shit in the world. Like it's 349 00:17:39,080 --> 00:17:44,680 Speaker 2: like three clean cut young like sort of like there. 350 00:17:45,080 --> 00:17:48,280 Speaker 2: It was like the whole tagline with them was almost 351 00:17:48,359 --> 00:17:51,960 Speaker 2: like it's like Disney. It's like a disnified kitty pop 352 00:17:52,000 --> 00:17:54,760 Speaker 2: thing that you can actually like if you're a music head, 353 00:17:54,880 --> 00:17:57,440 Speaker 2: you could stand by it because these kids actually wrote 354 00:17:57,440 --> 00:17:59,919 Speaker 2: and played this shit like it's not like it was 355 00:18:00,080 --> 00:18:02,760 Speaker 2: handed to them and it's like they're just like standing there, 356 00:18:03,600 --> 00:18:05,800 Speaker 2: you know, doing some sort of Corey gra They wrote 357 00:18:05,840 --> 00:18:06,720 Speaker 2: this stuff in there. 358 00:18:06,960 --> 00:18:09,119 Speaker 1: And that's even more at Jackson five, right, because like 359 00:18:09,160 --> 00:18:12,800 Speaker 1: totally they played those instruments and you're so right and 360 00:18:12,800 --> 00:18:15,360 Speaker 1: and stuff like this, especially in the nineties and the 361 00:18:15,400 --> 00:18:18,840 Speaker 1: mid nineties, like Hanson walked to that Hannah Montana could 362 00:18:18,920 --> 00:18:21,120 Speaker 1: run right, it's like that we're. 363 00:18:20,920 --> 00:18:24,280 Speaker 2: Still come out what was six? Okay. So the other 364 00:18:24,320 --> 00:18:28,120 Speaker 2: thing is they're also serving they were what whatever knives 365 00:18:28,160 --> 00:18:31,600 Speaker 2: were drawn at this song when it happened. It's also 366 00:18:31,680 --> 00:18:35,080 Speaker 2: a transitional thing, like this was before Backstreet Boys and 367 00:18:35,119 --> 00:18:37,880 Speaker 2: the nunk and all that stuff. Just thinking at it's 368 00:18:37,920 --> 00:18:41,359 Speaker 2: so it's actually yo in a weird way, they're a 369 00:18:41,720 --> 00:18:45,800 Speaker 2: crazy bridge where the two halves of the nineties happened 370 00:18:46,400 --> 00:18:51,119 Speaker 2: because they are in a way referencing the kind of 371 00:18:51,320 --> 00:18:55,200 Speaker 2: authenticity porn that surrounded like grunge and all that stuff. 372 00:18:55,280 --> 00:18:58,320 Speaker 2: Because these kids are playing their own instruments, they're making 373 00:18:58,440 --> 00:19:01,480 Speaker 2: music with the Dust Brothers. They're like, it's got to 374 00:19:01,480 --> 00:19:05,439 Speaker 2: be post odlay but pre this stuff becoming like a 375 00:19:05,520 --> 00:19:07,800 Speaker 2: Dust Brothers go on to do like the Fight Club soundtrack, 376 00:19:07,840 --> 00:19:10,080 Speaker 2: a bunch of music in the late nineties. But like 377 00:19:10,600 --> 00:19:13,919 Speaker 2: so they're and you know, okay, they are like a band. 378 00:19:14,240 --> 00:19:17,640 Speaker 2: They're a band. They're they're three people playing they write songs, 379 00:19:17,680 --> 00:19:20,280 Speaker 2: they play instruments. They probably rehearsed in their basement or 380 00:19:20,320 --> 00:19:23,600 Speaker 2: their garage or whatever, and they were and so there's that, 381 00:19:23,960 --> 00:19:28,560 Speaker 2: but they're they're also becoming What's about to take over, 382 00:19:28,800 --> 00:19:33,920 Speaker 2: which is this title wave of like literally Disney sort 383 00:19:33,920 --> 00:19:39,120 Speaker 2: of Disney Farm League Pop Sensation. And so actually that's 384 00:19:39,160 --> 00:19:41,400 Speaker 2: funny listening to it. It really does. They actually are 385 00:19:41,400 --> 00:19:44,480 Speaker 2: some weird hinge between like this is like and I 386 00:19:44,480 --> 00:19:46,840 Speaker 2: bet all these kids liked like, yes, the Jackson five 387 00:19:46,840 --> 00:19:48,320 Speaker 2: and all that stuff, But I also bet they liked 388 00:19:48,320 --> 00:19:50,960 Speaker 2: Pearl Jam and still in Tumble Pilots and Nirvana. I 389 00:19:51,040 --> 00:19:53,960 Speaker 2: bet they played those songs too with each other. 390 00:19:54,160 --> 00:19:56,080 Speaker 1: I bet you they still got the stigma of like 391 00:19:56,160 --> 00:19:58,920 Speaker 1: industry plant, you know, which like gets thrown around a 392 00:19:58,960 --> 00:20:01,199 Speaker 1: lot in the nineties. Would even be like Weezer's an 393 00:20:01,200 --> 00:20:04,600 Speaker 1: industry plant, and like, uh, you know, because it was 394 00:20:04,680 --> 00:20:06,800 Speaker 1: like one guy and they built a band around it, right, 395 00:20:07,000 --> 00:20:09,760 Speaker 1: And then obviously Silver Chair was like a big one. 396 00:20:09,760 --> 00:20:10,400 Speaker 1: They're like, that's the. 397 00:20:10,359 --> 00:20:14,679 Speaker 2: Industry and that's funny. Silverchair is like the grunge version 398 00:20:14,720 --> 00:20:16,000 Speaker 2: of Hansen. 399 00:20:15,960 --> 00:20:17,639 Speaker 1: Kind of crazy like, and they got a lot, they 400 00:20:17,680 --> 00:20:20,080 Speaker 1: got a flak just because they were like coming on 401 00:20:20,160 --> 00:20:23,600 Speaker 1: the after Nirvana as he look like he was. 402 00:20:23,680 --> 00:20:27,520 Speaker 2: Yeah, I also think it's funny you talk about industry plant, 403 00:20:27,560 --> 00:20:29,199 Speaker 2: because that does lead me to the one thing I 404 00:20:29,200 --> 00:20:32,520 Speaker 2: do need to talk about lyrically. I don't know that 405 00:20:32,720 --> 00:20:34,520 Speaker 2: I think they might have bitten off more than they 406 00:20:34,520 --> 00:20:37,720 Speaker 2: could chew or gardened more than they could harvest from 407 00:20:37,800 --> 00:20:40,199 Speaker 2: this whole plant metaphor this movie. Through the song, I 408 00:20:40,200 --> 00:20:42,760 Speaker 2: don't really understand it. They keep talking about like will 409 00:20:42,760 --> 00:20:44,399 Speaker 2: it be a rose? Will it be a daisy? You 410 00:20:44,440 --> 00:20:47,240 Speaker 2: don't know. You should know you could do their seeds 411 00:20:47,280 --> 00:20:50,879 Speaker 2: like it are replanting roses or replanting daisies. It's not 412 00:20:50,920 --> 00:20:51,840 Speaker 2: a fucking mystery. 413 00:20:52,320 --> 00:20:54,200 Speaker 1: Yeah, yeah, but you gotta you gotta think, like even 414 00:20:54,320 --> 00:20:57,639 Speaker 1: even like Elton John is like, you know, if I 415 00:20:57,720 --> 00:20:59,960 Speaker 1: was a sculptor, But then again no, you know, like. 416 00:21:00,240 --> 00:21:03,320 Speaker 2: Well then that's that's of course Bernie Taup. So yeah, 417 00:21:03,640 --> 00:21:05,560 Speaker 2: you know, we can't even give Elton. We can't hang 418 00:21:05,600 --> 00:21:07,760 Speaker 2: the l on Elton for that one. Although that's I 419 00:21:07,800 --> 00:21:10,080 Speaker 2: always thought that was kind of conversation. It is funny 420 00:21:10,080 --> 00:21:11,959 Speaker 2: that he left that. It's like, so that's a bit 421 00:21:12,000 --> 00:21:14,240 Speaker 2: of a day or two. It's conversational, you know what 422 00:21:14,320 --> 00:21:18,480 Speaker 2: I mean, he's like fires sculpting, But then again no, yeah, 423 00:21:19,000 --> 00:21:21,199 Speaker 2: but no, I feel like there was something specific that 424 00:21:21,280 --> 00:21:24,000 Speaker 2: they kept the fact that they kept coming back to 425 00:21:24,119 --> 00:21:27,240 Speaker 2: the plant and flower thing. It's like there's like seventy 426 00:21:27,359 --> 00:21:29,400 Speaker 2: parts of this song where he's like, I mean that's 427 00:21:29,400 --> 00:21:32,200 Speaker 2: give or take. It's not scientific. Which flower is gonna grow? 428 00:21:32,600 --> 00:21:34,639 Speaker 2: You can't because you don't know. Is it going to 429 00:21:34,720 --> 00:21:37,080 Speaker 2: be a daisy or a rose? You can't because you 430 00:21:37,119 --> 00:21:40,400 Speaker 2: don't know. Come on, that's the game. What is that? 431 00:21:40,520 --> 00:21:41,960 Speaker 2: I mean like you say it's the good that you're 432 00:21:42,040 --> 00:21:45,480 Speaker 2: lost in contemplations about it, but I was. I was 433 00:21:45,520 --> 00:21:46,840 Speaker 2: setting off some alarms for me. 434 00:21:55,440 --> 00:21:57,399 Speaker 1: The thing that I give the most chance to it 435 00:21:57,440 --> 00:21:59,639 Speaker 1: with all this is like it's a child and I 436 00:21:59,640 --> 00:22:01,840 Speaker 1: don't mean it is like to get away with it, 437 00:22:02,080 --> 00:22:04,359 Speaker 1: but it gives me. Like you know, your your mom 438 00:22:04,440 --> 00:22:06,240 Speaker 1: plants does a lot of the work for your mom 439 00:22:06,280 --> 00:22:08,159 Speaker 1: plants the seeds, and you're just like, what is it? 440 00:22:08,200 --> 00:22:11,520 Speaker 1: What's it going to be? Totally like you don't know yet, 441 00:22:11,520 --> 00:22:13,760 Speaker 1: like even though she knows, but she's like, let's see. 442 00:22:13,960 --> 00:22:17,360 Speaker 1: And it's like it's like from the perspective and you know, it's. 443 00:22:17,200 --> 00:22:20,080 Speaker 2: You're talking about childlike joy and wonder and that's look, 444 00:22:20,119 --> 00:22:23,200 Speaker 2: what's what more to give a chancey to than that 445 00:22:23,200 --> 00:22:26,840 Speaker 2: that's you're right, But just just for the record, I 446 00:22:26,880 --> 00:22:29,880 Speaker 2: do I would be remiss as as the litigious, of course, 447 00:22:30,000 --> 00:22:33,640 Speaker 2: the reltigious, the litigi the litigator in our binary. 448 00:22:33,640 --> 00:22:34,879 Speaker 1: Here, Rick, come over the coals. 449 00:22:35,600 --> 00:22:40,480 Speaker 2: Plan a seed, plan a flower, plan a rose. You 450 00:22:40,520 --> 00:22:45,240 Speaker 2: can plan any one of those. Actually, this seed will 451 00:22:45,280 --> 00:22:49,359 Speaker 2: become the flower, and a kind of flower is a rose, 452 00:22:49,440 --> 00:22:51,480 Speaker 2: so you can't. I mean, it's kind of one. Yeah, 453 00:22:51,520 --> 00:22:53,760 Speaker 2: I guess maybe they're talking about the Holy Trinity seed 454 00:22:53,800 --> 00:22:54,800 Speaker 2: flower rose. 455 00:22:54,960 --> 00:22:57,200 Speaker 1: That's what it is. Oh, I think they do. They 456 00:22:57,200 --> 00:22:58,880 Speaker 1: are like the Christians now or something. 457 00:22:58,880 --> 00:23:01,960 Speaker 2: That's probably why they got a little bit of blowback 458 00:23:01,960 --> 00:23:04,720 Speaker 2: in that period of time too, from like more discerning 459 00:23:04,880 --> 00:23:08,919 Speaker 2: critical people keep planning to find out which one grows. 460 00:23:09,760 --> 00:23:14,680 Speaker 2: It's a secret. No one knows. It's a secret. No 461 00:23:14,720 --> 00:23:19,000 Speaker 2: one knows. Oh, no one knows. I'm sorry. 462 00:23:19,480 --> 00:23:21,360 Speaker 1: I could like here, it's crazy though. I could hear 463 00:23:21,400 --> 00:23:23,280 Speaker 1: the harmonies even though you're not even singing. 464 00:23:23,520 --> 00:23:28,600 Speaker 2: I know it's really good. There is no I feel like, 465 00:23:30,119 --> 00:23:32,840 Speaker 2: what would you what kind of heartless bastard would you 466 00:23:32,920 --> 00:23:37,959 Speaker 2: have to be to be like like unmitigated in your 467 00:23:38,000 --> 00:23:43,679 Speaker 2: criticism of this. It's it's it's extremely likable. Maybe the 468 00:23:43,720 --> 00:23:46,000 Speaker 2: thing I think what IT got the most flack for 469 00:23:46,280 --> 00:23:49,640 Speaker 2: was just it again, it's super strength, is it's Achilles heel, 470 00:23:49,840 --> 00:23:53,880 Speaker 2: it's open face kind of like there's actually more kind 471 00:23:53,920 --> 00:23:56,920 Speaker 2: of even if I don't think it's it's as deep 472 00:23:56,920 --> 00:23:59,159 Speaker 2: as you're going to get for three children, right, although 473 00:23:59,200 --> 00:24:01,960 Speaker 2: sometimes of course kids say the darnedess things cases you know, 474 00:24:02,560 --> 00:24:07,080 Speaker 2: you know, but I do think there are there is 475 00:24:07,280 --> 00:24:10,960 Speaker 2: actually more happening in the lyric than might be evident 476 00:24:11,080 --> 00:24:14,680 Speaker 2: through just the sunshine of the chord progression and lyrical 477 00:24:14,720 --> 00:24:16,720 Speaker 2: thing and the top of it all. There is actually 478 00:24:16,760 --> 00:24:19,639 Speaker 2: stuff there like wrestling with about like what matters and 479 00:24:19,720 --> 00:24:23,680 Speaker 2: mortality and whatever in whatever nascent ways. But I do 480 00:24:23,760 --> 00:24:27,240 Speaker 2: think like it probably that the things that are it's 481 00:24:27,800 --> 00:24:30,040 Speaker 2: most shining attributes are also like yeah, there's probably just 482 00:24:30,040 --> 00:24:33,040 Speaker 2: audies of people that were just like this shit's fucking cheesy, dude, 483 00:24:33,400 --> 00:24:36,080 Speaker 2: like I can't, I can't get in for It's like 484 00:24:36,119 --> 00:24:38,800 Speaker 2: that story. We've talked this probably on the podcast before. 485 00:24:38,920 --> 00:24:42,040 Speaker 2: I must have about Tommy Lee Jones, right, and my 486 00:24:42,119 --> 00:24:44,440 Speaker 2: brother got me the shirt. It's that there are people 487 00:24:44,440 --> 00:24:46,600 Speaker 2: who are just gonna be like I can't, I don't 488 00:24:46,640 --> 00:24:49,919 Speaker 2: give it can be the best version of this. I 489 00:24:49,960 --> 00:24:52,919 Speaker 2: cannot fuck with this on any level because it's just 490 00:24:53,080 --> 00:24:57,159 Speaker 2: too and to those people I understand there is a 491 00:24:57,160 --> 00:24:59,760 Speaker 2: certain kind of person who's just like, I don't care 492 00:24:59,800 --> 00:25:02,959 Speaker 2: if bops a measurement of time. I don't care if 493 00:25:03,000 --> 00:25:07,640 Speaker 2: it's a rose, a daisy, or an accidental sunflower. I'm 494 00:25:07,680 --> 00:25:11,119 Speaker 2: not interested in hand Man times three. That's what I 495 00:25:11,119 --> 00:25:17,840 Speaker 2: call hand send hand Man times three, hand Man Montanas. 496 00:25:18,880 --> 00:25:23,919 Speaker 1: Right, that's a thing, yeah, right right, no, no, no, yeah, 497 00:25:24,160 --> 00:25:27,960 Speaker 1: that is a thing. I feel like really like you're 498 00:25:28,560 --> 00:25:33,760 Speaker 1: you're in the home. Yeah, you're taking your asylum. 499 00:25:33,840 --> 00:25:35,280 Speaker 2: Yeah, right, that is a thing. 500 00:25:35,520 --> 00:25:41,679 Speaker 1: Come on, that's definitely that. Yeah. Or like it's like 501 00:25:41,720 --> 00:25:44,160 Speaker 1: an improv scene where like one person's off the rails 502 00:25:44,200 --> 00:25:45,200 Speaker 1: and everyone has to be like. 503 00:25:45,359 --> 00:25:52,320 Speaker 2: Yes, yes, and hand Man Montanas and the hand three? 504 00:25:52,840 --> 00:25:55,080 Speaker 2: Did they what was it? What did they know each other? 505 00:25:55,480 --> 00:25:57,960 Speaker 2: Or was she much later? This is I lose track 506 00:25:58,000 --> 00:26:00,000 Speaker 2: of this kind of stuff. She came much later, right, 507 00:26:00,080 --> 00:26:00,960 Speaker 2: like ten years later? 508 00:26:01,400 --> 00:26:04,520 Speaker 1: I think, so, yeah, I don't yeah, I'm trying to think, 509 00:26:04,600 --> 00:26:06,160 Speaker 1: so this is this is ninety five. 510 00:26:06,480 --> 00:26:10,199 Speaker 2: This it's crazy that this is ninety five music in 511 00:26:10,240 --> 00:26:14,480 Speaker 2: the nineties really was wild, Like what's happening? Oh yeah, 512 00:26:14,720 --> 00:26:16,680 Speaker 2: like this was on MTV, but this. 513 00:26:16,760 --> 00:26:20,400 Speaker 1: Is also Presidents of the United States of America. 514 00:26:20,520 --> 00:26:26,000 Speaker 2: And is that that different? Actually that's what you're talking. Yeah. 515 00:26:26,240 --> 00:26:28,760 Speaker 1: Remember the plant was the plant Man. It was like 516 00:26:28,800 --> 00:26:30,320 Speaker 1: the original drummer of Pavement. 517 00:26:31,560 --> 00:26:33,680 Speaker 2: Oh he had a I don't even Steve West, right, 518 00:26:33,720 --> 00:26:34,960 Speaker 2: that was that, and. 519 00:26:34,920 --> 00:26:36,920 Speaker 1: Then he made this thing. 520 00:26:37,440 --> 00:26:40,840 Speaker 2: Do you do not remember the plant plant Man? No? God, 521 00:26:41,040 --> 00:26:43,000 Speaker 2: if I know this at all, it's the dude from it. 522 00:26:43,359 --> 00:26:46,680 Speaker 2: I mean I remember he was. I feel like he's 523 00:26:46,720 --> 00:26:48,440 Speaker 2: no longer with us. I feel like he might have 524 00:26:48,480 --> 00:26:51,600 Speaker 2: been a heavy hitter with the drink. Steve West. 525 00:26:51,680 --> 00:26:53,720 Speaker 1: Oh, Gary Young? No, Gary Young. 526 00:26:53,960 --> 00:26:57,360 Speaker 2: Steve Young was Steve West to replaced the second drummer. 527 00:26:58,280 --> 00:27:00,000 Speaker 1: I don't remember, but Gary maybe. 528 00:26:59,800 --> 00:27:01,600 Speaker 2: There was no one in Pavement who's ever been named 529 00:27:01,640 --> 00:27:02,320 Speaker 2: Steve West. 530 00:27:02,920 --> 00:27:05,400 Speaker 1: Yeah, I actually I didn't recognize it. So Gary Young 531 00:27:05,520 --> 00:27:09,000 Speaker 1: plant Man is something you need to check out. 532 00:27:09,160 --> 00:27:10,919 Speaker 2: Okay, I'm surprised. 533 00:27:10,560 --> 00:27:13,480 Speaker 1: You don't remember it, because you actually might once you like, see, do. 534 00:27:13,520 --> 00:27:16,800 Speaker 2: You have like a semi hit with it? Like a I. 535 00:27:16,760 --> 00:27:19,320 Speaker 1: Think we should we should watch it right now. I'm 536 00:27:19,320 --> 00:27:21,119 Speaker 1: gonna I'm gonna drop it in this chat, and I 537 00:27:21,160 --> 00:27:23,600 Speaker 1: think we should watch it and then just find the 538 00:27:23,640 --> 00:27:25,800 Speaker 1: rest of this to talk about it, because I want 539 00:27:25,800 --> 00:27:26,800 Speaker 1: to take people back. 540 00:27:27,840 --> 00:27:30,760 Speaker 2: But I feel, okay, God, he's gonna send it, click and. 541 00:27:30,800 --> 00:27:32,879 Speaker 1: We'll play a very small amount, but then you'll go 542 00:27:32,960 --> 00:27:33,439 Speaker 1: and watch it. 543 00:27:33,440 --> 00:27:37,040 Speaker 2: All right, I'll mute it. Plant Man, Gary Young is 544 00:27:37,080 --> 00:27:37,480 Speaker 2: his name? 545 00:27:37,960 --> 00:27:38,320 Speaker 1: All right? 546 00:27:38,440 --> 00:27:39,440 Speaker 2: You guys watched this at home? 547 00:27:39,880 --> 00:27:40,520 Speaker 1: Plant Man? 548 00:27:40,720 --> 00:27:46,760 Speaker 2: No, the plants will go plan the plants. Who yo. 549 00:27:46,960 --> 00:27:50,040 Speaker 1: I have zero recollection of that, So okay, that's crazy 550 00:27:50,080 --> 00:27:52,520 Speaker 1: because I remember it and I was like a fan 551 00:27:52,640 --> 00:27:55,119 Speaker 1: of the band, and like, listen, I know who he was, 552 00:27:55,200 --> 00:27:56,600 Speaker 1: like used to stand on his head on. 553 00:27:56,600 --> 00:28:00,359 Speaker 2: The drum, Yeah, throwing at their shows. Was great drummer, 554 00:28:00,400 --> 00:28:01,679 Speaker 2: but they had to get rid of him because he 555 00:28:01,720 --> 00:28:03,560 Speaker 2: was nuts. Basically. 556 00:28:04,359 --> 00:28:06,200 Speaker 1: I met him once in Rhode Island, where I think 557 00:28:06,240 --> 00:28:10,720 Speaker 1: he like was living, and and it was yeah, he 558 00:28:10,800 --> 00:28:12,359 Speaker 1: was like, you probably want to talk to me about 559 00:28:12,400 --> 00:28:14,640 Speaker 1: Pavement or something like. It was like he was like that. 560 00:28:14,720 --> 00:28:15,960 Speaker 1: It was he was cool, but. 561 00:28:16,000 --> 00:28:18,040 Speaker 2: So you just want you saw him in the wild 562 00:28:18,160 --> 00:28:19,520 Speaker 2: somewhere and just went up to him. 563 00:28:19,920 --> 00:28:23,240 Speaker 1: I was on tour with Bonds. Yeah by Straanberg and 564 00:28:23,320 --> 00:28:25,840 Speaker 1: Joe and Bergio, and he was at this bar that 565 00:28:26,040 --> 00:28:29,119 Speaker 1: he I think the bartender was like, yeah, that's carry 566 00:28:29,160 --> 00:28:31,879 Speaker 1: young over there. He works here sometimes where he's here 567 00:28:31,920 --> 00:28:35,040 Speaker 1: all the time. Whoa, But it was kind of a 568 00:28:34,600 --> 00:28:38,040 Speaker 1: it all feels surreal to me now. But anyway, so 569 00:28:38,160 --> 00:28:41,360 Speaker 1: that song and music video, it's indicative of the time. 570 00:28:41,680 --> 00:28:43,640 Speaker 1: Even the look of it feels. 571 00:28:43,320 --> 00:28:46,400 Speaker 2: Like totally like it could be on What's the show? 572 00:28:47,480 --> 00:28:50,400 Speaker 2: Yes exactly? Is that what you exactly? Yes exactly. 573 00:28:50,560 --> 00:28:53,320 Speaker 1: It all feels like Pete and Pete, Like even even 574 00:28:53,440 --> 00:28:56,120 Speaker 1: umbab feels like it could have been on Pete and Pete. 575 00:28:55,960 --> 00:29:00,240 Speaker 2: Like totally happy People. Is not that different from is 576 00:29:00,280 --> 00:29:02,680 Speaker 2: not that different from plant Man, is not that different 577 00:29:02,680 --> 00:29:07,400 Speaker 2: from presidents of the United States. 578 00:29:05,640 --> 00:29:08,400 Speaker 1: Like in the Daylight, like you know what I mean, 579 00:29:08,440 --> 00:29:13,560 Speaker 1: like totally yeah yeah, but but yeah, there's something very 580 00:29:13,720 --> 00:29:16,120 Speaker 1: you know, uh, California about it all too. And I 581 00:29:16,120 --> 00:29:20,200 Speaker 1: don't mean like la, I mean like like northern. 582 00:29:19,880 --> 00:29:24,040 Speaker 2: Yeah, like the weird the good cool weird shit like a. 583 00:29:25,920 --> 00:29:29,400 Speaker 1: Yeah, but it all nineties like that stuff that's not 584 00:29:29,480 --> 00:29:33,160 Speaker 1: like the obviously like the massive you know, Nirvana's and 585 00:29:33,680 --> 00:29:37,600 Speaker 1: smashing pumpkins and whatnot. Like aside from all that stuff. 586 00:29:38,080 --> 00:29:41,720 Speaker 1: The the other stuff that's like was one hit Wonders 587 00:29:41,720 --> 00:29:44,880 Speaker 1: but like weird ones like Presidents, it's in America and 588 00:29:44,920 --> 00:29:49,680 Speaker 1: so on. That stuff is so fun I love and 589 00:29:49,760 --> 00:29:52,680 Speaker 1: I'm too sexy. It's like these are all such like 590 00:29:52,840 --> 00:29:55,640 Speaker 1: what a strange decade of music. And maybe I feel 591 00:29:55,680 --> 00:29:58,000 Speaker 1: that way because it was like my decade. But it's 592 00:29:58,040 --> 00:29:58,920 Speaker 1: it's really funny. 593 00:29:59,200 --> 00:30:00,880 Speaker 2: No, I think so, And I think maybe that's a 594 00:30:00,880 --> 00:30:02,560 Speaker 2: good place to kind of land the plane is it 595 00:30:02,560 --> 00:30:06,640 Speaker 2: feels like I do think maybe my biggest takeaway from 596 00:30:06,680 --> 00:30:08,200 Speaker 2: this because I don't know that it's changed how I 597 00:30:08,200 --> 00:30:10,800 Speaker 2: felt about I mean, I've always kind of felt like 598 00:30:12,000 --> 00:30:15,560 Speaker 2: Hanson was of a slightly different character than the things 599 00:30:15,600 --> 00:30:18,680 Speaker 2: with which it is often associated, just by dint of 600 00:30:18,720 --> 00:30:20,600 Speaker 2: the fact, I think, even the fact that somebody like 601 00:30:20,640 --> 00:30:23,200 Speaker 2: the Dust Brothers was involved with this at that time, 602 00:30:23,240 --> 00:30:25,400 Speaker 2: not that the Dust Brothers are like I don't know 603 00:30:25,800 --> 00:30:29,800 Speaker 2: that the upper echelon of objective taste or anything, but 604 00:30:29,840 --> 00:30:31,600 Speaker 2: they made some very cool stuff and worked with some 605 00:30:31,640 --> 00:30:35,680 Speaker 2: cool people. I think that the besides money and besides 606 00:30:35,720 --> 00:30:38,440 Speaker 2: whatever else changes hands to get people to work with people. 607 00:30:38,520 --> 00:30:40,360 Speaker 2: I think part of it is that you know, these 608 00:30:40,360 --> 00:30:43,080 Speaker 2: are these what was always the selling point was like 609 00:30:43,200 --> 00:30:46,320 Speaker 2: they were actually like good musicians who could sing and 610 00:30:46,400 --> 00:30:49,200 Speaker 2: play and wrote their own stuff even from a very 611 00:30:49,240 --> 00:30:52,720 Speaker 2: early age. And that's like credible and cool in its way, 612 00:30:53,080 --> 00:30:56,840 Speaker 2: but it also really does it's funny they are positioned 613 00:30:56,880 --> 00:31:03,040 Speaker 2: in this funny lineage of yes novel t nineties hits, 614 00:31:03,240 --> 00:31:07,479 Speaker 2: but also they become this weird hinge between the like 615 00:31:07,800 --> 00:31:13,120 Speaker 2: live band early nineties and the like pop confection late nineties, 616 00:31:13,160 --> 00:31:16,760 Speaker 2: and that's wild. Actually I'd never really know, And now 617 00:31:17,280 --> 00:31:19,960 Speaker 2: it also reminds like makes me I genuinely do mean, 618 00:31:20,160 --> 00:31:23,000 Speaker 2: I feel like the biggest chance of all to them, 619 00:31:23,040 --> 00:31:25,680 Speaker 2: just from a career perspective, Unlike some of the other 620 00:31:25,720 --> 00:31:30,000 Speaker 2: things we've moved through, they still they like really there's 621 00:31:30,040 --> 00:31:32,600 Speaker 2: like a love of music and writing and performing with 622 00:31:32,640 --> 00:31:36,000 Speaker 2: these people. They still tour. They've had like a like 623 00:31:36,040 --> 00:31:40,400 Speaker 2: a rich career of a long discography. I know people 624 00:31:40,480 --> 00:31:43,360 Speaker 2: who come to shows of mine that you'll be like, 625 00:31:43,560 --> 00:31:45,200 Speaker 2: have you seen anything cool? And you're like, well, I 626 00:31:45,200 --> 00:31:48,560 Speaker 2: saw Hanson two months ago, and you're like, really, like, 627 00:31:48,680 --> 00:31:49,640 Speaker 2: people still. 628 00:31:49,360 --> 00:31:51,160 Speaker 1: Go and so but a lot of ways you are 629 00:31:51,200 --> 00:31:51,920 Speaker 1: the fourth Hanson. 630 00:31:52,360 --> 00:31:54,600 Speaker 2: I mean, I wasn't gonna say it. 631 00:31:54,800 --> 00:31:57,440 Speaker 1: You are though you are, You're Kevin Hanson. 632 00:31:57,600 --> 00:32:01,000 Speaker 2: And I definitely also appreciate that you're on a computer 633 00:32:01,040 --> 00:32:03,040 Speaker 2: and I'm on a computer, because not only did you 634 00:32:03,080 --> 00:32:05,920 Speaker 2: just say it, but you sprayed it too. That's gross. 635 00:32:05,960 --> 00:32:07,480 Speaker 2: You need to clean off the screen. 636 00:32:10,760 --> 00:32:16,400 Speaker 1: Sorry, Yes I do, Yes, I do, Kevin putting the 637 00:32:16,480 --> 00:32:17,000 Speaker 1: jacket on. 638 00:32:18,560 --> 00:32:21,520 Speaker 2: Come on, Hannah's montanis. 639 00:32:22,400 --> 00:32:23,200 Speaker 1: Padded walls. 640 00:32:23,480 --> 00:32:30,480 Speaker 2: Yeah, give you a chance anyway, I saw, I say, 641 00:32:31,520 --> 00:32:35,120 Speaker 2: ultimately shouts the Hansen shouts. 642 00:32:35,920 --> 00:32:42,000 Speaker 1: You know, shouts of the dustiest thing. 643 00:32:42,040 --> 00:32:44,840 Speaker 2: We'll see you next time or if you if you want, 644 00:32:45,000 --> 00:32:46,680 Speaker 2: I'll see you in tournaments. I'll come right over. 645 00:32:47,560 --> 00:32:48,560 Speaker 1: Praise Kevin will be there.