1 00:00:03,160 --> 00:00:05,280 Speaker 1: Demos on my hip, stretched marks on my tits, drink 2 00:00:05,280 --> 00:00:11,360 Speaker 1: about what my biz like, stolen Shinna, lucked me up 3 00:00:11,400 --> 00:00:22,560 Speaker 1: in jail. My uncle Johnny made that dress, that man's virgos. 4 00:00:22,600 --> 00:00:25,840 Speaker 1: I hope you're grooving out there, Alien Superstars. I hope 5 00:00:25,840 --> 00:00:30,400 Speaker 1: you're ready to dance, because today we are talking all 6 00:00:30,440 --> 00:00:36,080 Speaker 1: about Renaissance, the new album by this like little indie artist. 7 00:00:36,159 --> 00:00:39,920 Speaker 1: I don't know if you've heard of her. Her name's Bionce. 8 00:00:42,520 --> 00:00:48,480 Speaker 1: Are happy to par we um? Yeah? Absolutely, Rose, thank 9 00:00:48,520 --> 00:00:51,440 Speaker 1: you for indulging me in a full episode devoted to 10 00:00:51,479 --> 00:00:53,200 Speaker 1: this album. I mean you probably wanted to do it anyway. 11 00:00:53,200 --> 00:00:54,560 Speaker 1: Oh yeah, I knew we were going to talk about 12 00:00:54,600 --> 00:00:56,600 Speaker 1: it and that it was going to be way too 13 00:00:56,640 --> 00:00:59,200 Speaker 1: long for just the news segment. I did not think 14 00:00:59,200 --> 00:01:01,320 Speaker 1: we were going to spend literally an hour going track 15 00:01:01,360 --> 00:01:03,880 Speaker 1: by track through the album, but like, that's just how 16 00:01:03,880 --> 00:01:07,520 Speaker 1: good this album is. It warranted the discussion. So if 17 00:01:07,600 --> 00:01:11,520 Speaker 1: you really want to get into it with our thoughts 18 00:01:11,560 --> 00:01:14,160 Speaker 1: about the Beyonce album, and not just the songs themselves, 19 00:01:14,240 --> 00:01:16,960 Speaker 1: but truly the way they were made, because this is 20 00:01:17,000 --> 00:01:21,240 Speaker 1: an album that I really appreciate Beyonce, Like, let us 21 00:01:21,400 --> 00:01:24,840 Speaker 1: into see what was going on behind the curtains with 22 00:01:24,920 --> 00:01:29,160 Speaker 1: this one. Um, as much as she is willing to 23 00:01:29,200 --> 00:01:32,119 Speaker 1: do that, Um, but we're going to dig into it 24 00:01:32,280 --> 00:01:34,480 Speaker 1: because this is like a Virgin the show where we 25 00:01:34,520 --> 00:01:38,080 Speaker 1: give yesterday's pop culture today's takes. I'm Rose, Damn you 26 00:01:38,840 --> 00:01:55,280 Speaker 1: and I'm fran Toronto Baby, come oh to night Rose. 27 00:01:55,800 --> 00:01:58,440 Speaker 1: You know I I right before this recording, and I 28 00:01:58,520 --> 00:02:01,280 Speaker 1: was in l a earlier and Taylor Swift she just 29 00:02:01,320 --> 00:02:03,560 Speaker 1: took me over on her jet to make this record 30 00:02:03,600 --> 00:02:06,600 Speaker 1: in time. It's so nice of her. Oh that's amazing. Well, 31 00:02:06,640 --> 00:02:09,920 Speaker 1: she's actually coming back to l A later to pick 32 00:02:10,040 --> 00:02:14,840 Speaker 1: me up so that we can go to Glendale. Yeah, 33 00:02:16,480 --> 00:02:19,720 Speaker 1: we're flying. We're flying for actually not Glendale. We're flying 34 00:02:19,760 --> 00:02:22,640 Speaker 1: from my apartment to the Grove. Yeah, that's what I 35 00:02:22,720 --> 00:02:25,359 Speaker 1: was gonna say. It's a growth date for sure. She's 36 00:02:25,360 --> 00:02:27,440 Speaker 1: going to take you to the Charlotte Tillbury store. Get 37 00:02:27,440 --> 00:02:31,280 Speaker 1: you some lip cheat. Wait when we go to Disney 38 00:02:31,400 --> 00:02:36,280 Speaker 1: later this month, because it is officially August by Taylor Swift, Um, 39 00:02:36,400 --> 00:02:38,519 Speaker 1: we should get her to fly us to Anaheim. That 40 00:02:38,560 --> 00:02:40,680 Speaker 1: would be so nice. That'd be so nice of her. 41 00:02:40,760 --> 00:02:43,760 Speaker 1: She's an ally, really, I mean, what else does she 42 00:02:43,880 --> 00:02:47,360 Speaker 1: spend her days doing sites, taking her friends and family 43 00:02:47,360 --> 00:02:51,000 Speaker 1: around on her private jet and you know, chipping away 44 00:02:51,280 --> 00:02:54,240 Speaker 1: at our ozon for the Okay, if the Virgins aren't 45 00:02:54,240 --> 00:02:56,600 Speaker 1: aware of this, Um, I was going to say, Joe, 46 00:02:56,680 --> 00:02:59,359 Speaker 1: but these are cold hard facts that we're saying, cold 47 00:02:59,400 --> 00:03:03,480 Speaker 1: hard facts. Um. Taylor Swift has been outed from a 48 00:03:03,639 --> 00:03:08,280 Speaker 1: slightly unverified listical about the celebrities that have the most 49 00:03:08,320 --> 00:03:11,959 Speaker 1: carbon emissions based on their private jet usage. And Taylor 50 00:03:12,400 --> 00:03:14,240 Speaker 1: and I want to say, I want to trace all 51 00:03:14,240 --> 00:03:17,680 Speaker 1: this back to Kylie. We started talking about the fact 52 00:03:17,680 --> 00:03:21,800 Speaker 1: that Kylie Jenner was taking these like ridiculous flights in 53 00:03:21,840 --> 00:03:25,040 Speaker 1: her private jet, Like she was flying the distance of 54 00:03:25,040 --> 00:03:27,200 Speaker 1: what would be like a twenty minute car ride in 55 00:03:27,360 --> 00:03:30,480 Speaker 1: l A. And so because of this, this whole like 56 00:03:30,639 --> 00:03:33,280 Speaker 1: meme started and it eventually got turned into a listical. 57 00:03:33,720 --> 00:03:36,360 Speaker 1: Turns out, the actual celebrity who is contributing the most 58 00:03:36,360 --> 00:03:39,520 Speaker 1: to climate change because of you know, private jet usage 59 00:03:40,000 --> 00:03:44,880 Speaker 1: is none other than than Taylor Allison Swift, Queen Ted. 60 00:03:45,000 --> 00:03:47,400 Speaker 1: You know, it's so funny that like this is the 61 00:03:47,440 --> 00:03:50,440 Speaker 1: one thing that kind of got her a little bit. 62 00:03:50,520 --> 00:03:53,040 Speaker 1: You know, I'm a swift e. We this is a 63 00:03:53,080 --> 00:03:56,280 Speaker 1: Swifty podcast because I'm here, I was just gonna say 64 00:03:56,280 --> 00:03:58,720 Speaker 1: I wouldn't say the one thing, I would maybe think 65 00:03:58,720 --> 00:04:02,440 Speaker 1: about the years of silence she had around the Trump 66 00:04:02,480 --> 00:04:07,320 Speaker 1: administration before finally saying that the President Trump was bad, 67 00:04:07,440 --> 00:04:10,240 Speaker 1: which took her a very very long time to do. 68 00:04:10,480 --> 00:04:13,120 Speaker 1: What I'm what I'm saying though, is that like she's 69 00:04:13,280 --> 00:04:16,320 Speaker 1: kind of a very hard celebrity to come for publicly 70 00:04:16,440 --> 00:04:20,920 Speaker 1: because her fan base is so rapid and will truly 71 00:04:20,960 --> 00:04:23,359 Speaker 1: destroy people. And I have said on this podcast and 72 00:04:23,400 --> 00:04:27,239 Speaker 1: others that, and I know you've you've been attacked by them. Um, 73 00:04:27,279 --> 00:04:29,320 Speaker 1: I was I was just going to say, also, I 74 00:04:29,320 --> 00:04:31,839 Speaker 1: think because of the I think her team is really 75 00:04:31,839 --> 00:04:36,000 Speaker 1: good at staying quiet. Yes, Tree pain never sleeps, Yes, um, 76 00:04:36,040 --> 00:04:39,039 Speaker 1: if you know, you know, But I think people usually 77 00:04:39,080 --> 00:04:41,760 Speaker 1: don't come for her in a large scale because they 78 00:04:41,839 --> 00:04:44,840 Speaker 1: know that the Taylor Swift machine, which is both her 79 00:04:44,880 --> 00:04:48,920 Speaker 1: team and her fans, will destroy you. And especially like 80 00:04:49,000 --> 00:04:51,719 Speaker 1: over the last year, she's very much been you know, 81 00:04:51,800 --> 00:04:54,600 Speaker 1: in control of her narrative with you know, Taylor's version 82 00:04:54,600 --> 00:04:57,720 Speaker 1: and rereleasing all of her music, and everyone's very much 83 00:04:57,760 --> 00:05:00,520 Speaker 1: on her side, and so it was really any to 84 00:05:00,680 --> 00:05:03,440 Speaker 1: see all these memes coming out and like this is 85 00:05:03,480 --> 00:05:06,440 Speaker 1: really not something that her stands can defend her. No, 86 00:05:06,760 --> 00:05:11,600 Speaker 1: it's so damning and so universally frowned down upon by 87 00:05:11,800 --> 00:05:14,000 Speaker 1: most people in the world. I think the difference is 88 00:05:14,000 --> 00:05:17,240 Speaker 1: that it's not about her being mad that some joke 89 00:05:17,400 --> 00:05:20,440 Speaker 1: was said in a Netflix show or like, you know, 90 00:05:20,480 --> 00:05:23,680 Speaker 1: it's not about drama petty ship. She addresses things only 91 00:05:23,720 --> 00:05:25,560 Speaker 1: when it benefits her. Yeah, only when it benefits her, 92 00:05:25,640 --> 00:05:27,719 Speaker 1: or only when she's in some like really petty shit. 93 00:05:28,000 --> 00:05:30,720 Speaker 1: Um that is like so interpersonal and esoteric and like 94 00:05:30,760 --> 00:05:34,000 Speaker 1: not important. It's important is something like the climate crisis 95 00:05:34,320 --> 00:05:37,320 Speaker 1: or a Trump presidency um or row view wade um. 96 00:05:37,360 --> 00:05:40,640 Speaker 1: But I feel like it's honestly reaching a point rose 97 00:05:40,680 --> 00:05:42,760 Speaker 1: where it feels like it might need to be addressed. 98 00:05:42,760 --> 00:05:46,440 Speaker 1: Because if that article is true and I were a celebrity, 99 00:05:47,160 --> 00:05:49,520 Speaker 1: even if you're someone is huge as Taylor Swift, you 100 00:05:49,560 --> 00:05:52,040 Speaker 1: would be releasing a press statement that's like we are 101 00:05:52,160 --> 00:05:55,640 Speaker 1: radically changing our relationship to private jets and like blah 102 00:05:55,680 --> 00:05:57,800 Speaker 1: blah blah, you know what I mean, Like there was 103 00:05:58,120 --> 00:06:01,360 Speaker 1: a statement made by someone from her team, No way 104 00:06:02,600 --> 00:06:04,960 Speaker 1: was hold on it. I'm pulling it up now. Um. 105 00:06:05,080 --> 00:06:09,600 Speaker 1: Spokesperson says that, um, the jet is loaned out regularly 106 00:06:09,680 --> 00:06:12,480 Speaker 1: to other individuals. To attribute most of all of these 107 00:06:12,520 --> 00:06:17,520 Speaker 1: trips to her is blatantly incorrect. So oh, so that 108 00:06:17,720 --> 00:06:20,880 Speaker 1: is her addressing it that that's it. I think that's 109 00:06:20,880 --> 00:06:26,880 Speaker 1: all we're going to get. Like it's not um, it's 110 00:06:26,920 --> 00:06:31,160 Speaker 1: not a good rebuttal saying it's not me taking all 111 00:06:31,160 --> 00:06:34,640 Speaker 1: those trips. It's just my jet. It's just my personal jet. 112 00:06:34,960 --> 00:06:39,040 Speaker 1: Like like it's just so dumb, you know, swift ease. 113 00:06:39,120 --> 00:06:41,720 Speaker 1: I'm one of you. I love Taylor, but like you 114 00:06:41,760 --> 00:06:44,200 Speaker 1: have to accept it. When we have to eat the rich, 115 00:06:45,160 --> 00:06:47,040 Speaker 1: she is one of the ones who needs to be eaten. 116 00:06:47,040 --> 00:06:49,520 Speaker 1: And I'm sure she's gonna taste great. No, no, no, 117 00:06:49,600 --> 00:06:58,400 Speaker 1: she's gonna taste bad. She's gonna taste like uncooked chicken, no, ma'am. Anyways, anyways, anyways, 118 00:06:58,440 --> 00:07:03,320 Speaker 1: speaking of no nope, let's talk about Jordan's Peel's nope, 119 00:07:04,080 --> 00:07:10,120 Speaker 1: which you fly? Um? Okay? At it all. So I'm 120 00:07:10,160 --> 00:07:11,800 Speaker 1: you know, I gave like a little bit of my 121 00:07:11,840 --> 00:07:14,360 Speaker 1: thoughts last week, but now we can talk about it 122 00:07:14,400 --> 00:07:19,920 Speaker 1: and we can talk spoilers. Okay. I have to say 123 00:07:20,120 --> 00:07:25,280 Speaker 1: that this was kind of a a nothing movie. It 124 00:07:25,400 --> 00:07:29,680 Speaker 1: was really beautiful, It was really engaging. I thought it 125 00:07:29,760 --> 00:07:33,960 Speaker 1: was really masterful, and the performances were obviously great. Kiki 126 00:07:34,120 --> 00:07:37,840 Speaker 1: is everything, and there's so many components of like Jordan 127 00:07:37,880 --> 00:07:42,200 Speaker 1: Peel's vision as a director and a writer that are 128 00:07:42,400 --> 00:07:46,960 Speaker 1: so inspired to watch. But like just a whirl of 129 00:07:47,000 --> 00:07:51,040 Speaker 1: missed opportunities and ultimately like pretty. I wouldn't go as 130 00:07:51,040 --> 00:07:53,520 Speaker 1: far to say that it was boring. What do you 131 00:07:53,520 --> 00:07:57,320 Speaker 1: think the are the missed opportunity? But it was very static. Okay, 132 00:07:57,360 --> 00:07:59,760 Speaker 1: So first of all, let's talk about the fact that 133 00:08:00,280 --> 00:08:03,240 Speaker 1: the Okay, so for the versions that don't know, the 134 00:08:03,280 --> 00:08:05,920 Speaker 1: gist of this movie is Kekeep Palmer and our brother 135 00:08:05,960 --> 00:08:10,480 Speaker 1: Daniel Kelia are basically horse trainers that lend their horses 136 00:08:10,800 --> 00:08:13,360 Speaker 1: to you know, film sets and commercials and stuff like that. 137 00:08:13,600 --> 00:08:15,480 Speaker 1: They've been in this business for a very long time, 138 00:08:16,040 --> 00:08:20,240 Speaker 1: and the weird things keep happening around their ranch. That 139 00:08:20,320 --> 00:08:27,800 Speaker 1: they very quickly discover is an alien spaceship unit monster 140 00:08:28,720 --> 00:08:32,679 Speaker 1: monster thing that is basically you know, um camping out 141 00:08:33,400 --> 00:08:37,840 Speaker 1: behind a cloud outside their ranch. And also the serving 142 00:08:37,880 --> 00:08:41,120 Speaker 1: members of their town. Sure, and also and also I 143 00:08:41,160 --> 00:08:43,920 Speaker 1: mean it should be said their father was killed mysteriously 144 00:08:44,040 --> 00:08:48,160 Speaker 1: six months prior. At the same time, a new attraction 145 00:08:48,240 --> 00:08:51,000 Speaker 1: has opened near them, which is owned by a former 146 00:08:51,080 --> 00:08:54,800 Speaker 1: child star who has you know, this backstory and has 147 00:08:54,840 --> 00:08:57,760 Speaker 1: past about an animal attack. On the set of the sitcom, 148 00:08:57,800 --> 00:09:01,280 Speaker 1: you worked on a backstory that had no loop around. 149 00:09:01,440 --> 00:09:04,560 Speaker 1: That's actually that's actually not true. But I want to 150 00:09:04,559 --> 00:09:09,959 Speaker 1: hear more still about what you think about the opportunities 151 00:09:10,600 --> 00:09:14,160 Speaker 1: top line, the missed opportunities are one. I felt like 152 00:09:14,600 --> 00:09:18,320 Speaker 1: Kiki and Daniel were separately amazing, but I do not 153 00:09:18,480 --> 00:09:22,199 Speaker 1: think that they're dynamic. Made the movie more interesting, like 154 00:09:22,360 --> 00:09:26,400 Speaker 1: the relationship was very real to me, but like Daniel's 155 00:09:26,440 --> 00:09:30,640 Speaker 1: portrayal of the character is so unfazed and so stoic 156 00:09:31,240 --> 00:09:34,959 Speaker 1: around most things occurring around him, which made his character 157 00:09:35,080 --> 00:09:39,160 Speaker 1: more real TVH. But it also made the emotional response 158 00:09:39,360 --> 00:09:42,800 Speaker 1: for me to be very like static, Like I didn't 159 00:09:42,880 --> 00:09:47,000 Speaker 1: I didn't feel as excited as when Kiki was on screen, 160 00:09:47,080 --> 00:09:48,880 Speaker 1: and I felt that the relationship was a little bit 161 00:09:48,880 --> 00:09:51,400 Speaker 1: of a of a I don't know, it was a 162 00:09:51,440 --> 00:09:54,480 Speaker 1: little one note um. But I also felt like, I mean, 163 00:09:54,600 --> 00:09:56,360 Speaker 1: we have to talk about the fact that the alien 164 00:09:57,240 --> 00:10:01,080 Speaker 1: was basically an Iris van Herbin down like so not 165 00:10:01,240 --> 00:10:04,280 Speaker 1: scary and so like I mean, it was beautiful, it was, 166 00:10:04,320 --> 00:10:06,600 Speaker 1: but it was so not It was not scary, it 167 00:10:06,679 --> 00:10:10,560 Speaker 1: was not thrilling, and there was a lot of tension. Yes, 168 00:10:10,720 --> 00:10:12,440 Speaker 1: I thought there was a lot of tension, but I 169 00:10:12,480 --> 00:10:15,480 Speaker 1: felt like just it was a long I don't even 170 00:10:15,480 --> 00:10:18,400 Speaker 1: know how long the movie was. It was it was. 171 00:10:18,480 --> 00:10:20,560 Speaker 1: It was a lot of movie to go through with 172 00:10:20,760 --> 00:10:24,800 Speaker 1: not a ton of action. Nope, could have been a 173 00:10:24,800 --> 00:10:28,360 Speaker 1: short film, like it could have been an episode of 174 00:10:28,400 --> 00:10:30,000 Speaker 1: the Time. I don't know about a short film, but 175 00:10:30,040 --> 00:10:31,800 Speaker 1: it could have been an hour and a half and 176 00:10:31,880 --> 00:10:33,960 Speaker 1: I think it could have been at it could have 177 00:10:33,960 --> 00:10:36,320 Speaker 1: been I think an episode of the Light. It could 178 00:10:36,320 --> 00:10:38,440 Speaker 1: have been an hour and a half, and it could 179 00:10:38,440 --> 00:10:41,000 Speaker 1: have been one hour and and gotten its point across 180 00:10:41,160 --> 00:10:43,640 Speaker 1: and been maybe more effective. And I feel like when 181 00:10:43,679 --> 00:10:46,040 Speaker 1: all the action did happen, that was like when I 182 00:10:46,080 --> 00:10:49,840 Speaker 1: was most engaged, but it was ultimately anti climactic, and 183 00:10:49,880 --> 00:10:51,760 Speaker 1: I felt like there had there should have been more 184 00:10:51,840 --> 00:10:54,760 Speaker 1: thrills and chills leading up to that big moment of 185 00:10:54,800 --> 00:10:56,840 Speaker 1: action that I'm talking about. What about you? What would 186 00:10:56,880 --> 00:10:59,840 Speaker 1: I agree that it was slow? As I said last week, 187 00:11:00,080 --> 00:11:02,599 Speaker 1: think this is a very thoughtful movie. And do you 188 00:11:02,640 --> 00:11:05,160 Speaker 1: see what I mean now about I think like if 189 00:11:05,160 --> 00:11:09,040 Speaker 1: you're talking about sci fi, it's more like Arrival than 190 00:11:09,120 --> 00:11:13,920 Speaker 1: it is like Independence Day. I mean, this is not 191 00:11:14,440 --> 00:11:17,480 Speaker 1: a horror. This is a psychological thriller, and that's okay. 192 00:11:17,640 --> 00:11:20,000 Speaker 1: I also I think I also think so this is 193 00:11:20,200 --> 00:11:22,120 Speaker 1: kind of what where I want to push back about 194 00:11:22,160 --> 00:11:25,160 Speaker 1: like the movie not having like some of the things 195 00:11:25,200 --> 00:11:28,040 Speaker 1: in the movie not making sense, or like not going anywhere, 196 00:11:28,400 --> 00:11:32,439 Speaker 1: because I actually think I was very confused on the 197 00:11:32,480 --> 00:11:34,440 Speaker 1: first watch of this movie about like what was the 198 00:11:34,520 --> 00:11:37,600 Speaker 1: point of the scene with the orangutan, and like why 199 00:11:37,600 --> 00:11:39,560 Speaker 1: do we keep going back to that? And you know, 200 00:11:39,600 --> 00:11:41,800 Speaker 1: like the more was like the more of at with it. 201 00:11:41,880 --> 00:11:44,880 Speaker 1: Like I really think that even more than like an 202 00:11:44,880 --> 00:11:47,440 Speaker 1: alien movie or an action movie, this is a monster 203 00:11:47,559 --> 00:11:51,480 Speaker 1: movie because it's very much about you know, like they 204 00:11:51,559 --> 00:11:53,520 Speaker 1: think this thing is a UFO and it turns out 205 00:11:53,520 --> 00:11:57,880 Speaker 1: it's actually an alien or like a monster, or when 206 00:11:57,880 --> 00:12:00,400 Speaker 1: you really break it down to its core, it's an animal. 207 00:12:00,480 --> 00:12:02,400 Speaker 1: They spend a lot of the time once they're like 208 00:12:02,720 --> 00:12:06,120 Speaker 1: once they figured out that it eats people talking about 209 00:12:06,160 --> 00:12:08,640 Speaker 1: it like a wild animal, Which is why I think 210 00:12:08,679 --> 00:12:13,199 Speaker 1: it it's really important to note that they are horse trainers, 211 00:12:13,800 --> 00:12:17,040 Speaker 1: and that's why I think you get the opening bit 212 00:12:17,120 --> 00:12:22,040 Speaker 1: with the orangutan that like was meant to be part 213 00:12:22,040 --> 00:12:25,600 Speaker 1: of the sitcom and like everyone thought everything was fine 214 00:12:25,600 --> 00:12:28,520 Speaker 1: and hunky dory, and then the animals snapped and killed people. 215 00:12:28,559 --> 00:12:30,079 Speaker 1: And I think a lot of what this movie is 216 00:12:30,120 --> 00:12:33,400 Speaker 1: talking about is like, obviously there's a lot to be 217 00:12:33,440 --> 00:12:36,800 Speaker 1: said about like surveillance culture and celebrity. These people are 218 00:12:36,840 --> 00:12:39,760 Speaker 1: really obsessed with getting the shot and how that will 219 00:12:39,840 --> 00:12:42,319 Speaker 1: change their lives. Um, you know, we have a former 220 00:12:42,600 --> 00:12:45,120 Speaker 1: child star who can't let go of that fame and 221 00:12:45,160 --> 00:12:50,480 Speaker 1: like essentially rents his trauma out to people. And then 222 00:12:51,160 --> 00:12:56,880 Speaker 1: you have this idea of these animals, you know, the orangutan, 223 00:12:56,960 --> 00:13:01,280 Speaker 1: the horses, the alien that can't be tame, and that 224 00:13:01,440 --> 00:13:06,520 Speaker 1: humans are continually learning this lesson by trying to tame them, 225 00:13:06,520 --> 00:13:11,880 Speaker 1: specifically in the context of creating entertainment. So to that 226 00:13:11,960 --> 00:13:15,160 Speaker 1: is to me why it really is like a monster movie. 227 00:13:15,679 --> 00:13:20,360 Speaker 1: And yeah, I think there's just something about you know, 228 00:13:20,440 --> 00:13:24,920 Speaker 1: like these are beasts, these are wild beasts, and even 229 00:13:24,960 --> 00:13:26,800 Speaker 1: like all the stuff where they're like you can't look 230 00:13:26,840 --> 00:13:30,959 Speaker 1: directly in the eyes, and I think like that is 231 00:13:31,000 --> 00:13:32,600 Speaker 1: why it makes so much sense that you have this 232 00:13:32,679 --> 00:13:35,840 Speaker 1: sort of like cowboy motif going on through the whole thing, 233 00:13:35,880 --> 00:13:41,240 Speaker 1: and why there's so much iconography taken from like westerns, 234 00:13:41,679 --> 00:13:44,160 Speaker 1: and it's it's very much not the movie that it 235 00:13:44,200 --> 00:13:46,400 Speaker 1: sells itself as, which I think is like a lot 236 00:13:46,440 --> 00:13:49,680 Speaker 1: of where the disconnect comes from. But having sat for 237 00:13:49,720 --> 00:13:52,360 Speaker 1: it with over a week now, I really like it 238 00:13:52,400 --> 00:13:54,920 Speaker 1: a lot more than I did when I initially saw it, 239 00:13:55,000 --> 00:13:58,240 Speaker 1: and like, I'm not dying to see it again anytime soon, 240 00:13:58,480 --> 00:14:01,160 Speaker 1: but I think I would watch it again at some 241 00:14:01,200 --> 00:14:04,079 Speaker 1: point in the future, and like, having having kind of 242 00:14:04,160 --> 00:14:06,360 Speaker 1: figured out I think at least some of the things 243 00:14:06,360 --> 00:14:09,920 Speaker 1: that it's trying to say, or like at least nod towards, 244 00:14:10,120 --> 00:14:12,199 Speaker 1: I think it would be interesting to watch the movie 245 00:14:12,240 --> 00:14:16,560 Speaker 1: again through that lens. Yeah, I you know now that 246 00:14:16,600 --> 00:14:18,560 Speaker 1: you're painting this through line. For me, I think I 247 00:14:18,600 --> 00:14:21,320 Speaker 1: see that a lot more like the kind of domestication 248 00:14:21,640 --> 00:14:24,120 Speaker 1: of the natural world and what it has to do 249 00:14:24,200 --> 00:14:28,360 Speaker 1: with capitalism and exploitation. Like I feel like that makes 250 00:14:28,400 --> 00:14:30,560 Speaker 1: a lot of sense as a reading for the film, 251 00:14:30,720 --> 00:14:34,200 Speaker 1: And I also think like both can be true that 252 00:14:34,280 --> 00:14:40,080 Speaker 1: people have a tendency to over interpret Jordan Peel's movies, 253 00:14:40,200 --> 00:14:46,160 Speaker 1: like I've seen some really reaching, reaching interpretations of Us, 254 00:14:46,160 --> 00:14:49,640 Speaker 1: which I think is a really cryptic film, a film 255 00:14:49,720 --> 00:14:52,960 Speaker 1: that you know, begs, begs, begs you to make meaning 256 00:14:53,000 --> 00:14:55,320 Speaker 1: out of it um And at the same time, like 257 00:14:55,520 --> 00:14:58,760 Speaker 1: Jordan Peel is really just a brilliant kind of stoner 258 00:14:58,840 --> 00:15:00,520 Speaker 1: and a lot of these things that a lot of 259 00:15:00,520 --> 00:15:02,560 Speaker 1: the things that he puts in his films could really 260 00:15:02,720 --> 00:15:06,000 Speaker 1: very well just be random or figments of his imagination, 261 00:15:06,160 --> 00:15:08,800 Speaker 1: you know. I do think Jordan Peele is excellent at 262 00:15:08,880 --> 00:15:12,840 Speaker 1: making films that have these two layers to them, which 263 00:15:12,880 --> 00:15:20,000 Speaker 1: is one is like just a really fun, sometimes scarying, 264 00:15:20,480 --> 00:15:23,880 Speaker 1: you know, thriller film, and then the other level is 265 00:15:24,040 --> 00:15:27,720 Speaker 1: making movies that have like something very meaningful to say 266 00:15:27,760 --> 00:15:33,440 Speaker 1: about our world. And the kind of spectrum that we 267 00:15:33,920 --> 00:15:36,320 Speaker 1: like grade his films on, or at least like the 268 00:15:36,360 --> 00:15:40,080 Speaker 1: spectrum of which I enjoy them, is whether they lean 269 00:15:41,520 --> 00:15:44,400 Speaker 1: too far in one thing or too far on the 270 00:15:44,440 --> 00:15:47,200 Speaker 1: other thing, or if they're able to perfectly marry them 271 00:15:47,240 --> 00:15:51,360 Speaker 1: like I think Get Out perfectly marries those things. This 272 00:15:51,560 --> 00:15:54,840 Speaker 1: I think maybe leans a little too hard on trying 273 00:15:54,880 --> 00:15:59,080 Speaker 1: to like say something and forgets sometimes to be a 274 00:15:59,200 --> 00:16:03,880 Speaker 1: really engage thriller. Yeah, and you know, I enjoyed myself 275 00:16:04,240 --> 00:16:07,160 Speaker 1: a ton and I, you know, think it's amazing that 276 00:16:07,200 --> 00:16:12,040 Speaker 1: we have a filmmaker, a new filmmaker, making original films 277 00:16:12,200 --> 00:16:14,640 Speaker 1: that are doing good at the box office and become 278 00:16:14,760 --> 00:16:17,760 Speaker 1: required viewing like that is something that we can't really 279 00:16:18,000 --> 00:16:21,080 Speaker 1: say about a lot of directors making work right now. 280 00:16:21,200 --> 00:16:24,080 Speaker 1: And um, a lot of our tours that you know 281 00:16:24,160 --> 00:16:27,600 Speaker 1: are in that belong you know, in his league. And 282 00:16:27,680 --> 00:16:30,480 Speaker 1: I I think my thing is, like I think, honestly 283 00:16:30,520 --> 00:16:33,160 Speaker 1: thinking about these the three films is really interesting to 284 00:16:33,240 --> 00:16:37,240 Speaker 1: me because get Out obviously is like the most crystal clear, 285 00:16:37,400 --> 00:16:40,160 Speaker 1: like there's like there's no I mean, there are very 286 00:16:40,280 --> 00:16:42,320 Speaker 1: very different routes to interpret the film, but there's one 287 00:16:42,360 --> 00:16:47,040 Speaker 1: crystal clear message that I think came at the perfect 288 00:16:47,080 --> 00:16:50,840 Speaker 1: time culturally where it was not too hamfisted. I mean, 289 00:16:50,880 --> 00:16:54,600 Speaker 1: it is ham fisted, but too too excellent to excellent execution, 290 00:16:54,720 --> 00:16:58,080 Speaker 1: I think. And but it also was horrific in a 291 00:16:58,080 --> 00:17:00,960 Speaker 1: lot of ways. And I thought us, at least to 292 00:17:01,080 --> 00:17:06,760 Speaker 1: me and my threshold was almost scarier, definitely more horrific 293 00:17:07,040 --> 00:17:09,600 Speaker 1: in some ways, even if less of an engaging movie. 294 00:17:10,000 --> 00:17:13,520 Speaker 1: And then Nope, is like something that's way more tame. 295 00:17:13,600 --> 00:17:17,159 Speaker 1: And it may be intentionally tame, but I think because 296 00:17:17,200 --> 00:17:22,320 Speaker 1: there were some tames exactly. And I think that because 297 00:17:22,440 --> 00:17:25,520 Speaker 1: like the the scary, there wasn't really any scary. Honestly, 298 00:17:25,560 --> 00:17:27,399 Speaker 1: the scariest moment was when he was in the barn 299 00:17:27,480 --> 00:17:29,960 Speaker 1: and those little kids were wearing those alien masks. Yeah, 300 00:17:30,000 --> 00:17:32,040 Speaker 1: that was that was the only time I jumped. That 301 00:17:32,200 --> 00:17:34,440 Speaker 1: was that was the scariest moment to me. Um, but 302 00:17:34,520 --> 00:17:37,359 Speaker 1: like it was a total fake out and um, I 303 00:17:37,400 --> 00:17:41,160 Speaker 1: just talked about the himbo. Oh my god, I wanted 304 00:17:41,200 --> 00:17:44,280 Speaker 1: to stock him. Oh but have you watched any of 305 00:17:44,320 --> 00:17:49,280 Speaker 1: the interviews with him. He's like really into God, constantly 306 00:17:49,400 --> 00:17:54,840 Speaker 1: thanking God and Jesus. Oh that's kind of honestly, Oh 307 00:17:54,840 --> 00:17:57,040 Speaker 1: my god. Can we talk about his scene partner, Barbie 308 00:17:57,119 --> 00:18:01,000 Speaker 1: Ferriarra having her little cameo. Why does she only have 309 00:18:01,200 --> 00:18:03,600 Speaker 1: like one or two lines? She's st am I like, 310 00:18:03,680 --> 00:18:06,520 Speaker 1: in such an a silo that she's an actress. She's 311 00:18:06,560 --> 00:18:10,320 Speaker 1: not that famous. I think she's she's not that. You're 312 00:18:10,400 --> 00:18:14,320 Speaker 1: just you're just warped by euphoria. Like that's actually no, 313 00:18:14,480 --> 00:18:17,320 Speaker 1: but like that actually for someone at her level having 314 00:18:17,400 --> 00:18:19,520 Speaker 1: two lines in a Jordan Peel movie is a great 315 00:18:19,520 --> 00:18:21,440 Speaker 1: gig for her. It's true, it's true. It's true that 316 00:18:21,440 --> 00:18:24,040 Speaker 1: that's none of the other Euphoria girls had two lines 317 00:18:24,080 --> 00:18:27,640 Speaker 1: in a Jordan Peel movie. But she deserved. She's she's 318 00:18:27,640 --> 00:18:30,600 Speaker 1: doing just what I mean, she's doing just She's doing 319 00:18:30,680 --> 00:18:32,479 Speaker 1: just fie she gets to say she was a Nope. 320 00:18:33,600 --> 00:18:37,840 Speaker 1: Another I did see another movie this week that I 321 00:18:37,840 --> 00:18:41,760 Speaker 1: think you would enjoy. I'm already nervous. It's called Mrs 322 00:18:41,840 --> 00:18:45,000 Speaker 1: Harris Goes to Paris. The girls are tweeting about this, 323 00:18:45,040 --> 00:18:51,880 Speaker 1: and by the girls, I mean just you and and 324 00:18:52,040 --> 00:18:55,679 Speaker 1: no one else. Yeah, it's very like it's when I 325 00:18:55,880 --> 00:18:57,879 Speaker 1: when I said I saw it, my mom was like, 326 00:18:57,960 --> 00:19:00,800 Speaker 1: I want to see that. It's very that kind of movie. Vum. 327 00:19:01,280 --> 00:19:04,359 Speaker 1: It's such a feel good movie. You would love it. 328 00:19:03,840 --> 00:19:06,720 Speaker 1: It's a movie that it was adapted from a book. 329 00:19:06,840 --> 00:19:13,760 Speaker 1: It's about this um cleaner in postwar London who decides 330 00:19:13,880 --> 00:19:16,640 Speaker 1: that she just really wants a do your gown because 331 00:19:16,680 --> 00:19:19,080 Speaker 1: she has a very like sad little life, and so 332 00:19:19,160 --> 00:19:23,480 Speaker 1: she like comes into some money and goes to Paris 333 00:19:23,520 --> 00:19:25,840 Speaker 1: and goes to do your And it's like, I'm getting 334 00:19:25,840 --> 00:19:28,439 Speaker 1: a fucking do your gown and of course everyone's like 335 00:19:28,680 --> 00:19:32,400 Speaker 1: you're poor, like you don't deserve what And Isabella who 336 00:19:32,440 --> 00:19:35,800 Speaker 1: pairs like in it, and she's like, fuck you Mrs Harris. 337 00:19:35,840 --> 00:19:39,399 Speaker 1: But you know it's like everyone's like, but we have 338 00:19:39,560 --> 00:19:43,720 Speaker 1: to get Mrs Harris her gown, um, and like spoiler alert, 339 00:19:43,840 --> 00:19:47,160 Speaker 1: like she gets the gown and then she also gets 340 00:19:47,160 --> 00:19:49,879 Speaker 1: another gown. I mean, I'm probably not going to see it, 341 00:19:49,920 --> 00:19:55,840 Speaker 1: but your description is wonderful. It's so charming. The fashion 342 00:19:56,240 --> 00:19:59,640 Speaker 1: is wonderful. Literally none of it was shot in Paris, 343 00:19:59,720 --> 00:20:02,600 Speaker 1: and you to tell it's giving a little sound stages, 344 00:20:02,760 --> 00:20:06,480 Speaker 1: it's giving a little best exotic Mary gold will know. 345 00:20:06,680 --> 00:20:09,480 Speaker 1: When I told Ryan that I loved it, he was like, yeah, 346 00:20:09,480 --> 00:20:12,399 Speaker 1: it's very Mrs Pettigrew Lives Through a Day which I 347 00:20:12,440 --> 00:20:15,120 Speaker 1: had which I had never seen and watched last night 348 00:20:15,320 --> 00:20:21,000 Speaker 1: and so good we should be. Alternate titles include Mrs 349 00:20:21,000 --> 00:20:25,040 Speaker 1: Harris Slays for Mrs Harris Lives for the Sleigh, Mrs 350 00:20:25,040 --> 00:20:28,520 Speaker 1: Harris Serves Hunt for a Day. Um. If you've never 351 00:20:28,520 --> 00:20:31,000 Speaker 1: seen it, It's a two thousand eight film starring Franstance 352 00:20:31,080 --> 00:20:34,520 Speaker 1: McDorman and Amy Adams and a young Lee Pace and 353 00:20:34,840 --> 00:20:36,760 Speaker 1: It's incredible. It's like an hour and a half. It's like, 354 00:20:36,960 --> 00:20:43,480 Speaker 1: so good boy Island, My god, what we what do 355 00:20:43,600 --> 00:20:46,480 Speaker 1: we even? Okay, we're going to get into spoilers this time. 356 00:20:46,520 --> 00:20:48,679 Speaker 1: You wouldn't let me talk spoilers last week, but like 357 00:20:49,000 --> 00:20:50,600 Speaker 1: we just need to get into it. Like you're either 358 00:20:50,640 --> 00:20:55,560 Speaker 1: watching Island or you're stupid. Um okay. I thought for 359 00:20:55,600 --> 00:20:59,800 Speaker 1: a moment, with the cliffhanger that came before the first 360 00:21:00,040 --> 00:21:01,960 Speaker 1: the two episodes that came up this week, I kind 361 00:21:01,960 --> 00:21:03,080 Speaker 1: of thought it was going to be a bait and 362 00:21:03,119 --> 00:21:06,280 Speaker 1: switch and that Peter was going to be a nice guy, 363 00:21:06,320 --> 00:21:12,800 Speaker 1: but like, no, obviously he's And the way Mia crumbled 364 00:21:13,359 --> 00:21:16,080 Speaker 1: when she found out all her matches were f boys, 365 00:21:16,480 --> 00:21:20,360 Speaker 1: she is incredible. She's such a great reality reality TV. 366 00:21:20,520 --> 00:21:23,879 Speaker 1: But I think it's so interesting that with the format 367 00:21:23,920 --> 00:21:26,920 Speaker 1: of the show, that they couldn't just be like, well, Mia, 368 00:21:26,960 --> 00:21:29,399 Speaker 1: why don't you take one of the other guys, like 369 00:21:29,480 --> 00:21:31,280 Speaker 1: one of the other nice guys, like maybe one of 370 00:21:31,280 --> 00:21:33,679 Speaker 1: them is like horny for you. But Nope, that's not 371 00:21:33,720 --> 00:21:37,920 Speaker 1: allowed within the confines of how this show works. Honestly, 372 00:21:38,240 --> 00:21:40,920 Speaker 1: even if they were allowed to like go for a 373 00:21:41,000 --> 00:21:44,000 Speaker 1: nice guy, I'm not really sure they would these girls. 374 00:21:44,520 --> 00:21:46,639 Speaker 1: That many girls left in this pool, and I'm like, 375 00:21:46,760 --> 00:21:49,160 Speaker 1: I can't believe Mercedes is still there. I know it's 376 00:21:49,200 --> 00:21:52,399 Speaker 1: for good TV, but like the fact that he was 377 00:21:52,600 --> 00:21:57,160 Speaker 1: shipping his brains out during the elimination so funny. Oh 378 00:21:57,200 --> 00:22:00,360 Speaker 1: my god, I can't believe that he still stayed regardless 379 00:22:00,359 --> 00:22:04,960 Speaker 1: such he's so obviously a horrible person. And I thought 380 00:22:04,960 --> 00:22:08,760 Speaker 1: it was very interesting that they that they had one 381 00:22:08,760 --> 00:22:12,600 Speaker 1: of the guys tell Tamaris about him being evil, but 382 00:22:12,880 --> 00:22:19,439 Speaker 1: she never told Louise. But all I wonder if she 383 00:22:19,560 --> 00:22:23,080 Speaker 1: did and we just didn't see it, because when when 384 00:22:23,200 --> 00:22:28,359 Speaker 1: Louise saved Mercedes, she apologized to Tamaris. So I wonder 385 00:22:28,440 --> 00:22:31,399 Speaker 1: if did in fact warn her and we just didn't 386 00:22:31,400 --> 00:22:34,400 Speaker 1: see it. She might have, it seems I mean, I'm 387 00:22:34,440 --> 00:22:36,440 Speaker 1: sure they talk. It feels like it was something that 388 00:22:36,520 --> 00:22:38,920 Speaker 1: Tamaris wanted to like handle on her own, which I 389 00:22:39,000 --> 00:22:41,520 Speaker 1: kind of love about her, Like she really likes she's 390 00:22:41,600 --> 00:22:45,119 Speaker 1: She's really like, let me get these guys together, you 391 00:22:45,160 --> 00:22:49,880 Speaker 1: know what I mean, Like I'm still Team Danny. It's 392 00:22:49,920 --> 00:22:53,720 Speaker 1: so disgusting. It's just it's disgusting, and yet and yet 393 00:22:54,480 --> 00:22:57,119 Speaker 1: I'm here. Yeah, I just don't get it. It's like 394 00:22:57,200 --> 00:23:00,720 Speaker 1: he only shops at Ari Pistal, all those fucking World shirts. 395 00:23:00,800 --> 00:23:04,080 Speaker 1: I can't he's gross. I actually think they're all gross. 396 00:23:04,160 --> 00:23:07,359 Speaker 1: I don't. Actually I thought Sante it was kind of hot. 397 00:23:07,400 --> 00:23:09,120 Speaker 1: I came around to him a little. By the end, 398 00:23:09,400 --> 00:23:12,800 Speaker 1: Sante was Cuba born. I'm very excited for the for 399 00:23:12,840 --> 00:23:16,600 Speaker 1: the man splain that that's going to happen. I can't 400 00:23:16,600 --> 00:23:19,200 Speaker 1: believe it's almost over. I wish there were sixty episodes. 401 00:23:19,240 --> 00:23:21,800 Speaker 1: I wish the show had three seasons a year, like 402 00:23:21,840 --> 00:23:25,439 Speaker 1: The Bachelor, Like why are we not getting at seven? 403 00:23:25,720 --> 00:23:27,240 Speaker 1: I want to be able to, like I want to 404 00:23:27,240 --> 00:23:29,879 Speaker 1: be able to like watch live streams of the house 405 00:23:29,960 --> 00:23:32,720 Speaker 1: like Big Brother. Yeah, I honestly I wanted to be 406 00:23:32,760 --> 00:23:35,720 Speaker 1: like like Love Island, where it's like forty episodes long 407 00:23:35,840 --> 00:23:38,880 Speaker 1: or whatever, and like I can barely get up. I'm 408 00:23:38,880 --> 00:23:41,760 Speaker 1: like just laying in my bed holding in my piss 409 00:23:41,800 --> 00:23:45,280 Speaker 1: as I like finished like episode nine of this show 410 00:23:45,280 --> 00:23:48,480 Speaker 1: that I've sat in for like you know, sat watching 411 00:23:48,520 --> 00:23:52,920 Speaker 1: for hours. I piss And sometimes because I don't want 412 00:23:52,920 --> 00:23:55,160 Speaker 1: to get up because I'm watching, I don't want to, 413 00:23:56,640 --> 00:24:14,399 Speaker 1: like sometimes the DV is d being I want to 414 00:24:14,400 --> 00:24:17,280 Speaker 1: know what I mean, like we'll we'll do a track 415 00:24:17,359 --> 00:24:19,960 Speaker 1: by track breakdown. But okay, where were you when you 416 00:24:20,000 --> 00:24:21,600 Speaker 1: listen to the album for the first time, and what 417 00:24:21,640 --> 00:24:27,000 Speaker 1: were your kind of first thoughts? I um decided to 418 00:24:27,040 --> 00:24:32,480 Speaker 1: not wait until midnight. I was no, no, no, no, 419 00:24:32,560 --> 00:24:34,760 Speaker 1: I would never I would never do that to my mother. 420 00:24:34,960 --> 00:24:37,560 Speaker 1: I listened to a leak of Break my Soul only 421 00:24:37,600 --> 00:24:41,359 Speaker 1: a few only like a few hours before it dropped. Okay, um, 422 00:24:41,359 --> 00:24:44,040 Speaker 1: And for this one, I did not listen to the league. 423 00:24:44,040 --> 00:24:47,880 Speaker 1: I was a good girl, and I decided to wake 424 00:24:47,920 --> 00:24:51,840 Speaker 1: up the next morning and get stoned, which I have 425 00:24:52,119 --> 00:24:56,200 Speaker 1: maybe I waited. I've only waked and baked maybe two 426 00:24:56,359 --> 00:24:58,760 Speaker 1: or three times in my entire life, and this was 427 00:24:58,800 --> 00:25:02,120 Speaker 1: the second or third time. And I decided to just 428 00:25:02,240 --> 00:25:03,879 Speaker 1: lay in my bad and listened to it with my 429 00:25:03,880 --> 00:25:07,359 Speaker 1: headphones on because I knew I wanted to hear the 430 00:25:07,480 --> 00:25:11,959 Speaker 1: details of what I was listening to. And obviously we're 431 00:25:11,960 --> 00:25:15,359 Speaker 1: gonna get into it. But like girl, I was crying 432 00:25:15,960 --> 00:25:18,840 Speaker 1: by the end of the first song. And I don't 433 00:25:18,960 --> 00:25:23,600 Speaker 1: think it was even like one shed a single tear. 434 00:25:23,600 --> 00:25:25,360 Speaker 1: I should say I shouldn't see crying. I should say 435 00:25:25,359 --> 00:25:29,080 Speaker 1: I shed a tear and and it was an emotional 436 00:25:29,240 --> 00:25:33,760 Speaker 1: overload of feeling like we had waited so long for 437 00:25:33,840 --> 00:25:36,919 Speaker 1: an album that starts like this. It reminded me a 438 00:25:36,960 --> 00:25:41,000 Speaker 1: lot of when I listened to Adele's most recent album 439 00:25:41,080 --> 00:25:45,040 Speaker 1: and the overture that is, you know, that first song 440 00:25:45,119 --> 00:25:47,720 Speaker 1: and how she sets the tone for something that is 441 00:25:47,720 --> 00:25:52,040 Speaker 1: going to be completely different and unexpected, and um, I 442 00:25:52,080 --> 00:25:55,119 Speaker 1: don't know, I like, you know, top line, feel like 443 00:25:55,240 --> 00:26:00,040 Speaker 1: I never in my life would have seen Beyonce a 444 00:26:00,280 --> 00:26:04,080 Speaker 1: music that was like this faggotty like this like ballroom 445 00:26:04,320 --> 00:26:11,159 Speaker 1: house like disco kind of fag and music. Well, but 446 00:26:11,240 --> 00:26:13,640 Speaker 1: that's the thing, is like, And on this podcast we've 447 00:26:13,680 --> 00:26:16,280 Speaker 1: talked about this, the distinction between being gay and being 448 00:26:16,280 --> 00:26:20,280 Speaker 1: a fagot. And Beyonce has made a lot of gay music, okay, 449 00:26:20,280 --> 00:26:22,879 Speaker 1: like single Ladies is pretty gay like and there are 450 00:26:22,880 --> 00:26:25,840 Speaker 1: a lot of things in her discography that are pretty 451 00:26:25,880 --> 00:26:29,240 Speaker 1: gay and pretty on the nose when it comes to 452 00:26:29,320 --> 00:26:32,560 Speaker 1: like what community they're catering to. But like when I 453 00:26:32,600 --> 00:26:35,960 Speaker 1: felt how fag goody this was, and how you know, 454 00:26:36,359 --> 00:26:38,680 Speaker 1: I think it's even like post fagot I actually think 455 00:26:38,760 --> 00:26:44,119 Speaker 1: this is I think this is Dike Beyonce music yeah, 456 00:26:44,160 --> 00:26:47,960 Speaker 1: it was kind of giving that it was transcendent. Broke 457 00:26:48,000 --> 00:26:51,640 Speaker 1: out the strap for this one. Yes, she really did. 458 00:26:51,800 --> 00:26:54,080 Speaker 1: And like I'm I keep getting tempted to go into 459 00:26:54,080 --> 00:26:57,800 Speaker 1: like track analyzes, but like, what were your top line? 460 00:26:57,920 --> 00:27:00,400 Speaker 1: Impressure so here. I also did not listen to the leak. 461 00:27:00,520 --> 00:27:03,439 Speaker 1: I was a good girl, um and most not because 462 00:27:03,480 --> 00:27:06,440 Speaker 1: I like have any moral, you know, qualms with it, 463 00:27:06,840 --> 00:27:09,960 Speaker 1: but I just I wanted to listen to this album 464 00:27:10,000 --> 00:27:11,639 Speaker 1: in a way that was easy, and it was the 465 00:27:11,680 --> 00:27:15,560 Speaker 1: easiest to you know, at nine pm on Thursday night, say, 466 00:27:15,640 --> 00:27:18,399 Speaker 1: you know, like Alexa play Well, I'm not gonna say 467 00:27:18,400 --> 00:27:22,440 Speaker 1: it because she's gonna fucking start um. Oh my god, 468 00:27:22,440 --> 00:27:28,040 Speaker 1: she does. Um. So I listened to it. I did 469 00:27:28,080 --> 00:27:30,359 Speaker 1: not listen to it kind of as actively as you did. 470 00:27:30,400 --> 00:27:33,160 Speaker 1: Like there were some songs I did, but I let 471 00:27:33,200 --> 00:27:35,960 Speaker 1: myself kind of experience it and like go in and out, 472 00:27:36,160 --> 00:27:37,879 Speaker 1: Like I didn't really look at my phone, but I 473 00:27:37,920 --> 00:27:40,359 Speaker 1: was like dancing around my apartment. I did not have 474 00:27:40,520 --> 00:27:44,520 Speaker 1: any kind of emotional reaction to it. I think, actually, 475 00:27:44,920 --> 00:27:47,000 Speaker 1: this is making me think in somewhat of a deeper way. 476 00:27:47,320 --> 00:27:50,840 Speaker 1: I don't know that I that music does that to me, 477 00:27:51,000 --> 00:27:54,280 Speaker 1: Like I certainly love music, and there are songs that 478 00:27:54,400 --> 00:27:58,480 Speaker 1: are very important to me, but I'm much more likely 479 00:27:58,560 --> 00:28:00,760 Speaker 1: to cry like a movie or TV show or a 480 00:28:00,800 --> 00:28:06,200 Speaker 1: book that I am to a song. But I really 481 00:28:06,359 --> 00:28:09,479 Speaker 1: like this album. I think it's very fun. I like 482 00:28:09,720 --> 00:28:14,479 Speaker 1: that it is pretty much bobs and bangers only, and 483 00:28:14,480 --> 00:28:17,399 Speaker 1: that she said, and I think that makes sense. I 484 00:28:17,440 --> 00:28:19,240 Speaker 1: don't think she could have done that if she hadn't 485 00:28:19,280 --> 00:28:22,639 Speaker 1: announced that this was part of a three act project, 486 00:28:22,720 --> 00:28:25,520 Speaker 1: because I would imagine that one of the other albums 487 00:28:25,600 --> 00:28:27,639 Speaker 1: is going to be something a little more emotional and 488 00:28:27,680 --> 00:28:30,880 Speaker 1: little more bality. I like that she was like for 489 00:28:30,960 --> 00:28:34,080 Speaker 1: this album, for Renaissance, this is the vibe it is. 490 00:28:34,520 --> 00:28:37,800 Speaker 1: We're having fun, it's the summer. We got our tits out, 491 00:28:38,080 --> 00:28:41,680 Speaker 1: We're sucking dick, we are popping off. And when you 492 00:28:41,720 --> 00:28:46,160 Speaker 1: say sucking dick, like with no discretion, like actually sucking 493 00:28:46,240 --> 00:28:49,560 Speaker 1: sucking dick and cock, we're eating ass, We're eating pussy, 494 00:28:49,720 --> 00:28:53,600 Speaker 1: we are licking nipples and titties. Um we are. This 495 00:28:53,680 --> 00:28:57,640 Speaker 1: is a slutty This is a slutty horny album. Beyonce 496 00:28:57,840 --> 00:29:02,520 Speaker 1: is is horny just so interesting because I do think 497 00:29:02,560 --> 00:29:05,440 Speaker 1: she's only ever had sex with Jay z Well we'll 498 00:29:05,480 --> 00:29:09,040 Speaker 1: talk about um just you know this this album in 499 00:29:09,040 --> 00:29:12,520 Speaker 1: in comparison to her the rest of her body of work, 500 00:29:12,560 --> 00:29:15,640 Speaker 1: but like that is definitely a body reservation and her 501 00:29:15,640 --> 00:29:17,960 Speaker 1: body Yadi Audia of work. We knew it was going 502 00:29:18,000 --> 00:29:20,280 Speaker 1: to be a house album, at least through the Whisper network. 503 00:29:20,320 --> 00:29:21,440 Speaker 1: I think we all knew that it was going to 504 00:29:21,480 --> 00:29:23,720 Speaker 1: be a three part project. And it should also be 505 00:29:23,760 --> 00:29:27,040 Speaker 1: said that we were recording this on Monday of the week, 506 00:29:27,160 --> 00:29:29,120 Speaker 1: and so I feel like they're going to be visuals 507 00:29:29,120 --> 00:29:32,040 Speaker 1: that will be dropped between now and maybe when this 508 00:29:32,240 --> 00:29:34,600 Speaker 1: is I don't know. I still I still am a 509 00:29:34,640 --> 00:29:37,000 Speaker 1: little shook that we got no visuals. But I also 510 00:29:37,120 --> 00:29:41,200 Speaker 1: think like, just like Beyonce decided I'm not doing a 511 00:29:41,200 --> 00:29:44,080 Speaker 1: surprise drop, she also decided I'm not doing the kind 512 00:29:44,080 --> 00:29:47,240 Speaker 1: of visual output I've been doing for all my other albums, Like, yes, 513 00:29:47,360 --> 00:29:49,760 Speaker 1: I would love to get a video. When when I 514 00:29:49,800 --> 00:29:53,120 Speaker 1: said to Ryan, like, I really need a music video, 515 00:29:53,160 --> 00:29:55,640 Speaker 1: he was like, I think she's just like really wants 516 00:29:55,680 --> 00:29:58,240 Speaker 1: to make it about the music. She's edging. No, she's 517 00:29:58,320 --> 00:30:02,200 Speaker 1: edging us. We're getting visuals. There's so many stills and 518 00:30:02,280 --> 00:30:05,360 Speaker 1: so many photos setups that are floating around of her 519 00:30:05,560 --> 00:30:09,680 Speaker 1: like and that amazing like gold kind of layered LeMay 520 00:30:09,800 --> 00:30:13,920 Speaker 1: piece that was like I think an homage to Pepper 521 00:30:14,000 --> 00:30:18,360 Speaker 1: Labisia question Mark, Like her references are really good. Um 522 00:30:18,800 --> 00:30:21,160 Speaker 1: and I want to almost like don't want to give 523 00:30:21,480 --> 00:30:26,080 Speaker 1: give this too much credence. But but someone said, Beyonce 524 00:30:26,240 --> 00:30:29,360 Speaker 1: watch pose and made this album and like as much 525 00:30:29,360 --> 00:30:32,479 Speaker 1: of it, as much as ann iral as that is, 526 00:30:32,680 --> 00:30:36,680 Speaker 1: I don't think it's untrue. I think it's a it's 527 00:30:36,680 --> 00:30:39,520 Speaker 1: a flattening. I mean, Beyonce is that basic. Let's be clear, 528 00:30:39,600 --> 00:30:41,400 Speaker 1: Like at the end of the day, if you've ever 529 00:30:41,400 --> 00:30:44,560 Speaker 1: watched an interview with her, like she's a delight a 530 00:30:44,680 --> 00:30:48,600 Speaker 1: delightfully like the middle of the road girl who is 531 00:30:48,680 --> 00:30:53,120 Speaker 1: also the greatest living performer of our generation. I would claim, Um, 532 00:30:53,200 --> 00:30:56,840 Speaker 1: And I think that she is always on trend and 533 00:30:56,840 --> 00:30:59,560 Speaker 1: and that is you know, I think her greatest strength 534 00:30:59,680 --> 00:31:04,800 Speaker 1: and times a weakness, because it does render her sometimes 535 00:31:05,040 --> 00:31:07,760 Speaker 1: a little a little corny or a little like, you know, 536 00:31:07,840 --> 00:31:09,840 Speaker 1: try hard, and but I think that that's what makes 537 00:31:10,840 --> 00:31:13,240 Speaker 1: I would say that this album is a little late 538 00:31:13,400 --> 00:31:16,280 Speaker 1: when you think about it, like maybe a little bit 539 00:31:16,480 --> 00:31:20,360 Speaker 1: a little bit it doesn't it's but it's fine because 540 00:31:20,720 --> 00:31:23,720 Speaker 1: she does the thing so well that it doesn't know 541 00:31:23,920 --> 00:31:28,920 Speaker 1: well and and it's also just such a beyond say album, 542 00:31:29,120 --> 00:31:32,200 Speaker 1: Like I would say, you know, before we like as 543 00:31:32,240 --> 00:31:35,400 Speaker 1: we're getting into the track by track, like, I came 544 00:31:35,440 --> 00:31:38,600 Speaker 1: away from the album being like, damn, I wish that 545 00:31:38,720 --> 00:31:40,880 Speaker 1: some of these songs went harder. I wish that the 546 00:31:41,040 --> 00:31:44,560 Speaker 1: entire album was disco house. Um. We get these little 547 00:31:44,800 --> 00:31:48,360 Speaker 1: breaks that you know, don't have the don't have as 548 00:31:48,480 --> 00:31:51,719 Speaker 1: that that like kind of thumpy club basse um that 549 00:31:51,800 --> 00:31:54,280 Speaker 1: I kind of wished was in every song. But then 550 00:31:54,320 --> 00:31:56,719 Speaker 1: after finishing it for the first time, I was like, 551 00:31:56,960 --> 00:32:00,360 Speaker 1: you know, if it really was that cohesive, it wouldn't 552 00:32:00,360 --> 00:32:02,440 Speaker 1: be a Beyonce. I wouldn't. And I also loved it 553 00:32:02,520 --> 00:32:05,640 Speaker 1: that so many of the songs start as one thing 554 00:32:05,720 --> 00:32:09,600 Speaker 1: and end of another. So it's so cool. Okay, let's 555 00:32:09,680 --> 00:32:13,680 Speaker 1: let's start our our dissection. So let's get into so 556 00:32:13,840 --> 00:32:17,160 Speaker 1: number one I'm that Girl. I mean, which is she 557 00:32:17,320 --> 00:32:21,520 Speaker 1: is that girl? I'm that girl? As I said, I 558 00:32:21,560 --> 00:32:25,720 Speaker 1: was weeping when like this song kind of reached its 559 00:32:25,800 --> 00:32:33,840 Speaker 1: middle point because lyrically gorgeous, vibe wise, totally resonant, and 560 00:32:33,960 --> 00:32:38,640 Speaker 1: like I think a perfect like overture esque like anthem 561 00:32:38,760 --> 00:32:42,960 Speaker 1: to what we are preparing ourselves to be really puts 562 00:32:43,000 --> 00:32:47,320 Speaker 1: you in the right And Beyonce is an album artist, 563 00:32:47,440 --> 00:32:50,600 Speaker 1: and the song is saying in case you, in case 564 00:32:50,640 --> 00:32:53,560 Speaker 1: it wasn't clear, this is an album. It's very much 565 00:32:53,640 --> 00:32:57,200 Speaker 1: like your first drink of the night, You're like getting 566 00:32:57,240 --> 00:32:59,320 Speaker 1: into it. It reminded me of when I first listened 567 00:32:59,320 --> 00:33:02,640 Speaker 1: to a last album, like laying in the bathtub and 568 00:33:02,760 --> 00:33:05,040 Speaker 1: like turning it on and having a very intentional listen 569 00:33:05,120 --> 00:33:08,720 Speaker 1: with it. And and that first Adele song takes a 570 00:33:08,840 --> 00:33:13,920 Speaker 1: sharp turn that sonically is so different from Adele's usual sound, 571 00:33:14,080 --> 00:33:16,080 Speaker 1: and in my head, I was like, oh my god, 572 00:33:16,480 --> 00:33:19,200 Speaker 1: this album is going to be so different. And I 573 00:33:19,240 --> 00:33:21,840 Speaker 1: think with this one, I I just got this. I 574 00:33:21,880 --> 00:33:25,440 Speaker 1: got that same kind of emotional anticipation. I was like, 575 00:33:25,680 --> 00:33:29,120 Speaker 1: this album is gonna be so fucking different, and you know, 576 00:33:29,200 --> 00:33:31,680 Speaker 1: we already knew that. But like girl, when it went 577 00:33:31,760 --> 00:33:35,680 Speaker 1: to Cozy, like we knew it. I really like Cozy. 578 00:33:35,760 --> 00:33:38,480 Speaker 1: I remember thinking on my first listen that the lyrics 579 00:33:38,480 --> 00:33:41,080 Speaker 1: were a little cheesy, and I do think that's something 580 00:33:41,080 --> 00:33:43,520 Speaker 1: that happens a couple of times on this album. Is 581 00:33:43,560 --> 00:33:48,080 Speaker 1: like despite the fact that there's like twelve people credited 582 00:33:48,120 --> 00:33:51,160 Speaker 1: as writers on every song. Sometimes the lyrics are a 583 00:33:51,200 --> 00:33:54,440 Speaker 1: little cheesy, and that's I think that's just a Beyonce thing. Well, 584 00:33:54,480 --> 00:33:57,280 Speaker 1: Beyonce is also credited as a writer, I believe on 585 00:33:57,360 --> 00:34:00,160 Speaker 1: every song she's ever performed, or if not a or 586 00:34:00,160 --> 00:34:02,680 Speaker 1: a producer, but she is credited on every single song. 587 00:34:02,760 --> 00:34:06,800 Speaker 1: And that is completely intentional. And like, I really it's 588 00:34:06,840 --> 00:34:10,880 Speaker 1: a big mystery as to how much writing quote unquote 589 00:34:10,920 --> 00:34:13,560 Speaker 1: she actually does, but she has before an interview, has 590 00:34:13,560 --> 00:34:17,720 Speaker 1: talked about songwriting and writing and so I always wonder 591 00:34:18,280 --> 00:34:21,120 Speaker 1: what's her and what's like her other people, and what's 592 00:34:21,120 --> 00:34:25,600 Speaker 1: her writing process works someone else's release your wiggle and 593 00:34:25,640 --> 00:34:30,960 Speaker 1: Beyonce goes. I think that's a perfect encapsulation of Beyonce's 594 00:34:30,960 --> 00:34:34,480 Speaker 1: writing contributions on her music. You know, it's her being 595 00:34:34,520 --> 00:34:37,920 Speaker 1: like yeah, But the thing is, you know about like 596 00:34:38,680 --> 00:34:42,080 Speaker 1: Beyonce's kind of corny nous or rather that's my term. 597 00:34:42,280 --> 00:34:44,800 Speaker 1: Beyonce is like corny nous on some of these songs. 598 00:34:44,840 --> 00:34:48,640 Speaker 1: Like I didn't experience that until Church Girl, which we'll 599 00:34:48,680 --> 00:34:52,240 Speaker 1: get into, but like I actually lyrically really loved Cozy 600 00:34:52,360 --> 00:34:55,040 Speaker 1: and the kind of ethos of the song, which is 601 00:34:55,080 --> 00:34:59,080 Speaker 1: about being comfortable in your own skin, expressing yourself, and like, 602 00:34:59,120 --> 00:35:01,760 Speaker 1: I think the through line in the album that's really 603 00:35:02,239 --> 00:35:05,719 Speaker 1: crystal clear by this song is is about sex and 604 00:35:05,760 --> 00:35:10,400 Speaker 1: connection but also about you know, queerness and about being yourself. 605 00:35:10,600 --> 00:35:13,960 Speaker 1: And like to use a t S. Madison, you know 606 00:35:14,200 --> 00:35:17,200 Speaker 1: clip in this which was I thought used so like 607 00:35:17,320 --> 00:35:20,400 Speaker 1: I thought it was She's I mean, I loved her 608 00:35:20,400 --> 00:35:22,400 Speaker 1: tweet that was like my voice is iconic, and I 609 00:35:22,440 --> 00:35:25,719 Speaker 1: was like, the voice is it is iconic. And I 610 00:35:25,760 --> 00:35:28,640 Speaker 1: think for Beyonce to recognize that and to make a 611 00:35:28,719 --> 00:35:32,480 Speaker 1: song about being comfortable and you're, you know, with yourself 612 00:35:32,560 --> 00:35:37,200 Speaker 1: and still talking about God somehow because it's to talk 613 00:35:37,239 --> 00:35:40,600 Speaker 1: about God rolls over so perfectly into Alien Superstar because 614 00:35:40,600 --> 00:35:43,520 Speaker 1: it's like, Okay, we're done being comfortable with being weirdos. 615 00:35:43,640 --> 00:35:45,799 Speaker 1: Now we're going to be freaks and we're gonna love 616 00:35:45,840 --> 00:35:50,279 Speaker 1: exactly hot. Something that I love about Alien Superstar and 617 00:35:50,640 --> 00:35:53,520 Speaker 1: why it's one of the one of my favorite trucks 618 00:35:53,520 --> 00:35:56,960 Speaker 1: on the album is that it becomes towards the end 619 00:35:57,080 --> 00:36:00,759 Speaker 1: like much more like impressionistic and like the words are 620 00:36:01,120 --> 00:36:03,600 Speaker 1: are like it's more of like this wall of sound 621 00:36:03,640 --> 00:36:06,439 Speaker 1: and Beyonce. It's just kind of like saying weird ship 622 00:36:06,640 --> 00:36:09,600 Speaker 1: and like she's being a fucking alien, and like, I mean, 623 00:36:09,680 --> 00:36:11,200 Speaker 1: I do think this is one of the tracks on 624 00:36:11,239 --> 00:36:14,960 Speaker 1: the album that is like most obviously taking inspiration from 625 00:36:15,000 --> 00:36:19,640 Speaker 1: ballroom culture and from queer culture. Alien Superstar is I knew, 626 00:36:19,880 --> 00:36:23,280 Speaker 1: like just seeing the title when the track list was released, 627 00:36:23,320 --> 00:36:25,120 Speaker 1: that this was going to be one of the ones 628 00:36:25,200 --> 00:36:28,480 Speaker 1: to watch, and it is definitely one of my favorites 629 00:36:28,480 --> 00:36:30,080 Speaker 1: on the album. And it's like when I was doing 630 00:36:30,120 --> 00:36:32,160 Speaker 1: my first listen, it's the first time that I really 631 00:36:32,239 --> 00:36:36,480 Speaker 1: got up and started dancing. Yeah, I mean I I 632 00:36:36,520 --> 00:36:39,200 Speaker 1: was dancing by cozy or at least like in my 633 00:36:39,440 --> 00:36:43,320 Speaker 1: kind of groove. I felt like Alien Superstar. The b 634 00:36:43,640 --> 00:36:44,759 Speaker 1: is so good. I mean, we just have to talk 635 00:36:44,800 --> 00:36:47,840 Speaker 1: about the Honey songs in general. Honey to Gen really 636 00:36:48,040 --> 00:36:53,200 Speaker 1: eight and you can hear her influence on this music 637 00:36:53,320 --> 00:36:56,759 Speaker 1: and it I've never looked at the song credits while 638 00:36:56,800 --> 00:36:58,880 Speaker 1: I was listening to music the way that I have 639 00:36:59,000 --> 00:37:02,160 Speaker 1: while listening to this album because same, and that I 640 00:37:02,200 --> 00:37:05,480 Speaker 1: think is really cool. I liked that you can hear 641 00:37:05,960 --> 00:37:08,920 Speaker 1: the influence of the people that Beyonce brought in to 642 00:37:09,040 --> 00:37:11,320 Speaker 1: work with her, I mean, which is kind of interesting 643 00:37:11,320 --> 00:37:14,080 Speaker 1: when we'll talk about the calisse of it all later. 644 00:37:14,760 --> 00:37:19,560 Speaker 1: But if you know Honey Dejon, if you know her music, 645 00:37:19,680 --> 00:37:22,319 Speaker 1: if you if you've ever listened to her DJ, you 646 00:37:22,360 --> 00:37:24,440 Speaker 1: can't listen to this song and not know that this 647 00:37:24,520 --> 00:37:28,160 Speaker 1: is a Honey track. Yeah, exactly, I honestly so. I 648 00:37:28,200 --> 00:37:32,400 Speaker 1: saw on Instagram that Honey maybe did an edit of 649 00:37:32,520 --> 00:37:35,880 Speaker 1: Pure Honey um, which is in my opinion, the queerest 650 00:37:35,920 --> 00:37:39,319 Speaker 1: song on the album. But like she her, she wasn't 651 00:37:39,320 --> 00:37:42,000 Speaker 1: credited for Pure Honey, but like I was like, oh 652 00:37:42,000 --> 00:37:43,840 Speaker 1: my god, I wonder if she, you know, started to 653 00:37:43,920 --> 00:37:45,759 Speaker 1: do something for it. And there's like a Honey de 654 00:37:45,840 --> 00:37:48,120 Speaker 1: Gen version of Pure Honey out there somewhere that I 655 00:37:48,120 --> 00:37:52,160 Speaker 1: can listen to because girl Honey's version. Yeah, but like 656 00:37:52,440 --> 00:37:53,879 Speaker 1: you know, to go back to the Honey de Gen 657 00:37:53,920 --> 00:37:56,319 Speaker 1: of it all, Like I, you know, these were my 658 00:37:56,360 --> 00:37:59,440 Speaker 1: favorite songs on the album, and I think that kind 659 00:37:59,440 --> 00:38:02,759 Speaker 1: of the venus was something that just I haven't heard 660 00:38:02,760 --> 00:38:06,920 Speaker 1: this from Beyonce before the succession of Cozy and Alien 661 00:38:06,960 --> 00:38:11,080 Speaker 1: Superstar in and of themselves were so far set apart 662 00:38:11,160 --> 00:38:13,520 Speaker 1: from the rest of her body of work. Like I 663 00:38:13,560 --> 00:38:17,719 Speaker 1: don't think there's anything else in her discography that does 664 00:38:17,800 --> 00:38:21,040 Speaker 1: what those songs do. But like I mean, I loved 665 00:38:21,040 --> 00:38:25,160 Speaker 1: the Kim Cooper like unique, like kind of moment on it. 666 00:38:25,239 --> 00:38:29,319 Speaker 1: Like I love um the ballroom references, even though I 667 00:38:29,360 --> 00:38:34,200 Speaker 1: mean that it's a little corny the category um it's 668 00:38:34,239 --> 00:38:37,799 Speaker 1: but as she said, corny, Beyonce is corny, and that's 669 00:38:37,840 --> 00:38:41,120 Speaker 1: when she thrives. And and then you go to Cuffet, 670 00:38:41,280 --> 00:38:43,359 Speaker 1: which like in a lot of ways is a very 671 00:38:43,440 --> 00:38:46,120 Speaker 1: kind of traditional Beyonce song. Like as we said, like 672 00:38:46,520 --> 00:38:48,480 Speaker 1: it is, it is definitely in the legacy of a 673 00:38:48,520 --> 00:38:51,880 Speaker 1: song like blow Um. It's not one of my favorites 674 00:38:51,880 --> 00:38:53,759 Speaker 1: on the album, but like I like it. It's a 675 00:38:53,800 --> 00:38:57,640 Speaker 1: good transition between two of the weirder songs on the 676 00:38:57,680 --> 00:39:01,840 Speaker 1: album with Cozy and Alien Superstar. I immediately taken, but 677 00:39:01,920 --> 00:39:04,160 Speaker 1: also like a little nervous because I was, like, what 678 00:39:04,280 --> 00:39:07,560 Speaker 1: is Beyonce taking on? She is doing a genre that 679 00:39:07,640 --> 00:39:10,640 Speaker 1: is completely outside of I wasn't going to say outside 680 00:39:10,640 --> 00:39:12,839 Speaker 1: her wheelhouse, because she can do any genres she wants 681 00:39:12,840 --> 00:39:15,360 Speaker 1: and is qualified to do so. But like, like she 682 00:39:15,360 --> 00:39:17,720 Speaker 1: could release a fucking SKA album and we would gobble 683 00:39:17,760 --> 00:39:20,200 Speaker 1: that up. You know what I mean, But like Cufft 684 00:39:20,360 --> 00:39:21,960 Speaker 1: is when I was like, oh, this is a beat, 685 00:39:22,080 --> 00:39:25,080 Speaker 1: like this is Beyonce, Like this is funk, this is 686 00:39:25,160 --> 00:39:29,880 Speaker 1: Soul's a very comfortable place for her to be. And 687 00:39:30,000 --> 00:39:33,600 Speaker 1: you know, I think it's like just very funny that 688 00:39:33,800 --> 00:39:37,880 Speaker 1: and a great dichotomy that Beyonce can make what I 689 00:39:38,200 --> 00:39:41,280 Speaker 1: what we were calling like Faggett Fagett music and still 690 00:39:41,560 --> 00:39:48,600 Speaker 1: have the album ultimately be about Um, her relationship that 691 00:39:48,680 --> 00:39:51,120 Speaker 1: she has been in a relationship, a relationship she's been 692 00:39:51,120 --> 00:39:53,480 Speaker 1: in since she was like sixteen or whatever, and like 693 00:39:53,560 --> 00:39:56,200 Speaker 1: Kuffett is one of those songs that's like a love letter. 694 00:39:56,520 --> 00:39:59,080 Speaker 1: And then we go into Energy, which you know, I 695 00:39:59,640 --> 00:40:01,759 Speaker 1: Energy is one of my favors on the album, and 696 00:40:02,120 --> 00:40:06,160 Speaker 1: I think it's, like I really liked, after what we 697 00:40:06,200 --> 00:40:10,520 Speaker 1: had gotten so far, the acknowledgement that she's still um 698 00:40:10,560 --> 00:40:12,759 Speaker 1: interested in the music that she was making on the 699 00:40:12,800 --> 00:40:15,000 Speaker 1: Gift and like everything she did with Black is King, 700 00:40:15,280 --> 00:40:17,560 Speaker 1: Because I think Energy is the song to me that 701 00:40:17,640 --> 00:40:20,080 Speaker 1: sounds the most like those albums with the very like 702 00:40:20,120 --> 00:40:25,400 Speaker 1: afrobeat of it, and it's so like dissonant in a 703 00:40:25,480 --> 00:40:30,400 Speaker 1: way and like and like kind of not hard to 704 00:40:30,440 --> 00:40:32,839 Speaker 1: listen to, but like a little challenging. It's It's one 705 00:40:32,880 --> 00:40:34,480 Speaker 1: of the songs in the album that made me like 706 00:40:34,600 --> 00:40:38,520 Speaker 1: listen actively, um and like it's something that I think 707 00:40:38,520 --> 00:40:40,520 Speaker 1: a lot of people would not think of as like 708 00:40:41,280 --> 00:40:44,600 Speaker 1: club music, but like I have heard music like this 709 00:40:44,640 --> 00:40:48,160 Speaker 1: and like very dark clubs and very dark moments, and like, 710 00:40:48,280 --> 00:40:52,160 Speaker 1: I think this song is so sexy. Yeah, and not 711 00:40:52,239 --> 00:40:58,319 Speaker 1: to mention the transitions in these first six songs, especially 712 00:40:58,440 --> 00:41:01,280 Speaker 1: to energy and especially for energy to Break my Soul, 713 00:41:01,480 --> 00:41:05,160 Speaker 1: I love it. I think break my Soul makes I 714 00:41:05,239 --> 00:41:07,439 Speaker 1: like break my Soul. I I already love to Break 715 00:41:07,440 --> 00:41:11,880 Speaker 1: my Soul, but in the in context, knowing its place 716 00:41:11,960 --> 00:41:15,680 Speaker 1: in the album, it just made it made me like 717 00:41:15,719 --> 00:41:18,880 Speaker 1: it's so much more because I think the transition. I 718 00:41:18,920 --> 00:41:22,319 Speaker 1: think this this three song cycle of energy and to 719 00:41:22,360 --> 00:41:26,759 Speaker 1: Break My Soul into Church Girl is perfect. Absolutely. I 720 00:41:26,840 --> 00:41:31,920 Speaker 1: totally totally agree. And I feel like, um, Her, you know, 721 00:41:32,000 --> 00:41:34,080 Speaker 1: to go back to your point about Black is King 722 00:41:34,280 --> 00:41:37,600 Speaker 1: and that album that I also loved, like, I feel 723 00:41:37,600 --> 00:41:40,520 Speaker 1: like you know what she was doing what she I 724 00:41:40,520 --> 00:41:43,440 Speaker 1: feel like she gets a lot of flak um for 725 00:41:45,640 --> 00:41:50,680 Speaker 1: homogenizing art, um for taking art from other artists and 726 00:41:50,800 --> 00:41:54,279 Speaker 1: putting it all under her name, and um, you know, 727 00:41:54,320 --> 00:41:56,160 Speaker 1: obviously there are a lot of nuances to that that 728 00:41:56,239 --> 00:41:59,160 Speaker 1: can be had on another podcast, but I just have 729 00:41:59,239 --> 00:42:02,640 Speaker 1: to remind people all that that's what almost every music 730 00:42:02,800 --> 00:42:06,120 Speaker 1: artist does. And to the point that you were making earlier, 731 00:42:06,200 --> 00:42:09,319 Speaker 1: like something that's really beautiful about this project specifically, and 732 00:42:09,320 --> 00:42:11,719 Speaker 1: I didn't really think about it until you said it, 733 00:42:11,760 --> 00:42:16,520 Speaker 1: is that like, as a fandom, we are consuming credit lines, 734 00:42:16,560 --> 00:42:19,160 Speaker 1: and there were like over a thousand credits on this album, 735 00:42:19,320 --> 00:42:21,799 Speaker 1: like and and for Beyonce to kind of put them 736 00:42:21,800 --> 00:42:23,800 Speaker 1: all in context and to tweet them out and to 737 00:42:23,920 --> 00:42:28,120 Speaker 1: say like, like, these are the people that as I'm 738 00:42:28,160 --> 00:42:30,520 Speaker 1: the combined effort of all of these people I take 739 00:42:30,520 --> 00:42:34,400 Speaker 1: inspiration from, and I am in a legacy of black 740 00:42:34,600 --> 00:42:37,719 Speaker 1: art and queer art. Um, well, it's like she's it's 741 00:42:37,719 --> 00:42:42,399 Speaker 1: like she's citing. She's citing her her research. You know, 742 00:42:42,960 --> 00:42:46,520 Speaker 1: she's like here, here's it's it's like post receipts. It's 743 00:42:46,560 --> 00:42:49,680 Speaker 1: like it's like, here's her this, she wrote her thesis, 744 00:42:50,040 --> 00:42:54,560 Speaker 1: and here's everything she's referencing. Yes, baby exactly, and like 745 00:42:54,719 --> 00:42:57,640 Speaker 1: kind of me, I think, I mean, Gaga did this 746 00:42:57,680 --> 00:43:01,439 Speaker 1: in a slightly different way, but when Chromatica came out, 747 00:43:01,480 --> 00:43:05,279 Speaker 1: like she did that playlist that was like welcome to Chromatica. 748 00:43:05,440 --> 00:43:07,759 Speaker 1: That was like, here's all of the music that this 749 00:43:07,800 --> 00:43:10,759 Speaker 1: album is is in a legacy of and it's in 750 00:43:10,840 --> 00:43:16,440 Speaker 1: conversation with and um I love that playlist disappeared so 751 00:43:16,800 --> 00:43:19,719 Speaker 1: it still exists. I think Beyonce a step further and 752 00:43:19,800 --> 00:43:23,600 Speaker 1: was like, Okay, I'm going to hire all the people 753 00:43:23,600 --> 00:43:26,680 Speaker 1: who made that music and are currently making that music 754 00:43:27,120 --> 00:43:30,560 Speaker 1: and make songs with them because Beyonce just is able 755 00:43:30,640 --> 00:43:33,520 Speaker 1: to do all this on a scale that no other 756 00:43:33,760 --> 00:43:54,359 Speaker 1: artists can. When she gets accused of stealing or appropriating 757 00:43:54,760 --> 00:43:56,919 Speaker 1: music or whatever, I just think I mean, I think 758 00:43:56,960 --> 00:43:59,400 Speaker 1: it comes from obviously because she's a black woman, but 759 00:43:59,480 --> 00:44:03,680 Speaker 1: also becau has she way back in her like four 760 00:44:03,719 --> 00:44:07,400 Speaker 1: album era, like gotten to a few different issues where 761 00:44:07,680 --> 00:44:10,080 Speaker 1: like she was making music videos or giving performances that 762 00:44:10,120 --> 00:44:14,240 Speaker 1: were very clear rips from other artists, um, without crediting. 763 00:44:14,239 --> 00:44:16,719 Speaker 1: And I think that too for her to come to 764 00:44:16,800 --> 00:44:19,920 Speaker 1: write here and to be like this is where all 765 00:44:19,960 --> 00:44:23,040 Speaker 1: the credit these, this is where credit is due. Um. 766 00:44:23,080 --> 00:44:25,400 Speaker 1: You know, that is like what every artist should and 767 00:44:25,440 --> 00:44:27,480 Speaker 1: Beyonce at the end of the day, on top of 768 00:44:27,520 --> 00:44:31,799 Speaker 1: being the greatest performer of a generation is also a curator, 769 00:44:31,840 --> 00:44:35,560 Speaker 1: you know, and her team our curators, and they're good 770 00:44:35,600 --> 00:44:39,080 Speaker 1: curators in my opinion. I mean, since we're talking about 771 00:44:39,120 --> 00:44:41,719 Speaker 1: this conversation and like we we are talking about what 772 00:44:41,760 --> 00:44:44,040 Speaker 1: I think is this like tree out of songs which 773 00:44:44,040 --> 00:44:46,160 Speaker 1: includes energy, Like I do think it's a good time 774 00:44:46,200 --> 00:44:48,920 Speaker 1: to bring up the Calice of it all. So I 775 00:44:49,400 --> 00:44:53,080 Speaker 1: said she credited everyone except yeah, if you don't know, 776 00:44:53,520 --> 00:44:55,719 Speaker 1: you know, they're like you you met. You might have 777 00:44:55,760 --> 00:44:59,000 Speaker 1: seen headlines about this like drama between Beyonce and Calice, 778 00:44:59,400 --> 00:45:02,080 Speaker 1: and it's our really more complicated that and the drama 779 00:45:02,200 --> 00:45:06,080 Speaker 1: is really not um, it's not drama um. And it's 780 00:45:06,080 --> 00:45:09,520 Speaker 1: not even between Beyonce and Kalie directly. So energy samples milkshake. 781 00:45:09,640 --> 00:45:11,799 Speaker 1: I mean I would never have clocked it, by the way, 782 00:45:12,120 --> 00:45:15,759 Speaker 1: would you? Yeah? I mean I definitely. I don't think 783 00:45:15,800 --> 00:45:18,360 Speaker 1: like I clocked. I think I knew it was coming 784 00:45:18,400 --> 00:45:21,319 Speaker 1: because like the Kalie stuff broke that day, so like 785 00:45:21,680 --> 00:45:24,759 Speaker 1: I was prepared for it. And you know, Kalise has 786 00:45:24,760 --> 00:45:27,560 Speaker 1: spoken out about it, and the thing is like she's 787 00:45:27,840 --> 00:45:31,040 Speaker 1: what what the issue is is not that Beyonce used 788 00:45:31,040 --> 00:45:36,640 Speaker 1: her music and didn't credit her. The issue is that Kalise, 789 00:45:37,280 --> 00:45:39,120 Speaker 1: and this has been something that Calie has talked about 790 00:45:39,120 --> 00:45:41,360 Speaker 1: for a long time. Kalise was fucked out of the 791 00:45:41,400 --> 00:45:45,160 Speaker 1: publishing rights for Milkshake by Farrell. This is something that 792 00:45:45,200 --> 00:45:47,600 Speaker 1: she's talked about at length, that other artists have talked 793 00:45:47,600 --> 00:45:51,920 Speaker 1: about with Farrell. And so when this when Milkshake is 794 00:45:52,040 --> 00:45:56,960 Speaker 1: used in Beyonce's album, Calise gets nothing from that, and 795 00:45:57,040 --> 00:45:59,680 Speaker 1: so I think her problem was twofold. Her problem was 796 00:45:59,719 --> 00:46:03,359 Speaker 1: that she never got any sort of like acknowledgement from 797 00:46:03,360 --> 00:46:08,760 Speaker 1: Beyonce that she was that her record was being used 798 00:46:08,800 --> 00:46:12,560 Speaker 1: on this album. And then she also again is being 799 00:46:12,600 --> 00:46:17,120 Speaker 1: fucked over by this man from money from this iconic 800 00:46:17,200 --> 00:46:20,800 Speaker 1: song that she made. And Calice's impact on music cannot 801 00:46:20,800 --> 00:46:28,280 Speaker 1: be overstated. Calice Plice is iconic, and it fucking sucks 802 00:46:28,680 --> 00:46:30,759 Speaker 1: that she got a shitty deal at the start of 803 00:46:30,800 --> 00:46:34,719 Speaker 1: her career and a song that is as indelible as 804 00:46:34,760 --> 00:46:40,439 Speaker 1: Milkshake makes her no money. That fucking sucks. Yeah, I 805 00:46:40,440 --> 00:46:44,080 Speaker 1: I think it sex to um. I think that if 806 00:46:44,120 --> 00:46:48,480 Speaker 1: I'm okay. So here's the thing. It feels all in 807 00:46:48,560 --> 00:46:54,120 Speaker 1: all like a bureaucratic error on Parkwoods and on the 808 00:46:54,200 --> 00:46:56,759 Speaker 1: on the side of Parkwood's camp, and I feel like 809 00:46:56,840 --> 00:47:01,960 Speaker 1: there's no world we're in. Beyonce would not like worship 810 00:47:02,080 --> 00:47:08,120 Speaker 1: an artist like Police, like understands. I'm sure they're her, 811 00:47:08,640 --> 00:47:11,359 Speaker 1: but and so I just I don't understand. I think 812 00:47:11,360 --> 00:47:13,960 Speaker 1: that here's that the thing for me is like I 813 00:47:14,280 --> 00:47:17,120 Speaker 1: um or rather not that I don't understand. I understand 814 00:47:17,160 --> 00:47:19,440 Speaker 1: it just as clearly as you've laid it out for 815 00:47:19,600 --> 00:47:23,759 Speaker 1: the Virgins. But what I I just feel like you 816 00:47:23,800 --> 00:47:26,360 Speaker 1: can be messy online and you can be mad about 817 00:47:26,360 --> 00:47:28,399 Speaker 1: the things that are stolen from you. I have had 818 00:47:28,440 --> 00:47:30,719 Speaker 1: work from stolen from me, and I've decided not to 819 00:47:30,760 --> 00:47:33,480 Speaker 1: say anything because talking about it publicly makes me look 820 00:47:33,520 --> 00:47:36,640 Speaker 1: messy too. You know what I feel like? What I 821 00:47:36,640 --> 00:47:39,120 Speaker 1: feel like Police shouldn't have. I just feel like if 822 00:47:39,160 --> 00:47:43,000 Speaker 1: I was her, I would not release a statement like 823 00:47:43,280 --> 00:47:46,400 Speaker 1: the in the first hours of the album dropping. I 824 00:47:46,440 --> 00:47:50,239 Speaker 1: would go out to Parkwood first and then get mad 825 00:47:50,360 --> 00:47:53,200 Speaker 1: if I was not responding to actually disagree, because I 826 00:47:53,239 --> 00:47:56,560 Speaker 1: think that what Plice is doing is very smart, because 827 00:47:56,960 --> 00:48:01,319 Speaker 1: she's using the promotional engine of this the album for 828 00:48:01,360 --> 00:48:05,080 Speaker 1: her own gain. Because I don't think what Calice really 829 00:48:05,120 --> 00:48:08,680 Speaker 1: wants is like acknowledgement from Beyonce, which I'm sure has 830 00:48:08,680 --> 00:48:12,600 Speaker 1: already had. Beyonce has sent her an edible arrangement. I'm sure, 831 00:48:13,560 --> 00:48:17,480 Speaker 1: I'm even sure that some money has or will change hands. 832 00:48:17,600 --> 00:48:21,920 Speaker 1: What Calice is doing very smartly, I think, is knowing 833 00:48:22,640 --> 00:48:25,160 Speaker 1: that this album is the biggest thing happening in pop 834 00:48:25,160 --> 00:48:30,080 Speaker 1: culture now, and by bringing this up, by turning it 835 00:48:30,120 --> 00:48:34,400 Speaker 1: into drama that people can write about, she is reminding 836 00:48:34,440 --> 00:48:37,080 Speaker 1: everyone of this really fucked up thing that happened to 837 00:48:37,120 --> 00:48:42,840 Speaker 1: her and that happens to artists and especially female artists 838 00:48:42,840 --> 00:48:47,120 Speaker 1: and especially black artists all the time. And she is 839 00:48:47,600 --> 00:48:50,480 Speaker 1: using this album cycle and all the eyes on it 840 00:48:50,800 --> 00:48:54,640 Speaker 1: to remind people, hey, I got sucked over and this 841 00:48:54,719 --> 00:48:58,719 Speaker 1: isn't right. And maybe because of that, who knows what 842 00:48:58,760 --> 00:49:01,480 Speaker 1: will happen, like outside of the Beyonce of it all, 843 00:49:01,560 --> 00:49:05,080 Speaker 1: maybe Farrell will finally like get her some publishing rights back. 844 00:49:05,120 --> 00:49:07,759 Speaker 1: Maybe this will start some kind of change for her 845 00:49:08,239 --> 00:49:10,800 Speaker 1: and for the industry at large. I think she was 846 00:49:10,960 --> 00:49:14,919 Speaker 1: very calculated and how she and how she brought this up, 847 00:49:14,960 --> 00:49:18,680 Speaker 1: and if you watch the whole video that she made, 848 00:49:19,120 --> 00:49:22,439 Speaker 1: she is really smart and she addresses this is all 849 00:49:22,480 --> 00:49:25,120 Speaker 1: in a way that is really easy for people to understand, 850 00:49:25,520 --> 00:49:28,160 Speaker 1: and I just don't. It does not feel thoughtless or 851 00:49:28,239 --> 00:49:31,680 Speaker 1: heated to me. She knew exactly what she was doing. Okay, 852 00:49:31,760 --> 00:49:34,160 Speaker 1: so the girls need to know that, because I feel 853 00:49:34,160 --> 00:49:36,279 Speaker 1: like the way that people are talking about it on 854 00:49:36,360 --> 00:49:39,640 Speaker 1: social is misogynists, like they're pitting the two of them 855 00:49:39,680 --> 00:49:41,879 Speaker 1: against each other in a way that doesn't sound true 856 00:49:41,880 --> 00:49:44,520 Speaker 1: at all. And like you to Chalice and her saying sure, 857 00:49:44,520 --> 00:49:47,279 Speaker 1: if you talked to Beyonce, Beyonce would be like, fuck yes, 858 00:49:47,320 --> 00:49:50,879 Speaker 1: I respect Chalice. Fuck yes. I know the impact she's 859 00:49:51,680 --> 00:49:54,040 Speaker 1: on the kind of music I make and on the 860 00:49:54,120 --> 00:49:57,239 Speaker 1: kind of artist I am. Yeah, but you know, it's 861 00:49:57,239 --> 00:49:59,640 Speaker 1: like it's a sample that I can can barely hear, 862 00:50:00,120 --> 00:50:02,680 Speaker 1: just crazy and I am honestly. Same thing with um 863 00:50:02,800 --> 00:50:05,759 Speaker 1: Alien Superstar. I had no idea that that was I'm 864 00:50:05,800 --> 00:50:08,839 Speaker 1: Too Sexy? Did you know? Yeah, it's so I think. 865 00:50:08,880 --> 00:50:11,840 Speaker 1: I think it's so obvious. I never would have guessed, 866 00:50:11,840 --> 00:50:14,360 Speaker 1: but I loved it because I think I'm Too Sexy 867 00:50:14,440 --> 00:50:17,239 Speaker 1: is like kind of a bad song, but like they found, 868 00:50:17,280 --> 00:50:20,440 Speaker 1: I felt like it was, you know, so gorgeously rendered. 869 00:50:20,440 --> 00:50:23,880 Speaker 1: And same thing with the milkshake sample, like it sounds incredible, 870 00:50:23,920 --> 00:50:27,680 Speaker 1: and I love how the samples cross album are like 871 00:50:27,800 --> 00:50:30,240 Speaker 1: really chopped up, you know what I mean, M speaking 872 00:50:30,239 --> 00:50:33,200 Speaker 1: of being too sexy. Um, two very sexy songs with 873 00:50:33,239 --> 00:50:36,080 Speaker 1: different vibes are church Girl and Plastic Off the Sofa. 874 00:50:37,080 --> 00:50:40,879 Speaker 1: Church Girl is like so overtly sexy and you know 875 00:50:41,200 --> 00:50:43,800 Speaker 1: about like you know, kind of it's always it's always 876 00:50:43,800 --> 00:50:46,640 Speaker 1: the ones you like least expect um. And then Plastic 877 00:50:46,680 --> 00:50:49,600 Speaker 1: Off the Sofa is like very sexy. But I also 878 00:50:49,680 --> 00:50:54,360 Speaker 1: think it's the closest thing to a ballad on this album. Um, 879 00:50:54,400 --> 00:50:58,480 Speaker 1: and it's it's like perfectly sets up Virgoscrew because it 880 00:50:58,560 --> 00:51:00,719 Speaker 1: kind of like lows you. It's was like it gives 881 00:51:00,719 --> 00:51:03,880 Speaker 1: you a little bit of a break, um right before 882 00:51:04,120 --> 00:51:06,640 Speaker 1: you know the album is really like about to fucking 883 00:51:06,760 --> 00:51:09,360 Speaker 1: smack you in the face with a pair of titties. 884 00:51:10,320 --> 00:51:13,520 Speaker 1: When I first listened to church Girl, because it is 885 00:51:13,560 --> 00:51:16,720 Speaker 1: exactly that, I did feel kind of smacked in the face. 886 00:51:16,840 --> 00:51:20,719 Speaker 1: And it was the first song that I I was 887 00:51:20,719 --> 00:51:22,560 Speaker 1: gonna say, didn't like, but it was the first song 888 00:51:22,600 --> 00:51:25,359 Speaker 1: that I had a negative reaction to, and only upon 889 00:51:25,719 --> 00:51:28,680 Speaker 1: going back to it and listening to it in different ways, 890 00:51:28,760 --> 00:51:31,160 Speaker 1: like listening to it not on my headphones and in 891 00:51:31,160 --> 00:51:35,520 Speaker 1: a sound system is like, I think, a completely different experience. Um. 892 00:51:35,560 --> 00:51:37,600 Speaker 1: But like Churchgirll was the first song where I listened 893 00:51:37,600 --> 00:51:40,160 Speaker 1: to lyrics and I like I had a little cringe moment, 894 00:51:40,280 --> 00:51:43,720 Speaker 1: but like it now has like looped around and become 895 00:51:43,800 --> 00:51:46,360 Speaker 1: one of my more favorite songs on the album because 896 00:51:46,520 --> 00:51:50,439 Speaker 1: it kind of goes so hard. Um, I I think 897 00:51:50,520 --> 00:51:55,439 Speaker 1: you know this song church Girl is like a great 898 00:51:55,480 --> 00:51:59,640 Speaker 1: emblem for the fact that Beyonce will always be weird 899 00:51:59,800 --> 00:52:02,719 Speaker 1: and she'll always try really hard, and you know, sometimes 900 00:52:02,719 --> 00:52:06,759 Speaker 1: her lyrics are a little but like we still kind 901 00:52:06,800 --> 00:52:11,240 Speaker 1: of love her for that. Um, I can see yeah 902 00:52:11,280 --> 00:52:14,960 Speaker 1: a little bit and like I don't know when she 903 00:52:15,000 --> 00:52:18,200 Speaker 1: said you cad me my daddy, I just I still 904 00:52:18,280 --> 00:52:21,319 Speaker 1: I still do this moment Like Beyonce, I can tell 905 00:52:21,360 --> 00:52:23,600 Speaker 1: me anything, like I will always chew it up, but 906 00:52:23,640 --> 00:52:26,840 Speaker 1: like it's just I still don't It's fine. It's a 907 00:52:26,920 --> 00:52:30,120 Speaker 1: lot of work to make jay Z seem hot. Well. Well, 908 00:52:30,360 --> 00:52:32,720 Speaker 1: here's the thing though, is like kind of her entire 909 00:52:33,080 --> 00:52:36,920 Speaker 1: music career is like trying to make jay Zz not 910 00:52:37,239 --> 00:52:40,360 Speaker 1: and like jay Z is in a lot of songs 911 00:52:40,400 --> 00:52:43,000 Speaker 1: to her in past albums, like daddy to her, you 912 00:52:43,040 --> 00:52:45,520 Speaker 1: know what I mean. But then sometimes Beyonce is daddy, 913 00:52:45,560 --> 00:52:47,640 Speaker 1: which I also love, like with a song like Upgrade 914 00:52:47,680 --> 00:52:50,759 Speaker 1: you um or a lot of Lemonade, like and I 915 00:52:50,800 --> 00:52:54,680 Speaker 1: think that you know mommy on this album. Finally, I 916 00:52:54,719 --> 00:52:57,040 Speaker 1: think to say, I think in some songs she is mommy, 917 00:52:57,160 --> 00:53:00,759 Speaker 1: you know. And I like that. It's especially church Girl 918 00:53:00,800 --> 00:53:04,520 Speaker 1: in Plastic off the Off the Sofa, I think your big, 919 00:53:04,840 --> 00:53:08,879 Speaker 1: big mommy milkers vibes Plastic Plastic off the Sofa brought 920 00:53:08,920 --> 00:53:11,759 Speaker 1: me back into my fields. I you know, I I 921 00:53:11,880 --> 00:53:13,839 Speaker 1: rolled my eyes a little bit because I was like, oh, 922 00:53:13,960 --> 00:53:17,600 Speaker 1: Beyonce always has a song like this on the album. 923 00:53:17,719 --> 00:53:22,319 Speaker 1: Right with Lemonade, it was sand Castles or is the 924 00:53:22,360 --> 00:53:31,960 Speaker 1: sand Castle the castle? Yes? I love sand love sand castles, 925 00:53:32,080 --> 00:53:35,560 Speaker 1: um I on the on the Lion King album, she 926 00:53:35,719 --> 00:53:38,200 Speaker 1: had um that song on the other Side, which I 927 00:53:38,280 --> 00:53:43,040 Speaker 1: also love, and like this is like you know Exo, 928 00:53:43,840 --> 00:53:47,280 Speaker 1: the it's it's a little ex so it's exo. Exo 929 00:53:47,320 --> 00:53:49,719 Speaker 1: goes a little a little dancier, but like um or 930 00:53:49,719 --> 00:53:53,080 Speaker 1: maybe it's the Maybe it's the Heaven. Maybe Heaven is 931 00:53:53,120 --> 00:53:57,279 Speaker 1: the Plastic off the Sofa on on self titled Oh heaven. Wow, 932 00:53:57,480 --> 00:53:59,880 Speaker 1: that's I mean, we're going deep today. I mean, I 933 00:54:00,120 --> 00:54:03,320 Speaker 1: feel like my my one thing something that I appreciated 934 00:54:03,360 --> 00:54:04,880 Speaker 1: about this song is that I think it has the 935 00:54:04,880 --> 00:54:07,560 Speaker 1: fewest credits on it and and it was I think 936 00:54:07,560 --> 00:54:11,600 Speaker 1: that the simplicity of just having sid from the internet, 937 00:54:11,640 --> 00:54:19,640 Speaker 1: which is an amazing I like, I will not you 938 00:54:19,680 --> 00:54:21,640 Speaker 1: know it's so funny. Is No, I don't. I don't 939 00:54:21,640 --> 00:54:23,800 Speaker 1: know a single friend of mine that like sand Castles, 940 00:54:24,080 --> 00:54:26,879 Speaker 1: like I don't give an I don't give about what 941 00:54:26,960 --> 00:54:30,400 Speaker 1: I do think is definitely one of my favorite songs, 942 00:54:30,480 --> 00:54:32,759 Speaker 1: if not my favorite song, and I think one of 943 00:54:32,800 --> 00:54:36,319 Speaker 1: the best songs in the album. Virgos Groove Virgos Group. 944 00:54:36,920 --> 00:54:41,280 Speaker 1: Virgos Groove is the cultural reset. Virgos Groove is Minions 945 00:54:41,360 --> 00:54:47,480 Speaker 1: Rise of grou Virgos Virgos Groove, not Manions Rise. Virgos 946 00:54:47,520 --> 00:54:51,239 Speaker 1: Groove is snorting a line of coke off someone's dick 947 00:54:51,520 --> 00:54:57,319 Speaker 1: or someone's argos grow Virgo Virgos Groove. I think it's 948 00:54:57,360 --> 00:54:59,480 Speaker 1: like when you've been fucking for like an hour and 949 00:54:59,480 --> 00:55:02,160 Speaker 1: it's like that point where it's like we gotta do 950 00:55:02,200 --> 00:55:04,359 Speaker 1: some drugs. Yeah. No, I think it's at the point 951 00:55:04,360 --> 00:55:10,680 Speaker 1: where like it's really good, You're really vibe. Um Virgos 952 00:55:10,719 --> 00:55:15,840 Speaker 1: group is so sexy. It's so seventies. It's the production 953 00:55:16,000 --> 00:55:21,920 Speaker 1: is immaculate and so surprising, Like I think the the 954 00:55:22,040 --> 00:55:24,759 Speaker 1: lyrics always come in at a time when I'm like 955 00:55:24,800 --> 00:55:28,400 Speaker 1: not really expecting them. It's like, I think, the most 956 00:55:29,080 --> 00:55:33,719 Speaker 1: traditionally melodic song on the album and yet still manages 957 00:55:34,239 --> 00:55:39,239 Speaker 1: to surprise you and be unexpected. It's so fun to 958 00:55:39,320 --> 00:55:42,359 Speaker 1: dance too. I was at La LA's the other night 959 00:55:42,400 --> 00:55:44,799 Speaker 1: and we were like putting on wigs and listening to 960 00:55:45,719 --> 00:55:48,160 Speaker 1: the album, and this song came on and it was 961 00:55:48,200 --> 00:55:51,680 Speaker 1: just so fun and vibe. It's hot. It made me, 962 00:55:52,200 --> 00:55:56,440 Speaker 1: it made me want to fuck I it's so horny, 963 00:55:56,520 --> 00:56:00,800 Speaker 1: it's so Beyonce, but it's also so disco. The production 964 00:56:00,920 --> 00:56:05,640 Speaker 1: is gorgine. We have to shout out. The transition from plastics, 965 00:56:05,640 --> 00:56:10,320 Speaker 1: so plastic off the sofa to Virgos groove is goose bumpy, 966 00:56:10,560 --> 00:56:13,000 Speaker 1: Like it's so good, and I love like the art 967 00:56:13,200 --> 00:56:17,600 Speaker 1: of transitions between songs, like in the era of streaming, 968 00:56:18,160 --> 00:56:21,640 Speaker 1: like this song made me change my Spotify settings that 969 00:56:21,680 --> 00:56:25,520 Speaker 1: I could hear the end and the transition of every song, 970 00:56:25,840 --> 00:56:28,799 Speaker 1: like this is an album and is meant to be 971 00:56:28,880 --> 00:56:31,200 Speaker 1: listened to that way. I have not listened to this 972 00:56:31,239 --> 00:56:34,960 Speaker 1: album on shuffle yet and I don't know that I will. No, 973 00:56:35,480 --> 00:56:37,600 Speaker 1: it should never be listened to on shuffle. That would 974 00:56:37,640 --> 00:56:41,239 Speaker 1: be like blasphemous. But like to your point about you know, 975 00:56:41,840 --> 00:56:44,359 Speaker 1: dance music and how this the vibe that this has, 976 00:56:44,440 --> 00:56:46,319 Speaker 1: like it just it's the first song where I was like, 977 00:56:46,360 --> 00:56:51,680 Speaker 1: this is Studio fifty four, Like this is like like 978 00:56:51,960 --> 00:56:54,239 Speaker 1: I mean, honestly, that's like one of her references right, 979 00:56:54,320 --> 00:56:57,239 Speaker 1: like her her on the horse on this album cover 980 00:56:57,520 --> 00:57:00,440 Speaker 1: is like Bianca Jagger like riding into a student fifty 981 00:57:00,440 --> 00:57:03,280 Speaker 1: four and like also I guess like Lady or whatever 982 00:57:03,520 --> 00:57:08,840 Speaker 1: and an American horror story. No, not that um but honestly, 983 00:57:08,880 --> 00:57:13,240 Speaker 1: actually like the intersection of like Lady Godiva and Bianca 984 00:57:13,280 --> 00:57:17,400 Speaker 1: Jaggart Studio fifty four and also Ketamine. Listen, the Horse 985 00:57:18,120 --> 00:57:23,520 Speaker 1: really works as like Tranquilizer Summer. Yeah it's a horse 986 00:57:23,560 --> 00:57:27,440 Speaker 1: Tranquilizers Summer. I love how long it is. I wish 987 00:57:27,480 --> 00:57:29,920 Speaker 1: it was longer, but I like how it changes at 988 00:57:29,960 --> 00:57:32,160 Speaker 1: the end and then right before the song ends, it 989 00:57:32,200 --> 00:57:36,000 Speaker 1: brings that like melodic refrain back, so you get it. 990 00:57:36,080 --> 00:57:40,800 Speaker 1: One more time before you move on to Move featuring 991 00:57:41,040 --> 00:57:45,400 Speaker 1: featuring Grace Jones not honestly, not one of my favorites 992 00:57:45,440 --> 00:57:47,400 Speaker 1: on the album. And I also think like Grace is 993 00:57:47,440 --> 00:57:52,560 Speaker 1: a little underused. Okay, that is the take. I was 994 00:57:52,640 --> 00:57:54,800 Speaker 1: angry on my Instagram story about this. If you have 995 00:57:55,000 --> 00:57:58,800 Speaker 1: Grace motherfucking Jones, a woman who has on the record 996 00:57:58,880 --> 00:58:01,840 Speaker 1: said many many times that she will never collaborate with 997 00:58:01,920 --> 00:58:04,760 Speaker 1: major pop artists, that she will never be like it 998 00:58:04,760 --> 00:58:07,840 Speaker 1: has been a long time coming for any Grace Jones 999 00:58:07,880 --> 00:58:12,160 Speaker 1: collab to happen in buy with contemporary artists like she 1000 00:58:12,320 --> 00:58:18,120 Speaker 1: is vehemently against it. So if you get Grace motherfucking Jones, 1001 00:58:18,600 --> 00:58:22,560 Speaker 1: one of the idols of this era of music, like, 1002 00:58:23,640 --> 00:58:25,760 Speaker 1: you better give her a proper feature and like she 1003 00:58:25,880 --> 00:58:33,080 Speaker 1: sounds so elegant, so queenly. I love that Beyonce. I've 1004 00:58:33,120 --> 00:58:36,000 Speaker 1: seen videos of her, of her live dancing naked with 1005 00:58:36,040 --> 00:58:40,440 Speaker 1: the body. I saw her live at a couple of 1006 00:58:40,480 --> 00:58:43,920 Speaker 1: years ago she did afro punk and it was so good. 1007 00:58:44,120 --> 00:58:49,000 Speaker 1: She's still honestly, it's so incredible. This song is a 1008 00:58:49,160 --> 00:58:53,880 Speaker 1: song that my prediction is that she's going to release 1009 00:58:53,920 --> 00:58:56,280 Speaker 1: a visual album for this, and I think she has 1010 00:58:56,320 --> 00:58:58,720 Speaker 1: a music video for every song, and I think that 1011 00:58:58,920 --> 00:59:04,560 Speaker 1: the smallness of Grace's feature is maybe because she has 1012 00:59:04,600 --> 00:59:07,960 Speaker 1: a bigger part in the music video itself. That's my 1013 00:59:07,960 --> 00:59:11,120 Speaker 1: my hopeful prediction. I would love to see it. I 1014 00:59:11,160 --> 00:59:13,360 Speaker 1: would love to see it. Move is actually one of 1015 00:59:13,400 --> 00:59:16,280 Speaker 1: the songs that I love. Like it's funny, it's an 1016 00:59:16,280 --> 00:59:19,960 Speaker 1: immediate catchphrase. It's like when you're when you're walking down 1017 00:59:20,000 --> 00:59:23,240 Speaker 1: the street listening to this song and moving past New 1018 00:59:23,320 --> 00:59:26,400 Speaker 1: York pedestrians, like I'm like, how many times I'm gonna 1019 00:59:26,440 --> 00:59:30,200 Speaker 1: say it? Girl? Like it's it's a stupid Like moments 1020 00:59:30,240 --> 00:59:34,680 Speaker 1: like that, I feel like I'm like I'm actually in 1021 00:59:35,040 --> 00:59:39,560 Speaker 1: for how stupid and silly or like kind of um 1022 00:59:39,600 --> 00:59:42,479 Speaker 1: not even stupid, Like it's it's flipping like this song 1023 00:59:42,560 --> 00:59:45,120 Speaker 1: like discards you and I need to spend That's one 1024 00:59:45,120 --> 00:59:47,480 Speaker 1: of those songs I need to spend a little more 1025 00:59:47,600 --> 00:59:50,720 Speaker 1: time with. Um. I think that for me, the moment 1026 00:59:51,040 --> 00:59:54,360 Speaker 1: is when great like right in the middle of Grace's feature, 1027 00:59:54,720 --> 01:00:04,400 Speaker 1: Beyonce like just barely she whispers Grace Grace Joe like yeah, 1028 01:00:04,480 --> 01:00:06,720 Speaker 1: and I and I but I love that, like to 1029 01:00:06,800 --> 01:00:12,760 Speaker 1: have Beyonce say introducing Grace motherfucking Jones. Like that's iconic, 1030 01:00:12,920 --> 01:00:14,880 Speaker 1: and I you know, I wish it was a true feature. 1031 01:00:15,320 --> 01:00:19,280 Speaker 1: I love that Thames is on this album like twice, 1032 01:00:19,360 --> 01:00:22,240 Speaker 1: and that you know, they're all properly featured, but like 1033 01:00:22,280 --> 01:00:24,280 Speaker 1: I was also kind of I don't know if you 1034 01:00:24,400 --> 01:00:29,040 Speaker 1: noticed this, but they they weren't originally credited on the album. 1035 01:00:29,120 --> 01:00:31,800 Speaker 1: It used to be just only the track list, or 1036 01:00:31,840 --> 01:00:33,560 Speaker 1: at least when it dropped on Spotify for me, it 1037 01:00:33,640 --> 01:00:36,400 Speaker 1: was only the track list, and then a day later, 1038 01:00:36,760 --> 01:00:40,280 Speaker 1: Grace Jones and Thames appeared as parentheticals to these the 1039 01:00:40,360 --> 01:00:43,920 Speaker 1: track list um, which I wondered what that was all about. 1040 01:00:44,320 --> 01:00:49,280 Speaker 1: But I mean I had never yeah, just a little bit, 1041 01:00:49,720 --> 01:00:51,880 Speaker 1: because there's one woman you're not going to cross this 1042 01:00:52,120 --> 01:00:54,440 Speaker 1: Grace mother. Well, I'm very happy we didn't see Heated 1043 01:00:54,520 --> 01:00:59,480 Speaker 1: featuring Drake because I Heated is one of my favorite 1044 01:00:59,480 --> 01:01:03,200 Speaker 1: songs in the them. It was so it was Drake 1045 01:01:03,320 --> 01:01:05,320 Speaker 1: did some work on it. We don't know the extent 1046 01:01:05,400 --> 01:01:07,680 Speaker 1: of it, if it was just like writing or producing. 1047 01:01:07,920 --> 01:01:11,040 Speaker 1: You can definitely hear him on it. Um and this 1048 01:01:11,160 --> 01:01:13,320 Speaker 1: song did make me want to go back and listen 1049 01:01:13,360 --> 01:01:18,880 Speaker 1: to his most recent album more Um, and I think 1050 01:01:18,920 --> 01:01:22,040 Speaker 1: he did is so good again, like a song that 1051 01:01:22,120 --> 01:01:24,800 Speaker 1: kind of flips halfway through. I love the end of 1052 01:01:24,800 --> 01:01:29,920 Speaker 1: it when it's kind of like that rapid fire like dialogue. Um, 1053 01:01:29,960 --> 01:01:33,960 Speaker 1: this is I love Heated. It's so good. He did 1054 01:01:34,000 --> 01:01:37,120 Speaker 1: as also one of my favorite songs. It is definitely 1055 01:01:37,160 --> 01:01:41,920 Speaker 1: the song that I can't stop like saying parts of it, 1056 01:01:42,200 --> 01:01:45,840 Speaker 1: like to myself. Um, I will say, you know, I 1057 01:01:46,760 --> 01:01:51,200 Speaker 1: thought a lot bum bum bum bum Wait. No, okay, 1058 01:01:51,400 --> 01:01:53,040 Speaker 1: we will get to that. But to talk about the 1059 01:01:53,080 --> 01:01:55,160 Speaker 1: drink of it all, like, we haven't seen a Drake 1060 01:01:55,160 --> 01:01:58,360 Speaker 1: Beyonce collab since um Mine, Oh my god Mine is 1061 01:01:58,400 --> 01:02:01,600 Speaker 1: so fucking good, and the songs are definitely in conversation 1062 01:02:01,640 --> 01:02:08,240 Speaker 1: with each other. Um and I just girl, I mean, okay, 1063 01:02:08,400 --> 01:02:10,160 Speaker 1: we have to, we have to. So here's a moment 1064 01:02:10,160 --> 01:02:12,840 Speaker 1: where it's like both can be true about Beyonce's rapping. 1065 01:02:13,360 --> 01:02:16,240 Speaker 1: She can be corny, but also she did not miss 1066 01:02:16,680 --> 01:02:19,160 Speaker 1: a single. How did she do it? I was saying, 1067 01:02:19,360 --> 01:02:21,000 Speaker 1: I looked at the lyrics and I was trying to 1068 01:02:21,480 --> 01:02:23,240 Speaker 1: do it along with her, and I couldn't do it. 1069 01:02:23,240 --> 01:02:24,680 Speaker 1: I would like to do a little bit of a 1070 01:02:24,760 --> 01:02:28,120 Speaker 1: dramatic reading of some of these lyrics. Actually okay, whiskey 1071 01:02:28,160 --> 01:02:31,120 Speaker 1: till I'm tipsy, glaring off. My wrist goes click, jumbles 1072 01:02:31,120 --> 01:02:34,720 Speaker 1: on my hip, stretch marks on my something, drinking my water, 1073 01:02:34,880 --> 01:02:37,520 Speaker 1: minding my bis Monday, I'm overrated Tuesday on my ship 1074 01:02:38,480 --> 01:02:41,720 Speaker 1: um flip flop flip flop, flippy flop flip flop flahen, 1075 01:02:41,800 --> 01:02:46,080 Speaker 1: she goes fine, I'd be curious to see what like 1076 01:02:46,120 --> 01:02:49,440 Speaker 1: the ballroom community thinks about it, because it's very clearly 1077 01:02:49,880 --> 01:02:53,400 Speaker 1: an homage to ballroom m c s. And like, how 1078 01:02:53,880 --> 01:02:58,400 Speaker 1: you know masterful that really is? But like I mean, 1079 01:02:58,640 --> 01:03:03,440 Speaker 1: my favorite, I pretty sure my favorite is the Yemma 1080 01:03:04,080 --> 01:03:08,200 Speaker 1: when she says like it's like it's giving. It's honestly, 1081 01:03:08,240 --> 01:03:15,880 Speaker 1: it's giving. It's giving PEPs, horru and egg in a 1082 01:03:15,920 --> 01:03:32,520 Speaker 1: good way. Thick was one that I like, liked the 1083 01:03:32,600 --> 01:03:34,960 Speaker 1: idea of a lot, and then it's just like not 1084 01:03:35,200 --> 01:03:37,800 Speaker 1: one I've like spent a lot of. It's not when 1085 01:03:37,840 --> 01:03:41,240 Speaker 1: I listened to us actively when I'm listening to the album, like, 1086 01:03:41,280 --> 01:03:45,439 Speaker 1: it's fine, I love it. I I appreciate that it's 1087 01:03:45,480 --> 01:03:49,000 Speaker 1: the horniest song on the album. Like I'm pretty sure, 1088 01:03:49,520 --> 01:03:52,240 Speaker 1: I'm pretty sure is the horniest song. I thought this 1089 01:03:52,320 --> 01:03:54,760 Speaker 1: was the song where she says eating dick like mastros 1090 01:03:54,840 --> 01:03:57,439 Speaker 1: and I was like, what was fiance has never talked 1091 01:03:57,480 --> 01:04:02,320 Speaker 1: about eating dick like that is ething um um, but 1092 01:04:02,360 --> 01:04:04,240 Speaker 1: it wasn't this long all up in your mind. One 1093 01:04:04,240 --> 01:04:09,280 Speaker 1: of my favorites. Um so. So this is produced by 1094 01:04:09,560 --> 01:04:11,960 Speaker 1: blood Pop, also a g cook who does a lot 1095 01:04:12,000 --> 01:04:15,280 Speaker 1: of work with Charlie xc x UM. This for me 1096 01:04:15,440 --> 01:04:18,400 Speaker 1: is like I like the idea that beyoncet. It was like, Okay, 1097 01:04:18,440 --> 01:04:21,440 Speaker 1: I'm making a music that sounds like a gay club, 1098 01:04:21,760 --> 01:04:23,800 Speaker 1: and so if I'm going to do that, I need 1099 01:04:23,840 --> 01:04:27,040 Speaker 1: to lean into this like PC music, like Blee Blue 1100 01:04:27,080 --> 01:04:29,280 Speaker 1: Stuff a little bit and like a little and like 1101 01:04:29,360 --> 01:04:31,560 Speaker 1: again as we were talking, without being hyperop, without being 1102 01:04:31,640 --> 01:04:33,800 Speaker 1: hyper pop, because the thing is like, yes, as we 1103 01:04:33,840 --> 01:04:36,320 Speaker 1: said earlier, she's a little late to making this kind 1104 01:04:36,320 --> 01:04:38,919 Speaker 1: of music, but if she's going to do it, she's 1105 01:04:38,960 --> 01:04:40,720 Speaker 1: only going to do it for one song. She's going 1106 01:04:40,760 --> 01:04:42,920 Speaker 1: to get the best people who make that kind of 1107 01:04:43,000 --> 01:04:45,560 Speaker 1: music and she's going to really nail it. And I 1108 01:04:45,600 --> 01:04:50,000 Speaker 1: love this song. I think it's very like when I 1109 01:04:50,040 --> 01:04:51,720 Speaker 1: was listening to the album for the first time, I 1110 01:04:51,760 --> 01:04:54,400 Speaker 1: was like, oh yeah, this is like that part of 1111 01:04:54,440 --> 01:04:57,760 Speaker 1: the night this is like the eight Am song when 1112 01:04:57,800 --> 01:05:01,120 Speaker 1: you are like when the one is starting to come 1113 01:05:01,200 --> 01:05:03,880 Speaker 1: up and you have been dancing for hours and your 1114 01:05:03,920 --> 01:05:07,400 Speaker 1: feet hurt, but like the drugs are really working and 1115 01:05:07,880 --> 01:05:10,640 Speaker 1: everyone like you don't want to look too closely at 1116 01:05:10,640 --> 01:05:13,240 Speaker 1: anyone or at yourself, but like you're still having a 1117 01:05:13,280 --> 01:05:16,880 Speaker 1: great time and you're a little spaced out. I just yeah, 1118 01:05:16,920 --> 01:05:22,080 Speaker 1: I think it's so like propulsive um and it's kind 1119 01:05:22,080 --> 01:05:26,280 Speaker 1: of like ugly sexy. It's like it's like horny nous 1120 01:05:26,280 --> 01:05:28,600 Speaker 1: that's like kind of bordering on, like you should go 1121 01:05:28,680 --> 01:05:32,040 Speaker 1: home soon, but like you're you're not ready to, and 1122 01:05:32,120 --> 01:05:35,200 Speaker 1: like this is I think it's the perfect setup for 1123 01:05:35,760 --> 01:05:38,400 Speaker 1: the America has a problem because how I feel about 1124 01:05:38,400 --> 01:05:40,120 Speaker 1: like a night out of the club and like I 1125 01:05:40,200 --> 01:05:45,000 Speaker 1: like techno more than you do, but um, I always 1126 01:05:45,040 --> 01:05:48,000 Speaker 1: feel like I can't. I can listen to techno all night, 1127 01:05:48,040 --> 01:05:50,720 Speaker 1: I can dance to techno or like in my youth, 1128 01:05:51,400 --> 01:05:54,680 Speaker 1: um up until you know, the early hours of the morning, 1129 01:05:55,040 --> 01:05:57,680 Speaker 1: but then once the sun comes up, I gotta get 1130 01:05:57,720 --> 01:05:59,840 Speaker 1: house in disco. You gotta lift it back up. And 1131 01:06:00,080 --> 01:06:02,600 Speaker 1: this to me feels like that last push of the 1132 01:06:02,600 --> 01:06:06,160 Speaker 1: Oot Studs industrial music. And then Baby, We're going to 1133 01:06:06,280 --> 01:06:09,600 Speaker 1: bring it back up. I am floored by that analysis 1134 01:06:09,760 --> 01:06:14,240 Speaker 1: because it has brought so much more appreciation to these 1135 01:06:14,280 --> 01:06:17,080 Speaker 1: for me, for to these songs which I would never 1136 01:06:17,120 --> 01:06:19,960 Speaker 1: skip a Beyonce song, and this album is no skips 1137 01:06:20,000 --> 01:06:22,560 Speaker 1: for me. But if I did skip one song, it 1138 01:06:22,600 --> 01:06:25,840 Speaker 1: would be America has a problem. And I felt like 1139 01:06:26,160 --> 01:06:28,160 Speaker 1: all up in your mind and America has a problem 1140 01:06:28,280 --> 01:06:33,240 Speaker 1: could have been combined. And I think because I was 1141 01:06:33,480 --> 01:06:35,520 Speaker 1: not picking, I was picking up on the thing that 1142 01:06:35,560 --> 01:06:39,040 Speaker 1: you have said so clearly. I'm concertized. Like I I 1143 01:06:39,480 --> 01:06:41,400 Speaker 1: like that I didn't really realize at first, which is 1144 01:06:41,440 --> 01:06:44,000 Speaker 1: that it's that come up. It's that like end of 1145 01:06:44,040 --> 01:06:47,280 Speaker 1: the night, like we're we're cruising off our drugs and 1146 01:06:47,320 --> 01:06:49,400 Speaker 1: figuring out what we're gonna do next, and like you're 1147 01:06:49,400 --> 01:06:51,960 Speaker 1: almost coming down and then something staves you at the 1148 01:06:52,000 --> 01:06:54,560 Speaker 1: last minute. But like, hey, when all up, when all 1149 01:06:54,600 --> 01:06:56,600 Speaker 1: up in your mind, when like when it starts and 1150 01:06:56,640 --> 01:07:00,240 Speaker 1: you wear that nasty techno like no none done done, doom, 1151 01:07:00,320 --> 01:07:02,840 Speaker 1: don't no, no don't. I was like that it was 1152 01:07:02,960 --> 01:07:05,240 Speaker 1: so nasty and like, yeah, these are kind of like 1153 01:07:05,280 --> 01:07:09,280 Speaker 1: the techno songs um I appreciate, but I appreciated them 1154 01:07:09,320 --> 01:07:11,720 Speaker 1: as a whole, and I think the emotional can see 1155 01:07:11,760 --> 01:07:15,320 Speaker 1: of alloping your mind is very sexy, very Beyonce. And 1156 01:07:15,360 --> 01:07:17,560 Speaker 1: then America has a problem, Like I was like, oh, 1157 01:07:17,600 --> 01:07:19,760 Speaker 1: are we getting like a social justice kind of moment? 1158 01:07:19,960 --> 01:07:22,160 Speaker 1: And then it's actually, I'm glad it wasn't. It wasn't. 1159 01:07:22,200 --> 01:07:25,640 Speaker 1: It's actually very horny and it's just about this yes, 1160 01:07:25,760 --> 01:07:28,400 Speaker 1: which is exactly what we needed, and I'm so glad 1161 01:07:28,440 --> 01:07:30,720 Speaker 1: for it. I think she was honestly trolling by putting 1162 01:07:30,720 --> 01:07:32,600 Speaker 1: that on the track list, and then you know, and 1163 01:07:32,640 --> 01:07:35,680 Speaker 1: then you get to get to then you get lifted truly, 1164 01:07:35,720 --> 01:07:39,800 Speaker 1: like Up into Heaven by Pure Honey, which is probably 1165 01:07:40,280 --> 01:07:43,880 Speaker 1: my favorite song on the album if it's not cozy. Um, 1166 01:07:43,920 --> 01:07:47,400 Speaker 1: it's kind of hard to have a favorite. But babe, 1167 01:07:47,760 --> 01:07:49,960 Speaker 1: what did you think of Pure Honey? Like how did 1168 01:07:50,000 --> 01:07:52,160 Speaker 1: you like? I mean, it is pure honey and it 1169 01:07:52,200 --> 01:07:55,040 Speaker 1: is now in the pantheon of women saying about honey 1170 01:07:55,120 --> 01:08:01,600 Speaker 1: a k A. Robert Um. Yes, yeah, actually it's so 1171 01:08:01,680 --> 01:08:04,920 Speaker 1: smooth and sweet. I mean it is just like honey. 1172 01:08:05,120 --> 01:08:08,880 Speaker 1: It's Beyonce. If we haven't talked about this yet, but 1173 01:08:09,000 --> 01:08:12,360 Speaker 1: Beyonce sounds so good on this album in actually like 1174 01:08:12,440 --> 01:08:16,679 Speaker 1: a very understated way. I think, and this like last 1175 01:08:17,080 --> 01:08:20,320 Speaker 1: burst of the album Pure Honey and Summer Renaissance. I 1176 01:08:20,320 --> 01:08:22,439 Speaker 1: think when she really like lets her voice out a 1177 01:08:22,439 --> 01:08:25,880 Speaker 1: little bit, and like Pure Honey is that moment of 1178 01:08:25,920 --> 01:08:27,519 Speaker 1: the night where like I just want to give someone 1179 01:08:27,560 --> 01:08:29,920 Speaker 1: a hug. I just want to hug my friend on 1180 01:08:29,960 --> 01:08:32,120 Speaker 1: the dance for for like five minutes and then like, 1181 01:08:32,200 --> 01:08:36,120 Speaker 1: but I love that transitionally, it starts with the nasty 1182 01:08:36,240 --> 01:08:39,240 Speaker 1: and I love like with Kevin Aviance sample that like 1183 01:08:39,720 --> 01:08:41,880 Speaker 1: I think, I mean, I don't know if you were 1184 01:08:41,920 --> 01:08:44,519 Speaker 1: from I. I feel like I grew up all grew up. 1185 01:08:44,640 --> 01:08:46,439 Speaker 1: I feel like I came into like New York clubs 1186 01:08:46,479 --> 01:08:50,120 Speaker 1: with like Kevin Aviance and that song specifically like everywhere 1187 01:08:50,160 --> 01:08:53,479 Speaker 1: like the country, Like I think it's a very like 1188 01:08:53,520 --> 01:08:56,880 Speaker 1: it's a staple in ballroom. Um. I felt like this 1189 01:08:56,920 --> 01:09:00,719 Speaker 1: song was the most ballroom um and and I I 1190 01:09:00,760 --> 01:09:04,840 Speaker 1: think that's part of why it's my favorite. I think 1191 01:09:04,880 --> 01:09:08,680 Speaker 1: are the most ballroom. Yeah, I feel like, um, you know, 1192 01:09:09,400 --> 01:09:12,280 Speaker 1: it's it's a lot for for Beyonce to not just 1193 01:09:12,400 --> 01:09:16,120 Speaker 1: highlight Kevin Aviance, but to also have you know, Mike Q, 1194 01:09:16,520 --> 01:09:20,120 Speaker 1: Kevin Prodigy, like um, Miss Honey, the drag Queen on 1195 01:09:20,320 --> 01:09:24,479 Speaker 1: this song. Um, in addition to someone like Ts Madison 1196 01:09:24,479 --> 01:09:26,280 Speaker 1: and someone like Honey to John Like these are all 1197 01:09:26,320 --> 01:09:29,080 Speaker 1: like not all of them are like super underground, but 1198 01:09:29,120 --> 01:09:32,080 Speaker 1: a lot of them. You know, Beyonce listeners have never 1199 01:09:32,120 --> 01:09:34,200 Speaker 1: heard of these people before, you know what I mean? 1200 01:09:34,320 --> 01:09:38,120 Speaker 1: And I just think that putting Kevin Aviance like that's 1201 01:09:38,120 --> 01:09:42,240 Speaker 1: a deep motherfucking cut, don't you think, Like I feel 1202 01:09:42,240 --> 01:09:44,559 Speaker 1: like I just never it's not a deep cut to us, 1203 01:09:44,640 --> 01:09:49,280 Speaker 1: but like, yeah, culture, it's so to the fact that 1204 01:09:49,360 --> 01:09:53,400 Speaker 1: Kevin Aviance and Mike you are are on a Beyonce 1205 01:09:54,160 --> 01:09:59,799 Speaker 1: record is incredible. Yeah, And for if you're not familiar, 1206 01:10:00,000 --> 01:10:03,200 Speaker 1: have an aubiance is like some people would say drag queen, 1207 01:10:03,240 --> 01:10:08,320 Speaker 1: I would say, like nightlife performer like some would and 1208 01:10:08,760 --> 01:10:11,880 Speaker 1: honestly club kid, club kid, I would say, as well 1209 01:10:11,920 --> 01:10:14,599 Speaker 1: as Mike you Kevin Prodigy is the one that does them. 1210 01:10:14,960 --> 01:10:17,240 Speaker 1: This is what I want to see, you know, you 1211 01:10:17,240 --> 01:10:20,479 Speaker 1: know that song like um, but some a Renaissance girl. 1212 01:10:20,880 --> 01:10:25,040 Speaker 1: I think Renaissance is amazing. Album closer wish Donna Summer 1213 01:10:25,080 --> 01:10:26,719 Speaker 1: was still alive so she could be on the song. 1214 01:10:26,840 --> 01:10:30,080 Speaker 1: But you know, right, but also there just should have 1215 01:10:30,080 --> 01:10:32,400 Speaker 1: been more Donna like that this sample could have been. 1216 01:10:33,320 --> 01:10:35,839 Speaker 1: I mean, I love that it was at the beginning, 1217 01:10:35,920 --> 01:10:38,680 Speaker 1: like that, that iconic beat is at the beginning, and 1218 01:10:38,760 --> 01:10:42,519 Speaker 1: I I my one complaint honestly as a closer, it 1219 01:10:42,520 --> 01:10:45,320 Speaker 1: should have been eight to ten minutes long. She could 1220 01:10:45,320 --> 01:10:48,519 Speaker 1: have used more Donna. It would have been true to 1221 01:10:49,560 --> 01:10:52,519 Speaker 1: the all of her references, which like disco in house 1222 01:10:52,560 --> 01:10:54,760 Speaker 1: in this era is like eight to ten minutes long. 1223 01:10:55,360 --> 01:10:57,559 Speaker 1: She is the artist to do it, which everyone's only 1224 01:10:57,560 --> 01:11:00,360 Speaker 1: making two minute fucking TikTok songs. And if everyone, if 1225 01:11:00,400 --> 01:11:03,599 Speaker 1: there's someone who doesn't care about the motherfucking algorithm, it's Beyonce. 1226 01:11:04,240 --> 01:11:06,200 Speaker 1: So she had the power to do it. And also, 1227 01:11:06,320 --> 01:11:09,880 Speaker 1: like you know, as we said earlier, she clearly had 1228 01:11:10,040 --> 01:11:12,400 Speaker 1: or rather her team clearly had a lot of ideas 1229 01:11:12,720 --> 01:11:15,400 Speaker 1: and they could have thrown so much more into the 1230 01:11:15,439 --> 01:11:17,120 Speaker 1: final song would have been a banger. Way, I mean, 1231 01:11:17,280 --> 01:11:20,519 Speaker 1: I'm if if if what it comes down to is that, 1232 01:11:20,560 --> 01:11:22,479 Speaker 1: like shoot, there was only going to be one song 1233 01:11:22,600 --> 01:11:25,680 Speaker 1: that she did, a long song. I'm happy it was 1234 01:11:25,760 --> 01:11:31,000 Speaker 1: Virgo's Groove because that song is her rather than like 1235 01:11:31,040 --> 01:11:34,479 Speaker 1: something that is like almost entirely referential. I guess it 1236 01:11:34,520 --> 01:11:37,840 Speaker 1: does kind of make sense for her to especially if 1237 01:11:37,840 --> 01:11:40,920 Speaker 1: I'm thinking about this album is like a night out, 1238 01:11:41,000 --> 01:11:44,120 Speaker 1: a night of dancing, Like yeah, in the morning, like 1239 01:11:44,160 --> 01:11:46,519 Speaker 1: when the party is about to end, the last thing 1240 01:11:46,560 --> 01:11:50,200 Speaker 1: I want to hear is Donna Summer because honestly, the 1241 01:11:50,280 --> 01:11:51,920 Speaker 1: last song I usually want to hear at a party 1242 01:11:52,080 --> 01:11:55,840 Speaker 1: is last Dance. Yeah yeah, true, true true, And like 1243 01:11:55,920 --> 01:11:59,639 Speaker 1: it was I I it was perfectly placed. Yeah, I. 1244 01:11:59,640 --> 01:12:02,519 Speaker 1: I just like, you know, these both of these songs 1245 01:12:02,560 --> 01:12:05,240 Speaker 1: of Pure Honey and Summer Renaissance, it's like they also 1246 01:12:05,320 --> 01:12:08,000 Speaker 1: have the you know, three songs in one kind of effect. 1247 01:12:08,080 --> 01:12:12,000 Speaker 1: But I just felt like, uh, there's such perfect songs. 1248 01:12:12,000 --> 01:12:17,960 Speaker 1: They's so so experimental, and they mash tons of ideas together, 1249 01:12:18,439 --> 01:12:20,519 Speaker 1: and you know, to talk about the album as a whole, 1250 01:12:20,760 --> 01:12:24,200 Speaker 1: I think like watching her have fun and watch her 1251 01:12:24,560 --> 01:12:28,679 Speaker 1: to watch her be you know, imperfect sometimes by throwing 1252 01:12:28,720 --> 01:12:32,360 Speaker 1: all of these crazy ideas together was like thrilling and like, 1253 01:12:32,840 --> 01:12:38,880 Speaker 1: you know, to have Beyonce do like a ballroom mc 1254 01:12:39,040 --> 01:12:42,280 Speaker 1: like kaa ka ka km moment like over an AfroB 1255 01:12:42,800 --> 01:12:46,440 Speaker 1: with like a sister Nancy asked, kind of like microphone 1256 01:12:46,520 --> 01:12:49,240 Speaker 1: effect over it. It's like it's such a a lot 1257 01:12:49,280 --> 01:12:52,439 Speaker 1: of parts of these songs are like big mish mashes 1258 01:12:52,479 --> 01:12:56,160 Speaker 1: of ideas, But I think that's just how Beyonce has 1259 01:12:56,200 --> 01:12:58,760 Speaker 1: always been. And like, I think that her art is 1260 01:12:58,800 --> 01:13:01,679 Speaker 1: best when it's all credited right there. Like, I think 1261 01:13:01,720 --> 01:13:04,880 Speaker 1: this is one of the best executions of an album 1262 01:13:05,080 --> 01:13:07,599 Speaker 1: that she's ever done. And I don't know, that's just 1263 01:13:07,680 --> 01:13:11,160 Speaker 1: like why I love her. What what do you do? 1264 01:13:11,200 --> 01:13:13,600 Speaker 1: You have any guesses or hopes as to what the 1265 01:13:13,720 --> 01:13:17,679 Speaker 1: next two parts of this trilogy will be. I heard 1266 01:13:17,680 --> 01:13:20,160 Speaker 1: an interesting theory I think it was. I think it 1267 01:13:20,200 --> 01:13:23,800 Speaker 1: was on who Weekly maybe or it was like someone 1268 01:13:23,840 --> 01:13:25,920 Speaker 1: else's theory that they were talking about. Which is that, 1269 01:13:26,520 --> 01:13:30,479 Speaker 1: Um that like all of the next two albums, she'll 1270 01:13:30,560 --> 01:13:34,040 Speaker 1: also be on horses, but they'll be different horses that 1271 01:13:34,120 --> 01:13:37,559 Speaker 1: like speak to the vibe of the album. So maybe 1272 01:13:37,600 --> 01:13:39,880 Speaker 1: like the next album the country, the next album, it 1273 01:13:39,920 --> 01:13:43,280 Speaker 1: will be a real horse and it'll be a country album. Um, 1274 01:13:43,320 --> 01:13:46,400 Speaker 1: oh my god, that's so which which would be cool? Um. 1275 01:13:46,640 --> 01:13:49,639 Speaker 1: I definitely think we'll get an album that is more 1276 01:13:49,680 --> 01:13:54,519 Speaker 1: a bality and more emotional. Um. I also think maybe 1277 01:13:54,520 --> 01:13:57,599 Speaker 1: we'll get something that's a little bit more hip hop, 1278 01:13:57,720 --> 01:14:01,719 Speaker 1: R and B. I hope we continue to get sexy music. Um, 1279 01:14:01,760 --> 01:14:05,000 Speaker 1: you know, she she wrote, As she said in her statement, 1280 01:14:05,080 --> 01:14:07,480 Speaker 1: she wrote this during in the heat of the pandemic. 1281 01:14:07,520 --> 01:14:09,360 Speaker 1: They've been working on it for a very long time. 1282 01:14:09,800 --> 01:14:13,200 Speaker 1: This is music that they made indoors, craving time outdoors, 1283 01:14:13,240 --> 01:14:15,880 Speaker 1: and so I hope it stays sexy. I hope it 1284 01:14:15,920 --> 01:14:17,920 Speaker 1: doesn't get you know, I mean, but Beyonce doing a 1285 01:14:17,960 --> 01:14:22,960 Speaker 1: country album like gag, like we will all gobble that up. Um. 1286 01:14:23,600 --> 01:14:26,479 Speaker 1: But like I love that this whole album was about sex, 1287 01:14:26,520 --> 01:14:29,160 Speaker 1: and I think that, you know, it was a great 1288 01:14:29,200 --> 01:14:33,840 Speaker 1: reprieve from you know, pretty much every other pretty much 1289 01:14:33,960 --> 01:14:36,840 Speaker 1: most songs that she's done before, which are my man 1290 01:14:36,920 --> 01:14:39,840 Speaker 1: cheated on me and he's no good, motherfucking piece of ship. 1291 01:14:39,960 --> 01:14:41,840 Speaker 1: And like here's how I'm going to tell you why, 1292 01:14:41,880 --> 01:14:44,760 Speaker 1: And like, you know, I love that. That's like why 1293 01:14:44,840 --> 01:14:48,400 Speaker 1: we love Beyonce, and she has decades of work making 1294 01:14:48,479 --> 01:14:52,559 Speaker 1: music about her cheating man and you know, money and 1295 01:14:52,600 --> 01:14:55,000 Speaker 1: capital and stuff. But um, I don't know. I love 1296 01:14:55,000 --> 01:14:58,400 Speaker 1: her sex songs. So I don't think for me personally, 1297 01:14:58,479 --> 01:15:01,679 Speaker 1: has not been long enough with this them to place 1298 01:15:01,760 --> 01:15:06,280 Speaker 1: it within Beyonce's other work. Um, I don't know if 1299 01:15:06,320 --> 01:15:11,040 Speaker 1: you feel differently, but um, what are your You know, 1300 01:15:11,120 --> 01:15:12,640 Speaker 1: we spend a lot of time talking about this, so 1301 01:15:12,680 --> 01:15:14,240 Speaker 1: I think we maybe won't do as deep a dive 1302 01:15:14,320 --> 01:15:17,920 Speaker 1: into Beyonce as like we initially thought. But I am 1303 01:15:17,960 --> 01:15:21,360 Speaker 1: interested to know what is your top three of Beyonce albums, 1304 01:15:21,600 --> 01:15:24,000 Speaker 1: and like, you can include Renaissance if like you're ready 1305 01:15:24,080 --> 01:15:28,920 Speaker 1: to to include it. But I will include Renaissances. I will. 1306 01:15:29,200 --> 01:15:41,080 Speaker 1: I'm pretty, I'm pretty. Gosh darn sure it's Renaissance. It's Lemonade. Shit, ah, 1307 01:15:41,439 --> 01:15:49,080 Speaker 1: it's between beat in self titled. Uh, I'm looking at 1308 01:15:49,120 --> 01:15:51,400 Speaker 1: the v DA track list. It might it might be 1309 01:15:51,400 --> 01:16:00,400 Speaker 1: be Day might can I can I guess your other two? Yes? 1310 01:16:01,800 --> 01:16:07,439 Speaker 1: I will guess self titled? Okay, I got that right, 1311 01:16:08,040 --> 01:16:13,320 Speaker 1: And I will guess dangerously in love. Yeah, you're right. 1312 01:16:13,479 --> 01:16:18,040 Speaker 1: I actually this was a Twitter problem. You're a traditional. 1313 01:16:18,120 --> 01:16:20,280 Speaker 1: This was a Twitter prompt and I tweeted earlier and 1314 01:16:20,280 --> 01:16:26,080 Speaker 1: I said four, but I, upon reflection, it is dangerously 1315 01:16:26,080 --> 01:16:29,839 Speaker 1: in love. So my my holy trinity is b Day 1316 01:16:29,840 --> 01:16:34,360 Speaker 1: self titled and dangerously in love love justice for I 1317 01:16:34,400 --> 01:16:38,040 Speaker 1: am Sasha, Fears and Arrow we do not acknowledge and 1318 01:16:39,800 --> 01:16:43,320 Speaker 1: was edged out because I look there are some songs 1319 01:16:43,320 --> 01:16:46,160 Speaker 1: on four that I really really love, but I don't. 1320 01:16:46,600 --> 01:16:50,720 Speaker 1: I don't love four as holy as an album, and 1321 01:16:50,800 --> 01:16:54,680 Speaker 1: I just think Dangerously in Love is a better cohesive 1322 01:16:54,880 --> 01:16:58,200 Speaker 1: project and and just has the hits. I will say, 1323 01:16:58,360 --> 01:17:01,040 Speaker 1: School in Life and I Care, which are on four, 1324 01:17:01,080 --> 01:17:06,160 Speaker 1: are probably in top five top seven Beyonce songs at 1325 01:17:06,160 --> 01:17:08,639 Speaker 1: the End of Time, so it's funny in top ten 1326 01:17:08,920 --> 01:17:13,040 Speaker 1: for me. I fucking love end of Time, my God. 1327 01:17:13,120 --> 01:17:15,680 Speaker 1: And then with B Day, Like the other night, I 1328 01:17:15,800 --> 01:17:18,320 Speaker 1: was at our friend's house and we were watching We 1329 01:17:18,640 --> 01:17:21,000 Speaker 1: were like doing that thing where it's like everyone suggests 1330 01:17:21,000 --> 01:17:27,160 Speaker 1: a YouTube video, and I suggested that the Deja Vu video, 1331 01:17:27,280 --> 01:17:31,800 Speaker 1: which is to me my favorite Beyonce video. Um, it's incredible, 1332 01:17:32,240 --> 01:17:35,960 Speaker 1: um one, And I think jay Z's best verse on 1333 01:17:35,960 --> 01:17:40,679 Speaker 1: a Beyonce song, and I do know by heart. Um, 1334 01:17:40,800 --> 01:17:43,679 Speaker 1: I love B Day so much. And I think it's 1335 01:17:43,720 --> 01:17:47,640 Speaker 1: the album of Beyonce's when I was the most obsessed 1336 01:17:47,640 --> 01:17:50,400 Speaker 1: with Beyonce, because it came out my freshman year of college, 1337 01:17:50,680 --> 01:17:53,400 Speaker 1: and it's the Beyonce album that I really the only 1338 01:17:53,439 --> 01:17:56,080 Speaker 1: time in my life I've ever felt like a Beyonce 1339 01:17:56,200 --> 01:17:59,360 Speaker 1: stand because I love Beyonce, but I'm not like obsessed 1340 01:17:59,400 --> 01:18:02,680 Speaker 1: with her. Um. I listened to her music when it 1341 01:18:02,720 --> 01:18:04,720 Speaker 1: comes out and it becomes part of the fabric of 1342 01:18:04,760 --> 01:18:07,320 Speaker 1: the music that I listened to, but I don't find 1343 01:18:07,320 --> 01:18:10,080 Speaker 1: myself going back to it over and over again. But 1344 01:18:10,240 --> 01:18:12,880 Speaker 1: B Day really was that for me. That was the 1345 01:18:13,520 --> 01:18:16,000 Speaker 1: time in my life when Beyonce really clicked for me 1346 01:18:16,080 --> 01:18:20,880 Speaker 1: the most. You know, UM, to to mirror your story 1347 01:18:21,280 --> 01:18:23,920 Speaker 1: like be Da was also I'm pretty sure the album 1348 01:18:24,000 --> 01:18:27,439 Speaker 1: that defined my the beginning of my relationship to Beyonce. 1349 01:18:28,160 --> 01:18:31,679 Speaker 1: Um Beyonce as a as a solo artist, I should say, Um, 1350 01:18:31,720 --> 01:18:33,519 Speaker 1: I think I've told this story on the pod before, 1351 01:18:33,920 --> 01:18:37,840 Speaker 1: but like Destiny Fulfilled was a huge part of my 1352 01:18:37,920 --> 01:18:40,600 Speaker 1: secular awakening. I checked it out from the library and 1353 01:18:40,640 --> 01:18:43,519 Speaker 1: it broke my whole world open. And you know, we 1354 01:18:43,560 --> 01:18:45,600 Speaker 1: also had the Destiny'style Christmas holblem at home, and so 1355 01:18:45,720 --> 01:18:49,719 Speaker 1: Destiny's Child and Beyonce in that what has has been 1356 01:18:49,760 --> 01:18:52,559 Speaker 1: like a huge through up through line to through my 1357 01:18:52,640 --> 01:18:58,200 Speaker 1: life and Beyonce is definitely an all times fonce you'll 1358 01:18:58,200 --> 01:19:00,400 Speaker 1: be doing it there is um like I will have 1359 01:19:00,439 --> 01:19:04,040 Speaker 1: a lifelong I will have a lifelong relationship to Beyonce 1360 01:19:04,240 --> 01:19:08,200 Speaker 1: and like I will always be you know, I will 1361 01:19:08,240 --> 01:19:10,760 Speaker 1: always be in the bee Hive. And I think, you know, 1362 01:19:11,200 --> 01:19:15,839 Speaker 1: from being the queer, the little closeted girl, like hawking 1363 01:19:15,840 --> 01:19:18,799 Speaker 1: the library for things that are saucy and finding Beyonce, 1364 01:19:19,040 --> 01:19:22,800 Speaker 1: Like I never, in my wildest fan fiction would think 1365 01:19:22,880 --> 01:19:28,320 Speaker 1: that she would come out with an album like Renaissance 1366 01:19:28,439 --> 01:19:33,120 Speaker 1: that is so on the nose of like our various 1367 01:19:33,160 --> 01:19:36,880 Speaker 1: communities and so in the know of like maybe not 1368 01:19:36,960 --> 01:19:39,240 Speaker 1: in the know. I don't want to say that, because 1369 01:19:39,320 --> 01:19:40,600 Speaker 1: at the end of the day, you know, she's a 1370 01:19:40,640 --> 01:19:42,920 Speaker 1: celebrity and this is a machine and they're making things 1371 01:19:42,920 --> 01:19:47,320 Speaker 1: for consumption. But it is so um it has all 1372 01:19:47,360 --> 01:19:50,519 Speaker 1: the right references and it makes me feel seen and 1373 01:19:50,560 --> 01:19:53,400 Speaker 1: like I just I'm so grateful that this is like 1374 01:19:53,479 --> 01:19:56,160 Speaker 1: the era that she's given us. And I'm like I said, 1375 01:19:56,200 --> 01:19:58,280 Speaker 1: I'm hopeful for I know they're gonna be visuals. I'm 1376 01:19:58,320 --> 01:20:01,240 Speaker 1: hopeful for a visual album. I'm also I know you're 1377 01:20:01,240 --> 01:20:04,160 Speaker 1: not on this boat, but I'm hopeful for some fucking remixes, 1378 01:20:04,840 --> 01:20:07,559 Speaker 1: because this is the one album where I would like 1379 01:20:07,640 --> 01:20:11,080 Speaker 1: to hear some remixes from and Beyonce doesn't really do that, 1380 01:20:11,160 --> 01:20:12,679 Speaker 1: but like there could be some night or I would 1381 01:20:12,680 --> 01:20:14,720 Speaker 1: at least love like you know, like a like a 1382 01:20:14,720 --> 01:20:18,280 Speaker 1: twelve inch version of some of the tracks. Yes, we 1383 01:20:18,320 --> 01:20:29,920 Speaker 1: need a twelve inch version Virgins. Next week we'll be 1384 01:20:30,000 --> 01:20:35,840 Speaker 1: talking all about bas Lerman and his of films. Um. 1385 01:20:35,880 --> 01:20:38,000 Speaker 1: I actually have an assignment for next week. I have 1386 01:20:38,040 --> 01:20:42,040 Speaker 1: to watch Strictly Ballroom, which I've never seen. I'm very 1387 01:20:42,080 --> 01:20:44,720 Speaker 1: excited for you to watch it. I first watched that 1388 01:20:44,760 --> 01:20:48,160 Speaker 1: movie in my high school dance class and it has 1389 01:20:48,200 --> 01:20:50,519 Speaker 1: never left my mindset. Well, we will obviously also be 1390 01:20:50,600 --> 01:20:56,080 Speaker 1: talking about things like Romeo and Juliet. Um. I will 1391 01:20:56,120 --> 01:20:58,639 Speaker 1: be going in on Elvis girl, I have a lot 1392 01:20:58,680 --> 01:21:01,200 Speaker 1: to say. Yes, we will be talking about Elvis. Um. 1393 01:21:01,240 --> 01:21:03,719 Speaker 1: I don't think we're going to talk about Australia because 1394 01:21:03,840 --> 01:21:07,320 Speaker 1: I never seen, never seen it. Don't have the time, 1395 01:21:07,439 --> 01:21:10,200 Speaker 1: don't have the time. Maybe I'll skim, I'll watch a recap. 1396 01:21:11,280 --> 01:21:14,760 Speaker 1: We could be love us just for one day. Oh yeah, 1397 01:21:14,760 --> 01:21:17,320 Speaker 1: there will be a lot of singing on next week's episode. 1398 01:21:17,840 --> 01:21:21,000 Speaker 1: Give us suggestions for future episodes, whether they're you know, 1399 01:21:21,080 --> 01:21:25,960 Speaker 1: pop cultural phenomenons or books, musics, whatever we want to 1400 01:21:25,960 --> 01:21:27,680 Speaker 1: hear from you. You can slide into our d M 1401 01:21:27,760 --> 01:21:31,639 Speaker 1: S at Like a Virgin for don't forget to give 1402 01:21:31,680 --> 01:21:34,400 Speaker 1: us a follow while you're there, leave us a review 1403 01:21:34,439 --> 01:21:37,760 Speaker 1: on Apple podcasts. It's very important to us. We'd love 1404 01:21:37,800 --> 01:21:41,240 Speaker 1: to see your reviews, even if they're a little sassy. 1405 01:21:41,320 --> 01:21:43,360 Speaker 1: I'm your co host Rose Damn You. You can find 1406 01:21:43,439 --> 01:21:47,519 Speaker 1: me anywhere you want at Rose Damn You, and I'm 1407 01:21:47,600 --> 01:21:49,760 Speaker 1: Fran Toronto. You can find me at Friends, Squish go 1408 01:21:50,000 --> 01:21:52,400 Speaker 1: anywhere you want as well. Subscribe to Like a Virgin 1409 01:21:52,479 --> 01:21:55,040 Speaker 1: anywhere you listen to podcasts, and leave us a rating 1410 01:21:55,040 --> 01:21:58,880 Speaker 1: on Spotify or a review on Apple Podcasts. Like a 1411 01:21:58,960 --> 01:22:02,280 Speaker 1: Virgin is an I Heart radio production. Our producers Phoebe Unter, 1412 01:22:02,720 --> 01:22:06,040 Speaker 1: with support from Lindsay Hoffman, Julian Weller, j Crane Chitch 1413 01:22:06,080 --> 01:22:10,680 Speaker 1: and Nikki Eatr. Until next week See later, Virgins. I 1414 01:22:10,800 --> 01:22:13,040 Speaker 1: hope you're enjoying your summer renaissance.