May 9, 2024 • 35 mins
The band “Blessid Union of Souls” is a one hit wonder?!! Who would have guessed?Can Casey and Kevin give this chock-full-of-90s-references anthem a chancey - or do they just want to hang with that guy from Fargo? (I think his name is Steve)
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Episode Transcript
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Speaker 1 (00:02):
Give it a chance, give it a chance, give it
a chick.
Speaker 2 (00:05):
Come morning, give it a chance, Give it a chance,
give it a chance, give it a chance.
Speaker 1 (00:09):
Go morning, give it as you want.
Speaker 3 (00:11):
To give it a chance, Give it a chance, give
it a chance. Just give it.
Speaker 2 (00:18):
Hi Kevin Devine, Hi Cases Just I'm so excited for
another fun episode.
Speaker 1 (00:23):
Give it a chance. Are you in the mood?
Speaker 4 (00:25):
Oh dude, I'm always in the mood to give it
a chancy. And also, is it okay to call episode?
Speaker 2 (00:32):
Yes, okay, I think it's respectful to call to call them,
Omar Epps.
Speaker 4 (00:37):
I'm glad you caught the respect angle.
Speaker 1 (00:40):
That is, because you know what you have the juice.
Speaker 4 (00:44):
Now you got the juice. You got the last line
of the movie SPOILERL.
Speaker 2 (00:48):
I think it is. Yeah, I think it is, which
is it's so it's bad. But I I always really
liked that movie, so I think I have I have
like rose colored glasses for it.
Speaker 4 (00:58):
Also, Tupac Man charisma. Yeah, I don't even know if
he was a good actor, but he was great on screen.
Speaker 2 (01:05):
I know he had this sort of like I feel
very similar about like John Legozamo, Like he has so
much that I'm like watching it now, sometimes I'm like,
that's a little too much, but I think.
Speaker 4 (01:14):
Oh, yeah, the time is not a subtle instrument.
Speaker 2 (01:17):
No, yeah, A certain movies like when I've Gone Back
and I was obsessed with with Aceventura and I started
watching the first one and I was like, this is unhinged.
Speaker 1 (01:27):
It's really wild.
Speaker 4 (01:30):
I know we got to give it a chancey, but
I do just want to say quickly, very very short
anecdote about that. When they did the Batman movie story,
he walks in and he's kind of he's never met
Tommy Lee Jones. Oh wow, filming and they're at a
restaurant and he goes over to say hello to him,
and Tommy Lee Jones stands up from his dinner, hugs
him and says, I'm sorry, I can't talk to you.
(01:51):
I cannot sanction your buffoonery. And then that's the last
time he spoke to him outside of whatever was like
shot and work related for the entirety of the film.
That's like, that's Jim Carrey tells that story.
Speaker 1 (02:02):
And it's like, wait, like kind of a respectful diss.
Speaker 4 (02:04):
He's like, look, it's nice to see you. I can't
be friends with you. Your horses asked, let's just get
this over with. Wow makes Tommy Lee Jones. I think
that's not a.
Speaker 2 (02:13):
Good story for him, really, you know, but it is
so interesting because I wonder if he felt that way
about like Will Smith too, and he had to work
with him and Men in Black, you know.
Speaker 4 (02:21):
Ben Bien beneto Ami Ami. Also, I will just say
that this is a pivot and a chain. We can
we can maybe because clearly TLJ was not to give JC.
I'm chancy.
Speaker 1 (02:39):
Yeah.
Speaker 2 (02:40):
You know what's interesting is Tommy Lee Jones he didn't
like he didn't like him for him?
Speaker 1 (02:47):
Oh no, you immediately know.
Speaker 4 (02:53):
Or that guy who played in Fargo I think his
name was Steve probably liked him, Yes, dude, maybe Leonardo too,
I don't know.
Speaker 1 (03:03):
So this is the song we're talking about, is a
song called Haileonardo and in parentheses.
Speaker 4 (03:10):
Never knew that was the title.
Speaker 1 (03:12):
It's a it's a present, it's a present.
Speaker 2 (03:14):
I can't say I no PARENTHESI is parenthesis song, which
I love, by the way, I do love a song
that has a parenthesis.
Speaker 4 (03:20):
Good parentheses is great.
Speaker 1 (03:21):
Haileonardo parentheses. She likes me for me? Can you even
name the artist?
Speaker 2 (03:26):
Because when I look this up, I was like this,
these words have never come to me, like I've never
seen these words before.
Speaker 4 (03:32):
I am certain I can't. I know the song like
better than I can believe in my mind instant recall,
which says something for its staying power and it's stickiness. No,
it's not like nine Lives. That's a different band. That's
story of a girl.
Speaker 1 (03:48):
That's nine days though, but very We talked about them
last step, Yes, we did. Last last we talked.
Speaker 4 (03:55):
Is it No, I don't know the Biscuit boys.
Speaker 1 (03:58):
It is so close.
Speaker 2 (03:58):
It's it's spelt b l E S S I D
ready blessed Union of Souls.
Speaker 4 (04:06):
Oh, I do remember that that was banned. I never
knew they spelt it bless id. But that's really obnoxious.
That's crazy.
Speaker 1 (04:16):
That's more. That's more obnoxious than olymp biscuits spelt different
or corn or anything. It's like because the rest of
it is all spelt normal, So it's like why, But
is maybe blessed like that is like a biblical thing.
Maybe that's like, you know, like an older.
Speaker 4 (04:30):
Way of get our researchers on that.
Speaker 2 (04:32):
I'm actually you know what I typed in Blessed and
the things that come up is that band.
Speaker 4 (04:37):
Yeah, no, I think I mean this is maybe really
they should make it so I can't leave the house
ever again for saying this, is it like bless the ID,
like the ego the ID, the super ego.
Speaker 1 (04:48):
In fact, it's it's the opposite. It's not that at all.
So it's so hardly not that.
Speaker 4 (04:53):
But isn't it spelled?
Speaker 2 (04:55):
I D it is blessed, I D blessed. But you
think I think, I think you're giving them a lot
of cred.
Speaker 1 (05:04):
I will.
Speaker 2 (05:05):
I guess I should just do a quick wikipede of
them to see if they say, like where they got
their name, or.
Speaker 4 (05:12):
If it's like you find out we have to stop
the whole up because you find out they all died
in a horrific accident and it's just ace to go ahead, and.
Speaker 1 (05:20):
I think we would have to still continue.
Speaker 4 (05:22):
I think out of respect.
Speaker 2 (05:23):
Out of respect, yeah, because we're giving them a chance,
and that's what this is all about. If you love
the song, you know, I think that's great because this
is a song that my wife and I will sing
all the time, and it's like both kind of mocking,
but also we know it so well.
Speaker 4 (05:40):
That's peak chancey right there, that's peak chancy. That's exactly
where that's that's the sweet spot for for something that
needs a chance.
Speaker 2 (05:46):
And I've heard it in my brain a lot, but
this is going to be the first time that I've
listened to it in a long time.
Speaker 4 (05:51):
I haven't listened to it since it came on on
like a in a store, a gap or something like that.
So yeah, all right, so we're looking for I gotta
look it up Blessed.
Speaker 2 (06:04):
All right, okay, so as you guys know the drill,
I'll go find a way to stream this. Maybe you
have the CD and listen to it. Oh yeah, We'll
be back in two shakes.
Speaker 4 (06:16):
Like for me, wow wow. First of all, the first
thirty seconds I had been sloppy in my execution and
I just press play on Blessed Union's page. I didn't
realize it. I was like, wow, this song really doesn't
sound the way I remember it to. The opening is
(06:38):
almost like Bitch by Meredith Brooks or Marissa Brooks. And
then I'm like, wow, what a crazy synth sound. Oh,
that's a really funny percussion. And then I realized I'm
not listening to the right song.
Speaker 1 (06:49):
It was just a different Blessed song.
Speaker 4 (06:50):
It was a different Blessed song b us, a different
b in us And so yeah, I then I had
to catch up, and now I'm caught up good. I mean,
that's an There's a lot going on there.
Speaker 2 (07:04):
First thing I would say is I had no idea
that Jim Carrey was mentioned in the song, which is
just called and calls back to our intro.
Speaker 4 (07:11):
That's actually wild. We were lucky there. Sometimes, you know, dude,
sometimes happy accident, a mistake is nice, and a mistake
is made.
Speaker 2 (07:19):
I mean, there's so much to talk about with this
song I want. I mean, you know, I obviously with
our show, we want to stay positive first.
Speaker 4 (07:25):
Yes, And that's the thing you don't want to just
I was just thinking, I don't want to, you know,
just think as we were listening, don't take the low
hanging fruit. Give it a chance. And also try not
for me. I'm talking to myself, not to the listener,
not to you. Try not to judge the like time
(07:47):
capsule production aspects of a thing, like when like the
wah wah hits and I'm like, what the hell, like
who's used a Wawa pedal on? Ironically? Really long times
it's like slash or something. But anyway, so no, you're right,
you don't want to try to stay positive.
Speaker 2 (08:04):
I will say that those elements that are things like
the dated things in a I actually like think are
the most endearing, Like she's she's fat, like Sandy Crawford.
Speaker 1 (08:14):
Crawford phat fat.
Speaker 2 (08:16):
Is really like so endearing that it takes me transports
me to a time that he is really like he's
not even it. Maybe there's some tongue in cheek, but
not really like he's using that the way it was
used at the time, and and like sincerely saying it.
That stuff is really this is what I really like
about this And when I listen to it, my takeaway
(08:37):
is that this is just a This was a real
band that probably played in bars and like got a
crowd going, like in their local scene, and then this
song took off and changed their life. And I really
try to put myself like if I were a fan
of that band, like how proud I would be of them,
Like I picture I don't know where they're from, but
I picture it's Miami for some reason, or like Jackson,
(08:59):
I definitely they feel Florida to me, like in they're
like they all have sandals on, like I don't I
could be wrong, but.
Speaker 4 (09:07):
I love that there's no way to know.
Speaker 1 (09:09):
There's just no way that never mind.
Speaker 4 (09:12):
Well that's like the part of them.
Speaker 1 (09:14):
But that makes sense too.
Speaker 2 (09:14):
And I think like that's I think they seem real.
They seem really like a real band. There's that they're
not for me. They're not a plant, like a like
an industry plant.
Speaker 4 (09:25):
I think that that that's It does feel like it
comes from some place genuine. It does feel like there's
some kind of like camaraderie and there's some you know,
some roots. It does feel that way. Uh, And I
agree with you about I also think it's kind of
like to say fat with a pH, like Cindy Crawford
in ninety nine. It's kind of like you're not even like,
(09:47):
you know, I'm not saying anything about Cindy Crawford and
the relative merits they're in. I'm just saying, like that's
not peak cultural relevance for Cindy Croft were a little
past them, like rolling Stone covers, you know, when she
dated Michael Jeffson.
Speaker 2 (10:03):
They're definitely going all like household names, you know, like
all these all these references.
Speaker 4 (10:09):
Yeah, except Tyson Beckford as the first one at the time.
That's a very that's of the moment, Like Cindy Crawford.
There's probably still people who casual cultural lookie lose that
know who Sidney Crawford is. How many of those do
you think? Know who?
Speaker 2 (10:25):
Tyson's true, it's really but he really shows his range
because if you got Tyson Beckford, you got Pavarotti.
Speaker 4 (10:31):
That's wild. When he said yeah, and that's in the
down chourse where he's.
Speaker 1 (10:34):
Like I'm kind of sing him soft and kind of
like such a HAUGHTI like.
Speaker 4 (10:40):
You know, that's well, we're trying to get about.
Speaker 1 (10:43):
Such a hatty she likes me for mecase sing like
or because I'm such a high god.
Speaker 4 (11:02):
That's really good.
Speaker 2 (11:02):
It's really really good. I mean, there's so much here,
there's a lot. The part that I had to write
down was that part that just start they start doing.
Speaker 1 (11:11):
Like a blues you know, like do do do ye?
Speaker 2 (11:14):
Like it's it's an Another thing I give it is
that like it's rare that on the radio you hear
a song that is just like too much song, you know, like, oh,
this is a lot of song gen almost well totally,
and I can.
Speaker 4 (11:29):
Get mega nerdy and specific about that. There's a moment
where the when the bridge hit. I also like, we're
both muted when we listen to these, but I'm like
talking to you, and I was just saying, like, this
is like that bridge is as if it were lifted
from a Third Eye Blind song. It's like so specific.
But for all of that dude's whatever isms, I don't
(11:51):
feel like he was ever as overt a pop cultural
This is a little more kitch by on and I
think that's part of its charm, Like I don't I
think that guy asked pretensions of being like an artist
in ways that I don't. I'm not saying he's not
who the hell, but I just mean I think he
would look at that comparison very as an unfriendly, unfond thing.
(12:13):
But that chorus, that yeah, that bridge, it's like, oh,
there's that. And then when the blue the Harmonica comes in,
I'm like, and here we have a Blues traveler reference.
And then when there's a thing that happens towards the
very end, as it comes out of the down thing
picking back up. This is so specific. There's such there's
a thing in like Pixies, Breeders and then post that
(12:33):
where the bass it's almost like there's it's a Steve
Albini thing or something. There's like a little grit on it,
and it's very like one note. There's a way it's
recorded and delivered, and that the bass drives the ride
out of the down chorus. And I'm like, this is
like their reference to like early nineties alternative rock music.
Like there's all kinds of things throwing in there, and
(12:54):
then the whole lyric thing. What's interesting is I can't
help a callback to our own Chancey verse. It does
does make me think about the train thing. It's like
all of these reences of the moment in a way
that's like very It's like a caffeine hit in that moment,
which is what it is and and it and is
(13:17):
the best sy lad that I know.
Speaker 2 (13:19):
You're right though, you know, like I definitely see this
band on like the third eye Blind Cruise if that exists,
Like this band definitely.
Speaker 1 (13:28):
Yeah, it's in the universe.
Speaker 2 (13:29):
And I bet you thought Eye Blind is like no,
but like and they're like their labels like no, you
know they should, they'll they'll draw, they'll draw, just enough
to like okay, but like for sure third eyeblind walked
so they so blessed Union of Souls could run.
Speaker 4 (13:46):
Yeah, I have a question for you that specific to
your life experience. When you played that show, the band
that that played its song twice and then a bunch
of other songs like it, did they know this song?
Speaker 1 (13:57):
No?
Speaker 2 (13:57):
I don't think they did. I don't think no. I'd
have to check the setlist dot FM or whatever.
Speaker 1 (14:03):
But.
Speaker 4 (14:04):
Yeah, definitely, but I.
Speaker 1 (14:06):
I'd have to ask Brian Bonds. He would probably remember better.
But I don't think so.
Speaker 2 (14:11):
I think it was mostly like other like hits like
that were like trying to be in like this is
maybe too joky for what they were trying to do
that I see, you know this has this like even
the voice and like it has like a touch of
weird al.
Speaker 4 (14:28):
I'm trying to hold back on the things the voice
at one. I don't know. Maybe we can talk about
positive and negative sign at the same time. I don't
know how to do it because there's a thing, there's
there's the voices. But this is crushed.
Speaker 2 (14:40):
I remember this that this this style of song, I
remember it crushing with like when it came out at
the time girls from Staten Island like, which you wouldn't
expect because a lot of the girls I knew from
Stanta like the club music and stuff like that, but
also just like right, yeah ku and they like but
they also pop stuff and saying stuff. But this song
(15:02):
resonated and they were like, oh, this is Casey, Like,
I know you you're a rocker.
Speaker 1 (15:06):
You you like this right?
Speaker 4 (15:08):
Yeah?
Speaker 2 (15:08):
At the time I was like, even at the time,
I was like, I don't really like this, but I
think I was like.
Speaker 1 (15:12):
Yeah, sure, you're talking to me.
Speaker 2 (15:18):
I ravividly remember the like loving this and maybe it
was because it like a referenced Leonardo DiCaprio, which they
also loved.
Speaker 4 (15:25):
I mean, at the moment this song is referencing Leonardo DiCaprio,
it is useful to have a little breakout moment to
discuss that. And that's why they titled it what what
they titled it. He was the biggest celebrity that was
peak Beatlemania, Leonardo DiCaprio right after the Titanic. Also, sorry,
I don't know if this is this is we were
(15:47):
talking recently about Leo like a thing that I'm sure
if it was like still in the culture today that
probably wouldn't have been as okay or gotten away with
it as it was. Do you remember he was friends
with like Lucas Has David Blaine and they called Antobe Maguires.
Speaker 2 (16:03):
I was thinking that too, because I was thinking, is
this guy saying he hangs with Leonardo and.
Speaker 1 (16:08):
Is does that mean Steve Busy's in the Pussy Posse?
Like maybe people don't realize.
Speaker 4 (16:15):
I mean he's his own solo practitioner Pussy Posse, but
I will say this guy is maybe aspiring PP and
this is his this be he applications.
Speaker 2 (16:28):
So this guy is claiming that like not only he
is in the pussy but in the PP, but Steve
SB is in the PP.
Speaker 4 (16:36):
Yeah, SB is in PP. But he girl like him
not because of pep adjacency, but for other things and
not in not for his TV either. In fact, she
doesn't even watch much TV. One thing I did kind
of like just because it was psychotic in a like
Spencer's Gifts kind of way. What is up with like
the sped up DVD? Yeah, sound like it.
Speaker 2 (16:57):
Was like all this like galitchy, Like it was so
strange because like DVD's don't make that sound. In fact,
like like you know, a VHS would make a sound
that's like, but the DVD wouldn't do it. But I
think they were just like I think the producer had
the idea and they were like, all right.
Speaker 1 (17:11):
Go for it.
Speaker 4 (17:13):
Do you know the producer's name? Is it.
Speaker 1 (17:17):
Tommy Lee Jones?
Speaker 4 (17:18):
No, it was that would be really good. I'm going
to view credits and I'm going to tell you that
the producer's name was that. This is actually I found it.
Speaker 1 (17:32):
Within that I found it and Charles Roth. Charles Roth,
I also have.
Speaker 4 (17:39):
Oh I don't have listed, I just have em.
Speaker 1 (17:44):
Emo. It was like like a dashboard confessional. Yeah.
Speaker 4 (17:52):
Yeah, and then there was another sound effect, you know,
okay computer and af X twin and cordo his head.
I mean they cast a widen chat and I think
that was probably why there was Also it was after
the DVD one, and then there was another sound effect. Oh,
when he said she doesn't like TV, there was a
weird like I don't know if it's supposed to be
like channel surfing, but there was another way didn't sound
(18:14):
effect after that. So we give the points for sound collage,
artful ambition, you know.
Speaker 2 (18:19):
A lot of times after the episode, I don't listen
to the song, but I think I might listen to
this song again at the end of this episode, just
because you're talking about so many references that I didn't
pick up on that I'm really I'm excited for.
Speaker 4 (18:31):
I have a really finally you're getting me, you're.
Speaker 2 (18:33):
Getting me jazzed, You're really giving I'm giving it a
really big jit chance.
Speaker 1 (18:37):
Now.
Speaker 4 (18:39):
That makes me happy because I do want It's you know,
we're not trying to we're not trying.
Speaker 1 (18:44):
To, you know, artists trying but no.
Speaker 4 (18:49):
But at the same time, there are things that tried
to be addressed. And for me, even if the girls
on snat miland liked it, we have to talk about
the vocal quality. Yeah, not the note nothing like me for.
Speaker 2 (19:02):
Me, and then like those things they are just like
it's a little Matthew Davids, which is if you don't
you could look that up on your own, folks, but
it's very you don't know, if you know, if you know,
you know.
Speaker 4 (19:18):
Yeah, it's like Jesse the guy, this is Jesse.
Speaker 2 (19:21):
It is so Jesse Camp won the VJ Competition, the
first VJ Competition to competition on MTV.
Speaker 4 (19:30):
He definitely introduced this side something.
Speaker 2 (19:33):
Like he was a little bit more like like a
Stephen Tyler, but this guy is a little bit more
like yeah, like maybe the third eye blind guy, Like
he's aspiring to be him, but he's got the same
like vocal fry esque. But then like, I'm going back
to weird elegant because like I do think that there
(19:54):
is a but you know, I will say to that
quality of voice better or for worse, it cuts through
the mix.
Speaker 4 (20:02):
No doubt. Oh yeah, absolutely, maybe that's why they did it.
They were like, you know what, it's just, no matter
what we do with the presets, there's not enough high end.
Speaker 2 (20:09):
He's like, I have an idea, she doesn't care about
my Like it cuts through and it's a wordy song,
and like there's not a there's not a lyric.
Speaker 1 (20:17):
Actually, this takes me to the next point.
Speaker 2 (20:19):
I was gonna say, there's not a lyric where I
don't know what he's saying, but there is a controversial lyric.
So I'm gonna make her laugh, just like Jim Carrey
and some some people.
Speaker 1 (20:31):
I looked online. There's two different lyrics sites.
Speaker 2 (20:32):
I checked one and said, I'm like the Cable Guy
make her laugh, just like, but the one I have
is unlike the Cable Guy.
Speaker 4 (20:41):
Yeah, that's what mine says.
Speaker 2 (20:42):
I believe it that, I believe it's to be and
mine says it's a dig it, Ben Stiller, this is genius,
a dig it. Ben Stiller directed Cable Guy, a dark
comedy that didn't appeal to many of Carrie's fans. I
bet you Tommy Lee Jones loved it, though.
Speaker 4 (20:55):
Yeah, that was his favorite one. I think it's really
funny that they that's that is layered, layered exegesis. There's
no way that's about You're Stiller. It's like that. I'm
sure that that wasn't even not. This guy does seem
clearly this guy does seem very culturally aware, steeped in
the culture. He's not thinking about Ben Stiller.
Speaker 2 (21:17):
I don't think it's you don't think this is like
like like the start of a beef, like a like
a wrap battle between.
Speaker 4 (21:24):
Which just never got picked back up. Yeah. Ben Stiller
was like, hey, I'm already way way.
Speaker 2 (21:29):
No, I'm not ready to I'm not ready to say
that that Ben Stiller didn't hit back in one of
his movies after this.
Speaker 1 (21:35):
I'm not.
Speaker 2 (21:35):
I don't want to go on the records. We have
to look into this a.
Speaker 4 (21:42):
Lot more research for the for Team Chancey. There's a
lot of stuff that Beauregard is gonna have to do
after this this episode. Check stuff out. There is the
thing about that is also can you hear it? It's
the police and they're coming to say that. We have
to point out the breadth of culture. Yes, we talked
about Tyson Beckford, to talk about Robert Redford, we talk
(22:05):
about Leonardo Steve Shemy. Now the Cable Guy thing though,
hasn't history smiled? Hasn't Isn't that like a movie that
has been benefited from a From a reassessment, I thought
The Cable Guy was really funny actually, but I feel
like it was poorly received at the time because that
was Peake Jim Carrey.
Speaker 2 (22:24):
I think people want to just like just slapstick, dumb
and dumber, and I think the movie has more substance.
People wanted the buffoonery and what they got is a
little bits.
Speaker 4 (22:34):
No matter what TLJ said, Yes.
Speaker 2 (22:36):
They got some substance and maybe they weren't ready to
feel what they felt.
Speaker 4 (22:39):
Wow, I'm gonna give that a Chancey that's a good
that's a good assessment, like.
Speaker 1 (22:46):
I will, I will have this in my head all day,
you'll graduate. Should I just wait for me?
Speaker 2 (22:55):
Falsetto though, like not because yeah, head boys seems so
he goes from like she likes.
Speaker 4 (23:01):
Me for me because that is true. That's actually that
actually does indicate and that's something that should go in
the chance pile. It does indicate like as a person
this episode notwithstanding, is I've been phlegmatic throughout as a
person who tries to sing. That does indicate a that's
(23:23):
a style choice and an a range thing because he
some usually when people are doing that sort of like
pinched castrated thing, that means they can't access the sort
of softer their head voice, and he does it. He
actually does it the following line in every chorus, which
is sort of impress.
Speaker 1 (23:42):
We know he's a Pavarotti fan, so.
Speaker 4 (23:45):
Big, big big, and it doesn't matter that he can't
sing like that. She's still like.
Speaker 3 (23:51):
That's true for him.
Speaker 2 (24:04):
The other part that I wish if I could, if
I could, if I could time travel to the studio,
I kick open that door and I would say, here's
what you need.
Speaker 1 (24:13):
You know, the part where it's like is I can't.
Speaker 2 (24:15):
Live without her, and my arm's still long around her,
and I'm so gladound.
Speaker 1 (24:20):
I want that to go away longer, you know, I.
Speaker 2 (24:23):
Want yeah about it out at and you know she's
tall like that at and I'm marco that.
Speaker 1 (24:29):
A like I want like a long one at the end,
at the end, like I'm so glad a founder.
Speaker 4 (24:36):
Well once again, like you know that should be in
the last chorus.
Speaker 1 (24:41):
We already we already have every every song, everything's going on.
Speaker 4 (24:45):
We need that every song, every sing's going on. That
is an excellent producorial note. And I do have to say,
there's a couple of things you just brought me to one.
This is real. For the length of time from first
hearing that song to today, I don't know why I
always thought what he said was this isn't bullshit. For
(25:06):
some reason, my ears have always heard my arms my
arms feel long around Oh wow, that's a great mishard
like she was like really tiny his arms around her.
Speaker 3 (25:20):
Yeah.
Speaker 1 (25:20):
I you know, I don't think I ever thought about
the lyric, but that sounds more right.
Speaker 4 (25:24):
Well. I also think maybe what I thought was because
he says it, there's a couple of like naked expressions
of insecurity, which are kind of sweet, like my fault,
what she sees on my faults and indecisions, my insecure,
my inscare conditions made me say out loud, what But
but I understood he was just there's a rhyme that's
got to happen.
Speaker 1 (25:41):
But I did feel I do feel that tear upon
the pillow that I shed.
Speaker 4 (25:45):
Insane lyric, but yes, yes, yes, the tier upon the
pillow that I shed, that's a little like we need
the pond feels a little you know, where we're suddenly
stepping into Jane Austin territory. But I do want to
say that when he does say this, when when he's
in that something about my arms feel long around her
that made sense in my head was it was a
(26:06):
further expression of insecurity, like he can't get her close enough.
That's what I think I thought, not that she was teensman,
but that he couldn't get her close enough.
Speaker 1 (26:15):
Right.
Speaker 2 (26:15):
No, I think I actually like that lyric. I like,
I know what you mean, Like when you said that,
it almost resonated more than the actual lyric, and so
I think maybe subconsciously I also felt that my arms
feel long around her. Yeah, there is is, you know,
he drops for a song that has references to like
fat Cindy Crawford and stuff like that. But like a
bridge is like gazing, gazing at the ceiling as we
(26:38):
entertain our feelings in the dark, the things that the
things that we're afraid of are gonna show us what
we're made of in the end.
Speaker 4 (26:46):
That's funny because it's funny because the song that's by
the way I write, I do feel like I would
listen to a breakout pod of you reading Lee in
whatever voice that just was. That was really good. Yeah,
But also for a song that leans so heavily on
(27:07):
like a very kind of intentional and obvious rhyme schematic,
I do like that the that in the chorus, the
verse that I'm sorry the bridge, as you just said,
as we had seering feelings in the dark, the things
that we're afraid of, we're going to show us what
we're made of in the end.
Speaker 1 (27:24):
Yeah.
Speaker 2 (27:24):
Well, he you know, he doesn't actually care to rhyme
even that even the first verse is like she don't
care about my car, she don't care about my money,
And that's really good because I don't have a lot
to spend, but if I did, it wouldn't mean nothing.
Speaker 1 (27:37):
It's like, I guess you're.
Speaker 4 (27:38):
Right, you're proving me wrong. I did not do a
close enough read. Maybe what I'm thinking is because of
how into like Redford.
Speaker 1 (27:44):
Yeah, I know, I'm with you.
Speaker 4 (27:46):
And there's a phonetic thing he's doing that's like, you know,
really really you know, kind of candy like pleasing, but
it's not rhyming. You're right. He comes in, he lapses
in and out of rhyming. And it's also funny with
what you're saying about belong. I think there's a thing
like in hip hop when people do that with words,
sounds or syllabic things create times.
Speaker 1 (28:08):
There's a thing that it can actually be.
Speaker 4 (28:11):
Sometimes it's of course he's taken it to the nth
degree that is now like dexterous joylessness, Like I think
it's to him. Listening to him now, you're like, it
just sounds like he's like it's like an exhausted machine
complicating these things. He's excellent at it. But I don't know,
no one feels anything but in music like this, when
(28:34):
people do that, it's like less there's something about it
that actually takes you out of it. I don't know
if that's like rock music's supposed to be a little
more like, I don't know, slouchy or something. The way
that you're but I mean, not compared with plenty of
hip hop is slouschytube. But you know what I mean.
There's something when someone says like, maybe my ears heard
feel long. No one says I feel like I be
(28:55):
long to you. No one says that. That's not how
a person would say that in a hill. Yeah, totally
belong see me mo or whatever way I do. I
listen to a lot of cool music.
Speaker 2 (29:08):
It's interesting because there's a lot of like juxtaposition or
like I'm surprised, Like like when people if I said
to someone, you know, it's she likes me for me,
I think everyone will be like, yeah, yeah, yeah, they
got you know the song that references like Steve Bushemi
and like the guy from Fargo, like everyone I think
remembers that, and like the Leonardo part, but like that
(29:30):
you blew.
Speaker 4 (29:30):
My mind when you told me that was the title.
But anyway, sorry, please I agree.
Speaker 2 (29:33):
I think I wonder how often the parentheses takes over
what the actual title of the song is you know
what I mean.
Speaker 4 (29:40):
With this song, especially since it's the repeated she likes
me for me is like this happens seventy five times.
Speaker 2 (29:47):
She likes me for me is so funny, Like you
know how like people like write songs based on just
like like a someone will just take a phrase and
be like, all right that, let's just write a song about.
Speaker 1 (29:57):
Like that phrase.
Speaker 4 (29:58):
Yeah, you know, yes, it's.
Speaker 1 (30:00):
So funny that this one is she likes me for me,
She likes me for me?
Speaker 4 (30:06):
Yeah, yeah, I mean, look, he was pushing back against
vacuousness and vapidity in culture and prioritization of materialism and
you know, symmetrical attractive, and I give him credit for
that too. He's saying like, basically, what this dude's saying
is like, and of course this song at least momentarily
changed his circumstances. This is gayzy gaseum No, but listen,
(30:28):
it does feel like what he's saying is like, it
doesn't matter that I'm strict up garbage according to the
metrics of the time. He sees through that, and she
likes me for me?
Speaker 2 (30:44):
Why does she waste all her time with me? There
must be something there that I don't say.
Speaker 4 (30:49):
So she's also inspiring him to reassess himself and be like,
I gotta break three for break three, I gotta break three.
I got break three from these traditional metrics of achievement
and accomplishment, It's okay if I don't have a lot
of money, or my car's garbage, or my DVD player
sucks balls.
Speaker 1 (31:05):
It sucks. It's really glitchy.
Speaker 4 (31:06):
It's super glitchy.
Speaker 1 (31:08):
Ruining those DVDs. It's rewinding the the actual physically rewinding
the disc.
Speaker 4 (31:14):
What if the whole song is just to tell you
that he thinks his DVD player, he thinks his VHS
player is a DVD player.
Speaker 1 (31:21):
I hope. The first thing was just like I like DVDs,
and then.
Speaker 2 (31:25):
The band was like, no, no, it's really catchy, but
like we need to switch it up.
Speaker 4 (31:29):
Also, I keep telling you, Blessed, that's a VHS blok.
Speaker 1 (31:34):
We just cracked it.
Speaker 2 (31:35):
His name is Blessed, and so that's why they were like.
He was like, what about blessed and your souls spelt
like my name. Yeah, and they're like, wow, Blessed.
Speaker 1 (31:42):
Good idea.
Speaker 4 (31:43):
Yeah, I like DVDs. She likes DVDs.
Speaker 1 (31:46):
She likes DVDs.
Speaker 2 (31:49):
I yeah, you know, it's it's great, it's it's it's interesting.
It's just a real interesting like there's nothing really like
it on the radio at that time, or sin.
Speaker 4 (32:01):
Yes, there's. I mean, I guess there are. I feel
like I'm a poor I don't keep my all joking aside,
Finger on the Pulse was like, I was in a
burger king with our mutual friend Jay Miller, meeting him recently,
and something was on and I was like, is this
Olivia Rodrigo And he was like, yeah, yeah, And then
like every song that came on, I was like, is
(32:23):
this Olivia?
Speaker 1 (32:24):
It's all Olivia Rodrigo now?
Speaker 2 (32:26):
But all right, So I as I said that, I
was just thinking the other songs are like this, and
I don't know if these are going to be ones
that we give a chance in the future, but this
is definitely channeling.
Speaker 1 (32:36):
Oh not those three single Sinkle says.
Speaker 2 (32:39):
Can't you know I can all the girlies say I'm
pretty fly for a white guy like that.
Speaker 4 (32:46):
That's that would be a hard one for me to
give a chancey.
Speaker 2 (32:48):
Too, that's on the cruise as well, or they could
be on that cruise. They have a cruise, Offspring cruise.
Speaker 4 (32:54):
Also Green Day just played at Irving Plaza and who
was the sponsor Carnival cruise not kid we live in hell,
but please continue?
Speaker 2 (33:02):
Yeah no, So so I think Offspring is in this
category of like especially like it's just weird because they
did start so punk, but then they started doing comedy songs.
Speaker 4 (33:10):
Yeah, that song that also is basically oh blood oh
blah dah.
Speaker 1 (33:15):
Yeah, I don't care, I do that.
Speaker 4 (33:18):
Bitchy's cool cool here, but it was basically like it's
basically oblad o blah dah, the gesture and the little
like you.
Speaker 1 (33:28):
Know, say no way, say no way.
Speaker 4 (33:31):
Yeah, yeah, it is in league with that, that's for sure.
Speaker 2 (33:36):
I love DVD's well, I don't you know again, I
am going to listen to the song again. I encourage
everybody to do it.
Speaker 4 (33:47):
I would say, by the way, Casey, I think did
a pretty good job here. I'm going to extol our
own virtues. This is low hanging fruit, and I think
we to me, I actually do come away with it
being like he's attempted. There's there's a vocal ability that's
clear he is attempting to He's riding a line between
a kind of pop cultural humor and also expression of
(34:09):
real feeling. And I mean, you know they tried those
weird soundcolage things with the messed up VHS DVD.
Speaker 1 (34:15):
Why not you know a risk.
Speaker 2 (34:17):
I will also say that it doesn't feel like a
first draft and it doesn't feel labored. He like hit
a sweet spot where like it feels like, oh I
don't care, It's like I'm throwing some things in. But
there's also obviously some stuff that he really like went
back and like worked on.
Speaker 4 (34:31):
Yeah, like trying to get into the PP A Leonardo
and on that.
Speaker 1 (34:36):
You'll always be in my PP heaven, Kevin, You'll always
be in my.
Speaker 4 (34:41):
PP ah case. Thank you so much.
Speaker 1 (34:44):
Well, thank you everybody for listening. Everybody in our PP.
Speaker 4 (34:47):
Thank you everybody in our PP.
Speaker 1 (34:49):
You know who you are.
Speaker 4 (34:50):
Big shout out to Tobe and honestly, keV, I like
you for you, not because of mess like tuison mess.
Speaker 2 (35:00):
Okay, all right, shout out and again shout out to
our sponsor Tommy Lee Jones.
Speaker 4 (35:04):
And Rosecrdible Chris.
Speaker 1 (35:09):
Okay, I'll see you next time on JC.
Speaker 3 (35:15):
Just give it.
Speaker 1 (35:15):
Sh
Give it a chance, give it a chance, give it
a chick.
Speaker 2 (00:05):
Come morning, give it a chance, Give it a chance,
give it a chance, give it a chance.
Speaker 1 (00:09):
Go morning, give it as you want.
Speaker 3 (00:11):
To give it a chance, Give it a chance, give
it a chance. Just give it.
Speaker 2 (00:18):
Hi Kevin Devine, Hi Cases Just I'm so excited for
another fun episode.
Speaker 1 (00:23):
Give it a chance. Are you in the mood?
Speaker 4 (00:25):
Oh dude, I'm always in the mood to give it
a chancy. And also, is it okay to call episode?
Speaker 2 (00:32):
Yes, okay, I think it's respectful to call to call them,
Omar Epps.
Speaker 4 (00:37):
I'm glad you caught the respect angle.
Speaker 1 (00:40):
That is, because you know what you have the juice.
Speaker 4 (00:44):
Now you got the juice. You got the last line
of the movie SPOILERL.
Speaker 2 (00:48):
I think it is. Yeah, I think it is, which
is it's so it's bad. But I I always really
liked that movie, so I think I have I have
like rose colored glasses for it.
Speaker 4 (00:58):
Also, Tupac Man charisma. Yeah, I don't even know if
he was a good actor, but he was great on screen.
Speaker 2 (01:05):
I know he had this sort of like I feel
very similar about like John Legozamo, Like he has so
much that I'm like watching it now, sometimes I'm like,
that's a little too much, but I think.
Speaker 4 (01:14):
Oh, yeah, the time is not a subtle instrument.
Speaker 2 (01:17):
No, yeah, A certain movies like when I've Gone Back
and I was obsessed with with Aceventura and I started
watching the first one and I was like, this is unhinged.
Speaker 1 (01:27):
It's really wild.
Speaker 4 (01:30):
I know we got to give it a chancey, but
I do just want to say quickly, very very short
anecdote about that. When they did the Batman movie story,
he walks in and he's kind of he's never met
Tommy Lee Jones. Oh wow, filming and they're at a
restaurant and he goes over to say hello to him,
and Tommy Lee Jones stands up from his dinner, hugs
him and says, I'm sorry, I can't talk to you.
(01:51):
I cannot sanction your buffoonery. And then that's the last
time he spoke to him outside of whatever was like
shot and work related for the entirety of the film.
That's like, that's Jim Carrey tells that story.
Speaker 1 (02:02):
And it's like, wait, like kind of a respectful diss.
Speaker 4 (02:04):
He's like, look, it's nice to see you. I can't
be friends with you. Your horses asked, let's just get
this over with. Wow makes Tommy Lee Jones. I think
that's not a.
Speaker 2 (02:13):
Good story for him, really, you know, but it is
so interesting because I wonder if he felt that way
about like Will Smith too, and he had to work
with him and Men in Black, you know.
Speaker 4 (02:21):
Ben Bien beneto Ami Ami. Also, I will just say
that this is a pivot and a chain. We can
we can maybe because clearly TLJ was not to give JC.
I'm chancy.
Speaker 1 (02:39):
Yeah.
Speaker 2 (02:40):
You know what's interesting is Tommy Lee Jones he didn't
like he didn't like him for him?
Speaker 1 (02:47):
Oh no, you immediately know.
Speaker 4 (02:53):
Or that guy who played in Fargo I think his
name was Steve probably liked him, Yes, dude, maybe Leonardo too,
I don't know.
Speaker 1 (03:03):
So this is the song we're talking about, is a
song called Haileonardo and in parentheses.
Speaker 4 (03:10):
Never knew that was the title.
Speaker 1 (03:12):
It's a it's a present, it's a present.
Speaker 2 (03:14):
I can't say I no PARENTHESI is parenthesis song, which
I love, by the way, I do love a song
that has a parenthesis.
Speaker 4 (03:20):
Good parentheses is great.
Speaker 1 (03:21):
Haileonardo parentheses. She likes me for me? Can you even
name the artist?
Speaker 2 (03:26):
Because when I look this up, I was like this,
these words have never come to me, like I've never
seen these words before.
Speaker 4 (03:32):
I am certain I can't. I know the song like
better than I can believe in my mind instant recall,
which says something for its staying power and it's stickiness. No,
it's not like nine Lives. That's a different band. That's
story of a girl.
Speaker 1 (03:48):
That's nine days though, but very We talked about them
last step, Yes, we did. Last last we talked.
Speaker 4 (03:55):
Is it No, I don't know the Biscuit boys.
Speaker 1 (03:58):
It is so close.
Speaker 2 (03:58):
It's it's spelt b l E S S I D
ready blessed Union of Souls.
Speaker 4 (04:06):
Oh, I do remember that that was banned. I never
knew they spelt it bless id. But that's really obnoxious.
That's crazy.
Speaker 1 (04:16):
That's more. That's more obnoxious than olymp biscuits spelt different
or corn or anything. It's like because the rest of
it is all spelt normal, So it's like why, But
is maybe blessed like that is like a biblical thing.
Maybe that's like, you know, like an older.
Speaker 4 (04:30):
Way of get our researchers on that.
Speaker 2 (04:32):
I'm actually you know what I typed in Blessed and
the things that come up is that band.
Speaker 4 (04:37):
Yeah, no, I think I mean this is maybe really
they should make it so I can't leave the house
ever again for saying this, is it like bless the ID,
like the ego the ID, the super ego.
Speaker 1 (04:48):
In fact, it's it's the opposite. It's not that at all.
So it's so hardly not that.
Speaker 4 (04:53):
But isn't it spelled?
Speaker 2 (04:55):
I D it is blessed, I D blessed. But you
think I think, I think you're giving them a lot
of cred.
Speaker 1 (05:04):
I will.
Speaker 2 (05:05):
I guess I should just do a quick wikipede of
them to see if they say, like where they got
their name, or.
Speaker 4 (05:12):
If it's like you find out we have to stop
the whole up because you find out they all died
in a horrific accident and it's just ace to go ahead, and.
Speaker 1 (05:20):
I think we would have to still continue.
Speaker 4 (05:22):
I think out of respect.
Speaker 2 (05:23):
Out of respect, yeah, because we're giving them a chance,
and that's what this is all about. If you love
the song, you know, I think that's great because this
is a song that my wife and I will sing
all the time, and it's like both kind of mocking,
but also we know it so well.
Speaker 4 (05:40):
That's peak chancey right there, that's peak chancy. That's exactly
where that's that's the sweet spot for for something that
needs a chance.
Speaker 2 (05:46):
And I've heard it in my brain a lot, but
this is going to be the first time that I've
listened to it in a long time.
Speaker 4 (05:51):
I haven't listened to it since it came on on
like a in a store, a gap or something like that.
So yeah, all right, so we're looking for I gotta
look it up Blessed.
Speaker 2 (06:04):
All right, okay, so as you guys know the drill,
I'll go find a way to stream this. Maybe you
have the CD and listen to it. Oh yeah, We'll
be back in two shakes.
Speaker 4 (06:16):
Like for me, wow wow. First of all, the first
thirty seconds I had been sloppy in my execution and
I just press play on Blessed Union's page. I didn't
realize it. I was like, wow, this song really doesn't
sound the way I remember it to. The opening is
(06:38):
almost like Bitch by Meredith Brooks or Marissa Brooks. And
then I'm like, wow, what a crazy synth sound. Oh,
that's a really funny percussion. And then I realized I'm
not listening to the right song.
Speaker 1 (06:49):
It was just a different Blessed song.
Speaker 4 (06:50):
It was a different Blessed song b us, a different
b in us And so yeah, I then I had
to catch up, and now I'm caught up good. I mean,
that's an There's a lot going on there.
Speaker 2 (07:04):
First thing I would say is I had no idea
that Jim Carrey was mentioned in the song, which is
just called and calls back to our intro.
Speaker 4 (07:11):
That's actually wild. We were lucky there. Sometimes, you know, dude,
sometimes happy accident, a mistake is nice, and a mistake
is made.
Speaker 2 (07:19):
I mean, there's so much to talk about with this
song I want. I mean, you know, I obviously with
our show, we want to stay positive first.
Speaker 4 (07:25):
Yes, And that's the thing you don't want to just
I was just thinking, I don't want to, you know,
just think as we were listening, don't take the low
hanging fruit. Give it a chance. And also try not
for me. I'm talking to myself, not to the listener,
not to you. Try not to judge the like time
(07:47):
capsule production aspects of a thing, like when like the
wah wah hits and I'm like, what the hell, like
who's used a Wawa pedal on? Ironically? Really long times
it's like slash or something. But anyway, so no, you're right,
you don't want to try to stay positive.
Speaker 2 (08:04):
I will say that those elements that are things like
the dated things in a I actually like think are
the most endearing, Like she's she's fat, like Sandy Crawford.
Speaker 1 (08:14):
Crawford phat fat.
Speaker 2 (08:16):
Is really like so endearing that it takes me transports
me to a time that he is really like he's
not even it. Maybe there's some tongue in cheek, but
not really like he's using that the way it was
used at the time, and and like sincerely saying it.
That stuff is really this is what I really like
about this And when I listen to it, my takeaway
(08:37):
is that this is just a This was a real
band that probably played in bars and like got a
crowd going, like in their local scene, and then this
song took off and changed their life. And I really
try to put myself like if I were a fan
of that band, like how proud I would be of them,
Like I picture I don't know where they're from, but
I picture it's Miami for some reason, or like Jackson,
(08:59):
I definitely they feel Florida to me, like in they're
like they all have sandals on, like I don't I
could be wrong, but.
Speaker 4 (09:07):
I love that there's no way to know.
Speaker 1 (09:09):
There's just no way that never mind.
Speaker 4 (09:12):
Well that's like the part of them.
Speaker 1 (09:14):
But that makes sense too.
Speaker 2 (09:14):
And I think like that's I think they seem real.
They seem really like a real band. There's that they're
not for me. They're not a plant, like a like
an industry plant.
Speaker 4 (09:25):
I think that that that's It does feel like it
comes from some place genuine. It does feel like there's
some kind of like camaraderie and there's some you know,
some roots. It does feel that way. Uh, And I
agree with you about I also think it's kind of
like to say fat with a pH, like Cindy Crawford
in ninety nine. It's kind of like you're not even like,
(09:47):
you know, I'm not saying anything about Cindy Crawford and
the relative merits they're in. I'm just saying, like that's
not peak cultural relevance for Cindy Croft were a little
past them, like rolling Stone covers, you know, when she
dated Michael Jeffson.
Speaker 2 (10:03):
They're definitely going all like household names, you know, like
all these all these references.
Speaker 4 (10:09):
Yeah, except Tyson Beckford as the first one at the time.
That's a very that's of the moment, Like Cindy Crawford.
There's probably still people who casual cultural lookie lose that
know who Sidney Crawford is. How many of those do
you think? Know who?
Speaker 2 (10:25):
Tyson's true, it's really but he really shows his range
because if you got Tyson Beckford, you got Pavarotti.
Speaker 4 (10:31):
That's wild. When he said yeah, and that's in the
down chourse where he's.
Speaker 1 (10:34):
Like I'm kind of sing him soft and kind of
like such a HAUGHTI like.
Speaker 4 (10:40):
You know, that's well, we're trying to get about.
Speaker 1 (10:43):
Such a hatty she likes me for mecase sing like
or because I'm such a high god.
Speaker 4 (11:02):
That's really good.
Speaker 2 (11:02):
It's really really good. I mean, there's so much here,
there's a lot. The part that I had to write
down was that part that just start they start doing.
Speaker 1 (11:11):
Like a blues you know, like do do do ye?
Speaker 2 (11:14):
Like it's it's an Another thing I give it is
that like it's rare that on the radio you hear
a song that is just like too much song, you know, like, oh,
this is a lot of song gen almost well totally,
and I can.
Speaker 4 (11:29):
Get mega nerdy and specific about that. There's a moment
where the when the bridge hit. I also like, we're
both muted when we listen to these, but I'm like
talking to you, and I was just saying, like, this
is like that bridge is as if it were lifted
from a Third Eye Blind song. It's like so specific.
But for all of that dude's whatever isms, I don't
(11:51):
feel like he was ever as overt a pop cultural
This is a little more kitch by on and I
think that's part of its charm, Like I don't I
think that guy asked pretensions of being like an artist
in ways that I don't. I'm not saying he's not
who the hell, but I just mean I think he
would look at that comparison very as an unfriendly, unfond thing.
(12:13):
But that chorus, that yeah, that bridge, it's like, oh,
there's that. And then when the blue the Harmonica comes in,
I'm like, and here we have a Blues traveler reference.
And then when there's a thing that happens towards the
very end, as it comes out of the down thing
picking back up. This is so specific. There's such there's
a thing in like Pixies, Breeders and then post that
(12:33):
where the bass it's almost like there's it's a Steve
Albini thing or something. There's like a little grit on it,
and it's very like one note. There's a way it's
recorded and delivered, and that the bass drives the ride
out of the down chorus. And I'm like, this is
like their reference to like early nineties alternative rock music.
Like there's all kinds of things throwing in there, and
(12:54):
then the whole lyric thing. What's interesting is I can't
help a callback to our own Chancey verse. It does
does make me think about the train thing. It's like
all of these reences of the moment in a way
that's like very It's like a caffeine hit in that moment,
which is what it is and and it and is
(13:17):
the best sy lad that I know.
Speaker 2 (13:19):
You're right though, you know, like I definitely see this
band on like the third eye Blind Cruise if that exists,
Like this band definitely.
Speaker 1 (13:28):
Yeah, it's in the universe.
Speaker 2 (13:29):
And I bet you thought Eye Blind is like no,
but like and they're like their labels like no, you
know they should, they'll they'll draw, they'll draw, just enough
to like okay, but like for sure third eyeblind walked
so they so blessed Union of Souls could run.
Speaker 4 (13:46):
Yeah, I have a question for you that specific to
your life experience. When you played that show, the band
that that played its song twice and then a bunch
of other songs like it, did they know this song?
Speaker 1 (13:57):
No?
Speaker 2 (13:57):
I don't think they did. I don't think no. I'd
have to check the setlist dot FM or whatever.
Speaker 1 (14:03):
But.
Speaker 4 (14:04):
Yeah, definitely, but I.
Speaker 1 (14:06):
I'd have to ask Brian Bonds. He would probably remember better.
But I don't think so.
Speaker 2 (14:11):
I think it was mostly like other like hits like
that were like trying to be in like this is
maybe too joky for what they were trying to do
that I see, you know this has this like even
the voice and like it has like a touch of
weird al.
Speaker 4 (14:28):
I'm trying to hold back on the things the voice
at one. I don't know. Maybe we can talk about
positive and negative sign at the same time. I don't
know how to do it because there's a thing, there's
there's the voices. But this is crushed.
Speaker 2 (14:40):
I remember this that this this style of song, I
remember it crushing with like when it came out at
the time girls from Staten Island like, which you wouldn't
expect because a lot of the girls I knew from
Stanta like the club music and stuff like that, but
also just like right, yeah ku and they like but
they also pop stuff and saying stuff. But this song
(15:02):
resonated and they were like, oh, this is Casey, Like,
I know you you're a rocker.
Speaker 1 (15:06):
You you like this right?
Speaker 4 (15:08):
Yeah?
Speaker 2 (15:08):
At the time I was like, even at the time,
I was like, I don't really like this, but I
think I was like.
Speaker 1 (15:12):
Yeah, sure, you're talking to me.
Speaker 2 (15:18):
I ravividly remember the like loving this and maybe it
was because it like a referenced Leonardo DiCaprio, which they
also loved.
Speaker 4 (15:25):
I mean, at the moment this song is referencing Leonardo DiCaprio,
it is useful to have a little breakout moment to
discuss that. And that's why they titled it what what
they titled it. He was the biggest celebrity that was
peak Beatlemania, Leonardo DiCaprio right after the Titanic. Also, sorry,
I don't know if this is this is we were
(15:47):
talking recently about Leo like a thing that I'm sure
if it was like still in the culture today that
probably wouldn't have been as okay or gotten away with
it as it was. Do you remember he was friends
with like Lucas Has David Blaine and they called Antobe Maguires.
Speaker 2 (16:03):
I was thinking that too, because I was thinking, is
this guy saying he hangs with Leonardo and.
Speaker 1 (16:08):
Is does that mean Steve Busy's in the Pussy Posse?
Like maybe people don't realize.
Speaker 4 (16:15):
I mean he's his own solo practitioner Pussy Posse, but
I will say this guy is maybe aspiring PP and
this is his this be he applications.
Speaker 2 (16:28):
So this guy is claiming that like not only he
is in the pussy but in the PP, but Steve
SB is in the PP.
Speaker 4 (16:36):
Yeah, SB is in PP. But he girl like him
not because of pep adjacency, but for other things and
not in not for his TV either. In fact, she
doesn't even watch much TV. One thing I did kind
of like just because it was psychotic in a like
Spencer's Gifts kind of way. What is up with like
the sped up DVD? Yeah, sound like it.
Speaker 2 (16:57):
Was like all this like galitchy, Like it was so
strange because like DVD's don't make that sound. In fact,
like like you know, a VHS would make a sound
that's like, but the DVD wouldn't do it. But I
think they were just like I think the producer had
the idea and they were like, all right.
Speaker 1 (17:11):
Go for it.
Speaker 4 (17:13):
Do you know the producer's name? Is it.
Speaker 1 (17:17):
Tommy Lee Jones?
Speaker 4 (17:18):
No, it was that would be really good. I'm going
to view credits and I'm going to tell you that
the producer's name was that. This is actually I found it.
Speaker 1 (17:32):
Within that I found it and Charles Roth. Charles Roth,
I also have.
Speaker 4 (17:39):
Oh I don't have listed, I just have em.
Speaker 1 (17:44):
Emo. It was like like a dashboard confessional. Yeah.
Speaker 4 (17:52):
Yeah, and then there was another sound effect, you know,
okay computer and af X twin and cordo his head.
I mean they cast a widen chat and I think
that was probably why there was Also it was after
the DVD one, and then there was another sound effect. Oh,
when he said she doesn't like TV, there was a
weird like I don't know if it's supposed to be
like channel surfing, but there was another way didn't sound
(18:14):
effect after that. So we give the points for sound collage,
artful ambition, you know.
Speaker 2 (18:19):
A lot of times after the episode, I don't listen
to the song, but I think I might listen to
this song again at the end of this episode, just
because you're talking about so many references that I didn't
pick up on that I'm really I'm excited for.
Speaker 4 (18:31):
I have a really finally you're getting me, you're.
Speaker 2 (18:33):
Getting me jazzed, You're really giving I'm giving it a
really big jit chance.
Speaker 1 (18:37):
Now.
Speaker 4 (18:39):
That makes me happy because I do want It's you know,
we're not trying to we're not trying.
Speaker 1 (18:44):
To, you know, artists trying but no.
Speaker 4 (18:49):
But at the same time, there are things that tried
to be addressed. And for me, even if the girls
on snat miland liked it, we have to talk about
the vocal quality. Yeah, not the note nothing like me for.
Speaker 2 (19:02):
Me, and then like those things they are just like
it's a little Matthew Davids, which is if you don't
you could look that up on your own, folks, but
it's very you don't know, if you know, if you know,
you know.
Speaker 4 (19:18):
Yeah, it's like Jesse the guy, this is Jesse.
Speaker 2 (19:21):
It is so Jesse Camp won the VJ Competition, the
first VJ Competition to competition on MTV.
Speaker 4 (19:30):
He definitely introduced this side something.
Speaker 2 (19:33):
Like he was a little bit more like like a
Stephen Tyler, but this guy is a little bit more
like yeah, like maybe the third eye blind guy, Like
he's aspiring to be him, but he's got the same
like vocal fry esque. But then like, I'm going back
to weird elegant because like I do think that there
(19:54):
is a but you know, I will say to that
quality of voice better or for worse, it cuts through
the mix.
Speaker 4 (20:02):
No doubt. Oh yeah, absolutely, maybe that's why they did it.
They were like, you know what, it's just, no matter
what we do with the presets, there's not enough high end.
Speaker 2 (20:09):
He's like, I have an idea, she doesn't care about
my Like it cuts through and it's a wordy song,
and like there's not a there's not a lyric.
Speaker 1 (20:17):
Actually, this takes me to the next point.
Speaker 2 (20:19):
I was gonna say, there's not a lyric where I
don't know what he's saying, but there is a controversial lyric.
So I'm gonna make her laugh, just like Jim Carrey
and some some people.
Speaker 1 (20:31):
I looked online. There's two different lyrics sites.
Speaker 2 (20:32):
I checked one and said, I'm like the Cable Guy
make her laugh, just like, but the one I have
is unlike the Cable Guy.
Speaker 4 (20:41):
Yeah, that's what mine says.
Speaker 2 (20:42):
I believe it that, I believe it's to be and
mine says it's a dig it, Ben Stiller, this is genius,
a dig it. Ben Stiller directed Cable Guy, a dark
comedy that didn't appeal to many of Carrie's fans. I
bet you Tommy Lee Jones loved it, though.
Speaker 4 (20:55):
Yeah, that was his favorite one. I think it's really
funny that they that's that is layered, layered exegesis. There's
no way that's about You're Stiller. It's like that. I'm
sure that that wasn't even not. This guy does seem
clearly this guy does seem very culturally aware, steeped in
the culture. He's not thinking about Ben Stiller.
Speaker 2 (21:17):
I don't think it's you don't think this is like
like like the start of a beef, like a like
a wrap battle between.
Speaker 4 (21:24):
Which just never got picked back up. Yeah. Ben Stiller
was like, hey, I'm already way way.
Speaker 2 (21:29):
No, I'm not ready to I'm not ready to say
that that Ben Stiller didn't hit back in one of
his movies after this.
Speaker 1 (21:35):
I'm not.
Speaker 2 (21:35):
I don't want to go on the records. We have
to look into this a.
Speaker 4 (21:42):
Lot more research for the for Team Chancey. There's a
lot of stuff that Beauregard is gonna have to do
after this this episode. Check stuff out. There is the
thing about that is also can you hear it? It's
the police and they're coming to say that. We have
to point out the breadth of culture. Yes, we talked
about Tyson Beckford, to talk about Robert Redford, we talk
(22:05):
about Leonardo Steve Shemy. Now the Cable Guy thing though,
hasn't history smiled? Hasn't Isn't that like a movie that
has been benefited from a From a reassessment, I thought
The Cable Guy was really funny actually, but I feel
like it was poorly received at the time because that
was Peake Jim Carrey.
Speaker 2 (22:24):
I think people want to just like just slapstick, dumb
and dumber, and I think the movie has more substance.
People wanted the buffoonery and what they got is a
little bits.
Speaker 4 (22:34):
No matter what TLJ said, Yes.
Speaker 2 (22:36):
They got some substance and maybe they weren't ready to
feel what they felt.
Speaker 4 (22:39):
Wow, I'm gonna give that a Chancey that's a good
that's a good assessment, like.
Speaker 1 (22:46):
I will, I will have this in my head all day,
you'll graduate. Should I just wait for me?
Speaker 2 (22:55):
Falsetto though, like not because yeah, head boys seems so
he goes from like she likes.
Speaker 4 (23:01):
Me for me because that is true. That's actually that
actually does indicate and that's something that should go in
the chance pile. It does indicate like as a person
this episode notwithstanding, is I've been phlegmatic throughout as a
person who tries to sing. That does indicate a that's
(23:23):
a style choice and an a range thing because he
some usually when people are doing that sort of like
pinched castrated thing, that means they can't access the sort
of softer their head voice, and he does it. He
actually does it the following line in every chorus, which
is sort of impress.
Speaker 1 (23:42):
We know he's a Pavarotti fan, so.
Speaker 4 (23:45):
Big, big big, and it doesn't matter that he can't
sing like that. She's still like.
Speaker 3 (23:51):
That's true for him.
Speaker 2 (24:04):
The other part that I wish if I could, if
I could, if I could time travel to the studio,
I kick open that door and I would say, here's
what you need.
Speaker 1 (24:13):
You know, the part where it's like is I can't.
Speaker 2 (24:15):
Live without her, and my arm's still long around her,
and I'm so gladound.
Speaker 1 (24:20):
I want that to go away longer, you know, I.
Speaker 2 (24:23):
Want yeah about it out at and you know she's
tall like that at and I'm marco that.
Speaker 1 (24:29):
A like I want like a long one at the end,
at the end, like I'm so glad a founder.
Speaker 4 (24:36):
Well once again, like you know that should be in
the last chorus.
Speaker 1 (24:41):
We already we already have every every song, everything's going on.
Speaker 4 (24:45):
We need that every song, every sing's going on. That
is an excellent producorial note. And I do have to say,
there's a couple of things you just brought me to one.
This is real. For the length of time from first
hearing that song to today, I don't know why I
always thought what he said was this isn't bullshit. For
(25:06):
some reason, my ears have always heard my arms my
arms feel long around Oh wow, that's a great mishard
like she was like really tiny his arms around her.
Speaker 3 (25:20):
Yeah.
Speaker 1 (25:20):
I you know, I don't think I ever thought about
the lyric, but that sounds more right.
Speaker 4 (25:24):
Well. I also think maybe what I thought was because
he says it, there's a couple of like naked expressions
of insecurity, which are kind of sweet, like my fault,
what she sees on my faults and indecisions, my insecure,
my inscare conditions made me say out loud, what But
but I understood he was just there's a rhyme that's
got to happen.
Speaker 1 (25:41):
But I did feel I do feel that tear upon
the pillow that I shed.
Speaker 4 (25:45):
Insane lyric, but yes, yes, yes, the tier upon the
pillow that I shed, that's a little like we need
the pond feels a little you know, where we're suddenly
stepping into Jane Austin territory. But I do want to
say that when he does say this, when when he's
in that something about my arms feel long around her
that made sense in my head was it was a
(26:06):
further expression of insecurity, like he can't get her close enough.
That's what I think I thought, not that she was teensman,
but that he couldn't get her close enough.
Speaker 1 (26:15):
Right.
Speaker 2 (26:15):
No, I think I actually like that lyric. I like,
I know what you mean, Like when you said that,
it almost resonated more than the actual lyric, and so
I think maybe subconsciously I also felt that my arms
feel long around her. Yeah, there is is, you know,
he drops for a song that has references to like
fat Cindy Crawford and stuff like that. But like a
bridge is like gazing, gazing at the ceiling as we
(26:38):
entertain our feelings in the dark, the things that the
things that we're afraid of are gonna show us what
we're made of in the end.
Speaker 4 (26:46):
That's funny because it's funny because the song that's by
the way I write, I do feel like I would
listen to a breakout pod of you reading Lee in
whatever voice that just was. That was really good. Yeah,
But also for a song that leans so heavily on
(27:07):
like a very kind of intentional and obvious rhyme schematic,
I do like that the that in the chorus, the
verse that I'm sorry the bridge, as you just said,
as we had seering feelings in the dark, the things
that we're afraid of, we're going to show us what
we're made of in the end.
Speaker 1 (27:24):
Yeah.
Speaker 2 (27:24):
Well, he you know, he doesn't actually care to rhyme
even that even the first verse is like she don't
care about my car, she don't care about my money,
And that's really good because I don't have a lot
to spend, but if I did, it wouldn't mean nothing.
Speaker 1 (27:37):
It's like, I guess you're.
Speaker 4 (27:38):
Right, you're proving me wrong. I did not do a
close enough read. Maybe what I'm thinking is because of
how into like Redford.
Speaker 1 (27:44):
Yeah, I know, I'm with you.
Speaker 4 (27:46):
And there's a phonetic thing he's doing that's like, you know,
really really you know, kind of candy like pleasing, but
it's not rhyming. You're right. He comes in, he lapses
in and out of rhyming. And it's also funny with
what you're saying about belong. I think there's a thing
like in hip hop when people do that with words,
sounds or syllabic things create times.
Speaker 1 (28:08):
There's a thing that it can actually be.
Speaker 4 (28:11):
Sometimes it's of course he's taken it to the nth
degree that is now like dexterous joylessness, Like I think
it's to him. Listening to him now, you're like, it
just sounds like he's like it's like an exhausted machine
complicating these things. He's excellent at it. But I don't know,
no one feels anything but in music like this, when
(28:34):
people do that, it's like less there's something about it
that actually takes you out of it. I don't know
if that's like rock music's supposed to be a little
more like, I don't know, slouchy or something. The way
that you're but I mean, not compared with plenty of
hip hop is slouschytube. But you know what I mean.
There's something when someone says like, maybe my ears heard
feel long. No one says I feel like I be
(28:55):
long to you. No one says that. That's not how
a person would say that in a hill. Yeah, totally
belong see me mo or whatever way I do. I
listen to a lot of cool music.
Speaker 2 (29:08):
It's interesting because there's a lot of like juxtaposition or
like I'm surprised, Like like when people if I said
to someone, you know, it's she likes me for me,
I think everyone will be like, yeah, yeah, yeah, they
got you know the song that references like Steve Bushemi
and like the guy from Fargo, like everyone I think
remembers that, and like the Leonardo part, but like that
(29:30):
you blew.
Speaker 4 (29:30):
My mind when you told me that was the title.
But anyway, sorry, please I agree.
Speaker 2 (29:33):
I think I wonder how often the parentheses takes over
what the actual title of the song is you know
what I mean.
Speaker 4 (29:40):
With this song, especially since it's the repeated she likes
me for me is like this happens seventy five times.
Speaker 2 (29:47):
She likes me for me is so funny, Like you
know how like people like write songs based on just
like like a someone will just take a phrase and
be like, all right that, let's just write a song about.
Speaker 1 (29:57):
Like that phrase.
Speaker 4 (29:58):
Yeah, you know, yes, it's.
Speaker 1 (30:00):
So funny that this one is she likes me for me,
She likes me for me?
Speaker 4 (30:06):
Yeah, yeah, I mean, look, he was pushing back against
vacuousness and vapidity in culture and prioritization of materialism and
you know, symmetrical attractive, and I give him credit for
that too. He's saying like, basically, what this dude's saying
is like, and of course this song at least momentarily
changed his circumstances. This is gayzy gaseum No, but listen,
(30:28):
it does feel like what he's saying is like, it
doesn't matter that I'm strict up garbage according to the
metrics of the time. He sees through that, and she
likes me for me?
Speaker 2 (30:44):
Why does she waste all her time with me? There
must be something there that I don't say.
Speaker 4 (30:49):
So she's also inspiring him to reassess himself and be like,
I gotta break three for break three, I gotta break three.
I got break three from these traditional metrics of achievement
and accomplishment, It's okay if I don't have a lot
of money, or my car's garbage, or my DVD player
sucks balls.
Speaker 1 (31:05):
It sucks. It's really glitchy.
Speaker 4 (31:06):
It's super glitchy.
Speaker 1 (31:08):
Ruining those DVDs. It's rewinding the the actual physically rewinding
the disc.
Speaker 4 (31:14):
What if the whole song is just to tell you
that he thinks his DVD player, he thinks his VHS
player is a DVD player.
Speaker 1 (31:21):
I hope. The first thing was just like I like DVDs,
and then.
Speaker 2 (31:25):
The band was like, no, no, it's really catchy, but
like we need to switch it up.
Speaker 4 (31:29):
Also, I keep telling you, Blessed, that's a VHS blok.
Speaker 1 (31:34):
We just cracked it.
Speaker 2 (31:35):
His name is Blessed, and so that's why they were like.
He was like, what about blessed and your souls spelt
like my name. Yeah, and they're like, wow, Blessed.
Speaker 1 (31:42):
Good idea.
Speaker 4 (31:43):
Yeah, I like DVDs. She likes DVDs.
Speaker 1 (31:46):
She likes DVDs.
Speaker 2 (31:49):
I yeah, you know, it's it's great, it's it's it's interesting.
It's just a real interesting like there's nothing really like
it on the radio at that time, or sin.
Speaker 4 (32:01):
Yes, there's. I mean, I guess there are. I feel
like I'm a poor I don't keep my all joking aside,
Finger on the Pulse was like, I was in a
burger king with our mutual friend Jay Miller, meeting him recently,
and something was on and I was like, is this
Olivia Rodrigo And he was like, yeah, yeah, And then
like every song that came on, I was like, is
(32:23):
this Olivia?
Speaker 1 (32:24):
It's all Olivia Rodrigo now?
Speaker 2 (32:26):
But all right, So I as I said that, I
was just thinking the other songs are like this, and
I don't know if these are going to be ones
that we give a chance in the future, but this
is definitely channeling.
Speaker 1 (32:36):
Oh not those three single Sinkle says.
Speaker 2 (32:39):
Can't you know I can all the girlies say I'm
pretty fly for a white guy like that.
Speaker 4 (32:46):
That's that would be a hard one for me to
give a chancey.
Speaker 2 (32:48):
Too, that's on the cruise as well, or they could
be on that cruise. They have a cruise, Offspring cruise.
Speaker 4 (32:54):
Also Green Day just played at Irving Plaza and who
was the sponsor Carnival cruise not kid we live in hell,
but please continue?
Speaker 2 (33:02):
Yeah no, So so I think Offspring is in this
category of like especially like it's just weird because they
did start so punk, but then they started doing comedy songs.
Speaker 4 (33:10):
Yeah, that song that also is basically oh blood oh
blah dah.
Speaker 1 (33:15):
Yeah, I don't care, I do that.
Speaker 4 (33:18):
Bitchy's cool cool here, but it was basically like it's
basically oblad o blah dah, the gesture and the little
like you.
Speaker 1 (33:28):
Know, say no way, say no way.
Speaker 4 (33:31):
Yeah, yeah, it is in league with that, that's for sure.
Speaker 2 (33:36):
I love DVD's well, I don't you know again, I
am going to listen to the song again. I encourage
everybody to do it.
Speaker 4 (33:47):
I would say, by the way, Casey, I think did
a pretty good job here. I'm going to extol our
own virtues. This is low hanging fruit, and I think
we to me, I actually do come away with it
being like he's attempted. There's there's a vocal ability that's
clear he is attempting to He's riding a line between
a kind of pop cultural humor and also expression of
(34:09):
real feeling. And I mean, you know they tried those
weird soundcolage things with the messed up VHS DVD.
Speaker 1 (34:15):
Why not you know a risk.
Speaker 2 (34:17):
I will also say that it doesn't feel like a
first draft and it doesn't feel labored. He like hit
a sweet spot where like it feels like, oh I
don't care, It's like I'm throwing some things in. But
there's also obviously some stuff that he really like went
back and like worked on.
Speaker 4 (34:31):
Yeah, like trying to get into the PP A Leonardo
and on that.
Speaker 1 (34:36):
You'll always be in my PP heaven, Kevin, You'll always
be in my.
Speaker 4 (34:41):
PP ah case. Thank you so much.
Speaker 1 (34:44):
Well, thank you everybody for listening. Everybody in our PP.
Speaker 4 (34:47):
Thank you everybody in our PP.
Speaker 1 (34:49):
You know who you are.
Speaker 4 (34:50):
Big shout out to Tobe and honestly, keV, I like
you for you, not because of mess like tuison mess.
Speaker 2 (35:00):
Okay, all right, shout out and again shout out to
our sponsor Tommy Lee Jones.
Speaker 4 (35:04):
And Rosecrdible Chris.
Speaker 1 (35:09):
Okay, I'll see you next time on JC.
Speaker 3 (35:15):
Just give it.
Speaker 1 (35:15):
Sh
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Every week comedian and infamous roaster Nikki Glaser provides a fun, fast-paced, and brutally honest look into current pop-culture and her own personal life.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.