February 5, 2026 • 34 mins
Kevin and Casey stomp, clap, and cringe their way through Home, the millennial love anthem turned Gen Z punching bag by Edward Sharpe & the Magnetic Zeros. Kevin compares it to moldy peaches (the band and the fruit), Casey defends its wedding-core earnestness, and together they ask: is this song a barefoot bride in a $90K dress—or just the musical equivalent of a free people catalog?
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Speaker 1 (00:02):
Give it a chance, give it a chance, give it
a chick. Come on and give it a chance. Give
it a chance, give it a chance, give.
Speaker 2 (00:09):
It a chance.
Speaker 3 (00:09):
Come on and give it a you want to give
it a chance, Give it a chance.
Speaker 1 (00:13):
Give it a chance. Just hey, it's me. Check check check.
We're here for give it a chance.
Speaker 2 (00:21):
The listeners, the Chancers are excited for another ripping, roaring episode,
and our microphones are working. And this is the peak
behind the curtain of how we get set up.
Speaker 1 (00:33):
In this episode.
Speaker 2 (00:33):
We're going to take a look behind the scenes to
see how we do this thing where we just hit
record and talk.
Speaker 4 (00:42):
Uh sometimes case you really get me, you really, I
mean you understand me, but you really get me, like
you really get me. I really.
Speaker 1 (00:49):
I'm the laugher.
Speaker 4 (00:51):
Yeah yeah, you get my goat and you get and
you get Billy goat Gronigan. That's a little echo. So
I guess sing with the little kids. The little kids,
you might ask Chancers, I teach little kids. I don't
hang out with little kids.
Speaker 2 (01:04):
We're going to peek back the curtain and see what
we do when we're not Chanson.
Speaker 1 (01:09):
It's me hanging out in a schoolyard.
Speaker 4 (01:13):
In my pajamas staring.
Speaker 2 (01:18):
I'll peek at how strange our lives are because we
are free at eleven.
Speaker 1 (01:24):
Thirty to do a podcast from our home.
Speaker 4 (01:28):
Will I will. Before you start, I will pull the
camera back. Pull the camera back.
Speaker 1 (01:33):
Pull. We're going to pull the camera back. Whid it out.
Speaker 4 (01:38):
Let's see if I'm wearing pants on the zoom. I am?
I am. There was a I play in a band
called Bad Books. Sometimes It's myself and the band Manchester Orchestra,
and we were doing a phone interview for our first
record in twenty ten. And I was in Brooklyn, and Andy,
(01:58):
who sings for Manchester, was in Alfaretta, Georgia, and the
journalist was I think in Manhattan anyway. It was a
three way call, and at some point Andy was like, hey, man,
where are you right now? And I did happen to
be This was before I had a kid. This was
and I was just like walking around. I was just
walking around park Slope. And when I picked my head up,
I was in a playground alone, like the only adult
(02:23):
without kids at the playground. I was just like I was.
I had a cup of coffee. We were having this conversation.
Andy was like Hey, could you be a little bit
less lovely bones for this conversation?
Speaker 1 (02:33):
Wait, with lovely Bones?
Speaker 4 (02:35):
That's that movie? I think I believe it's a movie
with Stanley Tucci and Sierra.
Speaker 1 (02:41):
Charron in tuc but I don't even know it.
Speaker 4 (02:45):
I think Stanley too is the kind of dude who's
hanging out with.
Speaker 1 (02:49):
Nefarious purps at a playground.
Speaker 4 (02:53):
And it was a time listeners. Maybe you know the movie.
It was a funny line to me. It fell flat
with Kate in real time in this moment because he
had never seen the film. Anyway, I'm glad we've covered
soft soft, inappropriate early stuff right away. Yeah, well, let's
on track.
Speaker 1 (03:13):
Well, well, let's take you out of the playground and
back to where we both are individually now, and that
might be a clue from where we are where we
are now might be a clue of what kind of
song we're doing? Wow? Okay, apartment home No? Oh now
home house a home okay? So I don't know, No,
(03:39):
I don't know if you know this song.
Speaker 2 (03:40):
It's called home okay and it's by Edward Sharp and
the Magnetic Zeros.
Speaker 4 (03:45):
Oh it's stomp stomp clap core right.
Speaker 1 (03:48):
Yes, So there's been this like so I don't I know.
Speaker 2 (03:51):
I remember when the song came out and now and
everyone like loved it. It was like everywhere and there
was like a version of like a little kid like
a little I think a little girl and dad kids bop. No,
like just a viral video. Oh that's actually the.
Speaker 1 (04:04):
First I heard of the song. And then I was like, oh,
let me.
Speaker 2 (04:06):
But there's this backlash that's like about like millennial cringe.
I guess, like I guess like this generation liked it.
Our gender or I don't know you are, you're a erae.
Speaker 4 (04:17):
I'm like a cusp on the Oregon Trail generation where
a cusp gen X very beginning of millennial. I'm probably
trend more gen X, I think than millennial.
Speaker 2 (04:27):
But yeah, so the Milens they they were really loving
the song, and I think the Z the Z's they
were like, this was the worst song ever written. They
said it's the worst song ever written, and they went about.
Speaker 4 (04:43):
I want to know more about that before maybe that's
for after we listen. I actually kind of want to
hear more about the sort of because I will say,
maybe we can just set the table a little bit.
And again, I am so sorry about the lovely Bones
thing as we set the table. I do just want
to say I was like completely ambivalent, slash ignorant to
(05:05):
this song, like I knew it because it was it
was a big hit, like you couldn't kind of I
always kind of and I mean no disparagement. I remember
they did like a tiny desk concert that I think
was a big thing. I actually think I played music
in another project with a guy who was like a
member of their larger ensemble touring band. I think he
played with us anyway, So I played with one of
(05:28):
the Magnetic Zeros in some other context once two thousand
and nine or ten. It seemed like he played like
a trash can in that band or something like it
was like.
Speaker 1 (05:37):
A trash he played played the trash.
Speaker 4 (05:40):
There was a lot of like that, kind of like
like found percussive elements or something like that. And I
got the sense they were kind of like a very
particular era of like Coachella adjacent, urban outfitters adjacent, like
like bohemian. But maybe they all came from education too,
I don't know. It seemed like a very specific thing.
(06:02):
The song was fine. I didn't really it was a
five out of ten. For me, I didn't. It wasn't
like a well, we got to get into the song.
That's what I remember. Maybe now I'll think it's an
eight or two.
Speaker 2 (06:11):
That's why I'm kind of pumped. I haven't really listened
or could be a two. I haven't listened to this
song in a really long time. I remember when it
came out. I did really like that version where it
was a little kid and her dad singing it, I mean,
and it was I was like I thought that they
wrote it, and I was like, well better, it's so sweet,
and that the other viral one of like kids was
(06:32):
like a bunch of kids singing that it feels like.
Speaker 1 (06:35):
We're never go backwards? Baby is that?
Speaker 2 (06:39):
And Paula It's yeah, it's tame and Paula and it's
feels like we go going backwards and it's a It
was a bunch of like sixth graders or fifth graders
singing it, and I was like, wow, that's like so fun.
I mean made you realize like, oh, I guess like
music teachers are just like our age and listening to like.
Speaker 1 (06:56):
Right, like it's not just totally well.
Speaker 2 (06:59):
I went to Catholic school growing up, so it was
always like, you know, Christ has.
Speaker 1 (07:06):
The best.
Speaker 4 (07:07):
The hit for me was always let us proclaim the
mystery of fame. Man, it's all the monots. It's actually
severe in a kind of cool way.
Speaker 2 (07:20):
There's a couple of church songs that there's another one too,
I don't know.
Speaker 4 (07:26):
Spoon Man.
Speaker 2 (07:28):
Yes, spoon Man is like an underrated Christ song.
Speaker 4 (07:32):
Actually, Yo, Soun'm going did have a lot of like
They had a song called Jesus Christ Pose. He was
clearly doing a kind of like Christ via Seattle thing
Chris Cornell. Anyway, No, I'm trying to Cornell.
Speaker 1 (07:45):
I'm trying to find the other like songs that I liked.
Oh church songs, do you remember?
Speaker 4 (07:53):
And they would.
Speaker 1 (07:53):
Lift you up on the eagles wings.
Speaker 4 (07:57):
That's a nice one.
Speaker 1 (07:58):
I just tried to find one of those.
Speaker 2 (07:59):
And one of them that I see that I don't
know is called Come Jesus, Come, and all I could
think of his companies.
Speaker 1 (08:05):
Come, Sid you gotta give me Jesus and you gotta
give me his bread.
Speaker 2 (08:12):
Okay, so let's jump into this song and back, get
back on track, get out of the playground.
Speaker 1 (08:20):
And get into the home.
Speaker 4 (08:22):
While you pause the pod, feel free to take a
two and a half hour pause and watch two thousand
and nine The Lovely Bones starring Stanley Tushi and Sharshower
on him.
Speaker 1 (08:30):
What's it called home? It's called Home by Edward Sharp.
I'm doing music video too. Sorry, all right, bye, so sorry.
Speaker 4 (08:46):
I think I listened to like the extended Maybe you
have like the single version?
Speaker 1 (08:50):
I don't know.
Speaker 2 (08:50):
Yeah, yeah, yeah, no, I was it the one with
the third verses like a spoken like conversation.
Speaker 4 (08:56):
It was, and then there was like a down chorus
after that.
Speaker 1 (09:00):
I had that. I just listened a little faster than you.
This was four minutes and forty one seconds long. Yeah,
casey mm hmm. I don't really like this song. Okay,
so you're in the camp. Maybe you're more Z than X. Honestly,
I'm gens. Zen.
Speaker 4 (09:21):
Is that a thing?
Speaker 2 (09:22):
Like?
Speaker 1 (09:23):
Is it like thing is in you put in your lip?
Speaker 2 (09:27):
That's like those like there's like diph kind of like
dip but it's a packet.
Speaker 1 (09:30):
Yeah, you're gens is it?
Speaker 4 (09:32):
But is it? Is it a tobacco magotine? Because I didn't.
I used to be called snooze.
Speaker 1 (09:39):
That was the thing. That's another thing that's a different one.
But yeah, Zen is like the it got big.
Speaker 2 (09:43):
They were like in those little like hockey puck size,
yeah things, and there they are big with generations z
It's interesting that they're generations in that was a thing.
Speaker 4 (09:52):
That was a thing twenty two years ago, twenty three
years ago.
Speaker 1 (09:57):
Not tobacco.
Speaker 4 (09:58):
It's just like something else.
Speaker 2 (09:59):
It's just like it's straight nick, straight nick, it's nicorette
as if but like you just leave it in your mouth.
Speaker 1 (10:07):
I know a lot of people do it and they're
like it helps me focus. Okay, well, you know, good,
that's good.
Speaker 4 (10:13):
Actually what what?
Speaker 1 (10:14):
I don't need to have a perspective on that. And
plus we give it a chance.
Speaker 2 (10:18):
It's true, yea sinners, Yeah, you don't have to confess
your zins to mens.
Speaker 4 (10:28):
And if you do, let us brook laim the mystery
of faith. Give give the mystery of faith a chance.
By the way, we are sponsored by the cat.
Speaker 1 (10:36):
Come to baby, Come okay, talk to me about this
because I want to hear your opinion. I want to.
Speaker 4 (10:49):
I want to.
Speaker 1 (10:49):
I don't. I don't like it.
Speaker 4 (10:52):
I think it's a really catchy song. I think I
think it's that chorus is a really undeniable chorus, very immediate,
very catchy. I do understand the kind of like sweetness
inherent in the kind of like you know, genesis of
a love story back and forth, and the kind of
like so this the song makes me immediately think of
(11:14):
two songs that are better than it, that do it
a version of it? Maybe three, but two.
Speaker 1 (11:19):
Off the top of my head, Oh, I got one too.
One is which is like sort.
Speaker 4 (11:25):
Of contemporary in the timeline, but I think slightly earlier,
definitely from a more kind of like legitimate, sort of
underground space. It also became an abused song, an overplayed song.
But that multi peacher song that was in Juno, Yes,
that's a better version of this song. More interesting idiosyncrasies
present in the lyrics, I believe. I think the singers
(11:46):
are genuinely like Kimmy and Adam that's there, like weirder people,
and I think their weirdnesses are expressed in ways that
are more like I don't know if they're weirder people,
I should, you know what I mean. I think that
it comes across the way that feels a little bit
more like aic and lived in, and their voice is
it's a less like this is like the marvelization of
that kind of a song like it's damped up and
(12:08):
like it's like that feels a little bit more like
something that that multi Peaches song feels a little bit
more like something you would write in your living room
with your friend and record on a four track, you
know what I mean. And for my personal tastes and
sensibilities that I prefer that. And the other one that
I think is like just so it's like the best
version of this, it's that John Priene song with I
(12:30):
think it's like, is it iris dement maybe the in
Spite of Ourselves? He thinks, oh my jokes are corny.
Combat movies make him horny, Like yeah, that song is
like the foundation text I think for like every song
like this to me or it's like the gold standard
rather that I think it's it's a really beautiful version
(12:51):
of it. So it's probably not a great sign when
a song makes you think of two better versions of
the song you're listening to. That's probably not an awesome
thing for the song.
Speaker 1 (13:00):
I got some other ones, right, Oh yeah, let's do
that now, Rainy gay women, I will not feel so alone?
Speaker 2 (13:09):
Yeah yeah, yeah, that's like thirty tons of yeah. Oh wow,
you remember the numbers.
Speaker 4 (13:14):
I'm a bit of a dillinologist, dude. We'll do another
rip about that.
Speaker 2 (13:18):
Yeah, it's that's that's the other one that comes up
with Janet, the the stuff like the stompclap genre, like
it's sort of like this, that's like the grandfather of that,
right wow, good good point. Yeah, and I think that
there's a back and forth that reminds me of Summer
Nights from Greece.
Speaker 1 (13:37):
Oh my god.
Speaker 4 (13:38):
Well well the foundation text yeah, yeah, yeah, that's it.
That's the actual one.
Speaker 1 (13:42):
I even think like I Got You Babe has that, like.
Speaker 4 (13:47):
Yes, but yeah, I Got You Babe has a it
is a definite sanded pop version of a Dylan thing,
like the way that's delivered, you know what I mean, Like, yeah, baby,
I Got you Babe. It's definitely like yeah, it's that's
totally like a like a like a television version of
a Bob Dylan song or something.
Speaker 1 (14:07):
Yeah, yeah, yeah yeah.
Speaker 2 (14:08):
I wonder if if they were considered that at the time,
sort of like because their sixties, right, so I wonder
if they were like a polished almost like how the
Monkeys were like a sort of totally fabricated Beatles. Although
my uncle was like the Monkeys were still good. You've
heard of Kirk Cobain, Yeah, once in a while. There's
a funny quote where he was asked about his Beatles
(14:28):
influence in their music, and he said, actually, the most
of the best Beatles record I ever heard was the
Chipmunks sing sing the Beatles.
Speaker 1 (14:34):
That's funny.
Speaker 4 (14:35):
It's better than the real mccola.
Speaker 1 (14:48):
Let me go back to the beef, right, because I
wanted to talk about.
Speaker 2 (14:52):
So I think basically someone just posted like this is
the worst song ever, and they linked it to the
Tiny Desk version two and and there was like ninety
million interactions based on this with people like to it
for it, and then it was big enough that that
Edward Sharp guy weighed in and he basically was like,
(15:13):
I understand that, like your issues with it and stuff,
but it's not a bad song. And he was like
he told the story, which I think is really sweet.
His dad was turning eighty or ninety and asked him
to sing ninety year old birthday and he asked him
to sing the song at the birthday party, and it
was just a piano there, and so he had to
(15:34):
like play it with just like whole chords, like on
a piano at a restaurant at noon, and he's like,
that's my that's like my favorite version of the song.
And so like that's interesting that like when you have
a song so big that your family is like, can
you play the song? And you kind of have to,
and you know, so you know when you kind of
(15:55):
you have to take it all in. Because as much
as I with you that this genre feels a little
hack or something, you know, I do think that it's
got smart parts.
Speaker 1 (16:12):
Right.
Speaker 2 (16:12):
It's got this opening, it's got melodies that are catchy
that aren't even related to the singing, and it's even got.
Speaker 1 (16:19):
That bam like that stuff.
Speaker 2 (16:22):
So like I give it credit for like it's it
does have some craftsmanship. I think it's like a little hokey.
It's it's like it's primed for a wedding, you know
what I mean, Like like I don't know if it's
like the Bride and Groom, but it can be, you know,
if it's one of.
Speaker 1 (16:38):
Those like outdoor ways or like the Bride's barefoot.
Speaker 2 (16:41):
I think like there's definitely some of that bohemian I
will also give like millennials credit for this era, which
let me see what year this was do you do
you have a guess?
Speaker 4 (16:52):
I'm gonna guess twenty ten.
Speaker 1 (16:55):
It was released January twenty ten, so it was like
recorded and it didn't really take off probably until twenty tents.
You're on the money.
Speaker 2 (17:02):
This is also like right, this is also like Little
John like lmfao, you know, like, yeah.
Speaker 4 (17:09):
I think that's around the same time. Well, maybe Little
John's a little earlier because Vampire Weekend singing about Little
John in two thousand and eight. So but it's the
same same like three four year window.
Speaker 2 (17:20):
Yeah, I'm looking at some hits and it's like kid
Cutty Day and Night and it's like Robin Dancing on
my own. Yeah, it's like a Beautiful Monster by Neo,
like you know California Girls, Katie Perry, Like that's this
era so like and that's all.
Speaker 1 (17:35):
I think.
Speaker 2 (17:36):
A lot of that is kind of all over the place.
So for something like this to cut through. Oh and
there's that Neon Trees song animal like wow, yeah, Ularue Bulletproof,
Like it's a weird time.
Speaker 4 (17:48):
When was the uh, oh my god, it's another one
of the it's when is the Luminears twenty twelve?
Speaker 1 (17:55):
This is this is definitely Luminears era.
Speaker 4 (17:58):
But this these that's I'm thing, and maybe these these
guys were like pre they might have been Premion years.
Ooh the Premoneres.
Speaker 1 (18:06):
This is what I'm yeah.
Speaker 2 (18:07):
Yeah, so it was a little yeah, twenty twelve, I'm
seeing Lumineers like and then a little like they got
twenty sixteen.
Speaker 1 (18:15):
They had some hits too.
Speaker 4 (18:16):
I think, well, they dude, the Lumineers, which I completely
lost track of, they like play City the Field now,
yeah they've been They play city Field like they played
city Field last year as like a headlining act.
Speaker 1 (18:27):
I was like, what the Lumineers are that big?
Speaker 4 (18:29):
That's crazy. I think everything you just said is so true,
and I also think you made What made me really
want to give it a chance is actually the fact that.
Speaker 1 (18:38):
Any sort of anything like this that's not like a something.
Speaker 4 (18:43):
That's just like a piece of culture, that's not like
something that's like offensive or bigoted or like malicious or
violent or something that just ends up being like this
much of a source of like savagery on the internet.
I want to give a chance to because I'm just like, guys,
it's a fucking song. You can like like or not
like it, But you don't need ninety million people do
(19:04):
not need to be inveighing on like whether it is
the quote literal worst song ever. Now, it's also like
there's a part of me that because of I don't
know however coming up and punk or a'll turn it
in the adjacent whatever you want to call it. Stuff
that's like a little subcultural. I also think it's like
a little funny when someone posts something that says like
this is the worst song ever, it's a little funny,
(19:25):
and then it tips very quickly into something that I'm like,
all right, and I, you know, there's a few things
that I want to try to, like neatly try to
get to. So that is that is an over correction
to call this the worst song ever. It is an
over correction to have that volume of people inveighing about
ripping this apart with sort of like talons or whatever.
(19:46):
And I think his responses actually sounds pretty measured. And
it's also like I hope, for his sake, if the
abiding memory of this song is the time he played
it at a birthday party for his dad in a
restaurant on a piano, that's like that is actually worth
more and like what actually matters about being alive then
(20:07):
playing a tiny desk concert or Coachella or having your
song in a movie or having a bunch of people
on the internet. I tell you it sucks, like the
only and if there's a certain argument through which the
only thing that actually matters is the time he played
it for his fucking father at a birthday party. But
that's a different podcast, maybe a different conversation.
Speaker 1 (20:23):
Yeah.
Speaker 4 (20:23):
The other thing I would say is that I do
think you're right to point out like diversity or breadth
of like what's going on culturally when there's a space
for something like this alongside those things. That's like, I
do think that exists at all times. I'm sure there's
kids coming up now that would point to that there's
a really wide range of sort of I also, I
do think there's a nineties kid that was like a
(20:45):
really there was a lot of like real wild shit
all in the top ten.
Speaker 1 (20:50):
Yeah, for sure, for sure.
Speaker 2 (20:52):
But I think people don't think that it happened again
after the nineties. I think I think a lot of
times people are like true that they're like, oh, it's
been like, you know, pop music has been sort of
like it's all the same thing. And I think when
you look back, you realize, like, oh no, things did
come up, and it's like it's not just the nineties
having stuff like how bizarre by omens Yeah yeah, and also.
Speaker 1 (21:15):
Next it's like jam yeah, yeah, that always happens. Yeah.
Speaker 2 (21:18):
I think this is like the twenty tens. It's like
the last message of like hit songs. Like I think
I think now you kind of get some songs that
pop up that like will just sort of become very
big still, but like it's not, it's less.
Speaker 1 (21:32):
The machine is weirder.
Speaker 4 (21:34):
It's weirder. And I think the part of why I
do think part of why that is a maybe I
don't know if maybe we'll call it for our purposes
like a popular slight misconception, is that I actually think
that's about maybe this is subconscious. I think there's a
few things about that. One is I think it's about
the way it sounds like. I think there was a
(21:55):
point where country music started to We've talked about this
on this show, but country music, for instance, like starts
to incorporate aspects of like technicolor pop and hip hop
in its delivery and production choices to like sort of
athleticize it a little bit more to have to be
able to compete. Actually if you hear it in like
the supermarket between like a super bright hip hop song
(22:18):
and a like pop song. I also think like rock
music or what's called like alternative rock music starts to
also incorporate aspects of like boom, like really big kind
of like almost like dance stuff from BDM and hip
hop and pop. And I think that also what it's
what's funny about this stuff that like what kick stomp
(22:40):
whatever was called stomp clap stop clamp stop.
Speaker 1 (22:43):
Clamp, yeah, stop clamp stomp clap, and.
Speaker 4 (22:47):
Like there's like a woohoo thing and whistling all of
that stuff. Even this stuff the way there's like a
little bit of a like the way it's like beefed
up to kind of have this so like there's like
a little pulse to it that feels a little there's
a way in which things start to get like pushed
towards each other. And then also even the way things
are like mixed and mastered, there's a way that like
(23:09):
you could have it on a Spotify playlist where like
eight songs from disparate genres play in a row. But
they all kind of I kind of get what it
means when someone's like it all sounds the same. It's
not literally that this sounds like Kanye West, sounds like
Taylor Swift sounds like but it is like there is
(23:30):
a way music is now made to compete in the
marketplace that is homogenizing, frankly, and that's from a more
like a technical perspective than it is like I don't know,
chord choices or whatever. I wonder if that's subconsciously part
of why there is something. And also I do think
(23:52):
the movement from like terrestrial radio and MTV towards like
streaming and stuff like that has has changed the way
we like categorize and think about these eras.
Speaker 2 (24:03):
I mean, I think I kind of I'm confused, Like,
you know, I don't really know why that a generation
would hate this song so much. Partially, maybe it's just
like it was on a lot as they were growing up,
and you know, it just that they just decided to pick.
Speaker 4 (24:21):
On this one.
Speaker 2 (24:23):
Or like there was this sort of like bohemian like
style of dress that people that was sort of this
post hipster in terms of like the Williamsburg hipster and
it was this hybrid like like wearing like you know
that that that you know that suspenders and it's like
country hipster or something like that.
Speaker 4 (24:41):
And also it's a little la it's a little like
East It's like it's like free people anthropology. It's like
a little there's like a little bit of a like
of a like you said the wedding with the barefoot bride,
there's a little bit of a like it's like tourist
Nashville by way of tourist East, La. Kid.
Speaker 1 (24:59):
Yeah, Yeah, And it feels faux.
Speaker 2 (25:09):
It feels like like there's this like sort of because
you're it's like, you know, it's a it's one hundred
thousand dollars wedding that where you're taking your shoes off.
I guess my question is, yeah, going back to you
had a thought, why why does this generation hate it?
Speaker 4 (25:22):
I think that there's the like I will say this
again as we've covered uh ad infinitum, and we'll cover again.
I'm a forty five almost forty six year old man,
so I'm not.
Speaker 1 (25:34):
Even say that.
Speaker 4 (25:35):
But what so I don't know what I know?
Speaker 1 (25:37):
Is this that's not true?
Speaker 4 (25:40):
Look, i I'm looking both ways before I say this.
Speaker 1 (25:44):
I lie about my age, like all the time. I
lie about it.
Speaker 4 (25:48):
Can you see my book in the hairline?
Speaker 1 (25:49):
Dude, I I.
Speaker 4 (25:52):
I so, I don't know. I'm not a member of
gen Z. But what I do think is like the lyrics,
I will say this, I found the lyrics, not the chorus.
You're right about to point out the melodic strengths, the
the the what's the word for oh my god? For
how the song is built, not structural arrangement. The arrangement strengths, and.
Speaker 1 (26:13):
The chorus home is wherever.
Speaker 4 (26:15):
That's very catchy, it's romantic, it's it's it's actually a
lovely sentiment and it's delivered well.
Speaker 1 (26:21):
I do like that.
Speaker 4 (26:21):
It's also sort of like the song starts on the
minor of the core of the key it's in. There's
a little like, it's not it's not it could be
so much more bright and sunny actually than it is.
There's a little hint.
Speaker 1 (26:32):
Of darkness in that. I thought that's nice. Yeah, I
love that.
Speaker 4 (26:35):
But what I do think is the lyrics are they're
like cartoonish comic book. They're a little bit like not
the chorus, I mean, the verse is all the like man,
the you know, Jesus Christ and honey Pie and Martin
Luther or a baby doll, Like, there's something about it
that's a little bit like It's like I think it
feels cheap, and I think it feels hacky, and I
(26:58):
think that I don't and look, everything's got to be
like the ghost of Electricity howls and the bones of
her face or whatever. Not everything's gonna be like. But
there is something where like I think. So for me,
something I struggle with with music like this is that
it literally, as we just discussed, but also figuratively, wear's
(27:18):
the clothes of deeper meaning and authenticity and some kind
of like in this instance like post you know, it's
like dust Bowl john Steinbeck by way of Coachella, Like, now,
is that their fault? They're part of a broader thing.
They weren't the only people doing this kind of thing.
They probably were pretty bohemian in their private lives or whatever.
I don't know. Maybe that guy really did fall out
(27:40):
of a window and have to go to the hospital,
and she was smoking a stick whatever it is. But
there's something about the cute sea way they're talking to
each other and here that feels it's a little cringe.
And I do think that gen Z has a real
antenna for that shit. And I also think maybe there's
something to be said also for the like there's something
about feeling maybe for these kids. And this will be
(28:03):
like I'll wrap with this because also I don't want
to get us off into a totally different direction. But
maybe this is an instance where these kids that feel
like they're inheriting a real precarious and treacherous world where
their material conditions are largely degraded in comparison to every generation,
especially in the West and especially in America that's come
(28:24):
before it. Maybe there's something about like watching people who
you presume have some kind of money or status or
whatever cause playing bohemian poverty while they like stomp clap
their way through a kind of like cringe inducing series
of like maybe there's something about it that feels like
differently offensive. Maybe it's why a kid who was into
(28:45):
like maybe serious like not like people like in that
Gen X generation that were like so offended by what
was happening with like the Sunset Strip and stuff like that.
Maybe it's because they were like they were like kind
of like depression kids. They're not just I don't just
mean like mental health wise. They were like growing up
in these depressed towns where there was you know what
I mean, So they were like, yeah, fuck these people
(29:07):
that are selling me this like bullshit lifestyle. And maybe
that's what a gen Z kid feels when they look
at this. They're like the song kind of sucks, and
also like I actually don't have any fucking like there's
not a lot to me to look forward to materially
in the future as things look right now, and these
people are like playing this free people version of like
(29:28):
the Grapes of Wrath or something. I don't know, maybe
I'm giving it too much, but you know what I
mean when I say that, that's.
Speaker 1 (29:34):
That's no I do. Yeah, that all makes a lot
of sense.
Speaker 2 (29:36):
And I want to go back to a point you
made with the lyrics, because I agreed there's a way
to do it better. And I've always been a fan
going back to another song that's a back and forth
Island's in the Stream, right, great song, And I even
just think like maybe when I met.
Speaker 1 (29:51):
You there was peace unknown. I set out to get
you with a fine tooth comb.
Speaker 2 (29:55):
It's like that's off the off the bat it's already
like kind of visual and abstract, but like to the point.
And I think, like it's brave to do a song
that's really to the point, Like to do a song
where you say like I love you is it takes
a lot of it because everyone said it it's trite,
(30:15):
But there's a way to do it. And I think that,
and I think, like you can say, but even just
like this chorus, like islands in the stream, that's what
we are. It's so fun, you know, like quetic.
Speaker 4 (30:26):
Too, dude, that's that's actually like there's a lot in that. Actually, Yeah,
I'll never tell you what isn't it. I'll never tell
you about that what I think about it, because you don't.
I would never tell you. But there's a lot in it.
And I'll just say that I'll leave it there. I'll
be withholding. I'll never tell you case. I'll never.
Speaker 1 (30:45):
Do you have any back and forth songs?
Speaker 4 (30:47):
Yeah, this one. I actually wrote this Edward Sharp song.
Speaker 1 (30:50):
What a to us that would be.
Speaker 4 (30:53):
I think there's a part in a Bad Book song
where Andy and I sing like and I think maybe
even ins Whittaker. I think I start the final verse
and then he I don't know if I have a song.
There is a song in this new project I have
with Caroline from the band brother Bird where I wrote
the song, but it's treated like a duet like we
(31:15):
sing it back and forth. So maybe that's the first
like one I could really think of. Maybe mm I'm
never going to use the pod to promote my own shit,
so people have to find it on their own. But yeah,
I'll never tell them either.
Speaker 1 (31:27):
But Jenny and I had us.
Speaker 2 (31:28):
I've written some songs for this back and forth, and
Jenny and I have one song where it's like the
Bridge or something where it's like it's like it's you know,
like a man and woman back and forth, not Jenny
and I like a from our perspective.
Speaker 4 (31:39):
Yeah, yeah, yeah, I.
Speaker 2 (31:41):
Want to marry thee and then like you'll be my
bride to be and if I die before I wake great,
that's great.
Speaker 1 (31:51):
Oh that's really good. Yeah that's the Hi lyrics. That's
better than this. That's funnier and more original than anything
in this fucking song. Now, this is the part where
we go walk you.
Speaker 4 (32:02):
I just don't like like look, I just think look,
and I know we're coming up hot and heavy. Pumpkin
Pie chocolate candy, Jesus Christ, that's stupid. I'm sorry, Like
they were multiple times in this song where I just
was like, ugh, cause there's I get what they're doing,
and they should. I would like it done better, and
I think it is done better other places, for instance,
(32:23):
in the literal thing you just shared from your own band.
I'm not just saying that to you because you're like this,
And so maybe that's also part of it, that there's
people who's just like they see through it and they
think it's bullshit. And also it's beautiful that he played
this song and it was meaningful for him at his
father's ninetieth birthday as a person who's had to play.
Speaker 1 (32:41):
A song of his own at like a thing like
that family.
Speaker 4 (32:45):
Yes, yeah, I think that there's that's that's a real
abiding memory. But yeah, is it the worst song ever written?
I wouldn't say that. Do I think it's a good song.
I think it's it's it's it's catchy and undeniable and
some bases there are aspects of it that I like,
But I really do not like the lyrical aspect of
this song. And I think some of the genre choices
(33:08):
ended up not aging especially well that's for me all right,
gen Z you have this one yo gemme is let
me can I bumm us in.
Speaker 1 (33:17):
Yeah, we're sponsored by Sin. Make sure you pop that
ship in your mouth, but that tongue in your mouth.
Speaker 4 (33:26):
And also we are sponsored by Howard Zen's The People's
History of the United States, and so make sure you
pop us in while you read some zin.
Speaker 1 (33:34):
Thanks for listening, zinners.
Speaker 3 (33:37):
Let us proclaim the mystery that's a mortals in. Everybody's
going on with Zen today. You know what that sound means.
Get z in
Speaker 2 (34:00):
Y
Give it a chance, give it a chance, give it
a chick. Come on and give it a chance. Give
it a chance, give it a chance, give.
Speaker 2 (00:09):
It a chance.
Speaker 3 (00:09):
Come on and give it a you want to give
it a chance, Give it a chance.
Speaker 1 (00:13):
Give it a chance. Just hey, it's me. Check check check.
We're here for give it a chance.
Speaker 2 (00:21):
The listeners, the Chancers are excited for another ripping, roaring episode,
and our microphones are working. And this is the peak
behind the curtain of how we get set up.
Speaker 1 (00:33):
In this episode.
Speaker 2 (00:33):
We're going to take a look behind the scenes to
see how we do this thing where we just hit
record and talk.
Speaker 4 (00:42):
Uh sometimes case you really get me, you really, I
mean you understand me, but you really get me, like
you really get me. I really.
Speaker 1 (00:49):
I'm the laugher.
Speaker 4 (00:51):
Yeah yeah, you get my goat and you get and
you get Billy goat Gronigan. That's a little echo. So
I guess sing with the little kids. The little kids,
you might ask Chancers, I teach little kids. I don't
hang out with little kids.
Speaker 2 (01:04):
We're going to peek back the curtain and see what
we do when we're not Chanson.
Speaker 1 (01:09):
It's me hanging out in a schoolyard.
Speaker 4 (01:13):
In my pajamas staring.
Speaker 2 (01:18):
I'll peek at how strange our lives are because we
are free at eleven.
Speaker 1 (01:24):
Thirty to do a podcast from our home.
Speaker 4 (01:28):
Will I will. Before you start, I will pull the
camera back. Pull the camera back.
Speaker 1 (01:33):
Pull. We're going to pull the camera back. Whid it out.
Speaker 4 (01:38):
Let's see if I'm wearing pants on the zoom. I am?
I am. There was a I play in a band
called Bad Books. Sometimes It's myself and the band Manchester Orchestra,
and we were doing a phone interview for our first
record in twenty ten. And I was in Brooklyn, and Andy,
(01:58):
who sings for Manchester, was in Alfaretta, Georgia, and the
journalist was I think in Manhattan anyway. It was a
three way call, and at some point Andy was like, hey, man,
where are you right now? And I did happen to
be This was before I had a kid. This was
and I was just like walking around. I was just
walking around park Slope. And when I picked my head up,
I was in a playground alone, like the only adult
(02:23):
without kids at the playground. I was just like I was.
I had a cup of coffee. We were having this conversation.
Andy was like Hey, could you be a little bit
less lovely bones for this conversation?
Speaker 1 (02:33):
Wait, with lovely Bones?
Speaker 4 (02:35):
That's that movie? I think I believe it's a movie
with Stanley Tucci and Sierra.
Speaker 1 (02:41):
Charron in tuc but I don't even know it.
Speaker 4 (02:45):
I think Stanley too is the kind of dude who's
hanging out with.
Speaker 1 (02:49):
Nefarious purps at a playground.
Speaker 4 (02:53):
And it was a time listeners. Maybe you know the movie.
It was a funny line to me. It fell flat
with Kate in real time in this moment because he
had never seen the film. Anyway, I'm glad we've covered
soft soft, inappropriate early stuff right away. Yeah, well, let's
on track.
Speaker 1 (03:13):
Well, well, let's take you out of the playground and
back to where we both are individually now, and that
might be a clue from where we are where we
are now might be a clue of what kind of
song we're doing? Wow? Okay, apartment home No? Oh now
home house a home okay? So I don't know, No,
(03:39):
I don't know if you know this song.
Speaker 2 (03:40):
It's called home okay and it's by Edward Sharp and
the Magnetic Zeros.
Speaker 4 (03:45):
Oh it's stomp stomp clap core right.
Speaker 1 (03:48):
Yes, So there's been this like so I don't I know.
Speaker 2 (03:51):
I remember when the song came out and now and
everyone like loved it. It was like everywhere and there
was like a version of like a little kid like
a little I think a little girl and dad kids bop. No,
like just a viral video. Oh that's actually the.
Speaker 1 (04:04):
First I heard of the song. And then I was like, oh,
let me.
Speaker 2 (04:06):
But there's this backlash that's like about like millennial cringe.
I guess, like I guess like this generation liked it.
Our gender or I don't know you are, you're a erae.
Speaker 4 (04:17):
I'm like a cusp on the Oregon Trail generation where
a cusp gen X very beginning of millennial. I'm probably
trend more gen X, I think than millennial.
Speaker 2 (04:27):
But yeah, so the Milens they they were really loving
the song, and I think the Z the Z's they
were like, this was the worst song ever written. They
said it's the worst song ever written, and they went about.
Speaker 4 (04:43):
I want to know more about that before maybe that's
for after we listen. I actually kind of want to
hear more about the sort of because I will say,
maybe we can just set the table a little bit.
And again, I am so sorry about the lovely Bones
thing as we set the table. I do just want
to say I was like completely ambivalent, slash ignorant to
(05:05):
this song, like I knew it because it was it
was a big hit, like you couldn't kind of I
always kind of and I mean no disparagement. I remember
they did like a tiny desk concert that I think
was a big thing. I actually think I played music
in another project with a guy who was like a
member of their larger ensemble touring band. I think he
played with us anyway, So I played with one of
(05:28):
the Magnetic Zeros in some other context once two thousand
and nine or ten. It seemed like he played like
a trash can in that band or something like it
was like.
Speaker 1 (05:37):
A trash he played played the trash.
Speaker 4 (05:40):
There was a lot of like that, kind of like
like found percussive elements or something like that. And I
got the sense they were kind of like a very
particular era of like Coachella adjacent, urban outfitters adjacent, like
like bohemian. But maybe they all came from education too,
I don't know. It seemed like a very specific thing.
(06:02):
The song was fine. I didn't really it was a
five out of ten. For me, I didn't. It wasn't
like a well, we got to get into the song.
That's what I remember. Maybe now I'll think it's an
eight or two.
Speaker 2 (06:11):
That's why I'm kind of pumped. I haven't really listened
or could be a two. I haven't listened to this
song in a really long time. I remember when it
came out. I did really like that version where it
was a little kid and her dad singing it, I mean,
and it was I was like I thought that they
wrote it, and I was like, well better, it's so sweet,
and that the other viral one of like kids was
(06:32):
like a bunch of kids singing that it feels like.
Speaker 1 (06:35):
We're never go backwards? Baby is that?
Speaker 2 (06:39):
And Paula It's yeah, it's tame and Paula and it's
feels like we go going backwards and it's a It
was a bunch of like sixth graders or fifth graders
singing it, and I was like, wow, that's like so fun.
I mean made you realize like, oh, I guess like
music teachers are just like our age and listening to like.
Speaker 1 (06:56):
Right, like it's not just totally well.
Speaker 2 (06:59):
I went to Catholic school growing up, so it was
always like, you know, Christ has.
Speaker 1 (07:06):
The best.
Speaker 4 (07:07):
The hit for me was always let us proclaim the
mystery of fame. Man, it's all the monots. It's actually
severe in a kind of cool way.
Speaker 2 (07:20):
There's a couple of church songs that there's another one too,
I don't know.
Speaker 4 (07:26):
Spoon Man.
Speaker 2 (07:28):
Yes, spoon Man is like an underrated Christ song.
Speaker 4 (07:32):
Actually, Yo, Soun'm going did have a lot of like
They had a song called Jesus Christ Pose. He was
clearly doing a kind of like Christ via Seattle thing
Chris Cornell. Anyway, No, I'm trying to Cornell.
Speaker 1 (07:45):
I'm trying to find the other like songs that I liked.
Oh church songs, do you remember?
Speaker 4 (07:53):
And they would.
Speaker 1 (07:53):
Lift you up on the eagles wings.
Speaker 4 (07:57):
That's a nice one.
Speaker 1 (07:58):
I just tried to find one of those.
Speaker 2 (07:59):
And one of them that I see that I don't
know is called Come Jesus, Come, and all I could
think of his companies.
Speaker 1 (08:05):
Come, Sid you gotta give me Jesus and you gotta
give me his bread.
Speaker 2 (08:12):
Okay, so let's jump into this song and back, get
back on track, get out of the playground.
Speaker 1 (08:20):
And get into the home.
Speaker 4 (08:22):
While you pause the pod, feel free to take a
two and a half hour pause and watch two thousand
and nine The Lovely Bones starring Stanley Tushi and Sharshower
on him.
Speaker 1 (08:30):
What's it called home? It's called Home by Edward Sharp.
I'm doing music video too. Sorry, all right, bye, so sorry.
Speaker 4 (08:46):
I think I listened to like the extended Maybe you
have like the single version?
Speaker 1 (08:50):
I don't know.
Speaker 2 (08:50):
Yeah, yeah, yeah, no, I was it the one with
the third verses like a spoken like conversation.
Speaker 4 (08:56):
It was, and then there was like a down chorus
after that.
Speaker 1 (09:00):
I had that. I just listened a little faster than you.
This was four minutes and forty one seconds long. Yeah,
casey mm hmm. I don't really like this song. Okay,
so you're in the camp. Maybe you're more Z than X. Honestly,
I'm gens. Zen.
Speaker 4 (09:21):
Is that a thing?
Speaker 2 (09:22):
Like?
Speaker 1 (09:23):
Is it like thing is in you put in your lip?
Speaker 2 (09:27):
That's like those like there's like diph kind of like
dip but it's a packet.
Speaker 1 (09:30):
Yeah, you're gens is it?
Speaker 4 (09:32):
But is it? Is it a tobacco magotine? Because I didn't.
I used to be called snooze.
Speaker 1 (09:39):
That was the thing. That's another thing that's a different one.
But yeah, Zen is like the it got big.
Speaker 2 (09:43):
They were like in those little like hockey puck size,
yeah things, and there they are big with generations z
It's interesting that they're generations in that was a thing.
Speaker 4 (09:52):
That was a thing twenty two years ago, twenty three
years ago.
Speaker 1 (09:57):
Not tobacco.
Speaker 4 (09:58):
It's just like something else.
Speaker 2 (09:59):
It's just like it's straight nick, straight nick, it's nicorette
as if but like you just leave it in your mouth.
Speaker 1 (10:07):
I know a lot of people do it and they're
like it helps me focus. Okay, well, you know, good,
that's good.
Speaker 4 (10:13):
Actually what what?
Speaker 1 (10:14):
I don't need to have a perspective on that. And
plus we give it a chance.
Speaker 2 (10:18):
It's true, yea sinners, Yeah, you don't have to confess
your zins to mens.
Speaker 4 (10:28):
And if you do, let us brook laim the mystery
of faith. Give give the mystery of faith a chance.
By the way, we are sponsored by the cat.
Speaker 1 (10:36):
Come to baby, Come okay, talk to me about this
because I want to hear your opinion. I want to.
Speaker 4 (10:49):
I want to.
Speaker 1 (10:49):
I don't. I don't like it.
Speaker 4 (10:52):
I think it's a really catchy song. I think I
think it's that chorus is a really undeniable chorus, very immediate,
very catchy. I do understand the kind of like sweetness
inherent in the kind of like you know, genesis of
a love story back and forth, and the kind of
like so this the song makes me immediately think of
(11:14):
two songs that are better than it, that do it
a version of it? Maybe three, but two.
Speaker 1 (11:19):
Off the top of my head, Oh, I got one too.
One is which is like sort.
Speaker 4 (11:25):
Of contemporary in the timeline, but I think slightly earlier,
definitely from a more kind of like legitimate, sort of
underground space. It also became an abused song, an overplayed song.
But that multi peacher song that was in Juno, Yes,
that's a better version of this song. More interesting idiosyncrasies
present in the lyrics, I believe. I think the singers
(11:46):
are genuinely like Kimmy and Adam that's there, like weirder people,
and I think their weirdnesses are expressed in ways that
are more like I don't know if they're weirder people,
I should, you know what I mean. I think that
it comes across the way that feels a little bit
more like aic and lived in, and their voice is
it's a less like this is like the marvelization of
that kind of a song like it's damped up and
(12:08):
like it's like that feels a little bit more like
something that that multi Peaches song feels a little bit
more like something you would write in your living room
with your friend and record on a four track, you
know what I mean. And for my personal tastes and
sensibilities that I prefer that. And the other one that
I think is like just so it's like the best
version of this, it's that John Priene song with I
(12:30):
think it's like, is it iris dement maybe the in
Spite of Ourselves? He thinks, oh my jokes are corny.
Combat movies make him horny, Like yeah, that song is
like the foundation text I think for like every song
like this to me or it's like the gold standard
rather that I think it's it's a really beautiful version
(12:51):
of it. So it's probably not a great sign when
a song makes you think of two better versions of
the song you're listening to. That's probably not an awesome
thing for the song.
Speaker 1 (13:00):
I got some other ones, right, Oh yeah, let's do
that now, Rainy gay women, I will not feel so alone?
Speaker 2 (13:09):
Yeah yeah, yeah, that's like thirty tons of yeah. Oh wow,
you remember the numbers.
Speaker 4 (13:14):
I'm a bit of a dillinologist, dude. We'll do another
rip about that.
Speaker 2 (13:18):
Yeah, it's that's that's the other one that comes up
with Janet, the the stuff like the stompclap genre, like
it's sort of like this, that's like the grandfather of that,
right wow, good good point. Yeah, and I think that
there's a back and forth that reminds me of Summer
Nights from Greece.
Speaker 1 (13:37):
Oh my god.
Speaker 4 (13:38):
Well well the foundation text yeah, yeah, yeah, that's it.
That's the actual one.
Speaker 1 (13:42):
I even think like I Got You Babe has that, like.
Speaker 4 (13:47):
Yes, but yeah, I Got You Babe has a it
is a definite sanded pop version of a Dylan thing,
like the way that's delivered, you know what I mean, Like, yeah, baby,
I Got you Babe. It's definitely like yeah, it's that's
totally like a like a like a television version of
a Bob Dylan song or something.
Speaker 1 (14:07):
Yeah, yeah, yeah yeah.
Speaker 2 (14:08):
I wonder if if they were considered that at the time,
sort of like because their sixties, right, so I wonder
if they were like a polished almost like how the
Monkeys were like a sort of totally fabricated Beatles. Although
my uncle was like the Monkeys were still good. You've
heard of Kirk Cobain, Yeah, once in a while. There's
a funny quote where he was asked about his Beatles
(14:28):
influence in their music, and he said, actually, the most
of the best Beatles record I ever heard was the
Chipmunks sing sing the Beatles.
Speaker 1 (14:34):
That's funny.
Speaker 4 (14:35):
It's better than the real mccola.
Speaker 1 (14:48):
Let me go back to the beef, right, because I
wanted to talk about.
Speaker 2 (14:52):
So I think basically someone just posted like this is
the worst song ever, and they linked it to the
Tiny Desk version two and and there was like ninety
million interactions based on this with people like to it
for it, and then it was big enough that that
Edward Sharp guy weighed in and he basically was like,
(15:13):
I understand that, like your issues with it and stuff,
but it's not a bad song. And he was like
he told the story, which I think is really sweet.
His dad was turning eighty or ninety and asked him
to sing ninety year old birthday and he asked him
to sing the song at the birthday party, and it
was just a piano there, and so he had to
(15:34):
like play it with just like whole chords, like on
a piano at a restaurant at noon, and he's like,
that's my that's like my favorite version of the song.
And so like that's interesting that like when you have
a song so big that your family is like, can
you play the song? And you kind of have to,
and you know, so you know when you kind of
(15:55):
you have to take it all in. Because as much
as I with you that this genre feels a little
hack or something, you know, I do think that it's
got smart parts.
Speaker 1 (16:12):
Right.
Speaker 2 (16:12):
It's got this opening, it's got melodies that are catchy
that aren't even related to the singing, and it's even got.
Speaker 1 (16:19):
That bam like that stuff.
Speaker 2 (16:22):
So like I give it credit for like it's it
does have some craftsmanship. I think it's like a little hokey.
It's it's like it's primed for a wedding, you know
what I mean, Like like I don't know if it's
like the Bride and Groom, but it can be, you know,
if it's one of.
Speaker 1 (16:38):
Those like outdoor ways or like the Bride's barefoot.
Speaker 2 (16:41):
I think like there's definitely some of that bohemian I
will also give like millennials credit for this era, which
let me see what year this was do you do
you have a guess?
Speaker 4 (16:52):
I'm gonna guess twenty ten.
Speaker 1 (16:55):
It was released January twenty ten, so it was like
recorded and it didn't really take off probably until twenty tents.
You're on the money.
Speaker 2 (17:02):
This is also like right, this is also like Little
John like lmfao, you know, like, yeah.
Speaker 4 (17:09):
I think that's around the same time. Well, maybe Little
John's a little earlier because Vampire Weekend singing about Little
John in two thousand and eight. So but it's the
same same like three four year window.
Speaker 2 (17:20):
Yeah, I'm looking at some hits and it's like kid
Cutty Day and Night and it's like Robin Dancing on
my own. Yeah, it's like a Beautiful Monster by Neo,
like you know California Girls, Katie Perry, Like that's this
era so like and that's all.
Speaker 1 (17:35):
I think.
Speaker 2 (17:36):
A lot of that is kind of all over the place.
So for something like this to cut through. Oh and
there's that Neon Trees song animal like wow, yeah, Ularue Bulletproof,
Like it's a weird time.
Speaker 4 (17:48):
When was the uh, oh my god, it's another one
of the it's when is the Luminears twenty twelve?
Speaker 1 (17:55):
This is this is definitely Luminears era.
Speaker 4 (17:58):
But this these that's I'm thing, and maybe these these
guys were like pre they might have been Premion years.
Ooh the Premoneres.
Speaker 1 (18:06):
This is what I'm yeah.
Speaker 2 (18:07):
Yeah, so it was a little yeah, twenty twelve, I'm
seeing Lumineers like and then a little like they got
twenty sixteen.
Speaker 1 (18:15):
They had some hits too.
Speaker 4 (18:16):
I think, well, they dude, the Lumineers, which I completely
lost track of, they like play City the Field now,
yeah they've been They play city Field like they played
city Field last year as like a headlining act.
Speaker 1 (18:27):
I was like, what the Lumineers are that big?
Speaker 4 (18:29):
That's crazy. I think everything you just said is so true,
and I also think you made What made me really
want to give it a chance is actually the fact that.
Speaker 1 (18:38):
Any sort of anything like this that's not like a something.
Speaker 4 (18:43):
That's just like a piece of culture, that's not like
something that's like offensive or bigoted or like malicious or
violent or something that just ends up being like this
much of a source of like savagery on the internet.
I want to give a chance to because I'm just like, guys,
it's a fucking song. You can like like or not
like it, But you don't need ninety million people do
(19:04):
not need to be inveighing on like whether it is
the quote literal worst song ever. Now, it's also like
there's a part of me that because of I don't
know however coming up and punk or a'll turn it
in the adjacent whatever you want to call it. Stuff
that's like a little subcultural. I also think it's like
a little funny when someone posts something that says like
this is the worst song ever, it's a little funny,
(19:25):
and then it tips very quickly into something that I'm like,
all right, and I, you know, there's a few things
that I want to try to, like neatly try to
get to. So that is that is an over correction
to call this the worst song ever. It is an
over correction to have that volume of people inveighing about
ripping this apart with sort of like talons or whatever.
(19:46):
And I think his responses actually sounds pretty measured. And
it's also like I hope, for his sake, if the
abiding memory of this song is the time he played
it at a birthday party for his dad in a
restaurant on a piano, that's like that is actually worth
more and like what actually matters about being alive then
(20:07):
playing a tiny desk concert or Coachella or having your
song in a movie or having a bunch of people
on the internet. I tell you it sucks, like the
only and if there's a certain argument through which the
only thing that actually matters is the time he played
it for his fucking father at a birthday party. But
that's a different podcast, maybe a different conversation.
Speaker 1 (20:23):
Yeah.
Speaker 4 (20:23):
The other thing I would say is that I do
think you're right to point out like diversity or breadth
of like what's going on culturally when there's a space
for something like this alongside those things. That's like, I
do think that exists at all times. I'm sure there's
kids coming up now that would point to that there's
a really wide range of sort of I also, I
do think there's a nineties kid that was like a
(20:45):
really there was a lot of like real wild shit
all in the top ten.
Speaker 1 (20:50):
Yeah, for sure, for sure.
Speaker 2 (20:52):
But I think people don't think that it happened again
after the nineties. I think I think a lot of
times people are like true that they're like, oh, it's
been like, you know, pop music has been sort of
like it's all the same thing. And I think when
you look back, you realize, like, oh no, things did
come up, and it's like it's not just the nineties
having stuff like how bizarre by omens Yeah yeah, and also.
Speaker 1 (21:15):
Next it's like jam yeah, yeah, that always happens. Yeah.
Speaker 2 (21:18):
I think this is like the twenty tens. It's like
the last message of like hit songs. Like I think
I think now you kind of get some songs that
pop up that like will just sort of become very
big still, but like it's not, it's less.
Speaker 1 (21:32):
The machine is weirder.
Speaker 4 (21:34):
It's weirder. And I think the part of why I
do think part of why that is a maybe I
don't know if maybe we'll call it for our purposes
like a popular slight misconception, is that I actually think
that's about maybe this is subconscious. I think there's a
few things about that. One is I think it's about
the way it sounds like. I think there was a
(21:55):
point where country music started to We've talked about this
on this show, but country music, for instance, like starts
to incorporate aspects of like technicolor pop and hip hop
in its delivery and production choices to like sort of
athleticize it a little bit more to have to be
able to compete. Actually if you hear it in like
the supermarket between like a super bright hip hop song
(22:18):
and a like pop song. I also think like rock
music or what's called like alternative rock music starts to
also incorporate aspects of like boom, like really big kind
of like almost like dance stuff from BDM and hip
hop and pop. And I think that also what it's
what's funny about this stuff that like what kick stomp
(22:40):
whatever was called stomp clap stop clamp stop.
Speaker 1 (22:43):
Clamp, yeah, stop clamp stomp clap, and.
Speaker 4 (22:47):
Like there's like a woohoo thing and whistling all of
that stuff. Even this stuff the way there's like a
little bit of a like the way it's like beefed
up to kind of have this so like there's like
a little pulse to it that feels a little there's
a way in which things start to get like pushed
towards each other. And then also even the way things
are like mixed and mastered, there's a way that like
(23:09):
you could have it on a Spotify playlist where like
eight songs from disparate genres play in a row. But
they all kind of I kind of get what it
means when someone's like it all sounds the same. It's
not literally that this sounds like Kanye West, sounds like
Taylor Swift sounds like but it is like there is
(23:30):
a way music is now made to compete in the
marketplace that is homogenizing, frankly, and that's from a more
like a technical perspective than it is like I don't know,
chord choices or whatever. I wonder if that's subconsciously part
of why there is something. And also I do think
(23:52):
the movement from like terrestrial radio and MTV towards like
streaming and stuff like that has has changed the way
we like categorize and think about these eras.
Speaker 2 (24:03):
I mean, I think I kind of I'm confused, Like,
you know, I don't really know why that a generation
would hate this song so much. Partially, maybe it's just
like it was on a lot as they were growing up,
and you know, it just that they just decided to pick.
Speaker 4 (24:21):
On this one.
Speaker 2 (24:23):
Or like there was this sort of like bohemian like
style of dress that people that was sort of this
post hipster in terms of like the Williamsburg hipster and
it was this hybrid like like wearing like you know
that that that you know that suspenders and it's like
country hipster or something like that.
Speaker 4 (24:41):
And also it's a little la it's a little like
East It's like it's like free people anthropology. It's like
a little there's like a little bit of a like
of a like you said the wedding with the barefoot bride,
there's a little bit of a like it's like tourist
Nashville by way of tourist East, La. Kid.
Speaker 1 (24:59):
Yeah, Yeah, And it feels faux.
Speaker 2 (25:09):
It feels like like there's this like sort of because
you're it's like, you know, it's a it's one hundred
thousand dollars wedding that where you're taking your shoes off.
I guess my question is, yeah, going back to you
had a thought, why why does this generation hate it?
Speaker 4 (25:22):
I think that there's the like I will say this
again as we've covered uh ad infinitum, and we'll cover again.
I'm a forty five almost forty six year old man,
so I'm not.
Speaker 1 (25:34):
Even say that.
Speaker 4 (25:35):
But what so I don't know what I know?
Speaker 1 (25:37):
Is this that's not true?
Speaker 4 (25:40):
Look, i I'm looking both ways before I say this.
Speaker 1 (25:44):
I lie about my age, like all the time. I
lie about it.
Speaker 4 (25:48):
Can you see my book in the hairline?
Speaker 1 (25:49):
Dude, I I.
Speaker 4 (25:52):
I so, I don't know. I'm not a member of
gen Z. But what I do think is like the lyrics,
I will say this, I found the lyrics, not the chorus.
You're right about to point out the melodic strengths, the
the the what's the word for oh my god? For
how the song is built, not structural arrangement. The arrangement strengths, and.
Speaker 1 (26:13):
The chorus home is wherever.
Speaker 4 (26:15):
That's very catchy, it's romantic, it's it's it's actually a
lovely sentiment and it's delivered well.
Speaker 1 (26:21):
I do like that.
Speaker 4 (26:21):
It's also sort of like the song starts on the
minor of the core of the key it's in. There's
a little like, it's not it's not it could be
so much more bright and sunny actually than it is.
There's a little hint.
Speaker 1 (26:32):
Of darkness in that. I thought that's nice. Yeah, I
love that.
Speaker 4 (26:35):
But what I do think is the lyrics are they're
like cartoonish comic book. They're a little bit like not
the chorus, I mean, the verse is all the like man,
the you know, Jesus Christ and honey Pie and Martin
Luther or a baby doll, Like, there's something about it
that's a little bit like It's like I think it
feels cheap, and I think it feels hacky, and I
(26:58):
think that I don't and look, everything's got to be
like the ghost of Electricity howls and the bones of
her face or whatever. Not everything's gonna be like. But
there is something where like I think. So for me,
something I struggle with with music like this is that
it literally, as we just discussed, but also figuratively, wear's
(27:18):
the clothes of deeper meaning and authenticity and some kind
of like in this instance like post you know, it's
like dust Bowl john Steinbeck by way of Coachella, Like, now,
is that their fault? They're part of a broader thing.
They weren't the only people doing this kind of thing.
They probably were pretty bohemian in their private lives or whatever.
I don't know. Maybe that guy really did fall out
(27:40):
of a window and have to go to the hospital,
and she was smoking a stick whatever it is. But
there's something about the cute sea way they're talking to
each other and here that feels it's a little cringe.
And I do think that gen Z has a real
antenna for that shit. And I also think maybe there's
something to be said also for the like there's something
about feeling maybe for these kids. And this will be
(28:03):
like I'll wrap with this because also I don't want
to get us off into a totally different direction. But
maybe this is an instance where these kids that feel
like they're inheriting a real precarious and treacherous world where
their material conditions are largely degraded in comparison to every generation,
especially in the West and especially in America that's come
(28:24):
before it. Maybe there's something about like watching people who
you presume have some kind of money or status or
whatever cause playing bohemian poverty while they like stomp clap
their way through a kind of like cringe inducing series
of like maybe there's something about it that feels like
differently offensive. Maybe it's why a kid who was into
(28:45):
like maybe serious like not like people like in that
Gen X generation that were like so offended by what
was happening with like the Sunset Strip and stuff like that.
Maybe it's because they were like they were like kind
of like depression kids. They're not just I don't just
mean like mental health wise. They were like growing up
in these depressed towns where there was you know what
I mean, So they were like, yeah, fuck these people
(29:07):
that are selling me this like bullshit lifestyle. And maybe
that's what a gen Z kid feels when they look
at this. They're like the song kind of sucks, and
also like I actually don't have any fucking like there's
not a lot to me to look forward to materially
in the future as things look right now, and these
people are like playing this free people version of like
(29:28):
the Grapes of Wrath or something. I don't know, maybe
I'm giving it too much, but you know what I
mean when I say that, that's.
Speaker 1 (29:34):
That's no I do. Yeah, that all makes a lot
of sense.
Speaker 2 (29:36):
And I want to go back to a point you
made with the lyrics, because I agreed there's a way
to do it better. And I've always been a fan
going back to another song that's a back and forth
Island's in the Stream, right, great song, And I even
just think like maybe when I met.
Speaker 1 (29:51):
You there was peace unknown. I set out to get
you with a fine tooth comb.
Speaker 2 (29:55):
It's like that's off the off the bat it's already
like kind of visual and abstract, but like to the point.
And I think, like it's brave to do a song
that's really to the point, Like to do a song
where you say like I love you is it takes
a lot of it because everyone said it it's trite,
(30:15):
But there's a way to do it. And I think that,
and I think, like you can say, but even just
like this chorus, like islands in the stream, that's what
we are. It's so fun, you know, like quetic.
Speaker 4 (30:26):
Too, dude, that's that's actually like there's a lot in that. Actually, Yeah,
I'll never tell you what isn't it. I'll never tell
you about that what I think about it, because you don't.
I would never tell you. But there's a lot in it.
And I'll just say that I'll leave it there. I'll
be withholding. I'll never tell you case. I'll never.
Speaker 1 (30:45):
Do you have any back and forth songs?
Speaker 4 (30:47):
Yeah, this one. I actually wrote this Edward Sharp song.
Speaker 1 (30:50):
What a to us that would be.
Speaker 4 (30:53):
I think there's a part in a Bad Book song
where Andy and I sing like and I think maybe
even ins Whittaker. I think I start the final verse
and then he I don't know if I have a song.
There is a song in this new project I have
with Caroline from the band brother Bird where I wrote
the song, but it's treated like a duet like we
(31:15):
sing it back and forth. So maybe that's the first
like one I could really think of. Maybe mm I'm
never going to use the pod to promote my own shit,
so people have to find it on their own. But yeah,
I'll never tell them either.
Speaker 1 (31:27):
But Jenny and I had us.
Speaker 2 (31:28):
I've written some songs for this back and forth, and
Jenny and I have one song where it's like the
Bridge or something where it's like it's like it's you know,
like a man and woman back and forth, not Jenny
and I like a from our perspective.
Speaker 4 (31:39):
Yeah, yeah, yeah, I.
Speaker 2 (31:41):
Want to marry thee and then like you'll be my
bride to be and if I die before I wake great,
that's great.
Speaker 1 (31:51):
Oh that's really good. Yeah that's the Hi lyrics. That's
better than this. That's funnier and more original than anything
in this fucking song. Now, this is the part where
we go walk you.
Speaker 4 (32:02):
I just don't like like look, I just think look,
and I know we're coming up hot and heavy. Pumpkin
Pie chocolate candy, Jesus Christ, that's stupid. I'm sorry, Like
they were multiple times in this song where I just
was like, ugh, cause there's I get what they're doing,
and they should. I would like it done better, and
I think it is done better other places, for instance,
(32:23):
in the literal thing you just shared from your own band.
I'm not just saying that to you because you're like this,
And so maybe that's also part of it, that there's
people who's just like they see through it and they
think it's bullshit. And also it's beautiful that he played
this song and it was meaningful for him at his
father's ninetieth birthday as a person who's had to play.
Speaker 1 (32:41):
A song of his own at like a thing like
that family.
Speaker 4 (32:45):
Yes, yeah, I think that there's that's that's a real
abiding memory. But yeah, is it the worst song ever written?
I wouldn't say that. Do I think it's a good song.
I think it's it's it's it's catchy and undeniable and
some bases there are aspects of it that I like,
But I really do not like the lyrical aspect of
this song. And I think some of the genre choices
(33:08):
ended up not aging especially well that's for me all right,
gen Z you have this one yo gemme is let
me can I bumm us in.
Speaker 1 (33:17):
Yeah, we're sponsored by Sin. Make sure you pop that
ship in your mouth, but that tongue in your mouth.
Speaker 4 (33:26):
And also we are sponsored by Howard Zen's The People's
History of the United States, and so make sure you
pop us in while you read some zin.
Speaker 1 (33:34):
Thanks for listening, zinners.
Speaker 3 (33:37):
Let us proclaim the mystery that's a mortals in. Everybody's
going on with Zen today. You know what that sound means.
Get z in
Speaker 2 (34:00):
Y
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