June 4, 2026 • 40 mins
Kevin and Casey revisit Jason Mraz’s early-2000s hit “Remedy (I Won’t Worry)” and unpack everything from open mic culture and college-field singalongs to questionable scatting, Mr. A-Z album titles, and the eternal struggle between authenticity and overproduction. Plus, is the remedy really not worrying, or just passing the blunt in a field?
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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 on and give it a chance.
Speaker 1 (00:06):
Give it a chance, give it a chance, give it
a chick. Come on and give it a you want
to give it a chance, Give it a chance, Give
it a chance. Just give it ach.
Speaker 2 (00:18):
Everybody.
Speaker 1 (00:19):
But you know, pump it up? That's not the song.
Speaker 2 (00:22):
I don't even know if I know that song. Welcome
to the show. While you had a little Do I
know that song? Don't you know?
Speaker 1 (00:28):
Pump it up? You got to pump it up?
Speaker 2 (00:31):
Don't you know? Pump it up? You've got to pump
it up. No pump a nickel. Come around with right
side bread.
Speaker 1 (00:39):
So you know what, you'll give me that chance?
Speaker 2 (00:42):
Everybody, come and dance. Is that jah Rabink? I think?
Is that baby? We're gonna give jor Jo Binks a
chance today, everybody. Uh casey. I've been preparing this EP
for a long time. When we jumped mediums to film,
and I tell you we're gonna give Dr Banks a chance.
Speaker 1 (01:02):
I honestly think that would you do do well? Because
I think I think the Star Wars community has given
him a chance and they've been like, wow, we like
came for him. A little too hard and it's it's
not bad?
Speaker 2 (01:13):
Is that true? Yes? Oh, I think the Star Wars
community needs to do better. Frankly, you like jar Jar?
Are you pro jar Jar?
Speaker 1 (01:22):
I don't famously have no real like heavy opinion on
Star Wars.
Speaker 2 (01:30):
America had knows this about me America, Haspucci America.
Speaker 1 (01:34):
Yeah, but no, I I I feel that like I
like them all, even all the kind of movies, Okay, because.
Speaker 2 (01:41):
I think all of the movies even is a hot take.
Speaker 1 (01:43):
For sure, because I honestly think the original three have
have just as many problems as the others.
Speaker 2 (01:48):
I'm just realizing something that we're going to leave in
here for now until it becomes a problem. I think
I'm on the wrong Wi Fi network, and I'm gonna
find out. Should I just jump on work right now?
Or should we.
Speaker 1 (02:00):
Let's we're gonna roll the dice that that's what we do.
Give that Wi Fi.
Speaker 2 (02:04):
A chance, all right, I've given five this this all right,
I'll tell you guys the network in case you're ever
at my building, veris are none as as the the
underscore five G but that one tends to drop, so
we're gonna find out.
Speaker 1 (02:18):
I feel like if somebody is like a real anonymous hacker,
they can reach you.
Speaker 2 (02:22):
No, yeah, maybe we should make that go like during
the pod Hey, Evan, when you're when you're just Evan Latham,
when you're when you're editing this.
Speaker 1 (02:35):
Go during the use that sound over it?
Speaker 2 (02:39):
All right, So it's not jarjar, although Casey thinks all
the movies are the same. Good for Star Wars.
Speaker 1 (02:44):
Yeah, and that's that's what that's my hot take, and
that's what I give a chance to.
Speaker 2 (02:50):
I feel like I don't remember anything about the last three,
the ones with Adam Driver and uh, I don't know
that person's name, but yeah, there's Adam Drivers in it.
And then I remember a lot about four, five, and six,
which of course were the first three, and I remember
a little about one, two and three, And that's my
(03:12):
remember take.
Speaker 1 (03:14):
Well, if you've got the poison, I've got the remedy.
Speaker 2 (03:17):
Wait, that's that's the lyric. Okay, what is that? If
you got the poison, I've.
Speaker 1 (03:22):
Got the r's Actually, if you got.
Speaker 2 (03:24):
If you got the poison, I've got the remedy.
Speaker 1 (03:27):
Yep, that's it.
Speaker 2 (03:28):
I know the lyric, but for some reason in my head,
I can't hear the melody I will tell you what
I am hearing, which is funny. You know, Pour some
Sugar on Me by def Leppard.
Speaker 1 (03:37):
Of course, you know.
Speaker 2 (03:38):
I love the breakdown part where he says, like, you
got the peaches, I got the cream? Oh yeah, yeah,
but in my head it always like you got the something,
I got speed sweet potatoes drama. Mean, but I don't
think that's a yeah. What does he say, you got
the peaches, I got the cream? Gross?
Speaker 1 (03:56):
Gross, really gross.
Speaker 2 (03:59):
That's the kind of stuff where we at We're not
even at the four minute mark. That's the kind of
stuff that Kurt was out to get. Really yeah. He
was like, we cannot have any more of this peaches
and cream stuff in rock and roll. It's got to
be about unkst wound.
Speaker 1 (04:13):
On wi hunks, cooked unks.
Speaker 2 (04:17):
Yeah, Mike, Kurt was such a chopp dunk.
Speaker 1 (04:19):
Dude who has a chop dunk? He never got to
live long enough to become a chop dunk.
Speaker 2 (04:25):
No, like attitudinally that like Groucy, he was kind of
a chopp dunk at twenty four. In some ways he
was on twenty four to the first season. You can
go back and look, sorry, all.
Speaker 1 (04:35):
Right, what do we got got the poison, I've got
the remedy.
Speaker 2 (04:39):
Okay? Is it like, oh? Is it? Wait? Is it
the Black Crows?
Speaker 1 (04:45):
You're not far off in terms of like a vibe,
but it's it's not as it's not as uh No,
it's not that they.
Speaker 2 (04:52):
Had a song called Remedy. Okay, gots, it's the gots.
The is really that they tell you, right? It's like
Blues Traveler? Am I getting further away?
Speaker 1 (05:01):
No? No, no, this is all you're like dancing along like
the area of what that's like?
Speaker 2 (05:05):
Okay? Oh oh oh oh oh Is it the one
that goes like I just want to be Oh that's
a good one, you know the song I'm talking about?
Speaker 1 (05:16):
Yeah?
Speaker 2 (05:21):
Yeah, yeah? Is that that's they say revenue?
Speaker 1 (05:23):
I don't want to be anything? No, that's not it.
That's also in this genre holy ship. All right, this
is kind of a trained genre too, Okay, But it
touches upon like the Dave Matthews Jack Johnson.
Speaker 2 (05:39):
Is it like, all right, touches upon Dave Matthews Jack
Johnson in the general vicinity of the things we've been saying.
Speaker 1 (05:46):
Is it like, is it like Casey's leaving? Is it
like my dog was scratching. You could keep that in
or not that we should keep it in. We want reality, Yeah,
we need reality.
Speaker 2 (05:58):
This is authenticity I've heard is very important in the
podcast space. We need this. It's like hord Tour h
O r D. Is it like spin Doctors? I don't know.
I'm a much later Afield, much later than spin Doctor.
Speaker 1 (06:10):
Yeah. Think about Jack Johnson, think about Train, think about
that era.
Speaker 2 (06:14):
It's making me think of things that are not right.
Kind of crows d m b uh.
Speaker 1 (06:19):
Solo artist he's I would say, like, is.
Speaker 2 (06:22):
It mister a to Z?
Speaker 1 (06:23):
Yes, Jason, who's like kind of the first Ed Sheeran.
Speaker 2 (06:27):
Oh, mister that is like this sorry before we even
get into giving it a chance. Yes you have. You
have picked a steep mountain for Kevin to climb today.
Mister a to Z might be the stupidest album title
to me of the last Like, I don't know it.
It's really high up there for me.
Speaker 1 (06:47):
I can't.
Speaker 2 (06:48):
It's like unconscionably stupid.
Speaker 1 (06:52):
It's his last name, and he's like people when people
realize that, Hold on one second.
Speaker 2 (06:58):
You heard you heard a plane going Afghanistan?
Speaker 1 (07:02):
Cool, Okay, cobble, you're leaving now oh okay, cool, Sorry
I didn't Yeah, okay, let's keep all that on.
Speaker 2 (07:13):
I think we should art thou bored snap it to
a slim jeer. All right, So Casey's got the dog,
Lisa's gone for the day. It's time for us to
get into am I supposed to say this is name?
Speaker 1 (07:30):
Yes, I've finally Lee Lee s to A came out
of the closet. Is at being married to Lisa.
Speaker 2 (07:37):
Lee s to A, Mister a to Z.
Speaker 1 (07:40):
Yes, No, it's so going back, mister a Z. I
can imagine that he was like, this is gonna blow
people's minds because it's my last name.
Speaker 2 (07:47):
And you know, you know it and you know it
was also like there's a fool proof thing built into it.
That's like if someone was to say to him, like, dude,
what are you doing, He's like, no, it's funny. You know,
it's like funny. It's like, now you can't wear that hat,
write those songs, call your record, mister a de Zy,
and have it be anything other than catastrophically herbish for
(08:09):
me for kd oh, see you're frozen. I think they
were on the wrong WiFi. Oh I'm gonna try a
really heavy move here and skip to the other Wi Fi.
I think we should leave all of this in a
truly cursed start to the ep I guess answers. So
(08:33):
what just happened was, as predicted, the wrong Wi Fi network, weird,
it's ugly ahead, but now we're on the right Wi
Fi network and it's just gonna be smooth, Syalin.
Speaker 1 (08:41):
This is the sort of authenticity that people are craving.
Speaker 2 (08:44):
Yeah, And when they go to like marketing meetings for podcasts,
like when they go to like a marketing symposium, you'll
hear them say like, let it be organic, let it
be authentic, let it be ozimpic, let it be who
meant it?
Speaker 1 (08:58):
Yes, you say those things.
Speaker 2 (09:00):
Yeah, And they're like Clarence's parents had a very nice orange.
Speaker 1 (09:03):
You know, I know what that means. I know exactly
what you do.
Speaker 2 (09:08):
I know you do said it to me recently. By
the way, if you don't know this, go check it out.
Evan M's like Anderson Cooper, I think it's like nothing
rhymes with orange, Like what do you do with that?
And Emin I was like I had an orange and
there was some porridge and yeah, yeah, and I scratched
it was a more itch and or whatever it is
that he does.
Speaker 1 (09:25):
Yea more itch.
Speaker 2 (09:29):
Clarence's parents had a very nice more itch.
Speaker 1 (09:34):
Maury porbitch, look pitch.
Speaker 3 (09:40):
Or this.
Speaker 2 (09:41):
So listen, we are at the precipice of a that's
where we went to school. Casey and I state.
Speaker 1 (09:53):
What, Lisa though, Uh, we're going to jump into the song.
Now listen to it and then break it down.
Speaker 2 (09:59):
But what what is the song called? Is it called remedy?
Speaker 1 (10:01):
Remedy? It's called remedy.
Speaker 2 (10:03):
Everybody go listen to Remedy by month senior A two Z.
Speaker 1 (10:11):
Well, if you've got the pores and I've got the remedy,
the remedy.
Speaker 2 (10:16):
Oh man, Okay, so here's here's the thing hit me. So,
first of all, this is from the record waiting for
My Rocket to Come. It's not mister It is not
from mister All. Yeah, I forgot. I totally know this song.
I forgot until we were actually listening to it. I
(10:39):
forgot that I definitely have heard this many times.
Speaker 1 (10:43):
Yeah, this was like a big summer song at one point.
Speaker 2 (10:45):
Big hit. And I feel like I should also point
out the album cover, which is like a like on
the streaming platform of my choice, is like an animated
This is JIFF for GIF. What do you say?
Speaker 1 (10:57):
It's graphic interface right, so it should be IF gift.
But but people say, Jeff, all right, well.
Speaker 2 (11:02):
Gif of him sitting on a curb and there's like
a chicken next to him. He's like talking to the
chicken with his palms upturned and he's like shaking his
head from left to right like he's opining about something
to the chicken. And then like a car pulls in
right at and stops right. This is about to run
(11:24):
over missus crazy. You know that's your streaming service does that?
And maybe now it's it could be artificial intelligence aided.
It could be God, which is which I listen and listen.
I don't know who the sponsors are going to be today.
I I to me, I let anybody in the door. Dude,
(11:44):
I don't give a shit. As long as they have
a fucking cold. They have the remedy for me, and
that remedy is cold hard bit coin. And when they
show up with the money, they dumped the truck on
the chancers and we say bring it all spons me.
So the spots could be.
Speaker 1 (12:02):
A today's sponsor's actually ar fifteens.
Speaker 2 (12:07):
Fifteen fifteen. But no, I think there's a lot to
talk about here actually, and I would because yeah, oh yeah,
it's kind of two different songs would be the first thing.
Speaker 1 (12:19):
I mean, I don't want to just jump in hot week,
Oh I do, I want you to please, I'm excited
to talk.
Speaker 2 (12:23):
There's what he does when he's singing, and there's what
he does when he's scatting. And I would say, you're right,
there was a moment in the scatting. There's also I
think there's a lot happening lyrically that is just like
such a product of its time. And I don't want
to be like it's funny. I don't want to be
like too harsh a critic in some ways because I
(12:44):
feel like, for instance, i'll start here. So there's two songs.
One is what he's doing when he's singing, like in
the choruses and in the bridge. He's actually got like
a really nice singing voice when he opens up his
saddle voice, and that hook in the chorus is a
really nice melody. It's a really like I won't worry. Yeah,
it's got a real like ascendant soaring. It's like it's
(13:05):
like a parabolic thing happening. It goes up, it comes down,
it hits a peak. I can see why. I'm sure
when this was recorded, the record label was like, that's
the single that's going to be a hit, and it is.
There's a sweetness to his voice actually in that register.
It's very open and appealing. I think that that's one thing,
so I'm trying to give that a chance. Right off
(13:26):
the top, in my brain, I conjures up an image
of an open field people watching this dude play, like
college kids, girls with long hair holding like a solo
cup full of and like dancing kind of you know
what I'm talking about, that little sway and they're in
a field. It's nice and they're like they won't worry
their lives away either. So it's it's effective and part
(13:48):
of what I feel like we got to do when
we give stuff a chance, Like what was the intention
and did they need it?
Speaker 1 (13:53):
And you know, I feel like.
Speaker 2 (13:54):
That's part of what he's doing. I feel like I
give credit to the structure. There is an actual discernible
bridge that actually has like again, I like the bridge.
The bridge might be my favorite part. Yeah, nice melody
in the bridge. And from there there's a lot of
stuff that I just for me are like no fly
(14:15):
zones about what's going on in this song? And look,
as I've said, what are we in season twelve? As
I've said many times, what could be more subjective than
what you do or don't like about music? About anything?
But let's music. It really may be almost primarily like
it's so it's completely what is one person's taste versus
(14:35):
another person's taste, but he does a few things. I
think the primary problem I have with this song is
all of the like affectation, the bullshit affectations with respect
to is actual expression, Like all of these like gots
to I know, that's the stuff that I'm like, yo,
(14:57):
what the fuck is that? Like? Why did you have?
This song could have been legitimately twenty percent more palatable
to me with the removal of those extras the.
Speaker 1 (15:08):
Guy that yeah you know what that is. It's like
when a dad's like, oh, I know rap yo yo
yo homade that cringey kind of like oh my god,
(15:34):
it just has an aged But there might have been
like at the time, like some sort of like you know,
maybe it was like fresh to do that, but it's
because I didn't when I remember when this song came out,
and that probably didn't bother me. I had have friends
that were in a band that wanted to sound like this.
Speaker 2 (15:51):
Yeah, it.
Speaker 1 (15:53):
Was like Maroon five Train Jason Moras, Like they really
wanted to sound like that. They were not doing like
sort of the scat rap you know, you know, but yeah,
it's connected to that. It's that. The The other lyric
that bothered me was while while they were counting down
(16:14):
the ways to stab the brother in the be right
back after this, like, ah, like that's really that was assuming.
It was like that sent me to another place.
Speaker 2 (16:23):
Yeah, of course it did. It's I mean, look, look
so one thing at a time. I feel like we
need to with the gots. I got the remedy, I says.
The comedy is that it's serious. I have to go
I have to say this out loud, and it's it's
potentially what it is is Also it's like it's cringey
(16:43):
for sure, it also flirts with something a little worse
than cringey. It's a little bit. It's a little bit,
it's a little bit on the on the spectrum of appropriation. Yeah,
it's like white dude like scat wrapping what he thinks
will make him sound a little bit more like down.
And what is the ultimate goal of any white dude
(17:05):
who is trying to sound down. It's to kind of
come across like a black dude rapping.
Speaker 1 (17:11):
That is effectively and you're not wrong, but I also
think that it's so absent of it and like it
doesn't even appropriate because it's like so off the mark.
I understand. It's like it's you know what it is.
And I think he kind of got into some Broadway stuff.
It's the Broadway version. It's definitely a Broadway version of it.
Speaker 2 (17:31):
Yep, you know.
Speaker 1 (17:32):
And but you got the poison, I got the remedy.
It's it's too it's chilling.
Speaker 2 (17:39):
It should hang. It's chilling, it should hang. It hangs
in the rafters with uh magic and rude like get
they're to there. There's a little bit for me. There's
a lot of you know, the.
Speaker 1 (17:49):
Part where he like switches gears and you you could
tell he feels like he's cooking, but he's like the
remedy it's experienced le zone. Yeah, I said, it's the
comedy the.
Speaker 2 (17:59):
Best we.
Speaker 1 (18:01):
You know, like that where he's just like really like, oh,
I locked in here.
Speaker 2 (18:07):
You know, he finished that take and and whoever they
were paying six figures or whatever to be in the
room doing this was like, dude, fire so good mister
A is you really that was like, you know the Pinnacle,
I mean.
Speaker 1 (18:23):
Yeah, lose, that's what it is too.
Speaker 2 (18:25):
It's it's it's blues.
Speaker 1 (18:26):
It's it's like but that's neuse. So maybe that's more
the appropriation and not so much of like the the
rap appropriation. It's a little bit more of the of
that like soul like blues, you know, guy, which, like
you know, John Mayer is another one who who kind
of touched upon a lot of this stuff, and I know.
Speaker 2 (18:45):
He gets like an eternal pass in some arenas because
he's such a gifted guitarist, you know, like I know,
people really John Mayer seems to actually have like a
degree of kind of like cultural cachet and like critical
acclaim also like music head acclaim. He's now he's like
a grateful Dead member and whatever else. But which is
kind of a cool as a cul de sac little
(19:06):
mini conversation about John Mayer. He's not for me, but
I also do completely identify that it's kind of a
cool thing to do with that degree of like pop
stardom or whatever to then be like, you know what
I'm actually going to do for the next seven years,
I'm going to be in The Grateful Dead or whatever
version of The Grateful Dead is, you know, dead and co.
Speaker 1 (19:26):
The biggest chancey I give I give John Mayer is
that he is such a student. Yes, and he is
like I end teacher. You know if you've seen like
some he'll put out videos like talking about structure.
Speaker 2 (19:38):
Song structure and approach to guitar.
Speaker 1 (19:40):
Yeah, honestly that's something that I you know, you do
a lot too, like you you work with with people,
and like you think about things so analytically. He does
that like he is a fully Like he'll hear a
song and be like, oh, okay, you're going to to
the two to the four, two to the four, you know,
like he could hear things and just break it down
in such a What was the video.
Speaker 2 (19:59):
That circulated, I feel like where he talked about finding
a song. There's a song that he talks about this
is if I can't get it, it's irrelevant. There was
something where he talked about a song he fell in
love with, and the and the and the the melodic
approach to it, and how like the chord voicings and
how it was very interesting and it come to me
(20:22):
after maybe someone will put it, We'll tell us somewhere
a comment on Instagram or something where it's it's a
well known song, but he kind of talks about why
what made it special, and it was the chord voicings.
The choice is to not do first position chords. It
might have been a U two song or something, but no.
And it's relevant to talk about John Mayer in the
context of Jason Ras because I do feel like he
(20:42):
ends up becoming like the mountaintop for whatever this is.
He's like kind of like it's like, uh, highest achievement
or something. I guess Dave Matthews is what some would argue,
but I think Dave Matthews is like a generation before
this before And.
Speaker 1 (20:56):
Also I don't know if you hit the same heights
that like like, because because many different things hits, you
know what I mean, like like those be good, oh
my god, yeah, a ton of other stuff and then
plays with all these different people. Got the ok from
like blues grates for guitar. Yeah, he is a Chappelle.
(21:20):
He came on our show. He came on in practice.
Oh no way, I didn't know that and like wanted
to out of because he was such a fan. Oh
that's cool, so so but so I have I definitely
have to check my bias on this. But he I
think he's kind of the one. He also he was young,
but like never was like I had the Bieber sort
(21:41):
of like douchey moments. Maybe maybe he dated a lot
of people. Yeah, there was a lot made of his,
like he didn't like pee in a cleaning bucket or
like go to the Frank Museum and write I hope
she would have been a believer.
Speaker 2 (21:53):
I mean, that's that is that is something I forgot
and that is absolutely almost like reality rending and it's
total insanity. That's like something that like like like if
Hanos gets the time Jim and he goes back to
that moment and just eviscerates Justin Bieber. That's so good.
Speaker 1 (22:17):
It is. It's it's in that like he's done so
much you forget how how bad that one of the
things are.
Speaker 2 (22:25):
But I also do think, like you know, I think
that it's funny because this more it's funny. I listened
to it. There's a great podcast I would encourage people
to listen to you called The Nostalgia Trap. Really good stuff.
Our mutual friend Dola Michael Iaderola termance this podcast and
they just talk about a lot of different things. It's
(22:46):
the sky, a couple of people and there really it's
like a I think it's through the lens of what
role nostalgia plays, both positive and negative in the American
cultural imagination. And there is an episode where he talks
to two It's a dude probably in his forties who
mostly does a podcasts, but he had these two older
jazz musicians he knew on the podcast, one of whom
(23:07):
was like a seventy one year old black man, and
they talk about the idea of cultural appropriation and whether
or not it even exists, Like what is that a
real thing? Or is everybody just sort of like borrowing
from everybody and that's the nature of but and it's
it's a really good conversation that I will not recount
entirely here. But what it made me think about in
(23:28):
this context was, Yes, you make a fine distinction with
the gatsta stuff between it's more like it is more
like scatting that comes from Yes, blues jazz even then,
and that might be hip hop, but what it does
feel like to me and what maybe it's like. Also
the larger profile I know of mister A Z with
(23:49):
his sartorial choices and sort of like the way he
moves through is the public presentation of his music. He
might be a lovely guy, by the way. I have
no idea. I'm sure he is. Yeah.
Speaker 1 (23:57):
I have friends of friends of him, and they love him,
and that he's nervous about even.
Speaker 2 (24:01):
That's okay, It's fine that being said.
Speaker 1 (24:04):
Because I actually really to that point though there in
doing this, I was like, let me check the catalog,
and there are songs that.
Speaker 2 (24:11):
I like, I'm sure there are. I mean he has talents.
Speaker 1 (24:14):
Yeah, That's what I want to say, is that like
this isn't this is an old one that I'm sure
he even sometimes goes on stage being like, oh man.
Speaker 2 (24:20):
I gotta do it.
Speaker 1 (24:20):
Oh yeah, yeah, I mean, well that's it's the hit though,
so you gotta love it right now. How many artists
have these songs that they're like, oh, I don't want
to play this, No, it's.
Speaker 2 (24:27):
It seems to be like the prison and the launch Path,
you know, the rocket ride of having a song that
anyone you know, it's that it's like amazing that that happened,
and then also like you have to do that till
you're eighty years old, play some you know, unless you don't.
There's people who choose a different path. But it's a
little bit of a harder, harder road to hoe. But
(24:47):
I think the thing that's maybe above what we need
to be doing here or outside the thing that just
to be direct. It's less about a question of quote
unquote appropriation, but blues, hip hop, jazz as these things,
regardless of whatever where it falls, there is something in
this that does smack of this era and of a
particular kind of tone deaf. Honestly, Matthew David's is poking
(25:09):
fun a little bit at this too. It's a little
bit of white dude adopting certain quote unquote black cadences
to seem a little cooler and a little more like
authentic or something or like interesting. And that's something that
just sort of like jumps through the screen when you
(25:32):
see it, where you're like, uh oh. And I'm sure
there's plenty of other Mystery Z songs where he doesn't
do that, but this one it is like the minute
someone's doing gots it when you just said the lyrics
at the top of this episode, not even remembering exactly
what it was, it was like, oh, yeah, you can't
do that, Like you can't at gusta gusta. Yeah, Like
that's insane. Like Vanilla literally Vanilla Ice did that literally
(25:56):
literally literally he has a song that starts with gotsta
gatsta yep, yeah up, And it's like, yeah, you can't
do that.
Speaker 1 (26:02):
You just can't do You're right. Going back to the
Matthew David's of it, like.
Speaker 2 (26:06):
Matthew David's of it, which.
Speaker 1 (26:08):
Now is like we you know, that's the text I
got from a friend that was just like, I didn't.
He's a good friend of mine. He was like, I didn't.
I haven't seen these Matthew David stuff into the last
podcast he did, so check it out.
Speaker 2 (26:18):
You got him to watch people. Let's kick Casey's on
Fire episode.
Speaker 1 (26:23):
Five one where you do the song and I back
it up and I'm playing all the wrong notes, but
I do I do like little I also do little
hip hop moments.
Speaker 2 (26:32):
We're so close every day in my life.
Speaker 1 (26:34):
Yeah, yeah, so that's that's what this is. I I
never thought that I had like I was doing that
as well, but I got one hundred percent do that
in that version of of like a character that's like
and that that always this guy Matthew David that I
play and Jason Moras before he became Jason Moras is
fully the open my guy, totally open my guy. Like
(26:57):
that's the thing, like so many people have like reached
out that our musicians that like at some point played
an open mic, and there was like this guy that
like was sort of like the star of the open mic.
It was like his you know, his height, and it
was like doing stuff like like this, being like I'm
gonna do a version of I'm gonna do a Tupac
song with an acoustic.
Speaker 2 (27:16):
Guitar without it without even exaggerating that is so spot on,
And every open mic at my college this is ninety
seven to oh one. He's still there's some dude that
got up and was like literally it would be like, yeah,
I mean, didn't Ben Folds do a version of like
Boys in the Hood or someone did something like that
that was like but like there was that I think
(27:37):
also like sanctioned it for people to be like, well,
Ben Folds does that, so like it's kind of and
also like I'm saying this as a person, I've played
my share of open mics, and I definitely know that
there was somewhere, somewhere at the basement of the Wetlands
or at the cafeteria at Fordiam University. I definitely played
like sixty percent joking and forty percent to show you
(27:58):
I could do it like stay in where I like
sang the choruses, but then I like actually did wrap
the verses and people were like, oh, that was funny,
but also like that was kind of cool. Yeah, and
I'm like, it wasn't you. I was.
Speaker 1 (28:12):
I was walking around and Shuffle was on, and there
was a I have like a lot like one of
your live shows. I think from Bowery Ballroom. You do that,
You did that long medley.
Speaker 2 (28:24):
Oh we did that was at Webster Hall, I know. Yeah, yeah,
we did score showy, Yeah, so much stuff. But I'm
that was our encore on a tour we did, which
in retrospect is insane. It was like let's get up
and we're stir it up.
Speaker 1 (28:38):
Yes, yeah, it was like everything. It was like whatever
Strambourg played next, right, like whatever I was part of it.
Sweet child of mine was in there. I think, yeah,
but I feel like there's definitely times I've seen you
and you've started with uh, palms are sweaty, like you've
done that bunch and I but that's the thing, like
there's a there. It's weird, but there is slight difference
(29:00):
where it's like this tongue in cheek everyone knows I'm
joking versus like everybody I'm about to do Gangster's Paradise.
Speaker 2 (29:06):
I would make an argument that there's a really significant difference.
I'm not saying that. I'm not saying this in any self.
I'm removing myself from this when I say this, if
I saw somebody, like when you see somebody like make
a joke like that in the context of a like
I saw Better Better Oblivion Community Center. I think it
was at the band with like Phoebe Bridges and Connor Oberst.
(29:29):
They had a band saw that show and it was
and at their encore it was when Star is Born
was out and they did while what's a song called
Shallow Shallow Yeah, and she The point of I think
them doing it was it was supposed to be like
a little funny, but then when she would sing it.
It was very clear like she she was like killing it,
(29:51):
like she was like singing the hell out of it.
It's a flex flex. But now when he did it,
he understood. For him, I think it was he doing that.
He was like putting on a fake voice. And then
I think literally because spoiler alert that that character kills
himself in that movie. And at the end of the
verse he said like and in the Bad Times, I
(30:12):
kill myself, Oh my god, which was really funny. Yeah,
And that was like within the same song, you had
both of these experiences because he was fully sending it
up fully and then she got on the mic and
was like singing the shit out of it like she
was Lady Gaga.
Speaker 1 (30:29):
I think that's kind of the best way to do it, yeah, right,
because I think like the best sometimes the best satire
is like where it's like so close to the original,
but then there's just like some goofiness or silliness to
like poke fun and it's nice that one person's doing
the poking and one person's like yeah, yeah, facilitating the
actual cover. I think that for all these lyrics and aside,
(31:02):
like I could, I could tell you memorable ones like
I gotsa or that, like all the you know, but
I really don't understand exactly what he's talking about. What
it's like so obtuse. It's just that it's like I
don't think it's super effective the way that he has
presented this, and it's complicated but like not necessarily like
(31:23):
in a fun way. I don't know.
Speaker 2 (31:24):
I think what's going on in this song and this
is something I was like debating about the chance, the
nature of our chancey Here he's talking about how he's
not going to let the weight of existence, yeah, interrupt
his ability to enjoy his life. That's what this song
(31:46):
is about, and what he does the lengths he goes
to to illustrate that, the whole verse where he's like
sort of like bringing in, like, you know, the nature
of reality television, the nature of like people talking heads
on news programs yelling at each other. By the way,
he was talking about this twenty four years ago, it's
only gotten worse and stupider in the time since. But
(32:08):
he's not two men talking on the radio crossfire kind
of new reality show uncovering the ways to plan the
next big attack. He's trying to get into some sort
of like social political realm with all of that and
the counting down the waist to stab the brother and
the be right back after this what you pointed out,
it's like ten, that's like too clever by half or whatever.
But like and then I don't know if that's supposed
(32:29):
to be Shakespearean the unavoidable kiss or like or like
Biblical like Judas, I don't know, like the unavoidable kiss,
the minty fresh death breath will like he's just in
some bullshit soup there, you know what it is.
Speaker 1 (32:41):
It's a little bit like preacher, like a preacher that's
just like you know what I mean, Like and then
that God comes through and yeah, it's like that's also
kind of appropriating.
Speaker 2 (32:50):
And Mega Man two was it better than Mega Man one?
Like there's some it's he's like lost it whatever's saying.
And that's the bottom line, you know, there's a little
bit of like.
Speaker 1 (33:00):
Jesus Christ said.
Speaker 2 (33:01):
So that's well, that's how that all started. Our chances
may or may not remember. Sixteen he won the King
of the Ring and when he was being interviewed afterwards,
he said, you talk about your songs, you're John three
sixteen sixty and just said I kicked your ear, which
is a perfect cultural moment. Nothing being appropriated there, that
(33:23):
was an original artifact.
Speaker 1 (33:25):
But that is that truly is right.
Speaker 2 (33:27):
Poison is the weight of the world, and the remedy
is I guess this song where you're in a field
and you pass the blunt to your buddy and your
girlfriend's drinking, so exactly exactly, that's the rim.
Speaker 1 (33:42):
I love it a parenthesis because it's called remedy, and
in parenthep won't worry, I won't worry.
Speaker 2 (33:47):
But then I'm conjecturing about what the That's what I
think the remedy he's suggesting is, it's what's happening in
the song. But then again he tells us the remedy
is the experience, But what is the experience? The experience
of mister Ada is what is the rem what is
the XP I.
Speaker 1 (34:05):
Just can't believe this song was in Attack of the Clones.
Speaker 2 (34:13):
And on that note, I feel like I don't have
anything new to say. I mean to me, at the
end of the day, I almost prefer something that's just
like so like see and see Music Factory or something
like that to this, like something that's just like like
this is just yeah, yeah, yeah, because there's like this
(34:34):
is too close to certain things that are actually good
to just be enjoyably bad for me, If that makes sense, I.
Speaker 1 (34:45):
Know what you mean. It's also here's the other thing. Then,
I think we didn't really talk about. There's a reason
why that opened My guy connects to so many people.
And I think it's because it's like it's one guy
with a guitar and it's like lo fi and then
you put this all together with like these like crispy
drums and like pads in the background and like a
bass and and it's like so convoluted that it makes
(35:08):
you want to sort of chop down this tree and
be like this is so they built this up so
much like I've heard versions like of not this song,
but like people like this.
Speaker 2 (35:16):
There was this guy.
Speaker 1 (35:17):
There was this guy I liked the name. I think
his name was Bob Schneider, and I remember being like, oh,
it's like Rob. But he had this like really simple
song that's just like this and just like Jack Johnson,
but like it was like and his lyrics were like oh,
copen a stupid guests this time to meet, Like it
was all that kind. And I remember being like it
(35:39):
was like so like he'd almost mess up on the
guitar as he was playing. It was like clearly a demo,
and I was like, I love this. That's better. He
went into a studio and recorded it and it was
so polished. I was like it lost all that cool
thing and it made me be like, why did I
ever even like this?
Speaker 2 (35:52):
It's too good. It's better when it's like a little rougher.
Speaker 1 (35:55):
Yeah, And I think I bet you a lot of
people were like, have seen these open mic guys that
like went to the studio and they were like, it
doesn't sound like you.
Speaker 2 (36:01):
I bet if you saw him do this on like
a Howard Stern session at the time, I bet like
he played it, I'm sure, I bet they were all like,
oh wow, like they were kind of ready to make
fun of him or something. I'm sure this I bet
if you look this up, this exists somewhere, this guy
on like a morning radio thing where he was maybe
going to be met with some derisive energy by whoever.
And then he played this by himself.
Speaker 1 (36:22):
And I was like, damn, that was good, dude, Like,
and I think that's why Ed Sheeron like continues to
play like with just an acoustic guitar and like looping.
Speaker 2 (36:29):
He understands something about that.
Speaker 1 (36:31):
Yeah, I think he does, like for you know, to
you know, he's it's it's He does some questionable moments
for sure and styles, but like I do think he
gets the idea of like you got to strip down
because that's what people originally liked about it.
Speaker 2 (36:44):
I feel like it's a good way to end this
actually by bringing him up, because he becomes maybe even
more than whatever. Like there's generations of this stuff and
there was like before, during after. Ed Sheeron obviously is
like so much bigger than even then John May, any
of these people. Ed Sheeron's like only like a league
below someone like Taylor Swift or something. He's like as
big as you can be. And I feel like part
(37:06):
of what it's interesting. I hadn't thought about that. He
I don't watch the Grammys really, but I remember a
few years ago whenever that shape Shape of You, Shape
of You, So I think it was early. But when
he premiered that song, which he just makes me think,
that's what Justin Bieber was going for this last Grammys.
(37:28):
He was referencing that when Ed Sheeran premiered that song.
It was meant to be like a return. He like
went up there with his acoustic and his looping pedal
and he built the loop of that song and it
had never come out yet, it was before it was
released as a single, and he played it, and I
remember the response was like, oh wow, amazing to actually
(37:48):
just like watch someone be a musician like that without
any It's so funny, Like it's it's gonna sound like
a potentially unrelated aside. But it's like when I when
we go to clubs, right and we like load in
and stuff and like do a sound check. If it's
like a club sound person who's not like with us,
it's so funny. This has become a real feature, and
(38:09):
like as time has moved along where people are like, oh,
so you don't have any tracks with you and if
we're like no, it's just like bass, drums, guitar, and vocals,
and the sound person is always like, oh that's awesome,
Like they're like so accustomed. I'm like, way is is
that that like not to sound like I don't mean
this to sound like the ageist or generationalists or something weird.
I'm not saying it's better or worse I'm just saying
(38:29):
it's a fact of my experience that these that now
people at clubs, theaters, whatever, they're like, wait, you don't
have like a computer doing stuff. And most of the
time we don't want one or two tours. We have
had additional stuff, but it's like no, and they're so
used to having like all of this ancillary stuff, augmenting, augmenting.
And again, I don't know if I'm not saying that's bad.
(38:51):
I'm just saying, and I do think it's funny that
this is an analog version of that. I'm sure all
these instruments really played, but like maybe this song's forty
percent more compelling if he drops the gastas, and if
you just sat down and played it for you on
a guitar, you might still be like, that's not really
for me. The verses are kind of cheesy. I don't
really like the rapping thing. But this guy's really good anyway.
Speaker 1 (39:10):
Like we said, he's got an incredible voice, and I
think that would shine no matter if there's a ton
of production or just a guitar.
Speaker 2 (39:16):
And I think that is true too, And I think
shining is just what you did today.
Speaker 1 (39:24):
On God Okay, truly, you are a sith lord.
Speaker 2 (39:29):
Ah six sith. It's man six. Since I gotta go, though,
I got a lot of things I've Gusta says today,
you can't do that, You're not allowed to do that.
Well he didn't.
Speaker 1 (39:44):
You're like, I saw a video where actually appropriation doesn't exist.
Speaker 3 (39:48):
Listen, everybody, there are these real, these two people on
Earth out of seven billion people, and this really compelling
conversation about how there is no cultural appropriation.
Speaker 2 (39:59):
So tune in next week.
Speaker 1 (40:01):
I said to.
Speaker 2 (40:05):
Uh, the chance had been given, farewell
Speaker 1 (40:09):
Just give it a
Give it a chance, give it a chance, Give it
a chick.
Speaker 2 (00:05):
Come on and give it a chance.
Speaker 1 (00:06):
Give it a chance, give it a chance, give it
a chick. Come on and give it a you want
to give it a chance, Give it a chance, Give
it a chance. Just give it ach.
Speaker 2 (00:18):
Everybody.
Speaker 1 (00:19):
But you know, pump it up? That's not the song.
Speaker 2 (00:22):
I don't even know if I know that song. Welcome
to the show. While you had a little Do I
know that song? Don't you know?
Speaker 1 (00:28):
Pump it up? You got to pump it up?
Speaker 2 (00:31):
Don't you know? Pump it up? You've got to pump
it up. No pump a nickel. Come around with right
side bread.
Speaker 1 (00:39):
So you know what, you'll give me that chance?
Speaker 2 (00:42):
Everybody, come and dance. Is that jah Rabink? I think?
Is that baby? We're gonna give jor Jo Binks a
chance today, everybody. Uh casey. I've been preparing this EP
for a long time. When we jumped mediums to film,
and I tell you we're gonna give Dr Banks a chance.
Speaker 1 (01:02):
I honestly think that would you do do well? Because
I think I think the Star Wars community has given
him a chance and they've been like, wow, we like
came for him. A little too hard and it's it's
not bad?
Speaker 2 (01:13):
Is that true? Yes? Oh, I think the Star Wars
community needs to do better. Frankly, you like jar Jar?
Are you pro jar Jar?
Speaker 1 (01:22):
I don't famously have no real like heavy opinion on
Star Wars.
Speaker 2 (01:30):
America had knows this about me America, Haspucci America.
Speaker 1 (01:34):
Yeah, but no, I I I feel that like I
like them all, even all the kind of movies, Okay, because.
Speaker 2 (01:41):
I think all of the movies even is a hot take.
Speaker 1 (01:43):
For sure, because I honestly think the original three have
have just as many problems as the others.
Speaker 2 (01:48):
I'm just realizing something that we're going to leave in
here for now until it becomes a problem. I think
I'm on the wrong Wi Fi network, and I'm gonna
find out. Should I just jump on work right now?
Or should we.
Speaker 1 (02:00):
Let's we're gonna roll the dice that that's what we do.
Give that Wi Fi.
Speaker 2 (02:04):
A chance, all right, I've given five this this all right,
I'll tell you guys the network in case you're ever
at my building, veris are none as as the the
underscore five G but that one tends to drop, so
we're gonna find out.
Speaker 1 (02:18):
I feel like if somebody is like a real anonymous hacker,
they can reach you.
Speaker 2 (02:22):
No, yeah, maybe we should make that go like during
the pod Hey, Evan, when you're when you're just Evan Latham,
when you're when you're editing this.
Speaker 1 (02:35):
Go during the use that sound over it?
Speaker 2 (02:39):
All right, So it's not jarjar, although Casey thinks all
the movies are the same. Good for Star Wars.
Speaker 1 (02:44):
Yeah, and that's that's what that's my hot take, and
that's what I give a chance to.
Speaker 2 (02:50):
I feel like I don't remember anything about the last three,
the ones with Adam Driver and uh, I don't know
that person's name, but yeah, there's Adam Drivers in it.
And then I remember a lot about four, five, and six,
which of course were the first three, and I remember
a little about one, two and three, And that's my
(03:12):
remember take.
Speaker 1 (03:14):
Well, if you've got the poison, I've got the remedy.
Speaker 2 (03:17):
Wait, that's that's the lyric. Okay, what is that? If
you got the poison, I've.
Speaker 1 (03:22):
Got the r's Actually, if you got.
Speaker 2 (03:24):
If you got the poison, I've got the remedy.
Speaker 1 (03:27):
Yep, that's it.
Speaker 2 (03:28):
I know the lyric, but for some reason in my head,
I can't hear the melody I will tell you what
I am hearing, which is funny. You know, Pour some
Sugar on Me by def Leppard.
Speaker 1 (03:37):
Of course, you know.
Speaker 2 (03:38):
I love the breakdown part where he says, like, you
got the peaches, I got the cream? Oh yeah, yeah,
but in my head it always like you got the something,
I got speed sweet potatoes drama. Mean, but I don't
think that's a yeah. What does he say, you got
the peaches, I got the cream? Gross?
Speaker 1 (03:56):
Gross, really gross.
Speaker 2 (03:59):
That's the kind of stuff where we at We're not
even at the four minute mark. That's the kind of
stuff that Kurt was out to get. Really yeah. He
was like, we cannot have any more of this peaches
and cream stuff in rock and roll. It's got to
be about unkst wound.
Speaker 1 (04:13):
On wi hunks, cooked unks.
Speaker 2 (04:17):
Yeah, Mike, Kurt was such a chopp dunk.
Speaker 1 (04:19):
Dude who has a chop dunk? He never got to
live long enough to become a chop dunk.
Speaker 2 (04:25):
No, like attitudinally that like Groucy, he was kind of
a chopp dunk at twenty four. In some ways he
was on twenty four to the first season. You can
go back and look, sorry, all.
Speaker 1 (04:35):
Right, what do we got got the poison, I've got
the remedy.
Speaker 2 (04:39):
Okay? Is it like, oh? Is it? Wait? Is it
the Black Crows?
Speaker 1 (04:45):
You're not far off in terms of like a vibe,
but it's it's not as it's not as uh No,
it's not that they.
Speaker 2 (04:52):
Had a song called Remedy. Okay, gots, it's the gots.
The is really that they tell you, right? It's like
Blues Traveler? Am I getting further away?
Speaker 1 (05:01):
No? No, no, this is all you're like dancing along like
the area of what that's like?
Speaker 2 (05:05):
Okay? Oh oh oh oh oh Is it the one
that goes like I just want to be Oh that's
a good one, you know the song I'm talking about?
Speaker 1 (05:16):
Yeah?
Speaker 2 (05:21):
Yeah, yeah? Is that that's they say revenue?
Speaker 1 (05:23):
I don't want to be anything? No, that's not it.
That's also in this genre holy ship. All right, this
is kind of a trained genre too, Okay, But it
touches upon like the Dave Matthews Jack Johnson.
Speaker 2 (05:39):
Is it like, all right, touches upon Dave Matthews Jack
Johnson in the general vicinity of the things we've been saying.
Speaker 1 (05:46):
Is it like, is it like Casey's leaving? Is it
like my dog was scratching. You could keep that in
or not that we should keep it in. We want reality, Yeah,
we need reality.
Speaker 2 (05:58):
This is authenticity I've heard is very important in the
podcast space. We need this. It's like hord Tour h
O r D. Is it like spin Doctors? I don't know.
I'm a much later Afield, much later than spin Doctor.
Speaker 1 (06:10):
Yeah. Think about Jack Johnson, think about Train, think about
that era.
Speaker 2 (06:14):
It's making me think of things that are not right.
Kind of crows d m b uh.
Speaker 1 (06:19):
Solo artist he's I would say, like, is.
Speaker 2 (06:22):
It mister a to Z?
Speaker 1 (06:23):
Yes, Jason, who's like kind of the first Ed Sheeran.
Speaker 2 (06:27):
Oh, mister that is like this sorry before we even
get into giving it a chance. Yes you have. You
have picked a steep mountain for Kevin to climb today.
Mister a to Z might be the stupidest album title
to me of the last Like, I don't know it.
It's really high up there for me.
Speaker 1 (06:47):
I can't.
Speaker 2 (06:48):
It's like unconscionably stupid.
Speaker 1 (06:52):
It's his last name, and he's like people when people
realize that, Hold on one second.
Speaker 2 (06:58):
You heard you heard a plane going Afghanistan?
Speaker 1 (07:02):
Cool, Okay, cobble, you're leaving now oh okay, cool, Sorry
I didn't Yeah, okay, let's keep all that on.
Speaker 2 (07:13):
I think we should art thou bored snap it to
a slim jeer. All right, So Casey's got the dog,
Lisa's gone for the day. It's time for us to
get into am I supposed to say this is name?
Speaker 1 (07:30):
Yes, I've finally Lee Lee s to A came out
of the closet. Is at being married to Lisa.
Speaker 2 (07:37):
Lee s to A, Mister a to Z.
Speaker 1 (07:40):
Yes, No, it's so going back, mister a Z. I
can imagine that he was like, this is gonna blow
people's minds because it's my last name.
Speaker 2 (07:47):
And you know, you know it and you know it
was also like there's a fool proof thing built into it.
That's like if someone was to say to him, like, dude,
what are you doing, He's like, no, it's funny. You know,
it's like funny. It's like, now you can't wear that hat,
write those songs, call your record, mister a de Zy,
and have it be anything other than catastrophically herbish for
(08:09):
me for kd oh, see you're frozen. I think they
were on the wrong WiFi. Oh I'm gonna try a
really heavy move here and skip to the other Wi Fi.
I think we should leave all of this in a
truly cursed start to the ep I guess answers. So
(08:33):
what just happened was, as predicted, the wrong Wi Fi network, weird,
it's ugly ahead, but now we're on the right Wi
Fi network and it's just gonna be smooth, Syalin.
Speaker 1 (08:41):
This is the sort of authenticity that people are craving.
Speaker 2 (08:44):
Yeah, And when they go to like marketing meetings for podcasts,
like when they go to like a marketing symposium, you'll
hear them say like, let it be organic, let it
be authentic, let it be ozimpic, let it be who
meant it?
Speaker 1 (08:58):
Yes, you say those things.
Speaker 2 (09:00):
Yeah, And they're like Clarence's parents had a very nice orange.
Speaker 1 (09:03):
You know, I know what that means. I know exactly
what you do.
Speaker 2 (09:08):
I know you do said it to me recently. By
the way, if you don't know this, go check it out.
Evan M's like Anderson Cooper, I think it's like nothing
rhymes with orange, Like what do you do with that?
And Emin I was like I had an orange and
there was some porridge and yeah, yeah, and I scratched
it was a more itch and or whatever it is
that he does.
Speaker 1 (09:25):
Yea more itch.
Speaker 2 (09:29):
Clarence's parents had a very nice more itch.
Speaker 1 (09:34):
Maury porbitch, look pitch.
Speaker 3 (09:40):
Or this.
Speaker 2 (09:41):
So listen, we are at the precipice of a that's
where we went to school. Casey and I state.
Speaker 1 (09:53):
What, Lisa though, Uh, we're going to jump into the song.
Now listen to it and then break it down.
Speaker 2 (09:59):
But what what is the song called? Is it called remedy?
Speaker 1 (10:01):
Remedy? It's called remedy.
Speaker 2 (10:03):
Everybody go listen to Remedy by month senior A two Z.
Speaker 1 (10:11):
Well, if you've got the pores and I've got the remedy,
the remedy.
Speaker 2 (10:16):
Oh man, Okay, so here's here's the thing hit me. So,
first of all, this is from the record waiting for
My Rocket to Come. It's not mister It is not
from mister All. Yeah, I forgot. I totally know this song.
I forgot until we were actually listening to it. I
(10:39):
forgot that I definitely have heard this many times.
Speaker 1 (10:43):
Yeah, this was like a big summer song at one point.
Speaker 2 (10:45):
Big hit. And I feel like I should also point
out the album cover, which is like a like on
the streaming platform of my choice, is like an animated
This is JIFF for GIF. What do you say?
Speaker 1 (10:57):
It's graphic interface right, so it should be IF gift.
But but people say, Jeff, all right, well.
Speaker 2 (11:02):
Gif of him sitting on a curb and there's like
a chicken next to him. He's like talking to the
chicken with his palms upturned and he's like shaking his
head from left to right like he's opining about something
to the chicken. And then like a car pulls in
right at and stops right. This is about to run
(11:24):
over missus crazy. You know that's your streaming service does that?
And maybe now it's it could be artificial intelligence aided.
It could be God, which is which I listen and listen.
I don't know who the sponsors are going to be today.
I I to me, I let anybody in the door. Dude,
(11:44):
I don't give a shit. As long as they have
a fucking cold. They have the remedy for me, and
that remedy is cold hard bit coin. And when they
show up with the money, they dumped the truck on
the chancers and we say bring it all spons me.
So the spots could be.
Speaker 1 (12:02):
A today's sponsor's actually ar fifteens.
Speaker 2 (12:07):
Fifteen fifteen. But no, I think there's a lot to
talk about here actually, and I would because yeah, oh yeah,
it's kind of two different songs would be the first thing.
Speaker 1 (12:19):
I mean, I don't want to just jump in hot week,
Oh I do, I want you to please, I'm excited
to talk.
Speaker 2 (12:23):
There's what he does when he's singing, and there's what
he does when he's scatting. And I would say, you're right,
there was a moment in the scatting. There's also I
think there's a lot happening lyrically that is just like
such a product of its time. And I don't want
to be like it's funny. I don't want to be
like too harsh a critic in some ways because I
(12:44):
feel like, for instance, i'll start here. So there's two songs.
One is what he's doing when he's singing, like in
the choruses and in the bridge. He's actually got like
a really nice singing voice when he opens up his
saddle voice, and that hook in the chorus is a
really nice melody. It's a really like I won't worry. Yeah,
it's got a real like ascendant soaring. It's like it's
(13:05):
like a parabolic thing happening. It goes up, it comes down,
it hits a peak. I can see why. I'm sure
when this was recorded, the record label was like, that's
the single that's going to be a hit, and it is.
There's a sweetness to his voice actually in that register.
It's very open and appealing. I think that that's one thing,
so I'm trying to give that a chance. Right off
(13:26):
the top, in my brain, I conjures up an image
of an open field people watching this dude play, like
college kids, girls with long hair holding like a solo
cup full of and like dancing kind of you know
what I'm talking about, that little sway and they're in
a field. It's nice and they're like they won't worry
their lives away either. So it's it's effective and part
(13:48):
of what I feel like we got to do when
we give stuff a chance, Like what was the intention
and did they need it?
Speaker 1 (13:53):
And you know, I feel like.
Speaker 2 (13:54):
That's part of what he's doing. I feel like I
give credit to the structure. There is an actual discernible
bridge that actually has like again, I like the bridge.
The bridge might be my favorite part. Yeah, nice melody
in the bridge. And from there there's a lot of
stuff that I just for me are like no fly
(14:15):
zones about what's going on in this song? And look,
as I've said, what are we in season twelve? As
I've said many times, what could be more subjective than
what you do or don't like about music? About anything?
But let's music. It really may be almost primarily like
it's so it's completely what is one person's taste versus
(14:35):
another person's taste, but he does a few things. I
think the primary problem I have with this song is
all of the like affectation, the bullshit affectations with respect
to is actual expression, Like all of these like gots
to I know, that's the stuff that I'm like, yo,
(14:57):
what the fuck is that? Like? Why did you have?
This song could have been legitimately twenty percent more palatable
to me with the removal of those extras the.
Speaker 1 (15:08):
Guy that yeah you know what that is. It's like
when a dad's like, oh, I know rap yo yo
yo homade that cringey kind of like oh my god,
(15:34):
it just has an aged But there might have been
like at the time, like some sort of like you know,
maybe it was like fresh to do that, but it's
because I didn't when I remember when this song came out,
and that probably didn't bother me. I had have friends
that were in a band that wanted to sound like this.
Speaker 2 (15:51):
Yeah, it.
Speaker 1 (15:53):
Was like Maroon five Train Jason Moras, Like they really
wanted to sound like that. They were not doing like
sort of the scat rap you know, you know, but yeah,
it's connected to that. It's that. The The other lyric
that bothered me was while while they were counting down
(16:14):
the ways to stab the brother in the be right
back after this, like, ah, like that's really that was assuming.
It was like that sent me to another place.
Speaker 2 (16:23):
Yeah, of course it did. It's I mean, look, look
so one thing at a time. I feel like we
need to with the gots. I got the remedy, I says.
The comedy is that it's serious. I have to go
I have to say this out loud, and it's it's
potentially what it is is Also it's like it's cringey
(16:43):
for sure, it also flirts with something a little worse
than cringey. It's a little bit. It's a little bit,
it's a little bit on the on the spectrum of appropriation. Yeah,
it's like white dude like scat wrapping what he thinks
will make him sound a little bit more like down.
And what is the ultimate goal of any white dude
(17:05):
who is trying to sound down. It's to kind of
come across like a black dude rapping.
Speaker 1 (17:11):
That is effectively and you're not wrong, but I also
think that it's so absent of it and like it
doesn't even appropriate because it's like so off the mark.
I understand. It's like it's you know what it is.
And I think he kind of got into some Broadway stuff.
It's the Broadway version. It's definitely a Broadway version of it.
Speaker 2 (17:31):
Yep, you know.
Speaker 1 (17:32):
And but you got the poison, I got the remedy.
It's it's too it's chilling.
Speaker 2 (17:39):
It should hang. It's chilling, it should hang. It hangs
in the rafters with uh magic and rude like get
they're to there. There's a little bit for me. There's
a lot of you know, the.
Speaker 1 (17:49):
Part where he like switches gears and you you could
tell he feels like he's cooking, but he's like the
remedy it's experienced le zone. Yeah, I said, it's the
comedy the.
Speaker 2 (17:59):
Best we.
Speaker 1 (18:01):
You know, like that where he's just like really like, oh,
I locked in here.
Speaker 2 (18:07):
You know, he finished that take and and whoever they
were paying six figures or whatever to be in the
room doing this was like, dude, fire so good mister
A is you really that was like, you know the Pinnacle,
I mean.
Speaker 1 (18:23):
Yeah, lose, that's what it is too.
Speaker 2 (18:25):
It's it's it's blues.
Speaker 1 (18:26):
It's it's like but that's neuse. So maybe that's more
the appropriation and not so much of like the the
rap appropriation. It's a little bit more of the of
that like soul like blues, you know, guy, which, like
you know, John Mayer is another one who who kind
of touched upon a lot of this stuff, and I know.
Speaker 2 (18:45):
He gets like an eternal pass in some arenas because
he's such a gifted guitarist, you know, like I know,
people really John Mayer seems to actually have like a
degree of kind of like cultural cachet and like critical
acclaim also like music head acclaim. He's now he's like
a grateful Dead member and whatever else. But which is
kind of a cool as a cul de sac little
(19:06):
mini conversation about John Mayer. He's not for me, but
I also do completely identify that it's kind of a
cool thing to do with that degree of like pop
stardom or whatever to then be like, you know what
I'm actually going to do for the next seven years,
I'm going to be in The Grateful Dead or whatever
version of The Grateful Dead is, you know, dead and co.
Speaker 1 (19:26):
The biggest chancey I give I give John Mayer is
that he is such a student. Yes, and he is
like I end teacher. You know if you've seen like
some he'll put out videos like talking about structure.
Speaker 2 (19:38):
Song structure and approach to guitar.
Speaker 1 (19:40):
Yeah, honestly that's something that I you know, you do
a lot too, like you you work with with people,
and like you think about things so analytically. He does
that like he is a fully Like he'll hear a
song and be like, oh, okay, you're going to to
the two to the four, two to the four, you know,
like he could hear things and just break it down
in such a What was the video.
Speaker 2 (19:59):
That circulated, I feel like where he talked about finding
a song. There's a song that he talks about this
is if I can't get it, it's irrelevant. There was
something where he talked about a song he fell in
love with, and the and the and the the melodic
approach to it, and how like the chord voicings and
how it was very interesting and it come to me
(20:22):
after maybe someone will put it, We'll tell us somewhere
a comment on Instagram or something where it's it's a
well known song, but he kind of talks about why
what made it special, and it was the chord voicings.
The choice is to not do first position chords. It
might have been a U two song or something, but no.
And it's relevant to talk about John Mayer in the
context of Jason Ras because I do feel like he
(20:42):
ends up becoming like the mountaintop for whatever this is.
He's like kind of like it's like, uh, highest achievement
or something. I guess Dave Matthews is what some would argue,
but I think Dave Matthews is like a generation before
this before And.
Speaker 1 (20:56):
Also I don't know if you hit the same heights
that like like, because because many different things hits, you
know what I mean, like like those be good, oh
my god, yeah, a ton of other stuff and then
plays with all these different people. Got the ok from
like blues grates for guitar. Yeah, he is a Chappelle.
(21:20):
He came on our show. He came on in practice.
Oh no way, I didn't know that and like wanted
to out of because he was such a fan. Oh
that's cool, so so but so I have I definitely
have to check my bias on this. But he I
think he's kind of the one. He also he was young,
but like never was like I had the Bieber sort
(21:41):
of like douchey moments. Maybe maybe he dated a lot
of people. Yeah, there was a lot made of his,
like he didn't like pee in a cleaning bucket or
like go to the Frank Museum and write I hope
she would have been a believer.
Speaker 2 (21:53):
I mean, that's that is that is something I forgot
and that is absolutely almost like reality rending and it's
total insanity. That's like something that like like like if
Hanos gets the time Jim and he goes back to
that moment and just eviscerates Justin Bieber. That's so good.
Speaker 1 (22:17):
It is. It's it's in that like he's done so
much you forget how how bad that one of the
things are.
Speaker 2 (22:25):
But I also do think, like you know, I think
that it's funny because this more it's funny. I listened
to it. There's a great podcast I would encourage people
to listen to you called The Nostalgia Trap. Really good stuff.
Our mutual friend Dola Michael Iaderola termance this podcast and
they just talk about a lot of different things. It's
(22:46):
the sky, a couple of people and there really it's
like a I think it's through the lens of what
role nostalgia plays, both positive and negative in the American
cultural imagination. And there is an episode where he talks
to two It's a dude probably in his forties who
mostly does a podcasts, but he had these two older
jazz musicians he knew on the podcast, one of whom
(23:07):
was like a seventy one year old black man, and
they talk about the idea of cultural appropriation and whether
or not it even exists, Like what is that a
real thing? Or is everybody just sort of like borrowing
from everybody and that's the nature of but and it's
it's a really good conversation that I will not recount
entirely here. But what it made me think about in
(23:28):
this context was, Yes, you make a fine distinction with
the gatsta stuff between it's more like it is more
like scatting that comes from Yes, blues jazz even then,
and that might be hip hop, but what it does
feel like to me and what maybe it's like. Also
the larger profile I know of mister A Z with
(23:49):
his sartorial choices and sort of like the way he
moves through is the public presentation of his music. He
might be a lovely guy, by the way. I have
no idea. I'm sure he is. Yeah.
Speaker 1 (23:57):
I have friends of friends of him, and they love him,
and that he's nervous about even.
Speaker 2 (24:01):
That's okay, It's fine that being said.
Speaker 1 (24:04):
Because I actually really to that point though there in
doing this, I was like, let me check the catalog,
and there are songs that.
Speaker 2 (24:11):
I like, I'm sure there are. I mean he has talents.
Speaker 1 (24:14):
Yeah, That's what I want to say, is that like
this isn't this is an old one that I'm sure
he even sometimes goes on stage being like, oh man.
Speaker 2 (24:20):
I gotta do it.
Speaker 1 (24:20):
Oh yeah, yeah, I mean, well that's it's the hit though,
so you gotta love it right now. How many artists
have these songs that they're like, oh, I don't want
to play this, No, it's.
Speaker 2 (24:27):
It seems to be like the prison and the launch Path,
you know, the rocket ride of having a song that
anyone you know, it's that it's like amazing that that happened,
and then also like you have to do that till
you're eighty years old, play some you know, unless you don't.
There's people who choose a different path. But it's a
little bit of a harder, harder road to hoe. But
(24:47):
I think the thing that's maybe above what we need
to be doing here or outside the thing that just
to be direct. It's less about a question of quote
unquote appropriation, but blues, hip hop, jazz as these things,
regardless of whatever where it falls, there is something in
this that does smack of this era and of a
particular kind of tone deaf. Honestly, Matthew David's is poking
(25:09):
fun a little bit at this too. It's a little
bit of white dude adopting certain quote unquote black cadences
to seem a little cooler and a little more like
authentic or something or like interesting. And that's something that
just sort of like jumps through the screen when you
(25:32):
see it, where you're like, uh oh. And I'm sure
there's plenty of other Mystery Z songs where he doesn't
do that, but this one it is like the minute
someone's doing gots it when you just said the lyrics
at the top of this episode, not even remembering exactly
what it was, it was like, oh, yeah, you can't
do that, Like you can't at gusta gusta. Yeah, Like
that's insane. Like Vanilla literally Vanilla Ice did that literally
(25:56):
literally literally he has a song that starts with gotsta
gatsta yep, yeah up, And it's like, yeah, you can't
do that.
Speaker 1 (26:02):
You just can't do You're right. Going back to the
Matthew David's of it, like.
Speaker 2 (26:06):
Matthew David's of it, which.
Speaker 1 (26:08):
Now is like we you know, that's the text I
got from a friend that was just like, I didn't.
He's a good friend of mine. He was like, I didn't.
I haven't seen these Matthew David stuff into the last
podcast he did, so check it out.
Speaker 2 (26:18):
You got him to watch people. Let's kick Casey's on
Fire episode.
Speaker 1 (26:23):
Five one where you do the song and I back
it up and I'm playing all the wrong notes, but
I do I do like little I also do little
hip hop moments.
Speaker 2 (26:32):
We're so close every day in my life.
Speaker 1 (26:34):
Yeah, yeah, so that's that's what this is. I I
never thought that I had like I was doing that
as well, but I got one hundred percent do that
in that version of of like a character that's like
and that that always this guy Matthew David that I
play and Jason Moras before he became Jason Moras is
fully the open my guy, totally open my guy. Like
(26:57):
that's the thing, like so many people have like reached
out that our musicians that like at some point played
an open mic, and there was like this guy that
like was sort of like the star of the open mic.
It was like his you know, his height, and it
was like doing stuff like like this, being like I'm
gonna do a version of I'm gonna do a Tupac
song with an acoustic.
Speaker 2 (27:16):
Guitar without it without even exaggerating that is so spot on,
And every open mic at my college this is ninety
seven to oh one. He's still there's some dude that
got up and was like literally it would be like, yeah,
I mean, didn't Ben Folds do a version of like
Boys in the Hood or someone did something like that
that was like but like there was that I think
(27:37):
also like sanctioned it for people to be like, well,
Ben Folds does that, so like it's kind of and
also like I'm saying this as a person, I've played
my share of open mics, and I definitely know that
there was somewhere, somewhere at the basement of the Wetlands
or at the cafeteria at Fordiam University. I definitely played
like sixty percent joking and forty percent to show you
(27:58):
I could do it like stay in where I like
sang the choruses, but then I like actually did wrap
the verses and people were like, oh, that was funny,
but also like that was kind of cool. Yeah, and
I'm like, it wasn't you. I was.
Speaker 1 (28:12):
I was walking around and Shuffle was on, and there
was a I have like a lot like one of
your live shows. I think from Bowery Ballroom. You do that,
You did that long medley.
Speaker 2 (28:24):
Oh we did that was at Webster Hall, I know. Yeah, yeah,
we did score showy, Yeah, so much stuff. But I'm
that was our encore on a tour we did, which
in retrospect is insane. It was like let's get up
and we're stir it up.
Speaker 1 (28:38):
Yes, yeah, it was like everything. It was like whatever
Strambourg played next, right, like whatever I was part of it.
Sweet child of mine was in there. I think, yeah,
but I feel like there's definitely times I've seen you
and you've started with uh, palms are sweaty, like you've
done that bunch and I but that's the thing, like
there's a there. It's weird, but there is slight difference
(29:00):
where it's like this tongue in cheek everyone knows I'm
joking versus like everybody I'm about to do Gangster's Paradise.
Speaker 2 (29:06):
I would make an argument that there's a really significant difference.
I'm not saying that. I'm not saying this in any self.
I'm removing myself from this when I say this, if
I saw somebody, like when you see somebody like make
a joke like that in the context of a like
I saw Better Better Oblivion Community Center. I think it
was at the band with like Phoebe Bridges and Connor Oberst.
(29:29):
They had a band saw that show and it was
and at their encore it was when Star is Born
was out and they did while what's a song called
Shallow Shallow Yeah, and she The point of I think
them doing it was it was supposed to be like
a little funny, but then when she would sing it.
It was very clear like she she was like killing it,
(29:51):
like she was like singing the hell out of it.
It's a flex flex. But now when he did it,
he understood. For him, I think it was he doing that.
He was like putting on a fake voice. And then
I think literally because spoiler alert that that character kills
himself in that movie. And at the end of the
verse he said like and in the Bad Times, I
(30:12):
kill myself, Oh my god, which was really funny. Yeah,
And that was like within the same song, you had
both of these experiences because he was fully sending it
up fully and then she got on the mic and
was like singing the shit out of it like she
was Lady Gaga.
Speaker 1 (30:29):
I think that's kind of the best way to do it, yeah, right,
because I think like the best sometimes the best satire
is like where it's like so close to the original,
but then there's just like some goofiness or silliness to
like poke fun and it's nice that one person's doing
the poking and one person's like yeah, yeah, facilitating the
actual cover. I think that for all these lyrics and aside,
(31:02):
like I could, I could tell you memorable ones like
I gotsa or that, like all the you know, but
I really don't understand exactly what he's talking about. What
it's like so obtuse. It's just that it's like I
don't think it's super effective the way that he has
presented this, and it's complicated but like not necessarily like
(31:23):
in a fun way. I don't know.
Speaker 2 (31:24):
I think what's going on in this song and this
is something I was like debating about the chance, the
nature of our chancey Here he's talking about how he's
not going to let the weight of existence, yeah, interrupt
his ability to enjoy his life. That's what this song
(31:46):
is about, and what he does the lengths he goes
to to illustrate that, the whole verse where he's like
sort of like bringing in, like, you know, the nature
of reality television, the nature of like people talking heads
on news programs yelling at each other. By the way,
he was talking about this twenty four years ago, it's
only gotten worse and stupider in the time since. But
(32:08):
he's not two men talking on the radio crossfire kind
of new reality show uncovering the ways to plan the
next big attack. He's trying to get into some sort
of like social political realm with all of that and
the counting down the waist to stab the brother and
the be right back after this what you pointed out,
it's like ten, that's like too clever by half or whatever.
But like and then I don't know if that's supposed
(32:29):
to be Shakespearean the unavoidable kiss or like or like
Biblical like Judas, I don't know, like the unavoidable kiss,
the minty fresh death breath will like he's just in
some bullshit soup there, you know what it is.
Speaker 1 (32:41):
It's a little bit like preacher, like a preacher that's
just like you know what I mean, Like and then
that God comes through and yeah, it's like that's also
kind of appropriating.
Speaker 2 (32:50):
And Mega Man two was it better than Mega Man one?
Like there's some it's he's like lost it whatever's saying.
And that's the bottom line, you know, there's a little
bit of like.
Speaker 1 (33:00):
Jesus Christ said.
Speaker 2 (33:01):
So that's well, that's how that all started. Our chances
may or may not remember. Sixteen he won the King
of the Ring and when he was being interviewed afterwards,
he said, you talk about your songs, you're John three
sixteen sixty and just said I kicked your ear, which
is a perfect cultural moment. Nothing being appropriated there, that
(33:23):
was an original artifact.
Speaker 1 (33:25):
But that is that truly is right.
Speaker 2 (33:27):
Poison is the weight of the world, and the remedy
is I guess this song where you're in a field
and you pass the blunt to your buddy and your
girlfriend's drinking, so exactly exactly, that's the rim.
Speaker 1 (33:42):
I love it a parenthesis because it's called remedy, and
in parenthep won't worry, I won't worry.
Speaker 2 (33:47):
But then I'm conjecturing about what the That's what I
think the remedy he's suggesting is, it's what's happening in
the song. But then again he tells us the remedy
is the experience, But what is the experience? The experience
of mister Ada is what is the rem what is
the XP I.
Speaker 1 (34:05):
Just can't believe this song was in Attack of the Clones.
Speaker 2 (34:13):
And on that note, I feel like I don't have
anything new to say. I mean to me, at the
end of the day, I almost prefer something that's just
like so like see and see Music Factory or something
like that to this, like something that's just like like
this is just yeah, yeah, yeah, because there's like this
(34:34):
is too close to certain things that are actually good
to just be enjoyably bad for me, If that makes sense, I.
Speaker 1 (34:45):
Know what you mean. It's also here's the other thing. Then,
I think we didn't really talk about. There's a reason
why that opened My guy connects to so many people.
And I think it's because it's like it's one guy
with a guitar and it's like lo fi and then
you put this all together with like these like crispy
drums and like pads in the background and like a
bass and and it's like so convoluted that it makes
(35:08):
you want to sort of chop down this tree and
be like this is so they built this up so
much like I've heard versions like of not this song,
but like people like this.
Speaker 2 (35:16):
There was this guy.
Speaker 1 (35:17):
There was this guy I liked the name. I think
his name was Bob Schneider, and I remember being like, oh,
it's like Rob. But he had this like really simple
song that's just like this and just like Jack Johnson,
but like it was like and his lyrics were like oh,
copen a stupid guests this time to meet, Like it
was all that kind. And I remember being like it
(35:39):
was like so like he'd almost mess up on the
guitar as he was playing. It was like clearly a demo,
and I was like, I love this. That's better. He
went into a studio and recorded it and it was
so polished. I was like it lost all that cool
thing and it made me be like, why did I
ever even like this?
Speaker 2 (35:52):
It's too good. It's better when it's like a little rougher.
Speaker 1 (35:55):
Yeah, And I think I bet you a lot of
people were like, have seen these open mic guys that
like went to the studio and they were like, it
doesn't sound like you.
Speaker 2 (36:01):
I bet if you saw him do this on like
a Howard Stern session at the time, I bet like
he played it, I'm sure, I bet they were all like,
oh wow, like they were kind of ready to make
fun of him or something. I'm sure this I bet
if you look this up, this exists somewhere, this guy
on like a morning radio thing where he was maybe
going to be met with some derisive energy by whoever.
And then he played this by himself.
Speaker 1 (36:22):
And I was like, damn, that was good, dude, Like,
and I think that's why Ed Sheeron like continues to
play like with just an acoustic guitar and like looping.
Speaker 2 (36:29):
He understands something about that.
Speaker 1 (36:31):
Yeah, I think he does, like for you know, to
you know, he's it's it's He does some questionable moments
for sure and styles, but like I do think he
gets the idea of like you got to strip down
because that's what people originally liked about it.
Speaker 2 (36:44):
I feel like it's a good way to end this
actually by bringing him up, because he becomes maybe even
more than whatever. Like there's generations of this stuff and
there was like before, during after. Ed Sheeron obviously is
like so much bigger than even then John May, any
of these people. Ed Sheeron's like only like a league
below someone like Taylor Swift or something. He's like as
big as you can be. And I feel like part
(37:06):
of what it's interesting. I hadn't thought about that. He
I don't watch the Grammys really, but I remember a
few years ago whenever that shape Shape of You, Shape
of You, So I think it was early. But when
he premiered that song, which he just makes me think,
that's what Justin Bieber was going for this last Grammys.
(37:28):
He was referencing that when Ed Sheeran premiered that song.
It was meant to be like a return. He like
went up there with his acoustic and his looping pedal
and he built the loop of that song and it
had never come out yet, it was before it was
released as a single, and he played it, and I
remember the response was like, oh wow, amazing to actually
(37:48):
just like watch someone be a musician like that without
any It's so funny, Like it's it's gonna sound like
a potentially unrelated aside. But it's like when I when
we go to clubs, right and we like load in
and stuff and like do a sound check. If it's
like a club sound person who's not like with us,
it's so funny. This has become a real feature, and
(38:09):
like as time has moved along where people are like, oh,
so you don't have any tracks with you and if
we're like no, it's just like bass, drums, guitar, and vocals,
and the sound person is always like, oh that's awesome,
Like they're like so accustomed. I'm like, way is is
that that like not to sound like I don't mean
this to sound like the ageist or generationalists or something weird.
I'm not saying it's better or worse I'm just saying
(38:29):
it's a fact of my experience that these that now
people at clubs, theaters, whatever, they're like, wait, you don't
have like a computer doing stuff. And most of the
time we don't want one or two tours. We have
had additional stuff, but it's like no, and they're so
used to having like all of this ancillary stuff, augmenting, augmenting.
And again, I don't know if I'm not saying that's bad.
(38:51):
I'm just saying, and I do think it's funny that
this is an analog version of that. I'm sure all
these instruments really played, but like maybe this song's forty
percent more compelling if he drops the gastas, and if
you just sat down and played it for you on
a guitar, you might still be like, that's not really
for me. The verses are kind of cheesy. I don't
really like the rapping thing. But this guy's really good anyway.
Speaker 1 (39:10):
Like we said, he's got an incredible voice, and I
think that would shine no matter if there's a ton
of production or just a guitar.
Speaker 2 (39:16):
And I think that is true too, And I think
shining is just what you did today.
Speaker 1 (39:24):
On God Okay, truly, you are a sith lord.
Speaker 2 (39:29):
Ah six sith. It's man six. Since I gotta go, though,
I got a lot of things I've Gusta says today,
you can't do that, You're not allowed to do that.
Well he didn't.
Speaker 1 (39:44):
You're like, I saw a video where actually appropriation doesn't exist.
Speaker 3 (39:48):
Listen, everybody, there are these real, these two people on
Earth out of seven billion people, and this really compelling
conversation about how there is no cultural appropriation.
Speaker 2 (39:59):
So tune in next week.
Speaker 1 (40:01):
I said to.
Speaker 2 (40:05):
Uh, the chance had been given, farewell
Speaker 1 (40:09):
Just give it a
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