November 21, 2024 • 36 mins
Kevin and Casey intentionally play the infectious radio jingle that got under America’s skin starting in the 2000s. Will the guys feel the frustration or make the donation?
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Give it a chance, give it a chance, give it
a chant. Good morning, give it a chance, Give it
a chance, give it a chance, Give it a chance morning,
give it a you want to give it a chance,
Give it a chance, Give it a chance, just give
Everybody who saw the name of this episode, I think
instantly has the song stuck in their head.
Speaker 2 (00:24):
You know it's cool about that, Casey. I don't know
what it's going to be yet, I know, so that
is actually kind of awesome. The people who see.
Speaker 1 (00:31):
This, they know more right now than you know right now.
Speaker 2 (00:34):
Of course by then I'll know, but right now, right now,
that's all that they shave. By the way, sorry, please
contend looking very nice.
Speaker 1 (00:42):
It's actually not. It's not a clean shave it. I
don't know if there's like a processor going on through
the Zoom account. I think I might have like the
beautify thing on here, like I have a.
Speaker 2 (00:50):
Full beard somehow it's gone, yeah, that's like, it's it's CG.
I also don't have a beard, but why I have
a filter on on mine.
Speaker 1 (00:59):
It's a beardfelt, it's a beardfilt.
Speaker 2 (01:01):
Please contind. I'm sorry.
Speaker 1 (01:03):
People know this song. Everyone sort of knows the song,
but it started regional.
Speaker 2 (01:07):
It started regional, okay, and he guesses any it could
be any region.
Speaker 1 (01:13):
It was in the New York region.
Speaker 2 (01:15):
It started regionally in New York.
Speaker 1 (01:18):
Oh my god, it's the eeriest of earworms, the wormiest
of your worms. People hate it.
Speaker 2 (01:29):
Presently hate it.
Speaker 1 (01:30):
I don't think I've ever met a person that's like,
that's great, that's a that's a great.
Speaker 2 (01:35):
Well, I really that's a great I really have no idea.
Speaker 1 (01:39):
Open your mind to what a song can be. Take
it away from like a radio. Oh well, keep it
in radio, but take it away from what. Okay, a song,
like a true song is. It's a version of a song,
and it is a song.
Speaker 2 (01:50):
Okay, But I mean that's the specific. It's like a riddle.
You're speaking of me in a riddle.
Speaker 1 (01:56):
Mm hm.
Speaker 2 (01:57):
Take it away from a version of what a song
it takes. It's a version of a song. Take it
away from your definition of a song. Regional, New York,
the spookiest of earworms. People hate it.
Speaker 1 (02:07):
Radio, think radio, think radio.
Speaker 2 (02:12):
Oh my god, I mean it's it's amazing. If you
can see the inside of my brain, it's like a
cartoon of like like out to lunch.
Speaker 1 (02:21):
I think if I say this word, you'll you'll say it,
all right, try it jingle, think of jingles, So is
it jigging very close, very close? And is that regional
dominic donkey?
Speaker 2 (02:35):
Growing up we heard it Grandma got run over by
a reindeer.
Speaker 1 (02:40):
So take it a jingle, but don't but take a jingles,
like take a Christmas out of.
Speaker 2 (02:45):
It, all right, take it.
Speaker 1 (02:48):
It's the most it's probably the most hated jingle of
all time, the most hated.
Speaker 2 (02:51):
This is amazing. I hope there's this should be the
whole episode. Is Kevin nowhere close? Like playing darts completely
You've nailed.
Speaker 1 (02:58):
It so many times like an other ways, you know,
like I'm like actual song.
Speaker 2 (03:02):
Most hated, oh one eight seven seven cars with that Yeah, yeah, boy,
fucking amazing pull by you. That's an outstanding over.
Speaker 1 (03:19):
I actually don't even want to take credit because my
wife Lisa was like, you have to give me credit
for this when you do it.
Speaker 2 (03:26):
She's got to get who if it's Lisa's Lisa, full
credit is due because that is that's like we might
have to retire after this.
Speaker 1 (03:34):
She said, you're a series finale should be this, but
I yeah, it was.
Speaker 2 (03:40):
Likely going to start singing the Sopranos for some reason,
you said season finale. I was like, oh, we already
did that one.
Speaker 1 (03:46):
All right, it's funny if they use that instead of
don't stop believing these cars are good.
Speaker 2 (03:51):
Oh, I want some intrepid chancer to make a video
of the last thirty seconds of the Sopranos with this
song instead. If somebody does that, yeah, you'll be our
first external social media.
Speaker 1 (04:06):
Send it out, send it, put it into the eight.
Oh my god, all right, well that is it. I
just texted you the version. Here's the big here's the discrepancy.
I just texted you the version is that I think
the original version. We could listen to the other version,
so and to tell everyone the difference. The original version,
which was sort of New York based, first, was like
(04:28):
a kid sings first, and then a guy. And what
I remember the most is the guy that's like, woon, yeah.
Speaker 2 (04:33):
Yeah, I have some interesting Yeah, we will get into this.
Speaker 1 (04:36):
We'll get into it. And then the second version is
a bunch of kids. They re recorded it and with
a bunch of kids, and there's a music video and
most people know that one. Yes, yes, let's play this
original one first and then we'll talk about it. We'll be
right one seven cars kids, krs cars.
Speaker 2 (04:56):
Your kids amazing.
Speaker 1 (05:00):
I see that you've stopped before they got into the
we're a real weal organization.
Speaker 2 (05:06):
I've heard. Yeah, I did stop. I thought it was over.
That's really amazing.
Speaker 1 (05:09):
The song parts over, but then it's like the music
plays and then there's a guy that's like, like.
Speaker 3 (05:15):
We're legal.
Speaker 1 (05:16):
We're a real legal thing.
Speaker 2 (05:17):
Give you that's Seleno reading that Seleno and Barnes. Actually
that's what Selena's up to these days. Yo, since Seleno
like die in a plane crash or something.
Speaker 1 (05:27):
I heard they I know they broke up.
Speaker 2 (05:29):
There's some dark web conspiracy stuff about what's going on
with Selena and Barnes. Fight the Chancers to explore at
your own Silk Road.
Speaker 1 (05:38):
But it's now Here's another question, is Seleno and Barnes
is that regional because I grew up knowing but.
Speaker 2 (05:45):
Injury attorneys incredible and graive.
Speaker 1 (05:54):
Okay, so obviously this song is so hated, but I
think there's obvious merit to it.
Speaker 2 (06:01):
I love that we're talking about this. I can't handle
this at all.
Speaker 1 (06:04):
Yeah, it's been stuck in people's heads as soon as
it came out, like I think they actually wanted to
have like psychologists study it and like why it like
infected people's brains so much. That's true. People felt like
it was playing all day in their head. They thought
the CIA created it to like.
Speaker 2 (06:21):
Wait, what that's real that there was like actual studies
that were going to be done about the degree to
which this was a successful earworm.
Speaker 1 (06:29):
From the brief reading I read before this, I might
be paraphrasing, Yeah, I had to look it up because
I couldn't find the original version for a little while,
and so I was looking for it. It's it's really wild,
And I remember when it came out and hearing it
and being like, why are they spelling it cars with
a K? When kids songs are kids things do the
(06:50):
thing wrong, Like we're trying to teach them the right way,
and they're like, let's mess it up.
Speaker 2 (06:54):
But it's also like some weird cheap like, uh, look
at us, We're being real, is right, kids? Yeah? Cars
with a K? Yeah, it's kind of like, come on,
be better than that. Seleno. Sorry.
Speaker 1 (07:12):
The guy's voice is really amazing in it. It's that
really also gets under your skin. It's funny he's got
some like so have.
Speaker 2 (07:21):
You heard have you ever heard? Are we? Do you
know about the the there is a rumor about who's
doing that?
Speaker 1 (07:30):
No, is this like how Marilyn Manson was the kid
from Wonder Years.
Speaker 2 (07:34):
And he could remove his ribs to give himself LBJ. Yeah, yeah,
Marilyn Mansonier's favorite pres of course is self. LBJ is
lb J. Yeah, Well, like the l like Espanol lb
oh l oh, oh.
Speaker 1 (07:54):
You're trying to make it like the president like LBJ.
Speaker 2 (07:57):
I mean I was. He was from Texas, which is
right on the board of Mexico where the primary spoop
spoken languages Spio, and so it's LBJ. Anyway, all I'm
saying is Paul Fife plus Marilyn man equals LBJ. But
getting back to the bupkuss at hand, there is a
room that Sorry, I'm especially unhinged right now. I think
(08:18):
because of what you've chosen, you've like unlocked some My
brain is like a festival of pop rocks and nonsense
right now.
Speaker 1 (08:25):
Oh, this is what the deep state wanted.
Speaker 2 (08:27):
This is what the deep this is what LBJ wanted most.
Speaker 1 (08:31):
It started with LBJ first and for most.
Speaker 2 (08:35):
Which is a case thing I feel like first and
for most is from first. Yeah, it's rumored that it's
Jonathan Richmond.
Speaker 1 (08:45):
Oh wild, and if you listen.
Speaker 2 (08:48):
To it with that in your brain, you're like, yo,
is it Jonathan Richmond? And I don't know that it is.
But I love the idea of somebody being like that
dude is you know, a iconoclassed, idiosyncratic, like you know,
underground lifer who then has had that weird moment and
something about Mary where hopefully that made him a whole
mess of money because he's still that dude, still tours
(09:10):
sometimes on greyhound buses.
Speaker 1 (09:13):
Well that's his whole He has a whole song about it,
and he feels like he needs to keep doing that.
Speaker 2 (09:16):
Yeah, and he's and he's like, I, you know, I
love and respect him a great deal. I also love
the idea of somebody being like, listen, the CIA being like,
we have this god forsaken jingle that we've concocted in
a lab that's going to be an earworm to the
nth degree, and we were wondering, would you like to
be the adult voice on the song, and Jonathan Richmond
(09:37):
being like okay, and then going and recording it but
if you listen to it.
Speaker 1 (09:42):
It's amazing that you even bring that up, because just
recently I've been like on a deep dive of Jonathan
Richmond and Modern Lovers, and so it's really kind of crazy.
It's funny. I'm on such a kick right now. I'm
kind of like, no, because I don't I think he's
so unhinged in a good way, like he would divert
from the melody, like.
Speaker 2 (10:01):
Well, that's part of what I wonder when you hear it.
Speaker 1 (10:04):
Feels like a gun is to his head, yes, but he's.
Speaker 2 (10:06):
Also like Okay's colors with kids. That almost feels to
me like that's him being like putting some stink on it,
like some Jonathan. I don't know if it's it's probably
not him, but I love the idea. And also when
you hear that rumor, you can hear why in the
vocal delivery song.
Speaker 1 (10:25):
If it's not him, it's definitely somebody who's trying to
channel him.
Speaker 2 (10:29):
So what I don't remember, though, is in the the
visual for this, for anyone who has not seen it,
the one that Casey mentioned before with the kids like
playing fake instruments. Oh, that's kind of popping back and forth.
What did they do with the adult voice in that?
Because there wasn't a grown up in the picture. It
was just like four kids and like almost like a
(10:51):
Robert Palmer background girls in that.
Speaker 1 (10:54):
In his beetles, like there's I'm looking at it now.
There's like three different little stages. Yes, exactly, like a
nineteen sixties sort of like the aspect is.
Speaker 2 (11:04):
So like there's something kind of like weird and it's
a creepy visual. Actually do they get rid of his voice?
Speaker 1 (11:12):
They got rid of it. He's not in it. So
I actually don't mind if we if we listen to
it now, because it'll just give us more fodder. I
still think, you know, we haven't.
Speaker 2 (11:23):
There's so much more. Okay, so we're watching.
Speaker 1 (11:25):
Oh yeah, we're gonna watch that real quick.
Speaker 2 (11:27):
There's a violin keyboards, a real like a heavy metal
looking electric bass. All right, cool, here we go.
Speaker 1 (11:33):
And maybe we'll maybe we'll do some commercials coming back.
Speaker 2 (11:44):
Wanton freaking Okay.
Speaker 1 (11:51):
It's funny because they're all the same, but there's little differences.
It's so overproduced. Sorry, it's confusing. But the one we
listened to seconds is the most modern one, and it's
like they left the auto tune fully on. They didn't
blend it. Yeah yeah, yeah, And the drums are like
these like eight o eight. But then there's also like
country guitar.
Speaker 2 (12:12):
It actually fits with so many things we've talked about
on the great funneling of everything into just this one,
you know, weird homogenous. Yeah, yeah, I will say that
when it's just the kids, it makes me miss the
Jonathan Richmond clone. Oh I actually think he points, he
offers counterpoint. He like grounds it in something. Also, though
(12:34):
I did it, I forgot about the While they're giving
the legal ease. In those last two the kids are talking,
there's this like boom bum bum bum boom bum boom bum.
It's like this weird little melodic thing. Yes, it is
an absolutely perfect earworm. Yeah, I mean it is, so
(12:54):
it makes sense that it would drive people I've never
had like a it's funny. I feel like, me, this
is a weird thing to do. Now. I feel like
I'm slightly embarrassed to admit this. I've never had like
a deep well of contempt for this. I've always just
felt like it was like I'm like I thought it
was what I thought was really interesting, And this has
nothing to do with maybe this does. I don't know
if this chance anti chance or neither. I still don't
(13:17):
understand what this organization is, even though I've been hearing
their song for probably fifteen years. So you donate your
car and somehow, Actually that's as far as I can go.
How does it? What then happens to benefit kids?
Speaker 1 (13:35):
And kids can't drive cars as far as I know,
especially in the you know, the the Tri state area
at least where it started. Definitely not dog you know,
I mean, they can drive a car illegally.
Speaker 2 (13:48):
Which is cool as hell. Actually, yeah, I don't want
to send mixed messages. But on the first hand, definitely
a PSA. If you see a kid driving a car,
definitely report it to the authorities. But on the second hand,
if you see a kid driving a car, that's fucking
sick and just like, let that kid just dap them up,
dap them yeah, yeah, yeah, yeah, dap them off. Donkey.
Speaker 1 (14:08):
So it's funny because I'm trying, I'm pulled up a
wiki of this, and it's so Cars for Kids takes
donations of cars, boats, yachts, and real estate, which is
so funny.
Speaker 2 (14:19):
What the fuck?
Speaker 1 (14:21):
It's like they can't get anything right. They spell fucking k.
Speaker 2 (14:25):
Spelled in real estate like r E E L L
s e E real estate.
Speaker 1 (14:31):
Yeah, yachts is just y.
Speaker 2 (14:33):
I T yes, okay, but then what do they do
with those things?
Speaker 1 (14:39):
They and then it says, then it skips and says
Cars for Kids reported revenue of sixty five million dollars
and expenses of fifty nine million, So they made six mill.
They made six mill. But it's so funny that I
hope the fifty nine million just goes to the kids
made this music.
Speaker 2 (14:55):
Yeah, like what is I'm sorry, I'm still not crystal
clear on the overall mission and execution of the Cars
slash yachts slash real Estate for Kids Empire.
Speaker 1 (15:09):
This actually might help. I found the section on the
Wikipedia of the line. By the way, I'm sorry.
Speaker 2 (15:13):
We need the listeners to appreciate the degree to which
Casey has this is like Casey's JFK, Like you are
really really locked in From a research.
Speaker 1 (15:22):
Perspeci one hundred percent, I take this serious, and I'm
going to read the lyrics and maybe that we could
sort of figure out what it so one eight seven
seven Cars for Kids that's what said. Yeah, the Kars
Cars for Kids one, eight seven seven, Cars for Kids.
Oh here it is donate your car today.
Speaker 2 (15:38):
Oh god, I was right there the whole time.
Speaker 1 (15:41):
It was It's like.
Speaker 2 (15:41):
Those college classes about Bob Dylan, because you know, what
exactly does it mean when he says the ghost of
electricity howls and the bones of her face. Hmm. You
need a teacher to tell you that, and I did
need to be teached by Casey Joes teached. Okay, so
you donate your car today, fifty nine mil. Take that
(16:02):
away from sixty five mili six mil left. I can
give him real estate or a yacht. The kids, we
don't know when they come into the picture, don't Cia
was involved in writing the song. Jonathan Richmond may or
may not have gotten off a Greyhound bus to record
his vocal. There are definitely multiple sets of kids on
multiple stages doing multiple versions of this song.
Speaker 1 (16:24):
Because when you don't change the formula too much, right,
they already changed the formula that they took Jonathan Richmond off. Yeah,
and whoever that was.
Speaker 2 (16:32):
Sucks, which I think is it was Jimathan Richmus.
Speaker 1 (16:36):
That's the biggest issue for me is that they change
that guy, because I think that guy is the one
that really got it in your head. Like when I
close my eyes and think of the song, it's that
cars we cud.
Speaker 2 (16:47):
Yeah, it's because it's such a weird choice. It's a
really strange like there's vulnerability in his vocal delivery, like
for an ad camp it's a really odd Never I
would hear that. It was always listening to sports talk radio,
usually driving somewhere, usually like a Mets or a Knicks
game on when they when those teams were both on
(17:08):
at the time w f A N in New York,
and they would play that every ad break, every single
ad break, you'd hear it. If you were listening for
four hours, you'd hear it like thirty times.
Speaker 1 (17:19):
And you're saying it never never bothered you, you loved it.
Every time.
Speaker 2 (17:23):
I didn't say that, I would I say. I mean,
I didn't.
Speaker 1 (17:25):
Say what I like is they give you a little.
Speaker 2 (17:33):
No. I just felt I felt like I just felt
like I thought it was funny, like it was something
that I like. It would come on and I'd be like,
there's a ludicrousness to it that I just sort of
was like the rapper, Yeah, like the way Ludacris did it, like,
do you have the ludicrous version? Can we call that out?
Speaker 1 (17:50):
Yeah, let's call that out.
Speaker 2 (17:51):
Yeah, move car, Go for a kid, Go for a kid,
Go for a kid, car, go for Oh my diamonds
are reckless. It does feel like a munchkin is hanging
off of my neck piece. No, it feels like it
just felt like when there's these little moments of absurdity
(18:13):
that rend the fabric of reality, I'm on board. And
so anytime that would come on, especially the Jonathan Richmond version,
would be like, this is objectively fucking crazy.
Speaker 1 (18:25):
All commercials like jingles, Like any anytime you're on the
radio and there's like a commercial, it is made to
like get your attention. It's louder everything, it's loud louder.
It's always some like race Way Park, right, it's always
some like the North.
Speaker 2 (18:41):
Stayerville Yeah yeah yeah exact.
Speaker 1 (18:43):
Radio radio is always like extremes like TV is just
like a person talking about radio and worri'd owt like
it's always like the craziest. So they have to compete
with that. So you gotta throw Jonathan Richmond Junior in
there to be like, oh it's real good.
Speaker 2 (18:58):
Yeah yeah, yeah. Vulnerable shaking. What's funny is, as you're
saying it, it actually is invoking kind of nostalgia because
what you're describing is like a non visual medium attempting
to compete for attention at the time, in particular something
like this this is still exists, but I'm thinking about
in those contexts and stuff you described to like Raceway Park.
(19:19):
These regional ads like that the Wiz nobody beats the Wiz.
That Crazy Eddie was one when I was a kid.
These are like, it's almost in a weird way, like
uh Vaudvillion or something. It's so broad that they have
because you have to get the attention and you don't
have the visual component that can like like lights and
(19:40):
you know, it's just all sonic, and so it's like, yeah,
these like crazy like exaggerated voice actors doing these like elasticity,
these elastic things with their voices and these like weird
sound effects and.
Speaker 1 (19:52):
Like, well, the history of radio also is like radio plays,
right where they had like a person with like tap
shoes hitting a block.
Speaker 2 (19:58):
Fully artists and shit, yeah, yeah, yeah, absolutely.
Speaker 1 (20:01):
And I used to love I was a big like
hot ninety seven person and instead of like commercials they'd
also obviously the radio hosts do ads and so funk
Master Flex used to do Western Beef, a commercial for
Western Beef, which is like a regional chain. There's one
in Staten Island.
Speaker 2 (20:16):
Yeah, he'd be like Western Beef, Baby.
Speaker 1 (20:18):
He's like, yeah, yeah about Western Beef. And I like
loved it, Like it was it's so fun to listen.
You're like laughing, that's actually so funny. Prices it's amazing,
and that's a carryover.
Speaker 2 (20:28):
It does feel like I guess radio's closest analog in
not the radio doesn't still exist, but obviously, like terrestrial television,
it's diminished to.
Speaker 1 (20:37):
A degree in the medium evolved. Yeah, it's yeah, it's pod.
Speaker 2 (20:41):
I mean really, the the closest analog for most people,
like generation younger than us and younger is podcast. Radio
is looked at as like an antiquated kind of like
almost like I don't know, if I was just getting
a conversation with a sixteen year old about like what
radio do you listen to? I would be fascinated to
find out what they'd say. But I do think even
(21:02):
with podcasts it's funny, like I mean, maybe this is
the next frontier for you and I with this pod,
but so many times you hear the host doing the
ad breaks, you know what I mean, like celebritized.
Speaker 1 (21:14):
Oh for sure, stamps dot com or whatever, you know,
like Mark.
Speaker 2 (21:17):
Maarn doing that exactly one. Yeah, yeah, but yeah, I
feel like yeah, and I feel like so it is.
There was something though that that thought process about the
like kind of absence of visual you know, dazzle. They
have to get you somehow, and that does inform how
these these things.
Speaker 1 (21:35):
And let's talk about jingles, right because jingles is a
lost art form, and maybe this was the nail in
the coffin for jingles, like it became like they got
like warning or something. Obviously, like eighties and nineties had
incredible jingles, you know, like bed.
Speaker 2 (21:52):
With big red. Oh yeah yeah, like yeah, all these
actually eighty was my daughter was telling me. One was
telling me that there's like a series of memes now around,
like the Nesley Crunch one from from the commercials, in
which now I got, of course, terrible timing in the.
Speaker 1 (22:07):
Moment, tastes better nasty crunch. That's that was what It's
not it No, no, no.
Speaker 2 (22:12):
That that better men.
Speaker 1 (22:15):
Yeah, but I can't remember crunch.
Speaker 2 (22:19):
There was one when she was doing it, I was like, oh,
that was a commercial in like the nineties. But now
it's like a series of memes for Gen Alpha kids
where it's like like nesle Crunch and then it'll make
someone like a stick figure falling and breaking their neck
or something and you're like, oh, that's funny.
Speaker 1 (22:35):
But so so, yeah, was this the end of jingles?
Because at this point, like so this came out from
the ree the deep deep research I did five minutes
before this podcast. It was the company started around like
ninety nine or ninety five maybe, and the jingle came
out around ninety nine, two thousand and like it was.
It was sort of that Richmond version for five to
(22:56):
ten years and then it switched I think twenty fourteen
it switched over to one of the modern ones. Now. Yeah, yeah,
and but but so so that would make sense to me,
like ninety nine to two thousand and five ish is
sort of when we stopped hearing those like iconic jingles
of the past few.
Speaker 2 (23:16):
The Mento's one was around then.
Speaker 1 (23:18):
Right or early that was early nineties, I think, And
I think big Red, that big.
Speaker 2 (23:25):
Red, your big Red fresh Nest last right through it Yeah,
fresh breath goes on and on.
Speaker 1 (23:30):
Well, they're they're written so well, they're perfect, they're perfect.
So kiss a little longer, Yeah, stay close a little
long Oh yeah yeah, it's it's so.
Speaker 2 (23:41):
Little racy not racist.
Speaker 1 (23:44):
Yeah, but you have said racey for racist, which is fun.
Speaker 2 (23:47):
I do I've said that on this podcast.
Speaker 1 (23:51):
No, I just I'm sure you like, yeah that you
can't wear that Halloween costume. It's a little race.
Speaker 2 (23:56):
It's a little racy. Yeah, sure, I've said something like that.
Speaker 1 (23:59):
Absolutely Full Bulgers is a great one.
Speaker 2 (24:02):
Did you ever see the Folgers thing with Paul Stanley
from Kiss? Oh? No, he did a he there's a
Folgers jingle where he sings the Folgers jingle. It's like
a must have been late eighties, mid to late eighties,
and there's like it's a weird commercial that has like, uh,
trapeze artists, like a circus theme. He's no makeup, it's
just him, it's not all of Kiss. He's vocalizing the
(24:25):
Bolger's theme. And it's about these like Trepezars waking up
and doing doing having this Bulgiers and then going into
their morning routine. It's worth looking up that could.
Speaker 1 (24:36):
So such an interesting time because I always kind of
remember Folgers with like a cowboy on a or something
like that, like wake up and have Another one that's
iconic that I always think of is the chiliest baby
back ribs.
Speaker 2 (24:49):
Well, of course that was. That was I feel what's
funny is as a forty four year old, I feel
like that one even at the time felt like later
general ration like that was two thousands. Remember like in
sync did it as a joke somewhere, not on not
for Chilis, but like on something Yeah, yeah, yeah, like
(25:13):
it's a joke or something that's fun. And wasn't it
in Austin Powers isn't it a joke in Austin? Yes?
It was. Yeah.
Speaker 1 (25:23):
He's doing because he wants to eat a baby. Yeah,
which is that character that's named fat Bastard?
Speaker 2 (25:28):
Yeah, yeah, yeah, and he says.
Speaker 1 (25:31):
And he's got that Scottish accent.
Speaker 2 (25:44):
That was way who knows where we are now? I
was watching again anyone with any I feel like I
defy anyone to tell me differently. I'm like, my feet
is poisoned. I don't know what I clicked on at
some point, but the okay, I.
Speaker 1 (25:57):
Mean it might have to go to hospital get.
Speaker 2 (26:03):
But every time I might have to donate it to
cosmic kids. But every time I like, like the for
you thing on Instagram, the arrangement of ship.
Speaker 1 (26:14):
Oh it's a mess, my algo. My algo is a mess.
Speaker 2 (26:17):
To malgo is ft. But there was something that was
like Rob Low talking about like, well, when I was
on the set with I mean, by the way, I'm sorry,
I can't.
Speaker 1 (26:26):
I just can't.
Speaker 2 (26:28):
I can't revel impressions. The thing where like the seriousness
with which I'm sorry, I'm gonna like, lambasta whole whatever.
I'm gonna stop now. The way actors sometimes talk about
what they do is very hard. He's like, well, when
I was on set with them, Mike Myers and Austin Powers,
and I'm immediate like, why are you talking with the
tone of voice you're talking about any of what you're
(26:50):
talking about, like this didn't have fun, this is amazing.
But he was like, that's when I realized I was
really in the presence of like true genius because and
then he quotes He's like, none of that baby back
ribs thing was in the script. It was all ad
lib And I was like, I what am I watching?
I'm forty four. I have a life, I have a job,
I have a kid. I can't believe I'm spending any
(27:11):
amount of time watching Rob Blow talk about Austin Austin Myers.
But anyway, it was Baby back Ribs was such an
effective jingle. It made it that deep into the pop
culture consciousness, not just an hour totally. It was in
a movie that probably made like two hundred million dollars
or something.
Speaker 1 (27:30):
Yeah, it's really wild that I think it really sold
a lot of product to a lot of ribs, a
lot of ribs.
Speaker 2 (27:37):
Contributing to America's obesity epidemic, dogy, which is a weird
full circle moment given the f bastard true and kids.
Yeah yeah, which you then have to sell the baby
back ribs to the cars for kids.
Speaker 1 (27:50):
That's probably they need to. They need the cars to
get to Chili's to get it. They mix.
Speaker 2 (27:55):
Yeah, but they shouldn't have cars to be bicycles to
deal with the open Give break. That's that's a good one,
great one. Break me off a piece of that bar,
Give me a break, Give me a break, break, you.
Speaker 1 (28:09):
Know, trying to do it in the baby baby beg ribs. Baby,
I won't look anyway, all to say that I think
jingles were very the efficacy of jingles shown itself and
being in getting all of like you know, like the
oh the Foo Fighters video that does them.
Speaker 2 (28:31):
Yeah Mentos thing, right, so everyone knew what they were referencing.
Everyone who saw that video did enough to think they
were like, oh, that's the Mento's thing.
Speaker 1 (28:38):
But I think I think when we're coming back to
cars for kids, I think people were at peak. I
think we were at peak jingles, but they came in
and knocked it out of the park, but maybe knocked
the whole genre out of the park. Yeah, what is
I'm trying to think of a modern jingle? Yeah, you
know to boat they is the place making.
Speaker 2 (28:59):
Like well, I'm trying to think of them. Like it's
not like there's like an Amazon jingle.
Speaker 1 (29:03):
Oh oh I got I got one, but it's still
not they. I think they still use it and it's newer,
but it's from the nineties. I think, like like or
to early two thousand is bought.
Speaker 2 (29:14):
Oh yeah, yeah they' and they've like made that a
little cooler sometimes. But yeah, and they spell it wrong
B for Bob They use Q somehow. Yeah. Yeah, uh no,
I feel like I'm also trying to think, what are
some like enormous And I wonder if that's got something
to do also with like the faceless enormity of the
(29:35):
brands that are as that exists now, Like what would
an Amazon jingle even be, like the like Darth Vader's
theme from stares right, like we have imperially destroyed everything everything.
Let's see, I'm glitching and as they say it, because
Bezos is in this hod, you must hear me. If
(29:56):
you can hear me. Uh, they glitched me out on
the VID.
Speaker 1 (30:00):
They are, but you sound good, So that's all it matters.
Speaker 2 (30:02):
You know, Amazon own Zoom Race, Amazon Amazons cars for kids. Yeah,
that's where that six mill went, was into Bezos niece.
Speaker 1 (30:12):
How mad would you be if you found out, honestly,
be honest, you find out in a few days or
like when this after this comes out that I got
paid a quarter mill to do cars for kids as
like a commercial word.
Speaker 2 (30:27):
Of a million dollars and you gave me zero zero,
I would be of course I'd be. I would actually
be more on the order of like I'd be devastated.
Speaker 3 (30:34):
Dog.
Speaker 1 (30:35):
You would think like.
Speaker 2 (30:36):
Our whole compact was I misunderstood everything about everything about
our whole relationships ends.
Speaker 1 (30:41):
It all ends, it gotta end it.
Speaker 2 (30:44):
It's a quarter mill.
Speaker 1 (30:45):
But I give you. But but you confront me and
I give you five k. Now, now that's a little
a little nervous, give me slippy, five k slippy.
Speaker 2 (31:00):
So in this scenario, in this scenario, Bezos has come
to you and said, I'll give you two hundred and
fifty thousand dollars if you make the next EP. And
actually he says if you do the next Omar of Chance.
And you're like, well, you're a fan, and Bethis is like,
I know everything, like he knows everything. And then he's like, well,
(31:20):
Kevin talks, I'll glitch him out. I'll give you two
fifty K. And then you could do whatever you want
with that. But my advice would be give him nothing.
And then you said, and then he said, and in exchange,
you can keep your beard, but i'll give it. I'll
make it look in the video like you have no beard.
And you're like, all right, I'm in.
Speaker 1 (31:37):
That's a deal. You had me at the money, but
beer was just a nice little benefit.
Speaker 2 (31:41):
Yeah, bonus. In fact, he gave you an extra twenty
five hundred dollars to take the beard off somehow, So
you made two hundred and fifty two five hundred dollars.
And then I come to you and I say, Casey,
I thought we had a different relationships. I wanted to
do something different. And you say, I'll give you five pous.
Speaker 1 (31:59):
I'll slide you.
Speaker 2 (32:00):
Okay, I'll slide you five.
Speaker 1 (32:03):
Five k on the side piece.
Speaker 2 (32:05):
And then you say, now can we talk?
Speaker 1 (32:07):
Now? Talk?
Speaker 2 (32:09):
Yeah?
Speaker 1 (32:10):
Yeah? Are we good?
Speaker 2 (32:11):
Are we? What are we talking about?
Speaker 1 (32:13):
The next Makay Pfiffer, Oh my god, did I tell you?
Speaker 2 (32:17):
This is my life?
Speaker 1 (32:18):
So we we call it omar omars because they're apps
right right each episode? But did I I don't know.
I can't remember if we talked about this. But there's
a Kanye lyric where he gets the wrong he gets
the wrong person in the movie. He has a line
that's just like because I was in Too Deep, like
I was Mackay Pfeiffer.
Speaker 2 (32:37):
And he's not in that movie.
Speaker 1 (32:38):
But he's not in it. It's omar apps.
Speaker 2 (32:40):
Oh he confused the two of them, right. Oh, So
then it's layered when you if you go back to Makay.
Speaker 1 (32:45):
But I'm saying, if we're start calling our episodes makay
five's start today done, Thank you, Joe.
Speaker 2 (32:51):
I don't yeah, I don't think I can. I mean
I think no, I would need a little more than that.
Speaker 1 (32:56):
This was the one of our greatest tangies of all time.
Speaker 2 (32:59):
Yeah, no doubt, I do. I do think it would
need to be at least sixty forty.
Speaker 1 (33:05):
At least sixty forty. Oh, because I brought it sort
of like I said, yeah, fine, so nice that you'd
even give me the sixty.
Speaker 2 (33:11):
Finders Keepers losers weepers for that, I give you seven
cars for keepers.
Speaker 1 (33:16):
For that, For even just saying that I can have
the sixty, I give you forty nine and I get
fifty one.
Speaker 2 (33:22):
One percent finders fee.
Speaker 1 (33:24):
One hundred percent. I need it one hundred.
Speaker 2 (33:26):
Percent finders fee. Wait a minute, that went back to
the beginning.
Speaker 1 (33:30):
Yeah, we didn't really talk about the music of it.
I love that it starts with boom boom boom, because then, like,
let's say you do hate the song, you're like, oh
you could, It gives you like a second to turn
it off.
Speaker 2 (33:44):
I wonder if that was on purpose, if they were like,
let's make sure they have a little warning. They have
the opportunity to be like can't do it, m m,
but boom. I also think that roots it. It's supposed
to feel I think like like a class sick. Yeah. Yeah,
it's almost like it's like slow almost or something.
Speaker 1 (34:06):
Yeah boom, yeah it's it's it's definitely folky. That's that's
like a focus.
Speaker 2 (34:14):
There's like an upstroke thing that's also trying to go
towards them weird like little Jamaican petois or something.
Speaker 3 (34:20):
Yeah.
Speaker 2 (34:20):
Yeah yeah. And then like those done done done done,
yeah done. It's supposed almost be like steel drum or
something I feel like.
Speaker 1 (34:31):
And then the version that's got just like yeah, like
it throws like electric.
Speaker 2 (34:38):
That's yeah.
Speaker 1 (34:38):
That those versions are too much like they it lose
it lost all that's like character by like Pathan Richmond
lost him, but it lost a lot of the the
the simple that it was also stark, like the original
version is a little stark, and it's racing.
Speaker 2 (34:55):
It was like a movie. It was really fucked up.
The word you said before was racy about racy?
Speaker 1 (35:06):
Was that vulnerable?
Speaker 2 (35:07):
Yeah? Well when he's when he's like one E's seven
seven cars for kids, it's not Connor Oberst, it's Jonathan Richmond.
Speaker 1 (35:15):
But there's like a warbles and what's the what's the
Connor warble?
Speaker 2 (35:19):
You love? I mean I love a lot of it.
Speaker 1 (35:23):
No, no, I know, but there's one that you.
Speaker 2 (35:24):
Oh, there's well, he kind of ends a lot of
lines by saying like I remember Dola pointing this out
to me, like like like there's always like an on
the very last syllable, which actually helps him a lot
with his rhyming.
Speaker 1 (35:40):
Cars for kids. Oh, Connor OBErs is doing. It's pretty great.
Speaker 2 (35:46):
Connor overs, please do a version of this if you
hear a chancy, which I know you will obviously, you
and Bezos sitting together in a Satanic circle listening to
this editing the.
Speaker 1 (35:56):
Version of the Sopranos with us on it. Okay, long
story short, Carson gets rules. I'm a fan.
Speaker 2 (36:01):
I'm a fan. I'm in If more music was like this,
I'd listen to more music.
Speaker 3 (36:06):
Baby, God bless Jeffie Bezos, Thank you, and I will
I will slide you that five piece soon and then
we can talk, and then we we can chat.
Speaker 1 (36:18):
GPT
Give it a chance, give it a chance, give it
a chant. Good morning, give it a chance, Give it
a chance, give it a chance, Give it a chance morning,
give it a you want to give it a chance,
Give it a chance, Give it a chance, just give
Everybody who saw the name of this episode, I think
instantly has the song stuck in their head.
Speaker 2 (00:24):
You know it's cool about that, Casey. I don't know
what it's going to be yet, I know, so that
is actually kind of awesome. The people who see.
Speaker 1 (00:31):
This, they know more right now than you know right now.
Speaker 2 (00:34):
Of course by then I'll know, but right now, right now,
that's all that they shave. By the way, sorry, please
contend looking very nice.
Speaker 1 (00:42):
It's actually not. It's not a clean shave it. I
don't know if there's like a processor going on through
the Zoom account. I think I might have like the
beautify thing on here, like I have a.
Speaker 2 (00:50):
Full beard somehow it's gone, yeah, that's like, it's it's CG.
I also don't have a beard, but why I have
a filter on on mine.
Speaker 1 (00:59):
It's a beardfelt, it's a beardfilt.
Speaker 2 (01:01):
Please contind. I'm sorry.
Speaker 1 (01:03):
People know this song. Everyone sort of knows the song,
but it started regional.
Speaker 2 (01:07):
It started regional, okay, and he guesses any it could
be any region.
Speaker 1 (01:13):
It was in the New York region.
Speaker 2 (01:15):
It started regionally in New York.
Speaker 1 (01:18):
Oh my god, it's the eeriest of earworms, the wormiest
of your worms. People hate it.
Speaker 2 (01:29):
Presently hate it.
Speaker 1 (01:30):
I don't think I've ever met a person that's like,
that's great, that's a that's a great.
Speaker 2 (01:35):
Well, I really that's a great I really have no idea.
Speaker 1 (01:39):
Open your mind to what a song can be. Take
it away from like a radio. Oh well, keep it
in radio, but take it away from what. Okay, a song,
like a true song is. It's a version of a song,
and it is a song.
Speaker 2 (01:50):
Okay, But I mean that's the specific. It's like a riddle.
You're speaking of me in a riddle.
Speaker 1 (01:56):
Mm hm.
Speaker 2 (01:57):
Take it away from a version of what a song
it takes. It's a version of a song. Take it
away from your definition of a song. Regional, New York,
the spookiest of earworms. People hate it.
Speaker 1 (02:07):
Radio, think radio, think radio.
Speaker 2 (02:12):
Oh my god, I mean it's it's amazing. If you
can see the inside of my brain, it's like a
cartoon of like like out to lunch.
Speaker 1 (02:21):
I think if I say this word, you'll you'll say it,
all right, try it jingle, think of jingles, So is
it jigging very close, very close? And is that regional
dominic donkey?
Speaker 2 (02:35):
Growing up we heard it Grandma got run over by
a reindeer.
Speaker 1 (02:40):
So take it a jingle, but don't but take a jingles,
like take a Christmas out of.
Speaker 2 (02:45):
It, all right, take it.
Speaker 1 (02:48):
It's the most it's probably the most hated jingle of
all time, the most hated.
Speaker 2 (02:51):
This is amazing. I hope there's this should be the
whole episode. Is Kevin nowhere close? Like playing darts completely
You've nailed.
Speaker 1 (02:58):
It so many times like an other ways, you know,
like I'm like actual song.
Speaker 2 (03:02):
Most hated, oh one eight seven seven cars with that Yeah, yeah, boy,
fucking amazing pull by you. That's an outstanding over.
Speaker 1 (03:19):
I actually don't even want to take credit because my
wife Lisa was like, you have to give me credit
for this when you do it.
Speaker 2 (03:26):
She's got to get who if it's Lisa's Lisa, full
credit is due because that is that's like we might
have to retire after this.
Speaker 1 (03:34):
She said, you're a series finale should be this, but
I yeah, it was.
Speaker 2 (03:40):
Likely going to start singing the Sopranos for some reason,
you said season finale. I was like, oh, we already
did that one.
Speaker 1 (03:46):
All right, it's funny if they use that instead of
don't stop believing these cars are good.
Speaker 2 (03:51):
Oh, I want some intrepid chancer to make a video
of the last thirty seconds of the Sopranos with this
song instead. If somebody does that, yeah, you'll be our
first external social media.
Speaker 1 (04:06):
Send it out, send it, put it into the eight.
Oh my god, all right, well that is it. I
just texted you the version. Here's the big here's the discrepancy.
I just texted you the version is that I think
the original version. We could listen to the other version,
so and to tell everyone the difference. The original version,
which was sort of New York based, first, was like
(04:28):
a kid sings first, and then a guy. And what
I remember the most is the guy that's like, woon, yeah.
Speaker 2 (04:33):
Yeah, I have some interesting Yeah, we will get into this.
Speaker 1 (04:36):
We'll get into it. And then the second version is
a bunch of kids. They re recorded it and with
a bunch of kids, and there's a music video and
most people know that one. Yes, yes, let's play this
original one first and then we'll talk about it. We'll be
right one seven cars kids, krs cars.
Speaker 2 (04:56):
Your kids amazing.
Speaker 1 (05:00):
I see that you've stopped before they got into the
we're a real weal organization.
Speaker 2 (05:06):
I've heard. Yeah, I did stop. I thought it was over.
That's really amazing.
Speaker 1 (05:09):
The song parts over, but then it's like the music
plays and then there's a guy that's like, like.
Speaker 3 (05:15):
We're legal.
Speaker 1 (05:16):
We're a real legal thing.
Speaker 2 (05:17):
Give you that's Seleno reading that Seleno and Barnes. Actually
that's what Selena's up to these days. Yo, since Seleno
like die in a plane crash or something.
Speaker 1 (05:27):
I heard they I know they broke up.
Speaker 2 (05:29):
There's some dark web conspiracy stuff about what's going on
with Selena and Barnes. Fight the Chancers to explore at
your own Silk Road.
Speaker 1 (05:38):
But it's now Here's another question, is Seleno and Barnes
is that regional because I grew up knowing but.
Speaker 2 (05:45):
Injury attorneys incredible and graive.
Speaker 1 (05:54):
Okay, so obviously this song is so hated, but I
think there's obvious merit to it.
Speaker 2 (06:01):
I love that we're talking about this. I can't handle
this at all.
Speaker 1 (06:04):
Yeah, it's been stuck in people's heads as soon as
it came out, like I think they actually wanted to
have like psychologists study it and like why it like
infected people's brains so much. That's true. People felt like
it was playing all day in their head. They thought
the CIA created it to like.
Speaker 2 (06:21):
Wait, what that's real that there was like actual studies
that were going to be done about the degree to
which this was a successful earworm.
Speaker 1 (06:29):
From the brief reading I read before this, I might
be paraphrasing, Yeah, I had to look it up because
I couldn't find the original version for a little while,
and so I was looking for it. It's it's really wild,
And I remember when it came out and hearing it
and being like, why are they spelling it cars with
a K? When kids songs are kids things do the
(06:50):
thing wrong, Like we're trying to teach them the right way,
and they're like, let's mess it up.
Speaker 2 (06:54):
But it's also like some weird cheap like, uh, look
at us, We're being real, is right, kids? Yeah? Cars
with a K? Yeah, it's kind of like, come on,
be better than that. Seleno. Sorry.
Speaker 1 (07:12):
The guy's voice is really amazing in it. It's that
really also gets under your skin. It's funny he's got
some like so have.
Speaker 2 (07:21):
You heard have you ever heard? Are we? Do you
know about the the there is a rumor about who's
doing that?
Speaker 1 (07:30):
No, is this like how Marilyn Manson was the kid
from Wonder Years.
Speaker 2 (07:34):
And he could remove his ribs to give himself LBJ. Yeah, yeah,
Marilyn Mansonier's favorite pres of course is self. LBJ is
lb J. Yeah, Well, like the l like Espanol lb
oh l oh, oh.
Speaker 1 (07:54):
You're trying to make it like the president like LBJ.
Speaker 2 (07:57):
I mean I was. He was from Texas, which is
right on the board of Mexico where the primary spoop
spoken languages Spio, and so it's LBJ. Anyway, all I'm
saying is Paul Fife plus Marilyn man equals LBJ. But
getting back to the bupkuss at hand, there is a
room that Sorry, I'm especially unhinged right now. I think
(08:18):
because of what you've chosen, you've like unlocked some My
brain is like a festival of pop rocks and nonsense
right now.
Speaker 1 (08:25):
Oh, this is what the deep state wanted.
Speaker 2 (08:27):
This is what the deep this is what LBJ wanted most.
Speaker 1 (08:31):
It started with LBJ first and for most.
Speaker 2 (08:35):
Which is a case thing I feel like first and
for most is from first. Yeah, it's rumored that it's
Jonathan Richmond.
Speaker 1 (08:45):
Oh wild, and if you listen.
Speaker 2 (08:48):
To it with that in your brain, you're like, yo,
is it Jonathan Richmond? And I don't know that it is.
But I love the idea of somebody being like that
dude is you know, a iconoclassed, idiosyncratic, like you know,
underground lifer who then has had that weird moment and
something about Mary where hopefully that made him a whole
mess of money because he's still that dude, still tours
(09:10):
sometimes on greyhound buses.
Speaker 1 (09:13):
Well that's his whole He has a whole song about it,
and he feels like he needs to keep doing that.
Speaker 2 (09:16):
Yeah, and he's and he's like, I, you know, I
love and respect him a great deal. I also love
the idea of somebody being like, listen, the CIA being like,
we have this god forsaken jingle that we've concocted in
a lab that's going to be an earworm to the
nth degree, and we were wondering, would you like to
be the adult voice on the song, and Jonathan Richmond
(09:37):
being like okay, and then going and recording it but
if you listen to it.
Speaker 1 (09:42):
It's amazing that you even bring that up, because just
recently I've been like on a deep dive of Jonathan
Richmond and Modern Lovers, and so it's really kind of crazy.
It's funny. I'm on such a kick right now. I'm
kind of like, no, because I don't I think he's
so unhinged in a good way, like he would divert
from the melody, like.
Speaker 2 (10:01):
Well, that's part of what I wonder when you hear it.
Speaker 1 (10:04):
Feels like a gun is to his head, yes, but he's.
Speaker 2 (10:06):
Also like Okay's colors with kids. That almost feels to
me like that's him being like putting some stink on it,
like some Jonathan. I don't know if it's it's probably
not him, but I love the idea. And also when
you hear that rumor, you can hear why in the
vocal delivery song.
Speaker 1 (10:25):
If it's not him, it's definitely somebody who's trying to
channel him.
Speaker 2 (10:29):
So what I don't remember, though, is in the the
visual for this, for anyone who has not seen it,
the one that Casey mentioned before with the kids like
playing fake instruments. Oh, that's kind of popping back and forth.
What did they do with the adult voice in that?
Because there wasn't a grown up in the picture. It
was just like four kids and like almost like a
(10:51):
Robert Palmer background girls in that.
Speaker 1 (10:54):
In his beetles, like there's I'm looking at it now.
There's like three different little stages. Yes, exactly, like a
nineteen sixties sort of like the aspect is.
Speaker 2 (11:04):
So like there's something kind of like weird and it's
a creepy visual. Actually do they get rid of his voice?
Speaker 1 (11:12):
They got rid of it. He's not in it. So
I actually don't mind if we if we listen to
it now, because it'll just give us more fodder. I
still think, you know, we haven't.
Speaker 2 (11:23):
There's so much more. Okay, so we're watching.
Speaker 1 (11:25):
Oh yeah, we're gonna watch that real quick.
Speaker 2 (11:27):
There's a violin keyboards, a real like a heavy metal
looking electric bass. All right, cool, here we go.
Speaker 1 (11:33):
And maybe we'll maybe we'll do some commercials coming back.
Speaker 2 (11:44):
Wanton freaking Okay.
Speaker 1 (11:51):
It's funny because they're all the same, but there's little differences.
It's so overproduced. Sorry, it's confusing. But the one we
listened to seconds is the most modern one, and it's
like they left the auto tune fully on. They didn't
blend it. Yeah yeah, yeah, And the drums are like
these like eight o eight. But then there's also like
country guitar.
Speaker 2 (12:12):
It actually fits with so many things we've talked about
on the great funneling of everything into just this one,
you know, weird homogenous. Yeah, yeah, I will say that
when it's just the kids, it makes me miss the
Jonathan Richmond clone. Oh I actually think he points, he
offers counterpoint. He like grounds it in something. Also, though
(12:34):
I did it, I forgot about the While they're giving
the legal ease. In those last two the kids are talking,
there's this like boom bum bum bum boom bum boom bum.
It's like this weird little melodic thing. Yes, it is
an absolutely perfect earworm. Yeah, I mean it is, so
(12:54):
it makes sense that it would drive people I've never
had like a it's funny. I feel like, me, this
is a weird thing to do. Now. I feel like
I'm slightly embarrassed to admit this. I've never had like
a deep well of contempt for this. I've always just
felt like it was like I'm like I thought it
was what I thought was really interesting, And this has
nothing to do with maybe this does. I don't know
if this chance anti chance or neither. I still don't
(13:17):
understand what this organization is, even though I've been hearing
their song for probably fifteen years. So you donate your
car and somehow, Actually that's as far as I can go.
How does it? What then happens to benefit kids?
Speaker 1 (13:35):
And kids can't drive cars as far as I know,
especially in the you know, the the Tri state area
at least where it started. Definitely not dog you know,
I mean, they can drive a car illegally.
Speaker 2 (13:48):
Which is cool as hell. Actually, yeah, I don't want
to send mixed messages. But on the first hand, definitely
a PSA. If you see a kid driving a car,
definitely report it to the authorities. But on the second hand,
if you see a kid driving a car, that's fucking
sick and just like, let that kid just dap them up,
dap them yeah, yeah, yeah, yeah, dap them off. Donkey.
Speaker 1 (14:08):
So it's funny because I'm trying, I'm pulled up a
wiki of this, and it's so Cars for Kids takes
donations of cars, boats, yachts, and real estate, which is
so funny.
Speaker 2 (14:19):
What the fuck?
Speaker 1 (14:21):
It's like they can't get anything right. They spell fucking k.
Speaker 2 (14:25):
Spelled in real estate like r E E L L
s e E real estate.
Speaker 1 (14:31):
Yeah, yachts is just y.
Speaker 2 (14:33):
I T yes, okay, but then what do they do
with those things?
Speaker 1 (14:39):
They and then it says, then it skips and says
Cars for Kids reported revenue of sixty five million dollars
and expenses of fifty nine million, So they made six mill.
They made six mill. But it's so funny that I
hope the fifty nine million just goes to the kids
made this music.
Speaker 2 (14:55):
Yeah, like what is I'm sorry, I'm still not crystal
clear on the overall mission and execution of the Cars
slash yachts slash real Estate for Kids Empire.
Speaker 1 (15:09):
This actually might help. I found the section on the
Wikipedia of the line. By the way, I'm sorry.
Speaker 2 (15:13):
We need the listeners to appreciate the degree to which
Casey has this is like Casey's JFK, Like you are
really really locked in From a research.
Speaker 1 (15:22):
Perspeci one hundred percent, I take this serious, and I'm
going to read the lyrics and maybe that we could
sort of figure out what it so one eight seven
seven Cars for Kids that's what said. Yeah, the Kars
Cars for Kids one, eight seven seven, Cars for Kids.
Oh here it is donate your car today.
Speaker 2 (15:38):
Oh god, I was right there the whole time.
Speaker 1 (15:41):
It was It's like.
Speaker 2 (15:41):
Those college classes about Bob Dylan, because you know, what
exactly does it mean when he says the ghost of
electricity howls and the bones of her face. Hmm. You
need a teacher to tell you that, and I did
need to be teached by Casey Joes teached. Okay, so
you donate your car today, fifty nine mil. Take that
(16:02):
away from sixty five mili six mil left. I can
give him real estate or a yacht. The kids, we
don't know when they come into the picture, don't Cia
was involved in writing the song. Jonathan Richmond may or
may not have gotten off a Greyhound bus to record
his vocal. There are definitely multiple sets of kids on
multiple stages doing multiple versions of this song.
Speaker 1 (16:24):
Because when you don't change the formula too much, right,
they already changed the formula that they took Jonathan Richmond off. Yeah,
and whoever that was.
Speaker 2 (16:32):
Sucks, which I think is it was Jimathan Richmus.
Speaker 1 (16:36):
That's the biggest issue for me is that they change
that guy, because I think that guy is the one
that really got it in your head. Like when I
close my eyes and think of the song, it's that
cars we cud.
Speaker 2 (16:47):
Yeah, it's because it's such a weird choice. It's a
really strange like there's vulnerability in his vocal delivery, like
for an ad camp it's a really odd Never I
would hear that. It was always listening to sports talk radio,
usually driving somewhere, usually like a Mets or a Knicks
game on when they when those teams were both on
(17:08):
at the time w f A N in New York,
and they would play that every ad break, every single
ad break, you'd hear it. If you were listening for
four hours, you'd hear it like thirty times.
Speaker 1 (17:19):
And you're saying it never never bothered you, you loved it.
Every time.
Speaker 2 (17:23):
I didn't say that, I would I say. I mean,
I didn't.
Speaker 1 (17:25):
Say what I like is they give you a little.
Speaker 2 (17:33):
No. I just felt I felt like I just felt
like I thought it was funny, like it was something
that I like. It would come on and I'd be like,
there's a ludicrousness to it that I just sort of
was like the rapper, Yeah, like the way Ludacris did it, like,
do you have the ludicrous version? Can we call that out?
Speaker 1 (17:50):
Yeah, let's call that out.
Speaker 2 (17:51):
Yeah, move car, Go for a kid, Go for a kid,
Go for a kid, car, go for Oh my diamonds
are reckless. It does feel like a munchkin is hanging
off of my neck piece. No, it feels like it
just felt like when there's these little moments of absurdity
(18:13):
that rend the fabric of reality, I'm on board. And
so anytime that would come on, especially the Jonathan Richmond version,
would be like, this is objectively fucking crazy.
Speaker 1 (18:25):
All commercials like jingles, Like any anytime you're on the
radio and there's like a commercial, it is made to
like get your attention. It's louder everything, it's loud louder.
It's always some like race Way Park, right, it's always
some like the North.
Speaker 2 (18:41):
Stayerville Yeah yeah yeah exact.
Speaker 1 (18:43):
Radio radio is always like extremes like TV is just
like a person talking about radio and worri'd owt like
it's always like the craziest. So they have to compete
with that. So you gotta throw Jonathan Richmond Junior in
there to be like, oh it's real good.
Speaker 2 (18:58):
Yeah yeah, yeah. Vulnerable shaking. What's funny is, as you're
saying it, it actually is invoking kind of nostalgia because
what you're describing is like a non visual medium attempting
to compete for attention at the time, in particular something
like this this is still exists, but I'm thinking about
in those contexts and stuff you described to like Raceway Park.
(19:19):
These regional ads like that the Wiz nobody beats the Wiz.
That Crazy Eddie was one when I was a kid.
These are like, it's almost in a weird way, like
uh Vaudvillion or something. It's so broad that they have
because you have to get the attention and you don't
have the visual component that can like like lights and
(19:40):
you know, it's just all sonic, and so it's like, yeah,
these like crazy like exaggerated voice actors doing these like elasticity,
these elastic things with their voices and these like weird
sound effects and.
Speaker 1 (19:52):
Like, well, the history of radio also is like radio plays,
right where they had like a person with like tap
shoes hitting a block.
Speaker 2 (19:58):
Fully artists and shit, yeah, yeah, yeah, absolutely.
Speaker 1 (20:01):
And I used to love I was a big like
hot ninety seven person and instead of like commercials they'd
also obviously the radio hosts do ads and so funk
Master Flex used to do Western Beef, a commercial for
Western Beef, which is like a regional chain. There's one
in Staten Island.
Speaker 2 (20:16):
Yeah, he'd be like Western Beef, Baby.
Speaker 1 (20:18):
He's like, yeah, yeah about Western Beef. And I like
loved it, Like it was it's so fun to listen.
You're like laughing, that's actually so funny. Prices it's amazing,
and that's a carryover.
Speaker 2 (20:28):
It does feel like I guess radio's closest analog in
not the radio doesn't still exist, but obviously, like terrestrial television,
it's diminished to.
Speaker 1 (20:37):
A degree in the medium evolved. Yeah, it's yeah, it's pod.
Speaker 2 (20:41):
I mean really, the the closest analog for most people,
like generation younger than us and younger is podcast. Radio
is looked at as like an antiquated kind of like
almost like I don't know, if I was just getting
a conversation with a sixteen year old about like what
radio do you listen to? I would be fascinated to
find out what they'd say. But I do think even
(21:02):
with podcasts it's funny, like I mean, maybe this is
the next frontier for you and I with this pod,
but so many times you hear the host doing the
ad breaks, you know what I mean, like celebritized.
Speaker 1 (21:14):
Oh for sure, stamps dot com or whatever, you know,
like Mark.
Speaker 2 (21:17):
Maarn doing that exactly one. Yeah, yeah, but yeah, I
feel like yeah, and I feel like so it is.
There was something though that that thought process about the
like kind of absence of visual you know, dazzle. They
have to get you somehow, and that does inform how
these these things.
Speaker 1 (21:35):
And let's talk about jingles, right because jingles is a
lost art form, and maybe this was the nail in
the coffin for jingles, like it became like they got
like warning or something. Obviously, like eighties and nineties had
incredible jingles, you know, like bed.
Speaker 2 (21:52):
With big red. Oh yeah yeah, like yeah, all these
actually eighty was my daughter was telling me. One was
telling me that there's like a series of memes now around,
like the Nesley Crunch one from from the commercials, in
which now I got, of course, terrible timing in the.
Speaker 1 (22:07):
Moment, tastes better nasty crunch. That's that was what It's
not it No, no, no.
Speaker 2 (22:12):
That that better men.
Speaker 1 (22:15):
Yeah, but I can't remember crunch.
Speaker 2 (22:19):
There was one when she was doing it, I was like, oh,
that was a commercial in like the nineties. But now
it's like a series of memes for Gen Alpha kids
where it's like like nesle Crunch and then it'll make
someone like a stick figure falling and breaking their neck
or something and you're like, oh, that's funny.
Speaker 1 (22:35):
But so so, yeah, was this the end of jingles?
Because at this point, like so this came out from
the ree the deep deep research I did five minutes
before this podcast. It was the company started around like
ninety nine or ninety five maybe, and the jingle came
out around ninety nine, two thousand and like it was.
It was sort of that Richmond version for five to
(22:56):
ten years and then it switched I think twenty fourteen
it switched over to one of the modern ones. Now. Yeah, yeah,
and but but so so that would make sense to me,
like ninety nine to two thousand and five ish is
sort of when we stopped hearing those like iconic jingles
of the past few.
Speaker 2 (23:16):
The Mento's one was around then.
Speaker 1 (23:18):
Right or early that was early nineties, I think, And
I think big Red, that big.
Speaker 2 (23:25):
Red, your big Red fresh Nest last right through it Yeah,
fresh breath goes on and on.
Speaker 1 (23:30):
Well, they're they're written so well, they're perfect, they're perfect.
So kiss a little longer, Yeah, stay close a little
long Oh yeah yeah, it's it's so.
Speaker 2 (23:41):
Little racy not racist.
Speaker 1 (23:44):
Yeah, but you have said racey for racist, which is fun.
Speaker 2 (23:47):
I do I've said that on this podcast.
Speaker 1 (23:51):
No, I just I'm sure you like, yeah that you
can't wear that Halloween costume. It's a little race.
Speaker 2 (23:56):
It's a little racy. Yeah, sure, I've said something like that.
Speaker 1 (23:59):
Absolutely Full Bulgers is a great one.
Speaker 2 (24:02):
Did you ever see the Folgers thing with Paul Stanley
from Kiss? Oh? No, he did a he there's a
Folgers jingle where he sings the Folgers jingle. It's like
a must have been late eighties, mid to late eighties,
and there's like it's a weird commercial that has like, uh,
trapeze artists, like a circus theme. He's no makeup, it's
just him, it's not all of Kiss. He's vocalizing the
(24:25):
Bolger's theme. And it's about these like Trepezars waking up
and doing doing having this Bulgiers and then going into
their morning routine. It's worth looking up that could.
Speaker 1 (24:36):
So such an interesting time because I always kind of
remember Folgers with like a cowboy on a or something
like that, like wake up and have Another one that's
iconic that I always think of is the chiliest baby
back ribs.
Speaker 2 (24:49):
Well, of course that was. That was I feel what's
funny is as a forty four year old, I feel
like that one even at the time felt like later
general ration like that was two thousands. Remember like in
sync did it as a joke somewhere, not on not
for Chilis, but like on something Yeah, yeah, yeah, like
(25:13):
it's a joke or something that's fun. And wasn't it
in Austin Powers isn't it a joke in Austin? Yes?
It was. Yeah.
Speaker 1 (25:23):
He's doing because he wants to eat a baby. Yeah,
which is that character that's named fat Bastard?
Speaker 2 (25:28):
Yeah, yeah, yeah, and he says.
Speaker 1 (25:31):
And he's got that Scottish accent.
Speaker 2 (25:44):
That was way who knows where we are now? I
was watching again anyone with any I feel like I
defy anyone to tell me differently. I'm like, my feet
is poisoned. I don't know what I clicked on at
some point, but the okay, I.
Speaker 1 (25:57):
Mean it might have to go to hospital get.
Speaker 2 (26:03):
But every time I might have to donate it to
cosmic kids. But every time I like, like the for
you thing on Instagram, the arrangement of ship.
Speaker 1 (26:14):
Oh it's a mess, my algo. My algo is a mess.
Speaker 2 (26:17):
To malgo is ft. But there was something that was
like Rob Low talking about like, well, when I was
on the set with I mean, by the way, I'm sorry,
I can't.
Speaker 1 (26:26):
I just can't.
Speaker 2 (26:28):
I can't revel impressions. The thing where like the seriousness
with which I'm sorry, I'm gonna like, lambasta whole whatever.
I'm gonna stop now. The way actors sometimes talk about
what they do is very hard. He's like, well, when
I was on set with them, Mike Myers and Austin Powers,
and I'm immediate like, why are you talking with the
tone of voice you're talking about any of what you're
(26:50):
talking about, like this didn't have fun, this is amazing.
But he was like, that's when I realized I was
really in the presence of like true genius because and
then he quotes He's like, none of that baby back
ribs thing was in the script. It was all ad
lib And I was like, I what am I watching?
I'm forty four. I have a life, I have a job,
I have a kid. I can't believe I'm spending any
(27:11):
amount of time watching Rob Blow talk about Austin Austin Myers.
But anyway, it was Baby back Ribs was such an
effective jingle. It made it that deep into the pop
culture consciousness, not just an hour totally. It was in
a movie that probably made like two hundred million dollars
or something.
Speaker 1 (27:30):
Yeah, it's really wild that I think it really sold
a lot of product to a lot of ribs, a
lot of ribs.
Speaker 2 (27:37):
Contributing to America's obesity epidemic, dogy, which is a weird
full circle moment given the f bastard true and kids.
Yeah yeah, which you then have to sell the baby
back ribs to the cars for kids.
Speaker 1 (27:50):
That's probably they need to. They need the cars to
get to Chili's to get it. They mix.
Speaker 2 (27:55):
Yeah, but they shouldn't have cars to be bicycles to
deal with the open Give break. That's that's a good one,
great one. Break me off a piece of that bar,
Give me a break, Give me a break, break, you.
Speaker 1 (28:09):
Know, trying to do it in the baby baby beg ribs. Baby,
I won't look anyway, all to say that I think
jingles were very the efficacy of jingles shown itself and
being in getting all of like you know, like the
oh the Foo Fighters video that does them.
Speaker 2 (28:31):
Yeah Mentos thing, right, so everyone knew what they were referencing.
Everyone who saw that video did enough to think they
were like, oh, that's the Mento's thing.
Speaker 1 (28:38):
But I think I think when we're coming back to
cars for kids, I think people were at peak. I
think we were at peak jingles, but they came in
and knocked it out of the park, but maybe knocked
the whole genre out of the park. Yeah, what is
I'm trying to think of a modern jingle? Yeah, you
know to boat they is the place making.
Speaker 2 (28:59):
Like well, I'm trying to think of them. Like it's
not like there's like an Amazon jingle.
Speaker 1 (29:03):
Oh oh I got I got one, but it's still
not they. I think they still use it and it's newer,
but it's from the nineties. I think, like like or
to early two thousand is bought.
Speaker 2 (29:14):
Oh yeah, yeah they' and they've like made that a
little cooler sometimes. But yeah, and they spell it wrong
B for Bob They use Q somehow. Yeah. Yeah, uh no,
I feel like I'm also trying to think, what are
some like enormous And I wonder if that's got something
to do also with like the faceless enormity of the
(29:35):
brands that are as that exists now, Like what would
an Amazon jingle even be, like the like Darth Vader's
theme from stares right, like we have imperially destroyed everything everything.
Let's see, I'm glitching and as they say it, because
Bezos is in this hod, you must hear me. If
(29:56):
you can hear me. Uh, they glitched me out on
the VID.
Speaker 1 (30:00):
They are, but you sound good, So that's all it matters.
Speaker 2 (30:02):
You know, Amazon own Zoom Race, Amazon Amazons cars for kids. Yeah,
that's where that six mill went, was into Bezos niece.
Speaker 1 (30:12):
How mad would you be if you found out, honestly,
be honest, you find out in a few days or
like when this after this comes out that I got
paid a quarter mill to do cars for kids as
like a commercial word.
Speaker 2 (30:27):
Of a million dollars and you gave me zero zero,
I would be of course I'd be. I would actually
be more on the order of like I'd be devastated.
Speaker 3 (30:34):
Dog.
Speaker 1 (30:35):
You would think like.
Speaker 2 (30:36):
Our whole compact was I misunderstood everything about everything about
our whole relationships ends.
Speaker 1 (30:41):
It all ends, it gotta end it.
Speaker 2 (30:44):
It's a quarter mill.
Speaker 1 (30:45):
But I give you. But but you confront me and
I give you five k. Now, now that's a little
a little nervous, give me slippy, five k slippy.
Speaker 2 (31:00):
So in this scenario, in this scenario, Bezos has come
to you and said, I'll give you two hundred and
fifty thousand dollars if you make the next EP. And
actually he says if you do the next Omar of Chance.
And you're like, well, you're a fan, and Bethis is like,
I know everything, like he knows everything. And then he's like, well,
(31:20):
Kevin talks, I'll glitch him out. I'll give you two
fifty K. And then you could do whatever you want
with that. But my advice would be give him nothing.
And then you said, and then he said, and in exchange,
you can keep your beard, but i'll give it. I'll
make it look in the video like you have no beard.
And you're like, all right, I'm in.
Speaker 1 (31:37):
That's a deal. You had me at the money, but
beer was just a nice little benefit.
Speaker 2 (31:41):
Yeah, bonus. In fact, he gave you an extra twenty
five hundred dollars to take the beard off somehow, So
you made two hundred and fifty two five hundred dollars.
And then I come to you and I say, Casey,
I thought we had a different relationships. I wanted to
do something different. And you say, I'll give you five pous.
Speaker 1 (31:59):
I'll slide you.
Speaker 2 (32:00):
Okay, I'll slide you five.
Speaker 1 (32:03):
Five k on the side piece.
Speaker 2 (32:05):
And then you say, now can we talk?
Speaker 1 (32:07):
Now? Talk?
Speaker 2 (32:09):
Yeah?
Speaker 1 (32:10):
Yeah? Are we good?
Speaker 2 (32:11):
Are we? What are we talking about?
Speaker 1 (32:13):
The next Makay Pfiffer, Oh my god, did I tell you?
Speaker 2 (32:17):
This is my life?
Speaker 1 (32:18):
So we we call it omar omars because they're apps
right right each episode? But did I I don't know.
I can't remember if we talked about this. But there's
a Kanye lyric where he gets the wrong he gets
the wrong person in the movie. He has a line
that's just like because I was in Too Deep, like
I was Mackay Pfeiffer.
Speaker 2 (32:37):
And he's not in that movie.
Speaker 1 (32:38):
But he's not in it. It's omar apps.
Speaker 2 (32:40):
Oh he confused the two of them, right. Oh, So
then it's layered when you if you go back to Makay.
Speaker 1 (32:45):
But I'm saying, if we're start calling our episodes makay
five's start today done, Thank you, Joe.
Speaker 2 (32:51):
I don't yeah, I don't think I can. I mean
I think no, I would need a little more than that.
Speaker 1 (32:56):
This was the one of our greatest tangies of all time.
Speaker 2 (32:59):
Yeah, no doubt, I do. I do think it would
need to be at least sixty forty.
Speaker 1 (33:05):
At least sixty forty. Oh, because I brought it sort
of like I said, yeah, fine, so nice that you'd
even give me the sixty.
Speaker 2 (33:11):
Finders Keepers losers weepers for that, I give you seven
cars for keepers.
Speaker 1 (33:16):
For that, For even just saying that I can have
the sixty, I give you forty nine and I get
fifty one.
Speaker 2 (33:22):
One percent finders fee.
Speaker 1 (33:24):
One hundred percent. I need it one hundred.
Speaker 2 (33:26):
Percent finders fee. Wait a minute, that went back to
the beginning.
Speaker 1 (33:30):
Yeah, we didn't really talk about the music of it.
I love that it starts with boom boom boom, because then, like,
let's say you do hate the song, you're like, oh
you could, It gives you like a second to turn
it off.
Speaker 2 (33:44):
I wonder if that was on purpose, if they were like,
let's make sure they have a little warning. They have
the opportunity to be like can't do it, m m,
but boom. I also think that roots it. It's supposed
to feel I think like like a class sick. Yeah. Yeah,
it's almost like it's like slow almost or something.
Speaker 1 (34:06):
Yeah boom, yeah it's it's it's definitely folky. That's that's
like a focus.
Speaker 2 (34:14):
There's like an upstroke thing that's also trying to go
towards them weird like little Jamaican petois or something.
Speaker 3 (34:20):
Yeah.
Speaker 2 (34:20):
Yeah yeah. And then like those done done done done,
yeah done. It's supposed almost be like steel drum or
something I feel like.
Speaker 1 (34:31):
And then the version that's got just like yeah, like
it throws like electric.
Speaker 2 (34:38):
That's yeah.
Speaker 1 (34:38):
That those versions are too much like they it lose
it lost all that's like character by like Pathan Richmond
lost him, but it lost a lot of the the
the simple that it was also stark, like the original
version is a little stark, and it's racing.
Speaker 2 (34:55):
It was like a movie. It was really fucked up.
The word you said before was racy about racy?
Speaker 1 (35:06):
Was that vulnerable?
Speaker 2 (35:07):
Yeah? Well when he's when he's like one E's seven
seven cars for kids, it's not Connor Oberst, it's Jonathan Richmond.
Speaker 1 (35:15):
But there's like a warbles and what's the what's the
Connor warble?
Speaker 2 (35:19):
You love? I mean I love a lot of it.
Speaker 1 (35:23):
No, no, I know, but there's one that you.
Speaker 2 (35:24):
Oh, there's well, he kind of ends a lot of
lines by saying like I remember Dola pointing this out
to me, like like like there's always like an on
the very last syllable, which actually helps him a lot
with his rhyming.
Speaker 1 (35:40):
Cars for kids. Oh, Connor OBErs is doing. It's pretty great.
Speaker 2 (35:46):
Connor overs, please do a version of this if you
hear a chancy, which I know you will obviously, you
and Bezos sitting together in a Satanic circle listening to
this editing the.
Speaker 1 (35:56):
Version of the Sopranos with us on it. Okay, long
story short, Carson gets rules. I'm a fan.
Speaker 2 (36:01):
I'm a fan. I'm in If more music was like this,
I'd listen to more music.
Speaker 3 (36:06):
Baby, God bless Jeffie Bezos, Thank you, and I will
I will slide you that five piece soon and then
we can talk, and then we we can chat.
Speaker 1 (36:18):
GPT
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On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.
Ridiculous History
History is beautiful, brutal and, often, ridiculous. Join Ben Bowlin and Noel Brown as they dive into some of the weirdest stories from across the span of human civilization in Ridiculous History, a podcast by iHeartRadio.