August 29, 2024 • 35 mins
Kevin and Casey decode this very subtle metaphor about carnal love. While analyzing the many layers of meaning, will they unravel truths within themselves? And shall they be elated by said truths? Or shast they despair? Or do it get dem sprung?!
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Episode Transcript
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Speaker 1 (00:01):
Give it a chance, give it a chance, Give it
a chance. Good Morning, give it a chance, Give it
a chance, Give it a chance, Give it a chance. Morning,
give it. You want to give it a chance, give
it a chance, give it a chance. Just give it. Aye, everybody, Yes,
that's right. We're back. Better than Evner Besner, than ever heavy.
(00:29):
I got a classic. WHOA Okay, this one is I
think could be on like lists. I'm not sure. I
think this is like government lists. Actually yeah, I think
maybe some of the members of this band are have
(00:50):
but to call them a band, well, yeah, they're definitely
a band. But this song has a lot of history
and a lot of story, a lot of it is.
It is of an era that I think you and
I love, love to hate maybe but love, and I'm
excited to listen to it. I haven't listened to it.
I mean, it's a song that I've heard. It's in
(01:11):
movies and stuff. But oh my god, ironically and and
unironically like it was in movies.
Speaker 2 (01:17):
It was in movies and stuff. Ironically and unironically, this
is great.
Speaker 1 (01:22):
It was released in nineteen ninety nine, which is a
sweet spot.
Speaker 2 (01:25):
Okay, this is this is good for our pod Yeah,
it's lots of opportunity there for Chancey no Chancey in
ninety nine.
Speaker 1 (01:31):
You know what's really interesting about it? And we'll go
into like some of the a factoi that I know
that I didn't know until like a fan of this
other band that they sample.
Speaker 2 (01:42):
This is mytory, like you're building a mystery? Is Sarah McLaughlin.
Speaker 1 (01:48):
I wouldn't put her on this podcast really, maybe he's
too good. It's a song. I'll just tell you the
band name and you'll know the song because I think
it's they only have one. Okay. The band is called
crazy Town.
Speaker 2 (02:04):
Oh this is a come a Bibic come classic lady. Yeah,
it's about gravy, this song.
Speaker 1 (02:13):
It's what it's about, gravy. Yes, yeah, it has to be.
It must be. That's like I could definitely. I'm already
like I've already brought up the song and the lyrics
and I'm I'm teeming with excitement of where this kid.
The song is called Butterfly.
Speaker 2 (02:27):
Yeah, sure is. This is gonna be a hard one
for OKD. I'm not gonna lie. This is no time like,
this is a song that I'm like, whoof?
Speaker 1 (02:36):
So this is good. It's to store a purpose. Right,
It's like it's like generic brand olymp biscuit. It's like
really interesting.
Speaker 2 (02:43):
Like wow, generic brand Limp biscuit is uh, that's really
plumbing the depths, you know what I mean?
Speaker 1 (02:57):
Like Limp biscuit is like serially buying a box and
this is like the bag serial, right, and you know.
Speaker 2 (03:03):
You buy in your hand.
Speaker 1 (03:04):
Yeah, but you know sometimes you know that that bag
serial can surprise you, and it's quite nice.
Speaker 2 (03:10):
Let's find out for surprise today I have. I'm gonna
really bring all of my chancey focus, all of my
chancey availabilities on this because it feels this one's be
so far, of all of them, the one that I
have the most.
Speaker 1 (03:26):
No, I think you could do it. You know why.
The reason why you can do it is because you're
such a sexy, sexy, pretty little thing. Oh no, it's
just the Alba in the video for this song, or
he's in every video ninety nine albums and everyone was
she in any music videos or just make that up.
I don't know. I think maybe like she was in
movies that had a music video of like you know, attached,
(03:48):
and maybe that's how the she gets snuck in. But yeah,
like I could picture this in movies around that time,
Like I said, ironic and ironic. Well, let's let's let's
listen obviously, right, we'll play a little snippet, but you'll
you'll go and listen to the full song on your
own little streaming apps and we'll be right back after
that if you.
Speaker 2 (04:05):
Want to, if you want to, Yes, come malady, come come.
Speaker 1 (04:14):
Yeah.
Speaker 2 (04:14):
I made an executive decision which might not be I'm
sorry to all our chances out there. I stopped it
with thirty eight seconds left because I feel like it's
just going to keep he just keeps going. But does
something happen?
Speaker 1 (04:26):
I know, No, I don't think so. It's the UK
like I don't the UK mix, it's the UK dance
mix where it just keeps going. I know what you mean.
I kind of I bailed slightly early, which isn't a
very chancy thing to do.
Speaker 2 (04:39):
But no, I like it though. It's kind of nice.
That was a unanimous decision and it kind of feels
right for this song. And also that's that's a chancy
first for me.
Speaker 1 (04:49):
Yeah, oh for sure. Yeah, I'm good.
Speaker 2 (04:50):
I know it's going on here.
Speaker 1 (04:52):
Maybe like I've stopped, Maybe with like ten seconds. But
I also watched the music videos and so I'm like,
I don't know if this is just like an extra.
Speaker 2 (05:01):
You know, that's something the chances should know. There is
a difference in methodology. Casey does usually watch the video
and I usually listen to it on a streaming service
of my choice, the Illusion of choice or whatever. But yeah,
the one that I use, and uh and.
Speaker 1 (05:16):
And I read the lyrics while I do that, I did.
I definitely I go back and forth between the lyrics
and the VID. I have to say this, you know this, dude,
I found this fact out. Did you know that the
music that Boom Dumn like that main thing is do
you know what that's from? No, So if you look
(05:38):
at the credits of the song, yeah, songwriters Anthony Keatis,
Chad Smith, John f Shanti Flee and then the other
people in the band are in there too. But it's
a sample from a really old Red Hot Chili Peppers tune.
It's an outro like like the Flea and for Shanty,
I think we're just like jamming and it's just it's
(06:01):
a small snipp but they took that and they it's
the entire song. Wow, isn't that crazy that they I mean,
it's not that crazy that they're behind this song in
a way. No, you know what I mean, because I
think I think Redout Chili Peppers is you know, as
an inspiration. I would, I mean inspiration, I would, I would.
(06:22):
You know, there's things to knock even about the Red
Hot Chili Peppers, but like, I will take them over
crazy Town any day of the week.
Speaker 2 (06:29):
Listen, this could be its own breakout like season I have.
The Redout Chili Peppers are a serious fault to me,
this will I'll just spend thirty seconds on this. I
think they might be the band. I completely understand why
there is a whole like legion of people I respect
(06:53):
that take that band really seriously and they might. For me,
they really are like almost beyond any redemption. And I
get it. I totally get it. Mother's Milk was great,
and you know, blood sugar sex totally. For some reason,
his thing is like unconscionable for me.
Speaker 1 (07:14):
Keids.
Speaker 2 (07:15):
It's a real red line. It's an actual like I'm
like the minute it starts, I'm like, I can't do this.
It's just not for me. But yes, you are correct
and identifying that's not that I don't see that there
are cool parts in it and blah blah blah. He
for me is never cool. I don't think any of
what he's doing is cool. That's just me going on
the record. That being said, Yeah, they actually like come
(07:36):
from a thing, they helped build a thing. They've got
you know, and those dudes are actually like especially I
don't know John Forshanti, he's got some cool stuff going
on totally.
Speaker 1 (07:45):
Yeah, I love this. I like a lot of his
solo albums, and obviously Flea plays so well and it
seems like a really cool, totally thing. Guy. There's a
lot to take away from a lot, like a lot
of I give that band a lot, and it's this
band is really nowhere near there. But I will sit.
Speaker 2 (08:01):
Drinking from the well.
Speaker 1 (08:02):
For sure they did something with this. This song could
be in like I said, the song could be in
this soundtrack to a movie at any time right now.
Speaker 2 (08:11):
I'm sure it is. Someone's putting it on something today.
Speaker 1 (08:15):
Yeah, like and and now it's mostly tongue in cheek,
like if if there was like a DC comic book
like or Guardians of the Galaxy, I you know what
I mean. And they were walking through and this song
played and it's sort of tongue in cheek. I'd be like,
all right, I bought my head. I recognize the song.
I know what they're doing. It's funny, yeah, you know.
And I think the band would be like, that's great too,
That's how you should use our music. It's like it's
(08:36):
not that serious whatever. Fun and it's like it's now.
The problems with this song. One of the problems is
it's so like kind of like grossly sexual.
Speaker 2 (08:47):
Yeah, the innuendo's barely innuendo. It's like single on Tandra.
Speaker 1 (08:51):
He wants to be so clever. Let's start at the top, right,
it's such a sexy, sexy, pretty little thing. Fierce nipple pierce.
You got me sprung with your tongue ring like really
like chills do chills?
Speaker 2 (09:03):
No? I mean like I think he sounds badass and
she sounds like bad ass. Like right, I'm like, damn,
she is a butterfly. He is crazy.
Speaker 1 (09:15):
He is crazy town. He lives in crazy town, all right,
but I want to find some chances. And I will
say that like I think that, you know, to say,
like I think this gets thrown around a lot where
people are like, no, but he's a good rapper, right,
He's like, it's it's what does that mean? Like what
(09:36):
are you like? Because if you're not really saying anything,
are you that good of a rapper?
Speaker 2 (09:39):
Right? Right?
Speaker 1 (09:40):
That's kind of part of it. But I will say that,
like with the flow, there's times there's times where I'm like, oh,
that's kind of fun. Like in the second half, in
the second verse, like he does a few little things
that I'm like, like, if I just read the lyrics,
I wouldn't think of that's how it would go. And
then he kind of does things kind of kind of fun,
and I think like it's a it's a part already song,
(10:00):
and he keeps it, keeps it fun.
Speaker 2 (10:02):
Yep, yep, no doubt. And I also feel like he
did there were a few things happening where I was like, oh,
he's actually like messing around with some interior rhyme stuff,
which is like at least shows a degree of like
construction awareness and a kind of like ability to play
around inside the structure that not even like some fairly
(10:22):
successful hip hop song artists who've had like a hip
hop single or whatever that actually had some saturation that
is like a step beyond the entry level for what
a like pop friendly hip hop artist is capable of,
at least in this timeframe. I mean it's also like
sorry to stay on that lane. I did agree with that,
(10:43):
and yeah, like part of the give it a chancy
thing to me is like you know, you gotta you
gotta find it where you can. And the fact that
he could actually this isn't like, you know, completely like
skill less skill less hip hop expression. Is it Like no, sorry,
I'm not going to anti chancy yet. So I agree
with you about that. And also you're right that chorus.
(11:06):
The reason it is still tongue in cheek or not
like pops up in popular culture is because like that's
a super catchy chorus and that is not an easy
thing to do. I think people. I can tell you
that for sure. To just be like let me shoot
out something that people will have in their heads for
twenty five years is not that is something to be
reckoned with.
Speaker 1 (11:25):
Yeah, and it's a and it's a true hip hop
chorus in terms of like it's it's like a kin
to hip hop hooray that actually even that has more
singing in it. This is a true like this is
like that Wu Tang song that's like You're all that
I need. I'll be there. Yeah, if you keep it
real with me, I'll keep going.
Speaker 2 (11:43):
Yeah.
Speaker 1 (11:44):
Like it's it's catchy in that it's not trying to
sing or anything. It's pop with just it is kind
of a rip off of come Baby, Come baby baby,
come come right, like Wayne, yeah, a little bit right,
come come a lady, Come come lady. I'm saying for sure. Yeah,
it's like it's yeah, it's definitely like but but you know,
my my backwards cap off to them. I went into
(12:09):
this thinking, oh, these are bad rappers, like I couldn't remember,
Like I just thought it was the song was a
joke and these guys are bad at rap and you're right,
like there is there are. I mean there's some things
that are like fierce nipple Piers is like too much,
you know, like that is.
Speaker 2 (12:24):
Like yeah, I mean we're going if we can, if
we can volley back and forth between Chancy and Anti Chancy.
There were definitely things that happened where I said out
loud like oh come on, and like one of them
that I totally forgot. I don't know if I've ever
dropped into like the verse lyrics of this song.
Speaker 1 (12:41):
Yeah, I don't think I ever.
Speaker 2 (12:42):
Did the thing about I'm trying to find it out.
Oh yeah yeah yeah. He says, my lifestyle is wild.
I was living like a wild child. I was like, dude,
that's that's actually like, that's actually nothing.
Speaker 1 (12:55):
That's actually saying nothing. It's so it's.
Speaker 2 (12:58):
Saying the same thing so many times. It almost like
just becomes a creative in the song where you're like, what, you're.
Speaker 1 (13:03):
Right, because there's life style and in living my life
styles wild, I was living like a wild child.
Speaker 2 (13:11):
Yeah, yeah, yeah, you're like, okay, gotcha. And there's some
stuff like logistically I know that they weren't probably worrying
too hard about logistics, but where it says or logically
not logistics, Yeah, they were worrying about the logistics of
how to build the song. But also where he says
something in that same beer snipple piers yes, yes, like
as a lyric, Race says, the only thing I really
(13:32):
know is she's got sex appeal. Yes, that's the only
thing he knows. But then he says, you're always there
to lift me up when times get rough, And I
was lost, but now I'm found ever since you've been around,
and I'm like, the only thing you know is that
she's got sex appeal. But also also she has saved
(13:54):
your life of the flaming fuselage, the wreckage. You were
you were a wild child parole.
Speaker 1 (14:00):
It's crazy that you're right. He's like, I can't like
because imagine the drama of this. I can't sleep, I
can't hold still. The only thing I really know is
that she has sex appeal. Like it's such a strange thing.
It's like, wait, what it's like you can't you can't
sleep or you know, like but that's all you know,
and then you know suddenly later she's always there to
(14:23):
live always, like we do like in like improv class
in school, they always say like avoid saying words like
always and never because like it really means like.
Speaker 2 (14:33):
It's fine, yeah yeah, in.
Speaker 1 (14:35):
Casual conversation when you're like, yeah, no, I always do that,
I probably means like you always do it, and so
you have to take a face value like and yes,
it's like always.
Speaker 2 (14:45):
Yeah. This is probably an example though of like we've
talked about this, there's like nothing more subjective than like
what's what's a good song and what's bad song? What's
(15:07):
a you know, what's a successful I don't mean successful
with respect to like numbers, I mean like successful with
respect to like execution. This is a song where it's
like from my specific taste biases, it's just a song
like this was never gonna penetrate it just like there's
(15:27):
too many roadblocks and I love good hip hop. I
love a good love song. I even like a good
song every once in a while. It's about like the
kind of specific hormonal craziness that like uh, physical attraction
can you know, invoke in the human race, but those
things combined. I don't know why I thought of Jessica album,
(15:49):
but it's something about like I feel like this song
would be on in five different Jessica album movies where
they were like kind of like ogling, like kind of
like a belly T shirt she'd be wearing, yeah yeah,
while she like opens her locker or something like that, right,
un Ironically, there's just something about this.
Speaker 1 (16:05):
I think it's we talk about.
Speaker 2 (16:06):
This in a different episode. It might have been the
No Doubt one, but there's something about like when something
like impresses itself on you in such a way as
like this is sexy, No, this is it right away.
Speaker 1 (16:22):
It's just like.
Speaker 2 (16:24):
That so funny, and I feel like that's this thing
is really like, and I look the whole thing too.
It's like what's more fertile and whether it's rock and roll,
hip hop, fucking go before that, like certain poets or
artists as far back as there are things people look
at and engage with and like the bad Boy, the
rock on tour, you know whatever, and look that goes
(16:46):
across gender identity and identification. Taylor Swift is currently making
a career out of being like, aren't I the worst
person to date ever?
Speaker 1 (16:53):
You know what I mean?
Speaker 2 (16:54):
And like billions of dollars change ins around that conversation.
But I like there's a certain point where I'm like,
I just hearing a dude who's like, yeah, man, I'm
a badass, and like you're kind of a badass too,
because your tongue ring.
Speaker 1 (17:09):
I'm just like yeah, yeah, yeah.
Speaker 2 (17:11):
But also, I'm forty four years old, but I don't
think I like this when I was twenty four years old.
But the chance that's to say this, sorry, the reason
I brought any of that up case I was to
say I have to almost chance on a curve on
a song like this, because it's like just not something
I would ever find myself gravitating towards. So I don't
(17:32):
want to just totally evisceraate it based on that, right
being said, even in its context, like is this better
than Limp Biscuit? Is this worse than Limp Biscuit? Like
what's the lot?
Speaker 1 (17:46):
Like this is like this is actually a lot different.
It's actually like I think if if I were like
a really big like all like an like a purest,
like a rap purest, yes, I think I would prefer
this to Limp Biscuit because yeah, I think Limp Biscuit.
As much as they are taking elements that are fun
of hip hop there, they are also taking a lot
(18:09):
from rock. And if let's say I'm purist and I'm
like not really into even like maybe maybe I'm not
even into like uh run DMC because it's too rock,
Like you know, let's say like there's I think, like
you know, I want like a specificat this beat is fun,
like it's it's really it's really catchy, like the drums
(18:29):
when the drums come in, it's like a head nod song.
And so I would say, like olymp Biscuit doesn't really
give you that. So I think if this was like
on the radio and I'm just a hip hop guy
and I hear this this, I like this now, like
I think once it goes in, like I you know,
there's a lot of artists that like do this sexual rap.
(18:53):
Like Kanye kind of puts one on like once every album,
like he'll put one that's a little too he was
like like full lot.
Speaker 2 (19:01):
His is more like he's trying to like that's just
a different expression of his like shock doctrine thing where
he's like because he's rapping about like he's trying to
like be very explicit in a way that's like also
in very Kanye the vocabulary that yeah, where you're like okay, dude,
yeah yeah, this is more soul Tree or something like that.
Speaker 1 (19:22):
Yeah. Yeah. But like even like like an Acnelly put
it in your mouth, don't know if you know, like
so put it in my mouth, like do you know?
I know it? Yeah. So even a song like that
is I just I feel uncomfortable with it. I don't
know why, Like it's I mean, I guess I know why,
but it's it's just sort of like it's not really
where I want my art to be.
Speaker 2 (19:43):
I don't know, not really this is we're opening up.
This is great, We're opening up some real healing opportunities
on chancy today. It's also not really like I'm gonna
say something. I'm really this. I might get lit up
for this, you know what? Is what Another thing that
could be possibly argued is one of the most subjective
of things is like how people want their sex and
sexuality to be, how they want to express themselves and
(20:05):
live those things in their private personal spheres. For me,
something like put it in my mouth. That's not exactly
the way I want to express my sexuality either. So
that's just for me. That doesn't mean that's great that
that exists for other people. But I like a little
more subtlety and nuance in my piey.
Speaker 1 (20:26):
That song's crazy, I'm just thinking of because it's a
back and forth between a woman and a man and
the woman is saying put it in my mouth, and
he's going, your motherfucking mouth. It's such a strange song.
It's so funny she said it in a mouth, motherfucking mouth.
(20:50):
Like it's crazy. Now going back to like going.
Speaker 2 (20:55):
Back, Yeah, there was something you said about olymp Biscuit
that I wanted to say about this song.
Speaker 1 (20:59):
It is fun me.
Speaker 2 (21:00):
This song does sound and I don't know which came first.
And it's the reason I thought of Limp Biscuit was
because I do think there's a dursty and flow to
this dude's I think he might be a slightly better
rapper than fred Durst, but there is something pretty there's
a similarity to aspects of like the delivery, I think.
But I do think there's that one lymp Biscuit song
(21:22):
that I think had method man on it.
Speaker 1 (21:24):
Yeah and together now.
Speaker 2 (21:26):
Yeah, and that's sort of that's the closest day even
though the topicality is really great, that's the closest they
get to this energy.
Speaker 1 (21:33):
And I think Frederick's trying a little harder in that.
Speaker 2 (21:36):
Because he he was on with like a real rapper,
I got to bring it, and I think that might
be like my favorite. I don't really know a ton
of the Olympiscuit catalog besides the songs that were popular,
but like of them, that was always the one that
I was like, that's the best one.
Speaker 1 (21:51):
That's a really interesting one too, because I think the
last time I listened to my perspective was. They're both
like Fred's trying a little two too hard to be
better and he loses like some of his thing. And
I think it almost feels like Method Man like phoned
it in a little bit in a way that.
Speaker 2 (22:08):
I'm sure, dude, have you ever seen the footage of
jay Z recording the thing with Lincoln Park. Yes, it's
just like re recording his raps from Black Album.
Speaker 1 (22:19):
Or Blueprint, whatever it was.
Speaker 2 (22:21):
I think phoning it in is exactly those dudes. Sure,
the ones that were like that are like real good.
I'm sure in an environment like that first of all,
just the way sort of like who's cooler Method Man
or olymp Biscuit, who is objectively thought of as cool?
Speaker 1 (22:37):
You know what I mean?
Speaker 2 (22:37):
Like in the culture places, those those dudes want to
matter who's objectively thought of as cooler, like Lincoln Park
or jay Z. So there's a way it moves in
the studio where I could just feel like one party
is a lot more interested in like currying favor with
the other for a variety of reasons, for sure, And
I feel like you watch that in jay Z's I mean,
jay Z phoning it in two thousand and one is
(22:58):
still pretty compelling as is method Man in nineteen ninety
nine or two thousand or whatever. But you're totally right.
Those dudes looked at that as like I'm getting paid
how much to do what? And it'll look it up
to who All right, cool methan man.
Speaker 1 (23:11):
Though it's interesting because he does seem like or I
could at least maybe maybe I'm projecting or thinking out
too much. But with Olympus Get, they were such a force,
as you could tell at that time. It changed a lot,
and in a similar way like Eminem was too, but
like it was really like it was such a cross,
like a true crossover. Like the fact that that got
and and fred Durst most of the time is almost
(23:33):
making fun of or it feels like sometimes he's like
I'm not going to do the rock thing real, I
don't care, and I'm not going to do the rap
thing real like it was kind of which which I
give him credit for totally. What that turned out to
be is like when you listen to it, sometimes you're like,
this is okay, Like he kind of he also phones
it all in, like his whole rhyme the same word,
and it's like just lazy. But I could see a
(23:54):
method man. He's the kind of guy in my opinion,
that has tries to do a lot in a good way.
I'm saying like meaning like he's now like an actor
and he tries to do things. He tries to take
dramatic roles. He like pushes it. He does songs with
all different kinds of people that I bet you he's like,
this is another experiment for me, like I'm gonna try
and I think it's it's not so much that, in
(24:14):
my opinion, that he didn't care, which I think there's
part of it maybe like that, but I think it's
also like, let me try to do it the way
this guy does it, And I think that's fun that
he was like he's an artist that's like, let me
try the olymp biscuit style for this one song.
Speaker 2 (24:27):
Who cares totally And that's also I think. You know,
it's like there's certain sports teams that the rap on
them is like they play to the level of their competition,
like they were Knicks teams growing up, where if they
were they would be so frustrating because if they were
playing I don't know, I'm stepping into my brother Dan's
lane on this one with the shout out to Dan
Devine basketball podcast Superstar.
Speaker 1 (24:47):
By Ted Lacrosse with him in high school.
Speaker 2 (24:49):
That's right, the points of commonalty multiple that being said,
there is something where like that team, if they were
playing the Bulls or the Heat or one of the
other teams in the league, they would always compete with
them like ferociously. But then they play like, you know,
a bottom barrel kind of dregs team and they'd lose.
And you feel like because that night they sort of
(25:11):
like maybe it was like they took a night off
a little bit, or they thought like, well, maybe there
is something to like there's almost your playing games within
the game. Someone like like method Man's like, oh, let's
see what it's like to like roll around in Fred
Durst's sty for this song. You might be like, that's cool.
Could you just be method Man? But I do love
on this pod we strays have been sprayed in all directions,
(25:35):
and that might say something about the ultimate thing that
makes it hardest to give Butterfly by crazy Town Inn
serious Chancey. It's a little bit of a black hole,
it's a little bit of a vacuum. Like to talk
about crazy Town, I don't know how to do that
without talking about when Biscuit, the culture in which it
was built, RHCP, Red Hot Chili Pep, even Dan Devine,
(25:59):
the Knicks got a I mean like I'm bringing you.
Speaker 1 (26:01):
Know in ninety nine, I was like twelve or thirteen,
and I'm not gonna lie. I thought, so wait, let
me think I was born eighty five. Yeah, so I
(26:22):
was fifteen. I was fourteen fourteen, right, So my cousin
had like an early down like a Napster thing. I
think I had Napster two. But he had like a
better Internet, and he could just he illegally downloaded so
many songs. Honestly, he should go to prison. But he
he made me a CD with this with obviously Olympus,
(26:44):
Get the People Named with power Man five thousand. Oh.
I forgot about that thing with like yeah, like with
like this era. And I liked that CD at least
I liked this at like there was a time in
my life and I could put myself there. I'm not
afraid to put myself there or or where on as
a part of who the version of me. There's a
(27:04):
there's a version of Casey Jose that and I and
I like that Casey Jose that was into this and
and and so when I say into it, meaning like
it was a it was a popular thing that I
was like listening to there's you know like they were
they were like the worst Offspring album I probably had
and listened to it and liked it, like not the
one that came out first. That like you got duped
into it like like a battle. Like I was like
(27:26):
into and and I'm again like I'm okay with that.
Like there was a know what I bought? Oh, this
is so funny. This is this goes right into this.
There was a band called Methods of Mayhem, which.
Speaker 2 (27:37):
I remember that I was right.
Speaker 1 (27:39):
He was the drummer of Motley Crow. He was this
rapper in it. Tommy Lee got behind the mic with
this other guy and they had a song called get Naked,
and like his opening thing is just like like everybody's
seen my penis, like you know, like people masturbated to me.
Like he's like, that's what his that's what the song's about.
And that's I was on that CD too, and that song.
(28:02):
I mean I could I could probably recant quite a
bit of it. Yeah, that's all in this weird era
that was like and probably like I'm glad that I
came out the way I personally came out, because those
ideals and values are really and then like going back
to like the sexual stuff, it's really not like if
someone was like, I have these sexual opinions and I
(28:23):
want to talk about them in an open forum, I'd
be like, okay, but they scratch the surface. It's really
just like you got me sprung with your tongue ring.
You're not really saying anything that's really unique or like, Okay,
you want to express you want to explore your sexuality,
like go for it. They're not really exploring it. They're
like hitting upon it and not really like you're not
really giving me a new you know, like yes, you know,
(28:45):
like even even like going back, like even jay Z
being like in that verse and Drunken Love where he
says things like like I like or you know, like
I ride it with my surfboard, like Beyonce said, you
know there's something that's like kind of a unique way
of saying it.
Speaker 2 (29:00):
Or I had never heard that ship before that song.
Maybe that existed in corners. I'm just not digging around
in but I was like, oh that's funny, Yeah, totally.
Speaker 1 (29:08):
That's that that is. I think that's maybe a more
creative version of what they're trying to do. Totally, the
whole song is. But another thing is like when I
close my eyes, even without the music video, this whole
song is a spring break MTV.
Speaker 2 (29:23):
Well totally, and that is actually something. There's a million
things in what you just said that are like so fertile,
so much in there, but one thing, so be careful.
I don't want you to pop out a baby, but
unless that's you want to.
Speaker 1 (29:37):
The only thing I know about myself as I have
sex appeal.
Speaker 2 (29:40):
That's the one thing. But also beyond that, you have
been there for me, like constantly away from like everything,
but you do have a lot of sex appeal, you know.
I feel like, for one thing about the subject of
you still liking that Casey Jost that encountered that CD
and loved those songs we have to it's that's insane.
(30:01):
That's tyrannical and a problem in the opposite direction. If
like once you've got you've heard your first like whatever
like Guided by Voices CD or something, you're supposed to
act like you never like like my entire pre Nirvana musical,
like the things that really set the seeds for me
(30:22):
that weren't like my brother's music, my mom's music, the sixties,
this early the seventies, eighties, stuff that I was hearing
around my house as a little kid. It was all
that like Poison Warrant, Motley Crue, Slaughter, Guns n' Roses.
I used to come home from school and put on
what was then dial MTV, like pret what was a
vote top five videos every day that you voted on,
(30:44):
and like really was invested in, like will Motley Crue
beat skid Row today for like the top Spot and
Nirvana coming out didn't like it did kill a lot
of those bands for me. I know, we're but it did,
But I'd still listened to Guns n' Roses. Like while
I was listening to all of that, they stayed on
the longest for me. And then after Nirvana, it's like
(31:05):
the only things I was buying were like Melvin's Boredom's
shown in Knife, Bikini Kilt. That stuff was in there
because he liked it. But I also was buying like
Bush Candlebox. You know, there was a Sonic Youth record
next to the you know whatever, the first Stone Double
Pilot's record. So I feel like there's no shame in
(31:28):
liking anything. I think the stuff that you said though,
that's also really this song is a prompt to reflect
on it's probably fair to say without going too weird,
too serious with like you know, less than five minutes
left in our podcast to say like four men. Male
presenting people, especially like cisgendered, heteronormative, whatever language want to use.
(31:50):
Male presenting people. A lot of what's presented to you
as like models for sex and sexuality in pop music,
they're pretty repulsive, pretty noxious. It's a lot of like
hosturing bullshit that's actually like really bad for you to
internalize as you move forward and relating with other people
and certainly trying to have like something like or whatever
(32:12):
you want to call it, evolved sexual relationships with people.
And so this whole time frame and the stuff I
certainly was hearing when I was eight years old, like
Axel Rose and Vince Neil and these troglodites, it was
not great for that.
Speaker 1 (32:27):
I kind of think it's always going to exist though,
because of course, you know, even like you know, with
kids now, it's like it's tough with uh Meghan Stallion
and Nicki Minaj being so like her even just her
name Minaj is like donan all that. But it's also
like I even think that they are a little bit
better with the expression. And it's supposed to be for adults.
It's just packaged for children, and it's weird, like it
(32:51):
gets into a weird territory, and this was that as well.
I don't know. I don't have a solve for that.
I just think it's I want to call out that
it will always exist unfortunately, of course.
Speaker 2 (33:00):
Well, and I think it's because sexuality and sex is
such a fragile thing actually that one of the ways
we overcompensate for that fragility is by projecting, especially mem
but these images of like like it's an overcompensatory braggadocious thing.
And the thing you just isolated, which is part of
this is now we're getting into. So I love this shit.
(33:20):
We're getting into FLMs of the unknown. One thing I
will say about that is I actually think, unfortunately, there's
this quote that's like the greatest dreams of the oppressed
are to be the oppressor, and so sometimes when there
is that kind of like super sex forward, I think
there can be an overcorrection in the opposite direction.
Speaker 1 (33:39):
Too.
Speaker 2 (33:39):
A boys club still a boys club, even if it's
just girls in it. And so I think that's part
of where I'd like to see it somewhere beyond that, too,
where like maybe there's like healthier, more advancing, more three
dimensional conversations about this shit in music and around it.
Speaker 1 (33:54):
The overcorrection and being like and being like, let's get
rid of it all is bad. It's like, let's just
have a more nuanced conversation.
Speaker 2 (34:02):
Lets get rid of it all, or let's have it
all in all the time. Either of those case. Just
keep the eyes on something. And I want you to know.
Speaker 1 (34:12):
I know it's time.
Speaker 2 (34:14):
It's time to butterfly, my sugar baby, my dumbles door.
Speaker 1 (34:21):
I'm ending this positive on this song. I feel good
about it. I'm glad that it exists, and I feel
I'm glad I like it. I support it.
Speaker 2 (34:30):
I was happy to hear it today. It's an awesome
song to have on while you're shopping. Not that I've
been shopping while we do this pod, but it does
have FLI I'm going to do puberty as we speak.
It's all this sex and sexuality talk.
Speaker 1 (34:42):
Well on that. I'll let you do that. It's your
that's your choice. Love you, thank you for being here,
thank you for listening. Everybody, We'll see you next week.
I'm the chances. Yeah,
Give it a chance, give it a chance, Give it
a chance. Good Morning, give it a chance, Give it
a chance, Give it a chance, Give it a chance. Morning,
give it. You want to give it a chance, give
it a chance, give it a chance. Just give it. Aye, everybody, Yes,
that's right. We're back. Better than Evner Besner, than ever heavy.
(00:29):
I got a classic. WHOA Okay, this one is I
think could be on like lists. I'm not sure. I
think this is like government lists. Actually yeah, I think
maybe some of the members of this band are have
(00:50):
but to call them a band, well, yeah, they're definitely
a band. But this song has a lot of history
and a lot of story, a lot of it is.
It is of an era that I think you and
I love, love to hate maybe but love, and I'm
excited to listen to it. I haven't listened to it.
I mean, it's a song that I've heard. It's in
(01:11):
movies and stuff. But oh my god, ironically and and
unironically like it was in movies.
Speaker 2 (01:17):
It was in movies and stuff. Ironically and unironically, this
is great.
Speaker 1 (01:22):
It was released in nineteen ninety nine, which is a
sweet spot.
Speaker 2 (01:25):
Okay, this is this is good for our pod Yeah,
it's lots of opportunity there for Chancey no Chancey in
ninety nine.
Speaker 1 (01:31):
You know what's really interesting about it? And we'll go
into like some of the a factoi that I know
that I didn't know until like a fan of this
other band that they sample.
Speaker 2 (01:42):
This is mytory, like you're building a mystery? Is Sarah McLaughlin.
Speaker 1 (01:48):
I wouldn't put her on this podcast really, maybe he's
too good. It's a song. I'll just tell you the
band name and you'll know the song because I think
it's they only have one. Okay. The band is called
crazy Town.
Speaker 2 (02:04):
Oh this is a come a Bibic come classic lady. Yeah,
it's about gravy, this song.
Speaker 1 (02:13):
It's what it's about, gravy. Yes, yeah, it has to be.
It must be. That's like I could definitely. I'm already
like I've already brought up the song and the lyrics
and I'm I'm teeming with excitement of where this kid.
The song is called Butterfly.
Speaker 2 (02:27):
Yeah, sure is. This is gonna be a hard one
for OKD. I'm not gonna lie. This is no time like,
this is a song that I'm like, whoof?
Speaker 1 (02:36):
So this is good. It's to store a purpose. Right,
It's like it's like generic brand olymp biscuit. It's like
really interesting.
Speaker 2 (02:43):
Like wow, generic brand Limp biscuit is uh, that's really
plumbing the depths, you know what I mean?
Speaker 1 (02:57):
Like Limp biscuit is like serially buying a box and
this is like the bag serial, right, and you know.
Speaker 2 (03:03):
You buy in your hand.
Speaker 1 (03:04):
Yeah, but you know sometimes you know that that bag
serial can surprise you, and it's quite nice.
Speaker 2 (03:10):
Let's find out for surprise today I have. I'm gonna
really bring all of my chancey focus, all of my
chancey availabilities on this because it feels this one's be
so far, of all of them, the one that I
have the most.
Speaker 1 (03:26):
No, I think you could do it. You know why.
The reason why you can do it is because you're
such a sexy, sexy, pretty little thing. Oh no, it's
just the Alba in the video for this song, or
he's in every video ninety nine albums and everyone was
she in any music videos or just make that up.
I don't know. I think maybe like she was in
movies that had a music video of like you know, attached,
(03:48):
and maybe that's how the she gets snuck in. But yeah,
like I could picture this in movies around that time,
Like I said, ironic and ironic. Well, let's let's let's
listen obviously, right, we'll play a little snippet, but you'll
you'll go and listen to the full song on your
own little streaming apps and we'll be right back after
that if you.
Speaker 2 (04:05):
Want to, if you want to, Yes, come malady, come come.
Speaker 1 (04:14):
Yeah.
Speaker 2 (04:14):
I made an executive decision which might not be I'm
sorry to all our chances out there. I stopped it
with thirty eight seconds left because I feel like it's
just going to keep he just keeps going. But does
something happen?
Speaker 1 (04:26):
I know, No, I don't think so. It's the UK
like I don't the UK mix, it's the UK dance
mix where it just keeps going. I know what you mean.
I kind of I bailed slightly early, which isn't a
very chancy thing to do.
Speaker 2 (04:39):
But no, I like it though. It's kind of nice.
That was a unanimous decision and it kind of feels
right for this song. And also that's that's a chancy
first for me.
Speaker 1 (04:49):
Yeah, oh for sure. Yeah, I'm good.
Speaker 2 (04:50):
I know it's going on here.
Speaker 1 (04:52):
Maybe like I've stopped, Maybe with like ten seconds. But
I also watched the music videos and so I'm like,
I don't know if this is just like an extra.
Speaker 2 (05:01):
You know, that's something the chances should know. There is
a difference in methodology. Casey does usually watch the video
and I usually listen to it on a streaming service
of my choice, the Illusion of choice or whatever. But yeah,
the one that I use, and uh and.
Speaker 1 (05:16):
And I read the lyrics while I do that, I did.
I definitely I go back and forth between the lyrics
and the VID. I have to say this, you know this, dude,
I found this fact out. Did you know that the
music that Boom Dumn like that main thing is do
you know what that's from? No, So if you look
(05:38):
at the credits of the song, yeah, songwriters Anthony Keatis,
Chad Smith, John f Shanti Flee and then the other
people in the band are in there too. But it's
a sample from a really old Red Hot Chili Peppers tune.
It's an outro like like the Flea and for Shanty,
I think we're just like jamming and it's just it's
(06:01):
a small snipp but they took that and they it's
the entire song. Wow, isn't that crazy that they I mean,
it's not that crazy that they're behind this song in
a way. No, you know what I mean, because I
think I think Redout Chili Peppers is you know, as
an inspiration. I would, I mean inspiration, I would, I would.
(06:22):
You know, there's things to knock even about the Red
Hot Chili Peppers, but like, I will take them over
crazy Town any day of the week.
Speaker 2 (06:29):
Listen, this could be its own breakout like season I have.
The Redout Chili Peppers are a serious fault to me,
this will I'll just spend thirty seconds on this. I
think they might be the band. I completely understand why
there is a whole like legion of people I respect
(06:53):
that take that band really seriously and they might. For me,
they really are like almost beyond any redemption. And I
get it. I totally get it. Mother's Milk was great,
and you know, blood sugar sex totally. For some reason,
his thing is like unconscionable for me.
Speaker 1 (07:14):
Keids.
Speaker 2 (07:15):
It's a real red line. It's an actual like I'm
like the minute it starts, I'm like, I can't do this.
It's just not for me. But yes, you are correct
and identifying that's not that I don't see that there
are cool parts in it and blah blah blah. He
for me is never cool. I don't think any of
what he's doing is cool. That's just me going on
the record. That being said, Yeah, they actually like come
(07:36):
from a thing, they helped build a thing. They've got
you know, and those dudes are actually like especially I
don't know John Forshanti, he's got some cool stuff going
on totally.
Speaker 1 (07:45):
Yeah, I love this. I like a lot of his
solo albums, and obviously Flea plays so well and it
seems like a really cool, totally thing. Guy. There's a
lot to take away from a lot, like a lot
of I give that band a lot, and it's this
band is really nowhere near there. But I will sit.
Speaker 2 (08:01):
Drinking from the well.
Speaker 1 (08:02):
For sure they did something with this. This song could
be in like I said, the song could be in
this soundtrack to a movie at any time right now.
Speaker 2 (08:11):
I'm sure it is. Someone's putting it on something today.
Speaker 1 (08:15):
Yeah, like and and now it's mostly tongue in cheek,
like if if there was like a DC comic book
like or Guardians of the Galaxy, I you know what
I mean. And they were walking through and this song
played and it's sort of tongue in cheek. I'd be like,
all right, I bought my head. I recognize the song.
I know what they're doing. It's funny, yeah, you know.
And I think the band would be like, that's great too,
That's how you should use our music. It's like it's
(08:36):
not that serious whatever. Fun and it's like it's now.
The problems with this song. One of the problems is
it's so like kind of like grossly sexual.
Speaker 2 (08:47):
Yeah, the innuendo's barely innuendo. It's like single on Tandra.
Speaker 1 (08:51):
He wants to be so clever. Let's start at the top, right,
it's such a sexy, sexy, pretty little thing. Fierce nipple pierce.
You got me sprung with your tongue ring like really
like chills do chills?
Speaker 2 (09:03):
No? I mean like I think he sounds badass and
she sounds like bad ass. Like right, I'm like, damn,
she is a butterfly. He is crazy.
Speaker 1 (09:15):
He is crazy town. He lives in crazy town, all right,
but I want to find some chances. And I will
say that like I think that, you know, to say,
like I think this gets thrown around a lot where
people are like, no, but he's a good rapper, right,
He's like, it's it's what does that mean? Like what
(09:36):
are you like? Because if you're not really saying anything,
are you that good of a rapper?
Speaker 2 (09:39):
Right? Right?
Speaker 1 (09:40):
That's kind of part of it. But I will say that,
like with the flow, there's times there's times where I'm like, oh,
that's kind of fun. Like in the second half, in
the second verse, like he does a few little things
that I'm like, like, if I just read the lyrics,
I wouldn't think of that's how it would go. And
then he kind of does things kind of kind of fun,
and I think like it's a it's a part already song,
(10:00):
and he keeps it, keeps it fun.
Speaker 2 (10:02):
Yep, yep, no doubt. And I also feel like he
did there were a few things happening where I was like, oh,
he's actually like messing around with some interior rhyme stuff,
which is like at least shows a degree of like
construction awareness and a kind of like ability to play
around inside the structure that not even like some fairly
(10:22):
successful hip hop song artists who've had like a hip
hop single or whatever that actually had some saturation that
is like a step beyond the entry level for what
a like pop friendly hip hop artist is capable of,
at least in this timeframe. I mean it's also like
sorry to stay on that lane. I did agree with that,
(10:43):
and yeah, like part of the give it a chancy
thing to me is like you know, you gotta you
gotta find it where you can. And the fact that
he could actually this isn't like, you know, completely like
skill less skill less hip hop expression. Is it Like no, sorry,
I'm not going to anti chancy yet. So I agree
with you about that. And also you're right that chorus.
(11:06):
The reason it is still tongue in cheek or not
like pops up in popular culture is because like that's
a super catchy chorus and that is not an easy
thing to do. I think people. I can tell you
that for sure. To just be like let me shoot
out something that people will have in their heads for
twenty five years is not that is something to be
reckoned with.
Speaker 1 (11:25):
Yeah, and it's a and it's a true hip hop
chorus in terms of like it's it's like a kin
to hip hop hooray that actually even that has more
singing in it. This is a true like this is
like that Wu Tang song that's like You're all that
I need. I'll be there. Yeah, if you keep it
real with me, I'll keep going.
Speaker 2 (11:43):
Yeah.
Speaker 1 (11:44):
Like it's it's catchy in that it's not trying to
sing or anything. It's pop with just it is kind
of a rip off of come Baby, Come baby baby,
come come right, like Wayne, yeah, a little bit right,
come come a lady, Come come lady. I'm saying for sure. Yeah,
it's like it's yeah, it's definitely like but but you know,
my my backwards cap off to them. I went into
(12:09):
this thinking, oh, these are bad rappers, like I couldn't remember,
Like I just thought it was the song was a
joke and these guys are bad at rap and you're right,
like there is there are. I mean there's some things
that are like fierce nipple Piers is like too much,
you know, like that is.
Speaker 2 (12:24):
Like yeah, I mean we're going if we can, if
we can volley back and forth between Chancy and Anti Chancy.
There were definitely things that happened where I said out
loud like oh come on, and like one of them
that I totally forgot. I don't know if I've ever
dropped into like the verse lyrics of this song.
Speaker 1 (12:41):
Yeah, I don't think I ever.
Speaker 2 (12:42):
Did the thing about I'm trying to find it out.
Oh yeah yeah yeah. He says, my lifestyle is wild.
I was living like a wild child. I was like, dude,
that's that's actually like, that's actually nothing.
Speaker 1 (12:55):
That's actually saying nothing. It's so it's.
Speaker 2 (12:58):
Saying the same thing so many times. It almost like
just becomes a creative in the song where you're like, what, you're.
Speaker 1 (13:03):
Right, because there's life style and in living my life
styles wild, I was living like a wild child.
Speaker 2 (13:11):
Yeah, yeah, yeah, you're like, okay, gotcha. And there's some
stuff like logistically I know that they weren't probably worrying
too hard about logistics, but where it says or logically
not logistics, Yeah, they were worrying about the logistics of
how to build the song. But also where he says
something in that same beer snipple piers yes, yes, like
as a lyric, Race says, the only thing I really
(13:32):
know is she's got sex appeal. Yes, that's the only
thing he knows. But then he says, you're always there
to lift me up when times get rough, And I
was lost, but now I'm found ever since you've been around,
and I'm like, the only thing you know is that
she's got sex appeal. But also also she has saved
(13:54):
your life of the flaming fuselage, the wreckage. You were
you were a wild child parole.
Speaker 1 (14:00):
It's crazy that you're right. He's like, I can't like
because imagine the drama of this. I can't sleep, I
can't hold still. The only thing I really know is
that she has sex appeal. Like it's such a strange thing.
It's like, wait, what it's like you can't you can't
sleep or you know, like but that's all you know,
and then you know suddenly later she's always there to
(14:23):
live always, like we do like in like improv class
in school, they always say like avoid saying words like
always and never because like it really means like.
Speaker 2 (14:33):
It's fine, yeah yeah, in.
Speaker 1 (14:35):
Casual conversation when you're like, yeah, no, I always do that,
I probably means like you always do it, and so
you have to take a face value like and yes,
it's like always.
Speaker 2 (14:45):
Yeah. This is probably an example though of like we've
talked about this, there's like nothing more subjective than like
what's what's a good song and what's bad song? What's
(15:07):
a you know, what's a successful I don't mean successful
with respect to like numbers, I mean like successful with
respect to like execution. This is a song where it's
like from my specific taste biases, it's just a song
like this was never gonna penetrate it just like there's
(15:27):
too many roadblocks and I love good hip hop. I
love a good love song. I even like a good
song every once in a while. It's about like the
kind of specific hormonal craziness that like uh, physical attraction
can you know, invoke in the human race, but those
things combined. I don't know why I thought of Jessica album,
(15:49):
but it's something about like I feel like this song
would be on in five different Jessica album movies where
they were like kind of like ogling, like kind of
like a belly T shirt she'd be wearing, yeah yeah,
while she like opens her locker or something like that, right,
un Ironically, there's just something about this.
Speaker 1 (16:05):
I think it's we talk about.
Speaker 2 (16:06):
This in a different episode. It might have been the
No Doubt one, but there's something about like when something
like impresses itself on you in such a way as
like this is sexy, No, this is it right away.
Speaker 1 (16:22):
It's just like.
Speaker 2 (16:24):
That so funny, and I feel like that's this thing
is really like, and I look the whole thing too.
It's like what's more fertile and whether it's rock and roll,
hip hop, fucking go before that, like certain poets or
artists as far back as there are things people look
at and engage with and like the bad Boy, the
rock on tour, you know whatever, and look that goes
(16:46):
across gender identity and identification. Taylor Swift is currently making
a career out of being like, aren't I the worst
person to date ever?
Speaker 1 (16:53):
You know what I mean?
Speaker 2 (16:54):
And like billions of dollars change ins around that conversation.
But I like there's a certain point where I'm like,
I just hearing a dude who's like, yeah, man, I'm
a badass, and like you're kind of a badass too,
because your tongue ring.
Speaker 1 (17:09):
I'm just like yeah, yeah, yeah.
Speaker 2 (17:11):
But also, I'm forty four years old, but I don't
think I like this when I was twenty four years old.
But the chance that's to say this, sorry, the reason
I brought any of that up case I was to
say I have to almost chance on a curve on
a song like this, because it's like just not something
I would ever find myself gravitating towards. So I don't
(17:32):
want to just totally evisceraate it based on that, right
being said, even in its context, like is this better
than Limp Biscuit? Is this worse than Limp Biscuit? Like
what's the lot?
Speaker 1 (17:46):
Like this is like this is actually a lot different.
It's actually like I think if if I were like
a really big like all like an like a purest,
like a rap purest, yes, I think I would prefer
this to Limp Biscuit because yeah, I think Limp Biscuit.
As much as they are taking elements that are fun
of hip hop there, they are also taking a lot
(18:09):
from rock. And if let's say I'm purist and I'm
like not really into even like maybe maybe I'm not
even into like uh run DMC because it's too rock,
Like you know, let's say like there's I think, like
you know, I want like a specificat this beat is fun,
like it's it's really it's really catchy, like the drums
(18:29):
when the drums come in, it's like a head nod song.
And so I would say, like olymp Biscuit doesn't really
give you that. So I think if this was like
on the radio and I'm just a hip hop guy
and I hear this this, I like this now, like
I think once it goes in, like I you know,
there's a lot of artists that like do this sexual rap.
(18:53):
Like Kanye kind of puts one on like once every album,
like he'll put one that's a little too he was
like like full lot.
Speaker 2 (19:01):
His is more like he's trying to like that's just
a different expression of his like shock doctrine thing where
he's like because he's rapping about like he's trying to
like be very explicit in a way that's like also
in very Kanye the vocabulary that yeah, where you're like okay, dude,
yeah yeah, this is more soul Tree or something like that.
Speaker 1 (19:22):
Yeah. Yeah. But like even like like an Acnelly put
it in your mouth, don't know if you know, like
so put it in my mouth, like do you know?
I know it? Yeah. So even a song like that
is I just I feel uncomfortable with it. I don't
know why, Like it's I mean, I guess I know why,
but it's it's just sort of like it's not really
where I want my art to be.
Speaker 2 (19:43):
I don't know, not really this is we're opening up.
This is great, We're opening up some real healing opportunities
on chancy today. It's also not really like I'm gonna
say something. I'm really this. I might get lit up
for this, you know what? Is what Another thing that
could be possibly argued is one of the most subjective
of things is like how people want their sex and
sexuality to be, how they want to express themselves and
(20:05):
live those things in their private personal spheres. For me,
something like put it in my mouth. That's not exactly
the way I want to express my sexuality either. So
that's just for me. That doesn't mean that's great that
that exists for other people. But I like a little
more subtlety and nuance in my piey.
Speaker 1 (20:26):
That song's crazy, I'm just thinking of because it's a
back and forth between a woman and a man and
the woman is saying put it in my mouth, and
he's going, your motherfucking mouth. It's such a strange song.
It's so funny she said it in a mouth, motherfucking mouth.
(20:50):
Like it's crazy. Now going back to like going.
Speaker 2 (20:55):
Back, Yeah, there was something you said about olymp Biscuit
that I wanted to say about this song.
Speaker 1 (20:59):
It is fun me.
Speaker 2 (21:00):
This song does sound and I don't know which came first.
And it's the reason I thought of Limp Biscuit was
because I do think there's a dursty and flow to
this dude's I think he might be a slightly better
rapper than fred Durst, but there is something pretty there's
a similarity to aspects of like the delivery, I think.
But I do think there's that one lymp Biscuit song
(21:22):
that I think had method man on it.
Speaker 1 (21:24):
Yeah and together now.
Speaker 2 (21:26):
Yeah, and that's sort of that's the closest day even
though the topicality is really great, that's the closest they
get to this energy.
Speaker 1 (21:33):
And I think Frederick's trying a little harder in that.
Speaker 2 (21:36):
Because he he was on with like a real rapper,
I got to bring it, and I think that might
be like my favorite. I don't really know a ton
of the Olympiscuit catalog besides the songs that were popular,
but like of them, that was always the one that
I was like, that's the best one.
Speaker 1 (21:51):
That's a really interesting one too, because I think the
last time I listened to my perspective was. They're both
like Fred's trying a little two too hard to be
better and he loses like some of his thing. And
I think it almost feels like Method Man like phoned
it in a little bit in a way that.
Speaker 2 (22:08):
I'm sure, dude, have you ever seen the footage of
jay Z recording the thing with Lincoln Park. Yes, it's
just like re recording his raps from Black Album.
Speaker 1 (22:19):
Or Blueprint, whatever it was.
Speaker 2 (22:21):
I think phoning it in is exactly those dudes. Sure,
the ones that were like that are like real good.
I'm sure in an environment like that first of all,
just the way sort of like who's cooler Method Man
or olymp Biscuit, who is objectively thought of as cool?
Speaker 1 (22:37):
You know what I mean?
Speaker 2 (22:37):
Like in the culture places, those those dudes want to
matter who's objectively thought of as cooler, like Lincoln Park
or jay Z. So there's a way it moves in
the studio where I could just feel like one party
is a lot more interested in like currying favor with
the other for a variety of reasons, for sure, And
I feel like you watch that in jay Z's I mean,
jay Z phoning it in two thousand and one is
(22:58):
still pretty compelling as is method Man in nineteen ninety
nine or two thousand or whatever. But you're totally right.
Those dudes looked at that as like I'm getting paid
how much to do what? And it'll look it up
to who All right, cool methan man.
Speaker 1 (23:11):
Though it's interesting because he does seem like or I
could at least maybe maybe I'm projecting or thinking out
too much. But with Olympus Get, they were such a force,
as you could tell at that time. It changed a lot,
and in a similar way like Eminem was too, but
like it was really like it was such a cross,
like a true crossover. Like the fact that that got
and and fred Durst most of the time is almost
(23:33):
making fun of or it feels like sometimes he's like
I'm not going to do the rock thing real, I
don't care, and I'm not going to do the rap
thing real like it was kind of which which I
give him credit for totally. What that turned out to
be is like when you listen to it, sometimes you're like,
this is okay, Like he kind of he also phones
it all in, like his whole rhyme the same word,
and it's like just lazy. But I could see a
(23:54):
method man. He's the kind of guy in my opinion,
that has tries to do a lot in a good way.
I'm saying like meaning like he's now like an actor
and he tries to do things. He tries to take
dramatic roles. He like pushes it. He does songs with
all different kinds of people that I bet you he's like,
this is another experiment for me, like I'm gonna try
and I think it's it's not so much that, in
(24:14):
my opinion, that he didn't care, which I think there's
part of it maybe like that, but I think it's
also like, let me try to do it the way
this guy does it, And I think that's fun that
he was like he's an artist that's like, let me
try the olymp biscuit style for this one song.
Speaker 2 (24:27):
Who cares totally And that's also I think. You know,
it's like there's certain sports teams that the rap on
them is like they play to the level of their competition,
like they were Knicks teams growing up, where if they
were they would be so frustrating because if they were
playing I don't know, I'm stepping into my brother Dan's
lane on this one with the shout out to Dan
Devine basketball podcast Superstar.
Speaker 1 (24:47):
By Ted Lacrosse with him in high school.
Speaker 2 (24:49):
That's right, the points of commonalty multiple that being said,
there is something where like that team, if they were
playing the Bulls or the Heat or one of the
other teams in the league, they would always compete with
them like ferociously. But then they play like, you know,
a bottom barrel kind of dregs team and they'd lose.
And you feel like because that night they sort of
(25:11):
like maybe it was like they took a night off
a little bit, or they thought like, well, maybe there
is something to like there's almost your playing games within
the game. Someone like like method Man's like, oh, let's
see what it's like to like roll around in Fred
Durst's sty for this song. You might be like, that's cool.
Could you just be method Man? But I do love
on this pod we strays have been sprayed in all directions,
(25:35):
and that might say something about the ultimate thing that
makes it hardest to give Butterfly by crazy Town Inn
serious Chancey. It's a little bit of a black hole,
it's a little bit of a vacuum. Like to talk
about crazy Town, I don't know how to do that
without talking about when Biscuit, the culture in which it
was built, RHCP, Red Hot Chili Pep, even Dan Devine,
(25:59):
the Knicks got a I mean like I'm bringing you.
Speaker 1 (26:01):
Know in ninety nine, I was like twelve or thirteen,
and I'm not gonna lie. I thought, so wait, let
me think I was born eighty five. Yeah, so I
(26:22):
was fifteen. I was fourteen fourteen, right, So my cousin
had like an early down like a Napster thing. I
think I had Napster two. But he had like a
better Internet, and he could just he illegally downloaded so
many songs. Honestly, he should go to prison. But he
he made me a CD with this with obviously Olympus,
(26:44):
Get the People Named with power Man five thousand. Oh.
I forgot about that thing with like yeah, like with
like this era. And I liked that CD at least
I liked this at like there was a time in
my life and I could put myself there. I'm not
afraid to put myself there or or where on as
a part of who the version of me. There's a
(27:04):
there's a version of Casey Jose that and I and
I like that Casey Jose that was into this and
and and so when I say into it, meaning like
it was a it was a popular thing that I
was like listening to there's you know like they were
they were like the worst Offspring album I probably had
and listened to it and liked it, like not the
one that came out first. That like you got duped
into it like like a battle. Like I was like
(27:26):
into and and I'm again like I'm okay with that.
Like there was a know what I bought? Oh, this
is so funny. This is this goes right into this.
There was a band called Methods of Mayhem, which.
Speaker 2 (27:37):
I remember that I was right.
Speaker 1 (27:39):
He was the drummer of Motley Crow. He was this
rapper in it. Tommy Lee got behind the mic with
this other guy and they had a song called get Naked,
and like his opening thing is just like like everybody's
seen my penis, like you know, like people masturbated to me.
Like he's like, that's what his that's what the song's about.
And that's I was on that CD too, and that song.
(28:02):
I mean I could I could probably recant quite a
bit of it. Yeah, that's all in this weird era
that was like and probably like I'm glad that I
came out the way I personally came out, because those
ideals and values are really and then like going back
to like the sexual stuff, it's really not like if
someone was like, I have these sexual opinions and I
(28:23):
want to talk about them in an open forum, I'd
be like, okay, but they scratch the surface. It's really
just like you got me sprung with your tongue ring.
You're not really saying anything that's really unique or like, Okay,
you want to express you want to explore your sexuality,
like go for it. They're not really exploring it. They're
like hitting upon it and not really like you're not
really giving me a new you know, like yes, you know,
(28:45):
like even even like going back, like even jay Z
being like in that verse and Drunken Love where he
says things like like I like or you know, like
I ride it with my surfboard, like Beyonce said, you
know there's something that's like kind of a unique way
of saying it.
Speaker 2 (29:00):
Or I had never heard that ship before that song.
Maybe that existed in corners. I'm just not digging around
in but I was like, oh that's funny, Yeah, totally.
Speaker 1 (29:08):
That's that that is. I think that's maybe a more
creative version of what they're trying to do. Totally, the
whole song is. But another thing is like when I
close my eyes, even without the music video, this whole
song is a spring break MTV.
Speaker 2 (29:23):
Well totally, and that is actually something. There's a million
things in what you just said that are like so fertile,
so much in there, but one thing, so be careful.
I don't want you to pop out a baby, but
unless that's you want to.
Speaker 1 (29:37):
The only thing I know about myself as I have
sex appeal.
Speaker 2 (29:40):
That's the one thing. But also beyond that, you have
been there for me, like constantly away from like everything,
but you do have a lot of sex appeal, you know.
I feel like, for one thing about the subject of
you still liking that Casey Jost that encountered that CD
and loved those songs we have to it's that's insane.
(30:01):
That's tyrannical and a problem in the opposite direction. If
like once you've got you've heard your first like whatever
like Guided by Voices CD or something, you're supposed to
act like you never like like my entire pre Nirvana musical,
like the things that really set the seeds for me
(30:22):
that weren't like my brother's music, my mom's music, the sixties,
this early the seventies, eighties, stuff that I was hearing
around my house as a little kid. It was all
that like Poison Warrant, Motley Crue, Slaughter, Guns n' Roses.
I used to come home from school and put on
what was then dial MTV, like pret what was a
vote top five videos every day that you voted on,
(30:44):
and like really was invested in, like will Motley Crue
beat skid Row today for like the top Spot and
Nirvana coming out didn't like it did kill a lot
of those bands for me. I know, we're but it did,
But I'd still listened to Guns n' Roses. Like while
I was listening to all of that, they stayed on
the longest for me. And then after Nirvana, it's like
(31:05):
the only things I was buying were like Melvin's Boredom's
shown in Knife, Bikini Kilt. That stuff was in there
because he liked it. But I also was buying like
Bush Candlebox. You know, there was a Sonic Youth record
next to the you know whatever, the first Stone Double
Pilot's record. So I feel like there's no shame in
(31:28):
liking anything. I think the stuff that you said though,
that's also really this song is a prompt to reflect
on it's probably fair to say without going too weird,
too serious with like you know, less than five minutes
left in our podcast to say like four men. Male
presenting people, especially like cisgendered, heteronormative, whatever language want to use.
(31:50):
Male presenting people. A lot of what's presented to you
as like models for sex and sexuality in pop music,
they're pretty repulsive, pretty noxious. It's a lot of like
hosturing bullshit that's actually like really bad for you to
internalize as you move forward and relating with other people
and certainly trying to have like something like or whatever
(32:12):
you want to call it, evolved sexual relationships with people.
And so this whole time frame and the stuff I
certainly was hearing when I was eight years old, like
Axel Rose and Vince Neil and these troglodites, it was
not great for that.
Speaker 1 (32:27):
I kind of think it's always going to exist though,
because of course, you know, even like you know, with
kids now, it's like it's tough with uh Meghan Stallion
and Nicki Minaj being so like her even just her
name Minaj is like donan all that. But it's also
like I even think that they are a little bit
better with the expression. And it's supposed to be for adults.
It's just packaged for children, and it's weird, like it
(32:51):
gets into a weird territory, and this was that as well.
I don't know. I don't have a solve for that.
I just think it's I want to call out that
it will always exist unfortunately, of course.
Speaker 2 (33:00):
Well, and I think it's because sexuality and sex is
such a fragile thing actually that one of the ways
we overcompensate for that fragility is by projecting, especially mem
but these images of like like it's an overcompensatory braggadocious thing.
And the thing you just isolated, which is part of
this is now we're getting into. So I love this shit.
(33:20):
We're getting into FLMs of the unknown. One thing I
will say about that is I actually think, unfortunately, there's
this quote that's like the greatest dreams of the oppressed
are to be the oppressor, and so sometimes when there
is that kind of like super sex forward, I think
there can be an overcorrection in the opposite direction.
Speaker 1 (33:39):
Too.
Speaker 2 (33:39):
A boys club still a boys club, even if it's
just girls in it. And so I think that's part
of where I'd like to see it somewhere beyond that, too,
where like maybe there's like healthier, more advancing, more three
dimensional conversations about this shit in music and around it.
Speaker 1 (33:54):
The overcorrection and being like and being like, let's get
rid of it all is bad. It's like, let's just
have a more nuanced conversation.
Speaker 2 (34:02):
Lets get rid of it all, or let's have it
all in all the time. Either of those case. Just
keep the eyes on something. And I want you to know.
Speaker 1 (34:12):
I know it's time.
Speaker 2 (34:14):
It's time to butterfly, my sugar baby, my dumbles door.
Speaker 1 (34:21):
I'm ending this positive on this song. I feel good
about it. I'm glad that it exists, and I feel
I'm glad I like it. I support it.
Speaker 2 (34:30):
I was happy to hear it today. It's an awesome
song to have on while you're shopping. Not that I've
been shopping while we do this pod, but it does
have FLI I'm going to do puberty as we speak.
It's all this sex and sexuality talk.
Speaker 1 (34:42):
Well on that. I'll let you do that. It's your
that's your choice. Love you, thank you for being here,
thank you for listening. Everybody, We'll see you next week.
I'm the chances. Yeah,
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