November 29, 2024 • 30 mins
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Speaker 1 (00:00):
Yeah, and brother Bill and Patty and Shearon and the
rest of you hangtied. I'll get to you just a moment.
But on the black line, Fred from by Tom Rouge
The two two five. You're up.
Speaker 2 (00:10):
Oh hello, mister Arry, Yes, sir Fred, Yeah.
Speaker 3 (00:13):
I was just calling to talk about a little bit
of music.
Speaker 2 (00:17):
I guess.
Speaker 1 (00:19):
I'm sure you know.
Speaker 3 (00:20):
The song Man of Constance Sor Yes, yeah, it was
Pater in that crazy movie. But did you know that
there was a rock version of that song?
Speaker 1 (00:29):
It was a Soggy Mountain Boys.
Speaker 2 (00:31):
What is it?
Speaker 1 (00:31):
Soggy Mountain Boys? Yeah, soggy bottom boys. Uh, yes, I do.
Who did it? The charm City Devils? Okay? Is it
a good version?
Speaker 2 (00:45):
Oh? I think so.
Speaker 3 (00:46):
I mean when I first heard it, I thought lost
my other love and mind that you know.
Speaker 1 (00:50):
I have a theory, Fred, that two thirds of the
people that know that song know it because of the
movie Old Brother Where Art though, which was really good?
Yeah for sure, really good for that. You got it
rem right here we go, hold on for it. I
haven't heard this kind of swamp rock feel to it,
(01:17):
I mean, and then we're kind of minister Boss. It
(01:40):
goes kind of headbanger it comes out of swamp rock
and goes headbanger. I like that. This is like what
thirty eight Special could have been, like Asu Spades. Uh,
you're not thinking a lemon nothing, A motor Hill. Yeah. Yeah,
(02:02):
although motor that doesn't have a Southern vibe. This has
a little bit of a swampy somewhere between somewhere between
Wayne Toobs and Tom Petty. It might be along the
it might be on the Florabama coast or something. Pirates
of the Caribbean. Hu Anyway, why'd you bring that up? Fred?
Speaker 2 (02:22):
Oh?
Speaker 3 (02:23):
I don't know.
Speaker 1 (02:26):
I just thought about we were talking. You were talking
about music.
Speaker 3 (02:29):
One day, I don't know, last week or something, and
that song jumped into my into my mind.
Speaker 2 (02:35):
You know.
Speaker 1 (02:36):
I love the fact that you call you know Fred.
My boys are now fifteen and sixteen, and so they
know that when we go places, people are gonna come
up and say hello. And they've stopped saying it. But
they used to say to me. They'd say, Dad, you
know that guy? And I said no. And he said,
why did he just come up and start talking to you?
And I said, well, he listens to me, Well, how
(02:57):
does he know what you look like? He looked me up,
and I say, but these people talk to you like
they know you. I say, Michael, if your dad does
his job, well, then that's the way I want people
to feel that way. The way we do our show.
The stage is not elevated. Right, we're in the round
and everyone is around us like break dancing and everyone.
(03:17):
Well it sounded good, you know, because you're in the round.
So everyone is around and we're all there together. Right,
we're at the bar and everybody has a seat, nobody's
higher or lower than anyone else, and we're talking about
things that people feel comfortable with. So great, call Fred,
where do you live in Baton Rouge?
Speaker 3 (03:34):
They live in since And where's that? I could God,
I don't even know what to me about.
Speaker 1 (03:41):
Subdivision?
Speaker 2 (03:42):
It's near what's hospital?
Speaker 1 (03:45):
Oh okay, are you from Baton Rouge originally?
Speaker 3 (03:48):
No?
Speaker 1 (03:48):
No, No, North Carolina?
Speaker 2 (03:50):
Where Greensboro?
Speaker 1 (03:53):
You don't like to ask answering personal questions, Fred, I
like that. Do you know there's a new head of
the West Baton Rouge Chamber of Commerce. She's our friend.
That's how I know. Anna Johnson.
Speaker 4 (04:05):
Oh no, sir, I you.
Speaker 1 (04:07):
Should call up there and say I hear y'all have
a new director and she's really good. Anna Johnson. Fred
thanks for the call, my man. I love that he
just picked up the phone. Hey have you heard this song?
That's perfect to me? Brother Bill and Brian, you're up,
go ahead?
Speaker 4 (04:21):
Hey, Amen, what you just said? You know why you're
so personable because I feel like your family, Michael, and
that's how Rush used to be. And I know we
don't like you to compare to Rush. That's exactly how
you are. He tell us about your kids. You don't
talk about your dog. I guess you don't have a dog,
but your gun. I mean, you talk about everything. That's
why we all love you. But anyway, hold on.
Speaker 1 (04:40):
I just want to make something to her because people
say this often. It's not that I don't want to
be compared to Rush. That's the highest honor. I feel
awkward if someone I don't want anybody thinking that I
myself do that, because that is presumptuous and I am
not a humble man or im modest, but I feel
that that would be a little bit overstepping my bounds,
(05:03):
or maybe a lot over it. But I appreciate that
I got it, and.
Speaker 4 (05:07):
I never would have found you if we wouldn't have
lost Rush because I was just hooked the Rush and
I needed someone else. Although you're not on between eleven
and two, that's how I found you. I'm so glad
I did. But uh so, Gringoes, Old's Jerky, and oh
your your knowledge, you know I'm in the convenience store business.
Your knowledge of Aga Khani's and the Smileies, I'm just fascinated.
(05:29):
You're just so right on a lot. And that's another thing.
Rush knew what he was talking about, and so do you.
But tell me about Greenoes. There's a lot of Mexican restaurants.
They're opening one here in College Station. What's your what's
your thoughts?
Speaker 1 (05:41):
Well, full disclosure. The owner, Russell Lebara, is a very
very close friend of mine. He's he's like family. He
really is family, as is Jonathan Kim, his wife Monica,
his kids, Derek. I don't know Stephen as well, but
his son Derek, and Skuyler his wife. I mean the
whole family. I know all the cousins, brothers, Moises, Roland, Chris,
(06:05):
his sister, the whole family, like they are family. You know.
I will tell you something that I've told Russell over
the years and my wife said, it's rude the way
I say it, but I'm going to say it and
understand that I mean it as a compliment. I don't
understand why they're so successful. But of the tex mechs
(06:26):
empires in Houston, I don't think there is a tex
Mex restaurant in Houston, and Taco Bell doesn't count. I
don't think there's a tex Mex restaurant in the greater
Houston area that does a higher gross sales than Gringos
and Jimmy Chunga's. It's the same guy, same company that
it just kind of changed the concept a little. And
(06:48):
I say to him, Russell, I don't understand what you
do so much better. Is it a lower price point? Maybe,
but guess what, there are people with a lower price point.
Is it your location? Maybe other people could locate right
next to you and they're in you know, they're on Fuquay,
they're out off Mushki. So it's very hard to be
(07:12):
in all different areas of Houston. The League City. You know,
if you're sitting in New York and you're trying to
sell product to League City, you think that League City
in Texas City would be the same. No, they're very
different demographics. You might think that League City and Tomball
are the same. No, they might be equidistant from town,
but they're very different. Magnolia is a little different than Tomball.
(07:33):
The Woodlands is different than Cyprus. The Woodlands is its
own beast. So I don't know what he does so
much better, but I know he does it better on
a larger scale than anybody, and nobody knows they do.
I think one hundred and thirty five million dollars a
year in sales. That's an insane amount of money. Insane,
(07:55):
and he's got to be good or Tilman would go
into that space. The fact that Tilman does go into
that space, I think they've closed the Cadillac bars that
the fact that Tilman does not go into that space
tells you something right and how good he is. And
when I say I don't understand why they're so successful,
it is because they're so good at what they do
without having to yell at you about it or announce
(08:17):
they're just that good every meal. It's impressive. I mean,
it's overwhelming. It's it's Tom Brady good. One of the
things I do when we finish every day, the morning show.
In between the two shows is I go through emails
and I clear out all my emails, and then I
(08:38):
go through and I look at old audio because sometimes
I find that speeches or comments or things of this ilk.
I can find things that we played ten years ago
that are just as relevant today because the playbook is
still the damn same. He came across an audio file
(09:02):
that I had that I don't think we've ever played,
but I had written some comments on it about how
good it was, and it's about the culture wars, and
it is about and it is from one of my favorites.
He's a great economist, which is how he's classically trained
as an economist, but he's he's His social commentary is
(09:25):
also fantastic. His name is Thomas Soul. And I've encouraged
a lot of you to listen to this, and some
of you have and you've sent back Basic Economics, it's
what it's called. But you can get the book on tape.
I encourage books on tape because a lot of you
may not have time to read, but you do have
time in the car after our show and our podcast
(09:47):
is over. One of my favorite lines from Thomas Soul,
people are never more sincere than when they assume their
own superiority, nor are they ever more ruthless. You think
about how the left was over the JAB, You think
about how vicious they're going to be over global warming,
because that's what's coming. You think making you get a
(10:09):
JAB was Oh wait to you see anyway? This is
from years ago from Thomas Soul. But just give it
a listen. I don't normally play clips this long. It's
called the Dirty Truth about Cultural Wars. I want you
to listen to this because I think it is wonderful.
Speaker 2 (10:25):
Cultural wars are dirty wars, much like guerrilla warfare in
the jungles, with no regard for the rules of the
Geneva Convention. Warfare over traditional values versus avant guarde values
is raging all across the United States today, from the
art galleries to the armed forces, and from the Kindergarten
to the Supreme Court. At issue is whose cultural values
(10:49):
shall prevail and who shall make the decisions that reflect
those values. The categorical language of rights is widely used
as a weapon in these cultural wars. Those who are
pushing a woman's right to go into military combat, for example,
are in effect saying that the decisions of the military
commanders responsible for the lives of thousands of troops, and
(11:12):
the decisions of the American society as to the social
roles of the sexes are all to be superseded by
the visions of self anointed and politically organized feminist advocacy groups.
The particulars of the arguments, the physical strength of the sexes,
the performance of women in the military, et cetera, are,
in one sense, all beside the point. The question is
(11:35):
not what to decide, but who is to decide. As
elsewhere in the cultural wars, the issue is whether a
vocal elite should get the power to preempt the decisions
of others. To the anointed, the use of words like
rights is sufficient to put one coterie's opinions above discussion,
and the word stereotypes is enough to put the values
(11:58):
of the society at large beneath the discussion. They don't
want discussion, they want power. One of the more remarkable
rights to emerge in recent years is the right to
the taxpayer's money for anything that chooses to call itself art,
regardless of whether the taxpayers or voters likewood is produced,
and regardless of whether The clear intent of this art is,
(12:21):
in fact, to insult the values and beliefs of the public.
For people to decide what their own money is to
be spent for is censorship in the new speak of
the anointed. More generally, the cultural wars are being waged
to get decision making powers transferred to elites who do
not pay, either in money or in other ways. Family responsibilities,
(12:45):
for example, have been taken over by schools, courts, social
agencies and others who pay no price if their decisions
turn out disastrously for children or their parents, or for
the whole society. The basic thrust of the soul so
called consumer movement is likewise a drive for preempting the
consumer's choice, not simply informing it. The consumer must be
(13:09):
protected at times from his own indiscretion and vanity, Ralph
Nader said in his first article published in the Nation
in nineteen fifty nine. It is much the same story
in the economic sphere, where having an economic plan, or
perhaps even an industrial policy or an energy policy are
all widely and uncritically regarded among opinion elites as good
(13:33):
things in themselves. But government planning is not an alternative
to chaos. It is a preemption of other people's plans.
Whether the sphere of activity is art, military, combat, law schools,
or the economy. The issue is whether elite preemption shall
replace both individual autonomy and democratic choice. The courts are
(13:57):
a major battleground in these wars over cultural values, for
they are well positioned to preempt the decisions of others
by interpreting the Constitution to ban or promote whatever the
judges want banned or promoted. The bitter struggles over Supreme
Court nominees in recent years have reflected this key role
of the courts in imposing policies so repugnant to the
(14:20):
public that elected representatives would not dare vote. The mental
law criminals, judge created rights, bussing, affirmative action, and abortion
are just some of the policies preempted from the democratic
process by judicial fiat. The issue, as Judge Robert H.
Bork has said, is whether intellectual class values shall continue
(14:44):
to be enacted into law by the Supreme Court. The
concern expressed by Justices O'Connor, Kennedy, and Suitor as to
how their ruling in the recent case of Planned Parenthood v.
Casey would be seen by the thoughtful part of the
nation suggests that elite preemption is still in favor even
among Justice's labeled conservative. The preemptive class is undoubtedly sincere.
(15:09):
People are never more sincere than when they assume their
own superiority, nor are they ever more ruthless. J. A.
Schumpeter said that the first thing a man will do
for his ideals is lie. Disingenuous words, twisted statistics, and
misleading labels are all part of the dirty war over
(15:30):
cultural values. Cultural wars are so desperate because they are
not simply about the merits or demerits of particular policies.
They are about the anointed's whole conception of themselves, about
whether they are in the heady role of a vanguard
or in the pathetic role of pretentious and silly people
infatuated with themselves.
Speaker 1 (15:53):
This is me, Michael Berry, the show. All right, don't
call be crazy, but just follow along here for a moment.
I'm not joking on this. I'm dead serious. What I'm
about to say is not a parody. It's not a joke.
There's not going to be a funny bit at the
end of it. It's not a setup. I have been
(16:14):
pondering on dealing with liberals. White liberals are the problem.
The Martha's Vineyards set that lost their minds after after
the illegals were dropped off there, but have insulted Texans
who've had to deal with far worse than that for
far longer. They weren't even there for twenty four hours.
(16:36):
I have come to the conclusion that these people are toxic,
and they cannot be helped, and they cannot be fixed.
I've come to the conclusion that you should not hire them.
You should not do business with them if you can
help it. You should not in any way associate with them,
because it will only end badly. They will ruin your
love of country. Surround yourself with good peopleople surround yourself
(17:02):
with the kind of people you want to be. I
seek out friends who have succeeded in some field and
achieved greatness, because I want to know what it took
to be great at what they did, and then maybe
I can take from that and be great at what
(17:22):
I do, be that talk show host, influencer, dad, husband, employer.
I want to learn from people who've been the best
at throwing a football or kicking a football, or hitting
a golf ball, or building a company or manufacturing things,
(17:44):
or inventing things, or teaching things or preaching things. Surround
yourself with people you love who love you. If you
have people in your life who you do not love
or who do not I love you. It strikes me
as very odd how many people will tell me that
(18:07):
they don't like their brother in law, but they're going
fishing with him this weekend, or he's coming over. You
can say no. If you've got a relative who comes
to your house and torments you the entire time they're
there about Trump or anything else, you can say no
to that. You don't have to tolerate that. You can
(18:28):
either tell your wife, I don't care that your brother
wants to come over. I don't care that he's your brother.
I'm tired of him talking to me that way. If
anybody else talk to me that way, I'd punch him
in the face. And you can confront him. You can
do back to him what he does to you. What
liberals will do is they don't get in your face
and scream at you that you're an awful person. They pick,
they pick, they needle. They do it in such a
(18:52):
way that when they have finally picked at the wrong person,
who yells at them or punches him in the face, saying.
Speaker 3 (19:00):
What are you doing?
Speaker 1 (19:00):
What happened? Why are you overreacting? I don't want you
to talk about that again. I don't want you to
talk to me that way again. You're allowed to say that,
but follow me here. And granted I understand this price
sounds crazy if it's the first time you've heard me
say this. I believe there is a biblical prohibition against
(19:21):
marrying democrats. Hold on Deuteronomy seven three through four. Look
it up. The Israelites are told you shall not enter
marry with them, giving your daughters to their sons, or
taking their daughters for your sons, for they would turn
(19:43):
away your sons from following me to serve other gods.
Then the anger of the Lord would be kindled against you,
and he would destroy you quickly. Well, this prohibition, as
you know, was to avoid the contagion of false gods. See,
(20:06):
if you give your daughter into the family of worshipers
of false gods, they will convert your daughter to worship
a false god. What's a false god? The state? Socialism, globalism,
global warming, pandemic love, All of these things that the
(20:32):
state shall do, all that the government shall do all.
This is a religion. It's not just a political theory.
It's a religion. And that's why communists always destroy the church,
because the state cannot compete with the church if the
state is a religion. When the Jews were returned to
(20:53):
Jerusalem after the captivity in Babylon, do you remember who
was so distressed to learn that some of the returneyes
had taken wives from the local population. Ezra. Ezra was concerned.
It was sort of like Vietnam, where American gis would
go to Vietnam and come back with Vietnamese wives. Ezra
(21:16):
was concerned that his people, when returning, had taken wives
from the local population, because just as you don't want
to give your daughter over to those who worship false gods,
neither do you want the worshippers of false god's daughters
to come into your home, because that is an insidious,
cancerous invasion. A trojan horse. In Ezra ten two through three,
(21:41):
Ezra was praying. A large group of Israelites came to
him in repentance. They made a proposal to fix the problem. Qut,
we have been unfaithful to our God by marrying foreign
women from the peoples around us. But in spite of this,
there is still hope for Israel. Now, let us make
(22:02):
a covenant before our God to send away all these
women and their children, in accordance with the counsel of
my Lord and of those who fear the commands of
our God. Let it be done according to the law.
The purpose of this covenant would be to once again
set apart the Jewish people as fully devoted to the Lord,
(22:25):
and remove any and all connections with those who worshiped
other gods. The agreement required the men of Judah to
do what do you remember, to divorce their pagan wives.
Ezra agreed that the covenant, this covenant, was the proper course,
(22:47):
and he commanded, quote, you have been unfaithful. You have
married foreign women, adding to Israel's guilt. Now honor the Lord,
the god of your ancestors, and do his wor will
separate yourselves from the people's around you and your foreign wives.
Took them three months, but they got rid of their wives,
(23:11):
and they fixed the problem of allowing the left into
their lives. I'm telling you, separate from the liberals, get
them out of your life. You'll be happier, more productive,
more patriotic and live longer. She was twelve. I was thirty,
(23:32):
but then it was wonderful to have you, mister President
of the Michael Barry Show. Jimmy Allan Stewart. Stewart and
Tim Nichols recorded this song. It was also recorded by Mobandi,
(23:54):
but the more I think this is probably the more
popular version. It's uh, did I say it was? Keith Whitley,
Earl Thomas Gone, etc. Jimmy Allen Stewart wrote some songs,
but Tim Nichols body of work. I have often said
that songwriters don't get the do today that they deserve
(24:16):
because they're what used to be the great poets, the Tennyson's,
the Shakespeares, the Frosts, the Emerson's, I mean, the Whipman's.
These guys are special, and you see it with guys
that just wrote so many. Tim Nichols wrote when Mamma
(24:37):
ain't happy for Tracy Bird, he wrote for you. Look
at the list of people who recorded his stuff, Trace Atkins,
Terry Clark, John Corbett, Billy Dean faith Hill, Alan Jackson,
Sammy Kershaw. He wrote Vadelia for Sammy Kershaw. When you
hear that song, you know it's more than an onion.
And you think of it as Sammy Kershaw. Nothing wrong
(25:00):
with that. Sammy Kershaw made that song his own, but
he didn't write it. He had to. Those words had
to be taken from the ether and put down on
paper for him to see that that is the creation.
That is no less glorious than building a skyscraper or
(25:22):
an airplane, or a car or a sculpture. It is
a work of art that one minute it doesn't exist,
and then it does. That's that's that's worth noting. Aaron
Tippin van Zant, Keith Whitley. Oh, he wrote I'm Over
You for Keith Whitley, Chris Young, Keith Anderson, Clay Walker,
(25:45):
lea Ane Walmack Blackhawk. I mean, these are all artists.
I haven't even listed them all that Joe Nichols, that
Tim Nichols, Joey was that Tim Nichols wrote for. He
wrote what's the one? For Joe Nichols. She only smokes
when she drinks. That's a funny song, you know that song?
(26:06):
All right to the phone lines, we go, h Cody,
You're up, go ahead, sir.
Speaker 3 (26:12):
Yes, I gotta say they got a chance. McClean he
is one. I mean, he is one amazing dude. Away
it is. I was blown away just by the way
he was able to connect with everybody that he spoke
to about, you know, our our family member that we
(26:33):
had that was going through some things, and we wanted
him to actually speak the chance, but he looked me
dead in my eyes and told me, there's no way
I'm gonna talk to a stranger about my feelings or
about anything going on in my life.
Speaker 1 (26:46):
So you know what's funny. The greatest impediment to getting
heritage films done is that the family wants it done,
and the mother or the father resist and they have
to wear them down and finally go, look, they're gonna
have to do this, Okay, it's not gonna be hard.
(27:07):
It's and they always every time they walk away, when
when the when, when the filming is over, they chance
will go, all right, is there anything else? That's the
fifth time he's asked, is there anything else? You'd like
to say? No, I believe that's it. All right, Then
we're done. We're done. Yeah, we're done. I got nothing
(27:28):
else unless you That's why I'll stay here as long
as you want. It's over, sir. I've been here for
six hours. You know, man, that went fast. That was fun.
He eats lunch with them. I mean, it's you know,
it's interesting. You get to know somebody pretty darn well
when you show up in the morning and set all
your stuff up in their living room. You spend the
(27:49):
morning with them, you eat lunch with them, you spend
the afternoon filming, and you talk about your life and
you know you're sharing with the stranger. And for some
people people it's actually easier to share with a stranger,
right because there's no judgment and he doesn't judge you.
And at the end of it, they always say, that
was so much easier than I expected. I don't know
(28:09):
what people were. Well, a lot of older folks are
not used to sharing their stories, sharing their They don't
think of themselves as somebody who's interesting. But to our families,
we're all interesting. And that's why I love to have
guests on and get them. Whatever somebody called to talk
about is almost never as interesting as one thing about
(28:33):
them that they don't think is interesting. And that might
be what they do for a living, where they grew up,
where they served, who they married, who they divorced, how
many times they've been divorced, that time they got shot.
Everybody's got a great story. It's just a question. It's
just a question of me being able to ask a
question that gets them to open them up to something
(28:55):
that maybe they weren't ready to they weren't ready to tell,
And that's just that's a function of them feeling comfortable.
And part of the reason that people open up to
me is because I come into their truck every day,
or their living room, or how about Lois turning ninety five?
(29:17):
How great is that? Or you know their workplace or
whatever else. I love hearing stories when people will say, hey, Michael,
I went down to accurate meter in supply and I
walked in and do you know this fella, Dane, He's
got your show on at the inside there and they
(29:40):
listened to you. Did you know that? No, I didn't.
Dane Berson's listener. He's called a show before, but I
had no idea that, Oh yeah, they got your show, Blair,
and they don't care who hears it. They're proud of you.
I love those. So if that's you, send me an email.
I'll give you. I'll give you a little love on
the air. If you play our show out loud for
(30:01):
people to hear when they walk in the door, and
you really don't care what they think about it. Send
me an email right now. Michael Berryshow dot com is
our website, Michael Berryshow dot com. I won Should we
do another hour? Are you done? I'm about warslap out
not allow to. We may or may not be back.
Yeah, and brother Bill and Patty and Shearon and the
rest of you hangtied. I'll get to you just a moment.
But on the black line, Fred from by Tom Rouge
The two two five. You're up.
Speaker 2 (00:10):
Oh hello, mister Arry, Yes, sir Fred, Yeah.
Speaker 3 (00:13):
I was just calling to talk about a little bit
of music.
Speaker 2 (00:17):
I guess.
Speaker 1 (00:19):
I'm sure you know.
Speaker 3 (00:20):
The song Man of Constance Sor Yes, yeah, it was
Pater in that crazy movie. But did you know that
there was a rock version of that song?
Speaker 1 (00:29):
It was a Soggy Mountain Boys.
Speaker 2 (00:31):
What is it?
Speaker 1 (00:31):
Soggy Mountain Boys? Yeah, soggy bottom boys. Uh, yes, I do.
Who did it? The charm City Devils? Okay? Is it
a good version?
Speaker 2 (00:45):
Oh? I think so.
Speaker 3 (00:46):
I mean when I first heard it, I thought lost
my other love and mind that you know.
Speaker 1 (00:50):
I have a theory, Fred, that two thirds of the
people that know that song know it because of the
movie Old Brother Where Art though, which was really good?
Yeah for sure, really good for that. You got it
rem right here we go, hold on for it. I
haven't heard this kind of swamp rock feel to it,
(01:17):
I mean, and then we're kind of minister Boss. It
(01:40):
goes kind of headbanger it comes out of swamp rock
and goes headbanger. I like that. This is like what
thirty eight Special could have been, like Asu Spades. Uh,
you're not thinking a lemon nothing, A motor Hill. Yeah. Yeah,
(02:02):
although motor that doesn't have a Southern vibe. This has
a little bit of a swampy somewhere between somewhere between
Wayne Toobs and Tom Petty. It might be along the
it might be on the Florabama coast or something. Pirates
of the Caribbean. Hu Anyway, why'd you bring that up? Fred?
Speaker 2 (02:22):
Oh?
Speaker 3 (02:23):
I don't know.
Speaker 1 (02:26):
I just thought about we were talking. You were talking
about music.
Speaker 3 (02:29):
One day, I don't know, last week or something, and
that song jumped into my into my mind.
Speaker 2 (02:35):
You know.
Speaker 1 (02:36):
I love the fact that you call you know Fred.
My boys are now fifteen and sixteen, and so they
know that when we go places, people are gonna come
up and say hello. And they've stopped saying it. But
they used to say to me. They'd say, Dad, you
know that guy? And I said no. And he said,
why did he just come up and start talking to you?
And I said, well, he listens to me, Well, how
(02:57):
does he know what you look like? He looked me up,
and I say, but these people talk to you like
they know you. I say, Michael, if your dad does
his job, well, then that's the way I want people
to feel that way. The way we do our show.
The stage is not elevated. Right, we're in the round
and everyone is around us like break dancing and everyone.
(03:17):
Well it sounded good, you know, because you're in the round.
So everyone is around and we're all there together. Right,
we're at the bar and everybody has a seat, nobody's
higher or lower than anyone else, and we're talking about
things that people feel comfortable with. So great, call Fred,
where do you live in Baton Rouge?
Speaker 3 (03:34):
They live in since And where's that? I could God,
I don't even know what to me about.
Speaker 1 (03:41):
Subdivision?
Speaker 2 (03:42):
It's near what's hospital?
Speaker 1 (03:45):
Oh okay, are you from Baton Rouge originally?
Speaker 3 (03:48):
No?
Speaker 1 (03:48):
No, No, North Carolina?
Speaker 2 (03:50):
Where Greensboro?
Speaker 1 (03:53):
You don't like to ask answering personal questions, Fred, I
like that. Do you know there's a new head of
the West Baton Rouge Chamber of Commerce. She's our friend.
That's how I know. Anna Johnson.
Speaker 4 (04:05):
Oh no, sir, I you.
Speaker 1 (04:07):
Should call up there and say I hear y'all have
a new director and she's really good. Anna Johnson. Fred
thanks for the call, my man. I love that he
just picked up the phone. Hey have you heard this song?
That's perfect to me? Brother Bill and Brian, you're up,
go ahead?
Speaker 4 (04:21):
Hey, Amen, what you just said? You know why you're
so personable because I feel like your family, Michael, and
that's how Rush used to be. And I know we
don't like you to compare to Rush. That's exactly how
you are. He tell us about your kids. You don't
talk about your dog. I guess you don't have a dog,
but your gun. I mean, you talk about everything. That's
why we all love you. But anyway, hold on.
Speaker 1 (04:40):
I just want to make something to her because people
say this often. It's not that I don't want to
be compared to Rush. That's the highest honor. I feel
awkward if someone I don't want anybody thinking that I
myself do that, because that is presumptuous and I am
not a humble man or im modest, but I feel
that that would be a little bit overstepping my bounds,
(05:03):
or maybe a lot over it. But I appreciate that
I got it, and.
Speaker 4 (05:07):
I never would have found you if we wouldn't have
lost Rush because I was just hooked the Rush and
I needed someone else. Although you're not on between eleven
and two, that's how I found you. I'm so glad
I did. But uh so, Gringoes, Old's Jerky, and oh
your your knowledge, you know I'm in the convenience store business.
Your knowledge of Aga Khani's and the Smileies, I'm just fascinated.
(05:29):
You're just so right on a lot. And that's another thing.
Rush knew what he was talking about, and so do you.
But tell me about Greenoes. There's a lot of Mexican restaurants.
They're opening one here in College Station. What's your what's
your thoughts?
Speaker 1 (05:41):
Well, full disclosure. The owner, Russell Lebara, is a very
very close friend of mine. He's he's like family. He
really is family, as is Jonathan Kim, his wife Monica,
his kids, Derek. I don't know Stephen as well, but
his son Derek, and Skuyler his wife. I mean the
whole family. I know all the cousins, brothers, Moises, Roland, Chris,
(06:05):
his sister, the whole family, like they are family. You know.
I will tell you something that I've told Russell over
the years and my wife said, it's rude the way
I say it, but I'm going to say it and
understand that I mean it as a compliment. I don't
understand why they're so successful. But of the tex mechs
(06:26):
empires in Houston, I don't think there is a tex
Mex restaurant in Houston, and Taco Bell doesn't count. I
don't think there's a tex Mex restaurant in the greater
Houston area that does a higher gross sales than Gringos
and Jimmy Chunga's. It's the same guy, same company that
it just kind of changed the concept a little. And
(06:48):
I say to him, Russell, I don't understand what you
do so much better. Is it a lower price point? Maybe,
but guess what, there are people with a lower price point.
Is it your location? Maybe other people could locate right
next to you and they're in you know, they're on Fuquay,
they're out off Mushki. So it's very hard to be
(07:12):
in all different areas of Houston. The League City. You know,
if you're sitting in New York and you're trying to
sell product to League City, you think that League City
in Texas City would be the same. No, they're very
different demographics. You might think that League City and Tomball
are the same. No, they might be equidistant from town,
but they're very different. Magnolia is a little different than Tomball.
(07:33):
The Woodlands is different than Cyprus. The Woodlands is its
own beast. So I don't know what he does so
much better, but I know he does it better on
a larger scale than anybody, and nobody knows they do.
I think one hundred and thirty five million dollars a
year in sales. That's an insane amount of money. Insane,
(07:55):
and he's got to be good or Tilman would go
into that space. The fact that Tilman does go into
that space, I think they've closed the Cadillac bars that
the fact that Tilman does not go into that space
tells you something right and how good he is. And
when I say I don't understand why they're so successful,
it is because they're so good at what they do
without having to yell at you about it or announce
(08:17):
they're just that good every meal. It's impressive. I mean,
it's overwhelming. It's it's Tom Brady good. One of the
things I do when we finish every day, the morning show.
In between the two shows is I go through emails
and I clear out all my emails, and then I
(08:38):
go through and I look at old audio because sometimes
I find that speeches or comments or things of this ilk.
I can find things that we played ten years ago
that are just as relevant today because the playbook is
still the damn same. He came across an audio file
(09:02):
that I had that I don't think we've ever played,
but I had written some comments on it about how
good it was, and it's about the culture wars, and
it is about and it is from one of my favorites.
He's a great economist, which is how he's classically trained
as an economist, but he's he's His social commentary is
(09:25):
also fantastic. His name is Thomas Soul. And I've encouraged
a lot of you to listen to this, and some
of you have and you've sent back Basic Economics, it's
what it's called. But you can get the book on tape.
I encourage books on tape because a lot of you
may not have time to read, but you do have
time in the car after our show and our podcast
(09:47):
is over. One of my favorite lines from Thomas Soul,
people are never more sincere than when they assume their
own superiority, nor are they ever more ruthless. You think
about how the left was over the JAB, You think
about how vicious they're going to be over global warming,
because that's what's coming. You think making you get a
(10:09):
JAB was Oh wait to you see anyway? This is
from years ago from Thomas Soul. But just give it
a listen. I don't normally play clips this long. It's
called the Dirty Truth about Cultural Wars. I want you
to listen to this because I think it is wonderful.
Speaker 2 (10:25):
Cultural wars are dirty wars, much like guerrilla warfare in
the jungles, with no regard for the rules of the
Geneva Convention. Warfare over traditional values versus avant guarde values
is raging all across the United States today, from the
art galleries to the armed forces, and from the Kindergarten
to the Supreme Court. At issue is whose cultural values
(10:49):
shall prevail and who shall make the decisions that reflect
those values. The categorical language of rights is widely used
as a weapon in these cultural wars. Those who are
pushing a woman's right to go into military combat, for example,
are in effect saying that the decisions of the military
commanders responsible for the lives of thousands of troops, and
(11:12):
the decisions of the American society as to the social
roles of the sexes are all to be superseded by
the visions of self anointed and politically organized feminist advocacy groups.
The particulars of the arguments, the physical strength of the sexes,
the performance of women in the military, et cetera, are,
in one sense, all beside the point. The question is
(11:35):
not what to decide, but who is to decide. As
elsewhere in the cultural wars, the issue is whether a
vocal elite should get the power to preempt the decisions
of others. To the anointed, the use of words like
rights is sufficient to put one coterie's opinions above discussion,
and the word stereotypes is enough to put the values
(11:58):
of the society at large beneath the discussion. They don't
want discussion, they want power. One of the more remarkable
rights to emerge in recent years is the right to
the taxpayer's money for anything that chooses to call itself art,
regardless of whether the taxpayers or voters likewood is produced,
and regardless of whether The clear intent of this art is,
(12:21):
in fact, to insult the values and beliefs of the public.
For people to decide what their own money is to
be spent for is censorship in the new speak of
the anointed. More generally, the cultural wars are being waged
to get decision making powers transferred to elites who do
not pay, either in money or in other ways. Family responsibilities,
(12:45):
for example, have been taken over by schools, courts, social
agencies and others who pay no price if their decisions
turn out disastrously for children or their parents, or for
the whole society. The basic thrust of the soul so
called consumer movement is likewise a drive for preempting the
consumer's choice, not simply informing it. The consumer must be
(13:09):
protected at times from his own indiscretion and vanity, Ralph
Nader said in his first article published in the Nation
in nineteen fifty nine. It is much the same story
in the economic sphere, where having an economic plan, or
perhaps even an industrial policy or an energy policy are
all widely and uncritically regarded among opinion elites as good
(13:33):
things in themselves. But government planning is not an alternative
to chaos. It is a preemption of other people's plans.
Whether the sphere of activity is art, military, combat, law schools,
or the economy. The issue is whether elite preemption shall
replace both individual autonomy and democratic choice. The courts are
(13:57):
a major battleground in these wars over cultural values, for
they are well positioned to preempt the decisions of others
by interpreting the Constitution to ban or promote whatever the
judges want banned or promoted. The bitter struggles over Supreme
Court nominees in recent years have reflected this key role
of the courts in imposing policies so repugnant to the
(14:20):
public that elected representatives would not dare vote. The mental
law criminals, judge created rights, bussing, affirmative action, and abortion
are just some of the policies preempted from the democratic
process by judicial fiat. The issue, as Judge Robert H.
Bork has said, is whether intellectual class values shall continue
(14:44):
to be enacted into law by the Supreme Court. The
concern expressed by Justices O'Connor, Kennedy, and Suitor as to
how their ruling in the recent case of Planned Parenthood v.
Casey would be seen by the thoughtful part of the
nation suggests that elite preemption is still in favor even
among Justice's labeled conservative. The preemptive class is undoubtedly sincere.
(15:09):
People are never more sincere than when they assume their
own superiority, nor are they ever more ruthless. J. A.
Schumpeter said that the first thing a man will do
for his ideals is lie. Disingenuous words, twisted statistics, and
misleading labels are all part of the dirty war over
(15:30):
cultural values. Cultural wars are so desperate because they are
not simply about the merits or demerits of particular policies.
They are about the anointed's whole conception of themselves, about
whether they are in the heady role of a vanguard
or in the pathetic role of pretentious and silly people
infatuated with themselves.
Speaker 1 (15:53):
This is me, Michael Berry, the show. All right, don't
call be crazy, but just follow along here for a moment.
I'm not joking on this. I'm dead serious. What I'm
about to say is not a parody. It's not a joke.
There's not going to be a funny bit at the
end of it. It's not a setup. I have been
(16:14):
pondering on dealing with liberals. White liberals are the problem.
The Martha's Vineyards set that lost their minds after after
the illegals were dropped off there, but have insulted Texans
who've had to deal with far worse than that for
far longer. They weren't even there for twenty four hours.
(16:36):
I have come to the conclusion that these people are toxic,
and they cannot be helped, and they cannot be fixed.
I've come to the conclusion that you should not hire them.
You should not do business with them if you can
help it. You should not in any way associate with them,
because it will only end badly. They will ruin your
love of country. Surround yourself with good peopleople surround yourself
(17:02):
with the kind of people you want to be. I
seek out friends who have succeeded in some field and
achieved greatness, because I want to know what it took
to be great at what they did, and then maybe
I can take from that and be great at what
(17:22):
I do, be that talk show host, influencer, dad, husband, employer.
I want to learn from people who've been the best
at throwing a football or kicking a football, or hitting
a golf ball, or building a company or manufacturing things,
(17:44):
or inventing things, or teaching things or preaching things. Surround
yourself with people you love who love you. If you
have people in your life who you do not love
or who do not I love you. It strikes me
as very odd how many people will tell me that
(18:07):
they don't like their brother in law, but they're going
fishing with him this weekend, or he's coming over. You
can say no. If you've got a relative who comes
to your house and torments you the entire time they're
there about Trump or anything else, you can say no
to that. You don't have to tolerate that. You can
(18:28):
either tell your wife, I don't care that your brother
wants to come over. I don't care that he's your brother.
I'm tired of him talking to me that way. If
anybody else talk to me that way, I'd punch him
in the face. And you can confront him. You can
do back to him what he does to you. What
liberals will do is they don't get in your face
and scream at you that you're an awful person. They pick,
they pick, they needle. They do it in such a
(18:52):
way that when they have finally picked at the wrong person,
who yells at them or punches him in the face, saying.
Speaker 3 (19:00):
What are you doing?
Speaker 1 (19:00):
What happened? Why are you overreacting? I don't want you
to talk about that again. I don't want you to
talk to me that way again. You're allowed to say that,
but follow me here. And granted I understand this price
sounds crazy if it's the first time you've heard me
say this. I believe there is a biblical prohibition against
(19:21):
marrying democrats. Hold on Deuteronomy seven three through four. Look
it up. The Israelites are told you shall not enter
marry with them, giving your daughters to their sons, or
taking their daughters for your sons, for they would turn
(19:43):
away your sons from following me to serve other gods.
Then the anger of the Lord would be kindled against you,
and he would destroy you quickly. Well, this prohibition, as
you know, was to avoid the contagion of false gods. See,
(20:06):
if you give your daughter into the family of worshipers
of false gods, they will convert your daughter to worship
a false god. What's a false god? The state? Socialism, globalism,
global warming, pandemic love, All of these things that the
(20:32):
state shall do, all that the government shall do all.
This is a religion. It's not just a political theory.
It's a religion. And that's why communists always destroy the church,
because the state cannot compete with the church if the
state is a religion. When the Jews were returned to
(20:53):
Jerusalem after the captivity in Babylon, do you remember who
was so distressed to learn that some of the returneyes
had taken wives from the local population. Ezra. Ezra was concerned.
It was sort of like Vietnam, where American gis would
go to Vietnam and come back with Vietnamese wives. Ezra
(21:16):
was concerned that his people, when returning, had taken wives
from the local population, because just as you don't want
to give your daughter over to those who worship false gods,
neither do you want the worshippers of false god's daughters
to come into your home, because that is an insidious,
cancerous invasion. A trojan horse. In Ezra ten two through three,
(21:41):
Ezra was praying. A large group of Israelites came to
him in repentance. They made a proposal to fix the problem. Qut,
we have been unfaithful to our God by marrying foreign
women from the peoples around us. But in spite of this,
there is still hope for Israel. Now, let us make
(22:02):
a covenant before our God to send away all these
women and their children, in accordance with the counsel of
my Lord and of those who fear the commands of
our God. Let it be done according to the law.
The purpose of this covenant would be to once again
set apart the Jewish people as fully devoted to the Lord,
(22:25):
and remove any and all connections with those who worshiped
other gods. The agreement required the men of Judah to
do what do you remember, to divorce their pagan wives.
Ezra agreed that the covenant, this covenant, was the proper course,
(22:47):
and he commanded, quote, you have been unfaithful. You have
married foreign women, adding to Israel's guilt. Now honor the Lord,
the god of your ancestors, and do his wor will
separate yourselves from the people's around you and your foreign wives.
Took them three months, but they got rid of their wives,
(23:11):
and they fixed the problem of allowing the left into
their lives. I'm telling you, separate from the liberals, get
them out of your life. You'll be happier, more productive,
more patriotic and live longer. She was twelve. I was thirty,
(23:32):
but then it was wonderful to have you, mister President
of the Michael Barry Show. Jimmy Allan Stewart. Stewart and
Tim Nichols recorded this song. It was also recorded by Mobandi,
(23:54):
but the more I think this is probably the more
popular version. It's uh, did I say it was? Keith Whitley,
Earl Thomas Gone, etc. Jimmy Allen Stewart wrote some songs,
but Tim Nichols body of work. I have often said
that songwriters don't get the do today that they deserve
(24:16):
because they're what used to be the great poets, the Tennyson's,
the Shakespeares, the Frosts, the Emerson's, I mean, the Whipman's.
These guys are special, and you see it with guys
that just wrote so many. Tim Nichols wrote when Mamma
(24:37):
ain't happy for Tracy Bird, he wrote for you. Look
at the list of people who recorded his stuff, Trace Atkins,
Terry Clark, John Corbett, Billy Dean faith Hill, Alan Jackson,
Sammy Kershaw. He wrote Vadelia for Sammy Kershaw. When you
hear that song, you know it's more than an onion.
And you think of it as Sammy Kershaw. Nothing wrong
(25:00):
with that. Sammy Kershaw made that song his own, but
he didn't write it. He had to. Those words had
to be taken from the ether and put down on
paper for him to see that that is the creation.
That is no less glorious than building a skyscraper or
(25:22):
an airplane, or a car or a sculpture. It is
a work of art that one minute it doesn't exist,
and then it does. That's that's that's worth noting. Aaron
Tippin van Zant, Keith Whitley. Oh, he wrote I'm Over
You for Keith Whitley, Chris Young, Keith Anderson, Clay Walker,
(25:45):
lea Ane Walmack Blackhawk. I mean, these are all artists.
I haven't even listed them all that Joe Nichols, that
Tim Nichols, Joey was that Tim Nichols wrote for. He
wrote what's the one? For Joe Nichols. She only smokes
when she drinks. That's a funny song, you know that song?
(26:06):
All right to the phone lines, we go, h Cody,
You're up, go ahead, sir.
Speaker 3 (26:12):
Yes, I gotta say they got a chance. McClean he
is one. I mean, he is one amazing dude. Away
it is. I was blown away just by the way
he was able to connect with everybody that he spoke
to about, you know, our our family member that we
(26:33):
had that was going through some things, and we wanted
him to actually speak the chance, but he looked me
dead in my eyes and told me, there's no way
I'm gonna talk to a stranger about my feelings or
about anything going on in my life.
Speaker 1 (26:46):
So you know what's funny. The greatest impediment to getting
heritage films done is that the family wants it done,
and the mother or the father resist and they have
to wear them down and finally go, look, they're gonna
have to do this, Okay, it's not gonna be hard.
(27:07):
It's and they always every time they walk away, when
when the when, when the filming is over, they chance
will go, all right, is there anything else? That's the
fifth time he's asked, is there anything else? You'd like
to say? No, I believe that's it. All right, Then
we're done. We're done. Yeah, we're done. I got nothing
(27:28):
else unless you That's why I'll stay here as long
as you want. It's over, sir. I've been here for
six hours. You know, man, that went fast. That was fun.
He eats lunch with them. I mean, it's you know,
it's interesting. You get to know somebody pretty darn well
when you show up in the morning and set all
your stuff up in their living room. You spend the
(27:49):
morning with them, you eat lunch with them, you spend
the afternoon filming, and you talk about your life and
you know you're sharing with the stranger. And for some
people people it's actually easier to share with a stranger,
right because there's no judgment and he doesn't judge you.
And at the end of it, they always say, that
was so much easier than I expected. I don't know
(28:09):
what people were. Well, a lot of older folks are
not used to sharing their stories, sharing their They don't
think of themselves as somebody who's interesting. But to our families,
we're all interesting. And that's why I love to have
guests on and get them. Whatever somebody called to talk
about is almost never as interesting as one thing about
(28:33):
them that they don't think is interesting. And that might
be what they do for a living, where they grew up,
where they served, who they married, who they divorced, how
many times they've been divorced, that time they got shot.
Everybody's got a great story. It's just a question. It's
just a question of me being able to ask a
question that gets them to open them up to something
(28:55):
that maybe they weren't ready to they weren't ready to tell,
And that's just that's a function of them feeling comfortable.
And part of the reason that people open up to
me is because I come into their truck every day,
or their living room, or how about Lois turning ninety five?
(29:17):
How great is that? Or you know their workplace or
whatever else. I love hearing stories when people will say, hey, Michael,
I went down to accurate meter in supply and I
walked in and do you know this fella, Dane, He's
got your show on at the inside there and they
(29:40):
listened to you. Did you know that? No, I didn't.
Dane Berson's listener. He's called a show before, but I
had no idea that, Oh yeah, they got your show, Blair,
and they don't care who hears it. They're proud of you.
I love those. So if that's you, send me an email.
I'll give you. I'll give you a little love on
the air. If you play our show out loud for
(30:01):
people to hear when they walk in the door, and
you really don't care what they think about it. Send
me an email right now. Michael Berryshow dot com is
our website, Michael Berryshow dot com. I won Should we
do another hour? Are you done? I'm about warslap out
not allow to. We may or may not be back.
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