No Left Sharks Here

On this episode Chris and Aaron talk about: Kanye at the Grammys, Chapell Roan, Kendrick Lamar at the Superb*wl, Post Malone and Nirvana, and SNL 50. Please follow us on Twitter @TheWeedsmen420, Instagram @TheWeedsmenPotcast, and on Facebook at Facebook.com/TheWeedsmenPotcast/ Download the rest of our shows at ChristopherMedia.net

Episode Transcript

Speaker 1 (00:00):
Christopher Media. Let's make some noise from Asthma Core Studios
near Detroit, Michigan. It's the Weedsman Podcast. And now you
have smoked yourself retarded, here are the Weedsmen.

Speaker 2 (00:18):
You want to get hot? Welcome to the Weedsman Podcast.

Speaker 3 (00:21):
I'm Chris, I'm Aaron.

Speaker 2 (00:23):
We're back.

Speaker 3 (00:24):
Welcome back.

Speaker 2 (00:25):
We didn't mean to take break last week. Miss miscommunication.

Speaker 3 (00:29):
Communication is key, yeah, people, that's that's the takeaway from
our our fumble last week. Well what's happened since we
were gone quite a bit? Huh? Like Grammys and the
super Bowl and the SNL fifty. Now there's like a
lot of media does entertain entertainment media?

Speaker 2 (00:52):
Are we to the point or maybe I'm just old?
Are we to the point now where only people in
the music industry here about the Grammys anymore?

Speaker 3 (00:59):
I I have no idea. I don't even know how
to answer that, right. That's like asking the question like
can the brain truly understand itself? Out of all of
the recent big events, that was the one that seems
to be talked about the least. It was more about
what happened afterwards and more about drama with like Kanye

(01:22):
and his uh, what is his wife's name again?

Speaker 2 (01:27):
Sorry?

Speaker 3 (01:27):
Yeah, I mean that woman's face screams I'm a prisoner, right, Like,
have you ever seen a photo of her where she
didn't look like she was scared out of her fucking mind.

Speaker 2 (01:38):
I think she's there for the cash.

Speaker 3 (01:40):
I'm sure, but it's like it must be a rollercoaster
she leaves. I hear that she is well. I mean
their their press agent said absolutely not. There's nothing to
the rumors. But there were photos of their like overhead photos,
and it's all creepy shit, but they I guess there's

(02:02):
like piles of garbage that are up around.

Speaker 2 (02:06):
He is mentally ill, Like we've not caught on to
this people he has meant we were watching somebody have
a breakdown in real time, like the last five years.

Speaker 3 (02:15):
Yeah, the Nazi shit just makes it more evident that
he's mentally ill. I think, and this shit about like.

Speaker 2 (02:24):
He's like leaning into self destructive shit like this doesn't like.

Speaker 3 (02:28):
But also people are leaning into attacking out. I'm like,
haven't nothing is going too far? Like it's not haven't we.

Speaker 2 (02:36):
Like the last ten years, hasn't our car hasn't our
culture been fostering? Like you gotta like, when you see
mental illness, you gotta reach out to that person. You
gotta like help him, you gotta take care of him.

Speaker 3 (02:46):
If I was to armchair diagnose without even a fucking degree,
I would say that Kanye is he's acting out because
he's not getting the attention that he's used to right
just as a performer, you know, he's not People are
kind of writing him off as just some weirdo who

(03:06):
you know, had a moment of genius for a few
albums and then just lost it and.

Speaker 2 (03:13):
One with genius for two decades and then just starts
going nutting.

Speaker 3 (03:18):
But yeah, he's just doing it in really inappropriate ways
because he's not right in the head. Like that's where
you get the not I mean.

Speaker 2 (03:29):
He's a dangerous combination. He's like Howard Hughes, He's a
dangerous combination. He's a dangerous combination of rich and mentally ill,
and no one around him will tell him.

Speaker 3 (03:36):
Think about like punk rockers in the seventies, they were
so against everything that some of them got into, like
Nazi imagery and swastikas and shit like that, just because
it was something that was like in your face, like
everyone's gonna be against. Okay, I'm a Nazi too. I'm
gonna be everything that you're against. And it wasn't because

(03:58):
they were a Nazi. And I mean, in some cases, yes,
I'm sure it was very much, you know, motivated by
racism or hatred or something like that. But you know,
even the like the fucking Ramones, the Ramones weren't racist
by any means, I don't believe. And they got for
they had their little moment of like Nazi like dressing

(04:21):
like Nazis and swastikas and stuff like that, just to
it was edgy, right, it's edge lord, shit is what
we would call it.

Speaker 2 (04:29):
Now got a reaction and from from the straits.

Speaker 3 (04:33):
Yeah. And so, by the way, mean.

Speaker 2 (04:36):
Your sexual preference everybody they used to be something completely different.

Speaker 3 (04:40):
Yeah, straight, it's just meaning normal people the square squares.
So I don't know, I think, yeah, I just I
think Kanye is just he's just poking the bear. But
he's like he's still wrong. Yeah, you know, like you're
still wrong and it's still vile. I'm not trying to

(05:04):
defend what he's doing. But if you're worried about Nazis,
I understand that you want to call him out when
you see him. But he's not your first priority. Okay, ye,
he's not. Even if he is a Nazi, he's not
the Nazi you should be worried about. Okay, I'm not
saying you should necessarily be worried about Nazis. I mean

(05:26):
we should be on guard for our all kinds of
behavior like that, because you know, it's not it's not
in our past. It's it was just more prevalent in
our past than it is now. So anyway, what were
we talking about? Yeah, the Grammys. That seemed that if
anyone still cared. Yeah, who are the big Grammy winners? Anyway,

(05:47):
Let's just we don't have to spend a whole show
on him.

Speaker 2 (05:49):
But I just know that Chapel Rome gets to go
away because she won Best New Artist.

Speaker 3 (05:54):
Oh that was the kiss of death.

Speaker 2 (05:56):
Go away because you should, like I've she bought it
out of social media a couple of weeks ago. The
last two years, she's bitching about opportunities most musicians would like, lie, cheat, steel,
probably murder for it's like you go back to Buskin
in Central Park if all of this bothers you, Like.

Speaker 3 (06:14):
I don't know, I've heard her explanations for things that
she's turned down, and I think it's legit. I mean,
I I don't think that she should be judged for it, right,
Like if if you're in a business relationship with her
and you're like, oh, she doesn't want to do this
or that, and so like move on, you know, But
like if you're just a bystander, like.

Speaker 2 (06:35):
No, because you had to sign if you signed up
for it and you got a problem.

Speaker 3 (06:38):
With it, signed up for what exactly, just being famous?
Signed up for being famous? I think you still get
to choose, You still get to choose what you're willing
to participate in.

Speaker 2 (06:48):
And no, she's been just bitching about the whole thing,
mm hmm. Then then go back to being normal, go
back to buskin in Central Park. This is a choice.
You can tell your record company to fuck off and
go back to being a no buddy.

Speaker 3 (07:01):
I mean, I think she could just tell her a
record company to fuck off and do her own thing
and probably have Like she'll be a solid fan, Like
she'll never be Taylor Swift taking over the world, but
she'll probably have a healthy career. Yeah, maybe even healthier
than Taylor Swift has. I don't know, like I.

Speaker 2 (07:19):
Tell him, you'd rather be a songwriter and you don't
want to be out front, Like.

Speaker 3 (07:23):
Yeah, it's the thing. Well, look, she she is. Let's
talk about her looks. Okay, I just wanted to preface
it because I understand that it just sounds creepy, but like,
this is part of it. The looks are the part
of it. A part of what she signed up for
is being judged on her looks, and she is. She's

(07:44):
an attractive young woman who is not of the type
that most people find really attractive, certainly not. Her look
isn't of a typical pop star, and so she drags
it up. You know, she applies too much makeup, she
wears too many glitzy clothes. That's the drag is all

(08:04):
the it's to hide behind or and maybe it's maybe
that's not even about looks. Maybe it is more of
like just a David Bowie thing of like you're never
gonna I don't want you to see the real me.
The real me is not interesting. That's basically why David
Bowie had was known as a chameleon. He wanted to

(08:26):
be whatever the fuck he wanted to be. And if
you people thought that, they understood the real David Bowie.
Then they would go, Okay, I know David Bowie and
that Diggy starred us. Shit, isn't David Bowie. You leave
yourself an enigma and you can when you change, they go, oh, okay,
we thought he was one thing, but now he's this.
We don't know, so maybe.

Speaker 2 (08:47):
That's no be with her. She seems to have the
problem with all of the trappings that come with the
job that she wants.

Speaker 3 (08:55):
No. I think that this was I think that if
she was a pop star in the seventies, she would
have gave flip answers to the press, to the Rolling
Stone and Spin magazine or whatever the fuck and Emmy
and never give a straight answer, you know, like a

(09:15):
like a Bob Dylan. You know he doesn't give straight
answers and interviews when he even does interviews.

Speaker 2 (09:20):
I just I've always done it because and.

Speaker 3 (09:22):
Bob Dylan's the same way, like my personal life is
not in your it is none of your fucking business.
He's remained an enigma too.

Speaker 2 (09:28):
But it's it's not even it's not even about we want.

Speaker 3 (09:31):
It's but my point that I'm making in comparison has
nothing to do with her art. By the way, but
I'm not saying she's as good as Dylan Bowie. I'm
just saying these are things that she might be pulling
for from in sculpting her own persona.

Speaker 2 (09:48):
It's a ruse.

Speaker 3 (09:49):
I'm not saying it's a ruse. I'm saying she can Well,
maybe I am saying it's a ruse. It's a ruse
that she can put up. Because the thing is is
that we are so like in everybody's business now that
we as a society, we don't accept that that these
people have their own lives. We need to know not

(10:12):
just what Chapel roone what. We don't just need to
know her song. We need to know who she's dating
and or who she prefers even you know, I want
to know all about her sexuality. We want to know
where she came from.

Speaker 2 (10:25):
But if you choose this line of work, none of
that's well, none of that is new. None of that
is a new concept.

Speaker 3 (10:31):
No, this is new, like it's I think it's newer
than that. You didn't used to get the backlash and
trying to hold back that you did. I mean, you
have to, like Taylor, lean into it and date superstars
and sing about them. You know, that's what makes you
successful and accepted by the fan. Taylor is accepted by
the fans because they feel like and this is probably

(10:54):
the first thing from the truth, but they feel like
they know the real tailor. She's revealed herself to us,
and the things that she says in the press is
things that she puts in her music. We understand this.
And chapel Rone doesn't want to be our friend in
that way. That's the pushband.

Speaker 2 (11:14):
Choose a different line. I guess, choose a different line.

Speaker 3 (11:17):
Will I think that's bullshit because we should have a look.
She doesn't have to choose. Actually, she doesn't have to
be a huge pop star, right She could probably get
signed to an INNI label, do her own thing, do
whatever the fuck she wants tour to. You know, she's
not gonna be like rich beyond her dreams which will
probably make a healthy living, like many musicians out there

(11:38):
who you know, never get radio play, and nobody really, nobody,
quote unquote really knows about immune like Guided by Voices,
the fucking lead singer has written like a hundred different
albums worth of material like none of it. None of
it sells well enough, but it all sells a little
bit to make himself a fucking career.

Speaker 2 (11:56):
I get an understand what you're saying. Maybe I am
not articulating my point. It's to me it's like getting
hired n as garbage man and going, what the fuck
do you mean? I'm playing like garbage all day.

Speaker 3 (12:05):
But I think you're putting her in a narrower category
than I am. Like, like, she wanted to be a
pop star. This is what a pop star is and does.

Speaker 2 (12:16):
If it comes with the territory.

Speaker 3 (12:18):
I don't know that she. I don't, first of all,
don't know that she wanted to be a pop star.

Speaker 2 (12:24):
You sign a contract.

Speaker 3 (12:26):
You signed a contract with a label, doesn't say pop star.
You make music.

Speaker 2 (12:31):
When you sign the tract with a major record label
to get your music widely distributed, you are aware.

Speaker 3 (12:38):
That pop star status.

Speaker 2 (12:40):
And you're right, you are aware that could happen.

Speaker 3 (12:43):
Yes, Like if you went into that meeting and said,
before I sign this, they just want you to know
I don't want to be a pop star, they'd be like, Okay,
we can take that contract right now. Thanks for letting
us know.

Speaker 2 (12:52):
It's not like anybody can't close. But it's not like
anybody right now can be like, hey, I want to
be a pop star, start making music, put it down
on YouTube, and fucking two weeks later, bam, they're charting
on the Hot one Hunter.

Speaker 3 (13:05):
As much as we talk about how this you know music,
YouTube has changed music and it's introduced us to no,
there did not change the machine. There's still a machine
that's don't have to process you, and before it spits
you out into the public.

Speaker 2 (13:21):
You have to agree to be a part of it.
And that's what I'm getting at.

Speaker 3 (13:24):
Yes, like you have to agree to assimilate, like don't.
So you've agreed to the assimilation and now you don't
want to be a borg anymore. Huh. Yes, that's what
I'm talking about. Yes I can't. I can agree with
you on that aspect. But she's also human and is
allowed to change her mind and be like, this isn't
what I thought it was.

Speaker 2 (13:44):
Tell your record label to fuck off, get the ship
suit out of you, and go pop up in your
guitar case and find a bench in Central Park again,
and that those are in her options.

Speaker 3 (13:54):
She would like, you know, at worst, be doing club
gigs for a decent living worst at worst.

Speaker 2 (14:01):
Now, yeah, because people know she is.

Speaker 3 (14:03):
But you know, at at best, actually it might be
your best option because now she is the next tailor.
Now she's telling the record labels to you know, take
it and shove it.

Speaker 2 (14:15):
And there also has to be a certain expectation that
when you sign that contract, if you get to that
one expectation, your life is going to be a different way.

Speaker 3 (14:26):
Yeah, like people.

Speaker 2 (14:28):
Walk, you can walk down the street.

Speaker 3 (14:29):
Can't imagine what that's like, but uh, you know, I
can imagine it being not what you think.

Speaker 2 (14:35):
And famous fickle, trust me, you don't like it you
put out your next album could suck. You won't have
this problem in a few years, which you wann't best
new artist anyways, I'd say you go away. I think
that I think we've talked about. I think there's like
one person who's broken that curse.

Speaker 3 (14:52):
Wait what what curse? Are you talking about?

Speaker 2 (14:54):
A new artist curse?

Speaker 3 (14:55):
Oh? Yeah, yeah, that's I mean because I think maybe
you get to a certain point where, like, if you
reach a certain height where you you've won a Grammy, Like,
could would people even accept you as like an indie
quote unquote artist or you're always going to be like
a retro at.

Speaker 2 (15:16):
Gotten Yeah, Well you've gotten the approval. You've gotten the
approval of the machine. When you win, you're Yeah, any
indie street credit you had is gone. That is the
machine going. We like and approve of you. Yeah, if
you really think about it, it's like the rec It's
the music industry is like sales awards banquet. Quite honestly,
it's really what it is. It's just televised.

Speaker 3 (15:39):
Oh yeah, So here's the winners. Beyonce one for Cowboy Carter.
That's gotta be I mean, that's a that's a a win.
That's a legacy win. Isn't that what they call it?
Talk like we should You've you've produced so much music
that we should have given you awards for but we
didn't and we slept on it. So now we're gonna

(16:00):
give you a one for this mediocre and also it
just release thinks, So thanks for doing white music.

Speaker 2 (16:06):
Yeah, first of all, there's that we can get into
that conversation because should have been bratt don't don't like
when most artists change up their style to sell music.
Isn't it sewing out? But anyway the other thing is is,
let's let's fuck that narrative.

Speaker 3 (16:23):
You were just talking flip the script. It's racist.

Speaker 2 (16:26):
Well no, how about fuck the narrative. You were just
talking about, Uh, you know who was the person who
won the most Grammys before Beyonce won all those Grammys?

Speaker 3 (16:36):
But wait, I don't know what you're You know who
the person who.

Speaker 2 (16:38):
Had won the most Grammys awards ever before Beyonce won all.

Speaker 3 (16:42):
Those Jackson, No, Beyonce, Beyonce.

Speaker 2 (16:44):
Beyonce had won the most Grammys of any artist until
she won all those Grammys. She just piled on her
re lead. I don't know what this narrative is about.
She's never won any she's she was the.

Speaker 3 (16:54):
Person who what did she win for?

Speaker 2 (16:57):
Like fucking the last twenty years of her care?

Speaker 3 (17:00):
Yeah?

Speaker 2 (17:01):
Like she want a bunch of them for single ladies,
did she? Yeah? Like that album? She want a bunch
of them for the album with crazy and Love on it.

Speaker 3 (17:10):
I don't I don't try. I just know what I read.
So like I'm being told wrong obviously. Yeah.

Speaker 2 (17:16):
And before her, like she she a couple of years
she had broken the red. Before her, it was like Kanye,
so all this thing white people went all the Grammy's
where is this coming from? Because Kanye was stacking him
up because he was a producer too.

Speaker 3 (17:32):
Yeah, I don't know who would deserve to win other
than again, my vote would be for Charlie XCX, but
that's only because it's the only artist that I like
amongst the rest of these. I shouldn't say I like
Andre three thousand, but I have not listened to New
Blue Sun.

Speaker 2 (17:49):
I'm sorry it comes up in some of my mixes.

Speaker 3 (17:53):
Is it good?

Speaker 2 (17:53):
Some of it is interesting, some of it I'm like,
how fucking long has this been on? It's been the
same thing for ten minutes.

Speaker 3 (18:01):
Yeah, I ain't got time for that shit record of
the year, not like Us by Kendrick Lamar, which.

Speaker 2 (18:08):
Can we talk about?

Speaker 3 (18:09):
Yeah?

Speaker 2 (18:10):
So if if your distrack wins five awards, you win
the beef. I'm just saying I think that.

Speaker 3 (18:16):
Yeah, I think I think the Grammys, the community, the
recording community in general, has picked sides and they agree.
I don't know, Like there's I had After the super
Bowl performance, all the dudes at work were like trying
to break it down, like what does this all mean?

(18:38):
You know, they're doing the white like white people trying
to be allies, but like we don't get it. So
one of them was like yeah, I was reading, but
I was reading about like I don't get this big
like beef between these two guys, Like they both seem
like good rappers, but everything I read about Drake is
how he's like revolutionized rap and how has Kendrick Lamar

(18:58):
done that.

Speaker 2 (18:58):
Drake has destroyed rap in this podcaster's opinion, and.

Speaker 3 (19:03):
He said, and I go, revolutionize, Okay, how is that?
And he's like, well, he he's like before before Drake,
nobody sung there, their choruses they were there would either
be no chorus or they would just like kind of
talk sing it. And I was like yeah, and I'm like,
because that's that's because Drake's are R and B. He's

(19:23):
an R and B artist who raps.

Speaker 2 (19:25):
It's all auto tune as well.

Speaker 3 (19:28):
He ain't even a good R and B singer. If
that's why he doesn't want to be put in the
R and B category, because there's so many fucking people
in that category that blow him out of the fucking water.
So you got to bring some vocal talent. If you're
gonna call yourself an R and B artist, you can't
be fucking So that's that's the fucking loopholes. Oh I'll
put I'll throw some rap on it, and then I

(19:49):
can be a rap artist who also sings. Now I'm
a double threat. Right.

Speaker 2 (19:53):
It's like, if you tell me Drake and Laura and
Hill the space, I'll tell you Lauren Hill will blow
Drake out of the water. Now yeah, not even Lauren
Hill twenty years Lauryn Hill now chubby, middle aged Lauryn
Hill would still blow you out of the water.

Speaker 3 (20:06):
Yeah. Yeah. And look, I don't I'm not a huge fan.
I'm more of a fan of Kendrick Lamar, but I'm
not a huge fan of either one of them. Like,
I think Kendrick Lamar does some more interesting things. I
certainly think that his lyrics are more interesting. Stylistically and
production wise, It's nothing new. It's kind of stale actually,

(20:29):
you know, like, are we over yet doing high hat
rolls on an eight h eight? Are?

Speaker 2 (20:35):
Right?

Speaker 3 (20:36):
And I get that some of these, I mean they
just becomes like classic. It just you know, it's like
a guitar soul, Like, yeah, I know, you're never going
to get tired of a tube screamer going through a
Marshall stack and you know, peeling somebody's face off by
doing your practice on your drum machine. Yeah, like that,
I don't hear any My biggest beef with rap is

(20:58):
not is most that they're not pushing music forward in
any way that I can hear. Everything is throwback or
it's ripping off techno. Basically, they're either just completely lifting
techno and like dubstep beats and shit like that, or trap.

(21:19):
You know that trap shit all starts from. That's all
off spin of a dubstep and all that that started
with techno, not the good offs shoot, but it's still
credit work, credits due, or they're doing throwback. They're just
doing Doctor Dre and Timberland, you know. And that's what like, like,

(21:41):
if Kendrick Lamar was came up in the nineties, he'll
be working with Doctor Dray and.

Speaker 2 (21:48):
He was a Doctor Drake. He was Doctor Dre's last protegy.

Speaker 3 (21:51):
That's right, You're right, Yeah, so he technically did. But
let me finish my working with Doctor Dray and Timberland
and making some classic fucking records that sound innovatives. But
today they just I don't know, well, I look, I
think he's got talent. I think he's got way more
talent than Drake does. Any way you slice it, it's

(22:12):
just and he's probably one of the more talented people
that won Grammys this year. But that's not really saying
a lot.

Speaker 2 (22:19):
Didn't lip sync a super Bowl performance.

Speaker 3 (22:22):
That is very true. He did not. And I was
I have my eye. I thought Sizza did on their
first song. By the second song, it was like, she
definitely isn't. I think maybe she would just seem like
she was hiding her mouth a lot on the first song.

Speaker 2 (22:36):
And I got to give it up to him for
being a rap act who did a super Bowl halftime
show without a thousand dancing bitches.

Speaker 3 (22:43):
Yeah, absolutely he didn't do you know, a lot of
booty shaken shit.

Speaker 2 (22:48):
I'll say it. He didn't lean into the coonery. I'll
say it. I'm half brown. I'll direct on your hate
mail and me.

Speaker 3 (22:55):
But he didn't shy away from any of that shit.
I mean, like which, by the way, the opening was
a car with people pouring out somehow, like twenty five
thirty people came out of one car like that. By
the way, whitey a joke, white people.

Speaker 2 (23:09):
You know why we didn't understand it.

Speaker 3 (23:11):
It wasn't for us.

Speaker 2 (23:14):
Like I think, did you did you happen to catch
Kid Rock and Bill Maher's exchange about the Super Bowl
halftime show fucking idiots. Yeah, but I think Kid Rock
nailed it despite his whole thing. What he says, it's
he's like, what he says, this is de I blowing
up in people's faces because none of that halftime show
was for white people, which I like you said. He's like,

(23:36):
I think I get to this. I know a little
bit about I'm paraphrasing him. I know a little bit
more about the rap community than your average honky Yes,
he's like, and he's like, that was not for white
people that halftime show. He's like, that was that.

Speaker 3 (23:47):
That's right, that's right, I get it.

Speaker 2 (23:49):
That was for people in the hood.

Speaker 3 (23:51):
I thought. Look, as a performer, I mean, Kendrick lamar
Is is pretty phenomenal. Anybody who can do a performance
like that and it's not it's all choreographed, but he's
not doing dance moves, you know, but he's hitting his
mark everywhere. He's looking exactly like he looks right at

(24:13):
the camera and knows where it is when he wants
to diss Drake and give a big smile and got.

Speaker 2 (24:19):
Me and oh that meme of him has been. I've
seen it so many it's great. Say and and two,
my girlfriend the one she sent me with my kid
on the way to do exactly what I told him
not to do.

Speaker 3 (24:33):
Yeah, yeah, but to just make like a what fifteen
minute rap medley like intelligible at all as a performance.
I mean, like, rap is hard to do live, especially
the bigger the venue, the harder it is. And that

(24:53):
was like the biggest venue, so and and so it's
not even to say, like, hats off to Kendrick Lamar
the whole team everybody who worked on that, because there
were no there were no fucking left sharks in this
fucking crew good left shark.

Speaker 2 (25:12):
You know.

Speaker 3 (25:13):
There just wasn't like nobody, like nobody lost a step
on on that stage. And I was expecting to like
not really be blown away, but I was. I was
blown away.

Speaker 2 (25:26):
Just as a performance from a choreography standpoint, it was impressive.

Speaker 3 (25:30):
All the core. Yeah, the choreography, the his vocal performance,
uh says A was really good.

Speaker 2 (25:39):
Now. The beef I had with it was the beef
I had when I heard he was announced. Yeah, does
he really have the depth of material or the notoriety.

Speaker 3 (25:48):
To like I don't know how to answer that. I
wasn't as familiar. I wasn't that familiar with all the
stuff that they played.

Speaker 2 (25:54):
My kind of gauge is and now we're kind of
falling into it is like our mom should know who
is performing the super Bowl halftime show. Yeah, And like
I said, it's kind of it's starting to come in.
We should know who you are if you're performing the
super Bowl halftime show, or at least be familiar with

(26:14):
a lot of your material.

Speaker 3 (26:16):
Mm hmm. I wouldn't discredit the plantation feeling that the
owners get sometimes that makes them book acts that they like. No,
we we like black people. We don't just we don't
just exploit them on the field.

Speaker 2 (26:33):
It's just think think of from booking a show stamp
right put on like you were in band yeah together.

Speaker 3 (26:40):
I'm just saying that's why. I'm sure that was a
factor in their decision.

Speaker 2 (26:43):
But basically, the entire country is watching. You need to
have somebody the entire country is going to know.

Speaker 3 (26:50):
And I don't know how much truth there is on this,
but I've read different uh stories about reper resentatives from
the NFL saying that they regret putting Kendrick Lamar on stage.
And now, of course most of these are pulled out
of context and made it look like, oh god, you know,

(27:11):
like Kendrick did some crazy ship and we probably made
a bad decision, and it was really just where Oh god,
I forget who it was, like t Paint or something
like that. Who was it? There's a there's a guy
that's what. City was the super Bowl d New Orleans.
There is Wayne, Little Wayne. That's it. They wanted Little

(27:33):
Wayne because he's local and probably has more recognized more hits. Yeah,
well but he's not he's not hitting right now, so
it doesn't give you the demo.

Speaker 2 (27:45):
Was I didn't know half the songs. Yeah, I knew
Humble and I knew the new one, and that was
sucking it.

Speaker 3 (27:51):
Yeah, like I just didn't really care your old white guy. Yeah,
I know. I take your point, and it's super valid,
because the whole point of doing a medley in this
in a circumstance like this is to you know, blow
people away with like, here's all my songs. You know
all these songs and people didn't. So yes, But but again,

(28:13):
as just a performance aspect, I thought it was phenomenal.
I didn't care if I knew the songs or not.
I had only heard I was only sure that I
had heard one of them before. But yeah, as far
as I can tell, there was actually nobody that somebody,
some representative of the NFL basically said that, you know,
it should like it would have made more sense to

(28:34):
put Lil Wayne up there. But nobody was saying Kendrick
Lamar was a big mistake, especially not because everybody's fucking
talking about it like they're loving the people who made
that decision gave themselves a raise because everybody's talking about
the super Bowl halftime promomal.

Speaker 2 (28:51):
Just to keep harving on my point, yeah, keep it
in the same arena. Well you know, well we won't.
We won't go to white these music keeping the same arena.
What was it three or four years ago, Kendrick Lamar
was in this one, the one with Dre and Snoop
and all that. Fucking I knew every word to every
song in that fucking halftime show. Sure, and so did
most of the people watch it.

Speaker 3 (29:12):
Yeah, it's true, but there were also people ten years
older than you and up that were like, what is
this shit? And I don't recognize any of these songs?
So I don't know what goes around comes around. Moving on.
So we had a Song of the Year is not
like a so Kendrick another win for Kendrick Lamar Chapel Rohan.

(29:34):
Of course, I'd got Best New Artists up again. Brendan
Benson Boone, I was a Brendan Boone Sabrina Carpenter Deutsche.
I don't know who that person is. I don't know
how to say this band's name, but I like them, well,
I like them enough. Krugan Krugan Bin. You know they're

(29:55):
kind of like a funk trip hop kind of band. Oh, well, yeah,
they're They're really good. Look them up. You dig them.
It's uh k h R U A N G B
I N It's a three piece. The win they didn't
that was who uh chapel Ron beat out for Best.

Speaker 2 (30:17):
New Artist Song Texas Son.

Speaker 3 (30:20):
I don't know pick any of them. Well, top song
is usually the worst h song? Yeah, nine commercials, Yeah,
skin pick something funky by him.

Speaker 2 (30:51):
This is called B side Here we go.

Speaker 3 (30:56):
Yeah, h.

Speaker 2 (31:00):
M hm.

Speaker 3 (31:03):
I've never seen him live, but I've seen some footage
and they look like they put on a really great
live show. It's a band, yes, yeah, three piece band
Ray was another one.

Speaker 2 (31:18):
Who's chaboozy but country sugar?

Speaker 3 (31:21):
Oh? I just to always think of the music man now,
fucking Buddy Hackett and his song wasn't it shappoopy? That's
what it was, the shappoopy song? God of the Hate?

Speaker 2 (31:35):
That well, I think a family guy show boopy, show
boopy Teddy swims?

Speaker 3 (31:44):
What is that? Is this chaboozy? Over?

Speaker 2 (31:48):
Got so writing off a rap song?

Speaker 3 (31:58):
Hey guys, I got five tambourine samples, samples and my
pro tools. Let's let's make a let's make a country
stomp album and.

Speaker 2 (32:09):
We don't do tell you to bring a friend.

Speaker 3 (32:16):
That's all they did. They take out the snare, gets
way down in the mix and they just do claps
and and tambourines. How about this dude, like, oh, we
got an old country album?

Speaker 2 (32:28):
How about this dude can probably sing, but you can't
tell because he's draped an auto.

Speaker 3 (32:31):
Tu Yeah, who could tell?

Speaker 2 (32:38):
I'm so I'm so glad I didn't end up in music,
because I would just be mad every day ship like
why are we not musicing? Why are we just letting
the computers do everything? Why is it? Why is it?
Why bother learning how to sing? Why bother getting better
at your instrument? The computer will fix it.

Speaker 3 (32:57):
Yeah, I use computers and making music, but I mostly
use them to fuck things up.

Speaker 2 (33:04):
It's different if the computer is the modality which you're
using to make the music, rather than taking analog music
and fucking it up. But sorry.

Speaker 3 (33:16):
Best Rap album went to do Doughty beat Out, j
Cole Common and Pete Rock, eminem and Future and metro boomen.
I don't know future in metro Boomen.

Speaker 2 (33:28):
No future Future starting to get in the realm of
being for old people. He's been around for a minute.

Speaker 3 (33:34):
I've heard the name, but I couldn't tell you what
he did. Oh and Beyonce one for Best Country Album too,
Sure you can't. They should have gave her one or
the other of course against post Malone. So really he's country.

Speaker 2 (33:50):
He put out a country album that was the thing
last year.

Speaker 3 (33:53):
Yeah, and now he's singing uh Nirvana songs.

Speaker 2 (33:57):
Well he did it during the pandemic. Did you ever
watch his video? During the pandemic him and his band
covered in utero. It did a good drop the whole album. Yeah, Okay,
like here, I'll see if I can find some clips
why that album because it's the best Navana album. Come on,
you don't like in your own?

Speaker 3 (34:19):
Oh? I like it fine enough. I just it's my
least favorite for me.

Speaker 2 (34:25):
It goes in Utero, Bleach, never Mind really yeah.

Speaker 3 (34:31):
I mean never Mind, but that's never Mind is like for.

Speaker 2 (34:36):
Me, it's because of the production. It's not The songwriting
of never Mind sounds completely different than the other, like
Bleach and in Utero sound more like each other.

Speaker 3 (34:47):
The Butchervik was not a good fit for them, and I.

Speaker 2 (34:51):
Jumped everything in course in Reaver. Hey here's a punk band.
Let's make it sound like an arena band. Wrong answer.

Speaker 3 (34:57):
I just think that the songwriting and the programming as
an album are like superior, like Bleaching in Utero. I'll
skip around on but that's never minds an album, and
probably a lot of it has to do with it
hitting me at a seminal time. But yeah, it's like

(35:19):
I gotta just like just like Siamese Dream, It's like it,
I can't just pick one. If you want to hear it,
put it on and listen it. Listen to the whole thing.

Speaker 2 (35:43):
This. Travis Barker was the drummer, and I don't have
the basics in other guitar player or maybe it was
Postmalone with playing guitar.

Speaker 4 (35:54):
Sounded like he was clicking his sticks a lot, like
is that supposed to be part of it?

Speaker 2 (36:11):
Or they're doing it live?

Speaker 3 (36:13):
Yeah, I know, I get it. I said, no, if
he was doing that on purpose or not? Is it
supposed to be like a little percussion hit or you
just but yeah, that's sloppy crosshand technique.

Speaker 2 (36:30):
But yeah, so yeah, that's yeah. So the yeah, the
SNL thing wasn't a one off for him. He's been
doing this for a minute. Yeah, but he got to
put on his big boy pants. I didn't with the
real Nirvana.

Speaker 3 (36:44):
I didn't see, uh, I saw just a clip of it.
I don't know like he I think he sounds good.

Speaker 2 (36:50):
I mean really, you want to you're gonna put on
your musician, your your your your music, your musician had. Yeah,
he missed a couple of entrances. He biffed, you know,
the beginning of one of the choruses. Yeah, you can
give me fuck because you're watching Nirvana with him singing
its ship like what I told you. One of my
main takeaways is Dave Girl had a smile on his

(37:11):
face the entire fucking time. Yeah, like he was, which
I was jogging my buddy. I was like, he's probably
because oh I only have to play drums. This is awesome.

Speaker 3 (37:21):
Yeah he gets to do just the fun part.

Speaker 2 (37:24):
Yeah. I don't have to sing on play guitar. I
don't have to fucking keep the crowd.

Speaker 3 (37:28):
I have to dive off the stage and break my leg.

Speaker 2 (37:32):
Yeah, just sit back here and hit stuff. So I
got into all this. I just wanted to hit things.

Speaker 3 (37:38):
But yeah, oh yeah, so you did you watch a
lot of the uh back at how old music performance.

Speaker 2 (37:44):
I know I've seen Chrys Novaselik recently, but just seeing
him being old playing bass, Yeah, I mean, I know,
I get it, I'm forty five, but you know he's old.
Jarred me.

Speaker 3 (37:55):
We're old. We're all over.

Speaker 2 (37:56):
But but but it was watching those guys, watching all
of them, even Pat Smear just at some point, especially
Novasilican girl. These guys are like they're they're back in
their twenties, Like fuck yeah, this is a song that
like the attachment they got to have to that song
is like, this is a song that maybe we never

(38:18):
have to worry about paying my bills over again. Or
just or or that, and like the fact that it
changed music, Like I thought about that today, like everybody
calmed down with the sense him about to say. But
I think we said this before. Nirvana is our generation's Beatles,
simply because they are the band that changed the culture.

(38:40):
It's not about ability or so.

Speaker 3 (38:43):
And just like the Beatles, they weren't the only band
out there doing it. They were just the one that broke. Yeah,
and it was you know, it's like a pimple, right,
you got a lot of ship building up under the
surface before it erupts. They were just the white head
on that pimple. Bands that were like getting ready to
erupt it. But it changed everything, like it changed. It

(39:05):
changed what the industry believed it could market and they
now believed they could market guitar bands again, and which
in turn gave a lot of opportunities to a lot
of bands that really deserved it, that really really did
deserve it, you know, like all these bands, not even

(39:27):
just from the Seattle area, but all kinds of bands
that were really hard working, you know, bands even like
like the Pixies. That was that was a boon for
the Pixies, who were already established as like the kings
of indie rock. But that really threw them over the edge.
When you know Kurt Cobaine name dropped. He's like, oh,
most of my shit's inspired by you know his name,

(39:50):
like Raincoats and like other like Vasilines and bands that
nobody's ever heard of. And then the Pixies and everyone
was like, oh, I got to go. You know, between
that and Fight Club, that's why the Pixies never have
to worry about you know, right yeah? Are they going
to make the next house payment?

Speaker 2 (40:07):
Dude? Yeah, that's I saw. I think a couple of
years ago. I saw where Where is My Mind? Was
like in like a drug commercial all over the place.
I don't care.

Speaker 3 (40:17):
They're like, once you sell it, like what's gonna say? Yeah,
just do whatever you want with it. Gape that bitch out. Yeah,
we're going to redo the kitchen. Yeah yeah, so uh.

Speaker 2 (40:35):
Punk rockstead we need money.

Speaker 3 (40:39):
Yeah, but you know there there are factors in how
that band comes about. And again, in your comparison Nirvana
to the Beatles, you know there are.

Speaker 2 (40:52):
And there and and their their legacy indoors like the Beatles.

Speaker 3 (40:58):
Right, I don't know, like I was going to make
some ridiculous statements. And I almost got like ahead of
myself and went, is this self fulfilling? Like? Did we
just love the Beatles so much because of what they
represent and then backfilled it with talent? You know? Were
they as every bit as talented as you know, any

(41:19):
other mercy beat band out there? And if we would
have gave them that, those musicians a chance to just
do whatever the fuck they want, what would they have
come up with? Some of this is about circumstance.

Speaker 2 (41:32):
The Beatles, the Beatles, it was a mix of it's
where the culture was and I think where music was.
They were doing things with music that hadn't been done before.

Speaker 3 (41:42):
Well not when they broke. They were doing black music
when they broke, So they weren't doing stuff they might have.
They were doing it with an attitude that most white
people weren't used to seeing. And I think that's what
was the initial hook.

Speaker 2 (41:56):
Yeah, well that's when they were the boy band. That's
before we Yeah, then they met Dylan smoke weed, and
then everything fucking changed. Now was more Chris Bob. Dylan
also told him, not eveything's got to be about cars
and girls. Guys, you can write songs about other shit.
Yeah here hit this, but again just yeah, but band

(42:17):
that had lasting change on the culture, that's Nirvana is
absolutely and watching him play that shit, that shit was cool.

Speaker 3 (42:26):
Like well, look, you know when I was a kid,
there you when you went to the Dacy Penny, you
could find a Beatles T shirt right right. There was
still especially in the nineties, there was, uh the nineties
there was a bit of a sixties throwback uh going.
And you know, I remember my school there were some

(42:47):
kids that like bell bottom jeans came back into style
and shit like that, and peace signs and all that shit.
The Beatles were part of that. But that was like
the one band where like, outside of going to the
T shirt shop, you could find their T shirt in
shops just about anywhere you could buy clothes. It was
a brand. And the same exact thing is.

Speaker 2 (43:10):
With oh, there's a joke that Nirvana's a fucking T
shirt brand.

Speaker 3 (43:15):
Yeah, I mean because you go into Macy's anywhere that
sells clothing in the mall, and again not even just
the fucking Hot Topics and Ship, every other place that
sells clothing in the mall hasn't the h and M
has a Nirvana shirt. The Macy's has a Nirvana shirt.
The fucking American Eagle has a Nirvana shirt. And that's

(43:36):
like they might have a couple other too, maybe nine
inch nails get sprinkled in there or some shit. But yeah,
I mean as far as cultural impact. But no, but
your analogy is solid.

Speaker 2 (43:50):
But they like they put so many bands out of business.
I'm still reading articles about hair bands and still talk
about it now and it's thirty years later. They're like,
we were fucking cool one week and the next week
it was fucking over, Like it was that quick.

Speaker 3 (44:07):
Yeah. Now, I think the reason that you're prefacing your
analogy is because some people might balk at the idea
that musically they are on the same level. And I say,
we will never know, right, because Kurt Cobain died young,
and you know by right.

Speaker 2 (44:27):
When you're younger, you think, oh, twenty seven. No, now
you're like forty five, Like, dude, that guy didn't even
see twenty.

Speaker 3 (44:33):
Right, Like, and so no, if Kurt Cobain and and
let's say Nirvana's come stays together, right, we know we
have two good songwriters in the band at least, right, yeah, right,
So like a.

Speaker 2 (44:46):
Point, what point does Dave Girl start helping write Nirvana music.

Speaker 3 (44:50):
Right, well, he already did. Like there was Marigold was
a B side on a Heart Shaped Box and that
was a song that was written and sung by Dave Gorohle.

Speaker 2 (44:58):
Well, and isn't wass apprentice musically?

Speaker 3 (45:02):
I think he? Yeah, he did contribute writing here and there.
He had songs, but it was just like I think
k Kurt Cobain was such a force that he just
couldn't compete with it. But yeah, I mean the Beatles
three albums in were just starting to shake off the
the the boy band image and it wasn't until what

(45:24):
Revolver when they started talking about other shit. You know,
you're saying post post Dylan.

Speaker 2 (45:32):
Also, let's keep it three albums for the Beatles, but
that was also a year and a half. Three albums
for Nirvana, was.

Speaker 3 (45:40):
Right, but four years and yeah, time and the industry
were different at you know, in each era. I'll grant
you that, But let's just say three albums in the
Beatles just now are starting to actually have muscle where
they can start making demand, you know, even to the

(46:01):
point where they're like they just stopped going on tour
and if they want to record an ambl in the studio.
They're going to record banging on amvil And what's the
song about? About a kid? Fucking Si, It's about a
kid killing his teacher, That's what it's about. It's not
about girls, it's not about cars. Nobody's surfing. You know,
this is like they had to have clout before they

(46:25):
got to that point. You know, Nirvana was still they
were still in the workhorse mode. Even though they were huge,
the biggest band at the time, they were still being
churned out by Leela. We need, we need albums, we
need to sound big and guitari, we need.

Speaker 2 (46:42):
To come into the We can do whatever we want.

Speaker 3 (46:45):
Face Absolutely, the next album probably would have been who
knows if they would have stayed on the label or whatever,
but the next album would have most likely and who's
to say, but I believe the next album would have
been a change in direction in some fashion. And you know,
we just we'll never know if Kurt Cobain could have

(47:08):
been as prolific songwriter as Lennon McCartney or even what's
his nuts, George Harrison, thank you, because yeah, he never
got that opportunity to really stretch out.

Speaker 2 (47:24):
You know, Yeah, I mean Unplugged showed you. Yeah, there
was probably a a direction change coming.

Speaker 3 (47:31):
Yeah. Yeah, Like in Your Row was a definite get
back to our roots kind of thing sonically in the
arrangements and everything. But we know that like Kurt Cobain's
taste were he didn't just like listen to guitar rock
all day long, not the only music that he liked. Yeah,

(47:52):
and you know a lot of the bands that he
cites as reference, some of them were definitely guitar heavy,
like the Pixies. Some of them weren't you know, the
fucking uh oh uh why did I forget their name?
The K Records band that did Indian Summer? Was there
anything else good on the uh? On the musical performance,

(48:14):
how long was it?

Speaker 2 (48:15):
It's like three hour? Holy shit, I got bored.

Speaker 3 (48:20):
Well?

Speaker 2 (48:20):
Also just how how.

Speaker 3 (48:23):
On the stage? Like how many songs at each.

Speaker 2 (48:26):
Well, here's the thing. Last word on Nirvana right reunited?
Nirvana kind of good. One song, one song, but like
Bonnie Rait gets two, it's not nineteen ninety three, all right,
she has seen her Zenith.

Speaker 3 (48:43):
Yeah, but this is also you know, uh, Lauren's gonna
give preference to his preferred acts, and he's more of
a Bonnie Ray Guy Sney. How many songs did Paul
Simon get I don't know.

Speaker 2 (48:57):
I don't think he played even play when I'm guessing
you miss or he might have retired from playing, didn't he?

Speaker 3 (49:05):
I think, yeah, so he probably didn't play. I saw
him on essen out like he was in the crowd,
and I think he popped up on a skit or
something like that, like he was there. Paul Simon was.

Speaker 2 (49:16):
David Burn Yeah, bored me with ArKade Fire.

Speaker 3 (49:20):
David. They're even Arcade Fires.

Speaker 2 (49:21):
And even because and even one of them they did Heroes.
They were doing Heroes by David Bowie. But Arcade Fire
is just one of those bands I can't I've tried.
I've tried. I've tried. I know you're supposed to like
him if you're a musician and stuff.

Speaker 3 (49:36):
Now they're all right, you know, I think they they've
got They had like two really good albums and then
they just kind of.

Speaker 2 (49:44):
I feel they're one of those bands that likes to
smell their own farts.

Speaker 3 (49:47):
Yeah, they're like, wow, they I imagine them like recording
a song going wow, this sounds really adult contemporary. What
if we made it in five to four. Now it
doesn't sound adult contemporary. All right, let's go what if
we just added an extra measure here for no reason? Okay,
now it sounds like it's not going to be played
on the river, you know. And that's the difference.

Speaker 2 (50:12):
Oh uh snooped a gin and juice all the words.
Didn't didn't do radio version. He did the album version.
No ship's on Peacock so streaming right, yeah, yeah, but
I was watching with by Buddy. I was like, let's see,
let's it's like, oh fuck, oh.

Speaker 3 (50:27):
Oh he's doing all of it like so that was cool.

Speaker 2 (50:30):
And then he did some new song that he does
with Jelly Roll that why why would you do a
new song? And then how did.

Speaker 3 (50:38):
You do it?

Speaker 2 (50:39):
Oh? Fuji? Well two thirds of the Fuji's Yeah, yeah,
why reference chubby, middle aged Laurren Hill. You're definitely see
in the face. Why she Why she was wearing baggy
clothes and a big coat, but she still she still
wail like.

Speaker 3 (50:55):
A motherfucker, probably better than ever.

Speaker 2 (50:58):
Yeah, whyn't I say two thirds of the Fuji's because
if you follow it, we'll probably not. But Prose is
in trouble because Proz had some business dealings with the
Chinese government pros. Right, may be at the fujis and
you never Yeah, so it was wy Cleft and Lauren

(51:22):
were there.

Speaker 3 (51:25):
Oh. Eddie Vedder always said was a shady one, right, King.

Speaker 2 (51:32):
Eddie Vedder did a Tom Petty song and did some
like rant in the middle of it, like he did
some mushrooms before the show.

Speaker 3 (51:41):
Did anybody see that walrus out there? Like he was
talking about like he had like a rainbow coming out
of his ass.

Speaker 2 (51:48):
He's talking about having a conversation with Tom Petty.

Speaker 3 (51:51):
So yeah, maybe, but no, just he said don't come
around here.

Speaker 2 (51:55):
No, he was like super lovey and stuff too. I'm
like y fucking like mushroom. So we did this and
then he uh mimicked the Elvis Costello like he started
he even started that one. Yeah, he even started playing
the song Elvis was playing. Did that and then he
went into like Corduroy. Yeah, and then who else? Who

(52:19):
else was worth note? That didn't bore me. Oh, they
Andie Semberg were pretty good. Yeah, they just they did
a Lonely Island melody. Okay, but it's funny watching them
sing together. He's trying as hard to sing and.

Speaker 3 (52:36):
She's a breezing She's just like, yeah, exactly do you
put any rains in any of these tunes?

Speaker 2 (52:49):
But yeah, it's I don't know. You read the reviews
and like one podcast is to oh, if you like
SNL and you like music, you love this thing. I
found myself fast forwarding a lot of it and then
like I gave up with like an hour left.

Speaker 3 (53:02):
Yeah, yeah, I mean I get it. Like music has
always been a part of SNL, and it's been a
big part and used to be a lot bigger. You
know that it used to be a place where bands
could break, you know, like on lettermen.

Speaker 2 (53:16):
Like Miley Cyrus was good. She opened it up.

Speaker 3 (53:19):
So it like I understand why they do it, Like
there's a history there with it, but like it doesn't
mean that I think that like SNL are purveyors to
find music, right, They've had whatever bands that are popular
or they could get or worked out on the schedule
and that's it. So like what does it mean to
have like a bunch of musicians playing to celebrate SNL.

Speaker 2 (53:43):
We'll say the best part of it was fucking the
house band was the roots. Yeah, so it was just
as a musician just impressive, like non amass the roots
and then realizing they've had the last fifteen years to
now get this new skill set house band because they've

(54:03):
been the Tonight Show band. It's pretty impressive. And it
was also known as musicians like when they got to
do things with like the Fujis, they were probably like, oh,
thank god, no more of this honky shit.

Speaker 3 (54:18):
Yeah you know, yeah, too much floor on the floor. Yeah,
let's mix it up a little bit. Well, I did
watch I didn't watch all of the fiftieth anniversary SNL
you know, the skits.

Speaker 2 (54:33):
And I didn't watch that. I heard you tell me
one reviewer that I heard seemed to kind of line
up with everything I've been reading about it is it
sounds like it was just really like three hour like
jerk off session for Aren't We Great? It wasn't for

(54:55):
public consumption. It was more for just them.

Speaker 3 (54:58):
I didn't get that about it. No, But again, I
didn't watch the whole thing watching a company party, right,
I get that. No, I thought it was I didn't
really feel that way at all from what I watched.
Maybe there are other skits that gave more of that vibe,
although like the openings, well, I should say, I watched

(55:19):
it on YouTube, so they might have put stuff out
of order. But the opening skit after the monologue see
Martin's monologue, which was great, by the way, which was
really hilarious, they do a skit where it's just basically
a history of New York over the last fifty years.

(55:40):
So it starts, you know, New York City nineteen seventy
five and John Mulaney's selling on the corner hot dogs
and Heroin. Hot Dogs and Heroin. Get your hot dogs
and Heroin. And it has to be a Don mulaney skit,
skit or sketch, I should say, because it just rec
of his humor and it's Yeah, the whole thing is like,

(56:04):
you know, following the history of Detroit, of New York
getting cleaned up, and the you know, problems they've had
with the different mayors and what Kate Kate McKinnon gets
to reprise her Giuliani roll where she sings her own
version of the song from Hamilton where she's going to

(56:27):
I forget how it phrased exactly, but basically she is
giving up her shot like the song's about like I
was America's mayor and I threw it all away to
be a drunken idiot and a lackey for a moron.
But so, I mean, I guess like stuff like that
might come off like that, but I mean, this is

(56:48):
fucking It's Saturday at Live. It's from New York, right,
Like that's part of it. They've always had New York jokes.
Everything that I saw, except for like the stuff that
people are sharing, which seems to be mostly black Jeopardy,
which wasn't that strong at all. They're sharing like the
weirdest parts of it.

Speaker 2 (57:08):
Although it is notable this the fiftieth Eddie Murphy was
actually involved. Were at the forties.

Speaker 3 (57:13):
He just like came out waved yeah. And Tracy Morgan
is pretty good.

Speaker 2 (57:19):
Oh the music special did Tracy Jones did come out
and sing the Astronaut Jones song, And I had to
explain to my girlfriend that that was the sketch. The
whole sketch was that song, because the actual sketch was
five seconds. It was him and Britney Spears. Remember it

(57:42):
was something, but it was something about taking me to
your leader. He's like, you need to bring over that
fat ass. And then it ended and then the song
started again, like the whole sketch was just that song
and all the scenes that were played with that song.

Speaker 3 (57:56):
Bill Farrell was on the so they did a Lawrence
Welk catch.

Speaker 2 (58:00):
I was gonna bring up Will Farrell. They brought back
the cults and the musical special what the member when
him and on a gas tire would be the music
teachers that would sing the oh right, which there's another
getting old moment. It was like me and my buddy,
I knew three of those songs, and the joke was
when we were younger that these were older people singing

(58:23):
all the new song. You know, here I am at
forty five and they're doing it and I knew three
of those fucking songs. Yeah, and they did like probably
eight or nine. So yeah, yeah, he was on. So
they did have seen the old Lawrence or Lawrence Walk
sketch where they have the Lawrence Walk show. I didn't

(58:45):
see when he did the sketch.

Speaker 3 (58:46):
There's this SNL sketch where they have on there's four
sisters that are a singing group, right, and they get
introduced by Lawrence Walk is played by uh what's his name?
That would do like fucking prints and uh.

Speaker 2 (59:05):
See, I got a dark period of SNL besides the last.

Speaker 3 (59:09):
The Portlandia Dude, I got dark period.

Speaker 2 (59:12):
From like five to twenty ten because that's what the
band was act. We were gigging, so I didn't see
much of SNL from like so like the Fred Armison
Jason Sudeikisy years, well that spotty at best.

Speaker 3 (59:27):
The joke was basically they introduce each sister, you know,
they have a song that introduces them, and they are
all these pretty little blondes, you know, in pink dresses,
and they're all dressed the same, and then they get
to like the fourth one and she's like, something's wrong
with her. She's played by Christian Wakes. She's got like
a super high forehead and her hair back, and she's

(59:49):
got tiny little hands. She looks like or something. Yeah yeah, yeah, yeah.

Speaker 2 (59:54):
She's like I think I've seen yeah.

Speaker 3 (59:56):
Yeah, And so they reprise that. But then but it
uh Will Ferrell is Robert Gulay on the show. So
it's Robert Gulays. He's riding his motorcycle back from Sturgis
and he comes across these four lovely ladies and it's
basically the same gag. It's just Christian Wegg like taking

(01:00:18):
her tiny little hands and putting them in people's faces
and in their mouths and shit.

Speaker 2 (01:00:22):
And I heard there were some big names not there.
Dan Aykroyd wasn't there.

Speaker 3 (01:00:28):
Yeah, I guess not.

Speaker 2 (01:00:30):
Bill Hayter was not there.

Speaker 3 (01:00:32):
That's kind of surprising.

Speaker 2 (01:00:34):
He said he had a previous commitment. Yeah, he couldn't
get out of it. And Dana Carvey was not there.
He's been on the show, like.

Speaker 3 (01:00:42):
David Spade was on it. He was in the New
York Sketch, him and him, and uh, what's his nut?
It's a big dick energy guy, Pete. Him and Pete Davidson.
They were at the beginning of the New York Sketch.
So Mulaney's selling high dougs and heroin and they just
get off the bus and David's Bay's like, yes, we

(01:01:04):
are two young fresh kids of the exactly the same age.
And then like later on, later on, after they do
their whole explanation of what happened in New York over
the last fifty years it's millennium, Pete Davidson are talking
to each other and he's like wrapping up, like and

(01:01:25):
now you know the whole story. Hey, what happened to Spade.
Davidson's like, oh he went and sat in the audience
and they cut this bad. He's like, I'm told for
the ship.

Speaker 2 (01:01:37):
You know who I spok on the music up was Timberlake.

Speaker 3 (01:01:41):
Yeah that's a big surprise. Huh.

Speaker 2 (01:01:43):
He's in the five Timers Club.

Speaker 3 (01:01:45):
Yeah, not only I mean as musical numbers, the bringing
on down to Domaville.

Speaker 2 (01:01:52):
Yeah, like he's in dicking about. He is the other
singer on taking a surprise. Zamberg did call him out.
He was a Lady Gaga because that it starts with
she's playing the song that she does from the fucking
movie with Bradley Cooper, and he's sitting there with long
hair and the cowboy hat and he starts singing it.

(01:02:15):
He singing it terribly, you know, and then they'd start
bantering all she tells him it sucks, you know, and
there'd be something more in his range, and he's, oh,
I got this one thing, but Justin's not here to
sing his part. Looks right at the camera to give
him some ship.

Speaker 3 (01:02:33):
The funniest thing on it thought that I saw was
definitely Bill Murray on Weekend Update.

Speaker 2 (01:02:40):
Good because on the music special he was he was.

Speaker 3 (01:02:44):
There what was he doing? They had singer, oh, the
Star Wars guy.

Speaker 2 (01:02:51):
Yeah, it was him and Paul Schaeffer not looking good,
and they tried to like balance it out with like
Maya Rudolph, Cecily a very very pregnant Cecily Strong. Yes,
a third chick. I feel I should know who the
third person was, just all being his backup singers.

Speaker 3 (01:03:09):
Yeah, and just it wasn't a great Yeah, Weekend an
Update was pretty solid across the board. Actually, my other
favorite was Cecily Strong and uh Bobby moynihan. That were
so Cecily strius. This is maybe a reoccurring character, but

(01:03:30):
it's like the most annoying girl at the party. That's
the name of the character, and she played a pregnant
version of that. Bobby moynihan was drunk uncle and he
was the father. So it was like the two worst
people at the party that were They were really great.
But yeah, Bill Murray's countdown is just is just priceless.

(01:03:51):
I mean, first of all, he gets he has two
different countdowns, right. He starts with because we'll get this
one out of the way, uh, Top Black News hosts
on Weekend up Date, and he pulls up this thing.
It's just got the.

Speaker 2 (01:04:07):
One Michael Jay.

Speaker 3 (01:04:11):
And he pulls it out and he's like, no surprise there,
and he's like, all right, now on to the normal ones.
She's like, what's in the one? Normal? And I won't
give away anything that happens after that because it is great,
but definitely definitely check out the Bill Murray one.

Speaker 2 (01:04:33):
I will say with Jay and Jos, my favorite device
that they have are when they have.

Speaker 3 (01:04:40):
To write the jokes for each other. Yeah, that is
where they really shine.

Speaker 2 (01:04:45):
And then they do it one time with Colin and
Scarlett Johansson.

Speaker 3 (01:04:52):
Oh yeah, they.

Speaker 2 (01:04:54):
Made chay Wright jokes for her.

Speaker 3 (01:04:56):
I think Jay had a little trick of you to
Norm MacDonald and he's like he starts talking about Norm
and he's like he was the best weekend Update anchor,
and unfortunately they fired him because he wouldn't stop making
jokes about OJ. And he's like, he's like, and I

(01:05:17):
just like to take this opportunity to say I love
you man, and you're my hero. And he looks up
in this sky he's like, I love you OJ. I
thought was just a joke that if there is a
heaven in norms up there and here's that like he'd

(01:05:38):
appreciate that. That was probably his favorite joke of the
whole night.

Speaker 2 (01:05:43):
I think the joke that it's made it permeated into
the culture. Was it the Blaney talking about eight hundred
and ninety four people have hosted, surprisingly only two of
murdered people.

Speaker 3 (01:05:56):
Well, yeah, he does. That's during Steve Martin's monologue. He
comes out and he's like, that's such an insane environment
and he's like, I can't imagine what it's like, you know,
having to come in here and work with these crazy
people and you and yeah, it seems like it's just
a miracle that only two of them have murdered people.

(01:06:17):
Who are the two that what? Robert Evans?

Speaker 2 (01:06:19):
Who Robert Blake? Robert Blake, Robert Blake and OJ That's.

Speaker 3 (01:06:23):
That's where I met, I said, Robert Evans. Yeah, Robert
Blake and oj OJ hosted huh.

Speaker 2 (01:06:31):
Yeah in the late seventies.

Speaker 3 (01:06:32):
Yeah, yeah, all right, Well let's wrap it up then.

Speaker 2 (01:06:36):
Yeah, at the Weedsman four twenty on your social media
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Speaker 3 (01:07:04):
Please and thank you, and stay high, Stay high.

Speaker 1 (01:07:35):
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