January 30, 2025 • 42 mins
The Beatles last week and Right Said Fred this week?? Kev and Case are always ready to take on the legends. Is this song a classic by far or too sexy for a car?
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Speaker 1 (00:02):
Give it a chance, Give it a chance, Give it
a chance. Come morning, give it a chance. Give it
a chance, give it a chance, give.
Speaker 2 (00:09):
It a chance.
Speaker 1 (00:09):
Good morning, Give it a you want to give it
a chance, Give it a chance, give it a chance.
Just give it a chance.
Speaker 3 (00:18):
Okay, dabs definitely just saluted each other. I'm gonna go
off bit I got glitchy, why fy today? Chancers? That glitch,
that glitch glitch please, you must have a mental disease.
Speaker 1 (00:31):
Welcome everybody to another episode of Give It a Chance
where we listen to this song that's a secret for Kevin,
and we give it a chance this week.
Speaker 3 (00:40):
One time we didn't. One time I brought my own song.
Speaker 1 (00:43):
That's true that I was thinking about that today. I
was like, these the omars and the tiny chancers are
probably like one's Kevin gonna pick another song, but it's
not today. Nope, I'm actually sad keV. Here comes the hint,
because your WiFi is not great until you're off a video,
and I wanted people to see how sexy you are.
Speaker 3 (01:04):
Oh god, you know it, I do. I think what
we're gonna hear is sex Men's Bizarre by Lance and
Baby three. Now do Sexy Life.
Speaker 1 (01:24):
Yes, and do you know the name of the group.
Speaker 3 (01:26):
Do you remember do I know the name of the group?
What self respecting forty five year old who came of
age in the early nineties would not know? This was right,
said Fred?
Speaker 1 (01:34):
Come on, yes, queen, yes, I so. But before we
go and listen to this song, I want you to
know that I had some sort of compilation that was
like it was I think it was like VH one
Hits of the Nineties or something, but it was like
in the two thousands we had it, and I almost
feel like it was actually I remember it almost like
(01:56):
in the late nineties that they had like Hits of
the nineties. Yes, yes, and this was on it. And
you know when you're like a kid and you don't
really have discerning taste like everything, like there's no genre
you like necessarily totally. I actually I feel like I'm
back to that now.
Speaker 3 (02:11):
But you are good at this. I feel like you
are very lowercase C Catholic tastes universal wide.
Speaker 1 (02:18):
Yeah, yeah, no ego. And this song was on that mix,
and I was like, this song is great. I like
loved it, the vocals, like the whole music, like the
I think I really love the music of it. But
I will say that this is a song that people
are like, that song's a joke, that song's bad. Sure,
it's like the era of these one hit wonders that
(02:42):
like it was almost more of People liked it because
it was so weird and different, but they didn't really
feel like it could stand on its own. Two muscular Legs.
Speaker 3 (02:51):
Jacked out, never skipped legg Day Gladiator three, Right, said Legs.
Speaker 1 (02:57):
But I'm pumped to listen to this As a former
fan that hasn't listened to it in probably twenty five years,
I've avoided listening.
Speaker 3 (03:04):
Wow, twenty five years. I like what you did there
with pumped too.
Speaker 2 (03:07):
That was good.
Speaker 1 (03:08):
Yes, I'm just I'm just flexing my mental muscles.
Speaker 3 (03:15):
To poop oh la la shizzle.
Speaker 1 (03:21):
There you go, there you go. I want to also
say that it's kind of impossible to not hear this
song a little bit because, like even to today, this
song is used in like trailers of movies.
Speaker 3 (03:33):
Yep, and in movies, in numerous movies.
Speaker 1 (03:36):
Yeah, it's like an on the nose song that always
kind of works. So that being said, we're now going
and listen to right, said Fred. I'm Too Sexy original mix, I'm.
Speaker 3 (03:46):
Too sixty my shirt to sixty, my shirt so sexy
it hurts.
Speaker 2 (03:54):
Wow.
Speaker 1 (03:55):
Wow, this might be the easiest give it a chance,
because I couldn't. I'm trying to find things to anti chance.
Speaker 3 (04:03):
No, we can just be a positive, We can be
a forms of positivity in the world if we want to. Today.
Speaker 1 (04:09):
I'm perplexed as to I can understand why people might
not like it. It's a little tongue in cheek, like
he's I think he's kidding throughout this song, and I
could see people not taking it seriously or feeling that
it's like, I don't want to listen to this guy
just kind of joking around, right, like it's nineteen ninety
(04:31):
one when this comes as serious people, Yeah ninety one, bro,
you know I'm going hungry.
Speaker 3 (04:38):
Yeah, so what I'm saying, like, you know, we'll get to
where of course I'll talk about Kurt a little later,
but go ahead.
Speaker 1 (04:42):
Yeah, yeah, but you're right. But yeah, I think there's
a lot going on in this song that at first
it starts out like like you know, a fruity loop
that somebody made like on their computer, like you remember
for loops. Yeah, I do so it's like somebody's just
(05:04):
like made some like you know, kind of stock beat.
But then you realize, oh no, this bas is like
being played live. And then there's like all kinds of
like fun sound effects that are dropping in and varying
sonically throughout it. It's lacking some sort of like it's
it's as catchy as it is, it's kind of lacking
(05:24):
you know, a melodic hook or something like, but that's
almost it's almost an anti hooked to be like I'm
a model, you know what I mean. Like, yeah, it's
really weird and fun. It's catchy, but it is not
It's not what you would consider top forty. And I
(05:45):
think the nineties was kind of good.
Speaker 3 (05:46):
At that, totally totally, and I mean I think also
it's like, you know, it gets into like something that
might be considered like a gimmick song or like kitchy
or whatever. It's like, you know, well, so, what what's
wrong with that? What's so bad about that? Like I
have a lot more respect for something that's like a
straight up I don't know, perfectly or well executed, and
(06:09):
this is I think almost it's this pretty high level
of execution for what it's set out to be. It's
committed to what it is. It's not. Also it's interesting though,
I mean, my brain is being let in all these
different directions. It's funny because what you said about the
melodic structure or lack thereof. It's funny because I've always
felt this with this song and I haven't heard it
in a while. When he's singing, I'm actively like, what
(06:33):
is he like in the verses, I'm like, is he singing? Like?
Is he singing notes? Or is he just kind of
dogging in a weird spot in his voice? Like sometimes
it feels like he's kind of higher than other times
he's kind of like down here, And I can't really
tell if there's like ever, like if you try to
play the vocal line on an instrument, does it exist
or is it just sort of like do you know
(06:54):
what I'm saying? Yeah?
Speaker 1 (06:55):
I do. It's like the same note but like almost
like someone's bending it slightly.
Speaker 3 (06:59):
Yeah, yeah, but so is it a note? Like I
guess any spoken Like I wonder if any This might
be the stupidest thing I've ever said on this podcast,
which would be saying something I wonder if any spoken
sound is roughly findable if in isolation as a note
in a music scale or close to it. Do you
(07:21):
understand what I mean by that? No?
Speaker 1 (07:22):
I do. I think if someone made like a MIDI
version of it, like like like almost like an eight
bit version of it, it'd.
Speaker 3 (07:27):
Be like and then well and that no, that there's
a clear melody the chorus to me, like but when
he's going just like.
Speaker 1 (07:40):
I'm like, what the fun you do it? You did again?
Speaker 2 (07:46):
I am.
Speaker 1 (07:49):
The wrong song?
Speaker 3 (07:50):
I am my yard.
Speaker 1 (07:55):
This is actually maybe this was like the influence of
waha wa maybe yeah, who is that again?
Speaker 2 (08:05):
Oh?
Speaker 3 (08:05):
That was I think disturbed down with the sickness. That's
a good thing.
Speaker 2 (08:14):
That's alo.
Speaker 3 (08:15):
Yeah, that's for next time. That's for you to give
a chance on your own fucking time case. Right now,
it feels I do feel like there's something about It's
in the very first intro where that opens a song,
and in the very last lyric, second to last lyric
this love I'm too sexy for my love, Love is
(08:37):
going to leave me? Yeah, and I'm like, whoa. It
actually recasts the whole song as like this to me,
are you ready? Far out? Chancy take from keV I
Can't Wait? It's funny. It's tongue in cheek. Obviously. The
music is it's a party. It's you know, a club song.
It's top forty sort.
Speaker 1 (08:57):
Of, you know, it's an and beat.
Speaker 3 (09:00):
It's a club thing. It's a beat. But and it
is this person who's almost like, like you said, whether
it's a joke or not, it's like a it's like
a like a it's like a Braggert's delight, right, like
somebody who's kind of like talking themselves up, like I'm
too I'm so, I'm too sexy for everything around me,
this shirt, I'm so sexy. It hurts, like all of
this stuff. I also thought, by the way, it's funny
when it says I'm too sexy for your party. I
(09:21):
always said he said too sexy for your body. And
I also thought he said too sexy for your body
the way I'm disco dancing. I never thought it was
I'm too sexy for your party. No way I'm disco dancing.
There's no way I'll be at your party disco dancing.
But look this whole thing when you frame it in
(09:42):
the parentheses of I'm too sexy for my love, too
sexy for my love, love is going to leave me.
It actually becomes this crazy, weird insecurity thing where he's like,
I'm talking myself up with all of this, like aggressive, braggadocious,
I'm too sexy for Milan, I'm too sexy, you know.
And then it's actually because he's like, I'm so scared
(10:02):
that my love's going to leave me, like or I'm
so sexy that like my maybe, wow, I'm really getting
far field here.
Speaker 1 (10:09):
Yeah, I love this.
Speaker 3 (10:10):
I'm so sexy that I make my partners insecure and me,
which is fucking that's layered that I think so too,
really chance chance words, it's.
Speaker 1 (10:22):
Both like it is both like hedonistic but also introspective.
That's it, Doug, And it's yeah, that's I like that
take of like it's my problem is I'm too sexy
and when you think about it all that it's like
not a brag. And he's like, I'm too it's like hard.
I'm like, because that's what too, that's what two means too. Yes, yes, yes,
(10:43):
there are times that my daughter was was was accidentally
saying I love you too much and instead of so
much and I and I love that and I think
it's fun, but it makes it too means it's bad, so.
Speaker 3 (10:57):
Go and also with respect to the love of a
child and a parent, just to go there for a minute.
There are times where I'll literally be like, like, it
is possible too much almost weirdly makes sense because it's
so big, that feeling of like, oh my god, I
love this small human being almost too much.
Speaker 1 (11:15):
Too much?
Speaker 3 (11:17):
Yes, So like her saying that to you as a joke,
is it almost like offering you access to your own
feelings about her, which is funny, But please contend. I'll
go off camera now. I'll take my answer off camera.
Thanks for Kevin, thanks for taking the call.
Speaker 1 (11:32):
I'm too sexy for mil Milan, which he says Milan
I'm which makes me feel actually that he's never been there.
I'm too sexy for Milan, New York and Japan unless
he only said Milan to rhyme with Japan. I'm too
sexy right, Like, so he can't even fucking travel, this
poor guy. Yeah, he can't even wear a shirt because
his shirt to her sexy for it, he's so sexy
(11:53):
he has to take a shirt off. But that's what's
so hard is because he's sexier when he takes his
shirt off. So it's it's sort of double edged. Short,
he's too sexy to wear a shirt, he has to
take his shirt off.
Speaker 3 (12:04):
Dude gets even worse.
Speaker 1 (12:05):
He can't even have a cat, his cat. He's too
sexy for his cat. His cat's gonna leave him.
Speaker 3 (12:10):
Yo, his cat's gonna fucking die. Case he can't have
a cat, he's too sexy. The cats look, the poor
pussy cat's gonna die. And of course this may be
the one place. Look, I'm not a fucking puritanical anti
sex positive. I'm fucking I'm honestly, I'm I'm with like
all of it, like do whatever you want. But I
was like, the one thing where he says poor pussy
(12:31):
por pussy cat, I was like, okay, okay.
Speaker 1 (12:34):
No, no, no, he can't help himself.
Speaker 3 (12:35):
He's sexy, Yeah, but he's gonna talk about pussy. Yes,
that's exactly it's not pussy poss he's in Leo's pussy posse.
Speaker 1 (12:43):
This was your thought, and you're right, it's an ailment
that he's discussing. And so one of the symptoms is
he can't help but call a cat pussy because he's
so sexy. Right, what's the sexiest way to what's the
sexiest way to call a cat?
Speaker 3 (12:57):
I guess to call a cat like the sexiest thing
to say to a cow and be like, Yo, you
have feline?
Speaker 1 (13:03):
Ah my god, that's the sexiest thing.
Speaker 3 (13:09):
That's what I always say to people's cats, like when
I go to their house, cause I look, I also
didn't want to say like I of course I d
with this song. And so when I go to people's houses,
I'm always like, First of all, I'm like, I'm so sorry,
I'm gonna leave my shirt all while I'm here, and
they're always like, no, no, please, please take it off. No, no, no,
And then I'll be like and then I'll be like, yeah,
where's your cat? And then back, oh, my cat's in
the other room, and I'll be like, you'll bring me
(13:29):
out that cat, and I'll feed the cats some science diet.
And then I'll be like, while I'm feeding the cat's
science diet, I'll be like, yo, do you have felie A?
Speaker 1 (13:39):
What what would be the answer you would like the
most out of that question from that question? No?
Speaker 3 (13:47):
No, that's like, gotcha, I hope you got me.
Speaker 1 (13:55):
I'm sorry, everybody, don't don't even please.
Speaker 2 (13:58):
Okay, on the.
Speaker 1 (14:11):
On the catwalk. I have a feeling that this was
one vocal take he did. Yeah, I'm not even sure.
I'm not even sure he even had all the lyrics,
because you could see a sort of stream of consciousness
when he's like, I'm a model, you know what I mean,
I do my little turn on the catwalk, and then
suddenly he's talking about he's too sexy for my cat.
(14:32):
I wonder if it was just like I shake my
little tish on the catwalk, I'm too sexy for my cat,
you know, like it was just like what else do
I say when you're trying to rap and you're like
you're just like whatever comes out, it's really really good,
but something that was definitely premeditated. And I give a
big chance he too is and I'm too sexy for
this song.
Speaker 3 (14:53):
Oh yeah. The way he lands that is mic drop,
maybe the first mic drop.
Speaker 1 (14:58):
It's yeah, it's it's meta.
Speaker 3 (15:01):
It's meta. The song had to end in that moment.
And the way he delivers the line yeah, you're right,
the phrasing, like the drop in his voice, it's almost
like a mechanize like I'm too sexy for this song.
Speaker 1 (15:14):
It's great. It feels like you know, like when it's
when like like you're doing like a high school or
music project or college like project and you have to
like make a yeah, yes, a product, or make a
song or something. It feels like like kids getting together
and making a song and recording it in a good way.
Speaker 3 (15:35):
Which is a super big chancy thing. For sure. That's
like a what's better than that? The joy of that
is pretty pure and fun.
Speaker 1 (15:42):
It's weird and it's but it's it's fun and it's like,
let's try to do this, and you know, there's a
there's an energy I do and I'm.
Speaker 3 (15:50):
Just honestly every lyric is just the sight of joy.
Like I'm too sexy from my car, Like I can't
even get to fucking work in the morning, dude, my
car keeps breaking down and it's not close. I'm too
sexy by far. Yes, yes, yes, way, that's hilarious.
Speaker 1 (16:12):
It's really hilarious. It's not like it's not like he's
just like it's just at the beginning of being too sexy,
Like he's far into being too sexy.
Speaker 3 (16:19):
But you know what I wonder here as I'm going through.
So when he after the car, he's talk about his
hat and he says, what you think about that? Now,
given the context where we've described here, what we've set
up and what we've come to realize, the parenthetical device
where there is an expression of insecurity, I'm so sexy.
(16:40):
It's ruining my life. Every corner, nothing's untouched. What you
think about that? Maybe RSF, this whole thing is a
therapy session.
Speaker 1 (16:51):
Dog Jess is him.
Speaker 3 (16:53):
Talking to call back from all those years ago when
we did Revolution nine back in six d eight. But yeah,
maybe he's talking to.
Speaker 1 (17:03):
Jacket Janet on the podcast. We gotta have them?
Speaker 3 (17:08):
Should I have my actual therapist come on the podcast
to be you just have to you have to say
your name is Janet? That would be really meta.
Speaker 1 (17:17):
And if Janet, if your Janet comes on, it is
just like, does he talk about Nirvana a lot like
he does in therapy?
Speaker 3 (17:28):
I'm trying to think now how many times in therapy
I have talked about Nirvana or Elliott Smith? And now
the answer is obviously for sure it's more than zero.
Speaker 1 (17:44):
Oh yeah.
Speaker 3 (17:45):
The question is for you, do you what you think
about this? M hit me, Jane, do you think I've
talked about Nirvana and Elliot Smith? Moore on this podcast
or in therapy. I'll take my answer off Lee. Thanks
for taking the call.
Speaker 1 (18:02):
Uh yeah, I think you've probably mentioned the trifecta in therapy.
You've done it Ard Cohen.
Speaker 3 (18:14):
And actually it's really funny shocking.
Speaker 1 (18:16):
I could actually see Nirvana covering this like live, you know,
like you know, and you.
Speaker 3 (18:23):
Know, I bet they had it on on like some
like between I would not be surprised if this was
like on at their concerts like some between band playlist
of just like crazy like they loved like Rupe Paul right,
Like I could see them.
Speaker 1 (18:36):
So I have a question for you on a musical level,
what inspired this? Musically? I have some thoughts. Yeah, piano
feels like kind of actually like sort of a sampled
feels like it could have been sampled from like a
Hall of Notes type band, because that like piano, but
like it's a little faster thing like yeah, and then
(18:59):
but it's de only like using you know, kind of turntablism,
you know, like with with the beat and like the
I think the piano feels like a loop.
Speaker 3 (19:08):
There is some lights scratching that goes on in a
few spaces too. Yeah, but the bass is it's very
kind of scratching like a cat with like feeling. Sorry,
sorry did you.
Speaker 1 (19:23):
Come on video just for that so I could see
you go?
Speaker 3 (19:30):
Yeah, yeah, all right sorry sorry. The bass.
Speaker 1 (19:33):
The bass, it's so there's Drummond Basses an influence on us,
for sure. It's like that that kind of euro club jungle. Yeah, yeah, sure,
that's stuff that came out of like the UK and
those like like the way they would they would have
Like remember there was always like an extended UK mix
like Blondie and and like you know, who are those
(19:54):
other eighties like Clubby kind of like Wham but like
less pop.
Speaker 3 (20:00):
I feel like Wham but less pop, like I think
about I don't know if this is the same thing
you're thinking of. I definitely hear a sort of like
sort of sanded down, sanitized for radio consumption version of Yeah,
this is totally I think of all that like mad
Chester whatever that like that like UK rave thing that
(20:22):
that's happening at the late eighties early nineties that becomes like, yeah,
it's like new order. That was what a lot of
that music had, and it was also yeah like stuff
and I feel like maybe stuff even like the Stone
Roses and like the what was the band that had
the Oh my god, there's another one that I'll think of.
I don't want to waste our time on the pod.
There's one specific I'm thinking of right now that had
(20:43):
like that came from that world. It was like kind
of that was Stone Roses were a little bit more rock,
I guess, but they had that like club thing happening too.
And then things like Chumbawamba who have that big hit later,
But that thing was that was a band doing.
Speaker 1 (20:57):
Ad for a while.
Speaker 3 (20:58):
They were, they were around though. Yeah, yeah, And I
think that it also has that German Berlin like that
club Eastern European club thing. That's where I thought this
man these guys were from For some reason, I have
no idea, but I always thought they were like an
Eastern European.
Speaker 1 (21:14):
Yeah, I guess I did too, but they now they
doesn't feel that way. I felt like Easter Caropiano or
even like Italian. But are they from Idaho? They're from Idaho.
They're from cat Town, Idaho.
Speaker 2 (21:28):
No.
Speaker 1 (21:29):
The other groups that I came to mind were like
the Pet Shop Boys, like as a precursor to this.
Speaker 3 (21:35):
Not like yes, yes, yes, totally erasure maybe yeah, stuff
like that. Yeah, yeah, yeah, yeah, yeah, that makes sense.
But yeah, I think that, and I think that thing
you're talking about about that like the way the keys
are moving that done done the piano rather block chords
in that rhythm. That was also when like that was
in all of that stuff and then whatever was happening.
(21:56):
I'm thinking of that, Like you remember that Jody was
it CC pennistin or something like the it was I
think the song was called like She's Homeless or Homeless
or something like that. There was this like club music
in the early nineties in the States too, that was
in conversation with that stuff, and that piano emotion wasn't
all of that music like, uh call him mister raider,
call him mister wrang. Yeah, yes, it had these like
(22:19):
dun't I love that, don't don't see and see music
factory all that ship.
Speaker 1 (22:23):
Yeah, that's what I'm talking about. That's what I wanted
to sort of think about. Also, like it's got that
tuned up drum that's just the same drum, but it's
like instead of yes, yes, yes, yes, yes, yeah, I
love that, Like I I actually feel like that's gone.
That's like a thing that people did that's gone. You
(22:43):
don't hear it in music like it's it's it's like
playing a synthesizer from the although people I know what
you mean, Yeah, like you know your Mac DeMarco's and
stuff bring back old synthesizers. But I think certain techniques
like pitching drums like that you don't really hear.
Speaker 3 (22:57):
Totally, and I think the ghost of that stuff you
could still this might be a regional thing for anyone
that's not uh, you know, a Tri State area, upper
Northeast person, but I feel like you hear the ghost
of some of that on like kt U and stuff
like that. They're just like playing an extended kind of
like I don't know, my brain wants to say jam,
but it's not a jam, like just like exactly an
(23:17):
extended mix or whatever something. There are times during those
builds where you'll hear like they kind of it's almost
like instead of the pitched up drum, now it becomes
some sort of like rising air raid sound or something.
But it is a cousin of that, because I do
feel like the pitched up snare was meant to like
it was an anticipatory tool, like making you be like, oh,
(23:38):
something's about to happen.
Speaker 1 (23:40):
Yeah, yeah, you hearing like DJ music now that like
you know before the beat drops.
Speaker 3 (23:44):
That, Yes, that's what exactly on the scat Man exactly.
Speaker 1 (23:54):
But let everybody go.
Speaker 3 (23:59):
That's like that's that's like a kidnapping dance song.
Speaker 1 (24:03):
Yeah, yeah, body go and then everyone all there it's
they hit the ransom, do the ransom. There's also in
the beginning of I'm Too Sexy that distorted guitar that's
really fun. Yes, it's like almost like that vocal like, yeah,
it's it's cool like like that. From that moment, I went, oh,
(24:26):
this is going to be the easiest episode ever. There's
there's really not that much I dislike, like aside from that, Yeah,
I guess like this is not a song I would
throw on all that. What's what song is that you
want to just listen to all the time? But like, yeah,
that's of course I'm not now stop at hot yoga.
But this is it's pretty fun. There's enough going on,
(24:50):
and there's there's like enough even though it's like very
repetitive within that loop, there's just times that the bass
is doing something that's like so driving you really it
catches your ear. It's it's a pretty well crafted tune.
Speaker 3 (25:05):
It really is. The craftsmanship is actually it's strongest besides
the strength of like the top line how funny and
like kind of like I don't know, memorable, the lyric
and presentation of the lyric are. It's construction is its
strongest trait. I mean that big wide synth lead that
comes in after the choruses and like now we're in
(25:27):
like abba territory or something. It's like yeah, and that
stuff is like kind of unassailable in its construction. It's
like perfect as what it is.
Speaker 1 (25:37):
I love that part. I'm so because I forgot about it.
I love it, and it's so funny how dancy it is,
because what makes you dance really, when you break it
down is like the is the beat. But when you
have a line that like just plays like that, it
al yeah, scentuates those other things so much and it
feels so freeing. I love it, dude.
Speaker 3 (25:59):
At the wedding on dance floor when that synth park
comes on a bunch, like hands go up like yay, yeah,
it just changes to one hundred absolutely. I keep thinking
of one hundred percent every time I say one hundred percent.
My mom recently was like, you know what I can't
stand now. Every time someone agrees with someone about anything,
I have to say one hundred percent. And I'm like,
I say this ship all the time. Why don't you
(26:21):
just tell me? Don't be I'm like, why don't you
just tell me the name of the movie you would
like to see?
Speaker 1 (26:25):
Uh? That's I like when people cut out the percent
and they'll be like.
Speaker 3 (26:29):
A hundred that's insane. Yeah. Actually, if I was talking
to somebody and they said that, I would that would
stop me in my tracks act.
Speaker 1 (26:37):
Did you just what I think? I? I think I
accept it all.
Speaker 3 (26:40):
I like, I like, hondo p You're an accepting guy.
Is good.
Speaker 1 (26:45):
I like when people say a thousand percent. That's fun,
you know what.
Speaker 3 (26:50):
I like? I say a thousand because that's like a
lot on thousand percent. I think it's cool when someone
goes hundo pe, we're shouting, we're talking me.
Speaker 1 (27:00):
I'm so sexy. I don't have a.
Speaker 3 (27:03):
Cat, Janet, Please, I'm so sexy.
Speaker 2 (27:11):
Will you help with me?
Speaker 3 (27:14):
That's what I usually say in therapy. Will you help
with me?
Speaker 2 (27:17):
You help with me?
Speaker 4 (27:18):
Janis?
Speaker 3 (27:19):
Will you help with me?
Speaker 2 (27:22):
Nirvana?
Speaker 4 (27:23):
Janet, it's time for your weekly dose of what dild
Kurt do in April ninety three.
Speaker 3 (27:45):
I do think that his vocal delivery and this is
a little Leonard cohenesque. Just to be fair, I do
think there's a little bit like you're right Nirvana to
sexy for Nirvana.
Speaker 1 (27:56):
Yeah, I think you're right. It is very It is
kind of Lenny.
Speaker 3 (28:00):
I know Lennydikster too. Another eighty six minute.
Speaker 1 (28:05):
That has been mentioned in the song here. How many
mets have you dropped into songs that's true?
Speaker 3 (28:11):
My name at least two Lenny's trin Wally Bachman so far.
I met Keith Hernandez once at my teacher in college
wrote a book Brian McDonald My Father's Gun, and at
Elaine's the old school, like famous Woody Allen, you know,
rest in Peace. A lot of people would hang out
(28:32):
at this place, Luminaries writers, Lumineer, both Lou and Minir
from the Mineers. But I was like twenty and drunk
and at my teacher's book release party and Keith Hernandez
used to always hang out at this bar on the
Upper east Side. My teacher was like, there's Keith Hernandez.
You can go say hello if you want to, and
(28:54):
I did. He was with like some like impossibly beautiful
statuesque blonde woman. And I was like, excuse me, are
you Keith Hernandez And he was like that's me. And
I was like, I have a band named after you.
And he went, you have a band named Keith Hernandez.
Speaker 1 (29:11):
This is great, that's so funny.
Speaker 3 (29:14):
I was like, no, asshole, it's called Miracle of eighty
six and you can Spotify five five.
Speaker 1 (29:20):
Spotify wasn't even the thing yet.
Speaker 3 (29:21):
Well, that's what I'm saying. But that's what I'm saying.
When I said that new we catapulted it into the
future future.
Speaker 1 (29:27):
Oh and that's the delay, and I want to let
everyone know that Kevin's doing the delay himself. That is
not Josh.
Speaker 5 (29:35):
Well, it could be Josh. Tough to say.
Speaker 1 (29:48):
I'm obsessed with, right, said Fred. Right now, I just
kind of went into their wiki.
Speaker 3 (29:52):
I know their other song. I remember their other what
I remember a second hit.
Speaker 6 (29:57):
Don't talk just kiss with your own words.
Speaker 1 (30:02):
And so now you're really making it, Lenny.
Speaker 3 (30:06):
Oh, well that's how I you know, that's how I Is.
Speaker 1 (30:08):
That what it sounds like or is it like a
dance song?
Speaker 3 (30:10):
We can listen to her quickly if you want to don't.
It does say it is a dance song.
Speaker 6 (30:13):
Don't talk just kiss wowitch your tongue very round.
Speaker 1 (30:20):
I'm gonna listen real quick, all right, I'm also going
to tell you something. I'm listening right now.
Speaker 3 (30:28):
Get to the chorus.
Speaker 1 (30:29):
It's the same this was shot. Oh my god, I'm
looking at the music video and it was shot at
the exact same time they did I'm Too Sexy. It's
so clear. It's the exact same sound stage, like he's
wearing basically the same thing.
Speaker 3 (30:40):
Why not? Why not? You got the sound stage, you
got the day.
Speaker 1 (30:43):
I can't listen to the whole thing. I don't like it.
But the reason why I picked this song, Kevin Yes,
is because in some YouTuber, Instagram or something algorithm, I
was fed that right said. Fred had had a newer
song out recently that was sort of of talking about
the success of I'm Too Sexy and the pros and
(31:05):
cons of being a big artist at that time, and
how it like allowed him to travel the whole world,
but also pigeonholed him them into a sort of style
and as a one hit wonder, so it helped and
hurt their career like they would have no career without
the song, which is something I feel like I've heard before,
but like and and that's what made me be like, oh,
(31:26):
I'm going I want to now do that for this episodele.
Speaker 3 (31:30):
Because that's I feel like that's the It's so often
the thing with I don't know it shows, like, yeah,
we sort of prize as the sort of like ultimate goal,
the kind of momentary ubiquity and saturation something like this offers,
(31:52):
Like this was in that sense, it was a great
thing for these people. They were like on television, traveling
the world whatever he's you know, and Surelie made a
bunch of money from it. And then also like the fear,
if you're any kind of self aware person is that
you will be instantly consigned to like irrelevance like a
cultural joke, you know what I mean, Like and it's
(32:13):
the minute the joke turns, like I think about this
fucking now, the memification of everything and the speed at
which it moves and like the Hoctua girl, like any
of that stuff. I don't even want to say any
of it out loud because by the time, yeah, in
like twenty minutes, like who but like, right now, that's
a person who's like, well, right now, I think there's
some kind of crazy cryptos thing with her where she's
(32:34):
a lot of trouble. But you know what I mean,
there's like this and that's not new, right, said Fred.
I mean so it's honestly since you open the door earlier.
That's why all of those serious rock bands were terrified
of being like Nirvana was like, we have other songs
besides smells like teen Spirit. They didn't want to just
be thought of as like you know, it's like the difference.
(32:56):
I don't know if, right, said Fred, had designs on
wanting to be like a career your artist. Maybe they did.
Maybe they thought of themselves as like a serious part
of some kind of dance movement. I don't know a
dance music movement. I've not done the research there, but
it does make sense that you would be like I
think threaded into the win is the immediate knowledge and
(33:18):
fear of the loss, if that makes sense. And it's
like golden handcuffs or whatever, and in this sense like bronze,
maybe it's not like gold. It's like, yeah, well.
Speaker 1 (33:28):
It's really crazy. Like I think we've touched upon this
a little bit, but like your your Kurts and your
you know, notorious bigs who perished before they could go stale,
right and yeah, right right right, and those are like
so if you took like the career of like Billy
Corgan with the Smashing Pumpkins, right, he arguably had more
(33:50):
probably more radio hits than Nirvana, Right.
Speaker 3 (33:53):
Sure, I guess probably yeah.
Speaker 1 (33:55):
Like or around the same, around the same, you know, like.
Speaker 3 (33:58):
Green Day definitely as at this point a band like that.
Speaker 1 (34:01):
Yeah, I think smells like teen Spirit is probably bigger
than I don't know, it's probably pretty it's probably a
little bit bigger than the Smashing Pumpkins hits. But I
think they had a lot and you know, those songs.
He was a great he is he was a great
songwriter at that time, and like these songs really crossed over.
But they were so weird, you know, their total voice
(34:22):
is so like for what else is on the radio,
it's very odd. But if you he that's a real
fizzle out, yea. The Smashing Pumpkins, they and they went
another weirder directions, like they almost got like a little
goth so like I think the mainstream was like not
as much into it, and the mainstream changed exactly, so
that probably would have happened to some degread Nirvana, but
(34:42):
we'll never know. So they have this legendary status because
of what they did at when when he was around.
And you know, I love I think we talked about this,
maybe offline, about like that Spin article that was about
like what Nirvana would have done if he didn't die,
and he'd probably make a record with Michael Stipe or
like something like that. You know, and do so and
I think it's always really fun. But you know, and
(35:03):
how that relates to right said Fred is like I
kind of think that he right said Fred could have
probably kept going and had other songs, But I don't
know if right sead Fred was really built for it totally.
Speaker 3 (35:17):
Wh's kind of wild about what you shared. Which is
cool is it's it's not always the case that people
in the position of the word I was looking for before,
with like that kind of kitch thing. It's like a
novelty artist, right, It's rare that. First of all, sometimes
people don't see themselves as a novelty artist, and that
can be its own problem. Chocolate Rain, that's right, And
(35:38):
other times someone like this, it's like, you know, the
thing about a novelty is that it's hard to it's
pretty hard to keep being a novelty. It's like, by definition,
something that's a novelty kind of like happens once or
happens so, but it's interesting to hear an artist in
(36:01):
that world, you know, the dude who the people who
performed I don't know if they wrote and performed it,
but whatever, I'm too sexy to be aware of. Like, oh, yeah,
there was like that there was complexity in that at all,
and that there was an awareness of that complexity actually
speaks well of Wright, said Fred if that makes sense,
because it indicates that they were like not just like
(36:22):
you know, sort of like brain dead automatons or whatever.
They were like, yeah, that was awesome, and also it
kind of wasn't awesome for this, you know, you don't
want to be ungrateful. But at the other on the
other hand, it's like it wasn't necessarily it was like
a bridge to nowhere. It wasn't like a platform to
like a life.
Speaker 6 (36:42):
Oh.
Speaker 3 (36:42):
On the other hand, they're still probably getting I hope
they get paid very it is for all of those Yeah,
like that song is still everywhere. You're right, that song
is still all over the place, Like I bet my
daughter knows that song and she's nine, you know what
I mean. Like, I'm sure there's some TikTok YouTube kids
thing somewhere where, Like you know, it.
Speaker 1 (37:03):
Might even be in a kid's movie, Like it's it's
not it's pretty for having sexy in it. It's yeah,
it is pretty innocuous, like where it's like they don't
go into anything beyond just the having the letters S
E X in the in the.
Speaker 3 (37:16):
Title except for the part about the cat.
Speaker 1 (37:19):
Right with which when you unearthed it, and it's sort
of a backwards revolution number nine, like I listened to
it in a certain way, which you did, and so
otherwise though I don't think that Edie would pick up
on that. If I'm allowed to say her name.
Speaker 3 (37:34):
You did, and and honestly, uh, that's something I'll be
talking with Janis about too.
Speaker 1 (37:41):
Well do you just call her that for fun?
Speaker 3 (37:43):
So at the end of the day, what do you say?
What do you think you get? You give this a chance.
We give this a chance all day, all day. At
the end of that day, we've been giving this a
chance all day.
Speaker 1 (37:52):
I think that this really took me back to being
in my dad's Chrysler Minivan and putting on that VH
one CD, which I think had some probably some TLCA
no doubt, probably had some no doubt and it it
really took me back to that listening to it, and
I think I like it as much as I did then,
maybe more. I think I have a new appreciation for it.
Speaker 3 (38:14):
I might like it more. I'm sure at the time
I had this was right in the teeth of all
of that stuff Nirvana and Pearl Jam and Soundguarden even
like then for me still like that was right when
those new Guns N' Roses records came out Metallica Black Album,
Like I'm sure I was probably like thought that was
like deeply uncool, but also probably danced to it at
(38:36):
every dance at is seventy five on Staten Island that
I went to for yeah, or if I went so
sometimes I would go to dances at other schools too.
I was I was kind of like that. I was
kind of like always dancing and always going on like
but like then acting like oh Kirk, Kirk, Kurt, but
I was always like dancing.
Speaker 1 (38:52):
Dancing, Yeah, yeah, I like to move it, move it.
Speaker 3 (38:56):
We'll do that. Another time, But for now, I'm too
sexy for this pop that would be cool right if?
Speaker 1 (39:02):
Yeah? No, why can't we do it? Why can't we
do that? I want to just since we didn't do it,
I want to just say that I'm looking at the
other past episodes. How you remind me? Drops of Jupiter, Halenardo,
my wish shape of you, Hella Good, Larger than Life,
Pink Woke Up this Morning, Sopranos theme, Radioactive Believer, Butterfly
(39:23):
a bar song, sant Anger Lifestyle is of the Richmond
famous I did it? Chocolate Rain only eight seven to
seven cars for kids?
Speaker 2 (39:30):
Do they know?
Speaker 1 (39:30):
It's Christmas? Summer Girls Revolution number nine? And I think
that this is my favorite song. Wow, of these, this
is the song I think I would like to hear
more than the other ones.
Speaker 3 (39:42):
I will go with that too, like that, I would
actually like put on and Yeah, like every other song
that you just mentioned, there's something in it, but the
except of Chocolate Rain is its own animal. But I
don't really want to listen to Chocolate Rain. I don't
really want to listen to Evolution nine and all the
rest of that other stuff. There's something in it that
(40:04):
I actively like despise. There's like a something in every
one of those songs basically that I'm like, I can't
fucking abide by this. This is just like unfettered fun.
Speaker 2 (40:13):
Yeah.
Speaker 1 (40:13):
I mean the only other you know, the only close
I think I would put on as for in a
compilation would be like do they know it's Christmas? But
differently like it? But if it's in a if it's
in a comp I won't turn it off if it's
in a camp. But yeah, otherwise, yeah, I think it's
I think it's up there. I mean, you know, there's
there's songs that I had, you know, we ended with
like a newfound of love for or respect for That's true.
Speaker 3 (40:36):
That is true.
Speaker 1 (40:37):
This was this was This was an easy chancy.
Speaker 3 (40:40):
Very easy positive. I think that right said, Fred should
be proud of what the work they did here and
whatever else they feel, take it up with your own
fucking therapist, Fred, don't bring that into our pod. We
have our own ship to deal with here.
Speaker 1 (40:54):
Yeah. And Janet's like busy, she can't like take on
every single no.
Speaker 3 (40:59):
Not everyone I bring her. I bring so many people
to Oh you should talk to her.
Speaker 2 (41:02):
She's great.
Speaker 3 (41:03):
She really helps me with all my issues. Yeah, but
stay good at the tissues. He spit it, spit it,
Gardner mins new that's a backup, quarterback start.
Speaker 2 (41:22):
That's it.
Speaker 1 (41:22):
You glitched out, you glitched down in that last little sex.
That's a whole glitch glitch fast.
Speaker 4 (41:27):
Great.
Speaker 1 (41:29):
It was like rong and you're listening to k Rack.
Speaker 3 (41:37):
No, that's what I said.
Speaker 2 (41:38):
That was.
Speaker 1 (41:40):
You're listening to Rack.
Speaker 5 (41:47):
Oh, I haven't let your like.
Speaker 1 (41:50):
I thought the same thing. I think we ended this
podcast a while ago because we're too sexy for it,
but I'm not sure.
Speaker 3 (41:57):
And if not, we're you sect peper.
Speaker 2 (42:00):
This spot just sh
Give it a chance, Give it a chance, Give it
a chance. Come morning, give it a chance. Give it
a chance, give it a chance, give.
Speaker 2 (00:09):
It a chance.
Speaker 1 (00:09):
Good morning, Give it a you want to give it
a chance, Give it a chance, give it a chance.
Just give it a chance.
Speaker 3 (00:18):
Okay, dabs definitely just saluted each other. I'm gonna go
off bit I got glitchy, why fy today? Chancers? That glitch,
that glitch glitch please, you must have a mental disease.
Speaker 1 (00:31):
Welcome everybody to another episode of Give It a Chance
where we listen to this song that's a secret for Kevin,
and we give it a chance this week.
Speaker 3 (00:40):
One time we didn't. One time I brought my own song.
Speaker 1 (00:43):
That's true that I was thinking about that today. I
was like, these the omars and the tiny chancers are
probably like one's Kevin gonna pick another song, but it's
not today. Nope, I'm actually sad keV. Here comes the hint,
because your WiFi is not great until you're off a video,
and I wanted people to see how sexy you are.
Speaker 3 (01:04):
Oh god, you know it, I do. I think what
we're gonna hear is sex Men's Bizarre by Lance and
Baby three. Now do Sexy Life.
Speaker 1 (01:24):
Yes, and do you know the name of the group.
Speaker 3 (01:26):
Do you remember do I know the name of the group?
What self respecting forty five year old who came of
age in the early nineties would not know? This was right,
said Fred?
Speaker 1 (01:34):
Come on, yes, queen, yes, I so. But before we
go and listen to this song, I want you to
know that I had some sort of compilation that was
like it was I think it was like VH one
Hits of the Nineties or something, but it was like
in the two thousands we had it, and I almost
feel like it was actually I remember it almost like
(01:56):
in the late nineties that they had like Hits of
the nineties. Yes, yes, and this was on it. And
you know when you're like a kid and you don't
really have discerning taste like everything, like there's no genre
you like necessarily totally. I actually I feel like I'm
back to that now.
Speaker 3 (02:11):
But you are good at this. I feel like you
are very lowercase C Catholic tastes universal wide.
Speaker 1 (02:18):
Yeah, yeah, no ego. And this song was on that mix,
and I was like, this song is great. I like
loved it, the vocals, like the whole music, like the
I think I really love the music of it. But
I will say that this is a song that people
are like, that song's a joke, that song's bad. Sure,
it's like the era of these one hit wonders that
(02:42):
like it was almost more of People liked it because
it was so weird and different, but they didn't really
feel like it could stand on its own. Two muscular Legs.
Speaker 3 (02:51):
Jacked out, never skipped legg Day Gladiator three, Right, said Legs.
Speaker 1 (02:57):
But I'm pumped to listen to this As a former
fan that hasn't listened to it in probably twenty five years,
I've avoided listening.
Speaker 3 (03:04):
Wow, twenty five years. I like what you did there
with pumped too.
Speaker 2 (03:07):
That was good.
Speaker 1 (03:08):
Yes, I'm just I'm just flexing my mental muscles.
Speaker 3 (03:15):
To poop oh la la shizzle.
Speaker 1 (03:21):
There you go, there you go. I want to also
say that it's kind of impossible to not hear this
song a little bit because, like even to today, this
song is used in like trailers of movies.
Speaker 3 (03:33):
Yep, and in movies, in numerous movies.
Speaker 1 (03:36):
Yeah, it's like an on the nose song that always
kind of works. So that being said, we're now going
and listen to right, said Fred. I'm Too Sexy original mix, I'm.
Speaker 3 (03:46):
Too sixty my shirt to sixty, my shirt so sexy
it hurts.
Speaker 2 (03:54):
Wow.
Speaker 1 (03:55):
Wow, this might be the easiest give it a chance,
because I couldn't. I'm trying to find things to anti chance.
Speaker 3 (04:03):
No, we can just be a positive, We can be
a forms of positivity in the world if we want to. Today.
Speaker 1 (04:09):
I'm perplexed as to I can understand why people might
not like it. It's a little tongue in cheek, like
he's I think he's kidding throughout this song, and I
could see people not taking it seriously or feeling that
it's like, I don't want to listen to this guy
just kind of joking around, right, like it's nineteen ninety
(04:31):
one when this comes as serious people, Yeah ninety one, bro,
you know I'm going hungry.
Speaker 3 (04:38):
Yeah, so what I'm saying, like, you know, we'll get to
where of course I'll talk about Kurt a little later,
but go ahead.
Speaker 1 (04:42):
Yeah, yeah, but you're right. But yeah, I think there's
a lot going on in this song that at first
it starts out like like you know, a fruity loop
that somebody made like on their computer, like you remember
for loops. Yeah, I do so it's like somebody's just
(05:04):
like made some like you know, kind of stock beat.
But then you realize, oh no, this bas is like
being played live. And then there's like all kinds of
like fun sound effects that are dropping in and varying
sonically throughout it. It's lacking some sort of like it's
it's as catchy as it is, it's kind of lacking
(05:24):
you know, a melodic hook or something like, but that's
almost it's almost an anti hooked to be like I'm
a model, you know what I mean. Like, yeah, it's
really weird and fun. It's catchy, but it is not
It's not what you would consider top forty. And I
(05:45):
think the nineties was kind of good.
Speaker 3 (05:46):
At that, totally totally, and I mean I think also
it's like, you know, it gets into like something that
might be considered like a gimmick song or like kitchy
or whatever. It's like, you know, well, so, what what's
wrong with that? What's so bad about that? Like I
have a lot more respect for something that's like a
straight up I don't know, perfectly or well executed, and
(06:09):
this is I think almost it's this pretty high level
of execution for what it's set out to be. It's
committed to what it is. It's not. Also it's interesting though,
I mean, my brain is being let in all these
different directions. It's funny because what you said about the
melodic structure or lack thereof. It's funny because I've always
felt this with this song and I haven't heard it
in a while. When he's singing, I'm actively like, what
(06:33):
is he like in the verses, I'm like, is he singing? Like?
Is he singing notes? Or is he just kind of
dogging in a weird spot in his voice? Like sometimes
it feels like he's kind of higher than other times
he's kind of like down here, And I can't really
tell if there's like ever, like if you try to
play the vocal line on an instrument, does it exist
or is it just sort of like do you know
(06:54):
what I'm saying? Yeah?
Speaker 1 (06:55):
I do. It's like the same note but like almost
like someone's bending it slightly.
Speaker 3 (06:59):
Yeah, yeah, but so is it a note? Like I
guess any spoken Like I wonder if any This might
be the stupidest thing I've ever said on this podcast,
which would be saying something I wonder if any spoken
sound is roughly findable if in isolation as a note
in a music scale or close to it. Do you
(07:21):
understand what I mean by that? No?
Speaker 1 (07:22):
I do. I think if someone made like a MIDI
version of it, like like like almost like an eight
bit version of it, it'd.
Speaker 3 (07:27):
Be like and then well and that no, that there's
a clear melody the chorus to me, like but when
he's going just like.
Speaker 1 (07:40):
I'm like, what the fun you do it? You did again?
Speaker 2 (07:46):
I am.
Speaker 1 (07:49):
The wrong song?
Speaker 3 (07:50):
I am my yard.
Speaker 1 (07:55):
This is actually maybe this was like the influence of
waha wa maybe yeah, who is that again?
Speaker 2 (08:05):
Oh?
Speaker 3 (08:05):
That was I think disturbed down with the sickness. That's
a good thing.
Speaker 2 (08:14):
That's alo.
Speaker 3 (08:15):
Yeah, that's for next time. That's for you to give
a chance on your own fucking time case. Right now,
it feels I do feel like there's something about It's
in the very first intro where that opens a song,
and in the very last lyric, second to last lyric
this love I'm too sexy for my love, Love is
(08:37):
going to leave me? Yeah, and I'm like, whoa. It
actually recasts the whole song as like this to me,
are you ready? Far out? Chancy take from keV I
Can't Wait? It's funny. It's tongue in cheek. Obviously. The
music is it's a party. It's you know, a club song.
It's top forty sort.
Speaker 1 (08:57):
Of, you know, it's an and beat.
Speaker 3 (09:00):
It's a club thing. It's a beat. But and it
is this person who's almost like, like you said, whether
it's a joke or not, it's like a it's like
a like a it's like a Braggert's delight, right, like
somebody who's kind of like talking themselves up, like I'm
too I'm so, I'm too sexy for everything around me,
this shirt, I'm so sexy. It hurts, like all of
this stuff. I also thought, by the way, it's funny
when it says I'm too sexy for your party. I
(09:21):
always said he said too sexy for your body. And
I also thought he said too sexy for your body
the way I'm disco dancing. I never thought it was
I'm too sexy for your party. No way I'm disco dancing.
There's no way I'll be at your party disco dancing.
But look this whole thing when you frame it in
(09:42):
the parentheses of I'm too sexy for my love, too
sexy for my love, love is going to leave me.
It actually becomes this crazy, weird insecurity thing where he's like,
I'm talking myself up with all of this, like aggressive, braggadocious,
I'm too sexy for Milan, I'm too sexy, you know.
And then it's actually because he's like, I'm so scared
(10:02):
that my love's going to leave me, like or I'm
so sexy that like my maybe, wow, I'm really getting
far field here.
Speaker 1 (10:09):
Yeah, I love this.
Speaker 3 (10:10):
I'm so sexy that I make my partners insecure and me,
which is fucking that's layered that I think so too,
really chance chance words, it's.
Speaker 1 (10:22):
Both like it is both like hedonistic but also introspective.
That's it, Doug, And it's yeah, that's I like that
take of like it's my problem is I'm too sexy
and when you think about it all that it's like
not a brag. And he's like, I'm too it's like hard.
I'm like, because that's what too, that's what two means too. Yes, yes, yes,
(10:43):
there are times that my daughter was was was accidentally
saying I love you too much and instead of so
much and I and I love that and I think
it's fun, but it makes it too means it's bad, so.
Speaker 3 (10:57):
Go and also with respect to the love of a
child and a parent, just to go there for a minute.
There are times where I'll literally be like, like, it
is possible too much almost weirdly makes sense because it's
so big, that feeling of like, oh my god, I
love this small human being almost too much.
Speaker 1 (11:15):
Too much?
Speaker 3 (11:17):
Yes, So like her saying that to you as a joke,
is it almost like offering you access to your own
feelings about her, which is funny, But please contend. I'll
go off camera now. I'll take my answer off camera.
Thanks for Kevin, thanks for taking the call.
Speaker 1 (11:32):
I'm too sexy for mil Milan, which he says Milan
I'm which makes me feel actually that he's never been there.
I'm too sexy for Milan, New York and Japan unless
he only said Milan to rhyme with Japan. I'm too
sexy right, Like, so he can't even fucking travel, this
poor guy. Yeah, he can't even wear a shirt because
his shirt to her sexy for it, he's so sexy
(11:53):
he has to take a shirt off. But that's what's
so hard is because he's sexier when he takes his
shirt off. So it's it's sort of double edged. Short,
he's too sexy to wear a shirt, he has to
take his shirt off.
Speaker 3 (12:04):
Dude gets even worse.
Speaker 1 (12:05):
He can't even have a cat, his cat. He's too
sexy for his cat. His cat's gonna leave him.
Speaker 3 (12:10):
Yo, his cat's gonna fucking die. Case he can't have
a cat, he's too sexy. The cats look, the poor
pussy cat's gonna die. And of course this may be
the one place. Look, I'm not a fucking puritanical anti
sex positive. I'm fucking I'm honestly, I'm I'm with like
all of it, like do whatever you want. But I
was like, the one thing where he says poor pussy
(12:31):
por pussy cat, I was like, okay, okay.
Speaker 1 (12:34):
No, no, no, he can't help himself.
Speaker 3 (12:35):
He's sexy, Yeah, but he's gonna talk about pussy. Yes,
that's exactly it's not pussy poss he's in Leo's pussy posse.
Speaker 1 (12:43):
This was your thought, and you're right, it's an ailment
that he's discussing. And so one of the symptoms is
he can't help but call a cat pussy because he's
so sexy. Right, what's the sexiest way to what's the
sexiest way to call a cat?
Speaker 3 (12:57):
I guess to call a cat like the sexiest thing
to say to a cow and be like, Yo, you
have feline?
Speaker 1 (13:03):
Ah my god, that's the sexiest thing.
Speaker 3 (13:09):
That's what I always say to people's cats, like when
I go to their house, cause I look, I also
didn't want to say like I of course I d
with this song. And so when I go to people's houses,
I'm always like, First of all, I'm like, I'm so sorry,
I'm gonna leave my shirt all while I'm here, and
they're always like, no, no, please, please take it off. No, no, no,
And then I'll be like and then I'll be like, yeah,
where's your cat? And then back, oh, my cat's in
the other room, and I'll be like, you'll bring me
(13:29):
out that cat, and I'll feed the cats some science diet.
And then I'll be like, while I'm feeding the cat's
science diet, I'll be like, yo, do you have felie A?
Speaker 1 (13:39):
What what would be the answer you would like the
most out of that question from that question? No?
Speaker 3 (13:47):
No, that's like, gotcha, I hope you got me.
Speaker 1 (13:55):
I'm sorry, everybody, don't don't even please.
Speaker 2 (13:58):
Okay, on the.
Speaker 1 (14:11):
On the catwalk. I have a feeling that this was
one vocal take he did. Yeah, I'm not even sure.
I'm not even sure he even had all the lyrics,
because you could see a sort of stream of consciousness
when he's like, I'm a model, you know what I mean,
I do my little turn on the catwalk, and then
suddenly he's talking about he's too sexy for my cat.
(14:32):
I wonder if it was just like I shake my
little tish on the catwalk, I'm too sexy for my cat,
you know, like it was just like what else do
I say when you're trying to rap and you're like
you're just like whatever comes out, it's really really good,
but something that was definitely premeditated. And I give a
big chance he too is and I'm too sexy for
this song.
Speaker 3 (14:53):
Oh yeah. The way he lands that is mic drop,
maybe the first mic drop.
Speaker 1 (14:58):
It's yeah, it's it's meta.
Speaker 3 (15:01):
It's meta. The song had to end in that moment.
And the way he delivers the line yeah, you're right,
the phrasing, like the drop in his voice, it's almost
like a mechanize like I'm too sexy for this song.
Speaker 1 (15:14):
It's great. It feels like you know, like when it's
when like like you're doing like a high school or
music project or college like project and you have to
like make a yeah, yes, a product, or make a
song or something. It feels like like kids getting together
and making a song and recording it in a good way.
Speaker 3 (15:35):
Which is a super big chancy thing. For sure. That's
like a what's better than that? The joy of that
is pretty pure and fun.
Speaker 1 (15:42):
It's weird and it's but it's it's fun and it's like,
let's try to do this, and you know, there's a
there's an energy I do and I'm.
Speaker 3 (15:50):
Just honestly every lyric is just the sight of joy.
Like I'm too sexy from my car, Like I can't
even get to fucking work in the morning, dude, my
car keeps breaking down and it's not close. I'm too
sexy by far. Yes, yes, yes, way, that's hilarious.
Speaker 1 (16:12):
It's really hilarious. It's not like it's not like he's
just like it's just at the beginning of being too sexy,
Like he's far into being too sexy.
Speaker 3 (16:19):
But you know what I wonder here as I'm going through.
So when he after the car, he's talk about his
hat and he says, what you think about that? Now,
given the context where we've described here, what we've set
up and what we've come to realize, the parenthetical device
where there is an expression of insecurity, I'm so sexy.
(16:40):
It's ruining my life. Every corner, nothing's untouched. What you
think about that? Maybe RSF, this whole thing is a
therapy session.
Speaker 1 (16:51):
Dog Jess is him.
Speaker 3 (16:53):
Talking to call back from all those years ago when
we did Revolution nine back in six d eight. But yeah,
maybe he's talking to.
Speaker 1 (17:03):
Jacket Janet on the podcast. We gotta have them?
Speaker 3 (17:08):
Should I have my actual therapist come on the podcast
to be you just have to you have to say
your name is Janet? That would be really meta.
Speaker 1 (17:17):
And if Janet, if your Janet comes on, it is
just like, does he talk about Nirvana a lot like
he does in therapy?
Speaker 3 (17:28):
I'm trying to think now how many times in therapy
I have talked about Nirvana or Elliott Smith? And now
the answer is obviously for sure it's more than zero.
Speaker 1 (17:44):
Oh yeah.
Speaker 3 (17:45):
The question is for you, do you what you think
about this? M hit me, Jane, do you think I've
talked about Nirvana and Elliot Smith? Moore on this podcast
or in therapy. I'll take my answer off Lee. Thanks
for taking the call.
Speaker 1 (18:02):
Uh yeah, I think you've probably mentioned the trifecta in therapy.
You've done it Ard Cohen.
Speaker 3 (18:14):
And actually it's really funny shocking.
Speaker 1 (18:16):
I could actually see Nirvana covering this like live, you know,
like you know, and you.
Speaker 3 (18:23):
Know, I bet they had it on on like some
like between I would not be surprised if this was
like on at their concerts like some between band playlist
of just like crazy like they loved like Rupe Paul right,
Like I could see them.
Speaker 1 (18:36):
So I have a question for you on a musical level,
what inspired this? Musically? I have some thoughts. Yeah, piano
feels like kind of actually like sort of a sampled
feels like it could have been sampled from like a
Hall of Notes type band, because that like piano, but
like it's a little faster thing like yeah, and then
(18:59):
but it's de only like using you know, kind of turntablism,
you know, like with with the beat and like the
I think the piano feels like a loop.
Speaker 3 (19:08):
There is some lights scratching that goes on in a
few spaces too. Yeah, but the bass is it's very
kind of scratching like a cat with like feeling. Sorry,
sorry did you.
Speaker 1 (19:23):
Come on video just for that so I could see
you go?
Speaker 3 (19:30):
Yeah, yeah, all right sorry sorry. The bass.
Speaker 1 (19:33):
The bass, it's so there's Drummond Basses an influence on us,
for sure. It's like that that kind of euro club jungle. Yeah, yeah, sure,
that's stuff that came out of like the UK and
those like like the way they would they would have
Like remember there was always like an extended UK mix
like Blondie and and like you know, who are those
(19:54):
other eighties like Clubby kind of like Wham but like
less pop.
Speaker 3 (20:00):
I feel like Wham but less pop, like I think
about I don't know if this is the same thing
you're thinking of. I definitely hear a sort of like
sort of sanded down, sanitized for radio consumption version of Yeah,
this is totally I think of all that like mad
Chester whatever that like that like UK rave thing that
(20:22):
that's happening at the late eighties early nineties that becomes like, yeah,
it's like new order. That was what a lot of
that music had, and it was also yeah like stuff
and I feel like maybe stuff even like the Stone
Roses and like the what was the band that had
the Oh my god, there's another one that I'll think of.
I don't want to waste our time on the pod.
There's one specific I'm thinking of right now that had
(20:43):
like that came from that world. It was like kind
of that was Stone Roses were a little bit more rock,
I guess, but they had that like club thing happening too.
And then things like Chumbawamba who have that big hit later,
But that thing was that was a band doing.
Speaker 1 (20:57):
Ad for a while.
Speaker 3 (20:58):
They were, they were around though. Yeah, yeah, And I
think that it also has that German Berlin like that
club Eastern European club thing. That's where I thought this
man these guys were from For some reason, I have
no idea, but I always thought they were like an
Eastern European.
Speaker 1 (21:14):
Yeah, I guess I did too, but they now they
doesn't feel that way. I felt like Easter Caropiano or
even like Italian. But are they from Idaho? They're from Idaho.
They're from cat Town, Idaho.
Speaker 2 (21:28):
No.
Speaker 1 (21:29):
The other groups that I came to mind were like
the Pet Shop Boys, like as a precursor to this.
Speaker 3 (21:35):
Not like yes, yes, yes, totally erasure maybe yeah, stuff
like that. Yeah, yeah, yeah, yeah, yeah, that makes sense.
But yeah, I think that, and I think that thing
you're talking about about that like the way the keys
are moving that done done the piano rather block chords
in that rhythm. That was also when like that was
in all of that stuff and then whatever was happening.
(21:56):
I'm thinking of that, Like you remember that Jody was
it CC pennistin or something like the it was I
think the song was called like She's Homeless or Homeless
or something like that. There was this like club music
in the early nineties in the States too, that was
in conversation with that stuff, and that piano emotion wasn't
all of that music like, uh call him mister raider,
call him mister wrang. Yeah, yes, it had these like
(22:19):
dun't I love that, don't don't see and see music
factory all that ship.
Speaker 1 (22:23):
Yeah, that's what I'm talking about. That's what I wanted
to sort of think about. Also, like it's got that
tuned up drum that's just the same drum, but it's
like instead of yes, yes, yes, yes, yes, yeah, I
love that, Like I I actually feel like that's gone.
That's like a thing that people did that's gone. You
(22:43):
don't hear it in music like it's it's it's like
playing a synthesizer from the although people I know what
you mean, Yeah, like you know your Mac DeMarco's and
stuff bring back old synthesizers. But I think certain techniques
like pitching drums like that you don't really hear.
Speaker 3 (22:57):
Totally, and I think the ghost of that stuff you
could still this might be a regional thing for anyone
that's not uh, you know, a Tri State area, upper
Northeast person, but I feel like you hear the ghost
of some of that on like kt U and stuff
like that. They're just like playing an extended kind of
like I don't know, my brain wants to say jam,
but it's not a jam, like just like exactly an
(23:17):
extended mix or whatever something. There are times during those
builds where you'll hear like they kind of it's almost
like instead of the pitched up drum, now it becomes
some sort of like rising air raid sound or something.
But it is a cousin of that, because I do
feel like the pitched up snare was meant to like
it was an anticipatory tool, like making you be like, oh,
(23:38):
something's about to happen.
Speaker 1 (23:40):
Yeah, yeah, you hearing like DJ music now that like
you know before the beat drops.
Speaker 3 (23:44):
That, Yes, that's what exactly on the scat Man exactly.
Speaker 1 (23:54):
But let everybody go.
Speaker 3 (23:59):
That's like that's that's like a kidnapping dance song.
Speaker 1 (24:03):
Yeah, yeah, body go and then everyone all there it's
they hit the ransom, do the ransom. There's also in
the beginning of I'm Too Sexy that distorted guitar that's
really fun. Yes, it's like almost like that vocal like, yeah,
it's it's cool like like that. From that moment, I went, oh,
(24:26):
this is going to be the easiest episode ever. There's
there's really not that much I dislike, like aside from that, Yeah,
I guess like this is not a song I would
throw on all that. What's what song is that you
want to just listen to all the time? But like, yeah,
that's of course I'm not now stop at hot yoga.
But this is it's pretty fun. There's enough going on,
(24:50):
and there's there's like enough even though it's like very
repetitive within that loop, there's just times that the bass
is doing something that's like so driving you really it
catches your ear. It's it's a pretty well crafted tune.
Speaker 3 (25:05):
It really is. The craftsmanship is actually it's strongest besides
the strength of like the top line how funny and
like kind of like I don't know, memorable, the lyric
and presentation of the lyric are. It's construction is its
strongest trait. I mean that big wide synth lead that
comes in after the choruses and like now we're in
(25:27):
like abba territory or something. It's like yeah, and that
stuff is like kind of unassailable in its construction. It's
like perfect as what it is.
Speaker 1 (25:37):
I love that part. I'm so because I forgot about it.
I love it, and it's so funny how dancy it is,
because what makes you dance really, when you break it
down is like the is the beat. But when you
have a line that like just plays like that, it
al yeah, scentuates those other things so much and it
feels so freeing. I love it, dude.
Speaker 3 (25:59):
At the wedding on dance floor when that synth park
comes on a bunch, like hands go up like yay, yeah,
it just changes to one hundred absolutely. I keep thinking
of one hundred percent every time I say one hundred percent.
My mom recently was like, you know what I can't
stand now. Every time someone agrees with someone about anything,
I have to say one hundred percent. And I'm like,
I say this ship all the time. Why don't you
(26:21):
just tell me? Don't be I'm like, why don't you
just tell me the name of the movie you would
like to see?
Speaker 1 (26:25):
Uh? That's I like when people cut out the percent
and they'll be like.
Speaker 3 (26:29):
A hundred that's insane. Yeah. Actually, if I was talking
to somebody and they said that, I would that would
stop me in my tracks act.
Speaker 1 (26:37):
Did you just what I think? I? I think I
accept it all.
Speaker 3 (26:40):
I like, I like, hondo p You're an accepting guy.
Is good.
Speaker 1 (26:45):
I like when people say a thousand percent. That's fun,
you know what.
Speaker 3 (26:50):
I like? I say a thousand because that's like a
lot on thousand percent. I think it's cool when someone
goes hundo pe, we're shouting, we're talking me.
Speaker 1 (27:00):
I'm so sexy. I don't have a.
Speaker 3 (27:03):
Cat, Janet, Please, I'm so sexy.
Speaker 2 (27:11):
Will you help with me?
Speaker 3 (27:14):
That's what I usually say in therapy. Will you help
with me?
Speaker 2 (27:17):
You help with me?
Speaker 4 (27:18):
Janis?
Speaker 3 (27:19):
Will you help with me?
Speaker 2 (27:22):
Nirvana?
Speaker 4 (27:23):
Janet, it's time for your weekly dose of what dild
Kurt do in April ninety three.
Speaker 3 (27:45):
I do think that his vocal delivery and this is
a little Leonard cohenesque. Just to be fair, I do
think there's a little bit like you're right Nirvana to
sexy for Nirvana.
Speaker 1 (27:56):
Yeah, I think you're right. It is very It is
kind of Lenny.
Speaker 3 (28:00):
I know Lennydikster too. Another eighty six minute.
Speaker 1 (28:05):
That has been mentioned in the song here. How many
mets have you dropped into songs that's true?
Speaker 3 (28:11):
My name at least two Lenny's trin Wally Bachman so far.
I met Keith Hernandez once at my teacher in college
wrote a book Brian McDonald My Father's Gun, and at
Elaine's the old school, like famous Woody Allen, you know,
rest in Peace. A lot of people would hang out
(28:32):
at this place, Luminaries writers, Lumineer, both Lou and Minir
from the Mineers. But I was like twenty and drunk
and at my teacher's book release party and Keith Hernandez
used to always hang out at this bar on the
Upper east Side. My teacher was like, there's Keith Hernandez.
You can go say hello if you want to, and
(28:54):
I did. He was with like some like impossibly beautiful
statuesque blonde woman. And I was like, excuse me, are
you Keith Hernandez And he was like that's me. And
I was like, I have a band named after you.
And he went, you have a band named Keith Hernandez.
Speaker 1 (29:11):
This is great, that's so funny.
Speaker 3 (29:14):
I was like, no, asshole, it's called Miracle of eighty
six and you can Spotify five five.
Speaker 1 (29:20):
Spotify wasn't even the thing yet.
Speaker 3 (29:21):
Well, that's what I'm saying. But that's what I'm saying.
When I said that new we catapulted it into the
future future.
Speaker 1 (29:27):
Oh and that's the delay, and I want to let
everyone know that Kevin's doing the delay himself. That is
not Josh.
Speaker 5 (29:35):
Well, it could be Josh. Tough to say.
Speaker 1 (29:48):
I'm obsessed with, right, said Fred. Right now, I just
kind of went into their wiki.
Speaker 3 (29:52):
I know their other song. I remember their other what
I remember a second hit.
Speaker 6 (29:57):
Don't talk just kiss with your own words.
Speaker 1 (30:02):
And so now you're really making it, Lenny.
Speaker 3 (30:06):
Oh, well that's how I you know, that's how I Is.
Speaker 1 (30:08):
That what it sounds like or is it like a
dance song?
Speaker 3 (30:10):
We can listen to her quickly if you want to don't.
It does say it is a dance song.
Speaker 6 (30:13):
Don't talk just kiss wowitch your tongue very round.
Speaker 1 (30:20):
I'm gonna listen real quick, all right, I'm also going
to tell you something. I'm listening right now.
Speaker 3 (30:28):
Get to the chorus.
Speaker 1 (30:29):
It's the same this was shot. Oh my god, I'm
looking at the music video and it was shot at
the exact same time they did I'm Too Sexy. It's
so clear. It's the exact same sound stage, like he's
wearing basically the same thing.
Speaker 3 (30:40):
Why not? Why not? You got the sound stage, you
got the day.
Speaker 1 (30:43):
I can't listen to the whole thing. I don't like it.
But the reason why I picked this song, Kevin Yes,
is because in some YouTuber, Instagram or something algorithm, I
was fed that right said. Fred had had a newer
song out recently that was sort of of talking about
the success of I'm Too Sexy and the pros and
(31:05):
cons of being a big artist at that time, and
how it like allowed him to travel the whole world,
but also pigeonholed him them into a sort of style
and as a one hit wonder, so it helped and
hurt their career like they would have no career without
the song, which is something I feel like I've heard before,
but like and and that's what made me be like, oh,
(31:26):
I'm going I want to now do that for this episodele.
Speaker 3 (31:30):
Because that's I feel like that's the It's so often
the thing with I don't know it shows, like, yeah,
we sort of prize as the sort of like ultimate goal,
the kind of momentary ubiquity and saturation something like this offers,
(31:52):
Like this was in that sense, it was a great
thing for these people. They were like on television, traveling
the world whatever he's you know, and Surelie made a
bunch of money from it. And then also like the fear,
if you're any kind of self aware person is that
you will be instantly consigned to like irrelevance like a
cultural joke, you know what I mean, Like and it's
(32:13):
the minute the joke turns, like I think about this
fucking now, the memification of everything and the speed at
which it moves and like the Hoctua girl, like any
of that stuff. I don't even want to say any
of it out loud because by the time, yeah, in
like twenty minutes, like who but like, right now, that's
a person who's like, well, right now, I think there's
some kind of crazy cryptos thing with her where she's
(32:34):
a lot of trouble. But you know what I mean,
there's like this and that's not new, right, said Fred.
I mean so it's honestly since you open the door earlier.
That's why all of those serious rock bands were terrified
of being like Nirvana was like, we have other songs
besides smells like teen Spirit. They didn't want to just
be thought of as like you know, it's like the difference.
(32:56):
I don't know if, right, said Fred, had designs on
wanting to be like a career your artist. Maybe they did.
Maybe they thought of themselves as like a serious part
of some kind of dance movement. I don't know a
dance music movement. I've not done the research there, but
it does make sense that you would be like I
think threaded into the win is the immediate knowledge and
(33:18):
fear of the loss, if that makes sense. And it's
like golden handcuffs or whatever, and in this sense like bronze,
maybe it's not like gold. It's like, yeah, well.
Speaker 1 (33:28):
It's really crazy. Like I think we've touched upon this
a little bit, but like your your Kurts and your
you know, notorious bigs who perished before they could go stale,
right and yeah, right right right, and those are like
so if you took like the career of like Billy
Corgan with the Smashing Pumpkins, right, he arguably had more
(33:50):
probably more radio hits than Nirvana, Right.
Speaker 3 (33:53):
Sure, I guess probably yeah.
Speaker 1 (33:55):
Like or around the same, around the same, you know, like.
Speaker 3 (33:58):
Green Day definitely as at this point a band like that.
Speaker 1 (34:01):
Yeah, I think smells like teen Spirit is probably bigger
than I don't know, it's probably pretty it's probably a
little bit bigger than the Smashing Pumpkins hits. But I
think they had a lot and you know, those songs.
He was a great he is he was a great
songwriter at that time, and like these songs really crossed over.
But they were so weird, you know, their total voice
(34:22):
is so like for what else is on the radio,
it's very odd. But if you he that's a real
fizzle out, yea. The Smashing Pumpkins, they and they went
another weirder directions, like they almost got like a little
goth so like I think the mainstream was like not
as much into it, and the mainstream changed exactly, so
that probably would have happened to some degread Nirvana, but
(34:42):
we'll never know. So they have this legendary status because
of what they did at when when he was around.
And you know, I love I think we talked about this,
maybe offline, about like that Spin article that was about
like what Nirvana would have done if he didn't die,
and he'd probably make a record with Michael Stipe or
like something like that. You know, and do so and
I think it's always really fun. But you know, and
(35:03):
how that relates to right said Fred is like I
kind of think that he right said Fred could have
probably kept going and had other songs, But I don't
know if right sead Fred was really built for it totally.
Speaker 3 (35:17):
Wh's kind of wild about what you shared. Which is
cool is it's it's not always the case that people
in the position of the word I was looking for before,
with like that kind of kitch thing. It's like a
novelty artist, right, It's rare that. First of all, sometimes
people don't see themselves as a novelty artist, and that
can be its own problem. Chocolate Rain, that's right, And
(35:38):
other times someone like this, it's like, you know, the
thing about a novelty is that it's hard to it's
pretty hard to keep being a novelty. It's like, by definition,
something that's a novelty kind of like happens once or
happens so, but it's interesting to hear an artist in
(36:01):
that world, you know, the dude who the people who
performed I don't know if they wrote and performed it,
but whatever, I'm too sexy to be aware of. Like, oh, yeah,
there was like that there was complexity in that at all,
and that there was an awareness of that complexity actually
speaks well of Wright, said Fred if that makes sense,
because it indicates that they were like not just like
(36:22):
you know, sort of like brain dead automatons or whatever.
They were like, yeah, that was awesome, and also it
kind of wasn't awesome for this, you know, you don't
want to be ungrateful. But at the other on the
other hand, it's like it wasn't necessarily it was like
a bridge to nowhere. It wasn't like a platform to
like a life.
Speaker 6 (36:42):
Oh.
Speaker 3 (36:42):
On the other hand, they're still probably getting I hope
they get paid very it is for all of those Yeah,
like that song is still everywhere. You're right, that song
is still all over the place, Like I bet my
daughter knows that song and she's nine, you know what
I mean. Like, I'm sure there's some TikTok YouTube kids
thing somewhere where, Like you know, it.
Speaker 1 (37:03):
Might even be in a kid's movie, Like it's it's
not it's pretty for having sexy in it. It's yeah,
it is pretty innocuous, like where it's like they don't
go into anything beyond just the having the letters S
E X in the in the.
Speaker 3 (37:16):
Title except for the part about the cat.
Speaker 1 (37:19):
Right with which when you unearthed it, and it's sort
of a backwards revolution number nine, like I listened to
it in a certain way, which you did, and so
otherwise though I don't think that Edie would pick up
on that. If I'm allowed to say her name.
Speaker 3 (37:34):
You did, and and honestly, uh, that's something I'll be
talking with Janis about too.
Speaker 1 (37:41):
Well do you just call her that for fun?
Speaker 3 (37:43):
So at the end of the day, what do you say?
What do you think you get? You give this a chance.
We give this a chance all day, all day. At
the end of that day, we've been giving this a
chance all day.
Speaker 1 (37:52):
I think that this really took me back to being
in my dad's Chrysler Minivan and putting on that VH
one CD, which I think had some probably some TLCA
no doubt, probably had some no doubt and it it
really took me back to that listening to it, and
I think I like it as much as I did then,
maybe more. I think I have a new appreciation for it.
Speaker 3 (38:14):
I might like it more. I'm sure at the time
I had this was right in the teeth of all
of that stuff Nirvana and Pearl Jam and Soundguarden even
like then for me still like that was right when
those new Guns N' Roses records came out Metallica Black Album,
Like I'm sure I was probably like thought that was
like deeply uncool, but also probably danced to it at
(38:36):
every dance at is seventy five on Staten Island that
I went to for yeah, or if I went so
sometimes I would go to dances at other schools too.
I was I was kind of like that. I was
kind of like always dancing and always going on like
but like then acting like oh Kirk, Kirk, Kurt, but
I was always like dancing.
Speaker 1 (38:52):
Dancing, Yeah, yeah, I like to move it, move it.
Speaker 3 (38:56):
We'll do that. Another time, But for now, I'm too
sexy for this pop that would be cool right if?
Speaker 1 (39:02):
Yeah? No, why can't we do it? Why can't we
do that? I want to just since we didn't do it,
I want to just say that I'm looking at the
other past episodes. How you remind me? Drops of Jupiter, Halenardo,
my wish shape of you, Hella Good, Larger than Life,
Pink Woke Up this Morning, Sopranos theme, Radioactive Believer, Butterfly
(39:23):
a bar song, sant Anger Lifestyle is of the Richmond
famous I did it? Chocolate Rain only eight seven to
seven cars for kids?
Speaker 2 (39:30):
Do they know?
Speaker 1 (39:30):
It's Christmas? Summer Girls Revolution number nine? And I think
that this is my favorite song. Wow, of these, this
is the song I think I would like to hear
more than the other ones.
Speaker 3 (39:42):
I will go with that too, like that, I would
actually like put on and Yeah, like every other song
that you just mentioned, there's something in it, but the
except of Chocolate Rain is its own animal. But I
don't really want to listen to Chocolate Rain. I don't
really want to listen to Evolution nine and all the
rest of that other stuff. There's something in it that
(40:04):
I actively like despise. There's like a something in every
one of those songs basically that I'm like, I can't
fucking abide by this. This is just like unfettered fun.
Speaker 2 (40:13):
Yeah.
Speaker 1 (40:13):
I mean the only other you know, the only close
I think I would put on as for in a
compilation would be like do they know it's Christmas? But
differently like it? But if it's in a if it's
in a comp I won't turn it off if it's
in a camp. But yeah, otherwise, yeah, I think it's
I think it's up there. I mean, you know, there's
there's songs that I had, you know, we ended with
like a newfound of love for or respect for That's true.
Speaker 3 (40:36):
That is true.
Speaker 1 (40:37):
This was this was This was an easy chancy.
Speaker 3 (40:40):
Very easy positive. I think that right said, Fred should
be proud of what the work they did here and
whatever else they feel, take it up with your own
fucking therapist, Fred, don't bring that into our pod. We
have our own ship to deal with here.
Speaker 1 (40:54):
Yeah. And Janet's like busy, she can't like take on
every single no.
Speaker 3 (40:59):
Not everyone I bring her. I bring so many people
to Oh you should talk to her.
Speaker 2 (41:02):
She's great.
Speaker 3 (41:03):
She really helps me with all my issues. Yeah, but
stay good at the tissues. He spit it, spit it,
Gardner mins new that's a backup, quarterback start.
Speaker 2 (41:22):
That's it.
Speaker 1 (41:22):
You glitched out, you glitched down in that last little sex.
That's a whole glitch glitch fast.
Speaker 4 (41:27):
Great.
Speaker 1 (41:29):
It was like rong and you're listening to k Rack.
Speaker 3 (41:37):
No, that's what I said.
Speaker 2 (41:38):
That was.
Speaker 1 (41:40):
You're listening to Rack.
Speaker 5 (41:47):
Oh, I haven't let your like.
Speaker 1 (41:50):
I thought the same thing. I think we ended this
podcast a while ago because we're too sexy for it,
but I'm not sure.
Speaker 3 (41:57):
And if not, we're you sect peper.
Speaker 2 (42:00):
This spot just sh
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