December 19, 2024 • 35 mins
Christmas in July? How about Summer in December?! Summer GIRLS that is. Will the guys like LFO’s ode to Abercrombie and Fitch or does it make them sick?
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Episode Transcript
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Speaker 1 (00:02):
Give it a chance, give it a chance. Give it
a chick. Come morning, give it a chance, Give it
a chance, give it a chance, give it a chance.
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. Hey everyone, Hi, everybody so
excited for today's episode. Always here we go. Here's your
(00:26):
hint to Rooney.
Speaker 2 (00:28):
Okay, I just want to say, off the top two.
I feel like I've been like a little off the
off the off, the off the chain lately, you know
what I mean. I feel like I've been letting myself.
It's just my comfort level with Case. So today I'm
going to be like really serious.
Speaker 1 (00:42):
No, I hear I hear the fans. I hear the
tiny chancers going no, no, let them off the chain.
Speaker 2 (00:52):
Come on, Case, be cool. Yeah, it's it's it's honestly,
we've got a lot of notes from my heart. We
have not at all. That's not true at all. This
is a self directed note. But I also I am
going to try, to the best of my ability today
to never talk about Kurt Cobain or Elliotsman.
Speaker 1 (01:08):
No, you can't, you can't.
Speaker 2 (01:10):
I probably can't.
Speaker 1 (01:11):
This one's this is this is the song that Kurt
did with Elliott Ellie? Wow?
Speaker 2 (01:17):
What that? What would that have been? Like? Interesting?
Speaker 1 (01:19):
Ellie? And who's the trifecta?
Speaker 2 (01:22):
El Yeah? Yeah, oh, I bring up Leonard Cohen a
fair amount too, I guess in.
Speaker 1 (01:27):
The early days, but maybe in the early days of
the pod. So, so last episode was a Christmas episode, yes,
and this is also releasing in December, and I thought.
Speaker 3 (01:40):
Oh, December drinking, you immediately immediately broke your role.
Speaker 1 (01:51):
You might as well just went Kurt Cobain, goh.
Speaker 2 (01:57):
God, okay, okay, sorry, back on the chain.
Speaker 1 (02:00):
We're in December, and you know, technically I could probably
drop another Christmas song. And then I thought, you know,
what are they? Have you ever heard of Christmas in July?
Speaker 2 (02:10):
Oh? Yeah, big time. Yeah, we celebrated every year in
this house.
Speaker 1 (02:14):
I pitched this idea to Lisa and my wife, and
she was like, there's no such thing as Christmas in July.
Speaker 2 (02:20):
Lisa, there is, there is, look it up.
Speaker 1 (02:24):
She's talking from the back, she answers. But I had
an idea, why don't we do summer in Christmas?
Speaker 2 (02:34):
Oh, July and December? As I'm talking about some some
in December.
Speaker 1 (02:39):
So that's your hint.
Speaker 2 (02:40):
That's kind of what he's talking about when he's saying
he's drinking hortshata, not that you can drink hortata year round.
This is a vampire weekend song. I have to get
back on the chain.
Speaker 1 (02:48):
Okay, y doving a vampire weekend song. I mean, I
don't think there would be one to do.
Speaker 2 (02:52):
No, he can't do it. The chance has been given. Okay,
So we're doing summer in December, in the winter.
Speaker 1 (02:58):
It's a summer song.
Speaker 2 (02:59):
Is Summertime by Will Smith?
Speaker 1 (03:02):
Very good? Guess Okay, summer isn't the title Summer Girls
by LFO You got it? Second? Second time is a charm. Yes,
we're doing this.
Speaker 2 (03:13):
Is weirdly, this was a this is this is real.
This is not me making a joke. This is It's verifiable.
You could look this stuff up in the Library of Congress.
This was a guilty pleasure of Leonard Cohen's I believe.
Speaker 1 (03:26):
That, I would believe it. I could see this being
a lot of people's gts. Yeah, GPS, GPS guilty treasure,
guilty treasures. I like that this is someone's guilty treasure
for sure. I think that it's I have a lot
of feeling.
Speaker 2 (03:42):
We'll jump into it.
Speaker 1 (03:43):
Maybe we'll I also recommend yes at you watch the
music video.
Speaker 2 (03:48):
All right, so I'm opening up a music video friendly
app on my phone. I won't say which one. Nice
it's super squibby. But if you're driving a car, don't
do this. I am driving a car at present, but
to do whatever you want, honestly, like be fucking reckless.
Speaker 1 (04:03):
Doggies off the chain. We'll be right back. I like girls.
I'm a clompion fitch. She's being since that.
Speaker 2 (04:17):
Summer, since that summer. I jumped out after that. I
think what is the last chorus? I'm gonna confess there's
another forty seconds. But I messed up when I started
this and started playing some ad that played me a
Taylor Swift song from some movie for thirty seconds. So wow.
Speaker 1 (04:32):
Yeah. The first thing I want to say is that
as a person's who's heard you freestyle, this is not
far off.
Speaker 2 (04:39):
I don't know if I should be insulted or excited
by that.
Speaker 1 (04:44):
There's certain things like certain references or just like you
would say something like call me Willie Whistle because I
can't speak.
Speaker 2 (04:51):
Or something, you know, like there's a lot of well,
thank you. First of all, thank you first and for
most thank you. There's a lot of really crazy references
in the lyrics that I don't think I ever fully
like homed in on before.
Speaker 1 (05:05):
So reference heavy. It's that thing where like.
Speaker 2 (05:08):
We've talked about this, Yeah, yeah, it's too Yeah.
Speaker 1 (05:11):
We're like we're like white people take a thing that
black people do and do it to death and choke
it till it's dead, and so totally over referencing is crazy,
even like he starts with like McCaulay cocin and like
reference color purple.
Speaker 2 (05:26):
Dude. The references though, first of all, you that's the
one that sent me when when I mean all of
them are like that's hilarious, Like they're not even references,
they're just like it's references in a very literal sense.
It's like the reference page of a paper, like a
paper you turn in for school, like Macaulay Colchin was
in home alone. That's insane. That's what is that. That's
(05:47):
nothing but the fact that he says the color purple.
If I'm correct, I'm not looking at the lyrics macaroni
and cheese.
Speaker 1 (05:54):
Is that like he says, I like the color purple
and macaroni and cheese.
Speaker 2 (05:58):
That's like. Now, while I appreciate anytime my freestyling is
brought up in the context of a of an internationally celebrated,
you know, hip hop adjacent act, I would say, that's
like something our children would write. I like the color purple,
macaroni and cheese. Like, that's nothing. That's totally insane. Those
(06:19):
two things. There's no universe in which they should be
placed next to each other in a sentence, let alone
a thing that was going to be recorded and replayed
ad infinitum. It'scho and I don't even know if I'm
a chance or anti chance with this. It's more like
the audacity of it is really cutely wild.
Speaker 1 (06:38):
Yeah, it's like I like Lanson hughes and pop tarts.
It's like, that's what it feels like.
Speaker 2 (06:45):
My mommy said I was handsome and smart.
Speaker 1 (06:48):
See that's what I'm talking about. You know what you're
doing on the mic, And you could have been an
LFO I, but I didn't have I only.
Speaker 2 (06:55):
Had a four pop, I didn't have a six box,
so I couldn't be in it. The one thing, the
one thing. I will say, the one thing, and then
I'm gonna go quiet for the rest of the podcast.
One thing I will say is did they get paid
by Abercrombie and Fitch, because they say that in every chorus.
Oh I almost punched the table. All right, that's so animated.
(07:15):
They say that in every chorus, and they resolve every
pre chorus with that company. It's probably eleven times in
the song they say the name of the company.
Speaker 1 (07:24):
I've worked with a few advertisers and they're always like,
please don't try not to even mention us, Like they're
always like downplay it, like they want it to be subtle.
There's no way that they would want it this much.
But I know who definitely didn't pay for this is
big Chinese Food because they get drag get rocked. Chinese
food makes me sick, Like that's such a weird too.
(07:44):
It's like, also, Chinese food is so I've never met
a person who's like, I can't eat Chinese food.
Speaker 2 (07:50):
It's well, what I'll say is this, I'm a big fan,
big proponent. Chinese Food's great, as I age. Oh no,
there are certain things that start. It's like the same thing, like,
you know, I can't really I eat pizza, but if
I was to House, pizza the way Doctor House and
I did went home on Doctor House, and I would
hang out, you know my let's say, in my teens
(08:13):
and twenties, there's my belly hurts case. I'm not ashamed
to admit it. I'll be forty five by the time
this pod comes out.
Speaker 1 (08:20):
So you're saying that you ghost you from You from
the Future, ghost wrote this.
Speaker 2 (08:24):
Yeah, and I and I ghosted some of the dishes
I used to. I can't. I don't like I ghosted
Chinese food because some of it. It doesn't make me sick,
but it makes me feel like heavy and slow.
Speaker 1 (08:34):
I think I'm saying I think you need to have
them elevated Chinese food. This is a whole other Oh yeah, yeah,
let's talk about you need to elevate your Chinese food ordering.
Speaker 2 (08:43):
Well, what do you what do you think I'm ordering?
I order a lot of vegetarian. I keep punching the table.
I order a lot of vegetarian adjacent to Chinese food.
And that's just like, you know, it's pretty healthy.
Speaker 1 (08:51):
But yeah, sure, but like a vegetarian egg roll is
still an egg roll.
Speaker 2 (08:55):
No, I know. But if I'm ordering, like I don't
know what voice that was.
Speaker 1 (09:00):
I'm he feels cornered.
Speaker 2 (09:03):
I feel yeah, I feel triggered and cornered, But I
do just want to say big shout out to good
Chinese food and even mediocre Chinese food. It doesn't make
me sick. I'm not saying that's what I'm saying. But
what I am saying is like, maybe he was thinking
about what he was going to feel like when he
was my age, and he was like, oh.
Speaker 1 (09:19):
Interesting, because this is this is a retrospective. He's looking back,
and maybe he's looking forward.
Speaker 2 (09:23):
He's making make it's a retrospective and an opposite of retrospectious.
Speaker 1 (09:29):
Future respective, so he's going, He's going new kids in
the block had a lot of hits. Yeah, and in
the future Chinese makes.
Speaker 2 (09:36):
It makes mistic because originally this song was actually pitched.
This is not a joke. You can verify this online
and in the Library of Congress. This song was actually
pitched to be like threaded into plot points in a
Terminator film that was not produced. So that's the thing.
Like in that movie, like the Terminator eats Chinese food
in twenty forty nine and gets sick, but in earlier
(10:00):
times the Terminator did was at an n KOTB concert.
In the film you have to see the film. You'd
have to see it. It's produced. It didn't get produced.
Speaker 1 (10:10):
Ken didn't do it.
Speaker 2 (10:11):
It was Paul Schrader wrote it from taxi driver. Oh cool, Yeah,
and it was going to be and it was going
to be a poly Shore directorial debut. Combo wow.
Speaker 1 (10:22):
Question about I want to go back to that because
I keep.
Speaker 2 (10:25):
Open up the mail bag.
Speaker 1 (10:26):
We had a question from myself. I wrote it. I
have the mail back. I write my questions and put
it in. I keep reading lyrics and going, this is
a Kevin freestyle. I got all there's that famous Kevin
Divine freestyle in the back of a car somewhere.
Speaker 2 (10:44):
Oh that was That was in the That was in
a van on tour with Manchester Orchestra in brand New
two thousand and seven. Uh. And I had not smoked
pot or drank in like almost two years, and I
did that night and I was in a Is it
the one about Matthew Perry?
Speaker 1 (11:01):
Of course it's captivating. You talk about that, you talk
about the Mets.
Speaker 2 (11:06):
Which is topical today. Juan Soto getting signed shout out
to the Mets. News cycle moves fast but yeah, yeah, we.
Speaker 1 (11:11):
Are definitely to this book kind of morning podcast, I
mean a morning radio.
Speaker 2 (11:23):
You're the best girl that I ever did see.
Speaker 1 (11:25):
The Great Larry Bird Jersey thirty three. You're the best
girl I ever did see. The Great Larry Bird Jersey
thirty three is something you would do in that freestyle,
like you would drop something like that.
Speaker 2 (11:39):
I think it was like I like to sleep in
the street, just kidding, I like to sleep in a
feather bed. Yeah yeah, and then so like but if
you're still awaken, it's, man, you're maver ridiculous. I'm just
gonna get in your head.
Speaker 1 (11:52):
It's so it's like, it's like one of the most
charming things I've ever seen in my life. You should
find it.
Speaker 2 (11:56):
On That's amazing. Yeah, and know that at the time,
I was in a period of great internal personal crisis.
But please enjoy the freestyle. Now, let me just look
up the lyrics to this, because I feel as though
there's some choice ones. I don't want to miss out on.
The Larry Bird one I thought was interesting because I
was also like, of course they pick the Great White Hope,
(12:19):
this group of like white dudes like talk rapping at
the Jersey Shore like they're like you were amazing and
made sense to me. The Great Larry Bird number thirty three.
Speaker 1 (12:32):
It's so strange. It seems like apropub nothing that they'll
just be like Billy Shakespeare wrote a bunch of son
It's it's like, it's just that.
Speaker 2 (12:39):
One's like an Adam Sandler rep. Oh, sorry, that one's
like an Adam Sandler rep. Yeah. He basically says like
like it would have been in There was a skit
on SNL when I was a kid, and I feel
like it was an NKOTB thing like that people playing
them on Arsenio Hall. I think that was the skit
and the rap is like uh uh the sonnet. The
(13:01):
sonnet's line reminded me. It's like uh And there's a
Macaulay Colchan lyric in that rep too. Actually like periodic
cat chow chow chow chow. It's like an apple a
day keeps the doctor roway right, stuff like that.
Speaker 1 (13:15):
Yeah, you know, it's it's so interesting because I didn't
realize that, and I realized there's some they definitely steal
in reference from other like there's like a rock himn reference.
But you're right, and you're You're right that the Beastie
Boys did this, but they you know, like.
Speaker 2 (13:29):
Well, they referenced Paul Revere.
Speaker 1 (13:32):
But they reference everyone too, but they pull it off
like they It's two people can do the like the
same magic trick, yeah, and one could be like wow
or like that is so cool, and the other would
be like all right.
Speaker 2 (13:46):
Well, also by the time there's totally and also what
constitutes It's like, what constitutes what's uh informing the magic trick?
That was actually so funny. You mentioned the Bacie Boys,
and of course that's relevant with this. Before we got
on this call today, I something passed through like the
algorithm and I periphery, and it was the Beastie Boys
on SNL in ninety four when they, like I guess
(14:09):
it was around no communication. But the first thing they did,
it's fun, it's cool. It's kind reminds you of like
a different era in pop culture for sure. The first
thing they did was like this jazz exploration thing and
they're switching instruments. Then they switch instruments and they do
heart attack man like this punk rock hardcore song, yeah,
which all of which speaks to corners of their musical vocabulary.
(14:29):
I mean to make no, not everybody's the Beastie Boys.
Not everybody's like the best version of the thing they are.
I don't mean to make any judgments or expersions about
LFO and what informs their musical vocabulary, but safe to
say it's probably it probably isn't as broad or as
like lived in as those dudes. And by the time
(14:52):
you get LFO, it's like eleven hundred degraded copies of
that thing, to the extent that like the only thing
that is identifiable between this and the Beastie Boys. Is
that kind of like reference heavy like but it's like
comparing I'm not going to do it, but it's like
comparing let's say, like a certain sort of like seminal
(15:15):
kind of like alternative rock or grunge band that might
have had like real information from real underground music and
like the Beatles or something. I don't know who that
would have been, but some band in like ninety one
or so to like you know, Bush No No Shade
on Bush they had they whatever you can't But like
you know what I'm saying, like things the thing starts
(15:35):
to reference. It's not only referencing the things that informed
the best version of the thing. It almost gets rid
of all of that, and it's only referencing that thing
and all of the copies that came after.
Speaker 1 (15:46):
If I think it's more Nirvana a Puddle of Mud,
sure that's fair because.
Speaker 2 (15:51):
I don't know Nirvana, I've never heard them, But I
do know what you mean about Puddle of.
Speaker 1 (15:54):
Mud because I think there's something about like bush Camp
at the same time, they're contemporaries and it's hard to
like like this are obviously like like they. I don't
think there's any choice for these kind of white rappers
to be not influenced by the Beastie Boys to some degree.
Totally similarly, I think Puddle of Mud had to have
been influenced by by Kurt and the Nirvani's, so it
(16:14):
I think that it's it's it's it's like just a
slightly different comp But you're so right about a copy
of a copy, and that happens all the time. I mean,
it happens with just everything in general, like going culture,
going from you know, like symphonies and orchestras to you know, uh,
brass bands and then to ska. You know what I mean,
(16:36):
like totally kind of simplifies and then people who are
purists are like the one that they came up with
is the one, right, you know.
Speaker 2 (16:45):
And I think there's a generationalist component of that too.
I think about that, especially when we go through some
of what we do, but also just like having a
kid who's almost nine and like engaging with pop music
increasingly pop culture, you know, it's not I think when
we're like so generationally bound to the culture of our
(17:07):
seminal formative years, that's less about the culture than it
is about how we experience aging and how we experience
like we want those things burned hottest and brightest and
mattered most to us at these like foundational moments. And
I may think that the popular culture landscape in nineteen
(17:28):
ninety three was maybe more I don't know, dynamic, interesting,
representative of a broader range of capabilities and information. But
maybe that's total bullshit. And it's like I'm a forty
five year old man, like I don't I'm sure, I
in fact, even saying this is insane. Of course, there's
(17:49):
so much happening that I have zero feel for that.
These people who are between like you know, ten and
twenty right now in twenty or thirty years will be like, dude,
the most amazing. You know, they don't make him like
Charlie xc X anymore. And I'm not distant Charlie. Charlie
x X is amazing.
Speaker 1 (18:08):
It'll be a deeper cut. It'll be like, you know,
like bing Bong Elevator was so great, Bingbong Elevator was incredible,
right like, and we will be like, who's bing Bong
el Like the other day, I think Billie Eilish was
like it was like watching a video of herself doing
an interview in the past, and she was light. She
was just like, oh, this this follower has like so
(18:30):
many people and they follow me now. And she was like, oh,
and someone like a name like bing Bong Elevator follows
me like, which I couldn't believe when I got followed
by bing Bong Elevator and I was like, who the
fuck is bing Bong And look, I'm telling you now,
the name wasn't bing Bong Elevator, but to me and
to my thirty nine year old years, yeah bing Bong Ella.
Speaker 2 (18:48):
Yeah. I was fully like, Wow, I'm so much Maybe
that's like the six year difference between us. I was like,
I don't even know what bing Bong elevator is Bingo elevators? Well,
what I do know is this though, uh maybe those
the LFO of the LFO in the film and it
fine does get produced the Straighter Shore joint about T
(19:10):
five where they moved through time according to these lyrics,
maybe they'll be referencing bing bong boom elevator or whatever
that is in that song.
Speaker 1 (19:17):
Who's this?
Speaker 2 (19:19):
It was bing bom boom oh. That's why I didn't know.
I know bing bong moo boom oh boom it was moom.
I thought it was bomb. Sorry, I'm back on the chain.
Billy Shakespeare wrote a whole bunch of sonnets call me
Willy Whistle because I can't speak baby something your eyes
store me crazy blah blah blah. Crazy baby has to
be in every song. But this passage where they say
(19:39):
McCaulay culchan wasn't home alone, fell deep in love but
now he ain't speaking, which, by the way, I don't know,
is that ever get referenced again in the song like
I don't know, like this lover's quarrel, Michael J. Fox
was Alex P. Keaton. That's insane. That's totally insane to
be like, man, I was falling for you, but you
broke my heart. Hey do you remember that show? Yeah?
Speaker 1 (20:03):
Yeah, it's so I mean some of it, I'll get
the chancey I give some of it. Is like he's
setting the scene with what was what media was on
at the time of that young.
Speaker 2 (20:12):
Love totally excite. I don't totally go with that, because
of course that that doesn't totally make sense to me
temporarily in with LFO at the time this song comes out,
like how young are we talking? How young were they
when they fell in love?
Speaker 1 (20:29):
Really young, like like two years old.
Speaker 2 (20:31):
I guess you're right, Okay, sorry, No, I'm wrong about this.
I'm wrong. I think I'm wrong because they lead me
in a variety of directions, and I'm confused by how
to tie all the directions together. But you're right. They're
talking about new edition Candy Girl, Cherry Pats, crushed, rock Stud,
rock Stud Boogie. I don't know what right.
Speaker 1 (20:50):
I'm so clear he runs out of references by the
end because he says things I've never heard of, like boogalow, shrimp,
no idea, what I know what? Pogo sticks are totally
really forcing references and we're like learning like losing it.
There are probably people listening and be like, if you
don't know what boogaloo shrimp is, you're an idiot. You're
an idiot. But I just don't. And I also like,
let you off the hook, Like my man, mister Limpet,
(21:12):
it's insane that I just looked it up. It's a
nineteen sixty four film, incredible mister Limpet, and he and
apparently he wants to be a fish.
Speaker 2 (21:23):
So it's like a, oh, yeah, no, I'm aware of
mister Limpet.
Speaker 1 (21:26):
I don't know what mister limp it is. And then yeah,
then we get yeah, then we get color purple, we
get ruby red slippers.
Speaker 2 (21:31):
Well, the thing with Kevin with with color purple, I
just want to try to In the profile, this person
is describing the color Purple was like a movie for
grown ups about very delicate and wrenching subject matter. It
was like, it's kind of like Spielberg coming out of
the Multiplex for the first time, sort of in a
(21:53):
way like making like a character study a movie about
people and you know, political oppression and societal like examining
societal fractures. And there is no fucking way the person
described in this song, we contain multitudes, I get it.
Speaker 1 (22:10):
Do you think he means he just likes the actual color.
Speaker 2 (22:14):
Well, the lyrics I'm looking at has the color purple,
like capitalized for title person too.
Speaker 1 (22:21):
But like that's that's somebody online doing that, So.
Speaker 2 (22:24):
That could make more That makes more sense if he was, like,
I liked the color purple, macaroni and cheese, also ruby
red slippers, and a bunch of trees. This is what
I'm saying. So if these kids were teenagers in nineteen
eighty five, let's put this eighty five, eighty six, this
song comes out what ninety.
Speaker 1 (22:42):
Eight, ninety I'd say, yeah, ninety seven, ninety.
Speaker 2 (22:46):
Eight, Okay, I just feel like it's a little.
Speaker 1 (22:49):
Nine ninety nine.
Speaker 2 (22:49):
Sorry, I feel like it's a little off the age
degree if there's something about it that's slightly and what's
nuts about it is it's not totally crazy, becaucept the
mister limpet one, which is that almost indicates that like
a ghost writer wrote this, who was like a boomer
or something.
Speaker 1 (23:06):
I think it's I mean, I definitely think it was.
It was that situation.
Speaker 2 (23:12):
And then they were like that one just like almost
like a glitch in the programming like that. One slipped
through like every other one was like edited for a
like no, a little bit more like gen X, a
little bit more like that, and he's like totally totally.
But then he like slipped limp it in and they
were like, fuck it, it's fine, just leave that in there.
No one's gonna notice.
Speaker 1 (23:30):
And mom was born in nineteen sixteen, the.
Speaker 2 (23:35):
Russian Revolution on the top of your mind.
Speaker 1 (23:46):
All right, So I think I give a chance. He too, Yeah,
I give it a chance. I don't really think that
this exactly had been done the boy band that raps
because they look they are dressed and look like in
sync or ninety degrees, but they are not. They're singing
a little, they're speak singing right like new kids on
(24:08):
the block.
Speaker 2 (24:08):
Yea, yeah, pre drake.
Speaker 1 (24:10):
They're pre draking it as everyone knows. And they are
wrapping almost akin to what we've covered before with Come
My Lady, Come Come. Yeah, that's that's closer to this,
except for I will say there's's a malaise with the music. Yeah,
(24:31):
it never changes. It's not like when it first comes on.
There's a few like little guitar riffs and stuff that. Okay,
I didn't. I don't remember that.
Speaker 2 (24:38):
Yeah, fun, but it's it.
Speaker 1 (24:42):
They just like they just copied and pasted the entire
track like for the rest of it.
Speaker 2 (24:46):
That's question and so it.
Speaker 1 (24:48):
It really never like reaches anywhere. There's maybe some swells
like with like with like some drum swells and things. Oh,
there's some orchestra that's like MIDI orchestra that kind of
comes in. But for the most part, that's that's an
issue I have. But I will go back that I
don't think that this would be this had been done.
It's like kind of chill vibe s whisper vocal rap
(25:11):
with like boy band people like. I think there were
probably moments when you'd get like a little break in
like a Backstreet Boys or En sing song with like
a little rap verse.
Speaker 2 (25:21):
Like a right right nodding in that direction. New Kids
probably did a little of that too, like a little
bit just to be like we're kind of bad. Yeah.
Speaker 1 (25:30):
Yeah. And Donnie Donnie or Marky Mark and the Funky
Bunch was close to this too, right because he rapped,
but he came from his brother was in totally play band,
so like that was the closest. But he was really
trying to be and like he was really trying to
like be a rapper, and he was yeah and swing, you.
Speaker 2 (25:52):
Know, and he was accentuating too. I feel like Mark Wahlberg,
Marky Mark even when it was that like he was
accentuating the like I am actually like he was so
fixated on being seen as like tough and threateninges like
he was kind of really dressing up the way that
he talked. He was kind of like making a focal
(26:14):
point of like a lot of those early interviews and
stuff like about his like hard scrabble upbringing and just
because I come from this like family and like I'm
actually a tough motherfucker. Like, you know, he really wanted
to be seen as he wanted to be seen as
a rapper. You know. I even feel like that song
where they sample one of his hit songs is like
they sample wild Side, Walk on the wild Side to
(26:35):
lou read the baseline and every verse is like it's
almost like what it's like by Everlast, but earlier. Every
verse is like a different story about a person whose
life goes off the rails, like in his town, in
his neighborhood, because he was really trying to be like
I'm not a boy band just because or I'm not
like that kind of guy just because my brother's in that,
just because that's where I come from. I'm actually tough.
(26:57):
And I was like, all right, dude, like calm down.
And that's funny that that wheel spins forward and there's
a connective thread here because remember there's that semi it's
a kind of famous memified like early eminem appearance on
TRL where he's with Mark Wahlberg who is now actor
Mark Wahlberg, and Eminem really makes like a point to
(27:17):
be like I'm not like him. I'm actually I might
be white and a rapper, but I'm like actually like
kind of a mess and like I'm fucked up and.
Speaker 1 (27:27):
Hunch the bear. He's like, he's like where we could
all stand here like a funky bunch and you could see.
Speaker 2 (27:32):
Mark Wahlberg is like, I'm gonna knock this motherfucker out.
And then what's funny about that is in his in
that canonical artist's obsessive, please don't pigeonhole me with these
things with which I do not think I fit. Remember
he's saying like a version of this song Eminem that
was like the hook at the beginning of one of
his songs, and I will not repeat all of it
(27:52):
because it's like shit, you can't say. But it was
like something about like, oh my god, new Kids on
the Block blanked a lot of blanks. Yeah, groups make
me sick?
Speaker 1 (28:02):
Was that eminem? Oh?
Speaker 2 (28:04):
Yeah? And I can't wait till I catch all you
something I will not say in public. I love it. Yeah,
it's like him, and it's like a whole song about Isaiah,
not Vanilla Ice, not Mark Wahlberg, not LFO not because like,
what's maybe a chancy in this? I don't know anything
else about this. These people are this group or any
other songs they have, but they seem content to just
(28:25):
be having a nice time on this song, like you
know what I mean, They're just kind of like group
rolling with it.
Speaker 1 (28:31):
Just I wish I knew any other LFO song. I
really do, because I really don't. I want to kind
of look and see if it is all in this genre.
Speaker 2 (28:41):
Let's do a season of LFO stuff Season two, Wow,
a whole you heard it here? First Chancers, Chancer Chancers,
this morning's episode.
Speaker 1 (28:54):
So this is a shameless plug. But my friend Patrick
and I we made two full albums in the style
of LFO. We went as these like rappers called Chase
and Rose Oh yeah, and it's all supposed to be
sort of like this, and so it's like a lot
of whisper rap about like things like songs like pizza
and we have a song called No Chorus and it's
(29:17):
so it's sort of this. It's this exact thing. You
could find the albums online and it's called like California
Pop Music or something like that is the name of
the album. The albums in California Pop Music Part two
or Volume two or something amazing I do there is
something I love it comedically. I really love the whisper rap.
(29:38):
It's band, It's insane.
Speaker 2 (29:40):
It's like there's something, yeah, I mean, there's something about
it that's like it's funny. Look, I feel like we've
talked about a version of this at some point too.
Anytime something just by nature of that delivery and the
structure of what a boy band is, there's something about
it that's like meant to be like sexy.
Speaker 1 (29:58):
This is supposing yeah, and like this.
Speaker 2 (30:01):
We both literally did a shoulder thing like self yeah. Subconsciously,
it's like and anytime anything is like intentionally trying to
be sexy. It's funny. I'm sorry, it's just it's so
funny when someone's like, especially a group of dudes hanging
out in front of a like a like a fried
(30:21):
Oreo stand or whatever's going on in this video and
like a car you know they're on like the seaside,
Jersey Shore or like somewhere like that. It's just it's amazing. Also,
I love that you have a band that has two
albums based on something. I know it's conceptual and philosophical,
but based on an artist that you just said you'd
never heard any other song by this. That's something this
(30:43):
deserves a chance about one song was.
Speaker 1 (30:46):
You're right like comedic genre in a way, like, yeah,
you're right, like it. We it's it was the reference
that we liked so much.
Speaker 2 (30:56):
One of the specific ones in here.
Speaker 1 (30:58):
No, just just in and like, oh, we have a
song called I'm a flirt, right, and it's that exact thing.
It's like, I'm a flirt, I'm a flirt. I guess
I'm right and yeah, and you're right. It is. That
is how powerful that is a good chancey, It's how
powerful it is that this group. Also, I really feel
that I don't know where they're from. But the Jersey
(31:20):
Shore video and all that really reminds me of how
I grew up and stuff. Absolutely there were people that
were very much like exactly this, like the outfits they wear,
like you know what I mean, like a T shirt
with like a sleeveless T shirt, you know, and like
spiky hair and like it was. It was really like
the culture that I feel like we came from. And
(31:43):
I was not very I wasn't. I didn't fit that mold,
so I was it was decidedly counterculture. But I owned
a lot of Abercrombie and Fitch. I owned a lot
of Arrowpostel.
Speaker 2 (31:56):
I definitely owned stuff from I don't know if I
ever I mean I've owned things from adjacent companies. Not
like I was too cool. I don't think I ever
had Abercrombie stuff. I definitely had at least a sweater
from Aero Pastyle or something like that.
Speaker 1 (32:07):
Ninety nine, I graduated eighth grade and I was starting
high school, and I was wow, like like the you
can't help but being influenced by your friends liking this,
and I had like no, I had a puka shell
necklace like this was all that era.
Speaker 2 (32:22):
Dude, everybody's trying stuff on forever and it's funny. I was.
That's my being a little older. I'm thinking of when
I moved to Staten Island. I remember, like my mom,
like I kids were wearing like z cavalichies, yes, with
this pair of pants and this style pants, and I
remember like I didn't have that, and I had like
(32:43):
I literally was wearing blue sweatpants to school every day
and like this one. I had like this rotation of
two guns N' Roses t shirts. And I was not
I didn't have a lot of friends. And I was
at home after school doing math homework, listening to Rush
chronicles on tape and Rush Limbaugh's Greatest is No. And
my mom, literally this is real. She knocked on the door,
(33:06):
like doing math, listening to Rush, and she's like, do
you want me to get you a pair of jeans?
And I was like, no, I'm okay. And she literally
went and closed the door and walked out, and she
was trying to be like I'm trying to help you here, man,
you know, but you didn't want it. I did, of course.
(33:28):
Eventually I bought all of the idea. I mean, I'm
not saying I stayed, I've gone through what every one
of us has to go through whatever like cycle. I
was even thinking about something like in adulthood, like in
the last But.
Speaker 1 (33:39):
It's so beautiful that you are a little boy that
stayed a little boy a little late.
Speaker 2 (33:43):
A little boy that stayed a little boy a little late.
Is that was a beautiful thing you just said.
Speaker 1 (33:48):
But you know it is like it's so often that
boys and girls like rush to be a little older,
and then there's always these like boys, oh totally like
play with a doll too long, or where there's sweatpants
too long, and like aren't into jeans because they're cool
because sweatpants are so much more comfortable and run around.
Speaker 2 (34:06):
We always end up. I think we always draw a circle.
I'm definitely now, like I gotta put structured pants on
to go do this thing. I know we're coming up
towards the end. It's very sweet, and it's sweet. It's
a lot sweeter and more beautiful than telling me you're
gonna steal my honey, like you stole my bike. I
just wanted to make one anti chance about that. That's bullying.
(34:27):
I didn't like that part of the song. And I'll
never like bullying, so don't bully me. O FLFO.
Speaker 1 (34:34):
Did you get bullied with the sweatpants and stuff? Oh?
Speaker 2 (34:36):
I definitely got a little bullied when I moved to
Staten Island, yet not like as bad as it could
have been, but certainly a little bit. And I have
a few Guardian angels that we could get into in
another omar.
Speaker 1 (34:46):
What was your elementary school when I moved to school?
Speaker 2 (34:50):
I went to is seventy five. Shout out, Paulo Huganot.
I took the bus from Great Kills. If you still
don't understand, I think this is about to shut us down.
In the case the kind of chance you give me,
I'll give you every day, and I'll never steal your
bike or try to steal your honey. I would never try.
Speaker 1 (35:05):
You would, I won't. I'm still I'm still gonna pocket
that five. You won't
Give it a chance, give it a chance. Give it
a chick. Come morning, give it a chance, Give it
a chance, give it a chance, give it a chance.
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. Hey everyone, Hi, everybody so
excited for today's episode. Always here we go. Here's your
(00:26):
hint to Rooney.
Speaker 2 (00:28):
Okay, I just want to say, off the top two.
I feel like I've been like a little off the
off the off, the off the chain lately, you know
what I mean. I feel like I've been letting myself.
It's just my comfort level with Case. So today I'm
going to be like really serious.
Speaker 1 (00:42):
No, I hear I hear the fans. I hear the
tiny chancers going no, no, let them off the chain.
Speaker 2 (00:52):
Come on, Case, be cool. Yeah, it's it's it's honestly,
we've got a lot of notes from my heart. We
have not at all. That's not true at all. This
is a self directed note. But I also I am
going to try, to the best of my ability today
to never talk about Kurt Cobain or Elliotsman.
Speaker 1 (01:08):
No, you can't, you can't.
Speaker 2 (01:10):
I probably can't.
Speaker 1 (01:11):
This one's this is this is the song that Kurt
did with Elliott Ellie? Wow?
Speaker 2 (01:17):
What that? What would that have been? Like? Interesting?
Speaker 1 (01:19):
Ellie? And who's the trifecta?
Speaker 2 (01:22):
El Yeah? Yeah, oh, I bring up Leonard Cohen a
fair amount too, I guess in.
Speaker 1 (01:27):
The early days, but maybe in the early days of
the pod. So, so last episode was a Christmas episode, yes,
and this is also releasing in December, and I thought.
Speaker 3 (01:40):
Oh, December drinking, you immediately immediately broke your role.
Speaker 1 (01:51):
You might as well just went Kurt Cobain, goh.
Speaker 2 (01:57):
God, okay, okay, sorry, back on the chain.
Speaker 1 (02:00):
We're in December, and you know, technically I could probably
drop another Christmas song. And then I thought, you know,
what are they? Have you ever heard of Christmas in July?
Speaker 2 (02:10):
Oh? Yeah, big time. Yeah, we celebrated every year in
this house.
Speaker 1 (02:14):
I pitched this idea to Lisa and my wife, and
she was like, there's no such thing as Christmas in July.
Speaker 2 (02:20):
Lisa, there is, there is, look it up.
Speaker 1 (02:24):
She's talking from the back, she answers. But I had
an idea, why don't we do summer in Christmas?
Speaker 2 (02:34):
Oh, July and December? As I'm talking about some some
in December.
Speaker 1 (02:39):
So that's your hint.
Speaker 2 (02:40):
That's kind of what he's talking about when he's saying
he's drinking hortshata, not that you can drink hortata year round.
This is a vampire weekend song. I have to get
back on the chain.
Speaker 1 (02:48):
Okay, y doving a vampire weekend song. I mean, I
don't think there would be one to do.
Speaker 2 (02:52):
No, he can't do it. The chance has been given. Okay,
So we're doing summer in December, in the winter.
Speaker 1 (02:58):
It's a summer song.
Speaker 2 (02:59):
Is Summertime by Will Smith?
Speaker 1 (03:02):
Very good? Guess Okay, summer isn't the title Summer Girls
by LFO You got it? Second? Second time is a charm. Yes,
we're doing this.
Speaker 2 (03:13):
Is weirdly, this was a this is this is real.
This is not me making a joke. This is It's verifiable.
You could look this stuff up in the Library of Congress.
This was a guilty pleasure of Leonard Cohen's I believe.
Speaker 1 (03:26):
That, I would believe it. I could see this being
a lot of people's gts. Yeah, GPS, GPS guilty treasure,
guilty treasures. I like that this is someone's guilty treasure
for sure. I think that it's I have a lot
of feeling.
Speaker 2 (03:42):
We'll jump into it.
Speaker 1 (03:43):
Maybe we'll I also recommend yes at you watch the
music video.
Speaker 2 (03:48):
All right, so I'm opening up a music video friendly
app on my phone. I won't say which one. Nice
it's super squibby. But if you're driving a car, don't
do this. I am driving a car at present, but
to do whatever you want, honestly, like be fucking reckless.
Speaker 1 (04:03):
Doggies off the chain. We'll be right back. I like girls.
I'm a clompion fitch. She's being since that.
Speaker 2 (04:17):
Summer, since that summer. I jumped out after that. I
think what is the last chorus? I'm gonna confess there's
another forty seconds. But I messed up when I started
this and started playing some ad that played me a
Taylor Swift song from some movie for thirty seconds. So wow.
Speaker 1 (04:32):
Yeah. The first thing I want to say is that
as a person's who's heard you freestyle, this is not
far off.
Speaker 2 (04:39):
I don't know if I should be insulted or excited
by that.
Speaker 1 (04:44):
There's certain things like certain references or just like you
would say something like call me Willie Whistle because I
can't speak.
Speaker 2 (04:51):
Or something, you know, like there's a lot of well,
thank you. First of all, thank you first and for
most thank you. There's a lot of really crazy references
in the lyrics that I don't think I ever fully
like homed in on before.
Speaker 1 (05:05):
So reference heavy. It's that thing where like.
Speaker 2 (05:08):
We've talked about this, Yeah, yeah, it's too Yeah.
Speaker 1 (05:11):
We're like we're like white people take a thing that
black people do and do it to death and choke
it till it's dead, and so totally over referencing is crazy,
even like he starts with like McCaulay cocin and like
reference color purple.
Speaker 2 (05:26):
Dude. The references though, first of all, you that's the
one that sent me when when I mean all of
them are like that's hilarious, Like they're not even references,
they're just like it's references in a very literal sense.
It's like the reference page of a paper, like a
paper you turn in for school, like Macaulay Colchin was
in home alone. That's insane. That's what is that. That's
(05:47):
nothing but the fact that he says the color purple.
If I'm correct, I'm not looking at the lyrics macaroni
and cheese.
Speaker 1 (05:54):
Is that like he says, I like the color purple
and macaroni and cheese.
Speaker 2 (05:58):
That's like. Now, while I appreciate anytime my freestyling is
brought up in the context of a of an internationally celebrated,
you know, hip hop adjacent act, I would say, that's
like something our children would write. I like the color purple,
macaroni and cheese. Like, that's nothing. That's totally insane. Those
(06:19):
two things. There's no universe in which they should be
placed next to each other in a sentence, let alone
a thing that was going to be recorded and replayed
ad infinitum. It'scho and I don't even know if I'm
a chance or anti chance with this. It's more like
the audacity of it is really cutely wild.
Speaker 1 (06:38):
Yeah, it's like I like Lanson hughes and pop tarts.
It's like, that's what it feels like.
Speaker 2 (06:45):
My mommy said I was handsome and smart.
Speaker 1 (06:48):
See that's what I'm talking about. You know what you're
doing on the mic, And you could have been an
LFO I, but I didn't have I only.
Speaker 2 (06:55):
Had a four pop, I didn't have a six box,
so I couldn't be in it. The one thing, the
one thing. I will say, the one thing, and then
I'm gonna go quiet for the rest of the podcast.
One thing I will say is did they get paid
by Abercrombie and Fitch, because they say that in every chorus.
Oh I almost punched the table. All right, that's so animated.
(07:15):
They say that in every chorus, and they resolve every
pre chorus with that company. It's probably eleven times in
the song they say the name of the company.
Speaker 1 (07:24):
I've worked with a few advertisers and they're always like,
please don't try not to even mention us, Like they're
always like downplay it, like they want it to be subtle.
There's no way that they would want it this much.
But I know who definitely didn't pay for this is
big Chinese Food because they get drag get rocked. Chinese
food makes me sick, Like that's such a weird too.
(07:44):
It's like, also, Chinese food is so I've never met
a person who's like, I can't eat Chinese food.
Speaker 2 (07:50):
It's well, what I'll say is this, I'm a big fan,
big proponent. Chinese Food's great, as I age. Oh no,
there are certain things that start. It's like the same thing, like,
you know, I can't really I eat pizza, but if
I was to House, pizza the way Doctor House and
I did went home on Doctor House, and I would
hang out, you know my let's say, in my teens
(08:13):
and twenties, there's my belly hurts case. I'm not ashamed
to admit it. I'll be forty five by the time
this pod comes out.
Speaker 1 (08:20):
So you're saying that you ghost you from You from
the Future, ghost wrote this.
Speaker 2 (08:24):
Yeah, and I and I ghosted some of the dishes
I used to. I can't. I don't like I ghosted
Chinese food because some of it. It doesn't make me sick,
but it makes me feel like heavy and slow.
Speaker 1 (08:34):
I think I'm saying I think you need to have
them elevated Chinese food. This is a whole other Oh yeah, yeah,
let's talk about you need to elevate your Chinese food ordering.
Speaker 2 (08:43):
Well, what do you what do you think I'm ordering?
I order a lot of vegetarian. I keep punching the table.
I order a lot of vegetarian adjacent to Chinese food.
And that's just like, you know, it's pretty healthy.
Speaker 1 (08:51):
But yeah, sure, but like a vegetarian egg roll is
still an egg roll.
Speaker 2 (08:55):
No, I know. But if I'm ordering, like I don't
know what voice that was.
Speaker 1 (09:00):
I'm he feels cornered.
Speaker 2 (09:03):
I feel yeah, I feel triggered and cornered, But I
do just want to say big shout out to good
Chinese food and even mediocre Chinese food. It doesn't make
me sick. I'm not saying that's what I'm saying. But
what I am saying is like, maybe he was thinking
about what he was going to feel like when he
was my age, and he was like, oh.
Speaker 1 (09:19):
Interesting, because this is this is a retrospective. He's looking back,
and maybe he's looking forward.
Speaker 2 (09:23):
He's making make it's a retrospective and an opposite of retrospectious.
Speaker 1 (09:29):
Future respective, so he's going, He's going new kids in
the block had a lot of hits. Yeah, and in
the future Chinese makes.
Speaker 2 (09:36):
It makes mistic because originally this song was actually pitched.
This is not a joke. You can verify this online
and in the Library of Congress. This song was actually
pitched to be like threaded into plot points in a
Terminator film that was not produced. So that's the thing.
Like in that movie, like the Terminator eats Chinese food
in twenty forty nine and gets sick, but in earlier
(10:00):
times the Terminator did was at an n KOTB concert.
In the film you have to see the film. You'd
have to see it. It's produced. It didn't get produced.
Speaker 1 (10:10):
Ken didn't do it.
Speaker 2 (10:11):
It was Paul Schrader wrote it from taxi driver. Oh cool, Yeah,
and it was going to be and it was going
to be a poly Shore directorial debut. Combo wow.
Speaker 1 (10:22):
Question about I want to go back to that because
I keep.
Speaker 2 (10:25):
Open up the mail bag.
Speaker 1 (10:26):
We had a question from myself. I wrote it. I
have the mail back. I write my questions and put
it in. I keep reading lyrics and going, this is
a Kevin freestyle. I got all there's that famous Kevin
Divine freestyle in the back of a car somewhere.
Speaker 2 (10:44):
Oh that was That was in the That was in
a van on tour with Manchester Orchestra in brand New
two thousand and seven. Uh. And I had not smoked
pot or drank in like almost two years, and I
did that night and I was in a Is it
the one about Matthew Perry?
Speaker 1 (11:01):
Of course it's captivating. You talk about that, you talk
about the Mets.
Speaker 2 (11:06):
Which is topical today. Juan Soto getting signed shout out
to the Mets. News cycle moves fast but yeah, yeah, we.
Speaker 1 (11:11):
Are definitely to this book kind of morning podcast, I
mean a morning radio.
Speaker 2 (11:23):
You're the best girl that I ever did see.
Speaker 1 (11:25):
The Great Larry Bird Jersey thirty three. You're the best
girl I ever did see. The Great Larry Bird Jersey
thirty three is something you would do in that freestyle,
like you would drop something like that.
Speaker 2 (11:39):
I think it was like I like to sleep in
the street, just kidding, I like to sleep in a
feather bed. Yeah yeah, and then so like but if
you're still awaken, it's, man, you're maver ridiculous. I'm just
gonna get in your head.
Speaker 1 (11:52):
It's so it's like, it's like one of the most
charming things I've ever seen in my life. You should
find it.
Speaker 2 (11:56):
On That's amazing. Yeah, and know that at the time,
I was in a period of great internal personal crisis.
But please enjoy the freestyle. Now, let me just look
up the lyrics to this, because I feel as though
there's some choice ones. I don't want to miss out on.
The Larry Bird one I thought was interesting because I
was also like, of course they pick the Great White Hope,
(12:19):
this group of like white dudes like talk rapping at
the Jersey Shore like they're like you were amazing and
made sense to me. The Great Larry Bird number thirty three.
Speaker 1 (12:32):
It's so strange. It seems like apropub nothing that they'll
just be like Billy Shakespeare wrote a bunch of son
It's it's like, it's just that.
Speaker 2 (12:39):
One's like an Adam Sandler rep. Oh, sorry, that one's
like an Adam Sandler rep. Yeah. He basically says like
like it would have been in There was a skit
on SNL when I was a kid, and I feel
like it was an NKOTB thing like that people playing
them on Arsenio Hall. I think that was the skit
and the rap is like uh uh the sonnet. The
(13:01):
sonnet's line reminded me. It's like uh And there's a
Macaulay Colchan lyric in that rep too. Actually like periodic
cat chow chow chow chow. It's like an apple a
day keeps the doctor roway right, stuff like that.
Speaker 1 (13:15):
Yeah, you know, it's it's so interesting because I didn't
realize that, and I realized there's some they definitely steal
in reference from other like there's like a rock himn reference.
But you're right, and you're You're right that the Beastie
Boys did this, but they you know, like.
Speaker 2 (13:29):
Well, they referenced Paul Revere.
Speaker 1 (13:32):
But they reference everyone too, but they pull it off
like they It's two people can do the like the
same magic trick, yeah, and one could be like wow
or like that is so cool, and the other would
be like all right.
Speaker 2 (13:46):
Well, also by the time there's totally and also what
constitutes It's like, what constitutes what's uh informing the magic trick?
That was actually so funny. You mentioned the Bacie Boys,
and of course that's relevant with this. Before we got
on this call today, I something passed through like the
algorithm and I periphery, and it was the Beastie Boys
on SNL in ninety four when they, like I guess
(14:09):
it was around no communication. But the first thing they did,
it's fun, it's cool. It's kind reminds you of like
a different era in pop culture for sure. The first
thing they did was like this jazz exploration thing and
they're switching instruments. Then they switch instruments and they do
heart attack man like this punk rock hardcore song, yeah,
which all of which speaks to corners of their musical vocabulary.
(14:29):
I mean to make no, not everybody's the Beastie Boys.
Not everybody's like the best version of the thing they are.
I don't mean to make any judgments or expersions about
LFO and what informs their musical vocabulary, but safe to
say it's probably it probably isn't as broad or as
like lived in as those dudes. And by the time
(14:52):
you get LFO, it's like eleven hundred degraded copies of
that thing, to the extent that like the only thing
that is identifiable between this and the Beastie Boys. Is
that kind of like reference heavy like but it's like
comparing I'm not going to do it, but it's like
comparing let's say, like a certain sort of like seminal
(15:15):
kind of like alternative rock or grunge band that might
have had like real information from real underground music and
like the Beatles or something. I don't know who that
would have been, but some band in like ninety one
or so to like you know, Bush No No Shade
on Bush they had they whatever you can't But like
you know what I'm saying, like things the thing starts
(15:35):
to reference. It's not only referencing the things that informed
the best version of the thing. It almost gets rid
of all of that, and it's only referencing that thing
and all of the copies that came after.
Speaker 1 (15:46):
If I think it's more Nirvana a Puddle of Mud,
sure that's fair because.
Speaker 2 (15:51):
I don't know Nirvana, I've never heard them, But I
do know what you mean about Puddle of.
Speaker 1 (15:54):
Mud because I think there's something about like bush Camp
at the same time, they're contemporaries and it's hard to
like like this are obviously like like they. I don't
think there's any choice for these kind of white rappers
to be not influenced by the Beastie Boys to some degree.
Totally similarly, I think Puddle of Mud had to have
been influenced by by Kurt and the Nirvani's, so it
(16:14):
I think that it's it's it's it's like just a
slightly different comp But you're so right about a copy
of a copy, and that happens all the time. I mean,
it happens with just everything in general, like going culture,
going from you know, like symphonies and orchestras to you know, uh,
brass bands and then to ska. You know what I mean,
(16:36):
like totally kind of simplifies and then people who are
purists are like the one that they came up with
is the one, right, you know.
Speaker 2 (16:45):
And I think there's a generationalist component of that too.
I think about that, especially when we go through some
of what we do, but also just like having a
kid who's almost nine and like engaging with pop music
increasingly pop culture, you know, it's not I think when
we're like so generationally bound to the culture of our
(17:07):
seminal formative years, that's less about the culture than it
is about how we experience aging and how we experience
like we want those things burned hottest and brightest and
mattered most to us at these like foundational moments. And
I may think that the popular culture landscape in nineteen
(17:28):
ninety three was maybe more I don't know, dynamic, interesting,
representative of a broader range of capabilities and information. But
maybe that's total bullshit. And it's like I'm a forty
five year old man, like I don't I'm sure, I
in fact, even saying this is insane. Of course, there's
(17:49):
so much happening that I have zero feel for that.
These people who are between like you know, ten and
twenty right now in twenty or thirty years will be like, dude,
the most amazing. You know, they don't make him like
Charlie xc X anymore. And I'm not distant Charlie. Charlie
x X is amazing.
Speaker 1 (18:08):
It'll be a deeper cut. It'll be like, you know,
like bing Bong Elevator was so great, Bingbong Elevator was incredible,
right like, and we will be like, who's bing Bong
el Like the other day, I think Billie Eilish was
like it was like watching a video of herself doing
an interview in the past, and she was light. She
was just like, oh, this this follower has like so
(18:30):
many people and they follow me now. And she was like, oh,
and someone like a name like bing Bong Elevator follows
me like, which I couldn't believe when I got followed
by bing Bong Elevator and I was like, who the
fuck is bing Bong And look, I'm telling you now,
the name wasn't bing Bong Elevator, but to me and
to my thirty nine year old years, yeah bing Bong Ella.
Speaker 2 (18:48):
Yeah. I was fully like, Wow, I'm so much Maybe
that's like the six year difference between us. I was like,
I don't even know what bing Bong elevator is Bingo elevators? Well,
what I do know is this though, uh maybe those
the LFO of the LFO in the film and it
fine does get produced the Straighter Shore joint about T
(19:10):
five where they moved through time according to these lyrics,
maybe they'll be referencing bing bong boom elevator or whatever
that is in that song.
Speaker 1 (19:17):
Who's this?
Speaker 2 (19:19):
It was bing bom boom oh. That's why I didn't know.
I know bing bong moo boom oh boom it was moom.
I thought it was bomb. Sorry, I'm back on the chain.
Billy Shakespeare wrote a whole bunch of sonnets call me
Willy Whistle because I can't speak baby something your eyes
store me crazy blah blah blah. Crazy baby has to
be in every song. But this passage where they say
(19:39):
McCaulay culchan wasn't home alone, fell deep in love but
now he ain't speaking, which, by the way, I don't know,
is that ever get referenced again in the song like
I don't know, like this lover's quarrel, Michael J. Fox
was Alex P. Keaton. That's insane. That's totally insane to
be like, man, I was falling for you, but you
broke my heart. Hey do you remember that show? Yeah?
Speaker 1 (20:03):
Yeah, it's so I mean some of it, I'll get
the chancey I give some of it. Is like he's
setting the scene with what was what media was on
at the time of that young.
Speaker 2 (20:12):
Love totally excite. I don't totally go with that, because
of course that that doesn't totally make sense to me
temporarily in with LFO at the time this song comes out,
like how young are we talking? How young were they
when they fell in love?
Speaker 1 (20:29):
Really young, like like two years old.
Speaker 2 (20:31):
I guess you're right, Okay, sorry, No, I'm wrong about this.
I'm wrong. I think I'm wrong because they lead me
in a variety of directions, and I'm confused by how
to tie all the directions together. But you're right. They're
talking about new edition Candy Girl, Cherry Pats, crushed, rock Stud,
rock Stud Boogie. I don't know what right.
Speaker 1 (20:50):
I'm so clear he runs out of references by the
end because he says things I've never heard of, like boogalow, shrimp,
no idea, what I know what? Pogo sticks are totally
really forcing references and we're like learning like losing it.
There are probably people listening and be like, if you
don't know what boogaloo shrimp is, you're an idiot. You're
an idiot. But I just don't. And I also like,
let you off the hook, Like my man, mister Limpet,
(21:12):
it's insane that I just looked it up. It's a
nineteen sixty four film, incredible mister Limpet, and he and
apparently he wants to be a fish.
Speaker 2 (21:23):
So it's like a, oh, yeah, no, I'm aware of
mister Limpet.
Speaker 1 (21:26):
I don't know what mister limp it is. And then yeah,
then we get yeah, then we get color purple, we
get ruby red slippers.
Speaker 2 (21:31):
Well, the thing with Kevin with with color purple, I
just want to try to In the profile, this person
is describing the color Purple was like a movie for
grown ups about very delicate and wrenching subject matter. It
was like, it's kind of like Spielberg coming out of
the Multiplex for the first time, sort of in a
(21:53):
way like making like a character study a movie about
people and you know, political oppression and societal like examining
societal fractures. And there is no fucking way the person
described in this song, we contain multitudes, I get it.
Speaker 1 (22:10):
Do you think he means he just likes the actual color.
Speaker 2 (22:14):
Well, the lyrics I'm looking at has the color purple,
like capitalized for title person too.
Speaker 1 (22:21):
But like that's that's somebody online doing that, So.
Speaker 2 (22:24):
That could make more That makes more sense if he was, like,
I liked the color purple, macaroni and cheese, also ruby
red slippers, and a bunch of trees. This is what
I'm saying. So if these kids were teenagers in nineteen
eighty five, let's put this eighty five, eighty six, this
song comes out what ninety.
Speaker 1 (22:42):
Eight, ninety I'd say, yeah, ninety seven, ninety.
Speaker 2 (22:46):
Eight, Okay, I just feel like it's a little.
Speaker 1 (22:49):
Nine ninety nine.
Speaker 2 (22:49):
Sorry, I feel like it's a little off the age
degree if there's something about it that's slightly and what's
nuts about it is it's not totally crazy, becaucept the
mister limpet one, which is that almost indicates that like
a ghost writer wrote this, who was like a boomer
or something.
Speaker 1 (23:06):
I think it's I mean, I definitely think it was.
It was that situation.
Speaker 2 (23:12):
And then they were like that one just like almost
like a glitch in the programming like that. One slipped
through like every other one was like edited for a
like no, a little bit more like gen X, a
little bit more like that, and he's like totally totally.
But then he like slipped limp it in and they
were like, fuck it, it's fine, just leave that in there.
No one's gonna notice.
Speaker 1 (23:30):
And mom was born in nineteen sixteen, the.
Speaker 2 (23:35):
Russian Revolution on the top of your mind.
Speaker 1 (23:46):
All right, So I think I give a chance. He too, Yeah,
I give it a chance. I don't really think that
this exactly had been done the boy band that raps
because they look they are dressed and look like in
sync or ninety degrees, but they are not. They're singing
a little, they're speak singing right like new kids on
(24:08):
the block.
Speaker 2 (24:08):
Yea, yeah, pre drake.
Speaker 1 (24:10):
They're pre draking it as everyone knows. And they are
wrapping almost akin to what we've covered before with Come
My Lady, Come Come. Yeah, that's that's closer to this,
except for I will say there's's a malaise with the music. Yeah,
(24:31):
it never changes. It's not like when it first comes on.
There's a few like little guitar riffs and stuff that. Okay,
I didn't. I don't remember that.
Speaker 2 (24:38):
Yeah, fun, but it's it.
Speaker 1 (24:42):
They just like they just copied and pasted the entire
track like for the rest of it.
Speaker 2 (24:46):
That's question and so it.
Speaker 1 (24:48):
It really never like reaches anywhere. There's maybe some swells
like with like with like some drum swells and things. Oh,
there's some orchestra that's like MIDI orchestra that kind of
comes in. But for the most part, that's that's an
issue I have. But I will go back that I
don't think that this would be this had been done.
It's like kind of chill vibe s whisper vocal rap
(25:11):
with like boy band people like. I think there were
probably moments when you'd get like a little break in
like a Backstreet Boys or En sing song with like
a little rap verse.
Speaker 2 (25:21):
Like a right right nodding in that direction. New Kids
probably did a little of that too, like a little
bit just to be like we're kind of bad. Yeah.
Speaker 1 (25:30):
Yeah. And Donnie Donnie or Marky Mark and the Funky
Bunch was close to this too, right because he rapped,
but he came from his brother was in totally play band,
so like that was the closest. But he was really
trying to be and like he was really trying to
like be a rapper, and he was yeah and swing, you.
Speaker 2 (25:52):
Know, and he was accentuating too. I feel like Mark Wahlberg,
Marky Mark even when it was that like he was
accentuating the like I am actually like he was so
fixated on being seen as like tough and threateninges like
he was kind of really dressing up the way that
he talked. He was kind of like making a focal
(26:14):
point of like a lot of those early interviews and
stuff like about his like hard scrabble upbringing and just
because I come from this like family and like I'm
actually a tough motherfucker. Like, you know, he really wanted
to be seen as he wanted to be seen as
a rapper. You know. I even feel like that song
where they sample one of his hit songs is like
they sample wild Side, Walk on the wild Side to
(26:35):
lou read the baseline and every verse is like it's
almost like what it's like by Everlast, but earlier. Every
verse is like a different story about a person whose
life goes off the rails, like in his town, in
his neighborhood, because he was really trying to be like
I'm not a boy band just because or I'm not
like that kind of guy just because my brother's in that,
just because that's where I come from. I'm actually tough.
(26:57):
And I was like, all right, dude, like calm down.
And that's funny that that wheel spins forward and there's
a connective thread here because remember there's that semi it's
a kind of famous memified like early eminem appearance on
TRL where he's with Mark Wahlberg who is now actor
Mark Wahlberg, and Eminem really makes like a point to
(27:17):
be like I'm not like him. I'm actually I might
be white and a rapper, but I'm like actually like
kind of a mess and like I'm fucked up and.
Speaker 1 (27:27):
Hunch the bear. He's like, he's like where we could
all stand here like a funky bunch and you could see.
Speaker 2 (27:32):
Mark Wahlberg is like, I'm gonna knock this motherfucker out.
And then what's funny about that is in his in
that canonical artist's obsessive, please don't pigeonhole me with these
things with which I do not think I fit. Remember
he's saying like a version of this song Eminem that
was like the hook at the beginning of one of
his songs, and I will not repeat all of it
(27:52):
because it's like shit, you can't say. But it was
like something about like, oh my god, new Kids on
the Block blanked a lot of blanks. Yeah, groups make
me sick?
Speaker 1 (28:02):
Was that eminem? Oh?
Speaker 2 (28:04):
Yeah? And I can't wait till I catch all you
something I will not say in public. I love it. Yeah,
it's like him, and it's like a whole song about Isaiah,
not Vanilla Ice, not Mark Wahlberg, not LFO not because like,
what's maybe a chancy in this? I don't know anything
else about this. These people are this group or any
other songs they have, but they seem content to just
(28:25):
be having a nice time on this song, like you
know what I mean, They're just kind of like group
rolling with it.
Speaker 1 (28:31):
Just I wish I knew any other LFO song. I
really do, because I really don't. I want to kind
of look and see if it is all in this genre.
Speaker 2 (28:41):
Let's do a season of LFO stuff Season two, Wow,
a whole you heard it here? First Chancers, Chancer Chancers,
this morning's episode.
Speaker 1 (28:54):
So this is a shameless plug. But my friend Patrick
and I we made two full albums in the style
of LFO. We went as these like rappers called Chase
and Rose Oh yeah, and it's all supposed to be
sort of like this, and so it's like a lot
of whisper rap about like things like songs like pizza
and we have a song called No Chorus and it's
(29:17):
so it's sort of this. It's this exact thing. You
could find the albums online and it's called like California
Pop Music or something like that is the name of
the album. The albums in California Pop Music Part two
or Volume two or something amazing I do there is
something I love it comedically. I really love the whisper rap.
(29:38):
It's band, It's insane.
Speaker 2 (29:40):
It's like there's something, yeah, I mean, there's something about
it that's like it's funny. Look, I feel like we've
talked about a version of this at some point too.
Anytime something just by nature of that delivery and the
structure of what a boy band is, there's something about
it that's like meant to be like sexy.
Speaker 1 (29:58):
This is supposing yeah, and like this.
Speaker 2 (30:01):
We both literally did a shoulder thing like self yeah. Subconsciously,
it's like and anytime anything is like intentionally trying to
be sexy. It's funny. I'm sorry, it's just it's so
funny when someone's like, especially a group of dudes hanging
out in front of a like a like a fried
(30:21):
Oreo stand or whatever's going on in this video and
like a car you know they're on like the seaside,
Jersey Shore or like somewhere like that. It's just it's amazing. Also,
I love that you have a band that has two
albums based on something. I know it's conceptual and philosophical,
but based on an artist that you just said you'd
never heard any other song by this. That's something this
(30:43):
deserves a chance about one song was.
Speaker 1 (30:46):
You're right like comedic genre in a way, like, yeah,
you're right, like it. We it's it was the reference
that we liked so much.
Speaker 2 (30:56):
One of the specific ones in here.
Speaker 1 (30:58):
No, just just in and like, oh, we have a
song called I'm a flirt, right, and it's that exact thing.
It's like, I'm a flirt, I'm a flirt. I guess
I'm right and yeah, and you're right. It is. That
is how powerful that is a good chancey, It's how
powerful it is that this group. Also, I really feel
that I don't know where they're from. But the Jersey
(31:20):
Shore video and all that really reminds me of how
I grew up and stuff. Absolutely there were people that
were very much like exactly this, like the outfits they wear,
like you know what I mean, like a T shirt
with like a sleeveless T shirt, you know, and like
spiky hair and like it was. It was really like
the culture that I feel like we came from. And
(31:43):
I was not very I wasn't. I didn't fit that mold,
so I was it was decidedly counterculture. But I owned
a lot of Abercrombie and Fitch. I owned a lot
of Arrowpostel.
Speaker 2 (31:56):
I definitely owned stuff from I don't know if I
ever I mean I've owned things from adjacent companies. Not
like I was too cool. I don't think I ever
had Abercrombie stuff. I definitely had at least a sweater
from Aero Pastyle or something like that.
Speaker 1 (32:07):
Ninety nine, I graduated eighth grade and I was starting
high school, and I was wow, like like the you
can't help but being influenced by your friends liking this,
and I had like no, I had a puka shell
necklace like this was all that era.
Speaker 2 (32:22):
Dude, everybody's trying stuff on forever and it's funny. I was.
That's my being a little older. I'm thinking of when
I moved to Staten Island. I remember, like my mom,
like I kids were wearing like z cavalichies, yes, with
this pair of pants and this style pants, and I
remember like I didn't have that, and I had like
(32:43):
I literally was wearing blue sweatpants to school every day
and like this one. I had like this rotation of
two guns N' Roses t shirts. And I was not
I didn't have a lot of friends. And I was
at home after school doing math homework, listening to Rush
chronicles on tape and Rush Limbaugh's Greatest is No. And
my mom, literally this is real. She knocked on the door,
(33:06):
like doing math, listening to Rush, and she's like, do
you want me to get you a pair of jeans?
And I was like, no, I'm okay. And she literally
went and closed the door and walked out, and she
was trying to be like I'm trying to help you here, man,
you know, but you didn't want it. I did, of course.
(33:28):
Eventually I bought all of the idea. I mean, I'm
not saying I stayed, I've gone through what every one
of us has to go through whatever like cycle. I
was even thinking about something like in adulthood, like in
the last But.
Speaker 1 (33:39):
It's so beautiful that you are a little boy that
stayed a little boy a little late.
Speaker 2 (33:43):
A little boy that stayed a little boy a little late.
Is that was a beautiful thing you just said.
Speaker 1 (33:48):
But you know it is like it's so often that
boys and girls like rush to be a little older,
and then there's always these like boys, oh totally like
play with a doll too long, or where there's sweatpants
too long, and like aren't into jeans because they're cool
because sweatpants are so much more comfortable and run around.
Speaker 2 (34:06):
We always end up. I think we always draw a circle.
I'm definitely now, like I gotta put structured pants on
to go do this thing. I know we're coming up
towards the end. It's very sweet, and it's sweet. It's
a lot sweeter and more beautiful than telling me you're
gonna steal my honey, like you stole my bike. I
just wanted to make one anti chance about that. That's bullying.
(34:27):
I didn't like that part of the song. And I'll
never like bullying, so don't bully me. O FLFO.
Speaker 1 (34:34):
Did you get bullied with the sweatpants and stuff? Oh?
Speaker 2 (34:36):
I definitely got a little bullied when I moved to
Staten Island, yet not like as bad as it could
have been, but certainly a little bit. And I have
a few Guardian angels that we could get into in
another omar.
Speaker 1 (34:46):
What was your elementary school when I moved to school?
Speaker 2 (34:50):
I went to is seventy five. Shout out, Paulo Huganot.
I took the bus from Great Kills. If you still
don't understand, I think this is about to shut us down.
In the case the kind of chance you give me,
I'll give you every day, and I'll never steal your
bike or try to steal your honey. I would never try.
Speaker 1 (35:05):
You would, I won't. I'm still I'm still gonna pocket
that five. You won't
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