"COWBOY CULTURE" (w/ Matt & Bowen)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Look Mayer, Oh, I see you my own look over
there is that culture. Yes, goodness, Wow, lost culture ding,
Lost Culture.

Speaker 2 (00:12):
Lisa is calling, Wow, I wake up.

Speaker 3 (00:16):
I get on the zoom, I see my sister, and
I say, you know, I really don't fellowship with these
fake ones.

Speaker 2 (00:21):
I'm telling you right now. Fellowship with the fake ones?
Is this Matt Rodgers original. It's not what if you're
not listening to Cowboy Carter. See, this is such a
lyrically and sonically dense album that I'm still kind of
getting off books even though it's been the only thing
I've been playing for the last what ninety six hours,

(00:43):
I identify with like fellowship with these fake ones. It
sounded familiar obviously, and you know, I went, but maybe
my girl came up with that. But it's my other girl.

Speaker 3 (00:53):
It's your other girl, of course, Beyonce Noles Carter, Missus Carter, herself,
the Cowboy Carter, who has released her eighth studio album,
Cowboy Carter, as you all know.

Speaker 2 (01:05):
Readers, Katie's publicist and finalists.

Speaker 3 (01:07):
But yes, I don't fellowship with these fake ones. Is
something that jumped out on the record.

Speaker 2 (01:12):
Is that American requiem that sounds like it American record. Now,
what is that from? See?

Speaker 3 (01:15):
And even I can't say necessarily it's from because like,
are you checking?

Speaker 2 (01:21):
Yeah, Oh, Becca's right, it is Daughter's.

Speaker 3 (01:26):
By the way, and we'll get to these songs like
but it's like you said, it's not like any of
the regular pop girly albums where it's like, oh, I
can turn it on. I can easily digest these thirteen
songs if that, and then come on here and be like,
you know, it feels it feels crazy to be like
album of the year, But show me the album of
the year if it's not this.

Speaker 2 (01:47):
No, I mean it's I'm ready to say that it's
her best album. I am too, even though you know
I have a fucking gorilla grip on four Emo.

Speaker 3 (02:00):
There's a full size shape in my heart. I've been
clutching onto four for the past. God, what's it been
twenty eleven? So that's thirteen years. I thought you were
just gonna say, God, what's it been twenty years? And
I literally bowen. There was a chill that ran up
my spine. It's creeping up there. It's not that far
away from twenty twenty eleven. Oh my god, that is surreal.

(02:24):
I mean, yeah, like this is I mean, it's all things.
It's experimental, yet it also feels like very at the
heart of who she is. It does land squarely in
the country album a country genre rather, but as she said,
it is a Beyonce album through and through. Fans of
hers will recognize so much of this from the beginning.

(02:44):
It somehow is like, yes, it's presented as this country album,
and it is in the country genre, but it's also everything.
It's got blues, funk, pop wrap. It has everything, and
it's also it feels like it's from the future and
also a throwback simultaneously.

Speaker 2 (03:03):
Just what more could you want? Let's just get into it.
Should we do track by track?

Speaker 3 (03:08):
Let's attempt let's a time because as you said, I'm
with you, like it's hard even when it's.

Speaker 2 (03:13):
Been on ad nauseum.

Speaker 3 (03:14):
Yes, yes, so Ariana Grande had her two weeks with me,
you know what I mean, Like I had my eternal
sunshined moment and now I'm cowboy Carter and then you know,
in a couple of weeks when another one of the
pop gurly stomps.

Speaker 2 (03:26):
In, We're gonna stay. We'll be rotating out.

Speaker 3 (03:28):
But these albums will always be here in the lexicon
of my musical heart.

Speaker 2 (03:34):
M Well, you know this is scheape, It's it's Everyone
is already kind of marking this as a big pop
early year. I think we haven't seen this kind of
pop early year since the year that we are going
to excavate later on. We're getting back to it, everybody,
don't worry. Yes, twenty thirteen was kind of the last
big watershed year for this. I would say twenty eleven,
speaking of four, that was the same You're Born this

(03:56):
Way came out, So let's just let's not discount that either.
I don't think it can be discounted.

Speaker 3 (04:01):
I also will say that I looked at the doc
which you so generously prepared for twenty thirteen, and I
did see one album it rhymes with smart pop, and
I got really excited.

Speaker 2 (04:12):
So we'll get there.

Speaker 3 (04:13):
Before we get into cowboy patter, I do want to say,
as you all know, the lccas the last Coltrisa's Cultural
Awards have been announced. You may have seen our preview
with parvity, our little trailer for the show, and if
you're listening right now, you actually can get tickets today
with promo code colch c U l TCH. See our

(04:34):
social media for directions on how to buy tickets. But
if you are listening today, you do have access to
tickets now with promo code culch.

Speaker 2 (04:41):
It's June fifteenth at the King's Theatre. We're so excited.
If you go to King's theaterr dot com King's Theater, Yeah,
you can access tickets through Live Nation and use that
promo code culch. We're so excited for that award show.
There are going to be many surprises in store. Yeah,

(05:02):
and mm hmm. Can we quickly just give praise and
thanks to poverty shallow for showing up. Absolutely for showing
up and glowing. You know me and you saw me
that day. I was very flustered. I don't get very
starstruck around people, but that was it was our So
everyone who's like Parvety needs to be on the pod.

(05:22):
She's been on the pod. She has been on the pod,
and some might say even she might say that her
being on the pod in twenty twenty was a very
big moment for her in terms of her awareness of
being a gay icon. She's saying it, not us, she's
saying it, and we've been out here keeping for Parvety
in the gayest way possible, you know, before a lot
of other First first to give credit, Aaron Jackson is

(05:46):
the original gay Survivor megafan. Yes, yeah, totally. She showed
up and I was so not nervous but just like
skittishly overjoyed. She is so infectious. She is so charming.
She does just flirt with you. Yeah, And by flirt
with you, I mean she like she really just like

(06:08):
draws you in and like she like, I'm so happy
that she had such a sense of humor about me
doing an impression of her doing a cameo because because
I told her that I watched Parveties. She's the only
person whose cameos I watch for like ASMR comfort because
they're so comforting. The way she like talks to the camera.
She's like, hey, Janine, it's Parvety from Survivor. She's already

(06:32):
from the Survivor. And I heard that you have a
birthday coming up. That's amazing. I had my birthday a
few months ago. It was really good. So I hear
that you loved skydiving. That's really scary. Must be very
that's harv. That's the magic and beauty of parv and wow,

(06:53):
she gave us lots of fun tea from the set
of Traders season.

Speaker 3 (06:57):
Yes, it's what you're saying. It's like she comes in
and it's like you can't help but like smile.

Speaker 2 (07:02):
And giggle you know what I mean, Like you get it,
you got it. I was giggly af But that was
a very fun day. Props to Disco Net Productions, to
Lauren Mandell for putting it together.

Speaker 3 (07:16):
And we can't wait to see you. You can see
more to come, more to come, much more wizardry to come.
Speaking of sorcery, let's get into it. Let's get into
Cowboy Carter this episode, Cowboy Carter more like cowboy culture.
To get through the Sentince, can you tell I rehearsed
that you did Cowboy Carter more like cowboy culture?

Speaker 2 (07:40):
You had that back pocket? Wow, my girl. Listen, she's
a writer. She's a writer, she's a performer. Someone's been writing.
Matt Rogers has been writing again. Okay.

Speaker 3 (07:52):
Did you ever see that review of The Gilded Age
when it was like Julian Fellows has been typing again?

Speaker 2 (07:59):
I think that's what it was. It's a great, great
little bit.

Speaker 3 (08:04):
So speaking of America, where the guilded Age just set.
The first track on Cowboy Cartter is American Requiem.

Speaker 2 (08:12):
Wow, what a moment, perfect opener, and I think American
Requiem and Amen as the opener en closer work individually,
obviously work com paired together as a men kind of
recalls that sort of opening so beautiful and hunting. I

(08:33):
mean there's like a melancholy throughout the album that like
is immediately set in the beginning with this track. Yeah,
it's just these like these huge gospel harmonies.

Speaker 3 (08:44):
And you know, I think that, like, especially with the
knowledge that everyone had this is going to be this
country album, I think everyone was sort of really anxious
to see what that really meant. Was it going to
be traditional country, was it going to be contemporary country?
What angle was she gonna take with this? Because honestly,
Texas Hold Him in sixteen Carriages suggested that it could

(09:06):
be either you know what, or it could be anything,
because sixteen Carriages is this big moment, and I just
remember hearing that and thinking, oh, I can't wait to
feel this in a stadium, these like big sounds and
this big vocal and then Texas Hold Him is very
much like a fun, easy hooky country.

Speaker 2 (09:24):
Song, and so what are we getting?

Speaker 3 (09:26):
And then American Requiem starts and it's these huge, big
gospel vocals and harmonies, and you get that this is
gonna be really a nod to the roots of the
country genre, which is really what this is. She is
throwing it all the way back to the beginnings of
this and the beginnings of her in many ways, because

(09:49):
you feel with every note of this song that this
is authentic to her and that this is something that.

Speaker 2 (09:56):
Almost like she's been waiting to sing, you know, you
get that. Yeah, Well, let's talk about the fact that
this was supposed to come out after Lemonade or after Homecoming,
you know, whatever the chronology you want to see, the
first of the trilogy was intended to be this. Yes, yeah,
it's pretty incredible that she like had this whatever the

(10:19):
grand vision for this album was at whatever stage, Like
I think obviously, like the two eyes being peppered throughout
the track list are like yes, obviously not to like
act too, and like who knows like how pre planned
that was. I mean obviously like after Renaissance comes out,
like they like might have thought of those throughout the
track list. But she says that she she was like

(10:41):
trusting God's timing with this, and like that shows an
immense patience and restraint and like wanting to get this right,
wanting this to impact properly, wanting this to tell her
story properly. I think, like this is the thing about Beyonce.
It's like someone on TikTok was saying, she is like

(11:04):
a utopian artist. She has always been a utopian artist.
That her work has always been hopeful, but there's something
beyond hope, beyond singing about hope. It's about giving people
a blueprint for like how to live in a better world,
especially in a world that is like hostile towards you,
hostile towards so many people, everybody at this point that

(11:29):
American requiem and then with a man as the closer,
like they are leaving things on a note of like
the statues that were built were like beautiful but made
of lies and like built off the backs of people
and my people, and there is something like to build
out in the future, like Beyonce. Like at this point
I was talking to my to Jake, you know, Jake,

(11:50):
the guy who cuts my hair. He's like the biggest
Prince fan ever, right, And then I got a haircut
with him yesterday and I was like, we were talking
about this album, and I was like, I'm asking you
as a Prince fan, like I am wondering if you
think Beyonce has like reached maybe even exceeded that thing

(12:10):
that Prince did where it's like he is a symbol,
that he's more of a symbol than an individual person.
And obviously like these are both like amazing artists, but
like people with like immense visions for the pop landscape,
the artistic landscape, the like American landscape, and like you know,

(12:30):
Lemonade was like her Purple ragin in a lot of ways,
like God, I love Lemonade the way you said, oh
I love Lemonade was. But like I think Beyonce has
like modeled a lot after Prince. Remember Formation World Tour,
that show we went to where like it was right
after he passed away, and then she like wasn't even
on stage doing.

Speaker 3 (12:49):
She fucking destroyed Purple Range. She destroyed Purple I don't
think she was on stage for that. I think there
was a performance where she did it and she killed
it and then she're right, she just let it play.

Speaker 2 (12:59):
She just let it. But then she was like wailing
on that guitar like yeah, or just on like the
like that that ending. Anyway, Jake was like, you know,
I mean I might have like led the question, but
Jake was like, no, I think I think she has.
I think she has like blown past any prior model
of like a pop star and a visual artist in

(13:21):
like music. We'll get to like the Beatles and Dolly
Parton and like all these people later, but like we're
only we're still in track one, but like American rec Raem,
it's like the clearest statement of her like utopian thing
of her, Like even like on Lemonade, like All Night
Formation is the closer, but All Night Being I consider
like the last song, and it is like out of
like this devastating betrayal, like she still has this like

(13:45):
design for like how to heal from this, And I'm like,
that is Beyonce in a nutshell to me.

Speaker 3 (13:51):
And I also think it's so interesting with her because
you know that she comes to this project with so
much purpose, but really album to album, you do you
get the sense that.

Speaker 2 (14:01):
Yes, she knows.

Speaker 3 (14:02):
I think she's so aware of the fact that she's
so meaningful and that she is in her ambition equally
as talented, and she can achieve so much and she
can mean so much. But also you get with each
body of work that she's just trying to expand herself,
you know what I mean, She's just trying to execute
whatever the vision is at that moment. And I also
think it's important here when we're talking about American requiem

(14:24):
to define what does that really mean? And requiem by
definition means a mass for the repose of the souls
of the dead. It's an act of token, a remembrance,
you know what I mean. And so American Requiem, she
is saying, I am exhuming, Yeah, those that have been
forgotten in this type of landscape, and this is going

(14:45):
to be a tribute, but it's also going to be
a celebration, and it's going to be a reminder. It's
going to be all three of those things at the
same time. And I think when in your comparison with
her and Prince, it's like be able to confidently make
that statement at the top, you know what I mean,
like mission statement, we are bringing this back like country

(15:12):
music is for us, it is for me, and I'm
bringing everyone with me, and I'm elevating everyone else, because
you know what follows is Blackbird, where she's got these
black women in country music on this record with her,
and now you see the result is all these women
are charting, all these women.

Speaker 2 (15:32):
Are now names.

Speaker 3 (15:34):
And in fact, that was the original intent of the
song Blackbird, which Paul McCartney, you know, he apparently said
that his vision for Blackbird was that black women would
sing it together and that that would be like the

(15:54):
way that that song could be actualized in its best form.
And Here'sance doing it and coming out of American Requiem.
I just think that's very special, and it's a beautiful
rendition of the song.

Speaker 2 (16:06):
It's a gorgeous rendition of the song. I think between
the covers, the two covers, this is the one that
I prefer wildly. We'll talk about Jolie, Yeah, we'll get
to it. Yeah. But they talked to one of the
Little Rock Nine women and like wanted her reaction to
Blackbird being covered by Beyonce, and she was like, you know,
obviously huge thing for Paul McCartney and Johnlennon to like

(16:30):
write this song about us at the time, but then
it has this like emotionally crazy for this woman because
It's like I never thought the biggest star in the
world would be a black woman who would then full
circle like bring this song back out and it has
an extra meaning to it. Yes, And she said, you know,

(16:52):
when Beyonce sing something, people listen, and I think, like,
just to go back to American requiem, it's like, can
you hear me? Can you hear me? Like whatever the
country establishment, however, they respond to this album. They have
no choice but to listen but to hear this statement,

(17:13):
and like, I think that is enough, Like that is
enough for Beyonce to do so that like it cannot
help but be noticed. And I think like Blackbird is
a beautiful thing to come out of that first song
with like you said.

Speaker 3 (17:29):
And also we should say the women on this song
are Britney Spencer, Rainer Roberts, Tanner Adell, and Tierra Kennedy
and they they all sound amazing. And you know, I
think when it comes to country music's acceptance relationship with
dismissal of her in this genre, her with this project,

(17:50):
it actually really doesn't matter what quote unquote country music
thinks of this album, because what that says and what
that denotes is that they're actually.

Speaker 2 (18:05):
Right full gatekeepers of.

Speaker 3 (18:07):
This genre and they are not. And so that, I
guess is the thing like when you talk about why
this project even exists, and she says herself, she had
an experience in country music where it was clear she
was not welcome. She's obviously referencing the CMA Awards. When

(18:29):
this was years ago, she had released Daddy Lessons and
she went on the CMA Awards with the Chicks to
perform Daddy Lessons because the Chicks had been performing the
song in concert. Natalie Mains allegedly was obsessed with Lemonade
and wouldn't stop talking about it. They were performing it
all the time, the song and Beyonce had heard of
this and upon invitation there's a great oral history of

(18:51):
this night by the way Vulture did it, And upon invitation,
Beyonce said, I'll do it if I can do it
with the Chicks like great, absolutely so administratively at least
at the beginning, and in terms of like the way
they were producing the performance.

Speaker 2 (19:06):
It seems fine.

Speaker 3 (19:07):
There was all this positive energy around it, and they
worked so hard to get it right, and they worked
so hard on the performance, and then it happens, and
I of course watched it again, and something that I
noticed was it's a very Nashville country room, you know
what I mean, Nashville country meaning people in that town

(19:29):
that create that genre in a popular sense. Nowadays, it's
a lot of Nashville songwriters and Nashville performers that run
that genre. And anyone coming in from the outside gets
like a cock guy, you know what I mean, Like
gets sort of like the stink.

Speaker 2 (19:46):
Guy in a way.

Speaker 3 (19:47):
And there she is, and I wish you can watch it.
She is getting the stink guy. Kenny Presny is there
with his sourpuss, you know. In that oral history, Alan
Jackson is referenced as having walked out in the middle
of the performance, like very rudely and saying like fuck
this or whatever. Some people there are giving her love

(20:07):
and attention, like Faith Hill is up at her seat,
clapping and enjoying it. And there's a moment where they
cut to Beyonce. There's a couple moments actually where Beyonce,
who energetically is fucking crushing it. But there's a little
tiny bit I sense, a little bit of nervousness, and
there's a moment, a couple moments where she actually blows

(20:30):
kisses to people in the audience in a way that
she never really would And the only the only emotion
I can really ascribe to her in that moment is
like there's a little bit of relief there in that
someone is giving her like love and attention and admiration
and respect for being there and being up there, especially

(20:50):
alongside the chicks who had been really cast out of
that entire genre and that entire you know, community, And
it just felt like, Wow, what that must have felt
like to work so hard on something and to perform
something that is so authentically her Daddy Lessons is authentically Beyonce,
and it's authentically who she is and where she comes from.

(21:12):
And to leave feeling like in any way like you
might not belong there had to be incredibly like dysmorphic
in a way. And then for her to take that
and be like, let me actually examine this feeling and
this response I got and make sure that I'm right
because I know I belong in that room. I know
this is my genre, I know these are my roots,

(21:34):
and she, in doing that, has created this and is
doing things like you know, American Requiem, Blackbird, the cover
of Joe Lene all these things, bringing people in, elevating
people and showing that like that response was bullshit and
the way she was treated was bullshit, and it was
bullshit for the CMA Awards after all the negative racist

(21:57):
shit that came out afterwards, for them to pull her
performance down off of YouTube, to pull all the promotional
aspects of her appearance off of YouTube, just like they
eventually did put it up because they were called out for,
you know, for what it was, but just the fact
that that was an experience she had to have. Thank
God she is the artist that she is and the

(22:19):
person that she is that she was able to create
something triumphant out of that and to really say to
everyone like, if you don't think I belong here, fuck you,
who do you think you are? And if you are
a country music person and you think you know better
than Willie Nelson and Dolly Parton, then I don't know.

Speaker 2 (22:36):
Fucking yeeha. I guess as they say, good for you,
but you don't.

Speaker 3 (22:40):
And I knew that she would bring in big guns
to like to shut everyone down. I had a feeling
it would be Garth Brooks, but it ended up being
Willie Nelson and Dolly Parton. And she just shut everybody
up with that. It's like, stop spinning out, Like the
literal godmother and godfather of this genre are fucking cool
with me smoking weed on my album, So shut up.

Speaker 2 (23:01):
Mm hmm. That's a perfect way to sort of digesting
process all of that. Because and even like she mentions
like the like AO two I when later on the album,
like this is Beyonce. Petty is not the right word,
but this is Beyonce, like jilted. This is Beyonce like

(23:21):
sort of like like openly being like I'm a human being,
like I take these losses or this treatment. Like it's
not that she like is totally crushed by these things,
but it's like she is like like it lands on her, Yeah,
and she will do something with that, you know what
I mean. I like have this fantasy for the longest
time of like I don't think Beyonce really cares about

(23:42):
like the album of the year losses at the end
of the day, Like she is still like at the
end of the day, the most like decorated Grammy winner
ever and like ever all these things. But you're like, oh,
only in a song like and I'm getting ahead of myself,
but only in like a Joline is it, like do
you go? Well, it's not believable for Beyonce to feel
insecure about like to be like threatened by another woman,

(24:03):
because why would she, you know what I mean, And
so therefore you have to like change the POV and
have it be like I'm warning you don't come from amen. Otherwise,
Like there are little like intentionally presented moments of vulnerability
on this album that I think are pretty incredible and
also very country, very country that we haven't seen from
her since definitely since Lemonade. But I think like in

(24:26):
a way that is like that breaks the fourth wall
even further where it's like, oh no, she's talking about
her work. She's talking about the way she knows herself
as an artist, and like this is the thing that
we keep coming back to, like in our personal lives,
Matt and I. But it's like, no one can tell
you who you are. You don't negotiat who you are
with other people, Like she is not negotiating who she
is with other people, and I think through this album

(24:48):
she is refusing to let other people evaluate her art.

Speaker 3 (24:53):
M Yes, I mean she even said the other night
or it was last night, I think I heard a
word on Monday. I heard a word she talked about
like how criticism can really be a test of your
mental health. Like even she has had to rise above
that type of thing, and she, you know, the noise
does get to her when she continually loses Album of

(25:15):
the Year despite having released the Album of the Year
several times now, it feels like they're testing her.

Speaker 2 (25:23):
And pushing her. Yes.

Speaker 3 (25:25):
Yeah, and when you are Beyonce, thank you cutting back
to the view.

Speaker 2 (25:31):
When you are Beyonce, that is your reality, you know
what I mean?

Speaker 3 (25:35):
Like I'm nominated again for Album of the Year, there's expectation,
I've done this level of work. I lose again and
again and again. You know, of course that's going to
be something that like psychologically, it's like, what do you mean?
What more can I do? What more can I do?
And I also think that kind of dovetails nicely into

(25:58):
the next song, which is sixteen Carriages, because she talks
about the very relatable universal thing of maybe this song
lyrically is not literal, but this idea that I have
had to work really fucking hard since I was young,

(26:18):
and it was on me a lot of the time.
Of course, I had help but I had to see
my family unit disintegrate. I had to lose friends, I
had to test myself. I had to deal with racism.
I had to and still like I'm here, you know
what I mean. I have arrived. This has been a
journey for me, and here is the story of my journey.

(26:41):
Here is the way I'm going to show you how
I've gotten through my adversity. And it's this great fucking
song that I know, Like everyone that was at renniss
I just thought about that same Renaissance crowd being at
the Cowboy Carter crowd and the response is going to
be the same.

Speaker 2 (26:59):
Ye'll be the same. It's universal. It is pretty incredible
that these are so far act one enough. Two are
like I'm gonna say, lateral albums, like there is not
something totally like the ven diagram is mostly a circle here. Yeah,
it's like there is no reason why someone who likes
one album wouldn't like the other, at least to me

(27:20):
if you're a real Beyonce fan. And I'm not gatekeeping
real Beyonce fandom here obviously, but it's like you should
absolutely just appreciate both. I don't think she's gonna do
this sphere. I think she if she thinks this is
her best album ever, she will want to take it
around the world. Hm hmm. Yeah, that's a great point.
You know what I mean.

Speaker 3 (27:40):
When there's smoke, there's fire with the sphere, I'm convinced
on something.

Speaker 2 (27:44):
The fear that it's gonna be the sphere. Oh, this fear,
not the sphere, the sphere.

Speaker 3 (27:50):
Yes, what I'm saying is where there's smoke, there's fire regarding.

Speaker 2 (27:55):
The fear fear, Yes, yes, I think this fear that
it would be this sphere.

Speaker 4 (28:02):
Yeah.

Speaker 3 (28:02):
Me afraid are going back to Vegas because I know what,
I'll become fucking crazy whore if it's for Beyonce. This
you you need to be No, I want that to
be a pure watch me, bitch, hold my drink. Actually, don't,
I'll do shrooms. I won't like get drunk, you know
what I mean.

Speaker 2 (28:20):
Even though it is like, oh, it's the Rodeo, it's
it's it's dirty.

Speaker 3 (28:24):
It's gonna be a party atmosphere and you know what
I'm saying, It's like it's gonna be And that's another
thing is I was like, you know, having been to
Vegas so many times and after coming off my big
year of concerts, like this music is going to play
so well in such a big way. Sure, Like I
feel like the Sphere made a little bit more sense

(28:48):
to me upon listening. And then it's funny because like, well,
not with the next song I'm talking about actually Bodyguard,
which is later, but it was around Bodyguard where I
was like, actually, this album feels very Vegas to me,
like and it feels very like people from all over
the country being able to go to one place. Like,
but I do think you're right, like imagine reimagining the

(29:10):
sphere as a rodeo. There's something with the sphere. I
do think you are right. She will want to take
this around the world, but people from all around the
world do go to Vegas.

Speaker 2 (29:23):
So it's like, I don't know, I don't know what
that looks like.

Speaker 3 (29:26):
It just felt to me at several different parts of
this album like if there's ever to be a Beyonce
Vegas residency, this feels like it totally.

Speaker 2 (29:36):
But I think you're.

Speaker 3 (29:37):
Right that this feels international in a way and such
a moment of pride for her.

Speaker 2 (29:42):
Yeah, we'll just leave it to her to decide how
she showcases that sixteen carriages. Honestly, it's about her sacrifice.
It ends it sort of. It comes back around to
like her being a mother now and her making her

(30:04):
choosing not to make the sacrifices in honor of like
tending to her family, which brings us to protect her.
I mean, beautiful, just beautiful, just.

Speaker 3 (30:14):
To start with rumy, like, it's such a beautiful song.
And you know what I love about the whole beginning,
I guess i'll call it like the first act of
this album before we get to the smoke hour, is
that it almost tips back to the beginning of the
Renaissance World tour where she comes out and she gives
the ballads and she's like, yeah.

Speaker 2 (30:31):
Almost like easing us in.

Speaker 3 (30:33):
Like this whole first act of the album is her
just easing us in telling us stories, beautiful stories. And
that is such a cornerstone of country music as well,
is that it is the storytelling musical genre.

Speaker 2 (30:46):
And she is just so beautifully and plainly.

Speaker 3 (30:51):
Oh my god, I just thought of the line and
I'm gonna cry, Like and even though I know someday
you're gonna shine on your own, I will be your
projector like what a beautiful plain sentiment in a lyric.
The melody is gorgeous and it is so felt, you
know what I mean. Like she continues to be one

(31:13):
of the most vivid singers out there. And I say
that in you hear the love and the emotion and
the attention and the care in her voice. You know
what I'm saying. It's like, it's just stunning. It's beautiful.

Speaker 2 (31:29):
Yeah. The first time I heard this, I see the
song titled Protector and just in like that run, like
just the the drop of the word projector was to
me like breathtaking. It was like obviously like with the
lead in and the lyrics like beautiful, beautiful lyric. But
I go, oh my god, I did not that was

(31:49):
not the word that I thought was gonna that was
gonna be sung. You know, like there was something there's
something really so powerful and like strong, like it is
a strong song for being so gossamer and fragile and
beautiful and like it's a lullaby, you know, it's like
Rouney Wants the Lullaby. And I think this is a

(32:13):
pretty fucking incredible song. And it's a nominee for Mother
of the Year. It's a nominee for Mother of the Year,
the song Protector Mother of the Year. Let's keep going
to My Rose, Into Smokeower, Into Texas, hold Them. I
love it. Yeah. I think this is a very elegant,
Like Maroes is kind of like an invitation into like

(32:33):
it's you're right, It's like it closes out this first
act of the album, act within an act. Myros is
like let me tell you, let me tell you a
story about like vulnerability and about like what it means
to be human. Basically. I think that is also like
Beyonce's thing, like other than being a utopian artist, She's
giving you stories about humanity whatever. I'm like being so

(32:55):
like college student about this. But then smoke Our is
so cute. Love this like parallel conceit of like club Renaissance.
You're at the club and now you're like just listening
to the radio. You're listening to the radio k N
t R Y like Willie Nelson is like pressing play
on his tracks, like take yourself to that place where

(33:15):
your mind is happy, I think he said, or whatever
it is, Oh my god, my fireworks, just my god.
Boeen you will be projector wait, that was so good.

Speaker 3 (33:25):
Bowen in the Zoom like as he was talking, like
the joy emanated from him and he truly there was
fireworks that went off in his zoom.

Speaker 2 (33:33):
That was crazy. I didn't even know that was a thing.
You can do visual thing if you do double pace signs.

Speaker 3 (33:38):
But anyway, yeah, I have to say, like when the
Smoke Hour hit, I got this euphoric feeling.

Speaker 2 (33:45):
I was like when you hear Willie Nelson's voice and like,
no need to know your name? You know what I mean?
Like this my name, you need to know yours?

Speaker 3 (33:51):
Yeah, you know my name? No need to know yours.
Like there's this humor in it and this like ease
and this relaxation, and it does make you want to
hit the blunt.

Speaker 2 (34:00):
And you know I did. I walked over.

Speaker 3 (34:02):
And I said, well, Willie Nelson is telling me that
I need to hit this blunt for at least this
moment of the album, so you can catch me over
here smoking.

Speaker 2 (34:10):
It's the smoke out for me as well.

Speaker 3 (34:12):
Yes, And just the way it goes into Texas Hold
Them Texas, Hold Them hits so hard on the album.

Speaker 2 (34:20):
You keep saying in context, it hits even better harder
in context.

Speaker 3 (34:24):
It hits so hard, and like when it starts out
of that like real little radio, the fuzzy radio thing,
and like that little am moment that we get with
Willy into Texas Hold Him. That's when you start, you
know what I mean, Like, that's when you start. We're
at the hod and we're we're doing it and it's
so much fun. I've always loved Texas Hold Him since

(34:44):
it came out, and it's been on constant loop for me.
But it has new life for me now in its
place here.

Speaker 2 (34:51):
Yes, you know, coming to me now to real life
boogie in a real life hodown. She has in an
interview this week, also said that like she wanted to
move away from electronic sounds in response to like this
like AI takeover in music, which is not to say

(35:12):
that there is no like electronic influence in production throughout
the rest of the album, and she's she's even saying
that in a way that doesn't even cheapen or devalue
anything that she's done before. But it's like, yeah, she's
proud of all that, no, of course, But like if
you also think about this album as like as like
a rejection of like AI the aification of music of art,
It's like that is also like so so like that's

(35:34):
exactly what we need from an artist like her at
her level, you know what I mean, Like it's a
real life boogie or real life hodeout. It's like this
is this is about life, this is about like real people,
you know. And I can't believe we're having this conversation
like that, like we would rather have real human beings
and real instruments be played on in our music. Like
that's of course, it's such a dark debate to be having,

(35:58):
or it's such a dark like existential thing to like
think about. But if any artist is going to like
write a pee into like actual music, like it's Beyonce.
So yeah, because she walks the walk every time.

Speaker 3 (36:12):
I mean like these are all real instruments, These are
all like you know, and she's even not been shy
and said like this is a response to the A
I think, you know what I mean. Like, by the way,
you have to watch this episode of Black Mirror. Ali
pank You directed this episode of Black Mirror with Annie
Murphy and Salmahayak, And it's like I kind of can't
believe that it was like I guess shot it and

(36:34):
written like over two years ago because it is so
it Well, first of all, a yeah, that it was
made that Netflix was like, I guess willing to be
the butt of this joke, which is like everyone just
watch it. It's it's really about I think I'm.

Speaker 2 (36:47):
The only person who hasn't seen it, by the way.

Speaker 3 (36:50):
Yeah, so it's it's really about like the AI likenesses
and everything. It's like what we sign when we sign,
you know what I mean. Like, it's like what we
give up when we allow our image to be manipually
it and distorted. It's you got to read those terms
and conditions. Girl, That's all I'm saying. But this episode,
the episode of Black Mirror was so fun and it's
a comment on the AI thing, and so that's why
I brought it up. But yes, like Beyonce is an

(37:14):
authority here. I mean, she is the queen, and the
queen is saying return to reel. It's actually the culture
number thirty. The Queen is saying return come back to
real life. Wake up Sheeple, Wake up Sheeple.

Speaker 2 (37:30):
After the Super Bowl when the song came out, like,
I don't like we didn't fully get an awareness of
Rien and get in the woman who plays the Banjo
on this and who also has a has a writing
credit or a production credit on on American Requiem too,
Like she seems like a cool fucking musician. She seems
like a cool fucking person. Writing credit, Yes, writing credit,

(37:50):
That's what it was. Anyway, anything else to San Texas
hold him before we move on.

Speaker 3 (37:54):
That it rocks and I love it, okay, And then
Bodyguard is such a such a vibe and a slick.
This is the moment when I was just like, no, yeah,
I can see this in Vegas for sure.

Speaker 2 (38:05):
You can I feel Slot Machine energy on this one.
Uh huh, Yeah, I guess you're right. It's giving ms
Ron's stat you know what I mean, Like, that's what
it's giving to me. It's giving, like it's almost giving
like Carol King.

Speaker 3 (38:18):
It's almost giving like it's feeling seventies to me in
a way that it's feeling like seventies rock country, uh huh,
but still light in a way that feels to me.

Speaker 2 (38:32):
Very very very at home in a place like Vegas.
That's why that's what I felt when I listened to
I Love this song. You know, there is not a
lot of contemporary country in this album in a very
intentional way. She is like firmly rooted in history in
a way that is like a fuck you to anyone

(38:52):
who's trying to like make this thing out of like
Black Country being this novelty, you know what I mean.
So I think that's that's also like that goes like
the seventies sound of Bodyguard. I love it. It's great.
I love it. It's a perfect, perfect lead up into Jolene.
I mean, we're in the smoke Hour with Bodyguard.

Speaker 3 (39:09):
Let's just say that, you know what I mean, Like,
we are in the smoke Hour with Bodyguard. Let's not
even dispute it. Like we're high at this point. Joline,
she's such a legend, you know what I mean.

Speaker 2 (39:22):
Like, and then.

Speaker 3 (39:24):
I wonder if Beyonce said, like, do you think there
was a script typed up? Or do you think she
was like Dolly, I want you to introduce my cover
of Joline.

Speaker 2 (39:31):
I bet that's what happened. I bet it was just that.
I mean, Dolly's saying like it's just a hair a
different color, but it hurts just the same, Like that
that's like that's coming from Dolly. She had a flame
in locks of auburn hair like this idea that having
auburn it's like bad bad.

Speaker 3 (39:52):
Meanwhile, you know who's had auburn hair many times in
her career, Miss Beyonce. Yes, there was a time when
she was auburn haired pretty exclusively. Yes, yes, yes, but okay,
so Joline. The cover of Joline the first time I
was the Scanton freaked me out.

Speaker 2 (40:09):
I'm not gonna lie like having known totally, having known Joline.

Speaker 3 (40:13):
The way that we all do it is one of
the iconic songs in the lexicon. To hear it done
in a different way. First of all, I didn't know
if it would be a direct cover. I would have
been down with that. And then for her to reimagine it,
I was like.

Speaker 2 (40:26):
You're saying scanton like, like the way the syllables are
falling in the melody correct was different and that rattled
you in a way that probably was by design. I
was like, oh no, I don't like it at the beginning.

Speaker 3 (40:41):
And then I listened to it a few more times
and I realized that we were in the smokeour, and
me being in the smokeour, I said, now let me
just listen to this a different way, and now I
love this because I think this Live is going to
be so funny. Yeah, so fun and so like aggressive

(41:04):
in a fun like don't you dare? This song is
an Answer is the sequel to the film Obsessed. It
is the sequel to the film Obsessed. Fance will kick
your ass if you come near jay Z. Sean Carter
is off limits women. It's actually the culture number sixty.

(41:29):
Sean Carter is off limits women. And just the way
it doesn't really rhyme and it doesn't really work, I
think it's gonna be great.

Speaker 2 (41:40):
Mm hmmm hmm. I have said that between this and Blackbird,
I think I even the Blackbird is a straighter cover
on like every level and like it's produced the same.
I do appreciate this like element of like I think,
like Josh Sharp was saying that, like there is like
a light like chain game like layer to it, and

(42:02):
I love that too. For me, for now, I am
kind of like, let me just get to like Daughter
and like get to the car of.

Speaker 3 (42:11):
Bew and Yang with the descent on this one, yes,
I'm not like it's it's not a full descent.

Speaker 2 (42:16):
I think like this is the beautiful part of this journey,
just like I didn't realize what is it. I don't
fellowship with fellowship with the fake ones where they say
it ones. I think this is just another contour of
the album that I have yet to like appreciate fully.

Speaker 3 (42:29):
I think that once we all make the collective decision
to just have fun with this one, like Beyonce is,
We're all going to be a healthier, safer world.

Speaker 2 (42:39):
Yes, because we're all just going to be vibing.

Speaker 3 (42:42):
And when we get to the point where everyone in
this world is just vibing, we will be a healthier
and safer planet. You will see disease starts to go away.
You will see the return of the rainforest. You will
see the courrier reef, the courier reef come back, the
courier reef. You will see that in the war we
all start vibing. Like Beyonce is, we will see return

(43:04):
to peace.

Speaker 2 (43:05):
Oh my god, this is the thing. She's utopian. Okay, daughter,
this is a Batman villain song. I decided totally our
kham Asylum with her. She is a super villain. It
is not only a Batman villain song. It is like
Joel Schumacher coded. Oh, it's camp It's so Campian haunting,

(43:27):
and it's so it's so like, not even Tim Burton.
I think it's Schumacher. I'm still laughing on this one.
Colder than Titanic water.

Speaker 3 (43:36):
First of all, coming out of Joline the first time,
I was like, I don't know about colder than Titanic.

Speaker 2 (43:42):
What do you mean? What do you have again?

Speaker 3 (43:43):
You love Titanic culture, I know, but like describing the
water as Titanic water to me was too funny, And
then I was like, wait, it's too funny.

Speaker 2 (43:53):
I love it. Titanic is on the brain for everybody,
always monoculture.

Speaker 3 (44:00):
You new Titanic was monoculture when it was in Cowboy Carter.
Now it's confirmed. And now it's confirmed. Kate winslet Hive rise.
Oh my god, she survived.

Speaker 2 (44:10):
The song Daughter she did? She did. How do you
feel about carmeo Ben being sung every what every vocal
student has had to begrudgingly sing in auditions for in
showcases for years and years and years. Yeah, she should
reclaim it along with everything else.

Speaker 3 (44:27):
I feel as though the more this song gets crazier,
the better it is, And it gets crazier and crazy
crazy to the point where I'm like, damn, like, how
was this created?

Speaker 2 (44:38):
Like I really do want to smoke what she smokes.
I do, I do I do?

Speaker 3 (44:43):
In the words of cal Mitchell, I want to understand
how she gets there creatively with this. Let me look
at these fucking credits. Okay, Yeah, first of all, First
of all, I don't even know how. I don't even
know how to wrap my head around how this gets made.

Speaker 2 (45:00):
Yeah, I don't know daughter specifically. Yeah, it's one of
the wackiest songs on the record. It's wacky, but I
think it's like it is like a haunting Beyonce song
at the end of the day, and you always appreciate those.

Speaker 3 (45:11):
Were you in the thread when we were ranking Beyonce's
scariest songs.

Speaker 2 (45:15):
I think I was at work and I just picked
it up and I didn't fully give it a close read.

Speaker 3 (45:18):
This is in the top five of scariest Beyonce songs.
It's this six inch Don't Hurt Yourself. Uh huh, Becker
goes no, that's a bonus bone ten scariest Beyonce songs.

Speaker 2 (45:30):
Yeah, that can't get misinterpreted.

Speaker 3 (45:33):
But like, yeah, what else, there's there's a couple other
ones that are so scary. Uh huh oh ring the
alarms terrifying.

Speaker 2 (45:41):
Ring the alarm is scary. Superpower is a little scary. Hmmm,
I know you hate superpower. It's not that I.

Speaker 3 (45:47):
Hate superpowers, just that I don't can I don't naturally
connect with superpower. Hunted, of course, Haunted, Haunted slash Ghost
is so scary. And then finally, the scariest Beyonce song
of all time is Daddy, Daddy Lessons No Daddy, her
song to her father, I Love you Daddy.

Speaker 2 (46:08):
Yeah, yeah, yeah, it's dangerous in love right.

Speaker 3 (46:10):
Yes, it's the closure of Danish Lee in Love, where
she sings, I want my husband to be like my daddy,
my daddy, my daddy, my daddy. It's it's like still
when she's very Matthew Knowles coded, but it is fucking
insane to listen to.

Speaker 2 (46:25):
Well yeah, but then it kind of is the perfect
setup for all of this, Like post Matthew, that that
threat in her story where it's like, oh, like her
father like fucked her up. You know what I mean.

Speaker 3 (46:38):
It's odd, it's really weird, and we're I'm happy we're
out of that era.

Speaker 2 (46:43):
Well, like this is broken, Like she's a perfect mother
to these children.

Speaker 3 (46:48):
Speaking of mothers, another nominee for Mother of the Year
is Tina Tina Lawson, Tina Knowles. I have to say,
first of all, if you're not following Tina Knowles on
Instagram and you you were missing out of her corny joke.

Speaker 2 (47:00):
Yeah, corny jokes.

Speaker 3 (47:03):
When Tina Knowles says it's time for another corny joke,
you know it's gonna be a really wonderful day.

Speaker 2 (47:11):
It's going to be a laugh riot. Yeah. And we
need to find those when we can, because I don't know,
I think it's just our comedians are failing us me included,
us included. Don't you ever say that to me. Listen
to me. We're not failing. You're right, Let's move on

(47:33):
to spaghetti. Yeah.

Speaker 3 (47:36):
I felt like coming out of the last few songs,
I was like, we needed this one. Not that not
that I've been unhappy, but that I was just like, Oh,
I was like, I was like, we're moving again.

Speaker 2 (47:46):
I love this, We're moving again. It feels like it
almost could have been on Renaissance in a way totally.
But first of all, before we talked about the song
in earnest, I think Aaron Jackson should do a new
I don't think sahony that includes the phrase when days
are for being at home listening to spaghetti, you are
so right, you're right, and you should say it, and

(48:06):
then you did say it, and I did spaghetti. I
really think has implications for Act three. And here's why
we talk about this. It opens with Linda Martel being like,
genre is a funny thing if this whole album is
like an essay on genre and not necessarily just country,

(48:31):
but just like the concept of genre, like does is
Act three gonna be genre specific at all?

Speaker 3 (48:38):
I was thinking about this, like how does Beyonce create
a new genre? You know what I'm saying, It's like,
how what does that look like, sound like, feel like?
Because it almost feels like that is the natural conclusion, right,
Like she did Renaissance, which was, you know, this celebration

(48:58):
and this like this like genre of music of dance
music that feels intrinsic to her and intrinsic to like
a certain community and a celebration of that. And then
there's Cowboy Carter, which is this reclamation and like this
like triumphant like roar of like who she is, and
like it's just a statement on that genre. And now

(49:18):
it feels like the Obviously the third one has to
be quote unquote genre specific in some way or thematically
specific in some way. But I think you are onto
something here, which is it feels like the next place
to go is somewhere we've never been.

Speaker 2 (49:37):
Yeah, I don't think it's necessarily rock the way that
everyone has been saying, or that the rumor is simple. Yeah,
if it is rock, then like the the threat I
see is like Tina Turner, but I don't know. Oh yeah,
you just saw with that one, but you.

Speaker 3 (49:52):
Know what I mean?

Speaker 2 (49:53):
And like, but is it a full Tina Turner Prince
thing or is it like what you're saying, where it's
like a new invented Beyonce kind of like genre of music,
even though the aesthetic of a Beyonce song, album, music
video is so established at this point, I don't know.

Speaker 3 (50:15):
The one thing we can be sure of is that
she will not repeat herself. I think that is one
thing we like. There's been some talk that it's going
to be a straight R and B album, and I
just don't think that that's where we're headed in terms
of if this is a trilogy where we are so
specifically soaking into these things, then I feel like we're

(50:36):
going to see new terrain. And when you say the
words Tina Turner, that makes sense to me, Like, because
if the mission statement of this whole trilogy is we
are reclaiming these things, and we are celebrating these things,
and we are reminding people of where these things came from.
It's like the way she like reclaimed Vogue with that remix,

(50:58):
honoring so much about like not only that culture, but
also the way that culture was popularized with the Madonna
sample and everything. And then there we have Cowboy Carter,
which is so what it is for country music in
the country genre. What you're saying about Tina Turner, that
feels like someone that she will and Prince and Prince

(51:19):
those are people that she will honor in a big way.

Speaker 2 (51:22):
And those are like the final bosses for her, you know,
because there is no Beyonce without Tina. Right four, Prince
or Prince. You say the word Prince. I love the
saying Prince. What can I say? But Prince? Are you
sexually attracted? I think a specific era of Prince. Yeah,

(51:42):
of course he probably was an unbelievable way. Of course,
that's how you write shit like that. Damn by fucking
is if the.

Speaker 3 (51:53):
Dick is powerful, powerful dick will get me singing. It's
actually a real culture number six. Powerful little dick will
get me singing and writing.

Speaker 2 (52:05):
And writing Alligator Tears, I think for me this is
like a new like this section, so Alligator Tears just
for fun is like this section where I'm I'm the
most fuzzy on but I am this morning, I gave
it one one more listen, one more spin through of
the whole album, and I like, I was, like, I've

(52:25):
been sleeping on Alligator Tears and I need to give
this more love.

Speaker 3 (52:29):
Well that's the thing that's gonna happen with an album
that's this vast and like with this much content is
it's just like you're.

Speaker 2 (52:35):
Gonna get fatigued at a certain point.

Speaker 3 (52:37):
And this is this is a moment in the album
where yes, I like you like had to maybe at
this point the Smoke Hour gets to you.

Speaker 2 (52:45):
You know what I'm saying. We're about to end the
Smoke Hour one. This is closing out Smoke Our one
and Smoke Our two is telling you hit the blunt again,
light it up again, hit the blunt again, and bowen
and reader, I did, oh so thank God too, because
by the way, I love Love, Valigator Tears, Smoke Garatu,
you hit it again just for fun, lovely, But I'm
ready to talk about too almost Wanted, and we're gonna

(53:07):
make an announcement about too most Wanted. Go ahead, too
Most Wanted. I'm Emotional is a nominee for Record of
the Year. It is nominated. It is nominated for Record
of the Year at the twenty twenty four Lost Culturists
Culture Awards. You know what that means. You're tearing up.
My sister is tearing up. Do you know what this means?

(53:28):
This means It's going to be performed at the Lost
culturesta's Culture Awards. Watch this space, Watch this space. So
so far the nominees are Too Most Wanted, Guardinia by
Mandy Moore, I Don't Know Why I Chuckle? And Single
Soon and Singles Soon by Selena Gomez. Those are three
completely different and yet equally powerful pieces of music.

Speaker 3 (53:53):
Because the Lost Culture is those Cultural Awards is an
examination of the genre.

Speaker 2 (53:57):
Much like Cowboy Carter. Much like Cowboy Carter, the lccas
no no genre, no no genre.

Speaker 3 (54:05):
You can put us in the category of award show
it knows no genre but dead a dead.

Speaker 2 (54:10):
Ass like cut the cameras. There is something to be
said about Elsie's being Award Show, Comedy show concert. Mm hmm.
We don't know what it is either.

Speaker 3 (54:24):
No, don't try to gate. Keep Jimmy Kimmel, I know
you're gonna try to gate. I know you, and we
know you. You hear us, I know you hear me
calling you miss honey, and I have my finger up
I say, get out of here.

Speaker 2 (54:43):
No.

Speaker 3 (54:43):
I oh my god. Miley Cyrus's voice beautiful and has
never sounded better.

Speaker 2 (54:51):
I I'm so proud. I am so Can I say.

Speaker 3 (54:57):
Especially after watching quiet on set like which will I'm
which will later later, later, but.

Speaker 2 (55:05):
Like, let's not bring the mood down?

Speaker 3 (55:07):
Can I say, like someone who has also been fucking
through it and had to have been doing this from
a young age, and just watching her on the Grammys
winning for Flowers and performing, I was like, that is
a fucking super star right there, and.

Speaker 2 (55:23):
A Bob Mackie and you you don't question it at all? Superstar. Yeah.

Speaker 3 (55:27):
And then when I saw that this was a duet
with Miley Cyrus, I said, I know this is gonna
be good, and I played it and Miley starts the
song with that insanely good lyric like which is like.

Speaker 2 (55:38):
No, I'm dumping the gun, but we're both still young.

Speaker 3 (55:40):
But someday we won't be Oh dear, I said. And
then Beyonce coming in. Their voice is in harmony, Beyonce
with that beautiful higher harmony and like still giving the
power because you know what, she knows that Miley is
holding down the bottom. Beyonce has basically said, you are

(56:01):
that girl too. Beyonce said, I am elevating you with this,
not that anyone needs that, but also not for nothing.
Miley has said many times on social media. Now she's
like basking in this moment of being on the song
with Beyonce, her idol in many ways, her inspiration like
and to be seen so equally.

Speaker 2 (56:21):
This song is giving Thelma and Louise Well. This is
like the writer die song of our generation one hundred percent.
I said.

Speaker 3 (56:32):
If this isn't a global number one, I don't know
what is. This song is going to be played on
the radio. This song is a forever song. This is
one of those.

Speaker 2 (56:41):
In an era of loneliness. This song is like the medicine.

Speaker 3 (56:47):
I am feeling the spirit when you speak today, I
have to say, girl, I feel the spirit every time
you speak. I am truly feeling the spirit today because
I'm really talking to you about this and I'm realizing
how good this is. It is so I mean, I
already realized, but like, man, like this is the most
I would say contemporary country song.

Speaker 2 (57:07):
On the album.

Speaker 3 (57:08):
I would see Levice Jeans is this and that, this
and that, but even Levis Jeans feels more like pop
to me. But when that slide guitar came in on
the top of two most Wanted, I said, this is
gonna hit me right in the heart.

Speaker 2 (57:20):
Huh.

Speaker 3 (57:21):
Just that slide guitar, Like that's like it's really giving
timeless contemporary modern country in a way that's so gorgeous.
And what I love about Miley being on this is
I know from interviews with Miley and just the you
know younger now and the attempts that she's made, she
really wants a place in country music too. And she

(57:42):
has a rightful place in country music. Hers is a
country voice. And the fact is they have kept her
out of it too. They've kept it from her because
she's not the quote unquote right kind of woman to
do country music.

Speaker 2 (57:55):
You know what I'm saying.

Speaker 3 (57:56):
It's like Miley was two sexual, she was too suggestive,
She wasn't this enough, she wasn't that enough. Like I'm
sure that country music like has their bullshit reasons. This
is Nashville country. I'm talking about like establishment country, which
like keeping her out of it because she's made efforts
and she's so fucking talented and gifted. Like it's almost

(58:21):
like the same thing with the chicks. It's like Beyonce
has said, Nope, I'm bringing everyone in that has a
rightful place. And it's not just her bringing in like
the black community and being like we have a place here.
It's her saying, these women that have been mistreated by
this genre, you're coming with me. You're on this album
with me, and from Beyonce and Miley to do this
song together, that is a statement.

Speaker 2 (58:43):
That is a statement right now, of course, and not
to mention like the Willie Nelson and all either in
terms of like the outlaw country estect. I think this
is my most listened to song on the album. There's
no question. Basically what we're saying is as soon as
we heard this song, we said, we're singing this We're

(59:05):
singing this at King's Theater. That's all you need to know.
And I we're spoiling it, but like that's we have
to sing this to each other. Don't do this. This
song is don't you do this? I think.

Speaker 3 (59:24):
That's my song for my sister. This is the song
of sisterhood. This is the Gregio girls.

Speaker 2 (59:30):
Of the new generation. You better know that I listened
to Joanne again. Grezio Gross was for our parents. This
is for us. First of all, all of Joanne. Respect Joanne.
Respect Joanne.

Speaker 3 (59:43):
Joanne was Gaga's cowboy carter and it literally yeah. And
I just feel like we have to respect Joanne and
in a little while will respect another Gaga album if
we get to it. But wow, to almost wanted, I
just this is a huge hit. Rightfully, this is a

(01:00:04):
stunning song. The lyrics are amazing, the harmonies are incredible,
the melody is so instantly memorable, like I'll be a
shotgun rider I did till the day I die. This
is Thelma and Louise the song Mmm, and there's nothing
I don't I couldn't say any bigger compliment than that.

Speaker 2 (01:00:25):
That'll see the two was doing it. Am I the
high harmony. I think you're gonna be a high harmony.
But you know, I think I think at one point
they flip they flip fuck on this good.

Speaker 3 (01:00:39):
With promo code Coach, you can get sickets now to
see Bowen and I flip fuck on stage at the
King's Theater on June fifteenth.

Speaker 2 (01:00:46):
To the song too Most Wanted Levi's jeans forget It,
forget it, forget it. I love it. I love it
so much, it's so hot. My one moment that I

(01:01:08):
don't love and I might be in the minority, is
when posts Malone sing You're my renaissance.

Speaker 3 (01:01:14):
I'm like, don't do that. Don't do that here. If
Beyonce is okay with it, I'm okay with it.

Speaker 2 (01:01:19):
Okay, fine, But I'm just like, you don't get to
reference her. Let her reference her, you know what I mean.
But he's on the song. He's invited.

Speaker 3 (01:01:26):
Someone said, someone said, so kind of Tailor and Beyonce
to share custody of post Malone this City.

Speaker 2 (01:01:31):
Yeah, that's funny.

Speaker 3 (01:01:33):
Post is an amazing singer. He is an amazing singer. And
it took me a while with post Malone, as it
takes me a while with most men. In pop music. Honestly,
I'm like, I was like, I don't know, But then
I when I've really listened to him, and I was like, Wow,
this guy is talented artists and I just love the
vibe of this.

Speaker 2 (01:01:52):
I mean, it's hot as shit.

Speaker 3 (01:01:54):
Congratulations to Levi's on your dominance now in Denim, Denimon, Denim,
I mean I'm obsessed.

Speaker 2 (01:02:03):
Yeah, No, Post is speaking of if everyone's if. The
vision for us is that everyone vibes. Post alone is
a huge part of that. We need Post to spread
the gospel of vibes to the world. Yeah, he's the
ambassador truly. I mean, together they are unstoppable. This song
is unbelievable.

Speaker 3 (01:02:24):
I love it, and especially coming out of two Most Wanted,
like the waterfall that will happen from two Most Wanted
as that song becomes what it's going destined to become into.
Levi Jeans. Levi Jeans is another I think she's got.
I think she could have three number one hits off
this album, at least. I think Old Him already is.
I think too almost Wanted that's its destiny. And I

(01:02:44):
think that Levi Jeans is this is that is a
fucking hit. That is a radio smash.

Speaker 2 (01:02:51):
Right there across genres. I mean I can hear it
everywhere everywhere, Flamenco. I think kind of is a nice
little doll up on top of this act of Smoke
Hour two because I think Linda Martel's show into the
rest of the album is a fucking moment. Correct. My
first listen through, I was like, I did get fatigued

(01:03:12):
by the end. I was like a little checked out,
But then I really something drew me back to this
section where this run is fucking crazy. It's nuts Linda
Martel show into Amen. I'm like, this can be its
own album. When the vinyl comes, I know people are

(01:03:33):
really mad that Yaya is not on the current pressings.
Yeah yeah, yeah yeah Yaya and spaghetti too and spaghetti,
spaghetti too, spaghetti just because these subiliyes are throwing me off. Yeah, anyway,
like this whatever this disc is SI side A, side
B on this is fucking wild.

Speaker 3 (01:03:50):
Well if this is like the finale of the concert,
because I could see her doing a thing and she
won't because I thought the same thing about Renaissance, like
is she going to do it? Like chronologically she mostly
did sort of, I mean she didn't really but like,
I think with this she also could because this is
so executed in terms of the acts.

Speaker 2 (01:04:08):
Wait, you're gas lighting she basically did with Renaissance. She
took out a them some things, and then she did
like the wedding interlude in the middle where the theme
was wedding, I should say, where it was like love
on top, and like.

Speaker 3 (01:04:20):
She largely did that, but it wasn't totally chronological. And
I guess what I'm saying is like this probably won't
be but could be in a complimentary way.

Speaker 2 (01:04:29):
I got it, got it. Yeah, this this album is
a little bit more I don't know, flexible. Yeah yeah.
Renaissance is meant to be like a DJ set and
this is meant to just be like a radio sort
of thing.

Speaker 3 (01:04:38):
Yeah right, even just Linda being like that's what makes
it an enjoyable listening listening experience.

Speaker 2 (01:04:44):
I love it. It's like and then when yah Yah
starts this is I was thinking of you. I always
think of you when Yah Yeah plays because it is
Beyonce at her most Ladies, it is Beyonce giving us
yet another song in the ladies canon. Ladies, you know
what I mean. Yep, These petty ones can fuck with

(01:05:06):
me why I'm a girl. We snapped him. Ah, I said,
this is gonna be.

Speaker 3 (01:05:15):
So crazy, This is gonna go so off, this is
gonna go crazy live.

Speaker 2 (01:05:24):
Yeah.

Speaker 3 (01:05:25):
This is a moment and a half. Yeah, yeah is
And it's so many things. It's like Linda was right
when she said that the exploration of so many different genres,
like the boots are made for walking sample. I just
like we were everywhere.

Speaker 2 (01:05:41):
On this into like the big band until like it's
all but it's so seamless, like I don't realize moment
to moment like where I'm at, and like I'm just
I'm kind of lost in it in a beautiful way.
I'm like, I don't care what the genre is. I
really don't know, nor should anyone. I mean, it's just

(01:06:01):
it's a blast. It is a fucking blast. It's just good.
And I also just love saying yeah yah yeah yeah.
I think we are all babies.

Speaker 3 (01:06:13):
And babies famously say yeah yeah. Well my little cousin Liam,
when he was a baby, the first song he ever
made up went like this yeah yea yeah yeah yeah
yeah yeah yeah yeah yeah, And I was just like,
what is that. I don't know where he heard how
he created it, but yeah, yah, yeah, yeah, yeah.

Speaker 2 (01:06:37):
I'll never forget it. He just wouldn't stop. He wrote Heated,
He wrote Heated by Beyonce. Yeah yeah, yeah, yeah, go
Off Williams. Yeah that's heated.

Speaker 3 (01:06:49):
But I was like this, yeah, yeah, there's something about
it years later Yeah yeah yah. Also makes it an
enjoyable listening experience experience. It's called yeah yeah.

Speaker 2 (01:07:01):
Louisiana lovely cute little thing into kind of just like
a gorgeous little stample. By the way, there's something to
be said about this being potentially the most expensive album.
I think Pitchfork said this, this is potentially the most
expensive album on a royalties level, because you're paying stuff
out to Oh God, yes, Dolly, Chuck Berry, Nancy Sinatra, Beatles,

(01:07:22):
Beach Boys, Patsy Klein, Oh my god, like the Beach
Boys thing. I was like, Brian Wilson better be getting
a fucking check, even though he is in a conservatorship.
Unfortunately now because he's not, he's struggled for a while.
But I was very happy that Good Vibrations off of
the non existent Beach Boys album Smile, the follow up

(01:07:45):
two pet Sounds, that Good Vibrations was pay tribute by Beyonce,
yes Patsy Clein as well. But I mean just on
a royalties level, that is, that's a lot of cash
for some iconic songs. Yeah, this is not an album
you can just no no and god blast like it
is a beautiful tapestry of music. Okay, So we are

(01:08:10):
going into Desert Eagle, which also great, into here we
go River Dance. This is one of my favorites. This
is in my top three. Yeah, talk about it.

Speaker 3 (01:08:21):
What I love about it is well everything, but I
guess like it's just it lifts like it's just a
hphoric feeling, and the lyrics are so like beautifully dense
and poetic, and like the way she sings. I love it.
I love it. I love this core progression. I just
love I love the sounds that she shows for it.

(01:08:42):
I mean, oh man again, the harmonies, the vocal sacking,
Like I just I'm so impressed with the vocal production
on this.

Speaker 2 (01:08:51):
She's just and I love the way she says dance
like just a little like a little growl on it,
like yep or on the balance. Obviously there's a girl
on that like bounce on the.

Speaker 3 (01:09:03):
Chip, bounce on that. No hands say less to be quiet,
less like to be honest. And also, I don't know,
have you noticed this? This is a fuck album.

Speaker 2 (01:09:14):
This is the.

Speaker 3 (01:09:18):
This is I think, a full on fuck album, maybe
even more than Renaissance Renaissance to dance album. This is
a little bit of a fuck album because this is
the moment where you've hit your second blunt and now
you're going to hornytown and I see myself taking it
doggy style to river dam wow, I do, I see

(01:09:39):
my wow. If I'm lucky, if you're lucky, I wish
that for everyone. The transition into two Hands to Heaven
is wild best transition on the album. I say, godly
and two Hands to Heaven. I mean there is something
on that out of it being a fuck album, which

(01:10:01):
I don't I'm not totally sure I agree.

Speaker 2 (01:10:03):
With it's okay. Two Minds Too Hearts, two opinions, two opinions,
a culture number eighty. Two Minds Too, Hearts, two opinions,
Two Hands to Heaven, I mean there is something and
it does demand that, like there is an emotional connection
in sex, which doesn't always happen. But I think at
the end of Two Hands to Heaven, of like I've

(01:10:25):
been weighing you like that is horny, even though it's
a little too intimate and affectionate, and sometimes you don't
necessarily want that when you're having sex intimacy not always.
I don't like, let's let's not totally tie sex with intimacy,

(01:10:46):
because they're not they're not off of the same.

Speaker 3 (01:10:48):
First of all, I completely agree, And I just recently
got dragged for I was on nick Leeman. Oh I yes, yes,
And by the way, I completely understand what you mean.
By the way, yeah, people were like upset with me
for saying like I have, so, I said on Nick
Leman and Julian Brazinski's lovely podcast Breathe Feel Agree new podcast.

(01:11:08):
They've got Dylan Molvaney on this week. It's gonna be great, slagh.

Speaker 2 (01:11:11):
But we're talking about sex. You said you're king, and
I said my kink.

Speaker 3 (01:11:15):
I have an intimacy kink, Like I said that sometimes
I can get off on like I love you play
and like even if you're just having a one night
stand with someone, like sometimes like it can be fun
to pretend sexually as a thing that you're more in
more of a relationship committed than you are, and then

(01:11:35):
at the end it's like whatever, you pack.

Speaker 2 (01:11:37):
It up and go home. It is a boundary thing,
like within the context of sex, like, correct, you are
aroused by that. I totally relate mother, And people were like.

Speaker 3 (01:11:49):
Uh, doesn't he know that's just intimacy, Like it's it's like, yeah,
that's what sex is. It's caring about someone. I'm like, see,
now we're getting Now we're getting you. Are you explaining
to me what intimacy is? I promise you.

Speaker 2 (01:12:02):
I know.

Speaker 3 (01:12:02):
I was explaining that I have an intimate like it
was just crazy. And then I think it was like
a queer magazine that like quoted me as saying it,
and I was like, you queer people are like what
telling me? What are you trying to do?

Speaker 2 (01:12:17):
Shame me? But that was wild. I thought, like I
thought gay guys did sex without intimacy better than anybody.

Speaker 3 (01:12:25):
First of all, I didn't even know it was a
thing until someone brought out to me. They were like, oh, yeah,
so that you got dragged for this, and I was like, well,
first of all, I guess I'm happy that. Like in
the beginning of their podcast, like they get that that
some people like, you know, I got picked up and
it's good for them, I guess. But yeah, I don't
have a problem with sex. I have a very good

(01:12:45):
relationship with it. And when I'm in an intimate relationship,
I know what that means, and I know what it
means to express a kink, and I know what it
means to communicate, and I know what boundaries are.

Speaker 2 (01:12:55):
And thank you very much. Yeah, we're still doing that.
We're still like chastising each other for things that people
like sexually, if it's not hurting, if it's like fully
within the bounds of consent.

Speaker 3 (01:13:05):
First of all, the reason I even have experimented with
that is because my straight female friends said that she
does it and she has sex with men, and I
was like, oh, that's really interesting.

Speaker 2 (01:13:16):
I might try that.

Speaker 3 (01:13:17):
And I tried it and it was fun, Like it
was fun to have a boyfriend for like thirty minutes.

Speaker 2 (01:13:21):
You're talking about your sexual preferences on a podcast that
like prompted that, And for anyone to try to poke
holes in that is so fucking not of this time
we're past. I also don't care.

Speaker 3 (01:13:39):
Yeah, it was disappointing because it was like willful ignorance
about what I was saying, Like they were trying to
make it seem like I'm miss like whatever.

Speaker 2 (01:13:47):
I don't care.

Speaker 3 (01:13:48):
Honestly, after I watched Perfect Blue, like you said, I'm
in a whole new place where.

Speaker 2 (01:13:52):
I'm just like you're the real thing, as she says
in the end, right, yeah, I know who I am.
I know that I'm a real person and you know that,
and like who you are, and like I'm not gonna
let like whatever people weighing in them whatever it is.
If either of us fucking care what anyone thought, we
wouldn't share our opinions and thoughts on a podcast. We
just would not, so whatever. But there does come a

(01:14:14):
time when and I'm really happy that you suggested that
movie to me, because you can drive yourself fucking crazy.
Care and what people think it can kill you, It
can really can. It can kill you.

Speaker 3 (01:14:24):
And then even to see Beyonce and I said this
with Madonna a few weeks ago, where she was like
I don't give a fuck, Well sometimes I still give
one and a half fuck. Yeah, And then even Beyonce
saying the other night, like you know, criticism can really
take a toll on your mental health. It can be
a challenge. It is a challenge but ultimately, you know yourself,
and this doesn't even have to pertain to anyone that's

(01:14:46):
in the whatever quote unquote public eye. It can be
if you lived your life and people have opinions on it,
it doesn't fucking matter. No, you think Beyonce like would
stop doing anything that she was ever doing because of
what people said. She would have been in a at
age nineteen, and that would have been a loss for
the world. Exactly, Okay, Tyrant Tyrant. I love that Dolly

(01:15:10):
is featured on Tyrant, even though she just kind of
does the cowboy carter, you know, like you know whatever,
she just has that little thing up top. But then,
I mean, Tyrant, is is that a harmonica? I hear
mm hmmm, uh huh. And you know Stevie Wonder plays
the harmonica on Joline on Jolene.

Speaker 2 (01:15:26):
Yes, I wonder who was harmonica on Tyrant? But so
so good? I mean, this is this This is a
fucking like dirty and by dirty I mean like down
home dirty song, but like with like that bass, with
like pretty contemporary instrumentation, but without it sounding like a content.

(01:15:48):
I mean, I guess this is weirdly Tyrant is weirdly.
The more on the more contemporary side of country on
this album. Yeah, like this you could like imagine someone
fucking putting out you know.

Speaker 4 (01:16:01):
Like maybe, I mean this is the thing too, is
It's like I think that what should happen now is
it should inspire country music, you know what I mean,
Like it should expand it if if I'm someone in
Nashville country right now, I'm inspired.

Speaker 3 (01:16:17):
I'm not threatened, No, but I think that it's the
conservative is it modus operandi to just be like threatened?
To just be like how dare you?

Speaker 2 (01:16:30):
Like? This isn't the way things are?

Speaker 3 (01:16:32):
Like, It's just like that's I guess what is that
At the root of the word conservative is to conserve,
It is to remain. It is to you know, protect
in a way, it's like what are you what are
you protecting?

Speaker 2 (01:16:43):
Exactly?

Speaker 3 (01:16:43):
Like what what are we still obsessed with? What do
we need from the past that we can't move forward?
Like I just think, you know, I recently went on
the podcast Orange Country, which is hosted by Shane mcinally
and Gina Kirschenheider and Shane mcinally is a gay country
songwriter and he is was nominated for the Grammy for

(01:17:04):
Songwriter of the Year last year, and he's like Casey's
or Marin, He's worth like all the girls all like
the cool country girls and honestly some of like, in
my opinion, like the whack country guys. Like he's seeing
it all in Nashville country.

Speaker 2 (01:17:17):
And I asked him. I was like, what do you.

Speaker 3 (01:17:19):
Think about Beyonce coming in to country? What do you
think about it? And he was like, I fucking love Beyonce.
I'm her biggest fan. I'm obsessed with her. I would
I would, I worship her. The thing about her coming
into country music is I looked at people she was
working with and there were no Nashville country musicians, and
I wish that there were some, just because you know,
Nashville is a community that's very tight, and I feel like,

(01:17:42):
especially with women in country music, it's very hard so
for someone to come in from quote unquote the outside
another genre, like, it's just it is a thing, okay,
And I understand that. I don't know if that I
totally agree. I don't agree, but I understand. I understand
where he's coming for you. He asked me to me too,
But I do not agree because again, it ascribes ownership

(01:18:05):
of country music to Nashville, and that is.

Speaker 2 (01:18:10):
Or shouldn't be, that's not real. I feel like country
should be decentralized exactly exactly, like of all genres, that is,
like the way that hip hop is decentralized only benefits
the genre as a whole. And then beca producer. Becka
says also her having to make amends with the community
of folks who rejected her so heavily totally, Why would she, yeah, exactly,

(01:18:34):
why would she bring in someone from the Nashville fold. Well,
she doesn't work with them, he doesn't need that. And
also maybe maybe that question in and of itself is
answered by the Dolly Parton and Willie Nelson of it all.
It's like, again like if you're someone in country music
who knows better than those two, my stetson is off

(01:18:55):
to you, darling.

Speaker 3 (01:18:57):
But it was interesting to hear his perspective because someone
who's a huge fucking fan. But I think that again,
there was still that confusion about what exactly this album
was gonna be.

Speaker 2 (01:19:07):
Well, yeah, and he said that before the album came
out right.

Speaker 3 (01:19:09):
Correct correct, And I adore him and he's so talented.
It was just I had to ask that question. As
someone who's so firmly entrenched in country music, And this
was right after Texas Hold Him came out, where maybe
it seemed like because of that song, it was going
to be more like pop country, like in the in
the style of what they still do nowadays in country music.

(01:19:30):
But maybe the actual product that was released, the actual
art that was released, is an answer to that question
about why maybe there's not the same old folks that
you might see on anyone's album. Like, I'm really interested
to hear like what Casey thinks of this, what Maren
thinks of this, Like what the progressive cool country girls now,

(01:19:51):
who honestly have had to wrestle with the genre because
it doesn't align with their beliefs. The ideology is completely fucked.
A lot of the times terms.

Speaker 2 (01:20:00):
Ordres that it's just confining, like the way the way
that Linda says that it's confining. I would love to
hear their opinion too. I bet Taylor loves this. I'm sure.
Speaking of genre innovation, I think Sweet Honey Bucking is
ketamine country. Elaborate on that one. If you listen to

(01:20:21):
this song country with a K, it is it is
like beautiful K whole vibes like damn fucking fucking like
a mechanical bull, and then like the look at that horse,
look at that horse.

Speaker 3 (01:20:35):
It's like it's like what is she doing? Look at
that horse? Look at look at that.

Speaker 2 (01:20:43):
Yeah. Absolutely, I think this whole this whole song is
so fucking cool, weird country by like a thin, gorgeous
aesthetic layer alone and everything else about it just of
like let's throw in everything. This is kind of like

(01:21:03):
a eye out of Me where it's like I don't
know what this is, but I love it.

Speaker 3 (01:21:08):
Mm hmm. Yeah, this is a highlight for me too.
This is in my top five as well. Do you
think it's an answer to pure Honey? Do you think
it's like a Absolutely? Absolutely? I was thinking if your honey,
Like the first time I heard her was like, oh,
like even like in terms of like the placement, like
the tent poles of Renaissance are sort of like there
is an analog and Cowboy Carter the Act three, the

(01:21:30):
three act. Things she's doing on that right now is
she's satisfying for OCD people Like, Yeah, I'm like, oh
my god, it's an all snap into place like this,
I'm gonna come actually like I love that someone has
detail oriented and passionate and hard working as her is
also having as much fun as she's having and making

(01:21:51):
it all make sense in this way.

Speaker 2 (01:21:53):
God damn it. I mean, this is absolutely the pure
honey that brings us into Like this isn't in a
lot of ways the last track before the actual last track.
And for this to be like the spiritual informal closer

(01:22:13):
is so cool to me, so fucking cool.

Speaker 3 (01:22:17):
Yes, and then it launches into Amen, which is like
when you realize the album was a prayer.

Speaker 2 (01:22:25):
The album was a prayer. It was a prayer. I
requiem even.

Speaker 3 (01:22:29):
I mean, one of my favorite things that's ever happened
in culture was when Oprah Winfrey had Steven Spielberg on
her show for Lincoln and he sits down and she goes,
thank you for this film.

Speaker 2 (01:22:42):
It's a prayer. It's a prayer. Prayer is back. Romy
Yustiff brought prayer back to SNL. Beyonce's bringing prayer back
to music, like Prayer is back. I'm praying. I'm gonna
proynounce I don't know who, but I'm praying. How are
you pronouncing it? Prayer?

Speaker 3 (01:23:01):
Prayer, I'm country, You're a country girl prior prior. Let
me go on, let's say it prior and that Rommi
used this brought back prior.

Speaker 2 (01:23:13):
You know, I had to do it.

Speaker 3 (01:23:14):
I had to do a Southern accent for an audition
last week and you have a good one.

Speaker 2 (01:23:19):
Did not book. I actually can certainly try. I actually can. Yeah.

Speaker 3 (01:23:26):
But the thing is, you never know when it's going sketch.
It could go sketch comedy real easy.

Speaker 2 (01:23:33):
Well, that accent is sketch comedy.

Speaker 3 (01:23:35):
And the thing is they said in the in the
dialogue it said literally they spilled thang th h A
n G. And I was like, so, I said to
my agent. I was like, I'm sorry, but am I
given sang? Because they said in the dialogue they said thang?
And I was just like, is this goofy town or
is this like subtle Southern? And I just did Matt Rogers,

(01:24:01):
you know, clown behavior, honey. People want that?

Speaker 2 (01:24:05):
Well they didn't. Oh, well someone else will.

Speaker 3 (01:24:10):
Congrats to the other actor that they're pursuing. We did
receive good feedback though, I'm good.

Speaker 2 (01:24:15):
That's what that. You don't always get that with an audition.

Speaker 3 (01:24:18):
My last three auditions, it has been we received really
good feedback, but they're pursuing another actor.

Speaker 2 (01:24:23):
That's the babe. I said, thanks. Thanks. Now, I'm so
glad we talked about this album. I don't think we
can get to twenty thirteen.

Speaker 3 (01:24:31):
Sadly no, I think if that would push it to
over two hours, and I don't think that that's our
journey today.

Speaker 2 (01:24:37):
I don't think anyone wants that.

Speaker 3 (01:24:40):
The last thing I'll say is, have you listened to
the end of Amen into I'm that girl?

Speaker 4 (01:24:44):
No?

Speaker 2 (01:24:45):
Oh my god?

Speaker 3 (01:24:46):
What?

Speaker 2 (01:24:46):
Because it fucking the way it.

Speaker 3 (01:24:48):
Like like, it goes it very cleanly.

Speaker 2 (01:24:54):
I love I love the way Amen is. It throws
you through a loop, says producer Rebecca.

Speaker 3 (01:25:00):
It literally does, and it's like you get that maybe
this was Act one and that Renaissance was act.

Speaker 2 (01:25:07):
Too, because it seamlessly pops into it.

Speaker 3 (01:25:10):
And yeah, it's almost like, all right, we prayed, now,
get up off the knees, get up off the pews.

Speaker 2 (01:25:16):
And we're dancing.

Speaker 3 (01:25:17):
Turn the lights down low, let's pop pussy, push the
pews to the walls, clear in space. Yeah, fold up
the chairs in the hall.

Speaker 2 (01:25:26):
This is what I was gonna get at earlier when
I was like talking about how this was meant to
be the first release and then Renaissance and about how
she's this utopian artist. I mean it is like a
pure act of altruism to me, like for Beyonce to
be like to know what the world needs now is
a dance album because of COVID, Like, think about it,

(01:25:48):
like if she were to release Cowboy Carter in you know,
twenty twenty two, like it would have been a little
like wait, wait what like h it would have been
a bit question mark. I think for a lot of people,
no one would have been like, this is bad, but
it would have been like like, I do think she
she did it completely right. She was completely correct.

Speaker 3 (01:26:10):
I would agree. I also think it almost hits harder
further away from that experience she had at the CMAS,
you know what I mean, It's like, yeah, I feel
like it works better like this.

Speaker 2 (01:26:20):
And also, you know, she's quoted as saying that she.

Speaker 3 (01:26:24):
Had it ready to go or whatever, and then she
decided to put out Renaissance because she realized the world
needed to dance, like that's just what was moving her.

Speaker 2 (01:26:32):
And I do think everything worked out the way that
it should.

Speaker 3 (01:26:35):
The one question, I think that a lot of fans
do have is this thing of the CD having come
out and there are the old packaging with that title
act to be in say, and the missing songs, et cetera.

Speaker 2 (01:26:51):
And I guess my thing.

Speaker 3 (01:26:51):
With that is it should be either left gloriously unclear
or it will become clear. It's the same thing with
the Renaissance visuals, you know what I mean?

Speaker 2 (01:27:00):
Like, uhuh huh? What do you think is unclear about
the b Ince because I think she's talked about that,
has she? Yeah, uh huh that Beyonce was either Tina's
mothers or Tina's maiden name. Oh no, I know that,
I know what Bince is.

Speaker 3 (01:27:15):
Yeah, I'm just saying, like the album that exists in
what people are ordering right now and receiving in terms
of the vinyl and the CDs, Like it's called Bince,
that's the cover. It's a different album cover, it's a
different title, and it's missing songs. So it's almost like,
I think what happened was there was a literal realized
album called Bince, and because she held it back and

(01:27:41):
did Renaissance first, that it was packaged and ready to go,
and you can't just lose that product.

Speaker 2 (01:27:50):
But it's Beyonce. She can do what she can, release
her music however she wants.

Speaker 3 (01:27:54):
Right, but why would she allow vinyls missing songs from
her album?

Speaker 2 (01:28:01):
Yeah? That I don't know. I don't know about that.
But the cover is like that presentation, the first thing
people see on the vinyl cover. That is not a mistake.

Speaker 3 (01:28:11):
I don't I don't think anything is a mistake. What
I'm saying is that I think there was a completed,
realized album ready to be rolled out.

Speaker 2 (01:28:18):
This shit may have even been printed. It clearly was
already printed, right am I not understanding you? I just
think like she has she has a sash that says
actually Cowboy Carter on like the traditional cover mm hmm,
and then she just has another version of that that
doesn't say Cowboy Carter on it.

Speaker 3 (01:28:33):
It just says Bince, right, because I think there was
that the first version of Cowboy Carter was called Bince
Oh interesting and had less songs.

Speaker 2 (01:28:41):
That's that's that's what I'm saying. I see, I see totally, totally, totally, And.

Speaker 3 (01:28:45):
Because whatever like peak behind the curtain, that shit has
to be printed way in advance and is expensive like
the materials. So I think it's a thing of like
there may be another release of vinyl which is Cowboy
Carter and has this cover and has a vinyl n
a CD with all of the songs on it, but
they had to move that product.

Speaker 2 (01:29:06):
I m m hmm. Interesting, you know more about this business.
I don't know about how the vinyls get pressed. You
are the business guy.

Speaker 3 (01:29:14):
It's like so far in advance, and to me, it's
like if she were to sit on this for a
long time, it feels totally in line with who Beyonce
is to be, like, No, we're gonna add songs, We're
gonna I'm not done with It's gonna continue to evolve.

Speaker 2 (01:29:29):
Mm hmmmm hmm. Well I can't wait for the next evolution.
Me neither. I can't wait for the next evolution of everything,
of everything. Oh God, I don't know about everything? No, no,

(01:29:53):
all right, Well is it time for I don't think Zhani,
it's time for anythink anything else in the culture you
want to talk about. It's basically been that.

Speaker 3 (01:30:00):
I'll briefly say, well, I guess my I don't think
so Honey is gonna be God. I don't want to
be dark and I don't think so Honey.

Speaker 2 (01:30:06):
So honey, it's all dad, you know what I can
do it.

Speaker 3 (01:30:11):
I don't think so, honey on this other thing. But
I do want to say I finished mister and missus Smith.

Speaker 2 (01:30:15):
Uh huh.

Speaker 3 (01:30:16):
What a delight, What a delight. I love a case
of the Week. I loved it, loved it. They fucking
crushed it, and I was again. I was skeptical in
the beginning, and then it won me over. I was
laughing and smiling at the TV. I was watching it
with Greta. We were having the best time. There's a scene,
by the way, the guest stars are unreal. Every episode

(01:30:38):
is giving a guest star of the millennium. Like Sarah
Paulison plays a therapist. She's fucking great. MICHAELA. Cole is
in it, she's amazing in it. Parker Posey comes in
and eats like just it's like so good. And there's
a scene at the end of the Parker Posy episode
where Donald and Maya are in bed together like laughing,
recounting what happened. And I was like, this is chemistry

(01:30:59):
right here. I am watching great TV chemistry.

Speaker 2 (01:31:03):
I love I love chemistry me too. Oh when it's good,
it's good. Kelly Clarkson. I love that album. I want
to say, the only TV media I've consumed outside of
still playing Final Fantasy seven Rebirth, I'm sorry, I'm slow.
Is it Cake? Season three is out. Mikey Day is
one of the best, one of the best to ever

(01:31:25):
do it. I would love to meet him. He is
one of our great Americans. In the words of Tina Fey,
Mikey Day, you are a king. He is the homecoming
king of SNL. As far as I'm concerned, I love
that Keenan is the star student, maybe even the principal.
He's team captain, He's team captain. Mikey is like star quarterback.

(01:31:51):
Sometimes those are two different people. Team captain quarterback.

Speaker 3 (01:31:54):
Often often you can't you can't assume the quarterback is
going to be able to necessarily, yeah, be the cap.

Speaker 2 (01:32:00):
It's so much on his plate. And and that's that's
as far as I'll take that football team analogy. But
Mikey Day, he's so good at hosting a show about
hyperrealistic cakes. And these people, these bakers are so lovely
and they were from all walks of life, all across
the country. Shout out to Jajar, who is amazing. He

(01:32:20):
this Jajar is an example of someone who grows up
in a family where people support your dreams, and he goes,
you should always do what your heart desires. And he's
so sweet and he makes these amazing cakes. He made
a sack of flower that looked like a sack of flower.
But guess what cake?

Speaker 1 (01:32:36):
Is it?

Speaker 2 (01:32:36):
Cake? Season three is out now on Netflix. I might
have to have smoke hour and really get into Okay,
remember when the season one came out, we watched it
at your apartment and we were having a ball. We
watched it here, We watched it and we watched it
in La one season it was the smoke hour, but
we were we were loving it. We were like, Mikey,
is that when you came to my age? Yes, yes,

(01:32:59):
love you, sister. I love you, sister.

Speaker 3 (01:33:00):
Bone really got on a plane to help you on
my heart. You really did that and I'll never forget it.

Speaker 2 (01:33:07):
Shot good Rada.

Speaker 3 (01:33:10):
Anyways, I feel as though it's now time, speaking of
TV that's been shaking the culture.

Speaker 2 (01:33:15):
I can do my I don't think so, honey, Okay,
this is I don't think Zaney. This is where we
take one minute to go against, to rail against something
and culture, I should say this is Matt Rodgers. I
don't think so many as time starts now, I.

Speaker 3 (01:33:25):
Don't think so, honey. All that is ruined. The Amana
show is ruined. Like it's all just if you can
still watch that, my hat is off unfortunately, Like.

Speaker 2 (01:33:37):
I think you sort of can, like maybe on Amazon
or something, but.

Speaker 3 (01:33:40):
Like, wow, was I completely like I had heard things,
but fuck, these people are disgusting inside it out?

Speaker 2 (01:33:48):
And can I also say I don't think so honey.

Speaker 3 (01:33:51):
If you were an actor that was one of the
people that sent in a letter of character for that guy,
Brian Peck, and you have not made a statement denouncing that,
or you have not apologized, or you have not reached out.

Speaker 2 (01:34:05):
What the fuck? What are you waiting for?

Speaker 3 (01:34:07):
Why are you I don't think so many character letters
in general, just fucking stay out of it.

Speaker 2 (01:34:13):
Boo shut up.

Speaker 3 (01:34:15):
That was crazy And I hate feeling this way about
James Morrison five seconds, who I love, But fuck, I
don't think so, honey.

Speaker 2 (01:34:26):
And that's one minute. One of the actors, like in
the documentary in Quiet on Stet was like retracted and
it was like I was not told the right set
of facts, Like it's as easy as that. It's as
simple as saying that that like you were mislad that
you were the situation was misrepresented to you.

Speaker 3 (01:34:42):
I mean, the two guys from Boy Meets World that
had written I Guess It's right or Strong and Will Friddell,
they were twenty seven and twenty four when they wrote
these these character letters, and they're saying like, oh, yeah,
it was a set of facts was presented to me.
He told me he was guilty, but you know it
was about really the treatment and what he had been

(01:35:03):
going through.

Speaker 2 (01:35:03):
I'm like, I'm sorry, there's no excuse, there's no excuse.

Speaker 3 (01:35:07):
We should probably stop at pedophile, right, and these things
that are.

Speaker 2 (01:35:11):
Like he was tempted. There was temptation I felt for
jailbait guys. When you're fifteen years old, you can't do that.
And I understand discourse about like this type of thing
has you know, become, has developed over time and we
now have tools to talk about it now that maybe
we didn't then. But like Jesus Christ, I know, it's

(01:35:33):
pretty bad. It's pretty bad. I mean, I still think
it's as easy personally, having not been in this situation,
I can't totally speak on this fully, but like I
think you can just be like, hey, I don't know.
I didn't know what I was talking about. Yeah, I
didn't realize the extent of this, Like I don't know.

Speaker 3 (01:36:00):
Can you imagine like letting that just hang out there
and being okay with that, Like if they're being advised
to not say anything that is not correct advisement. If
I ever thought that, like something a popular idea about
me out there was that, I was just like that
the last word on all this is yeah, I wrote
a character letter for this person. I would be screaming

(01:36:21):
from the from the rooftops like no, no, no, denounced, denounced, announce,
like this is what happened. I apologize, I'm so sorry,
Like it's just so disgusting to me. Yeah, in the
words of someone depicted in the documentary, I would say
it with my chest.

Speaker 2 (01:36:42):
For me, the most heartbreaking thing was Brian Hearn and
his mother. Brian's mother was one of the only parents
who like spoke up right the producers after, like it
wasn't a double their episode, but it was an episode
where Brian was like covered in peanut butter and getting
licked by dog and licked by dogs and it's it's
just so disgusting to watch, and like he is literally

(01:37:05):
saying in this clip like I don't like this. I
don't like this, and so of course his mother is
like this is not acceptable, like please, can we not
do this to the kids, And then she describes like
the meaning where they let him go. It's so emotional
because she's like she starts getting teary and she goes

(01:37:25):
I saw him become a man. I saw like his
posture change.

Speaker 3 (01:37:30):
Like you can't, like as a parent watching seeing that
moment in front of you, Like you can't go back
from that heartbreaking.

Speaker 2 (01:37:37):
It's so devastating to watch. And like word on the
Street is like some of these actors signed NDA's on
the sets in production saying that they could never talk
about these things and that is so.

Speaker 3 (01:37:52):
NDA culture has to end, like the Yonce fucked but
that isn't even even that is just like it's like
you know what you're doing when you when you first
of all, this set was like crawling with pedophiles more
than one at once, Like no more massages on sets.

(01:38:12):
I don't care who you are, how you are, how
old people are around you. Anytime someone's like give me
a massage.

Speaker 2 (01:38:18):
It is not appropriate. Twice I'm like, it's never appropriate.
I'm like, don't ever, don't. I don't want a massage.
I don't. I don't want to watch someone being given
a massage on set. No, this a.

Speaker 3 (01:38:30):
Professional atmosphere unless it's actually for bodily relief. Should not
be a place where like someone is touching someone else's
body for like pleasure or relief.

Speaker 2 (01:38:41):
No, No, you're hiring, like if you're hiring some therapist
to like be with you there because you have like
a bad rotator cuff. Sure, otherwise get off the set.

Speaker 3 (01:38:54):
Also, it's so disgusting how long he stayed there, like
that that was the culture and that they know about
it and that they kept the man in charge of
it for so long just goes to show how much
money fucking talks. And it is so frustrating. It is
such a dark reality of the entertainment industry and of
every industry. But wow, like we really will do this

(01:39:15):
drag of pretending that it's getting better, et cetera. It's
like there's still so many fucking like disgusting abusers in
place because they make people money, and this is yet
another thing. It's just yet another thing that just goes
to show it is all about the bottom fucking line,
and there's a lot of harmful, fucking people out there.

(01:39:36):
And I commend everyone that's out there saying their stories,
and I feel so heartbroken and sad for everyone whose
dreams were shattered, who were talented young people. And obviously
the number one casualty of all this is obviously, you know,
of course, Drake Bell, but also whatever really went down
with Amanda Bynes, that is a fucking tragedy because she

(01:39:59):
was a fucking superstar and she could have had the
entire world if only she were in a safe environment
that respected her and respected her talent and allowed her
to grow in a real way, both as a human
being and as a talent, Like we could really be
enjoying her gifts right now, and she would, she would,

(01:40:22):
you know, probably not have had to go through what
she went through. It rereaked of Britney spears to me too,
just like nasty, nasty, dark stuff. And obviously it's a
tough sit and there's actually going to be a fifth
episode that they put out, that's right, you know, which
I have mixed feelings about, to be honest, right, I.

Speaker 2 (01:40:41):
Think it seemed to have been a fully told story.
But maybe they I don't know. Whatever new thing they
have will be hopefully will be interesting worthwhile, we don't know.

Speaker 3 (01:40:53):
But kids shouldn't be acting. I mean, I just don't
think that kids need to be doing that. I talked
actually the after I won't say who, but I came
into contact with someone who was a child star who
was on a Disney Channel show, and I asked her
what she thought about it, and she was like, I
just don't think that people that age need to be.

Speaker 2 (01:41:11):
In those environments. And she made a joke.

Speaker 3 (01:41:13):
She's like, I'm anti AI except for that, you know
what I mean, maybe at this or it's just like
things need to change so much. It's kind of like,
you know, like when you have experience with something and
you get years and then you can look back, Like
one day I asked my dad, like.

Speaker 2 (01:41:28):
Why he never played football with me?

Speaker 3 (01:41:30):
And he was like, well, you never showed interest, and
I was like, that's not true, like I showed interest
in the things you showed to me. And then he
revealed he was like, well, to be honest with you,
I really don't think kids that age should be playing football.
There you go, and I was just like, there it is.
I mean, like when you have seen something firsthand, you
are the authority on it, and you have these people
being like this is fucked up, this is dark, Like

(01:41:51):
listen to them.

Speaker 2 (01:41:53):
Fucked I agree. I think like what we saw with
the parents though, was that like some of them were
just like my child has expressed interest, like Drake Drake
Bell's dad was just like, well, Drake, Drake loved to perform,
and like I wanted and like they just come out
of a divorce and he was like I wanted to
spend time with Drake, Like this was the Oh my god,

(01:42:14):
that was That was just so hard. But yeah, I
mean like it's not all stage parents are like evil
and not all stage parents are like totally no, it's not,
I know, but it's yeah, but it's like, but there
is like some I don't think we've as a culture
figured out like what the responsibility where it totally where

(01:42:37):
it falls in that relationship or in that within the system.
It is obviously a systemic thing, but like I don't know,
like I've I've had like interesting experiences with like parents
who come through us and now with their child actors
and I'm like, oh, I don't want to know anything
else about this, you know what I mean. I'm like,
this is yeah.

Speaker 3 (01:42:59):
I will say I also worked with kids from my
special and one of the things I said even before
was I was like, this needs to be I was like,
I was like, I I'm hesitant about working with kids.
I've heard it's difficult. And then I was really interested.
I was like, what are the parents.

Speaker 2 (01:43:15):
Going to be like?

Speaker 3 (01:43:16):
And they were all very lovely and present. And I've
seen this done in very professional ways, and I'm proud
to say that I was involved with something that was
like really nice and the kids only worked for a
very short amount of time, and they were very sweet kids.

Speaker 2 (01:43:31):
And they were talented, and I'm happy that they get
to do that.

Speaker 3 (01:43:34):
But it's just it's hard to not be fucking freaked
out and just want to say abort mission on the
whole thing when you hear about even one thing.

Speaker 2 (01:43:43):
I know, Darcy Cardon perfect example, someone who loved acting
wanted to do it as a kid. Her parents were like, totally,
only do it if you don't get paid. Oh wow,
that is that's perteresting. That's the perfect model. You like,
we don't want you as a child to get paid
to do this because that's where it gets dark, is

(01:44:03):
when because that's where it gets dark. Oh okay, that
is really that's a yeah. Isn't that so smart? That
is so smart. But Darcy's a broken person now, she's broken,
she's so sick, disgusting, disgusting people.

Speaker 3 (01:44:21):
That's what That's what we're saying is that all child
actors that came out of that system broken are hard
to blame.

Speaker 2 (01:44:27):
All right, wait, it's now time for your I don't
think so honey. Yeah, yeah, I make it a little
messy with this girl. Are you showing you're absolutely sure?
Do you think I should? I don't know what it is.
Oh okay, you know what it is. I mentioned earlier.
This is Bowen Yang's don't think so honey. This time
starts now. I don't think so honey. That fucking person

(01:44:49):
on TikTok saying SNL is hot, guys, I'm kind of
misquoting her, but like Jason sadeikis blah blah blah. Even
Bowen Yang, don't even Bowen Yang me. Don't you ever
put the word even in front of my fucking name,
any of you, anyone out there, for this person to

(01:45:11):
like make this crazy, make this crazy judgment and assessment
on like the beauty standard on the women of SNL,
which is so crazy to do. Do not lump me
into Do not bring me into that conversation at all.
I don't want anyone to think of me as hot
or not hot or even hot. I don't want to

(01:45:33):
land anywhere on that for you, especially if you are
like doing some sweet, innocent, well meaning I think bedroom
TikTok about like how hot people are on this show
that you have no fucking perspective on. And that's one minute.
It was not well meaning. It was messy.

Speaker 3 (01:45:50):
I mean someone it wasn't someone got on TikTok and she's.

Speaker 2 (01:45:54):
Being relatively dragged for it, I think.

Speaker 3 (01:45:56):
But yeah, I mean like you reap what you so,
in the words of Beyonce on her self titled but
somebody was like yet, uh, there's been no hot women
on sn now And she goes into this whole fucking
thing about like literally brings up pictures of cast members
and is like like this person like she plays all
the hot she's not even hot like, and this person

(01:46:20):
like she's not hot like, and there's no hot women.
But think about the men like this is Jimmy Fallon
back in the day, and then she goes, he's ugly now,
but look how hot he was. I'm like, what is this?

Speaker 2 (01:46:30):
Like, it's so it's it starts us such a it
gets worse and worse and worse, and it's just like
so nasty and judgy and disgusting and placing it placing
a value on something that's like so stupid and arbitrary,
and it's just, oh, it was gross. I'm like you,

(01:46:53):
I think this is just to peek into like a darkness.
I think that's why people are like really responding to it,
is because they're like something's off here, something's like not good,
not healthy. And I don't think this is me like
punching down. I think this is just like me actually
responding in an emotion. I'm well, I'm just emotionally responding

(01:47:14):
to Like I don't want to be fucking like put
in that. I don't want to be in any kind
of like aesthetic evaluation rubric at all, like even like
on a gay guye level, Like I don't really it's
exhausting and toxic. I'm kind of just dressing the way

(01:47:34):
I want to dress. I care about how I look
like for my I truly for myself. But it's like
I don't think I want to think about myself in
that context because I don't know I'm going through it
right now where I'm just like, oh, like rejection again.

(01:47:55):
But I'm like I don't want to like think about that,
you know, like don't bring it into that please. We're
just trying to do sketch comedy. It's not that deep.
We're not like megastars. We're just lovely people who like
cut our teeth in bar basements and like put on
wigs and now the wigs are a bit nicer and

(01:48:15):
we get makeup on on Saturdays. But we're just the
same people, Like like everyone at work right now is
just yeah, it's just a lovely person. Yeah.

Speaker 3 (01:48:26):
I also think like the thing that, unfortunately fucking of
course happens when someone is idiotic enough to start a
conversation like that is then it becomes a conversation and
a discourse, and it's this thing of like even like
even saying something like what do you mean so and
so is so hot? Like these people out puts an

(01:48:48):
expectation on them. It's just like it's so useless and
can only make people feel bad.

Speaker 2 (01:48:54):
Well, now my TikTok that that are like Bowyang isn't hot?
What are you talking about for? I'm like, Okay, you've.

Speaker 3 (01:49:01):
Done nothing productive, you haven't helped anyone with this. Yeah,
God like fucking like and this is like what we
it's but it's not what we signed up for because
we did not sign up for this. No, And that's
like it's it's it's again. It's like it's like once
you real, once you wade into the waters, Like this

(01:49:23):
is why the detachment from what people are saying is
so important. This is Perfect Blue because.

Speaker 2 (01:49:29):
The second I told not to watch Perfect Blue, I'm
such a college freshman about it. I told not to
watch Perfect Blue about you might keep going, and I did.

Speaker 3 (01:49:35):
And I just feel like the second it becomes the
second it drifts away from what your purpose was, you
will start to go fucking crazy. Like I have to
remind myself all the time, like I'm doing this because
I believe it is my purpose in life to make
people feel good and feel happy and make them laugh.
My purpose on this planet is to create positive bursts

(01:49:57):
of energy and to leave places better then I left them.
That is my purpose. The second it starts becoming about
how someone looks on a red carpet or what your
skin is doing, or like why I can't live without
or you know, once it becomes like ugly and like.

Speaker 2 (01:50:13):
Something that's you know, too tangible, cure it is material.
It is like truly material, Like.

Speaker 3 (01:50:21):
Yeah, that's the thing. It's like, of course there's playing ball.
Of course, of course there's that. You know what I mean,
Like we both play ball in the industry. We both
do what we need to do. Everyone does. But the
fact is, like you and yourself, you have to remind yourself.

Speaker 2 (01:50:37):
Why you do it.

Speaker 3 (01:50:38):
And you do it because it brings you joy. Everyone
on that show, everyone in comedy does it because they
are preternaturally talented in terms of the joy and comedy
that they can bring to the world. And some idiot
coming on and placing what they value onto everyone else
and starting this conversation is toxic and disgusting and rating.

Speaker 2 (01:51:01):
For like a completely subjective thing, which is like beauty,
which is like right, aesthetics and.

Speaker 3 (01:51:09):
The conversation around aesthetics right now is so warped and
so toxic as it always has been, but it just
gets worse and worse and worse as we're supposed to
like pretend that we can all compete with the beauty ideal,
which no one can. Even if it looks like they're
on top of it.

Speaker 2 (01:51:26):
They're not. They're not. They're not. It's it has not
saved them. It is not like made them better people necessarily.

Speaker 3 (01:51:36):
Yeah, and also, how about this as a rule of thumb,
don't be a fucking asshole period period.

Speaker 2 (01:51:45):
Well, I am galvanized the site Texas. We're both ready
to kind of take the day on. Huh wow.

Speaker 3 (01:51:52):
Yeah, an over two hour episode that did not get
to the cultural excavation, despite there being a document prepared
the culture.

Speaker 2 (01:52:00):
We're ready to go.

Speaker 3 (01:52:01):
Cowboy culture title twenty thirteen. Cowboy culture title that twenty thirteen.
It deserves its own episode in a way. Maybe it will,
maybe it won't get that, but it is. It's a
big year, as you all know, most of you are
alive for that. We hope, no, we hope no eleven
year olds are listening to this. Oh dear, if you're
an eleven year old listening to this, we're younger. God

(01:52:22):
shouldn't be doing you, shouldn't be doing this.

Speaker 2 (01:52:25):
We don't. We don't want to quiet on set about
you and us?

Speaker 3 (01:52:27):
Oh okay, all right, listen, speaking of quiet on set,
it's time to quiet the podcast, but not before we sing.

Speaker 2 (01:52:34):
And we end every episode with the song oh Shi.
We have to rehearse it. We can't get it away.
Get your tickets to the Culture Words June fifteenth in

Speaker 3 (01:52:47):
Brooklyn, pass code Culture Bye Bye

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