Introducing "Diallo & LUXXURY Talk About Music" on Patreon

Hey guys welcome to one song and this is actually a very special episode because Luxury and I talked and we thought hey why don't we take an episode from our patreon and bring it out from behind the paywall and drop it into the feed here so you can get a sense of what kind of things we're talking about over at the patreon I'm talking about music discovery you know Earl sweatshirt just came out with new song we talk about it we talk about Coachella give our thoughts on that we even have my man talking about the interpolation that goes on on the song apate by Bruno Mars and Rosé so there's a lot going on that's right so check it out because we are finally doing live hangouts we're doing it discord we're turning this podcast into a community we wanted to do it forever and we finally done it so please go over join now it's patreon.com/dialoluxury that's right patreon.com/dialoluxury and we'll be back next week with a brand new episode but for now enjoy this one of our first episodes over at the patreon. Hey y'all welcome back for another bonus episode more of us we're saying bouillard now oh sorry we didn't say bouillard didn't you? yeah when is bouillard? bouillard is definitely there's a framing of in time when that began and ended and it's been a while. Wendy's man that was good times. boom boom pow listen I'm 2000 and late and you know it and I'm all right with that let's keep going this is the patreon with y'all in luxury this week we're talking about Coachella weekend one we're gonna have reactions to a divisive or perhaps a divisive new band or I actually don't know how to pronounce that word is it divisive. you're so mature and we'll be listening to something new music that's what we do on this thing that's right and if you like our video that's right and if you like what we're doing here please share with your friends every subscriber helps us produce more episodes more interviews and more content for you guys and for just ten dollars a month subscribers we will be having the first of our monthly meetups at the end of April date coming soon we promise you so subscribe to that ten dollar tier before then and you can join us live and hang out with us and we think that's going to be such a core part of this community building and you're on the ground floor so thank you guys that you early subscribers for joining us we really appreciate that's right that's right all right first up we have to talk about Coachella weekend one luxury you'll be there next week I'm so jealous because I don't think I'm going to make it up to the desert this year did you watch any of the performances weekend are you going in blind like hey come on surprise me well it's impossible to go in blind it's it's across my feet a little bits and pieces little clips and chunks but for the most part when I see something I swipe away I swipe right away but I have heard so I'm gonna pro I'm definitely going Saturday I won't be able to go Friday and then if Saturday just is too much two was too much fun I'll go Sunday but Saturday I'm definitely excited for the strokes like that is a reason to go in period Interpol boys noise and frankly their poll is back I saw Interpol when they did it like in 2004 somewhere like a long 2003 maybe a long time ago back when it was still like I think $50 I've never seen them so I can't wait to finally see them it'll be amazing wait I think I might have seen them at an earlier coachella now I'm I'm at the age where the brain fog is like did I watch a video of that or was I there to see it like I'm not sure anymore you know that makes sense back when it was just a one-week in affair right I saw them perform on a Sunday and you know to hear like you to turn on the bright lights on a Sunday as the sun was going down and the desert was like really really beautiful but you know that would kind of reminds me how much coachella has changed I've said many times I was at the first I was there from 99 the very first year all the way through 2005 yeah and 2005 let me a little disenchanted so I felt no pressure to go 2006 we know that's the year that I was there and you would have met me and life would change forever I know we would have somehow found each other in the crowd yeah but that's the difference between then and now I also noticed that you know like when Billy Corgan came out as a surprise guest during yeah Billy Corgan from smash and pumpkins yeah Billy Corgan from smash and pumpkins I really liked somber's music I think 12 to 12 great song saw for the first on my SNL this year and I was like wow this is a good song and he was really excited to see Billy the crowd a little less so you know maybe we can play a little clip of it I just it the same thing happened to blur last year like you know yeah people weren't feeling it yeah they only need to talk to them it's the younger crowd it's a generational thing like the people who would get excited about blur aren't going to come tell anymore they're at home you know looking their ankles you know trying to get their joints to hurt less I'll be honest with you I might not go where not for the fact that I'm not you know not going to not to brag too much but I do as a KCRW DJ get the free tickets in the free parking hook up so I was like okay it's making it easy and I can take my son that's like the entire compensation package basically it's what I'm earning from KCRW no shade basically that's like a $5,000 free parking you coach honestly that that is what is pushing me to go plus being able to share it with my son that Nikki and I are gonna go that's okay and we're gonna go see pink panthers together because we're both fans of that the concern that I have let's go oh my god can't wait the concern that I have is if I drag him successfully to something like the strokes that he's like yeah whatever and they don't deliver which the rumor has it they semi-delivered then he's gonna be like dad thumbs down you lose points like you know what I mean like it could it could backfire in terms of his look not his taste just taste his skillet but they're great bands that don't always deliver right that's just the way it works and I don't want him to be unsold for a great band like the strokes one of my all-time favorites I can't wait I've never seen them this will be the first time I get to see the strokes are there any other people that you haven't ever seen that you think I'm gonna prime pot my head well there's there's two artists that are up and coming kind of lower in the bill and then there's one that's high up on the bill I'm stoked so Lamborghini girls that's a band that I've played yes you've mentioned them on the show I've done a one more song with them they're great they're kind of like yaya yaya's needs I like one what are they call oh my god I'm spacing on the Australian punk rock girls name ammo ammo and the sniffers they're kind of like a cross between those two super it's like that that edge where punk starts to get into stoner rock a little bit of metal a little bit of extra crunch but the delivery is very shouty shouty I fucking love Lamborghini girls and echo vandal who I is also a recent discovery so I'm gonna check both of those artists out with my son hopefully and then I gotta say I'm kind of pumped for Bieber I'm kind of pumped for headliner Justin Bieber like that's I didn't kind of do that when coming that's kind of dope to me well do you know what he's been doing have you seen what he's doing yes yes he's been on stage with his laptop and pulling up the the early videos and see I bet you he does something different week too this is one of those things it's actually kind of crazy about because all the press and a lot of the taste makers and influencers um they go the first weekend right but increasingly people are changing it up that second week and they're doing something different I I wonder if you'll still do the YouTube thing on the second for those who didn't watch it he pulled out his laptop and he sat up there I love Katy Perry's comment they're like oh god she doesn't have ads great we don't have to sit here and watch the ad like he just it's like through the video it's like YouTube premium or twitch yeah yeah yeah and in the world like twitch streamer and he's like he's like you know w and chat like it's all kinds of chat stream he's ties in that on stage yeah yeah I just feel like you're in a basement hanging out with Justin Bieber while he's just like that's not the whole show that's not the whole show to be fair but I think it's just a chunk of it guys it sounds kind of fun that that was the part that got people talking I guess some people didn't love it but uh to a person that people said that they thought that they had never seen that many people gathered at the main stage for anybody they think that it literally had reached you know this breaking point of not breaking point that sounds bad but like yeah they've just never seen that many people try to get to the main stage and I think that's part of what happened with the Stroke set is that they're sharing the stage they're there's what five six stages I forget but like there were people camped out for Bieber and like in advance and they were not interested in the Strokes and the Spend Julian Casablanca's felt that energy or the lack thereof and I think that led to what I've been hearing is like a lackluster performance but it's a give and take that's like you were saying if the energy isn't coming from the audience because they're all believers who are uninterested in the Strokes that sucks it sucks to be the Stroke so I'll be the Stroke stand in the front row going yeah just like I just want yeah I think like it's the same thing that happened I think there was somebody who went on right before Katzai and one of the tents and the Katzai fans well crammed into the tent before then can I just say let people see the artist who they came to see I mean I know that you know again it's generational I I would be one of those Strokes fans like oh that's too busy I can't see that I don't know how much I want to push through because there's going to be well the thing is I was going to say there's it's not ex Bieber is like 30 something now so his fan base isn't exactly like Gen Z members but they're still young enough to be there are they technically millennials yeah they're millennials I think there's like technically the youngest of young young millennials in Gen Z but at least they're not the TikTok generation for whom they only know 10 seconds of every song like it's not that bad like there might be some actual Strokes fans but anyway we'll find out when we get there I'm stoked for that I'm I'm kind of stoked for, I mean, I'm very stoked for this. David Byrne, big-talking heads. - I hear that's a great show. I hear that he has some amazing, you know, some amazing visuals. One group that I think we share, that if I was going, I'd definitely check out his nine inch noise. - Oh, hell yeah. - Which is "Boys Noise" and "Night Is That On" 'cause I can't remember, I remember wanting to see it, but I don't know if that was "Saturday"? - Is it Saturday? - I'm the wrong person to ask. - I'm looking at the bill right now. It's "Boys Noise" is on the bill for "Saturday". Oh, nine inch noise is Friday. I don't think I'm going to make it. I don't think I'm going to make it Friday. That's Sabrina Carpenter, the XX9 inch noise. I mean, look, it's Turn Style and Disclosure. It's a great lineup. Like, I should go. - Turn Style and Disclosure is one of the most freaking cool. I still have dreams that one day, we will, you and I will end up somehow together, in a tent, on stage, echo a cellar, maybe one of the offshoots, I still fundamentally believe that. - It's not over, it's not over. It's not over, it's over. Maybe we'll be doing Bob Baker's "Merry Annette's" next year. (laughing) - I have the puppet rave going. - Yeah, yeah. - I'll say the most embarrassing thing I felt for Billy Corrigan was when he came out and so on, he was like, it's Billy Corrigan and the smashing. Boomkins, and Billy did the Jesus hands out. Like, here I am. - Yeah. - And like the Richard's muted. - That's what's like. - Oh, poor Billy. - And he stood there like, you know, like, Jesus, like he was expecting a big Jesus moment. - Yes, like he's jack standing at the bow of the Titanic. (laughing) It didn't really, yeah. - I was picturing giant Jesus at the top in Rio, G's an arrow like the statue. - He did that pose and, you know, it's classic Billy. - Listen, follow me this show. - Have a lot of embarrassing things. - Billy Corrigan's segment every single time. - I think there's so much to break down with Billy. He's really, what he embodies is really important for people to understand. And maybe to eternally never fully understand. But his need for attention is understandable and normal. But like, it doesn't match the success that we see him having. It's like, well, you would think that with the amount of success and kudos and. - In the amount of talent and car. - Great songs, great songs, primarily for the '90s, but great songs. - But there's still a neediness that we pick up on. - Yes, yes. You get the sense that he still wants to be that guy. And it was very funny. Go back and watch it, it was pretty hilarious. - But Billy, we love you. There's enough love for you. - Billy, come on the show, we will give you the attention. - Not only is there. Oh my God, not only did we. - We might give you a hard time though, even if you said some stuff, we might give you a hard time too. - Not only did we do a loving tribute on the episode, we did go back and check the one song archives, we did. What do we do, Cherub Rock? But that was the origin of us, our dispute, which between the two of us, a loving dispute, what song we should do, led to like, okay, let's start doing two partners or let's start doing the same band twice. So we will do a 1979, one, nine, seven, nine episode, one of these days, 'cause that is Gala's favorite song. We will get to it, we promise. - Oh, my favorite smashing is still tonight tonight. - Okay, maybe we'll do three. Maybe it'll be that one, maybe it'll be the big hit, maybe it'll be 1979, we'll see. But Billy James, any of the other members of the group, we'd love to. - By the way, do you think that Billy Corgan is actually the long-lost brother of Bill Burr? - Bill Burr, I mean, they don't seem to dispute it as much as he would think, so who knows? - I can't tell if it's a put on or not, but when they're in the same room, doing what was, it does seem like it was set up as a joke when they're reacting negatively to the situation. But then together, like, oh wait, that makes a lot of sense. - Visually, the abrasiveness, right? - The dates kind of line up, it's pretty great. - The caustic abrasive rage for no real reason, like, with all this experience. - That was a vampire, yeah, my dude. - All right, next up, we're gonna talk about at our population. - How have I not done that yet? How have I not done that yet? - On the Patreon. Well, here it is, the debut of the Patreon interpolation conversation. We've been wanting to talk about this for some time, and that's part of the fun of this Patreon. All the things that didn't fit on the other show we do, we can finally have a home farm. One of them is to go deeper on some of the silly rules about the Grammys and some inconsistencies. And one of those is, well, let me just start with this. The past year, Rosé and Bruno Mars were nominated for a Grammy for their song, Apata, not Apartment, not APT, but Apata. Which is a great tune, by the way. It's so catchy, so hooky. The world loves it to the tune of, I don't know how many billions it's up to now, but it interpolates very clearly. Mickey, and for those of you who don't know, oh Mickey, you're so fine, you're so fine, you will in my mind, was originally, was recorded by Tony Bazel in 1981, but it is itself an interpolation of a song called Kitty by a band called Racy, which doesn't sound right, but that is the name Racy, R-I-C-E-Y. - So Racy did Kitty, but Tony did Mickey. - Right, it was just good to say. - It's so funny. And it's virtually a cover to the tune of Mickey being 100% credited to Chapman and Chin, the 70s songwriting and production duo, who did a lot of hits for a lot of the Glam Rock bands. I think they also work with-- - You can hear the Glam Rock in a lot of Glam Rock, boom. That's a very 1974 kind of groove, you know. But the point of bringing all of these artists and writers up, and in this case, it's just the two writers, is that when the song "Apata" was nominated for a Grammy, Mickey Co-Writer, Mike Chapman, wasn't included in the nomination because of these convoluted rules about the Grammys, which arbitrarily limit the writers, those who are considered writers. To those who are part of the new song, the newest iteration. In this case, of a song that's had three lives. So it's crazy that they cut out the songwriter who's in the publishing credits. It's not like there's no like secret that Mike Chapman, that Chapman and Chin in this case were participants in these three hit songs. But by the time it gets to these most recent Grammys, they're dropped kind of from history. They're sort of erased from the story, which I have a problem with. Well, I think it's also like, this gets a little bit of insight baseball, but that's one of the things that two music nerds like us like to do is get inside the machine and see how it works. I feel like this is one of those Grammy rules that needs to be updated, but the Grammys is not known to move fast, nor-- (laughing) You know, like, it's basically like, for a long time, interpolation was more seen as like sampling and more thing that hip-hop did. Over time, pop started doing it more, and you see it in so many pop songs. We've talked about this, you know, in relation to how Beyoncé and other artists will sort of go out of their way, even if they're writing sideways from somewhere else, they'll go out of their way to reach out to the songwriters. Exactly. And almost over credits that just to make sure, yeah. If you think for even a second that that person might think that we were thinking about their song, we're gonna reach out in advance. Catch you off at the palace there, yeah, for sure. Yeah, and because the song of the year category is for songwriting, it just seems really weird to us that for some reason, you would leave the people who came up with the original idea. - Right, it doesn't make any sense at all. - It doesn't make any sense at all, yeah. - I don't think it makes a lot sense, I-- - What if in this the logic behind it, is it to conserve statuettes? Like, they only have so many to give out, so they have to be-- - There's only so much gold. - Right, there's only so much gold standard during those Nixon years. No, but you know, somebody says that they're really interesting about this. His name is Justin Shukot. I think I'm pronouncing his last name, right? But he's president of a music publishing company called Primary Wave. And he said that the reason why this needs to be changed and why you have so much interpolation going on. Now, not just in hip-hop, but in pop music, and sort of all across the musical spectrum, is that the way that we are consuming content is changing. Like, so now, you know, it used to all be radio and hard copies of, you know, final and CDs. But like, now it just might be a 30-second snippet that you hear on TikTok, and you want to have something familiar, pop up at the, you know, listen to right away. So I think that all songwriters and all composers and all artists are a lot more prone to using an interpolation, just to hook the listener. - Sure. - So that it really makes an impression in short amount of time. - Yeah, that's been the trend for the past, at least 10 years now. It's now a new thing that they have these things that publishers often set up called Flip Camps, where you get some of the top songwriters and some up-and-coming ones. And they'll literally go off for a week or a weekend or whatever the duration is. And they are given free reign to kind of access that publisher's catalog to come up with something to flip it, to flip an old hit. Let's find a new version of something familiar to radio listener ears for many years, and write a new composition from it. And the advantage to the new producers and songwriters who are doing this is that they know in advance that it's pre-cleared. They know in advance that they're gonna have permission, they're gonna give up a percentage to the publisher, to the original writers, of course. But it takes, it reduces some of the friction involved in the uncertainty of like, well, I don't know if we're gonna have to clear this, we're going to give up if there even going to do it. So that's, this has become very common. And so this is an example. I think I'm actually not sure if this particular song was done that way. And in fact, I think it was after the fact that they sought permission to their credit. I think Bruno Mars and his camp did the flip on their own. And then they're like, well, we'd better clear this. And primary ways that the writers gave him, gave them the thumbs up. So credit to them for doing that. The credit to them, we're always, I always say that we're, we're sort of, you know, fans of the way that I think Bruno and Anderson Pock and other people do business. And I actually want to give props to the publishing companies, like primary way, for sort of making sure that the artist, you know, these, because think about it, sometimes you're interpolating an artist who never saw big money. Might be like some old, you know, black blues guy or some, you know, guy in a funk band who didn't get a lot of love. This is a way to show them love, like get them into the credits. They might have given up on the Grammys 40 years ago, but this is an opportunity for their genius to win less recognized back then to get some recognition now. Yeah. And Chapman and Chin, like we say, go back and check out their catalog. They're on a whole bunch of hits from the 70s and 80s. There are a bunch of blondie songs. So like these guys, they're still alive. So, you know, they could be writing more hits potentially. So there's a lot of reasons that credit matters. It's not just the money because they're getting the money. This is just about the name and the recognition. Yeah. And the statue at which apparently they only have so many of to give out. So unsung heroes, I guess you could say, unsung heroes, the not always recognized songwriters who have the original thought. Absolutely. All right. So we've been getting a lot of requests to talk about this next band, the French Canadian Math Rock Duo, Angine de Poit Trin. Or I mean, that's the French pronunciation. I don't know how do Americans say it. Angine de Poit Trin, de Poit Trin, Angine. I think it means chest pain or chest. It's like, it's kind of an ailment, which is funny. I'll be honest. I've seen this band. It's a little frightening. I thought it was AI generated. I thought it was AI slop, but then I found out that no, they actually have those costumes on in there. Can we show the people a little bit? Yeah, let's watch a little bit of their viral KexP performance. Let's see a little bit of that. And then we'll break it down. It's so rad. So for those of you who aren't watching, there are two performers, drummer and a bass and guitar contraption. It's both. So he is using loop pedals to lay down a bass line, and then play guitar on top of that. And soon he will be reversing the formula so that you'll just hear the looping guitar as he changes the bass line. Now he's adding another layer of guitar, I should say. So all three musical lines are coming from the one guy as loops that come and go, and it's crazy. I mean, it's basically Prague funk, progressive funk, with some jazz chords and scales. So now he's playing the bass line live with one of the guitar loops still in the mix. And they just look insane because of their costumes. There's so much to unpack there. I hope some of my explaining the video as it was going was useful. But even that, I don't feel does remotely justice with what there is on the ground. And the first time I saw Reggie Watts perform, you know, the pedals and then doing the loops and stuff. So, you know, that the technical part of it is amazing and, you know, really, really cool. And I love it for being openly, and you could say aggressively artistic. It's aggressively artistic. Right. I got to say, it's still a nightmare for me, like there's something in the appearances and the noses, like it's all, it's going to haunt my dreams. There's no way that I can watch too much of this because maybe I'll get used to it. It's still frightening to me. I think the game that they're playing, which as a musician and, you know, maybe dormant, but I guess I had a single that I put out a week ago. So as long as I keep putting, you know, dropping singles for the rest of my life one or two a year, I can still arguably call myself an artist and musician. But my point is, their backstory is that they were doing it for years and not breaking through. And as soon as they thought, listen, we need to not just be great musicians. We need to figure out how to get attention. And we're many years into this dilemma, but it's still important to remind people that it used to be, if you were a musician, there was some percentage of your time you could spend being a great musician and writing great songs and being a great performer. And in theory, you come up with a great promoter or manager, or maybe you get lucky, or maybe you're just young and cute. But the getting attention part, but the getting attention part had something to do with the music more directly. And you didn't have to spend as much time as much time. It's never been zero, but you didn't used to have to spend as much time marketing yourself, getting yourself seen. And now that thing has flipped, most artists, I know, look at me, I'm spending 90% of my time, maybe 99, not being a musician, right? I mean, I'm an extreme case because I may be a pivoted career, as you could say, at this point. But I think most musicians are divided in a way they never have in terms of how much is about songwriting and craft and performance and how much is just getting people to notice. I think that that is not even just music. I think that is definitely art worldwide, in a sense, that like, you know, I've had two different TV shows that I created. Get 100% Ron Tomatoes, that's how much effort and energy we put into them. And we still had to struggle with the marketing department to try and get people to actually watch them, you know, right through, to get see with the explosion of everything on streaming. And you still have cable and traditional broadcasts, and you still have people's phones. And just like the fact that they don't always have to turn to a TV show to laugh, they can pull up, you know, TikTok and follow Druski, who's amazing. And I can't stop watching Druski clips. I can't stop watching Druski clips. That's, that's, that's, that's their 30 minutes, you know, commitment. They'll just watch Druski clips for 30 minutes. We're all trying to break through the clutter. And I don't think it's ever been harder. So yes, you know, I, I think I see two minutes of this video. We don't even know if it's a, if it's a man or a woman or anything, we just, we, they're anonymous musicians. And where are they from? They know that they're Canadian. Oh, they're, they're Canadian. For some reason, what? I was going to say, for some reason, I thought they were French. And then I was like, Oh, right, because they are French. They are. It came back to what? That would explain everything. That explains a lot. Well, actually, yeah. Listen, listen, I, I love the absurdist look. After dad punk, there are always going to be musicians who wonder, Hey, should we just be anonymous and let the music speak for itself? I think there's another example of that. Without so clearly aping, dad punk is some other people have, I feel, you know, sort of aped things very similar to the robot helmets. But I, listen, I think the other thing is that, like, do you like pro rock? I think that, I think you love pro rock. Well, wouldn't you say? Here's the tricky part, part two of the tricky part is you do break through. And then there's the sort of then what? Because I enjoyed watching this video. And then I don't need that much more of this. And, you know, because there's only two individuals, and they look the way they do. So you're not seeing their human faces emoting. There's a limit for me to how interesting this can be over time. And it's not to say that they won't have a second act and figure out how to build on their breaking through, right? But just personally, I, I enjoyed this. I kind of like goes back to what we're saying about the, the beaver, the Gen Z generation. Like, I enjoyed this as a 15 second clip, maybe as a one minute clip. And I'm not sure how much more of it I need. Even though I enjoy the music, that might be good enough. You know, I kind of think of bands like Wolfpeck, who have a wide audience. And like, it's just kind of, I love, I'm so impressed by their musicianship. And I'm so impressed by their building an audience by cutting through the clutter. They were early to understand short form video and the YouTube. And I respect them immensely. But it's just not interesting enough for me to go back to and listen to frequently. But again, top of the top of the game with their chops. And it's kind of like this Berkeley School of Musicianship where it's like very technically impressive. But like, I'm good with the clip and then I'm going to find a song or then I'm going to find a groove or something else. So that's interesting. I think it's interesting. I mean, like, I don't know what necessarily defines prog rock. This might be math rock, but the idea that like, I hear like a lot of changing time signatures. Like, this is not for on the floor, you know, neo disco. Like, this is very like sort of, you know, interesting. It's almost like Rush, which I guess is classic prog. rock rock, in the sense that the time signature is a little intentionally wonky. Yeah, I haven't listened to enough of this band to know if they-- and that's a great question. When does it become prog? I think you're right. It's math rock, and I think math rock. I think that's right. So it speaks to that. The line between math rock and prog is very fuzzy. I think math rock is intended to update prog and be more modern, to not be the '70s rush or a yes or a genesis or whatever. I think it's to intentionally draw a line and say, "Well, we're not like your dad's version of this similar music." And it's also post-punk. It came after. It's what if Rush had started in 1978 instead of 1970. But I would say that these guys are doing kind of a math rock thing. It's maybe less of a time signature shift than it is that there's a lot of coordinated-- well, it's coordinated because only one individual needs to decide musically what to do because he's playing all the parts. So that's an interesting kind of phenomenon. But anyway, I think they're super interesting. Yeah. I mean, we support this. Yeah. Yeah. And the concern that I would have for them is how do you follow it and build a larger audience by having the songs start to become more important than the visuals? Purple polka dots. No, don't listen to me. You guys are doing something right because, like I said, you've cut through the clutter, and that in some ways is job number one for all artists these days. All right. And last step, we've got a couple new songs we want to share with each other. You know what? I'm loving this segment because I'm genuinely learning new stuff. Recently. We recently have had much less time to dig into the new music Friday. So this segment is literally me learning about Slater, and then like a week later. It's like at Coachella, like I showed a note about them. And then you get to pressure friends by being like, "Hey, guess what? I'm going to be checking out Slater right now if you want to come with you. Did you ever have that phenomenon maybe when you were younger and didn't understand how the industry worked, where you'd hear something?" And then it would be on the radio, like maybe the next day or TV. And then you'd be like, "Hey, I discovered that. It's on the radio because I know about it." I used to think I remember there was a record, a men at work record, and there was a song on it. Like they had a hit with, you know, "Land Down Under." This is how long it was. And there was a song on that record called Be Good Johnny, and I'd bought the record. But I love that song, and that was their third single, and I was convinced that they were released as a single, because I was telling all my friends in like third grade how great a song it was. I influenced the marketing strategy of an Australian band. Yeah. They're like, "Who's our in in San Francisco this year?" This eight-year-old. All right. This first song is Run Way by Lady Gaga and Do Chi. It's all about that half-step. That half-step. That's really sexy. Whenever we go down. That's a hit. That is a hit. First off. A little frigianesque. It's making it sexy. Free? Yes. I would agree with that. But just taking a step back, that is a hit to my ears. Like that is if you're like Do Chi's going to be on the song and she's going to be with Lady Gaga. Sometimes your two favorite artists get together and they come up with something. You're like, "Ah, I don't know what that was. That's not what I wanted to hear from them. This is exactly what I want to hear from. You were born for the Run Way. What a great, everything works for me. The fact that it sounds like an early disclosure track. But it's got Do Chi doing her thing, rapping. And then Lady Gaga coming in and sounding like Gaga, like, I've got no nose for this. This sounds like a potential song of the spring. If not maybe the song of the summer. I just looked it up. It's in the Devil Wears Prada sequel. Like this feels positioned to be a big, big song that we will hear. And it's so interesting. I love it. I love it too. And it's funny you mentioned disclosure because we are at a point now where I mean genre has been meaningless for some time. But genre is so meaningless because we are the layers of origins of where the music comes from. Yes, it definitely is important to point out that it is house music. It is from the ballroom scene in New York in the early 80s. And it comes out of Chicago. That lineage is really important. And I don't want it to get lost. So let's remember that. And let's also add to it that by the early 90s, this was the sound of, you know, besides it still being underground house that becomes more mainstream as we've talked about on our, you know, Madonna with Vogue in around 1990. And that goes into 1992 with Show Me Love. All of that is in the song. The history of house music, the history of dance culture is there. But it's also a little bit RuPaul, right? I'm also like hearing a little bit of-- Oh, absolutely. Actually, my first thought was, this is drag. It's very drag. Yeah. I think that's why I'm thinking of the ballroom step where it has its origins. Then you mentioned disclosure, because that was an earlier revival, and it wasn't that long ago. It was over 14 years ago. But it was also 14 years ago. So now we're getting these recurrences of sound that come even more frequently. I've lost track of how many time periods I just mentioned, maybe four or five. But-- Because I think it's continuous. I think it's never like completely broken off. Like, you know, when I was first starting to DJ outside of the world of hip hop, everybody would call this, you know, some form of deep house, you know what I mean? And then, you know, around 2007-2008, because of the chorus. The chords are so sexy, and they're dripping in this, I love it. I just, I love this track so much. I happen to look it up. Andrew Watt is the guilty party here. He co-produced this track alongside Bruno Mars Circuit, and Dernst Demille Emile II. So shout out to that A-plus team, you guys-- Making crew, yeah. As I hit Making Crew, this is a great song. And I think we're going to hear a lot of this in the spring and summer. Andrew Watt is one of the hottest producers of the past decade, for those who don't know. He was producer of the year in 2021, and he was nominated in 2025 for best original song for Phil John's song, it looks like. But he's worked with Bieber. He's worked with Post Malone, Miley Cyrus. Let's see the Stones, Paul McCartney. He worked with Ozzy. I remember seeing footage of him working with Ozzy, and feeling like, oh man, this guy is the greatest, greatest life, that he is working with Ozzy. And Iggy Pop, two of my heroes, and two episodes that we did last year go and check those out. But hats off. Are you going to check out Iggy Pop and you can check out Iggy at Coachella? He's there. Is he on Sunday? I can't remember. I of course want to. I think he's on Saturday, actually. Are you sure? Let's see. I think he's Sunday. No, he's on Sunday. Oh, is he Sunday? Okay. I hear it's a great show. Why, if I'm not too burned out from having gone all day, because we're going to drive there and drive back. If I have the energy to drive back, I might have to even do it by myself, but I might have to do it just for Iggy Pop on Sunday. It's like 78, right? He's 78. And he still puts on a hell of a show, like he is moving. He's on stage moving. We did that episode this year, and Iggy Pop has been my kind of hero in the background for a while. Like, I've always been like, well, bowies my guy and princes my guy. I've kind of had these prominent figures that to me are like the be all and all. But after we did that episode, I realized, man, Iggy, he's kind of my guy. Maybe Iggy's my guy even more than the others, because he just, he is 78 and still going. That's really incredible. He is so, it's in his blood being a musician, being a performer. And I just hope that we all have the capacity to keep emoting and creating into our late 70s and early 80s the way he is. Him and Cher, can you imagine? They have more energy than most 20-year-olds. Didn't you see? You saw Cher perform right at SNL 50 and you would not think that was a 70-year-old lady. We didn't think so watching it at home on TV, but did you feel the aura and the charisma in the room? A hundred percent. It wasn't in like in the front row or anything. I was like halfway back in the theater and everybody was just like, that's a star. That's a star. It's a star. It's a star. It's a star now. I think she's 78. That's what made me think about that. Oh, wow. She's a boutoniggie's age. All right. They're in good company and isn't Chuck Schumer almost. Also 78. Where are we talking about 78? He rolls the other day. Chuck Schumer. Keep your shirt on. Chuck. Keep your shirt on. All right. And let's do one more. This is the Earth by Earl's sweatshirt. It's a little more than I want than I live. We don't tell the time I want to live. I'm a photo. My thumb on the crease. My dress is on the floor. You see me? But it won't work. It won't work. Here's the thing. I always feel a little bit like the old guy in the room when it comes to Earl, because I think that on the one hand, if I'm driving down the street, why is driving? I think it goes back to the fact that I got my driver's license early on. Really, my car was my music box, no matter whether it was my old beat up Honda as a teenager or whatever I drive now, but it's always my area. You can zone out. I feel like driving in traffic and in the shower are the two places you can zone out and really just focus on music in a weird way. Just vibe. Yeah. Just like the body of the emotional content of the music. 100%. It's a friend of mine once said that it's where the conversation is complete. You know? The car? Yeah. Because the windows are rolled up or maybe they're rolled down. But there's nothing going on except for the munitions. music in you and the road ahead. And in that sense, I love this song. I can't wait to get out and play it when I'm in my car, when I'm driving. That said, I always felt like a little bit of an older guy because I'll put it to you basically like this. When I saw the movie Spring Breakers, it was the first time that I saw a people party on a beach. If you remember that movie, it starts with a drum and bass song. That's a Harmony Korean movie. I remember that. That was great. It starts with the Skrillex song and the kids are on the beach and it's in super slow-mo and they're all freaking each other and dancing. I remember that was the first time. It was the first time I ever saw something like that and didn't think, oh, I want to go there, but instead thought, man, where are their parents? That was the first time. That was when I crossed the Rubicon of Age in terms of stuff. When I hear this music. Yeah, when I hear this music, on the one hand I'm like, this is cool, but then I'm also thinking, you know what? I'm too old for this because I, you know, if I was living in the environment and in the vibes that he's creating, I'd be like, dude, where are your children and why are you not at work? It's just a certain level of like, I'm just a little too old to participate. It's a matter of participation. I can do it in my car when I'm driving and I'm driving out, but I can't do it if I was at a party and this song was on, like, I'd be like, it's time to go home. I totally go what you're saying. To build on what you're saying, and I hear two things also, where I thought you were about to go, is, first of all, the song is more of a vibe. And I think vibe-iness has been around for a long time, like mood, music, or, you know, maybe it would have been the Brian Eno in the '70s kind of ambient, like the idea of sound being more prominent than direct, lyrical storytelling, or even rockin' out or even dancing, like, this is more, there's a story being told, but you're talking about driving with your car, and I totally get it, because you're kind of a wash in what this, you're being bathed in the sound. I feel like we had an episode where you described, we had a guest, and you were describing, like, a warm sound bath, right? Do you remember that? - It's probably a little, John, or one of the episodes with an Atlanta producer, because-- - I think that's what it was. - It might have, it could have been Brian Alexander Morgan and one of those producers. - But there's something about, like, R&D-- - It's just a sonic experience. - And 808, it's almost like, I joke that it was the black man's massage, 'cause, like, you can literally turn up that bass enough for you just feel like, oh, and that feeling. - It's hard to find language, but that's fun. It's fun that it's hard to put your finger on it, maybe we don't need to, because I think the musical experience as you're describing it, and as I'm hearing this, it is more about a vibe than it is, and that's enough. Like, it's giving you an emotional umami, a little bit, you know what I mean, like, it's good, it's bad, it's happy, it's sad, but it's feelings. So, and that's coming from the wash of sound, it's obviously got a very minimal beat, it's got progression, there's no progression, it's just a one-bar loop of sound that's hypnotic, as a result of a repetition, so it's really putting you in kind of a trance, and then the second part of what you were saying about maybe feeling like a generational divide, right, or feeling like, and I totally get, that's a great example. Spring Breakers, I remember watching and seeing, like, if I had seen that five years earlier, I would be like, this looks fun, yeah, let's go fuck it up. And then, I was watching it and I was going like, I'm afraid of the future, like I'm afraid, I'm afraid of the young people where things are going just not look good. It's like watching euphoria, right? It's so like, oh man, things are not looking good for the future, so I totally get what you mean there, too. - The kids are not all right. - And also, we're living, we've lived in different times because, you know, I came up during the year of the chronic, which probably drove my brother, who's more of a grass era, you know, pot enthusiast, you know, the idea of smoking, you know, strains of marijuana that were, you know, could be labeled a chronic, was probably insane to him. Similarly, these kids are growing up at a time of essentially legal marijuana. And so I feel like they are, they're just in a different place than I typically, when I come for music, which is why I gravitate towards sort of more, you know, I guess you'd have to call it mainstream hip hop, you know, to a certain extent, more mainstream pop sounds, experimental dance sounds, but still within sort of a pop framing, you know, I'm not looking for necessarily the same kind of thrills that Earl is looking for, because it's probably 20 years younger than me. You know what I mean? So like, it's just, that's a really interesting point about the marijuana factor, right? The legal legal marijuana, I think, has totally changed. The way people consume hip hop. We were talking a little bit earlier on this Patreon about how people consume music. Let's talk about how they consume just the genre of hip hop. It's so different. Just the idea of like sitting in home and completely maxing out in an ethnically diverse setting, like that wasn't really what, I mean, like hip hop was, in my era, more about like going to the club, there's still tons of weed smoke, but like, you know, building in the basement was more for the artist. I'm getting a little bit into sort of like the South versus the North and the East versus the West, but yeah, I think that, I think hip hop as a genre has been greatly affected by the proliferation of states that have legal marijuana. And it's led hip hop creatively in a direction that I don't necessarily follow, 'cause I don't smoke them. - And there's obviously, there was, you know, there was the chronic, there was the drape, there was the b-reel, there was the cypress, there wasn't an absence of marijuana, but it was a different energy, maybe, and a different difficulty, and a different legality. - Different strains of the drug, yeah. - Absolutely. - That's so interesting. Wow, I like that. - Where's my lipitor wrap? That's what I want to know. Well, look, that's all for this week. Again, thank you for subscribing to our Patreon and please share with all your friends and your fellow music nerds. Every subscriber helps us bring more stuff to y'all. - That's right, and keep your eyes peeled for an announcement. - Very soon for our first ever hangout with Patreon subscribers, and if you want to join the hang, subscribe to our $10 tier, $10 tier, difficult to say even once, to get the invite. - We'll be back next week with more news, more music, and more breakdowns, and feel free to drop in to the comments if there's anything you want us to cover, or if you just want to weigh in on how we did. - All right, guys, thanks for joining. We will see you next week.