Episode 67 How To Be Human Part 2 1

Nate: Welcome back to the How to Be Human series. No, that is not some sort of plan to become a better person, that is Matt McDonald’s new for his band . But this is a podcast doing the commentary on each song off the new record which is called How to Be Human. And this is part 2 of a three part series where we discuss tracks 5-8 on the record.

Matt: Yes, and if you’re a patron of this podcast, you’ve likely already heard this, because we’re posting the series early on our Patreon. And if you’re interested in getting early podcasts and bonus content like our Troll Talk podcast, go to patreon.com/dontfeedthetrolls and pledge at least a dollar month to support our podcast and you’ll get a bunch of cool stuff, right Nate?

Nate: Yeah, people’ll have been coming on board. We’re getting lots of people who want that extra BOCON, that extra episode. This summer we’re actually going to be taking a break from the podcast, but we’re not going to be taking a break from the actual Patreon Troll Talk episodes, right?

Matt: Yeah, Don’t Feed The Trolls might take a break while I’m on the road, but we are still going to be chatting and doing Troll Talks. It’s an unedited podcast by Nate and I, where we just talk about things our patrons would like us to talk about. It’s been really cool, people have been engaging on the comments on our Patreon there and giving us reactions to certain things we say. Whether they be stupid or smart. So we love the community we have on Patreon. We love all of our Patrons.

If you want to be a part of that, go to patreon.com/dontfeedthetrolls. Check it out. Awesome.

Nate: Alright, Matt. Let’s start on track 5 of the new record. Can you tell us a little bit about “Driftwood?”

Matt: Yes. “Driftwood” is a different song than we’ve done in a lot of ways, you know, compared to our previous records. For one, the rhythm is really static. It’s a shuffle, it really doesn’t change much throughout the song. A lot of the stuff we’ve done in the past has been pretty big contrast. Pretty dynamic.

So, we’ll kind of be down for the verse with a different rhythm and then the chorus hits and it’s this completely big anthemic different rhythm. And this is a song that keeps the same rhythm all the way through, which is different.

So it’s this Latin two-step, this kick, kick, snare. Where the kicks are on the one and the “and” of the two – if you guys know how to count rhythm – (laughs) and the snare on the four. I felt it was groovy, it was like, do, do, gah! Do, do, gah! Do, do, gah! That’s the Latin two-step, right? It’s in the club music a lot now. But I was –

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Nate: How do you go about thinking about your older songs versus your newer songs? Do you like your older records more or new records more? How does that work for you?

Because I know some bands are all over the map, but is this your favorite record?

Matt: Whatever I’m doing right now is my favorite because this is the culmination of all those experiences. I see every record as a stepping stone to the next one. We had to do Vagabonds in 2010 to get us to Phoenix in 2012. I just feel like they are stepping stones, and so whatever I’m doing right now, is a stepping stone that will be to something greater and different and interesting for my future self to explore and discover.

I’m really liking this record as far as the rhythms and the grooves and everything. And since I was playing with the drums first, when I was writing these songs, I thought, “Let’s make it interesting.”

For “Driftwood” I introduced a B part to the verse, which is kind of like the prechorus by cutting a beat every other bar. So it gave it this 7/4 feel. And when you’re just playing with drums, you like, “How do I make this feel interesting?” because I’m not thinking about anything else, I’m just thinking about only the drum and base parts and kind of the rhythm section.

This song, it’s funny, it starts out 4/4 and then it gets this 7/4 feel and then it’s back to 4/4. Then when I brought Skip in – The Classic Crime’s drummer – to prepro the song, that’s preproduction where we go through it and we kind of figure out all the parts and how the transitions –

Nate: Yeah, you’ve just lost so many people already, Matt.

Matt: I know, prepro. (laughs)

Nate: But keep going.

Matt: Well, this is the behind the scenes look.

Nate: Well, no, 7/4, 4/4, let’s start with the – (laughs)

Matt: I know, I know. Some people understand it. If you don’t, that’s fine, you can learn a little bit. But then Skip stats playing the bridge on this song, and he just kicks into – he’s got this muscle memory of a 6/8 feel. Which is a waltz. It’s a three step. Do da-da, do da-da, do – so he starts playing that in the bridge and I was like, “Well, that’s off. You should be adding a beat or subtracting one, but you shouldn’t be doing that.”

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And then he was like, “Well, I kind of like it.” I was like, “Okay.” So now we have three time signatures on this song. (laughs) And it’s all rhythm, it’s all about the rhythm, which I love.

Another thing you can do when you’re listening to this song as we play it – pretty soon here – is listen for the RV-6. It’s the pedal from the introduction to the record that we showed in the first episode. And you can hear it shimmering basically all the way through this song. It gives this layer or this texture that is kind of creepy, and kind of gives some space to the song.

Lyrically, Nate, this song is for you. This song is for enneagram 4’s. Because I’m singing from a perspective of someone who is discovering beauty in a uniquely broken individual. The metaphor is driftwood, like a woodcarver would see a piece of driftwood. Something undiscovered or discarded, that’s been on its own, and see that thing as a source of inspiration for a new carving. See it for what’s inside of it.

And that’s the concept. So, you might think your life is driftwood, but beneath it all is beauty and meaning worth being discovered. And that’s the whole point of this song.

Nate: Yeah, as a 4, enneagram 4, I relate to this. It almost takes somebody else outside of yourself to say something to you and go, “Hey, you’re good at this, or you’re talented here. You’re smart and funny.” You know what I mean? It’s like you kind of crave other people seeing the good parts of you.

Matt: The unique parts of you, yeah.

Nate: Yeah, because you really can’t see them yourself because you’re kind of in this negative mindset a lot. And that’s interesting. I like that.

Matt: Yeah, we go around judging books by their covers all the time. I think in more nuanced and perhaps a more inspired view is to see beneath the surface. That’s what I hope other people do for our music too. Don’t just take a word off the top and say, “That’s bad,” or “That’s stupid.” To really dig into it and engage with it and find the beauty that’s in it because I really do think there’s beauty in it. Naturally I wouldn’t be doing it if I didn’t think it was beautiful at its core.

Nate: Totally.

Matt: Yeah. So without further ado, here is “Driftwood.”

Nate: Yeah, we hope “Driftwood” gave you a large boner, because that’s how good that song was.

Matt: (laughs) Way to scare everyone off with your vulgar language.

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Nate: I’ve seen the dudes at The Classic Crime shows just raising their fists in the front row. They just have a little thing, you know. They get this surge of energy from The Classic Crime. I’m just carrying out the theme of “Driftwood.”

Matt: Alright, fair enough.

Nate: If “Driftwood” gets you excited, you’re going to be real excited about this next song, “Wonder.”

Matt: I just have, I’m just picturing Pinocchio lying. (laughs) Well, this song, “Wonder,” is a song that was, there has been some controversy over, but I’ll get to that. This is a song written from a dark place. And I’ll be honest, I was at a stop in my personal journey where I thought I’d lost kind of everything.

I’d lost the belief system of my childhood completely. I was wondering where I’d been, what I had in this moment, where I was going, and why the magic or the wonder itself had left me completely.

Nate: Is this the one you did the video for?

Matt: No.

Nate: Which one was that one?

Matt: Which one, “Ghost?”

Nate: Oh that was “Ghost,” yeah. But you sent me this song, you wanted me to do a lyric video for this one, right?

Matt: Yeah and we’ve got one coming out for – someone else’s did one.

Nate: Awesome.

Matt: But yeah, which I think is good. I want people to read the lyrics and really get into that head space. But this song questions kind of the journey itself. Maybe this reading and challenging and exploring of your preconceptions or presuppositions about how the universe works, maybe it’s not a good thing.

If it leads me to this terrible feeling of ecclesiastical meaninglessness, then maybe it’s the wrong path. Kind of the slippery slope. You know, you’ve gone a little too far.

Nate: So this song’s about doubting if you’ve gone too far or you already have gone too far?

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Matt: “Wonder why I’ve lost my wonder,” is the first line of the chorus. Which is kind of just, “Why did this happen? Did I screw it up?”

Nate: Yeah because I know some people – I know your fans kind of give you a lot of crap about where you are theologically, etc. I don’t think people get that you kind of, if you’re still in the arena of spirituality, then you haven’t completely abandoned the ship by any means.

But nobody in the arena is standing in the same place, right?

Matt: Yeah, that’s true. Everybody has their own kind of biases and belief systems. If you’re a spiritual person at all, you kind of have an idea or a model that works for you in how you see life and existence and consciousness.

Nate: Yeah, and as an artist, you’re going to want to get as close to the windows in that arena and try to look out.

Matt: Sure. Well, that’s true, but I would say this song is more just I needed this as therapy to get through this terrible feeling that I was on the outside. And there is no tied in a bow answer in this song, which I think is a first for me. Because I normally, you know, if I have a song about doubt, which I’ve written a lot of songs about doubt. I try to tie it up in a bow in the bridge. I try to bring it back to like, “Well, there’s still hope.”

But this song has no hope. (laughs)

Nate: Interesting.

Matt: So I just really linger in the doubt because that’s what I was feeling. I wasn’t trying to tie it up for anybody. I was trying to let it be without the insecure need to fix it for myself or anyone else.

Nate: And speaking of that, do you feel like people’s perceptions of songs plays into that insecurity. And kind of gets you to write or change lyrics or anything like that?

Matt: Yeah, I think there is a bit of a pressure to leave people with some level of hope. I think a lot of that is necessary and good. I ultimately want music to inspire hope. But sometimes I think we jump to it too quickly. I think we just try to just say, “Alright, but what is the positive here?”

As opposed to if you’re with someone who’s grieving, you don’t say, “Well, Aunt Mary is in Heaven now.” That’s like the wrong thing to say. The thing to say is, “I’m so sorry. What can I do to help?” And cry with them, and grieve with them.

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Nate: Or as we learned in the grieving episode in Lars and the Real Girl, you just sit. You just sit. Remember?

Matt: We just sit. Exactly. And that’s what I’m doing. I’m sitting in the doubt in this song. And I’m happy to do that because I think if some people are in the same place and this is not cheapening that experience by trying to wrap it all up in some nice package.

Nate: So what’s the controversy that’s kind of coming out of this song you were talking about?

Matt: Yeah, there’s mixed reviews of people who’ve heard the song because some people it wrecked them. In a really good way. The brutal honest kind of spoke to them as in their journey as where they were at. And gave words and feelings and helped them process emotions in a good way.

And then others are kind of deeply concerned about the language. Understandably, because I’ve never used language that you can find in the song like this before. It’s a – I say the f-word by the way, Nate. I hope you’re not shocked.

Nate: Ooh, mysterious.

Matt: Yeah, if people listen to this podcast, they know that I do have a full command of the entire English language and no words are really off limits. Generally don’t like cursing people, but some things I believe are terrible and there’s certain terrible language to describe those things.

Nate: Well, I think it’s context, you know. The last episode we did on the podcast, or a couple episodes ago, I think I used the f-word because I had friends going to five or six Christmas parties. You know what I mean? And I said, “What the eff is the point of that?”

I’m trying to express that I’m really frustrated that people don’t care about the small hang. They just want as many people in their life as possible. I needed that word to really express –

Matt: Your frustration.

Nate: And in this song, yeah. But if it’s just every other word is f-bomb, eff this, you turn – you have daughters and you turn on the hip hop station and it’s just eff this, eff that. You’re going to go, “Eh, turn that off.”

Matt: I would agree that that’s lazy too. And that’s one of the concerns, that’s one of the critiques was that a concerned backer on Facebook said he loved the album, but

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felt the use of the f-word was lazy. And that he was saddened by not being able to play it for his kids.

So I felt that. I was like, “No, I understand that.” So I wrote him a response on Facebook for other people who might want to read it. This is a complex and layered question, it’s a complex and layered concern. It really, I have to know where each person is coming from to really address what their personal concerns are. But just to keep it simple, I’ll just read this response to that concern.

I said, “Thanks for your comment and for appreciating the album as a whole. You are absolutely entitled to your own definition of acceptable language. When it comes to expressing existential despair, like I do in this song, I also reserve the right to use the words that define a personal feeling best. Topically, I wouldn’t recommend this song, and various others, for school-age kids. So perhaps it’s best – and I also have a 5 year old, a 3 year old, and a 6 month old who I will not be playing the song for. But I apologize if not being safe for the ‘whole family’” – in quotes – “Leaves a bad taste. I assure you it wasn’t lazy. It was risky, though. And I almost retroactively censored it because I felt maybe some people will be offended. But I felt a massive lack of sincerity about option B and C, which I had in my head. So I went with A, because that was what my gut expressed in the moment. And I’m at a place in my life,” I don’t know if this is just, Nate, because we’re dads and we don’t care anymore (laughs) what people think about this, “But I’m at a place in my life where A works best for that emotion. And I have a conviction about sincerity despite what other people think. So I need to be true to myself first. I don’t expect others to agree, nor do I wish to force them to.” And I just say, “My best to your family.”

That’s kind of my general response is, you don’t have to agree with me. And I hope you don’t burn the cd because of that one word, but you know, if you can’t hang, then that’s totally okay.

Nate: Well, as a vocalists myself, I can assure you anyone listening to this, that in the process of singing songs, whether it’s – and you have a producer and a budget. The producer is going to go line by line.

I’ve been in multiple recording sessions where we are at the last minute debating lyrics because we’re scrutinizing the song that much. And we’ll change it and we’ll tinker it. To say that you were lazy about it, is completely just coming from a place that that person just doesn’t understand.

They’ve never been in the studio, they’ve never recorded a song at the level that you and I are used to recording songs. Where you spend, you know, hours and hours pouring over this. And then hours and hours pouring over it again. And then in the studio, with someone else’s opinion and even band members chiming in too, going, “You know, I don’t like that lyric.” And you’re like, “Really?”

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Matt: I had band members who loved that expression and band members who were very afraid that this was a bad move for our career or whatever.

Nate: But it’s not lazy.

Matt: No, no, no. It’s very deliberate and I would say it was brave. Because we were very, it was kind of fearful. And we’ve never done anything like that before and we understand we have a lot of very conservative Christian fans. So this was going to kind of set us outside the bounds of what they deemed reasonable or appropriate.

Ultimately think people in general have seen us as a safe band. We were on Tooth and Nail records for years so there’s a sense of safety with kind of the Christian music industry even though we never claimed to be a Christian band. We kind of played to that a little bit because we were like, “Okay, this is the fans we have and what do they want?”

I think the older I get the more I’m like, “What do I need to express for myself?” I think sometimes our songs have challenged ideologies and power structures and kind of the hypocrisy of religious structures. But from within a vernacular that was deemed acceptable by those ideologies and power structures themselves.

So this song is about feeling so completely on the outside of those ideologies and so foreign to them, that the language I felt needed to express that. So this song is about feeling on the outside. Just being completely excluded from this system of belief.

So using inside language didn’t express that feeling properly to me. And ultimately that’s why I chose option A.

Nate: Awesome. Let’s check it out. This song is called “Wonder.”

Man, I wonder how people felt about that one, huh? Man. (laughs) Bad jokes.

Matt: It’s going to be very split I think. But a lot of people initially, we’ve sent the record out to our Kickstarter backers. They get it very early because they back us very early. And a lot of people are coming back saying that’s their favorite song.

Nate: That’s cool. Yeah, I liked it. I remember you sent it to me and I was like, “This is cool.” I’m going to try to think of some lyric video ideas. And I just realized that Adobe has a bunch of stock footage that I could’ve tapped into, didn’t even realize they had that. But anyways –

Matt: Well, I’ll still employ you to make lyric videos for my band. Don’t worry, there’s plenty of songs on this record. (laughs)

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Nate: Yeah, man. I love it. Yeah, speaking of songs on this record. This next song is called “Spare Time.”

Matt: Track 7.

Nate: It’s about you on Facebook, right?

Matt: (laughs) Way too much spare time, right. Starting fights. No, I just mentioned the other day that I’ve been too busy to start massive debates on Facebook, so that’s why I’ve been kind of quiet.

Nate: It’s my job to get us off topic. So there, you know.

Matt: Yeah, boredom’s a killer for me. But this song is, it’s an old song. It was a demo in 2009 that –

Nate: How dare you?

Matt: Yeah, I know. That I brought back because I liked the verses.

Nate: Hey, we did the same thing on our record. The first opening track actually is, well no, no, no. That song “Back Home” on our record was a 2009 demo too!

Matt: Yeah! That’s what happens a lot is I’ll write a song and it’ll kind of go nowhere. Then I’ll come back to it and take the verse or take the chorus or take aspects of it and I’ll be reinspired to finish it.

But ultimately, I didn’t use it because I felt like the verse was too much like “Hallelujah” by Leonard Cohen. Just the melody, the chords and the melody and everything. But I moved some things around so now it doesn’t sound so plagiarized, even though people have said it does have similarities in it still.

But the song really didn’t come together until the studio. We did prepro and everything here in my studio and then we flew to Orlando. We only had basic ideas for rhythm and the lyrics weren’t even finished. So I don’t think we’ve ever intro’d a song like we did this one.

We started with this idea of just me playing with weird string patches in the studio at the beginning of the demo. Trying to make this kind of droning, setting the tone and adding some real string sounds to it.

So it was a huge part before the song started and we just kept it all in because I was like, “That’s kind of a nice break in the record, in the track listing.” You know, Track 7 you get a little droning string section to kind of breathe.

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Nate: Yeah, but you don’t know what we’re talking about because you just listened to songs on Spotify and you bounce around. Because that’s your generation, you punks.

Matt: (laughs) Our fans are still album people.

Nate: No, I know. There’s always those that will listen to an album, but you know what I’m saying. Everyone who makes records, and especially certain band members in bands are the – like I’m a big picture person so I tend to kind of, I hate fights about the details because I’m just like, “I don’t care. Just, whatever!” You know? But you need that guy in the band who’s like scrutinizing every little thing.

I could tell you some stories, my friends. But, Matt, you kind of seem like you share a little bit of that. You can micro nitpick.

Matt: Yeah, well that’s funny, man, that you say that. I’ve always been obsessed with the connection between the microscopic and the macroscopic or the telescopic. And this record is really about that. It’s funny, the album art was done by this artist, Renee Robbins. It’s a 20 by 20 canvas painting called “You Can Pick It Up on Radar.”

In her bio it says, “Exploring the relationship between the microscopic and the telescopic.” And it’s this galaxies look like brain cells. You know, the micro looks like the macro. Anyways, that’s a whole other story.

Nate: Yes that is amazing.

Matt: But I can get really microscopic with the engineering and with the lyrics and everything, but at the same time I like to step back and go, “Okay, fresh ears. If I’m coming at this from the outside, what’s the track listing going to be? How’s this going to play from a big perspective?”

And I think jumping between those two things is hard to do, but it’s a necessary skill for sure.

Nate: Yeah, you have to really be the visionary of your project. You can’t really lose focus and lose sight of that. You kind have to continue to bring it back.

Matt: Sure. You have to look at it from all different angles, for sure.

Nate: Yeah, I mean I think that’s the hardest thing is like a cohesive album. There’s always people that go, “Oh man, I love five or six songs on the record.” But then there’s records that you listen to and you go, “Dang, I love the ride that it took me on.”

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The people who make those , not necessarily just concept records, but who can make a record kind of take you up and down the valleys. Even if the songs –

Matt: The sonic flow, yeah.

Nate: Yeah, even if the lyrics have nothing to do with the previous song, I just think the feeling and emotion – and that’s where the track listing comes in and the debates. And that’s where the macro comes in too, because you’re just like, “Look, I’m here. I’m going to listen to Track 3, and then all of sudden I’m somewhere else with Track 4. That doesn’t work.” Right?

Matt: Yeah, you’ve got to carry the story line a little bit.

Nate: And those were the fights that I would pick. I would be like, “Look, Track 4 sucks. It doesn’t work right here. It works somewhere else.” And then the debate would begin.

Matt: Such a subjective thing, too.

Nate: Versus Dan and Joe arguing over percussion in the prechorus of –

Matt: “Where does the tambourine go?”

Nate: I’m like, “I don’t think I can even hear any of the tambourine.” I can’t even hear it. I’m listening to it, I don’t even hear it. “No, no, no. You’re doing it wrong!” And I’m just like –

So they would get in those fights.

Matt: “You feel it, man. You feel it.”

Nate: (laughs) That’s the micro. So yeah, there’s different strokes for different folks.

Matt: Absolutely. You need all types. So “Spare Time” is about rejecting the legalistic rigidity that stifles your soul. Yes. And stepping out into the great unknown. Because ultimately, we’re all living on borrowed time, right? There’s no time to waste. There’s no time like the present.

So the idea is that spare time is an illusion. Don’t waste your life now, don’t get hung up on these micro details.

Nate: This is like all would write records about, you know what I mean?

Matt: We’ve got to get moving. So yes. Let’s hear it. This song is called “Spare Time.”

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Nate: Alright! I like it. Did you ever think that you would not write songs about girls anymore? Is that where you are mentally?

Matt: (laughs) I never really did write songs about girls, to be honest. I wrote some –

Nate: But you always kind did, because we all kind of did.

Matt: Well, I wrote some songs about my wife, but I’ve never been a –

Nate: But then you’ve never – you haven’t been heartbroken, have you?

Matt: I’ve never – oh, I was. I married my wife very young, so all those songs happened before The Classic Crime became a band.

Nate: But you haven’t experience that emo heartbreak.

Matt: Oh yeah, man. I had my heart broken when I was like 15, 16. My wife and I broke up for eight months before we got back together. I was 20, 21, and that was pretty heartbreaking. But that was before –

Nate: That’s pretty heartbreaking.

Matt: Yeah, I wrote a bunch of songs then about that. I’ve written some love songs. They’re always sort of tongue in cheek sarcastic because I’m kind of protecting that side. But no, I’ve never really been all about love songs or romantic songs. I’ve kind of tackled bigger, what I find to be more interesting, challenging issues.

I do have some of those songs, though. I got to throw a bone to the wife once in a while.

Nate: Yeah, oh totally. You got to make her realize you still – I always wonder that about artist that write these super heartbreaking songs and they’re married or whatever. I’m always like, “Where does that come from?”

Matt: Yeah. Or like Dave Bazan? (laughs)

Nate: yeah, Dave Bazon or, I guess Ben Gibbard’s always…I guess every country artist is always writing depressing songs.

Matt: And their lives are so cush.

Nate: Yeah, well for most of them. I don’t know. I mean some of them probably have some drama we don’t know about. But yeah, it’s funny.

But anyway, this next song is called “Shades of Green” and it’s about the recent bill passed in Washington. Right?

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Matt: (laughs) Many different shades of green are now legal in Washington.

Nate: Sorry, I’m making bad jokes.

Matt: No, this the final track on this part two of How to Be Human series. This is the final track we’re going to talk about, this one is called “Shades of Green.” And this song is kind of about metaphorically going out.

It’s after” Spare Time,” like there’s no time like the present. Let us go out into the wilderness.

Nate: Oh, your Bigfoot song!

Matt: Leave the comfort of home behind. And in search of new shades of the deeper truth, or shades of green, in the sense. I think I got, I read somewhere that the human eye can see more shades of green than any other color. And there’s like various reasons connected to the perception.

Our human development, they say, you know, “Humans are jungle apes. And therefore is you’re going to see predators in the jungle, you need to delineate between all the different shades of green that are present in the jungle.” So obviously the jungle is very green, right?

You go to the Amazon, it’s all these different shades of green. So they say that is one of the developmental reasons why we can see more shades of green than any other color.

But the idea that there are so many ways to see green, which often represents to us the color of life itself, right? Green is life, due to photosynthesis. Which is what makes plants green. That there was so many ways to see this green, just kind of struck me as a metaphor. So as I set out kind of in this period of life to discover new ways of looking at the world, I thought about new shades of green to pursue. And that’s kind of what the song’s about.

Nate: Chlorophyll?

Matt: Chlorophyll, bro!

Nate: More like bore-a-phll!

Matt: (laughs) Chlorophyll. So just think about chlorophyll while you listen to this song.

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Nate: It was an older movie called Billy Madison, for all you young kids listening to this podcast. Back in the day, Adam Sandler made funny movies and that was one of his favorite funny lines.

But yeah, no, hey you know as a kid who was good at science, you had me captivated with this description. Shades of green.

Matt: Shades of green.

Nate: I actually believe in Bigfoot Coming Out song. Deep into the wilderness to find the deeper truth, kids. Matt is coming around.

Matt: Yeah, Bigfoot is there. Find the super predator in the jungle. In the forest.

Nate: Yeah! Because they actually say, and this is funny to put in this podcast, but Bigfoot can have green eyes. Did you know that?

Matt: Well there you go. That’s why he’s cloaked and hidden. You never really –

Nate: Bioluminescent eyes.

Matt: He’s camouflaged.

Nate: People say they see him. So yeah, if you see green eyes in the woods, put on this song and run like hell.

Matt: Alright, this is it. Until next week, thank you guys for listening. Of course go to our patreon.com/dontfeedthetrolls to check out some of these songs before anyone else hears them. This is “Shades of Green” from How to Be Human.

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