WEBVTT 00:00:00.000 --> 00:00:02.700 So imagine your favorite musical artist, right? 00:00:03.520 --> 00:00:06.440 They announce this highly anticipated new album, 00:00:06.879 --> 00:00:09.800 and they give you a title, they tease a lead 00:00:09.800 --> 00:00:12.599 single, and they map out a really clear release 00:00:12.599 --> 00:00:14.679 schedule. You know exactly what to expect. Exactly. 00:00:15.179 --> 00:00:17.739 But now, imagine that halfway through the rollout, 00:00:18.059 --> 00:00:21.379 they just completely scrap the single. Oh, wow. 00:00:21.579 --> 00:00:24.219 Yeah, they shatter the album's concept into multiple, 00:00:24.219 --> 00:00:27.620 like, fragmented, extended plays. They hide different 00:00:27.620 --> 00:00:30.019 track names on the physical CD just to mess with 00:00:30.019 --> 00:00:33.200 you. And then boom. Boom. They drop a 74 -minute 00:00:33.200 --> 00:00:35.439 behemoth of completely new material instead. 00:00:35.539 --> 00:00:38.159 Which is, I mean, it is the absolute antithesis 00:00:38.159 --> 00:00:40.460 of how the modern music industry operates. Right. 00:00:40.659 --> 00:00:43.539 The traditional, you know, sterilized runway 00:00:43.539 --> 00:00:45.780 of dropping a single on a Friday and walking 00:00:45.780 --> 00:00:47.659 the audience straight into an album release is 00:00:47.659 --> 00:00:49.539 just completely destroyed here. Welcome to the 00:00:49.539 --> 00:00:52.479 world of Insane. Clampassi's 2021 album, Yum 00:00:52.479 --> 00:00:55.560 Yum Bedlam. It is a wild ride. It really is. 00:00:55.740 --> 00:00:58.579 We are using its Wikipedia article as our map 00:00:58.579 --> 00:01:02.000 today for this deep dive. And our mission is 00:01:02.000 --> 00:01:05.019 to take a really comprehensive look into this 00:01:05.019 --> 00:01:08.200 deeply layered and honestly often misunderstood 00:01:08.200 --> 00:01:10.560 release. Totally misunderstood. Because whether 00:01:10.560 --> 00:01:12.780 you are wildly familiar with the horror core 00:01:12.780 --> 00:01:16.459 hip hop scene or maybe you only know this group 00:01:16.459 --> 00:01:20.000 from pop culture memes. Right, the memes. Yeah. 00:01:20.280 --> 00:01:22.439 But if you're just eager to learn about complex 00:01:22.439 --> 00:01:25.159 musical world building, We are going to explore 00:01:25.159 --> 00:01:27.599 how underground phenomenons actually operate 00:01:27.599 --> 00:01:29.540 for you today. And to really understand what 00:01:29.540 --> 00:01:31.840 we are looking at, we have to establish the sheer 00:01:31.840 --> 00:01:34.159 scale of the project right off the bat. Let's 00:01:34.159 --> 00:01:38.120 do it. So Yum Yum Bedlam is a 74 minute rap rock 00:01:38.120 --> 00:01:41.019 and horror core journey. It was released on October 00:01:41.019 --> 00:01:44.859 31st, 2021. Halloween Halloween exactly on psychopathic 00:01:44.859 --> 00:01:47.799 records But anyone looking at this is just some 00:01:47.799 --> 00:01:50.299 spooky Halloween novelty record is missing the 00:01:50.299 --> 00:01:52.420 entire architectural foundation They're missing 00:01:52.420 --> 00:01:55.400 the big picture completely. This album is a critical 00:01:55.400 --> 00:01:58.140 load -bearing piece of an ongoing decades -long 00:01:58.140 --> 00:02:01.400 artistic saga So before we can even look at the 00:02:01.400 --> 00:02:04.060 music itself We have to understand the universe 00:02:04.060 --> 00:02:06.480 that this album lives inside We really do because 00:02:06.480 --> 00:02:09.879 for someone looking from the outside in the terminology 00:02:09.879 --> 00:02:13.199 surrounding Insane Clown Posse can sound like 00:02:13.199 --> 00:02:15.659 a completely foreign language. Oh, absolutely. 00:02:15.879 --> 00:02:17.840 It's dense. Our source notes that this is their 00:02:17.840 --> 00:02:21.180 16th studio album, but it immediately clarifies 00:02:21.180 --> 00:02:23.860 that it is the fifth, and I'm quoting here, the 00:02:23.860 --> 00:02:26.560 fifth Joker card in the second deck of their 00:02:26.560 --> 00:02:29.250 dark carnival saga. Right. So if I'm a newcomer 00:02:29.250 --> 00:02:31.050 to this deep dive, what does that actually mean? 00:02:31.389 --> 00:02:34.009 Like does the dark carnival a literal place they 00:02:34.009 --> 00:02:37.349 rap about or is it? Some kind of spiritual concept 00:02:37.349 --> 00:02:40.389 it is entirely spiritual and it functions as 00:02:40.389 --> 00:02:42.770 the central mythology of their entire career. 00:02:42.830 --> 00:02:45.449 Okay Wow Yeah, the dark carnival is essentially 00:02:45.449 --> 00:02:48.870 this overarching a most purgatory -like concept 00:02:48.870 --> 00:02:51.169 where souls are judged for their earthly sins. 00:02:51.229 --> 00:02:53.830 Oh, I see. And the Joker cards, they aren't literal 00:02:53.830 --> 00:02:57.030 playing cards. They are specific entities like 00:02:57.030 --> 00:02:59.629 mythological characters that represent different 00:02:59.629 --> 00:03:03.210 forms of judgment or morality. That is way deeper 00:03:03.210 --> 00:03:06.139 than I expected. I know, right? So when the source 00:03:06.139 --> 00:03:08.840 says this is the fifth Joker card of the second 00:03:08.840 --> 00:03:12.740 deck, it means we are in the fifth chapter of 00:03:12.740 --> 00:03:16.500 the second major era of this massive moral mythology. 00:03:16.740 --> 00:03:20.159 Okay, so it's serialized. Very much so. Chronologically, 00:03:20.419 --> 00:03:23.180 this specific entity, Yum Yum, serves as the 00:03:23.180 --> 00:03:25.979 bridge connecting their 2019 album Fearless Fred 00:03:25.979 --> 00:03:29.840 Fury to their planned 2025 release, The Knot. 00:03:29.979 --> 00:03:33.000 OK, let's unpack this for a second, because demanding 00:03:33.000 --> 00:03:35.439 this level of investment from an audience is 00:03:35.439 --> 00:03:38.300 incredibly rare in modern music. It really is. 00:03:38.500 --> 00:03:40.439 You almost have to compare their dark carnival 00:03:40.439 --> 00:03:43.860 to the structure of a sprawling fantasy book 00:03:43.860 --> 00:03:46.580 series. Or a massive cinematic universe. Exactly. 00:03:46.680 --> 00:03:48.930 It's like trying to under - an Avengers movie 00:03:48.930 --> 00:03:51.430 without seeing the previous 10 films. Yeah, the 00:03:51.430 --> 00:03:53.250 artists are basically demanding that their fans 00:03:53.250 --> 00:03:55.569 do the homework. They really are. You aren't 00:03:55.569 --> 00:03:57.870 just passively listening to a collection of songs 00:03:57.870 --> 00:04:00.349 they wrote that year. You are actively participating 00:04:00.349 --> 00:04:03.129 in this meticulously numbered, card -based lore. 00:04:03.229 --> 00:04:05.729 And what's fascinating here is how Yum Yum Bedlam 00:04:05.729 --> 00:04:08.270 represents a massive evolutionary risk within 00:04:08.270 --> 00:04:10.909 that established lore. Well, if you look at the 00:04:10.909 --> 00:04:13.729 reception section of our source material, you'll 00:04:13.729 --> 00:04:16.029 find a groundbreaking milestone for the group. 00:04:16.540 --> 00:04:18.959 For the first time in their history, and their 00:04:18.959 --> 00:04:23.480 history spans back to the early 1990s, this Joker's 00:04:23.480 --> 00:04:26.939 card release is centered entirely around a female 00:04:26.939 --> 00:04:29.319 entity. Wait, really, the first time since the 00:04:29.319 --> 00:04:32.540 90s? The very first time. That is a massive narrative 00:04:32.540 --> 00:04:35.079 pivot. Because we are talking about horrorcore, 00:04:35.279 --> 00:04:38.300 right? A sub -genre of hip hop that leans heavily 00:04:38.300 --> 00:04:42.389 into aggressive, dark, violent imagery. and that 00:04:42.389 --> 00:04:45.670 has historically been an intensely male -dominated 00:04:45.670 --> 00:04:48.410 space. Oh, completely male -dominated. So introducing 00:04:48.410 --> 00:04:50.730 a female entity is the core focus of the album 00:04:50.730 --> 00:04:54.110 that completely shifts the thematic landscape. 00:04:54.389 --> 00:04:56.730 It does. It forces the mythology to explore different 00:04:56.730 --> 00:04:58.709 psychological avenues than they ever have in 00:04:58.709 --> 00:05:00.389 the past. Right. It requires an entirely different 00:05:00.389 --> 00:05:02.769 approach to storytelling. Exactly. And because 00:05:02.769 --> 00:05:05.230 this album represented such a massive lore event, 00:05:05.790 --> 00:05:07.709 you know, the introduction of this new female 00:05:07.709 --> 00:05:10.329 entity, Yum Yum Flower, the group, constructed 00:05:10.329 --> 00:05:13.069 an expansive, highly unusual rollout strategy 00:05:13.069 --> 00:05:15.870 to build anticipation. Which brings us back to 00:05:15.870 --> 00:05:19.029 the start of our deep dive. Yes. This is where 00:05:19.029 --> 00:05:21.689 the title of the album starts to mirror reality. 00:05:21.769 --> 00:05:24.889 The actual bedlam of the release. The bedlam, 00:05:25.029 --> 00:05:27.610 exactly. The source traces this journey, and 00:05:27.610 --> 00:05:30.490 it is genuinely wild to see how much it shifted. 00:05:30.610 --> 00:05:33.970 The initial spark happened like over a year before 00:05:33.970 --> 00:05:36.470 the album came out. Right. October 2020. Yep. 00:05:36.709 --> 00:05:39.540 October 5th, 2020. during a live stream event 00:05:39.540 --> 00:05:41.939 called the House Party Peep Show. I love the 00:05:41.939 --> 00:05:44.740 names. Oh, the names are great. So Violent J, 00:05:45.259 --> 00:05:48.139 Shaggy 2 Dope, and Jumpsteady, who are the core 00:05:48.139 --> 00:05:50.920 architects of the label, they revealed the elephant's 00:05:50.920 --> 00:05:53.300 name. And they also previewed what was supposed 00:05:53.300 --> 00:05:55.379 to be the lead track. Yeah, a song called Ding 00:05:55.379 --> 00:05:57.899 Ding Doll. Which is a pretty standard industry 00:05:57.899 --> 00:06:00.339 move up to that point. Very standard. You announce 00:06:00.339 --> 00:06:02.519 the title, you tease the sound. But then they 00:06:02.519 --> 00:06:05.319 announced the release strategy, and it is radically 00:06:05.319 --> 00:06:07.939 fragmented. They tell the fans they aren't just 00:06:07.939 --> 00:06:09.620 going to drop the album. Right. That would be 00:06:09.620 --> 00:06:11.819 too simple. Way too simple. Instead, they plan 00:06:11.819 --> 00:06:14.639 to release three separate extended play albums, 00:06:14.879 --> 00:06:18.300 EPs, each containing six to seven songs. And 00:06:18.300 --> 00:06:21.360 the concept was that once all three EPs were 00:06:21.360 --> 00:06:23.500 out in the world, they would combine them into 00:06:23.500 --> 00:06:27.360 a single, massive, full -length album titled... 00:06:27.019 --> 00:06:30.100 The Seeds of Yum Yum. So they essentially promised 00:06:30.100 --> 00:06:32.439 a modular album. The modular album. Yeah. You 00:06:32.439 --> 00:06:34.660 drip feed the audience the pieces over time, 00:06:34.779 --> 00:06:37.079 allowing the community to digest the lore in 00:06:37.079 --> 00:06:39.120 smaller chunks. And then you assemble the final 00:06:39.120 --> 00:06:41.060 puzzle at the very end. And they actually started 00:06:41.060 --> 00:06:44.300 executing it too. Did they? Yeah. On February 00:06:44.300 --> 00:06:47.680 17th, 2021, which is a date the community celebrates 00:06:47.680 --> 00:06:49.879 as Juggalo Day, by the way. Nice. They dropped 00:06:49.879 --> 00:06:52.459 the first of these EPs called Yum Yum's Lure 00:06:52.459 --> 00:06:55.709 and included that preview track. Ding Ding Doll. 00:06:55.910 --> 00:06:57.629 Okay, so the plan is in motion. It's in motion. 00:06:57.750 --> 00:07:01.149 Yeah. But then the entire modular plan is violently 00:07:01.149 --> 00:07:03.269 thrown out the window. Wow. Ding Ding Doll is 00:07:03.269 --> 00:07:05.769 marooned on that EP and left entirely off the 00:07:05.769 --> 00:07:07.850 main project. Wait, they just abandoned the lead 00:07:07.850 --> 00:07:11.029 single. Completely abandoned it. Instead, the 00:07:11.029 --> 00:07:14.050 full -length album Yum Yum Bedlam drops on Halloween, 00:07:14.629 --> 00:07:17.069 consisting exclusively of all new material. So 00:07:17.069 --> 00:07:19.110 none of those planned seeds make up the album. 00:07:19.550 --> 00:07:22.350 None of them. Just to complicate things further, 00:07:22.910 --> 00:07:25.649 the physical CD booklet for the album promises 00:07:25.649 --> 00:07:29.829 three more creatively named EPs for 2022. Oh 00:07:29.829 --> 00:07:31.670 my goodness. What were they called? Get ready 00:07:31.670 --> 00:07:35.649 for this. Wicked Vic the Weed, Pug Ugly the Stink 00:07:35.649 --> 00:07:39.889 Bud, and Woe the Weeping Weirdo. Wow. It creates 00:07:39.889 --> 00:07:42.970 a literal labyrinth of content. A total labyrinth. 00:07:43.089 --> 00:07:45.269 The listener is constantly navigating abandoned 00:07:45.269 --> 00:07:49.350 ideas, exclusive EP tracks, and future promises. 00:07:49.850 --> 00:07:52.430 And I have to say this from a pure business standpoint, 00:07:52.949 --> 00:07:54.889 I have to argue that this is commercial suicide. 00:07:55.050 --> 00:07:56.649 I can see why you'd say that. You are hiding 00:07:56.649 --> 00:07:58.490 the ball from the people trying to give you money. 00:07:59.529 --> 00:08:02.370 I mean, constantly changing plans, abandoning 00:08:02.370 --> 00:08:05.290 your lead title track, and shuffling songs across 00:08:05.290 --> 00:08:08.970 multiple mysteriously named EPs. Yeah. That seems 00:08:08.970 --> 00:08:11.410 perfectly designed to confuse an alienated consumer. 00:08:11.709 --> 00:08:14.009 Why would any artist actively sabotage their 00:08:14.009 --> 00:08:16.389 own marketing runway like this? Well, if they 00:08:16.389 --> 00:08:18.509 were operating within the traditional music industry, 00:08:18.529 --> 00:08:21.579 you'd be absolutely right. But psychopathic records 00:08:21.579 --> 00:08:24.560 and the Juggalo fan base function as a completely 00:08:24.560 --> 00:08:26.879 closed, self -sustaining economy. Oh, that's 00:08:26.879 --> 00:08:29.379 interesting. Yeah, the traditional rules of consumer 00:08:29.379 --> 00:08:32.039 marketing literally do not apply to them. In 00:08:32.039 --> 00:08:34.740 a mythology built around a dark carnival, predictability 00:08:34.740 --> 00:08:37.759 is boring. So the chaos is intentional. Chaos 00:08:37.759 --> 00:08:41.320 isn't a bug. Chaos is the feature. Wow. Think 00:08:41.320 --> 00:08:43.259 about it from the perspective of a die -hard 00:08:43.259 --> 00:08:46.460 fan. When the concept shifts midway through the 00:08:46.460 --> 00:08:49.000 rollout, it isn't frustrating. It's a test of 00:08:49.000 --> 00:08:51.320 your dedication. Okay, I see that. It forces 00:08:51.320 --> 00:08:54.200 the audience to stay hyper -engaged, constantly 00:08:54.200 --> 00:08:56.580 updating their own internal maps of the lore. 00:08:57.120 --> 00:08:59.299 The shifting release schedule becomes an extension 00:08:59.299 --> 00:09:01.659 of the performance art itself. Medium becomes 00:09:01.659 --> 00:09:04.580 the message. Exactly. If the album is about Bedlam, 00:09:05.120 --> 00:09:08.320 the release strategy must induce Bedlam. Totally. 00:09:08.639 --> 00:09:10.440 So if the release strategy was designed to keep 00:09:10.440 --> 00:09:13.740 the fans completely disoriented, does the actual 00:09:13.740 --> 00:09:16.580 74 minutes of music that arrived on Halloween 00:09:16.580 --> 00:09:20.240 2021 reflect that same disorientation? Let's 00:09:20.240 --> 00:09:22.720 look at what actually survived the chaos. Yeah, 00:09:22.720 --> 00:09:25.000 let's dissect the sonic landscape here. The final 00:09:25.000 --> 00:09:28.720 product is a 17 -track collision of sounds. And 00:09:28.720 --> 00:09:31.100 to build a soundscape this large and chaotic, 00:09:31.299 --> 00:09:34.659 they relied on a massive army of diverse producers. 00:09:34.820 --> 00:09:36.929 Right, the source list. Quite a few. It does. 00:09:37.090 --> 00:09:39.990 You've got Devereaux, Brian Kuma, Mike P. There's 00:09:39.990 --> 00:09:41.889 a lot of cooks in the kitchen already. And that's 00:09:41.889 --> 00:09:44.429 not all. You also have Shaggy Theorhead, Mythic 00:09:44.429 --> 00:09:48.350 Minds, and Street Jacket. Wow. And this is crucial 00:09:48.350 --> 00:09:51.210 because having a half dozen producers ensures 00:09:51.210 --> 00:09:54.269 the album never settles into a single predictable 00:09:54.269 --> 00:09:57.049 groove. Keeps the listener on their toes. Right. 00:09:57.110 --> 00:10:00.269 You have traditional eerie carnival organs slamming 00:10:00.269 --> 00:10:03.909 into heavy modern trap bass lines, just shifting 00:10:03.909 --> 00:10:06.299 wildly from track to track. And it also features 00:10:06.299 --> 00:10:08.200 singles that were released well into the following 00:10:08.200 --> 00:10:10.440 year, right? Yeah, tracks like Wretched, Clown 00:10:10.440 --> 00:10:12.960 Drippin', Ain't No Time, and Queens. OK, and 00:10:12.960 --> 00:10:15.179 the guest features are just as eclectic as the 00:10:15.179 --> 00:10:18.879 producers. And they seem, like, specifically 00:10:18.879 --> 00:10:21.179 chosen to pull the listener out of their comfort 00:10:21.179 --> 00:10:23.559 zone. Oh, for sure. Like, Lainey Chantel is brought 00:10:23.559 --> 00:10:26.440 in right on the intro, presumably providing the 00:10:26.440 --> 00:10:28.840 vocal embodiment of that female entity we discussed 00:10:28.840 --> 00:10:30.940 earlier. Which makes perfect sense for the lore. 00:10:31.259 --> 00:10:33.360 Right, but then you have Vinnie Dombroski. Yep. 00:10:33.470 --> 00:10:36.230 the front man for the 90s alternative rock band, 00:10:36.389 --> 00:10:38.830 Sponge. That's a throwback. And drummer Jason 00:10:38.830 --> 00:10:41.450 Heartless jumping in on track 10, Heart and Soul. 00:10:41.850 --> 00:10:45.950 So random, right? It is. Why pull a grunge era 00:10:45.950 --> 00:10:49.370 rock singer onto a horror core hip hop track? 00:10:49.529 --> 00:10:52.950 Because it injects a specific kind of gravelly, 00:10:53.169 --> 00:10:56.149 raw, rock -oriented emotion that traditional 00:10:56.149 --> 00:10:58.409 rap production sometimes lacks. Okay, that makes 00:10:58.409 --> 00:11:00.870 sense. By bringing in artists like Dombrowski 00:11:00.870 --> 00:11:04.590 or Roadside Ghost on the track Ain't No Time, 00:11:04.909 --> 00:11:07.330 they are really broadening the sonic palette. 00:11:07.370 --> 00:11:10.330 That's the mashup. Yeah, it perfectly simulates 00:11:10.330 --> 00:11:13.610 that feeling of walking through a crowded sensory 00:11:13.610 --> 00:11:16.370 overload carnival where different music is bleeding 00:11:16.370 --> 00:11:18.730 out from every ten. Oh, I love that analogy. 00:11:18.940 --> 00:11:21.360 But the most fascinating parts of this track 00:11:21.360 --> 00:11:24.399 list, to me, are two highly specific anomalies 00:11:24.399 --> 00:11:26.799 that almost feel like deliberate traps set for 00:11:26.799 --> 00:11:28.679 the listener. Oh, the anomalies are the best 00:11:28.679 --> 00:11:30.279 part. Let's talk about them. First, let's look 00:11:30.279 --> 00:11:32.700 at track 13. OK. Depending on how you consume 00:11:32.700 --> 00:11:35.460 the music, track 13 suffers from a literal identity 00:11:35.460 --> 00:11:38.379 crisis. Yes, it does. If you stream the album 00:11:38.379 --> 00:11:41.419 on Spotify or Apple Music, the track is titled 00:11:41.419 --> 00:11:45.029 Slapnut. Slapnut. Yeah. But if you buy the physical 00:11:45.029 --> 00:11:48.070 CD and read the printed booklet, that exact same 00:11:48.070 --> 00:11:50.669 song is called The Juxtas. Which is such a brilliant 00:11:50.669 --> 00:11:53.509 way to force physical media consumption. Is it? 00:11:53.710 --> 00:11:57.269 I think so. In an era where music is mostly invisible 00:11:57.269 --> 00:12:00.110 data, they created a meta -puzzle that forces 00:12:00.110 --> 00:12:03.269 fans to compare notes across digital and physical 00:12:03.269 --> 00:12:05.470 formats. That is actually really clever. And 00:12:05.470 --> 00:12:08.190 then we get to track 17. Oh boy. Something to 00:12:08.190 --> 00:12:10.990 see. Yep. This track features a musical choice 00:12:10.990 --> 00:12:13.250 that is so unexpected it almost feels like a 00:12:13.250 --> 00:12:15.350 hallucination. That is the perfect way to describe 00:12:15.350 --> 00:12:17.830 it. The song heavily borrows its melody from 00:12:17.830 --> 00:12:21.490 the 1980s pop rock hit, Something About You by 00:12:21.490 --> 00:12:24.590 the band Level 42. Which is insane. I want you, 00:12:24.809 --> 00:12:27.090 the person listening to this deep dive right 00:12:27.090 --> 00:12:29.850 now, to just imagine that cognitive dissonance. 00:12:29.909 --> 00:12:32.600 Seriously, picture it. You are 70 minutes deep 00:12:32.600 --> 00:12:36.000 into an aggressive dark horror core rap album 00:12:36.000 --> 00:12:39.279 and suddenly you are hit with the bright synthy 00:12:39.279 --> 00:12:42.500 melodic structure of an 80s pop ballad. It's 00:12:42.500 --> 00:12:44.879 crazy. It's an absolute auditory jump scare. 00:12:45.220 --> 00:12:47.620 And this raises an important question about genre 00:12:47.620 --> 00:12:51.179 expectations. Like what? Well, when a group known 00:12:51.179 --> 00:12:54.259 for shock rap and extreme aesthetics interpolates 00:12:54.259 --> 00:12:58.080 a bright 1980s pop melody, it demonstrates a 00:12:58.080 --> 00:13:00.960 complete willingness to defy whatever box critics 00:13:00.960 --> 00:13:03.559 have placed them in. They just refuse to be categorized. 00:13:03.639 --> 00:13:06.980 Exactly. It's a rebellious musical choice. So 00:13:06.980 --> 00:13:09.519 what stands out to you considering these choices? 00:13:09.700 --> 00:13:12.259 Is it the meta -puzzle of shifting track names 00:13:12.259 --> 00:13:15.100 that forces you to engage with the physical CD? 00:13:15.460 --> 00:13:20.139 Or is it the sudden jarring left turn into 1980s 00:13:20.139 --> 00:13:23.240 pop music at the climax of a dark, lore -heavy 00:13:23.240 --> 00:13:26.139 album. Both of those elements demand active listening. 00:13:26.720 --> 00:13:28.480 You definitely can't just leave this album on 00:13:28.480 --> 00:13:30.240 as background noise while you watch the dishes. 00:13:30.399 --> 00:13:32.240 No, not at all. You are constantly trying to 00:13:32.240 --> 00:13:34.279 figure out the puzzle. Right. But as complex 00:13:34.279 --> 00:13:36.720 as the producers, the features, and the musical 00:13:36.720 --> 00:13:39.120 jump scares are, we really have to look past 00:13:39.120 --> 00:13:41.240 the surface level. We have all these mechanical 00:13:41.240 --> 00:13:43.659 layers, the Joker's card lore, the fragmented 00:13:43.659 --> 00:13:47.259 EP seeds, the 80s pop interpolations. But if 00:13:47.259 --> 00:13:49.659 we strip away the theatrical clown makeup and 00:13:49.659 --> 00:13:53.340 look past the bloody genre tropes, we find a 00:13:53.340 --> 00:13:56.700 surprisingly raw, incredibly vulnerable core 00:13:56.700 --> 00:13:59.279 driving this entire machine. This is where the 00:13:59.279 --> 00:14:01.559 narrative of the album truly crystallizes for 00:14:01.559 --> 00:14:05.620 me. Yeah. Yeah. If we examine the critical reception 00:14:05.620 --> 00:14:08.620 section of our source, specifically an illuminating 00:14:08.620 --> 00:14:11.659 piece of analysis from the Detroit News, we uncover 00:14:11.659 --> 00:14:14.460 the actual thematic engine of Yum Yum Bedlam. 00:14:15.019 --> 00:14:17.399 What did they say? It isn't just about horror 00:14:17.399 --> 00:14:20.240 or shock value. The core themes revolve around 00:14:20.240 --> 00:14:23.360 temptation, seduction, faith, betrayal, and the 00:14:23.360 --> 00:14:25.620 struggle of living without regret. Wow, those 00:14:25.620 --> 00:14:28.159 are heavy themes. Very heavy. And those themes 00:14:28.159 --> 00:14:30.039 didn't just come from thin air, did they? No, 00:14:30.120 --> 00:14:32.019 they didn't. According to the source, Bruce, 00:14:32.100 --> 00:14:35.799 who performs as Violent J, he openly stated that 00:14:35.799 --> 00:14:38.679 Yum Yum Bedlam is an intensely personal album. 00:14:38.720 --> 00:14:41.389 Right. It was heavily inspired by the real world 00:14:41.389 --> 00:14:44.429 trials, tribulations, and ultimate heartbreak 00:14:44.429 --> 00:14:46.210 of his relationship with his ex -girlfriend. 00:14:46.350 --> 00:14:49.230 Which completely recontextualizes every chaotic 00:14:49.230 --> 00:14:51.429 element we've discussed so far. It really changes 00:14:51.429 --> 00:14:54.250 everything. The female Joker card entity, the 00:14:54.250 --> 00:14:57.570 chaotic release, the blending of harsh rap and 00:14:57.570 --> 00:15:01.419 emotional rock vocals. It's all a mechanism to 00:15:01.419 --> 00:15:04.080 process genuine grounded pain. So what does this 00:15:04.080 --> 00:15:06.200 all mean? Good question. Let me offer you an 00:15:06.200 --> 00:15:07.940 analogy based on everything we've pulled from 00:15:07.940 --> 00:15:10.220 this source today. Let's hear it. The entire 00:15:10.220 --> 00:15:13.000 Yum Yum Bedlam album functions as a massive, 00:15:13.480 --> 00:15:16.659 elaborate musical Trojan horse. Oh, I like that. 00:15:16.840 --> 00:15:20.139 Right. Insane Clown Posse is using this loud, 00:15:20.379 --> 00:15:23.799 aggressive, extreme wrapping paper. The complex 00:15:23.799 --> 00:15:27.019 mythology of a female judgment entity, the intense 00:15:27.019 --> 00:15:29.799 beats, the horror core aesthetics. All of it. 00:15:29.879 --> 00:15:32.740 To secretly deliver a deeply personal diary about 00:15:32.740 --> 00:15:35.120 heartbreak and betrayal. That is so true. You 00:15:35.120 --> 00:15:36.799 think you're buying a ticket to a haunted house, 00:15:36.840 --> 00:15:38.960 but once the door is locked behind you, you realize 00:15:38.960 --> 00:15:41.440 you were actually sitting in on a highly intense 00:15:41.440 --> 00:15:44.519 therapy session about lost love and the devastation 00:15:44.519 --> 00:15:46.840 of a broken relationship. And if we connect this 00:15:46.840 --> 00:15:49.139 to the bigger picture, we see a hallmark of some 00:15:49.139 --> 00:15:51.399 of the most enduring art in history. How so? 00:15:51.980 --> 00:15:54.179 We constantly use extreme, larger -than -life 00:15:54.179 --> 00:15:57.360 personas to process incredibly painful, grounded 00:15:57.360 --> 00:16:00.559 human emotions. That makes a lot of sense. Sometimes 00:16:00.559 --> 00:16:03.539 the only way a person can safely articulate feelings 00:16:03.539 --> 00:16:06.820 of profound betrayal or a deep crisis of faith 00:16:06.820 --> 00:16:10.000 is to project those feelings onto a mythological 00:16:10.000 --> 00:16:12.080 figure. It gives them a layer of protection. 00:16:12.399 --> 00:16:16.120 Exactly. The theatricality, the lore, the characters, 00:16:16.240 --> 00:16:19.000 the makeup provides a necessary psychological 00:16:19.000 --> 00:16:22.340 armor. It allows the artist to be radically, 00:16:22.620 --> 00:16:25.399 dangerously honest about their heartbreak without 00:16:25.399 --> 00:16:28.879 feeling naked or exposed. It is entirely counterintuitive, 00:16:28.919 --> 00:16:31.340 but it makes perfect sense. The louder and more 00:16:31.340 --> 00:16:33.700 distracting the costume, the more vulnerable 00:16:33.700 --> 00:16:36.019 the person underneath it is allowed to be. Spawn. 00:16:36.179 --> 00:16:38.240 And the most remarkable part of this entire deep 00:16:38.240 --> 00:16:41.320 dive is that this incredibly multi -layered chaotic 00:16:41.320 --> 00:16:44.320 approach actually worked. It did work. This wasn't 00:16:44.320 --> 00:16:46.460 just an experimental failure released to an empty 00:16:46.460 --> 00:16:48.340 room. Not at all. According to the Billboard 00:16:48.340 --> 00:16:51.700 charts, Yum Yum Bedlam peaked at number 33 on 00:16:51.700 --> 00:16:54.539 the U .S. Top Current Album Sales Chart in 2022. 00:16:55.419 --> 00:16:58.440 Number 33. It had a real, measurable commercial 00:16:58.440 --> 00:17:00.740 footprint. It proves that a dedicated audience 00:17:00.740 --> 00:17:03.279 absolutely exists for art that refuses to be 00:17:03.279 --> 00:17:06.559 simple, predictable, or easily categorized. Okay, 00:17:06.599 --> 00:17:08.539 let's recap the journey we've taken through this 00:17:08.539 --> 00:17:10.960 source today. Let's do it. Yum Yum Bedlam is 00:17:10.960 --> 00:17:13.799 unequivocally not just a collection of shock 00:17:13.799 --> 00:17:16.220 rap songs slapped together for Halloween. No. 00:17:16.680 --> 00:17:20.240 It is a meticulously plotted, load -bearing chapter 00:17:20.240 --> 00:17:23.380 of a decades -long mythological saga. Spanning 00:17:23.380 --> 00:17:26.539 back to the 90s. It was born from a wildly chaotic, 00:17:26.940 --> 00:17:29.400 ever -shifting release sketch that practically 00:17:29.400 --> 00:17:32.779 trolled traditional marketing strategies by abandoning 00:17:32.779 --> 00:17:35.460 title tracks and fracturing into multiple EPs. 00:17:35.480 --> 00:17:39.200 Oh, the weeping weirdo. Never forget, it is stuffed 00:17:39.200 --> 00:17:41.920 with musical Easter eggs, from alternating digital 00:17:41.920 --> 00:17:45.420 and physical track names to 1980s pop interpolations. 00:17:45.500 --> 00:17:48.359 To jump scares. But most importantly, underneath 00:17:48.359 --> 00:17:51.220 all the bedlam and all the lore, it is anchored 00:17:51.220 --> 00:17:55.000 by genuine, relatable human heartbreak. It perfectly 00:17:55.000 --> 00:17:58.220 balances the grandiose supernatural mythology 00:17:58.220 --> 00:18:00.859 of the dark carnival with the intimate grounded 00:18:00.859 --> 00:18:03.759 reality of personal betrayal. And for you listening 00:18:03.759 --> 00:18:06.099 to this right now, I think the major takeaway 00:18:06.099 --> 00:18:08.319 here is a profound lesson in looking beneath 00:18:08.319 --> 00:18:11.079 the surface. Whether you are a lifelong fan who 00:18:11.079 --> 00:18:13.039 has been following the dark carnival since the 00:18:13.039 --> 00:18:17.000 1990s or a curious outsider who has never listened 00:18:17.000 --> 00:18:20.250 to a single horror core track in your life. There 00:18:20.250 --> 00:18:23.490 is immense value in looking past a highly controversial 00:18:23.490 --> 00:18:26.670 or theatrical exterior. There really is. When 00:18:26.670 --> 00:18:28.930 you take the time to peel back those layers, 00:18:29.589 --> 00:18:32.910 you often find an appreciation for complex, dedicated 00:18:32.910 --> 00:18:36.009 world -building, and more importantly, a striking 00:18:36.009 --> 00:18:38.650 personal vulnerability that you never would have 00:18:38.650 --> 00:18:40.250 expected to find. You just have to be willing 00:18:40.250 --> 00:18:42.269 to walk into the maze and let the chaos happen. 00:18:42.329 --> 00:18:45.160 Let the bedlam happen. Exactly. As we wrap up 00:18:45.160 --> 00:18:47.180 our analysis today, I want to leave you with 00:18:47.180 --> 00:18:49.539 a final provocative thought to mull over on your 00:18:49.539 --> 00:18:52.680 own. Okay. Considering that Yum Yum Bedlam evolves 00:18:52.680 --> 00:18:55.259 so dynamically with titles shifting during live 00:18:55.259 --> 00:18:57.880 streams, track lists being completely upended, 00:18:58.339 --> 00:19:00.960 and multiple pivoting EP releases surrounding 00:19:00.960 --> 00:19:04.180 the main project, how might the era of digital 00:19:04.180 --> 00:19:06.839 streaming and instant internet feedback fundamentally 00:19:06.839 --> 00:19:09.779 change the way all artists construct rigid concept 00:19:09.779 --> 00:19:11.640 albums in the future? Oh, that's a great question. 00:19:11.950 --> 00:19:14.970 If the map can be redrawn in real time, based 00:19:14.970 --> 00:19:17.529 on how an audience reacts, are the days of the 00:19:17.529 --> 00:19:20.049 static, predictable, well -lit museum hallway 00:19:20.049 --> 00:19:21.730 album over forever.