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- [00:00]
A
Alrighty. Let's talk about the absolute bust of the year, the Jaguar branding fiasco.
- [00:11]
B
What a brand, what a brand, what.
- [00:12]
A
A brand, what a mighty good brand say it again now. What a brand, what a brand, what a brand, what a mighty good brand.
- [00:20]
B
There are things that are professional negligence and there's two schools of thought I've come across. One is that this is a brilliant campaign to get Jaguar in everybody's mind. And, like, this could almost be a guerrilla campaign where you launch the worst ad you possibly could, saying, our new brand is coming, everybody's talking about Jaguar, and then you actually come out with a good brand. Like, that could be an interesting thing to do. But that's not what they did. They decided to take a grand departure away from its target audience. Right. And create something that's completely nonsensical, in accordance with the WOKE principles. And I can't understand it.
- [00:57]
A
First off, what annoys me is the, like, mountain of great ideas served to big brands that get absolutely quashed. And then something like this goes, like, all the way and gets approved at every level. At every level. I'm just like, how. How do these things happen in the experience that we have with big companies? Like. But, yeah, I digress.
- [01:21]
B
Jaguar has been. It has not been a conforming brand. Like, its E Type was seen as something very unusual for people who study old cars. Like, my dad had one, his father, my grandfather, raced Jaguars after the war. So, like, I've always been fascinated with Jaguar because my dad loved them and he had one when he was young and he wanted me to get one and I always wanted to get a good old classic E type. But it has such an iconic brand in terms of what Major did in the 50s and the 60s. And it's tied to Great Britain in a way that they were very proud.
- [01:56]
A
Of it and it's a great name. Like, it. It. It connotes strengths, it connotes masculinity, and it's very confusing why they would go so feminine with a brand that has absolutely nothing feminine about it.
- [02:10]
B
You know what? I find it's interesting. I've. I've met, like, you and other females who were strong. Females love the FPS, they love Jack. Even before that, like, they just. There was something about Jaguar they liked. Like, it was. It was a. It was different, sleek masculinity, that. But I. There were some women who wanted to drive a Jag. Yeah, it's cool to say, can I get the Jack? You know what I mean?
- [02:33]
A
It's an amazing name and it's actually a car that I. That I did want. I liked the F Pace. It's a brand that I've always respected. And I really can't understand how we're here, but I think that we need to dig into it because we have a different perspective. And I want you to touch on the. The kind of. The conundrum and the problem with the automobile marketing kind of issue and like the copy paste. But yeah.
- [03:02]
B
Yeah, okay. Well, we can. Yeah. So understanding it's. This is deep, but we go deep. That's why people listen to us. In the old days, when you designed the Porsche 911 or the Jaguar E Type or the Mercedes convertible, it took a long time to get design papers done, build a. An assembly line and make a unique car. It was very hard to copy it because you had molds, you were bending steel. Right. In today's market, you can use computers to create an AutoCAD and you can put it. And then a machine can build plastic because mostly plastic parts. And that's why you see some brands like Kia or Hyundai look like a.
- [03:43]
A
BMW or a Bentley Genesis look like a Bentley. Yeah.
- [03:46]
B
Right. And so what's going on in cars now is most of the design in cars went into making this giant heavy engine perform well, but also be quiet. Right. And so in luxury cars, now that people are moving to electric, which are quiet, a lot of the invested engineering that BMW went to make it an amazing ride, power and comfort is now not necessary. So it's interesting, from a branding perspective, where do you go?
- [04:13]
A
How do you differentiate.
- [04:14]
B
Yeah. To bring people into luxury.
- [04:16]
A
And how do you create demand for cars? I mean, the, the Jaguar rebrand is interesting because a lot of people online think that the rebrand was designed for the Asian consumer. And when you analyze the change from like the Jaguar head to like the inverted Js, it actually looks more like a purse brand than it does a car brand, which does connect with that, like the Asian fascination with luxury. But where I think that move is flawed is one, not only are you ruining a traditional brand, but there's a. There's an added element of complication for the. The Asian fixation with luxury brands. And it. And it comes from the lack of access that the Chinese had to brands for most of millennials lifetime. So really until like the 90s. Yeah. With, with. With really the expatriation with like the British leaving, people who had designer bags in China were those who could afford to leave. And there was a very small class in China that could afford to go to Hawaii or to go to Europe. So those who could afford to travel abroad are really the only ones that got access to designer brands. So those who grew up where that was desirable once they. Once they got into money, the way that they could showcase their success is by like, literally decking themselves out in these brands they did not have access to. But what's interesting about that is the brands that are. That they are interested in that millennial kind of window that they have, that they have interest to, are only ones that. That had traditional value. So now what's happening is, because LVMH has bought up all these brands, it's becoming fast fashion, like Balenciaga almost. Balenciaga's entire business is saved by the Asian market because, like, nobody else is buying Balenciaga. But what's interesting about that is the question you have to ask is if they're buying Jaguar now because of what Jaguar traditionally represented it. If the west no longer see Jaguar as cool for the next 50 years because of the way the brand is going, what does that mean for the brand, especially in the Asian market?
- [06:34]
B
Yeah, they're kind of chasing change more than sticking to a brand, because that. That brand diversion isn't rooted in something about the brand. They're chasing something. And, you know, when I look at it, the commercial is kind of androgynous, very androgynous. Right. Which you do see in Asia, you know, this kind of melding of the.
- [06:55]
A
Sexes to look more similar and very feminine.
- [06:57]
B
Right?
- [06:58]
A
Yeah.
- [06:58]
B
But again, that's what they're doing when they're buying a North American brand, I think they want something. Or a European brand, they want something different. So, you know, by. By destroying what was unique about the brand as being an amazing Great Britain brand, you know, it might not. It might fail in Asia because it's trying to be Asian, but it's not Asian. You know what I mean? There's nothing about that brand story that works for them.
- [07:21]
A
It's just. It's very. It's very confusing and complicated because the question you have to ask yourself is if that brand is interesting to the Asian consumer, is the move to make it more Asian or is it to make it more Westernized? Like. And that's when it comes back to the cultural fascination versus appropriation. Like, do you just make it. Do you double down on its British roots? Opposed to make it this, like, androgynous like that. You can't really quite figure out even what it is.
- [07:52]
B
Like, just off the top of my head, I would have got that sleek Like I would made it look like kind of the 1950s Jaguar, but make it look like it's modern, like with like the different sets of wheels. And then I would put an Asian woman with a headscarf, like driving in the 50s, you know what I mean? Like put, put that culture into this culture. That would be a status signaler of driving through Italy, you know what I mean? With the headscarf on or California coastal highway.
- [08:18]
A
Well, there's a lot of dancing.
- [08:20]
B
Dancing, whatever those toys are, that they're.
- [08:23]
A
Supposed to be hammers. And that's the other thing too. Is like the copy nothing like the ad. The ad absolutely says nothing about cars.
- [08:34]
B
It's not authentic in any way.
- [08:35]
A
It's not authentic in any way. The actual like the, the preview we saw of the Jaguar in the ad is actually very resonant of a Rolls Royce concept. No, no, there's another one that came out. So after that ad, like Jaguar on his socials posted another photo.
- [08:50]
B
It was like there's no what are they selling?
- [08:53]
A
But in the next one it's like a, kind of like a piece of it, but it's like very resonant of a, of a Rolls Royce ad. You brought this up. The hammer is totally the Apple, the 1984 IBM commercial. But also like what's disappointing is that.
- [09:09]
B
They look like Teletubbies.
- [09:11]
A
Totally. But also like the logo isn't. The logo isn't bad. The execution is bad.
- [09:21]
B
The logo and the font could have worked if they embraced the electric before, you know, like moved into.
- [09:26]
A
Because Jaguar is very famous for its, the, the Formula E. Yeah. Like the Jaguar has got a fantastic team and they've got a great electric car. So it, it in that way I completely agree with you. But it was the execution of the campaign that I just cannot for the life of me understand how it approved.
- [09:42]
B
Ok, okay, it's time for a movie. Because there was the Ferrari movie, there was the Ford movie, there was the horrific Lamborghini movie.
- [09:48]
A
Oh my God, the movie was so bad.
- [09:50]
B
But somebody I would be interested in knowing the Jaguar story, the founder story of Jaguar and then seeing him react at the end to the new commercial. That could be a great ending too.
- [09:59]
A
But it's just what really frustrates me is it's just you can. And this is where I really have a problem with the, with the current industry and where, where business owners really need to be productive of their brands is there are these CMO careerists that are looking to execute their own artistic and personalized flair that is not in the best interest for the brand. It completely becomes their own podium moment.
- [10:25]
B
And, and their products of Ivy League school. So we got to do a podcast next couple of years about the death of Ivy League school brands. We were in Harvard maybe last week. But to your point, can I go back to a point that popped into my head? Like cultural status is interesting because the way you just. I haven't really heard the way you described Asians obsession with brands because. Not Asians, maybe mostly Chinese.
- [10:53]
A
Yeah.
- [10:54]
B
It was hard to travel out. So within that culture people who had a Cartier classic purse, it was an immediate status symbol.
- [11:02]
A
Yeah.
- [11:02]
B
And so if you grew up and you would see a rare person with that it got burned into your head that that means I'm successful. And it happened in. But it can be destructive because now you have a whole generation of buying junk that cost 10 bucks to make that they're selling for, for a thousand bucks because they think it gives them status. And the thing that I learned, maybe not as relevant but in the war with my parents and grandparents there was a shortage of meat.
- [11:29]
A
Yeah. And so the exact same thing.
- [11:30]
B
And so the families who had money could put. That's why you say could you put meat on the table as a man. So after the war because there was this whole generation said can you put me now? There was meat on the table three times a day every day and mix proteins and it became unhealthy. You know what I mean? But it was a status symbol and we don't know why we were doing it. So we didn't understand why. And I think an informed consumer can make better choices by understanding what the new status symbol is as opposed to the old.
- [11:58]
A
Well, and that's where the, that's where the whole from a sociological and anthropological analyzation of luxury is so fascinating is because you've seen a massive country come into wealth really within a generation and it hasn't happened. Like we haven't gone through enough time to really start questioning why. And a lot of these really great brands are so short sighted on quarterly increased profits because they become monopolies. Like they're owned by like two, three brands and they've, they're losing this heritage that they've built up for hundreds of years because we're going to continue to see cultures en masse come out of poverty. Like that's going to be the trend for the next 100 years. Like we're watching countries like the Philippines, like they're, they're fast, they're emerging countries out of Africa. Like, these are becoming rapidly emerging, emerging economies. And if these luxury brands aren't calculated and careful, it's one, a great opportunity for an emerging brand. But it's, but it's too, It's. I don't want to see a brand like Chanel crash and burn. I don't want to see a brand like YSL crash and burn like from someone in branding these, these brands that built something matter. And it's, it's a really, it's a really important time for us to sit and have these conversations and like, to your point on me, like, ask why.
- [13:29]
B
You know, I'd be interested in your perspective. As we saw in Korea, with modern technology, it's so much easier to copy.
- [13:38]
A
Yeah.
- [13:38]
B
And we talked about that in the quality of bag design and products and what luxury is. But when it's so easy to copy something that you took a long time to invest in designing. Right. And then somebody can just put AutoCAD in a computer and it can carbon print it. You know? You know what I mean? Like, how do you build luxury in a world where you kind of don't have a proprietary advantage on the design or the, or the manufacturer? Like, you have to create a stronger story and stick to something. You know what I mean?
- [14:06]
A
Yeah, but that's where, that's where this is quite a complicated question because to use like the Dior bags as an example, right? Like Dior has been under fire because they've, you know, some whistleblower exposed that it costs $45 to create their book Totes. The problem I have with this conversation on luxury is that it's so easy to distill the cost of goods sold when you're buying things on mass. Like a part of the art of it is the design is the kind of the art and creating something and bringing something back. But I'm also not defending Dior because I also feel like Dior has lost the plot in that it, like it's saddle bag, for example. So the saddle bag is a. Is a purse that literally looks just like a saddle. And it's one of their iconic designs that they've recently brought back. And it's doing really quite well because it really is unique. And like the way that the D hangs down is just like a stirrup that you would use if you were an in on an English saddle on a horse. And that connects to Dior's roots and that's a great bag. But the problem is when I, every time I go by the store, there's like neon Colors, there's like argyle patterns. Like they're, they're overdoing the brand, where they're, they're, they're over producing where it becomes mass production. And to your point on like the copy paste culture, a part of the, a part of the art in the reality of the world that we're living in is that it's going to get copied. And you need to still be an artist, you need to still be a first mover because there's still a not like we're still attracted to novelty. Like that's Dior's brand and shape. And I even see it by working in like right now within like 25 businesses. I see how quickly a brand will put concepts online. An entire social team pulls it, puts it into their group chat, dissects it and then is finding a way to copy it. Like we live in a world where it's so fast and so instantaneous from all over the world, but there's still a need to design.
- [16:07]
B
Yeah, the way you describe that seems like the old Apple versus Mac, sorry, Mac versus, you know, IBM commercial in terms of while everybody's copying things. You know, I just have an image of somebody having 20 purses. Like you know, as opposed to sometimes one purse does most, you know what I mean? Like focusing on, on smart decisions of luxury to kind of to go against.
- [16:28]
A
And that's why Bottega is actually a great brand. Is that Bottega, although not perfect, you know, like I wouldn't say any of those like luxury brands that are in department stores and malls are like, you know, where they were before. But what I like about Wotega is that they always have like a simple line of options of bags. They kind of bring out the same bag. It's always in their signature colors and then it's like two or three kind of seasonal colors. And that I like because there are people with flare where like a forest green looks really quite nice. I'm not going to buy a bag that's forest green, personally, but there are women that like, like to show their flare through it being like a, a Bordeaux color or like different shades of neutrals and bga, I respect for that. But Dior, it's just, it's so far blown. Like it's literally neons. Like it's to the point where like who is spending four grand on a neon green clutch? Like that is literally stupid.
- [17:28]
B
My last post where I compared the bags, there's a great. We should put the link in where this professor was saying it's Better to walk around with a paper bag with $4,000 in it than a $4,000 bag that costs 50 bucks, like, just as a human. It's an interesting article.
- [17:42]
A
I mean, it's an interesting argument, but, like, the. Yeah, it's an interesting argument. I mean, I just feel like. Just like, what am I. I feel.
- [17:49]
B
Like sharing my first one of my. My indoctrination into proper classical branding of purses. This is the first person I bought you knowing that the class, you know, because I was.
- [17:59]
A
This is a perfect story. Please tell the story.
- [18:02]
B
I was very anti spending on luxury things that didn't seem useful. But as we got to know each other over time, I started to appreciate why certain things were valuable, and that's what attracted me into the marketing space more. But, you know, I thought I was gonna. I was cool by get going. Any of that classic Chanel bag, but. And you love pink, so I got you pink. Pink. But you didn't have the real classic kind of Hepburn bag of.
- [18:29]
A
Well, no. So it's called a walk wallet on change. And I didn't have a Chanel bag. And this guy gets me a neon pink.
- [18:38]
B
Neon pink.
- [18:39]
A
It was neon pink. It was literally a neon pink wallet on chain. And I opened it up and I.
- [18:45]
B
Was like, no laughing from the producer over there, please.
- [18:47]
A
Oh, my God, this is so nice. And I was like, oh, my God. He got me a real Chanel bag, and he got me a pink one.
- [18:56]
B
I didn't understand.
- [18:58]
A
No. So he did exchange it and get it in black, and now you have a pink one. I do, I do. But it's a different style, and I actually use it quite a lot. I will say, but it's not it.
- [19:13]
B
Okay, But I now value, like, that wok bag because they don't change it because it's classic. Is it like, it does, to me, signal a classic woman. Right. But a neon Gucci bag with six hearts and pumpkins pasted onto it doesn't. Doesn't. Doesn't give that elegant feel.
- [19:32]
A
Well, that's kind of, I think, a part of, like, a part of the problem is, like, I definitely have my issues, and one of them is, like, I'm a sucker for a good brand. And to me, if I was to use, like, my own argument back on me, like, growing up, having a Chanel bag and having. Having a Birkin bag was, like, the ultimate, like, picture of success. And it's because I didn't come from a family that could have that. And when I looked into magazines, like, that's the women that I looked up to, like, that's what they represented. And it's, you know, when I. When I think about. For me, fashion is an expression of self. It's an expression of my personality. I really enjoy fashion, whether or not you agree with it. And I do like having different color bags to accessorize and accentuate my ability to put things together. And I think there's a. There's a place for color in brand and design. But the way that I'm talking about, the way the Dior is doing it, it's to the point where it's fast fashion. It's, you know, like, the way that I, Like. I'm not criticizing you for getting me a pink bag. It's that of the first. You often don't get the first bag unless it's, you know, from Hermes and they're, like, making you buy your way through. But it was a funny story that you brought up the.
- [20:50]
B
What was I gonna say? The. It kind of relates. I wanted to talk about the Volvo ad getting back to Jaguar, but just now that we've gone on to these shoes, like, when. What are those red bottom shoes? Louboutins. Right? Like, hot shoes for chicks. Like, the high heels with the red, like, to me was always like a very cool status sign. And then you show me the loafers of the man. But then when I went into the store the other day, it's so saturated with pla. With products now that the allure of those shoes, they don't. They don't have the same allure to me anymore. Because there's so many sneakers. Like, there's. They have so many skus under the same name. It's lost its allure to me.
- [21:31]
A
Well, I think it's also like, who the Christian Louboutin, like, consumer is. Like, because it's so sexualized and sex focused, it, like there is a whole consumer base that will buy.
- [21:42]
B
Don't fit that.
- [21:43]
A
But that's. That's their actual consumer. To be honest. Like, I agree with what you're saying. Like, they could have gone more of, like, that kind of Christian grey kind of angle, but the, The. The mass of that, it's. You know, Louboutin is actually an interesting brand because it's become a status signal for weddings, like, for a man to wear, like, on the bottom of his shoe. Because, like, a man, it's not. It's not really about him, the wedding. Right. Like, as far as, like, the fashion goes, like, because it's so much about the gown that it's really become really men on their wedding day, their way to like kind of have that pop of fashion and flair. But really outside of that, like most women just like have the pigals, which is like the, the stiletto. But the remaining range of their shoe line is really like, it's, it's highly sexualized people. It's a lot of like sex workers. It's a lot of like. It's really interesting if you look at like the hero products, you know, like the two SKUs versus like the. Who supports the range. And it was really interesting even working with Van Cleef because they basically have like a pie distribution of like their Perlay line, for example, is really focused on the Asian consumer, like the, the Indian consumer as well as the Chinese consumer because like a lot of gold is like a status symbol in both of those cultures. So the Perlay line is really not for. They're like Caucasian, they're European consumer. That's more of the Alhambra or the sweet line, which is like more like delicate and dainty. So there is in luxury fashion. They have understood that nuance of culture and what they like and look for. And just an interesting takeaway.
- [23:20]
B
Fair enough. The compare. If we're going to finish off the Jaguar, we should compare it with what Volvo did. Oh yeah, Porsche did something great. But it seems.
- [23:29]
A
I'll talk Porsche, you talk Volvo.
- [23:31]
B
Yeah. Volvo essentially went against what most marketing people from Harvard would tell them is they actually created a long commercial that was longer than any kind of Instagram reel. And it was heavy on story. But it goes back to like first principles of what resonates with humans. And it's just a young couple and the, the woman surprises the guy who's working hard and kind of says, I'm pregnant. But the way they told it, they told it slowly and. And you were like hanging off of what's going to happen because it's Volvo. But it's different than any other car company was just showing a car going around hills and turns. And you can see the joy on the dad's face. An attractive guy. And then he just kind of takes a second to ponder as his wife goes to work. And then it kind of timepieces the journey of giving birth. And then she's taking the bus and then the baby walking and then she's busy buying a coffee and then graduating from high school. And you can really feel this guy is so, so, so happy to have a child with somebody he loves. And you can feel it gives me tingles Just watching it. I hope everybody watches it. But you're also seeing in parallel his wife going to work and then just as he's kind of celebrating his daughter's graduation and she's hugging him, saying he loves a car, almost hits her and stops. And it goes something along the lines of Volvo, the safest car on the market. And you're just left almost teary eyed. And so if you are thinking about your family like that's a beautiful message.
- [24:59]
A
To get brand loyalty and you leave feeling something. Right. Like it evokes emotion and like because of that power of story and that power of feeling, you actually leave with some. Like you leave with a memory tied to Volvo if you have a kid coming. Yeah, I mean like who doesn't want a safe car? Like that was like the smartest branding especially too because like the stat was like they have it won like a safe car award in like a really long time. But what's, it was such a mic drock moment, mic drop moment for them to drop that commercial during the same time. Because it's just, it's such a, it's such a distance between doing something with no effect and like really rooting in storytelling and meaning. But poor Shah Porsha also came out with a campaign during the same time. And I also really want so very different though Porsche did a collaboration with ald, Emilian Dior, which is like a very, very cool fashion brand. And ALD and the fashion brand, this collaboration was kind of more of a way to like increase like the credibility, the relevancy of the Porsche brand. Where I want to highlight that collaboration and moment is that they were able to speak on diversity in a way that maintained luxury. And that's really where I want to make sure that our message and position is clear. Is staying true to the brand does not mean that you can't be modern and you can't evolve to like where the zeitgeist is today, which is going cross culture, which is going cross demographics. The models don't have to be white in order to be on brand. And that's what ALD did that was really cool is like they had a range of different models of different skin tones and colors that still felt very on brand and like that's when branding is done right and, and ALD has like a street style kind of angle. So it's really quite cool. But it, it wasn't that they just went like what you would expect from like street style collab branding. Like they also had like a kind of a gray, grayer hair, like older individual. But it just like struck like it really, it was just really well executed in its dynamism. And I. And it's very important to highlight because the criticism on Jaguar isn't that they couldn't have had multicultural people in order to support the campaign. It's that it has to make sense.
- [27:30]
B
And it's not artistic just to go weird.
- [27:34]
A
No.
- [27:34]
B
Like if I wanted to, like with Jaguar, if you got Adris Alba driving a classic Jaguar, that would look awesome.
- [27:43]
A
Oh my God.
- [27:44]
B
Look beyond looking like a Bond character, that's an aspirational, beautiful brand message. Right. But that a Teletubbies commercial with people running around looking like idiots.
- [27:55]
A
The only reason why I wanted to say that though is because there is this like friction and heat point of like when you criticize a brand that does something wrong and there's often, you know, like people of color or people of different, like creeds or sexualities. It's like you feel like you can't communicate that or that's the reason why it's bad. And like that's a cop out because that's not why it was bad.
- [28:18]
B
No, but that's the way they control thought and say, I can do ridiculous things and you can't criticize me because I'm doing it under the woke of being the.
- [28:27]
A
Yeah.
- [28:27]
B
As opposed to just saying, no, you should be fired. Like, this is just as an aside to finish this off. Kamala Harris's campaign.
- [28:34]
A
Here we go. You snuck this in.
- [28:38]
B
James Carville, senior Democratic advisor, he won for the Clintons and he helped the first Obama. Right. The guy is 70 years old. He's been in the trenches, he's won. He just did a video. I think he was a little hammered. And he's like, the people who are advising Kamala Harris, he goes, were 24 year old snot nosed idiots who told her that if she went on Joe Rogan, they would quit. He goes, first of all, I don't want your opinion and I'm not even gonna see your name because you haven't learned anything. He goes, if you said you were gonna quit if you went on Joe.
- [29:06]
A
Rogan, you should have quit.
- [29:08]
B
Not only would I fire you, I'd fire the person who hired you because I don't give a fuck about your opinion. Because we have to win. Right? Not be representative of what, like, you know, it was it. But it was an amazing moment in business. And I think businesses should watch that when they're doing something in terms of like when they're trying to meet revenue goals so they don't have to lay off people who will lose their houses. To focus on what makes your company win, not makes it socially acceptable.
- [29:32]
A
No. I actually had a really interesting conversation with someone who's like very, very Democratic. And I was like, you know, I really just want to say like, because she also had a good friend that was a mayoral candidate that also lost. So it was a tough week for her. Her words. And you know, I said like, it really was a massive messaging issue. Like they just struggled majorly on messaging and marketing. And she goes like, it's really interesting you said that because like Bernie Sanders actually like really hammered them in like some messaging. And she's like, it really pissed a lot of people off. And she's like, these are, these are the kinds of opinions that we need to be exposed to. And she's like, you're right, it is a massive messaging issue.
- [30:11]
B
But don't get me wrong, like we have a lot of brilliant young people working who come up with great ideas and who are creative. But when you have young people who.
- [30:17]
A
Are limiting, with limiting mindsets, but if.
- [30:20]
B
You, or who are entitled, who say, I'm going to tell you how the world works or I'm going to quit and go live in my parents basement, like get the out of here. But dynamic people who want to work hard and can see the world through different lenses are very good for coming up with new ideas for your brand. 100% James Carville. Watch that video. It's beautiful.
- [30:38]
A
Sounds good. Do you have any comments on the Kamala video? Because that's how you started this.
- [30:43]
B
She was just drunk. Telling people that they don't lose power. When she lost power, she hasn't taken any accountability. She blew almost $2 billion. Nobody knows where she spent it. You know.
- [30:54]
A
Not here, huh? Not here.
- [30:56]
B
Well, yeah. Al Sharpton. 500,000 bucks to interview her. So they paid Al Sharpton to interview her. $500,000. Like why would he need to get paid? Why wouldn't he just interview her? Like it was a big rip off of the donors. And I think what you're going to see is a 12 year move to Republicans because Trump's going to get a. JD Vance is spectacularly intellectual human being and the Democrats have lost their donors and lost the plot. Probably won't put that in, but.