. >> i would say bobby orr. beat it, but i can give a really dull answer to who i think it's going to be. >> cenk: go for it. >> his former chief of stat mo. >> cenk: really. >> you could have asked me first. i was going to say bobby orr. >> cenk: no you weren't. >> i was. >> cenk: no, paul gets the credit. >> all right. >> cenk: i think it should be barney frank. michael shure and paul waldman. thank you for joining us. i appreciate it. when we come back we have a lot more ahead for you guys, including the nfl not being being--it's actually a non-profit so it's not for-profit. it's crazy. plus the great grandson of l. ron hubbard joins us on "the young turks" to tell us the secrets of scientology. >> every family has their black sheep. on my mother's side our black sheep was a shepherd who enslaved his own flock. the king king of the kong. the man who made (vo) current tv gets the weekdays 9am eastern. >> i'm a slutty bob hope. >> you are. >> the troops love me. the sweatshirt is nice and all but i could use a

you know know if you're a hockey player there is bobby orr in the historical canon. again whenever i talked to harold bloom about these things we always end up talking about musicians. coleman hawkins and lester young or you know in duke ellington spanned ben webster held a tenor saxophone chair in the 30s into the 40s and then paul gonzÁlez came to the band in the 50s and he was sitting in ben webster's chair. everybody knew it. he was playing in the shadow that man and i mentioned a mention it partly to say that i don't think people abbreviate harold bloom to say it's all about you know paris side. you have to kill the father. i don't think this infinite love is in a tutu but these these guys don't ever get to voice it as explicitly as the writers do. implicitly i think maybe it should be our goal to listen to those versions for what they are saying to each other about each other. charlie parker plays with johnny hunter who is the king of the tenor saxophone before him and i hear nothing but this kind of you know praise and thank you, thank you and i'm working on y

or if you are a hockey player's body work --bobby orr. we always end top stopped talking about musicians. lester young, duke ellington's band, webster l. the saxophone chair into the 30s and 40s and paul gonzalez in the 50s and he was sitting in ben webster's chair. at the inuit, he was playing in the shadow of that man. i mentioned that to say people don't abbreviate howard bloom to say it is all about you have to kill the father. it is not the infinite love in two but those guys don't ever get to voice as explicitly as the writers do. implicitly it really should be our goal to listen to those musicians for what they are saying to each other about each other. charlie parker plays with johnny hodges who was the king of the tenor saxophone before him and i hear nothing but this kind of phrase and thank you. .. it's a sunday sunday morning and something true must be said. the influence is absolutely wonderful. it is clearly written by an academic. it is such a confined world and they are so jealous of each other. and it is a time and a book