1 00:00:03,160 --> 00:00:09,840 Speaker 1: I have homosexuals who I hit up for advice for numbers, 2 00:00:10,520 --> 00:00:13,400 Speaker 1: but these are gold Star Gaze and not in the 3 00:00:13,440 --> 00:00:15,560 Speaker 1: never Touched a Vagina since you know what I mean. 4 00:00:15,800 --> 00:00:25,920 Speaker 1: In the like saw Diva's Live as it aired, I 5 00:00:25,960 --> 00:00:34,280 Speaker 1: want you to know that this episode is uh that 6 00:00:34,600 --> 00:00:41,080 Speaker 1: owned Jaggon Little Kids. You're trying not to corner yourself 7 00:00:41,120 --> 00:00:44,440 Speaker 1: as the singer on this podcast. Do you really want 8 00:00:44,440 --> 00:00:47,200 Speaker 1: to be the songstress of Like a Vision? Today we'll 9 00:00:47,200 --> 00:00:50,400 Speaker 1: be taking a look back at Atlantis Morrisett's Jagged Little Pill, 10 00:00:50,560 --> 00:00:53,120 Speaker 1: because this is like a Virgin, the show where we 11 00:00:53,159 --> 00:00:57,520 Speaker 1: give yesterday's pop culture today's taste. I'm Rose Damn and 12 00:00:57,680 --> 00:01:00,920 Speaker 1: I'm Fran Toronto here to talk about Jagged Little Hill. 13 00:01:01,000 --> 00:01:05,840 Speaker 1: With us is show girl, high priestess, emphasis on high 14 00:01:06,080 --> 00:01:11,840 Speaker 1: drag artist and Miga Judy, Charlene and Karnet. I will say, 15 00:01:12,040 --> 00:01:14,840 Speaker 1: you know, Rose, before we have to get into Jagged 16 00:01:14,880 --> 00:01:18,959 Speaker 1: Little Pill. Should we go touday Nio? Yes, let's take 17 00:01:19,000 --> 00:01:23,080 Speaker 1: a trip down the Nile? But will there be enough champagne? Yes? 18 00:01:23,200 --> 00:01:31,840 Speaker 1: I actually brought enough champagne to fill the Nile. I 19 00:01:31,880 --> 00:01:38,120 Speaker 1: have to say I'm kind of um gal gado. Stand now, girl, 20 00:01:38,600 --> 00:01:41,360 Speaker 1: We are going to put you into G G. A. 21 00:01:41,400 --> 00:01:46,040 Speaker 1: Galagado holes and I wait. So this weekend, Fran and 22 00:01:46,080 --> 00:01:48,960 Speaker 1: I saw Death on the Nile Um with our friend 23 00:01:49,040 --> 00:01:52,040 Speaker 1: La La, and as we were walking out, we were, 24 00:01:52,120 --> 00:01:54,080 Speaker 1: you know, doing that thing where you leave a movie 25 00:01:54,160 --> 00:01:58,000 Speaker 1: and everyone's like starting to say what they wait, wait, wait, 26 00:01:58,000 --> 00:02:01,840 Speaker 1: wait wait I have okay, I just have to say, like, 27 00:02:01,960 --> 00:02:06,120 Speaker 1: I experienced this movie being like, this must be one 28 00:02:06,160 --> 00:02:08,919 Speaker 1: of the worst movies I've seen in a minute. And 29 00:02:09,280 --> 00:02:11,520 Speaker 1: that is and that is sort of the vibe you 30 00:02:11,600 --> 00:02:14,120 Speaker 1: and Lala started to give off as we were leaving, 31 00:02:14,200 --> 00:02:18,239 Speaker 1: and I said, I loved it. And y'all, I thought 32 00:02:18,280 --> 00:02:20,000 Speaker 1: you were going to not give me a ride home 33 00:02:20,080 --> 00:02:24,680 Speaker 1: because of that. Our experiences of that movie were dramatically different, 34 00:02:24,800 --> 00:02:26,960 Speaker 1: let's say that. And yeah, I was sitting next to 35 00:02:27,000 --> 00:02:30,640 Speaker 1: you the whole time laughing, well because I was, I was, 36 00:02:31,040 --> 00:02:35,160 Speaker 1: you know, making some commentary throughout the film, like when 37 00:02:35,520 --> 00:02:38,839 Speaker 1: when spoiler alert, gal Gado is killed, I said, army 38 00:02:38,880 --> 00:02:41,680 Speaker 1: hammer is going to go fire up the grill, Oh god, 39 00:02:42,320 --> 00:02:44,600 Speaker 1: like very quickly. We have to just kind of like 40 00:02:44,680 --> 00:02:49,320 Speaker 1: you know, in the pot. Yeah. Yeah. So basically, gal Gado, 41 00:02:49,560 --> 00:02:53,400 Speaker 1: you know, is a wealthy billionaire with a colonialist hobby 42 00:02:53,520 --> 00:02:57,040 Speaker 1: for like, you know, exploring Egypt, and she and her 43 00:02:57,080 --> 00:03:02,160 Speaker 1: mail order bride army Hammer decide to you know, invite like, okay, 44 00:03:02,160 --> 00:03:06,959 Speaker 1: but you do, didn't You actually buried a very important part, 45 00:03:07,000 --> 00:03:11,000 Speaker 1: which is that army Hammer who marries from getting there, 46 00:03:11,040 --> 00:03:14,160 Speaker 1: I'm getting there, I'm getting Do not trust me at all? 47 00:03:14,520 --> 00:03:17,400 Speaker 1: Do you not trust me? I don't trust you literally 48 00:03:17,440 --> 00:03:21,360 Speaker 1: at all. That is rich coming from someone who threatens 49 00:03:21,400 --> 00:03:25,200 Speaker 1: to kill me almost every podcast. Yeah, and you know what, 50 00:03:25,320 --> 00:03:28,720 Speaker 1: I would get away with it, and because because Pole 51 00:03:29,040 --> 00:03:32,280 Speaker 1: is not coming to save you know, you would not 52 00:03:32,320 --> 00:03:34,600 Speaker 1: get away with it because at the end of an 53 00:03:34,600 --> 00:03:37,760 Speaker 1: Agatha Christie novel, the person who is most obviously the 54 00:03:37,840 --> 00:03:43,760 Speaker 1: killer is the killer and there are hours of audio 55 00:03:44,160 --> 00:03:48,640 Speaker 1: recordings of me threatening to kill you. So anyways that 56 00:03:48,720 --> 00:03:50,880 Speaker 1: they invite you know a few dozen of their like 57 00:03:51,040 --> 00:03:54,200 Speaker 1: most mortal enemies to their wedding, and of course their 58 00:03:54,200 --> 00:03:58,760 Speaker 1: wedding takes place on Zeni Um and there's like this 59 00:03:58,880 --> 00:04:03,040 Speaker 1: kind of likes best friend played by an actress who 60 00:04:03,200 --> 00:04:05,600 Speaker 1: I really love but only referred to her as baby 61 00:04:05,640 --> 00:04:08,880 Speaker 1: Margot Rubbie Um keeps showing up at everywhere they go 62 00:04:09,000 --> 00:04:12,360 Speaker 1: and just like staring at them, and so Armie Hammer 63 00:04:12,400 --> 00:04:15,560 Speaker 1: and Gal Gadot put out a call to find what 64 00:04:15,760 --> 00:04:20,440 Speaker 1: is basically like the detective with the most absurdest steampunk 65 00:04:20,920 --> 00:04:26,480 Speaker 1: mustache they could possibly find. And this detective accuses literally 66 00:04:26,520 --> 00:04:31,680 Speaker 1: every single character of murder until he gets it right 67 00:04:31,720 --> 00:04:34,680 Speaker 1: on the last try. Five people die and he outs 68 00:04:34,720 --> 00:04:38,920 Speaker 1: to lesbians. Three people die. Um, he does out to 69 00:04:39,160 --> 00:04:46,280 Speaker 1: lesbians forcibly. And I did think that at the end 70 00:04:46,320 --> 00:04:48,640 Speaker 1: of the movie when they all like get off the boat, 71 00:04:48,720 --> 00:04:50,360 Speaker 1: that he was going to be like, by the way, 72 00:04:50,400 --> 00:04:55,840 Speaker 1: the police are here to arrest you. So okay, top line, 73 00:04:55,960 --> 00:04:58,960 Speaker 1: I loved it. I had a great time. I as 74 00:04:59,000 --> 00:05:01,440 Speaker 1: I tried to explain to frand you know, this is 75 00:05:01,520 --> 00:05:07,840 Speaker 1: not a thriller mystery with modern sensibilities. This is an 76 00:05:07,839 --> 00:05:14,320 Speaker 1: Agatha Christie who done it. And the movies specifically are 77 00:05:14,480 --> 00:05:18,799 Speaker 1: very much made for a kind of boomer sensibility, people 78 00:05:18,839 --> 00:05:21,640 Speaker 1: who are familiar with Agatha Christie novels and want to 79 00:05:21,680 --> 00:05:26,599 Speaker 1: see a very faithful, lush adaptation of them. And I 80 00:05:26,680 --> 00:05:30,520 Speaker 1: guess I'm a boomer because I really enjoyed it. Well 81 00:05:30,560 --> 00:05:33,680 Speaker 1: that's not that's not news to anybody. I really feel 82 00:05:33,680 --> 00:05:36,200 Speaker 1: like that I'm a boomer. Yeah, you're a boomer. You 83 00:05:36,320 --> 00:05:39,920 Speaker 1: literally are no offense Rose. The movie delivered on what 84 00:05:40,000 --> 00:05:45,040 Speaker 1: I signed up for during a completely displaced, kind of 85 00:05:45,240 --> 00:05:48,320 Speaker 1: almost sex scene between Army Hammer and gal Gadot that 86 00:05:48,360 --> 00:05:51,400 Speaker 1: takes place on an Egyptian ruin, because the Egyptian ruins. 87 00:05:51,680 --> 00:05:55,960 Speaker 1: That was great. The Egyptian ruins make them so horny, 88 00:05:56,000 --> 00:06:00,520 Speaker 1: they literally cannot control themselves around all of these dead 89 00:06:00,839 --> 00:06:03,880 Speaker 1: like mummies, and gal Gato like backs up on it, 90 00:06:03,880 --> 00:06:05,960 Speaker 1: backs up as if she's like, she's like, do me 91 00:06:06,200 --> 00:06:11,960 Speaker 1: doggy style literally, and that's not an exaggeration, and and 92 00:06:12,000 --> 00:06:15,720 Speaker 1: gal is so it is so poorly blocked. They did 93 00:06:15,920 --> 00:06:18,440 Speaker 1: maybe two takes and they were like, yeah, we got it. 94 00:06:18,520 --> 00:06:23,680 Speaker 1: That look. That was just imagine Kenneth Brana directing that. Also, Man, 95 00:06:23,760 --> 00:06:25,920 Speaker 1: I had never heard of Fran did not know who 96 00:06:26,040 --> 00:06:29,120 Speaker 1: Kenneth Branna was. I have talked about Kenneth Branna to 97 00:06:29,160 --> 00:06:30,680 Speaker 1: a few other people and they didn't know who he 98 00:06:30,720 --> 00:06:33,120 Speaker 1: was either. So I think that you're just exactly the 99 00:06:33,160 --> 00:06:37,320 Speaker 1: demographic for Kenneth Brannah. Yeah, I'm a boomer, Yeah, exactly 100 00:06:37,400 --> 00:06:40,880 Speaker 1: exactly when I signed When I signed up for a mystery, 101 00:06:41,240 --> 00:06:45,440 Speaker 1: you would think that there would be you know, twists, turns, 102 00:06:45,960 --> 00:06:51,479 Speaker 1: red Herrings. Clues dropped along the way like scandalous like 103 00:06:51,720 --> 00:06:54,520 Speaker 1: reveals and moments where like oh my god, and they 104 00:06:54,520 --> 00:06:57,640 Speaker 1: were like three of those like there, Yeah, it doesn't 105 00:06:57,680 --> 00:07:02,120 Speaker 1: really do that. There's the the miss The clues are 106 00:07:02,200 --> 00:07:06,559 Speaker 1: not really telegraphed to the audience. And also, like let's 107 00:07:06,560 --> 00:07:09,479 Speaker 1: say spoiler alert, the people who end up being the 108 00:07:09,600 --> 00:07:14,840 Speaker 1: killers are like mostly it's it's like the most obvious 109 00:07:15,000 --> 00:07:18,600 Speaker 1: choice for who done. And Rose can vouch for me. 110 00:07:18,960 --> 00:07:23,640 Speaker 1: The first clue dropped, literally the very first clue with 111 00:07:23,720 --> 00:07:27,120 Speaker 1: that is, in my opinion, telegraphed to the audience. I 112 00:07:27,200 --> 00:07:30,280 Speaker 1: turned to Rose and I said it's so and so 113 00:07:30,440 --> 00:07:33,480 Speaker 1: and so and so, and Rose goes, well, and she 114 00:07:33,640 --> 00:07:35,880 Speaker 1: was right like it would be way too obvious, and 115 00:07:35,880 --> 00:07:37,960 Speaker 1: I was kind of like, yeah, it would be too obvious, 116 00:07:38,240 --> 00:07:43,840 Speaker 1: and that your frand are you are the acu pire 117 00:07:44,240 --> 00:07:47,960 Speaker 1: of our time? Okay, well, let me just grow out 118 00:07:48,000 --> 00:07:53,480 Speaker 1: a super steampunk mustache. I will say I enjoyed all 119 00:07:53,560 --> 00:07:56,520 Speaker 1: of the performances in this film, with the exception of 120 00:07:56,600 --> 00:07:58,400 Speaker 1: Russell Brands, which I thought was very flat. And then 121 00:07:58,400 --> 00:08:00,760 Speaker 1: also there's a character name I thought, and Gal was 122 00:08:00,840 --> 00:08:03,040 Speaker 1: kind of fun. I thought gal was so fun. I 123 00:08:03,400 --> 00:08:06,440 Speaker 1: thought she was almost perfectly cast, like I think casting 124 00:08:06,480 --> 00:08:09,360 Speaker 1: someone who's gorgeous and kind of bad acting, it's like 125 00:08:09,440 --> 00:08:12,560 Speaker 1: perfect for a mystery. And all Tomargo Robbie was good. 126 00:08:12,960 --> 00:08:16,040 Speaker 1: She was stunning. I felt like, you know, that was 127 00:08:16,120 --> 00:08:19,680 Speaker 1: there was nothing wrong with like necessarily that. I thought 128 00:08:19,680 --> 00:08:21,280 Speaker 1: all the performances were good. I just thought it was 129 00:08:21,760 --> 00:08:26,040 Speaker 1: a really poorly constructed movie that was completely like it 130 00:08:26,080 --> 00:08:29,000 Speaker 1: was virtually joyless. Well, I was very I was filled 131 00:08:29,040 --> 00:08:32,960 Speaker 1: with joy watching it, especially because of gal Gado's livery 132 00:08:33,080 --> 00:08:37,040 Speaker 1: of and enough champagne to fill the nile, which was 133 00:08:37,600 --> 00:08:39,880 Speaker 1: as satisfying as I thought it would. Well. When we 134 00:08:40,000 --> 00:08:43,000 Speaker 1: walked out of this movie, I was just stunned because 135 00:08:43,000 --> 00:08:45,200 Speaker 1: I was like, I was like, we just watched a 136 00:08:45,320 --> 00:08:49,160 Speaker 1: two hour like movie that was so so bad and 137 00:08:49,200 --> 00:08:52,880 Speaker 1: the only reason we saw it was for one single tweet. 138 00:08:53,320 --> 00:08:58,080 Speaker 1: Literally literally, I had no plans of seeing this, and 139 00:08:58,280 --> 00:09:02,480 Speaker 1: I saw the video people reacting to that line on 140 00:09:02,520 --> 00:09:04,960 Speaker 1: Twitter last week and was like, we have to go, 141 00:09:05,120 --> 00:09:08,640 Speaker 1: we have to go, which we did decide what as 142 00:09:08,679 --> 00:09:12,240 Speaker 1: we were watching drag Race last week, which I am 143 00:09:12,360 --> 00:09:18,640 Speaker 1: still so confused by this week's episode of drag Race. Why, 144 00:09:18,960 --> 00:09:22,840 Speaker 1: I don't understand what the judges were thinking in their 145 00:09:22,920 --> 00:09:27,480 Speaker 1: choices of the tops and bottoms and the winner. So 146 00:09:27,960 --> 00:09:29,840 Speaker 1: I mean, if you don't watch drag Race this week, 147 00:09:29,880 --> 00:09:34,120 Speaker 1: it was it was an unconventional materials design challenge and 148 00:09:35,520 --> 00:09:38,880 Speaker 1: the looks were mostly bad, and one of the worst 149 00:09:38,920 --> 00:09:42,280 Speaker 1: ones was the one that won. The look that Georgia 150 00:09:42,280 --> 00:09:46,960 Speaker 1: has made. How it's extremely obvious that this is like 151 00:09:47,040 --> 00:09:50,000 Speaker 1: a tool of production and that they're trying to like 152 00:09:50,240 --> 00:09:54,920 Speaker 1: stoke tensions between the queens by making them jealous and confused. 153 00:09:54,960 --> 00:09:59,240 Speaker 1: It's like literally psychological warfare, and they are clearly not 154 00:09:59,360 --> 00:10:02,520 Speaker 1: picking the winner so that they can just stir the pot. 155 00:10:02,720 --> 00:10:06,679 Speaker 1: But this is drastic even for drag Race, because Georgia's 156 00:10:06,760 --> 00:10:10,439 Speaker 1: look is so literally look at the material, yes, exactly, 157 00:10:10,480 --> 00:10:13,679 Speaker 1: like look at the material. I would feel differently if 158 00:10:13,679 --> 00:10:16,960 Speaker 1: it was just one. But they gave positive critiques to 159 00:10:17,040 --> 00:10:21,040 Speaker 1: like two or three of like the worst looks. Ever, 160 00:10:21,520 --> 00:10:24,840 Speaker 1: I don't understand what the judges see and Desa I 161 00:10:24,880 --> 00:10:28,280 Speaker 1: don't either. That she was wearing curtain and all of 162 00:10:28,320 --> 00:10:31,920 Speaker 1: her runways have been totally lackluster and she's a seamstress, 163 00:10:32,040 --> 00:10:34,680 Speaker 1: and all of the looks that she She's always saying 164 00:10:35,160 --> 00:10:37,520 Speaker 1: I made this, and it's like, well, you shouldn't have, 165 00:10:37,840 --> 00:10:41,280 Speaker 1: because and she is one of the most like she's 166 00:10:41,360 --> 00:10:43,840 Speaker 1: kind of one of the most like entitled, and like 167 00:10:44,080 --> 00:10:47,000 Speaker 1: she's really like grumpy about a lot of things and 168 00:10:47,040 --> 00:10:49,839 Speaker 1: like she but she's an amazing lip sinker. And I 169 00:10:49,880 --> 00:10:53,600 Speaker 1: think that we were totally robbed of the experience of 170 00:10:53,880 --> 00:10:57,920 Speaker 1: Georgia's and Asia lip sinking to Sugar Mama. That would 171 00:10:57,920 --> 00:11:01,760 Speaker 1: have been on real, that would have been unreal, and 172 00:11:01,800 --> 00:11:04,800 Speaker 1: it would have been but Maddie, Maddie had to be 173 00:11:04,800 --> 00:11:07,160 Speaker 1: in the bottom. No, I mean, and she had to 174 00:11:07,160 --> 00:11:10,319 Speaker 1: go her time. I disagree. If I was in production, 175 00:11:10,440 --> 00:11:12,480 Speaker 1: I would have been like, let's keep Maddie another week 176 00:11:12,520 --> 00:11:15,840 Speaker 1: because she's good for TV. Let's send Aja home and 177 00:11:15,880 --> 00:11:19,360 Speaker 1: they're going to have a dope ass lip sync to 178 00:11:19,480 --> 00:11:22,480 Speaker 1: Sugar Mama, Like that would have been incredible, Like and 179 00:11:22,600 --> 00:11:25,440 Speaker 1: I want to see George's lip sync like five more times, 180 00:11:25,480 --> 00:11:28,640 Speaker 1: and so does Rue like she keeps saying it, you know, yeah, 181 00:11:28,800 --> 00:11:31,000 Speaker 1: I do think. I do just think that, like the 182 00:11:31,120 --> 00:11:34,760 Speaker 1: narrative of Maddie, like they probably felt like they had 183 00:11:34,800 --> 00:11:38,840 Speaker 1: gotten everything they could out of it, because like even 184 00:11:38,840 --> 00:11:40,920 Speaker 1: though there was like a lot of hubbub at the 185 00:11:40,960 --> 00:11:45,040 Speaker 1: beginning of the season about her, like it didn't really continue. 186 00:11:45,240 --> 00:11:47,720 Speaker 1: There wasn't a lot of drama around her being straight, 187 00:11:48,200 --> 00:11:51,640 Speaker 1: and like, you know, she had a fight with Jasmine 188 00:11:51,960 --> 00:11:55,360 Speaker 1: in Untucked this week, and so I think like they've 189 00:11:55,400 --> 00:11:58,160 Speaker 1: gotten all the mileage they could out of her storyline. 190 00:11:58,320 --> 00:12:01,600 Speaker 1: But I do think, like I'm just so mystified because 191 00:12:01,679 --> 00:12:03,760 Speaker 1: I really felt like a lot of the girls who 192 00:12:03,760 --> 00:12:07,440 Speaker 1: were safe should have been in the top, especially Willow. 193 00:12:07,480 --> 00:12:09,600 Speaker 1: I think she should have won. Her look was the best. 194 00:12:09,600 --> 00:12:13,680 Speaker 1: I thought Willow or Angeria should have won, and Jeria, Yeah, Anderia, 195 00:12:13,840 --> 00:12:17,160 Speaker 1: Willow and Juria right now are definitely my front runners, 196 00:12:17,240 --> 00:12:19,040 Speaker 1: Like I think they will be in the top three, 197 00:12:19,400 --> 00:12:23,800 Speaker 1: unless I am worried that the screen time we're seeing 198 00:12:23,960 --> 00:12:28,080 Speaker 1: around how like exhausted Willow is Like I wonder if 199 00:12:28,160 --> 00:12:32,160 Speaker 1: that's threading a plot line that will like pay off 200 00:12:32,800 --> 00:12:36,760 Speaker 1: in quotation marks with her like having to leave the competition, 201 00:12:37,160 --> 00:12:41,320 Speaker 1: which would be horrible, you like, but you know drag races, 202 00:12:41,400 --> 00:12:44,520 Speaker 1: like they're so heavy handed with editing that that's my 203 00:12:44,640 --> 00:12:49,600 Speaker 1: immediate fear. But I do think she can and should 204 00:12:49,800 --> 00:12:52,280 Speaker 1: go all the way to them. I agree. I think 205 00:12:52,400 --> 00:12:54,800 Speaker 1: that you and I are both rooting for Willow to win. 206 00:12:54,920 --> 00:12:57,240 Speaker 1: To be honest, I mean, Anderia is worthy of the Wind, 207 00:12:57,240 --> 00:13:01,000 Speaker 1: but like willows story in the Wind is like so good, 208 00:13:01,000 --> 00:13:04,199 Speaker 1: and I do think that what Willow does is more singular, 209 00:13:04,400 --> 00:13:08,000 Speaker 1: you know. And Geria has an excellency in the kind 210 00:13:08,000 --> 00:13:12,320 Speaker 1: of pageant queen nous that she is. But we've never 211 00:13:12,360 --> 00:13:15,679 Speaker 1: seen a queen like Willow before. Angeria will be great 212 00:13:15,760 --> 00:13:19,000 Speaker 1: on All Stars. Yeah, exactly seven or whatever number we're 213 00:13:19,000 --> 00:13:22,760 Speaker 1: out now. Anyways, are you listening to the the new 214 00:13:22,800 --> 00:13:29,800 Speaker 1: Competraus album. I have listened to slaptop Dara, ask your thoughts. Yeah, 215 00:13:29,840 --> 00:13:33,400 Speaker 1: it's fun, you know, I don't think it's anything like groundbreaking. 216 00:13:33,440 --> 00:13:36,800 Speaker 1: It's also what like fifteen minutes long. I like the 217 00:13:36,880 --> 00:13:39,720 Speaker 1: vibe of it because I like that it's like this 218 00:13:40,920 --> 00:13:46,120 Speaker 1: dirty Berlin like house that is obviously reminiscent of the 219 00:13:46,280 --> 00:13:49,920 Speaker 1: of her Halloween album, which is obviously her best album 220 00:13:50,360 --> 00:13:53,160 Speaker 1: no skips, point blank period. But like, I think this 221 00:13:53,200 --> 00:13:56,200 Speaker 1: album is like I mean, I think the first two songs, 222 00:13:56,200 --> 00:13:59,560 Speaker 1: which I consider basically one song, are like nice. I 223 00:13:59,600 --> 00:14:03,120 Speaker 1: think not that Kim Petris has ever been a master 224 00:14:03,240 --> 00:14:07,360 Speaker 1: of lyrics, but like the fact that every song is 225 00:14:07,440 --> 00:14:12,880 Speaker 1: kind of this like gay idiot culture algorithm generated kind 226 00:14:12,880 --> 00:14:15,840 Speaker 1: of like slut anthem. Yeah, it's like she she like 227 00:14:15,960 --> 00:14:18,840 Speaker 1: went and took a bunch of tweets and put them 228 00:14:18,960 --> 00:14:22,000 Speaker 1: set them to music. Yeah, and I know it's very 229 00:14:22,040 --> 00:14:24,760 Speaker 1: aware of itself, like Kim is playing a cartoon. She 230 00:14:24,880 --> 00:14:29,240 Speaker 1: knows exactly what she's doing, Like I see the character. 231 00:14:29,600 --> 00:14:33,240 Speaker 1: I just I wondered, like to what end this this 232 00:14:33,320 --> 00:14:35,880 Speaker 1: like kind of music continues on, you know what I mean, 233 00:14:35,920 --> 00:14:38,080 Speaker 1: Like I don't I see a point of view, and 234 00:14:38,120 --> 00:14:40,120 Speaker 1: I think it's really funny. And there are certainly some 235 00:14:40,200 --> 00:14:42,360 Speaker 1: kind of like Mimi bops, like I don't know if 236 00:14:42,360 --> 00:14:46,440 Speaker 1: you saw that TikTok of like Kirby from like Nintendo, 237 00:14:46,520 --> 00:14:48,360 Speaker 1: like sucking up a bunch of things to throat go. 238 00:14:49,000 --> 00:14:53,000 Speaker 1: Have you seen that? It's very funny. Um, But yeah, 239 00:14:53,120 --> 00:14:55,680 Speaker 1: I wonder how long she'll kind of keep that joke going. 240 00:14:55,880 --> 00:14:58,520 Speaker 1: I wonder, like who knows that she's in on the 241 00:14:58,600 --> 00:15:01,120 Speaker 1: joke and who thinks that this is genuinely her music. 242 00:15:01,120 --> 00:15:04,840 Speaker 1: It feels like it has the potential to pigeonhole her 243 00:15:05,680 --> 00:15:09,760 Speaker 1: sort of the same way that doing her Halloween EPs, 244 00:15:09,920 --> 00:15:13,320 Speaker 1: which I think are some of her best music kind 245 00:15:13,320 --> 00:15:16,320 Speaker 1: of pigeon holed her as like spooky Halloween girl, But 246 00:15:16,400 --> 00:15:18,920 Speaker 1: I don't think I think the thing. Actually, I think 247 00:15:18,960 --> 00:15:23,240 Speaker 1: that no one has done that since like Michael Jackson's Thriller, 248 00:15:23,360 --> 00:15:25,720 Speaker 1: you know what I mean, No one's dropping Halloween, you 249 00:15:25,760 --> 00:15:29,360 Speaker 1: know what I mean. I just wonder it's very singular. Yeah, 250 00:15:29,480 --> 00:15:32,560 Speaker 1: I just wonder like where this is coming from, Like 251 00:15:32,840 --> 00:15:35,920 Speaker 1: is it actually the music she wants to be making 252 00:15:36,120 --> 00:15:39,720 Speaker 1: or has she felt like she's hitting a wall in 253 00:15:39,880 --> 00:15:43,160 Speaker 1: terms of what her like mainstream kind of pop offerings 254 00:15:43,240 --> 00:15:46,720 Speaker 1: can do to advance her career. So she's like doubling 255 00:15:46,760 --> 00:15:49,640 Speaker 1: down on being a kind of niche gay pop star 256 00:15:49,840 --> 00:15:52,560 Speaker 1: two minute bimbo bops, you know the other pop girlies 257 00:15:52,640 --> 00:15:57,440 Speaker 1: who are like in the Kim sphere, Charlie is making 258 00:15:57,800 --> 00:16:01,840 Speaker 1: songs that I'm hearing on the radio, and like Caroline 259 00:16:01,960 --> 00:16:05,160 Speaker 1: is getting all of this, you know, mainstream like you know, 260 00:16:05,240 --> 00:16:11,120 Speaker 1: kind of credible music attention, and Kim is like making 261 00:16:11,720 --> 00:16:17,160 Speaker 1: TikTok songs. Yeah that said, Coconuts slaps Love Love that single. 262 00:16:17,320 --> 00:16:19,920 Speaker 1: And then of course you know there's still the stink 263 00:16:20,000 --> 00:16:23,680 Speaker 1: of Dr Luke wafting over it all. Yeah, okay. Also, 264 00:16:23,960 --> 00:16:28,560 Speaker 1: Jasmine Sullivan released a deluxe version of Hotels Very Good. 265 00:16:28,600 --> 00:16:31,200 Speaker 1: Obviously Hurt Me So Good, I think is the standout 266 00:16:31,240 --> 00:16:34,160 Speaker 1: from it. And then also, do you ever listen to Ravenna? 267 00:16:35,240 --> 00:16:38,480 Speaker 1: Ravenna is like she reminds me a little a little 268 00:16:38,520 --> 00:16:42,520 Speaker 1: bit of like Corinne Bailey Ray, maybe like really early 269 00:16:42,640 --> 00:16:46,120 Speaker 1: Solange at your record. Yeah, it's kind of like that. 270 00:16:46,160 --> 00:16:48,760 Speaker 1: It's kind of like these really feel good R and 271 00:16:48,840 --> 00:16:52,040 Speaker 1: B inspired, like positivity bops. They're kind of like self 272 00:16:52,080 --> 00:16:54,320 Speaker 1: care bops kind of. I think a lot of the 273 00:16:54,360 --> 00:16:56,920 Speaker 1: songs are really wonderful as a as a total album, 274 00:16:56,960 --> 00:16:59,760 Speaker 1: it just flows really nicely together. My favorite is Kathy 275 00:16:59,840 --> 00:17:02,800 Speaker 1: Left Katman Do, which I think is just such a 276 00:17:02,840 --> 00:17:10,080 Speaker 1: fun song. The album ends with a thirteen minute guided meditation, which, um, 277 00:17:10,119 --> 00:17:14,200 Speaker 1: I mean, I won't be listening. I don't know if 278 00:17:14,440 --> 00:17:16,919 Speaker 1: I definitely tells us who she is as an artist, 279 00:17:17,000 --> 00:17:32,639 Speaker 1: but the rest of album is is wonderful. You know, 280 00:17:32,720 --> 00:17:36,560 Speaker 1: Atlantis was actually a hip hop artist before Jagged Little Pill. 281 00:17:36,840 --> 00:17:40,320 Speaker 1: She was she was, And that's something that to know 282 00:17:40,359 --> 00:17:42,840 Speaker 1: about Atlantis is that a part of what makes her 283 00:17:43,240 --> 00:17:46,240 Speaker 1: not only one of the creators of one of the 284 00:17:46,280 --> 00:17:49,560 Speaker 1: great rock albums of all time, but also a creator 285 00:17:49,560 --> 00:17:51,600 Speaker 1: of one of the great gay albums of all time? 286 00:17:51,920 --> 00:17:53,800 Speaker 1: Is that kind of first and foremost, she did want 287 00:17:53,840 --> 00:17:57,080 Speaker 1: to be famous. She was doing the grind. There's actually 288 00:17:57,119 --> 00:18:01,080 Speaker 1: a lyric in her most recent album where she complains 289 00:18:01,080 --> 00:18:03,440 Speaker 1: about how she's been working since she can remember, since 290 00:18:03,440 --> 00:18:09,440 Speaker 1: she was single, digits um and so there was intention. 291 00:18:10,840 --> 00:18:14,639 Speaker 1: There was an intention to be a star or someone 292 00:18:14,720 --> 00:18:18,280 Speaker 1: of great significance or influence. Rather, well, that's something that's 293 00:18:18,280 --> 00:18:20,720 Speaker 1: something that seems like it must have resonated for you, 294 00:18:20,800 --> 00:18:24,320 Speaker 1: because I think you do everything you do with intention. 295 00:18:24,440 --> 00:18:27,160 Speaker 1: I mean, listeners, if you don't know her, our guest 296 00:18:27,240 --> 00:18:32,880 Speaker 1: Charlene and Karnate is an incredible Brooklyn based performer, and 297 00:18:33,000 --> 00:18:35,840 Speaker 1: as long as I have known you, I feel like 298 00:18:36,000 --> 00:18:42,480 Speaker 1: everything you do is very intentional, like declaration of your 299 00:18:42,760 --> 00:18:45,200 Speaker 1: taste and point of view and identity. And so you're 300 00:18:45,240 --> 00:18:49,399 Speaker 1: trying to draw parallels between Atlantis and I already at 301 00:18:49,440 --> 00:18:52,879 Speaker 1: the top of the show, I am because because I 302 00:18:52,960 --> 00:18:56,040 Speaker 1: do want to know, like what what was your when 303 00:18:56,080 --> 00:18:58,760 Speaker 1: did you find So that's the thing, that's the that's 304 00:18:58,760 --> 00:19:00,800 Speaker 1: the thing is like what a do you approach this 305 00:19:00,840 --> 00:19:02,960 Speaker 1: conversation from? Because like I said, it's a great It 306 00:19:03,000 --> 00:19:04,600 Speaker 1: was one of the great undeniably one of the great 307 00:19:04,640 --> 00:19:11,320 Speaker 1: rock American rock albums, but also incidentally and curiously one 308 00:19:11,440 --> 00:19:14,439 Speaker 1: of the great gay albums. You know. I when I 309 00:19:14,440 --> 00:19:19,040 Speaker 1: saw Atlanta's this summer at Jones Beach, it really unfolded 310 00:19:19,080 --> 00:19:22,320 Speaker 1: for me, Like how hard she actually rocks and how 311 00:19:22,480 --> 00:19:25,399 Speaker 1: like I wasn't expecting her fan base to like be 312 00:19:25,560 --> 00:19:27,439 Speaker 1: a lot of straight people. I was expecting it to 313 00:19:27,440 --> 00:19:31,080 Speaker 1: be dolls. And at Jones Beach, what was the vibe? 314 00:19:31,280 --> 00:19:37,000 Speaker 1: There were girls like me? I gotta say, they weren't 315 00:19:37,040 --> 00:19:39,399 Speaker 1: like me, like in a girl like me kind of 316 00:19:39,400 --> 00:19:44,879 Speaker 1: like I just mean, they were long haired, brunette women 317 00:19:44,960 --> 00:19:48,159 Speaker 1: who dressed in a specific sort of bow way wherein 318 00:19:48,280 --> 00:19:51,880 Speaker 1: they kind of like fancied themselves in Atlantis of sorts themselves. 319 00:19:52,480 --> 00:19:54,760 Speaker 1: It was it was verging on cosplay. But they were 320 00:19:54,760 --> 00:19:57,520 Speaker 1: all these like, you know, hot straight men that had 321 00:19:57,560 --> 00:20:00,479 Speaker 1: like gotten the tickets for her their girl all and 322 00:20:00,520 --> 00:20:04,560 Speaker 1: like it was date city and so yeah that how 323 00:20:04,600 --> 00:20:06,240 Speaker 1: was the experience of the concert, honey? I mean, what 324 00:20:06,280 --> 00:20:08,800 Speaker 1: can I say aside from She's still got it. It's 325 00:20:08,800 --> 00:20:11,640 Speaker 1: the twenty five year. This past summer was twenty five 326 00:20:11,720 --> 00:20:14,760 Speaker 1: years of Jagged Little Pills. So she performed pretty much 327 00:20:14,760 --> 00:20:19,359 Speaker 1: the whole album, not that she wouldn't anyway, because something 328 00:20:19,400 --> 00:20:23,760 Speaker 1: that I also learned empathetically empathetically rather because I was 329 00:20:23,800 --> 00:20:26,920 Speaker 1: so high, and I took the cue from Atlantis actually 330 00:20:26,960 --> 00:20:28,560 Speaker 1: because in the most recent album she has a song 331 00:20:28,560 --> 00:20:30,399 Speaker 1: about doing assets. So I was like, whatever, she'll probably 332 00:20:30,400 --> 00:20:32,800 Speaker 1: be on my level. And boy was she ever honey. 333 00:20:33,600 --> 00:20:38,680 Speaker 1: And I was like empathetically feeling not only like her 334 00:20:39,080 --> 00:20:42,560 Speaker 1: energy performing in front of me, but also like her 335 00:20:42,840 --> 00:20:45,960 Speaker 1: reconnecting to this music that she made five years ago, 336 00:20:46,760 --> 00:20:50,280 Speaker 1: and like how it had like the journey it had 337 00:20:50,280 --> 00:20:53,840 Speaker 1: taken her on, and how she related to it nowadays 338 00:20:54,520 --> 00:20:57,240 Speaker 1: what songs she connected to more like really obviously and 339 00:20:57,320 --> 00:20:59,800 Speaker 1: which one she was tired of was just like so 340 00:21:00,359 --> 00:21:02,800 Speaker 1: apparent to me and like what she put into them. 341 00:21:03,040 --> 00:21:04,760 Speaker 1: And I have a whole new favorite track list from 342 00:21:04,760 --> 00:21:06,879 Speaker 1: the album now after seeing her before, it was like 343 00:21:07,080 --> 00:21:09,720 Speaker 1: it was all like she her voice is still she's 344 00:21:09,760 --> 00:21:15,679 Speaker 1: got this really like iconic sort of yodeling thing. Um 345 00:21:15,720 --> 00:21:19,000 Speaker 1: that's still like perfectly intact. And she did this thing 346 00:21:19,040 --> 00:21:23,680 Speaker 1: where between numbers she would kind of like vocalize randomly 347 00:21:24,760 --> 00:21:29,880 Speaker 1: in this like kind of operatic ethereal like um yodaly 348 00:21:30,200 --> 00:21:33,000 Speaker 1: sort of way I can I can imagine it, like 349 00:21:34,080 --> 00:21:36,960 Speaker 1: I'm getting about it. That's those were the parts that 350 00:21:37,000 --> 00:21:40,000 Speaker 1: made me cry in the show. It's because I was like, 351 00:21:40,119 --> 00:21:44,240 Speaker 1: this is and she's just so gracious, She's so like 352 00:21:44,760 --> 00:21:48,159 Speaker 1: willing to accept her impact on the world. She realizes 353 00:21:48,200 --> 00:21:51,760 Speaker 1: the magnitude of jagged Little pill, and she she's like, 354 00:21:51,840 --> 00:21:53,960 Speaker 1: you know, like I look up to so many women 355 00:21:54,000 --> 00:21:57,480 Speaker 1: who are creators, who like become like resentful of the 356 00:21:57,520 --> 00:21:59,840 Speaker 1: things that made them, Like take a Dina Menzel another 357 00:22:00,320 --> 00:22:06,239 Speaker 1: like she's she resents so deeply having been Alphaba and 358 00:22:06,359 --> 00:22:11,159 Speaker 1: sort of like she was not hitting the note when 359 00:22:11,240 --> 00:22:16,320 Speaker 1: she left the production on Broadway Girl, and then and 360 00:22:16,400 --> 00:22:19,240 Speaker 1: these assholes actually keep giving her these notes. She can't 361 00:22:19,320 --> 00:22:21,800 Speaker 1: hit two? Did you did you ever hear her hit 362 00:22:21,840 --> 00:22:26,520 Speaker 1: the note in the Frozen song once? She must have 363 00:22:26,560 --> 00:22:29,720 Speaker 1: gotten it exactly once, and they and she's lucky to 364 00:22:29,720 --> 00:22:31,239 Speaker 1: have been in the studio and they're like, all right, 365 00:22:31,280 --> 00:22:34,520 Speaker 1: we got it, the kluck on the road bitch. And 366 00:22:34,640 --> 00:22:36,960 Speaker 1: then they have her, they have her at the Oscars 367 00:22:37,040 --> 00:22:39,119 Speaker 1: like with all of the other else's from around the 368 00:22:39,119 --> 00:22:42,840 Speaker 1: world to we're all hitting the notes. Yes, they were, 369 00:22:43,240 --> 00:22:46,600 Speaker 1: well that was that was frozen two oscars right, Or 370 00:22:46,640 --> 00:22:49,280 Speaker 1: then they have like remember the beginning of the pandemic, 371 00:22:49,320 --> 00:22:51,680 Speaker 1: there was the video of all of the Alphaba's doing 372 00:22:51,760 --> 00:22:57,080 Speaker 1: defined gravity, and like Adina very calculatedly comes in at 373 00:22:57,320 --> 00:23:03,399 Speaker 1: a lower stakes part of the end a limited but 374 00:23:03,440 --> 00:23:07,840 Speaker 1: then they have like forty different girls go wow, and 375 00:23:07,880 --> 00:23:10,119 Speaker 1: you're like, when you hear that so many times in 376 00:23:10,160 --> 00:23:14,399 Speaker 1: a row, you're like, is Adina the Atlantis of musical theater? No, 377 00:23:14,680 --> 00:23:16,080 Speaker 1: I don't think so, because of what he was just 378 00:23:16,119 --> 00:23:20,679 Speaker 1: talking about how she's she's she's not gracious like Atlantis is. 379 00:23:20,960 --> 00:23:24,600 Speaker 1: There's a grace to Atlantis that I think people that 380 00:23:24,680 --> 00:23:28,360 Speaker 1: a novice will often miss because she's so often characterized 381 00:23:28,400 --> 00:23:31,399 Speaker 1: as full of wrath and anger. And a lot of 382 00:23:31,440 --> 00:23:33,240 Speaker 1: that has to do with the track you ought to 383 00:23:33,280 --> 00:23:36,280 Speaker 1: Know from Jagged Little Pill and a few more others. 384 00:23:36,320 --> 00:23:39,199 Speaker 1: There's you ought to Know, which is personal grief and 385 00:23:39,320 --> 00:23:42,680 Speaker 1: anger towards a person, and then there's right through you, 386 00:23:43,080 --> 00:23:47,280 Speaker 1: which is a broader anger towards like men. I'd say, 387 00:23:47,320 --> 00:23:51,440 Speaker 1: because I do think that her fury feels like righteous 388 00:23:51,520 --> 00:23:55,320 Speaker 1: and cosmic and biblical in a way that I think 389 00:23:55,400 --> 00:23:57,439 Speaker 1: is the reason why you ought to know is so 390 00:23:57,520 --> 00:24:00,879 Speaker 1: personal for so many people because it is so specific, 391 00:24:01,000 --> 00:24:07,159 Speaker 1: yet it transcends her specific situation and becomes like universal rage. 392 00:24:07,680 --> 00:24:10,760 Speaker 1: And I get what you're saying about her being this 393 00:24:10,880 --> 00:24:15,840 Speaker 1: like almost this like spiritual figure of most and and 394 00:24:15,840 --> 00:24:19,520 Speaker 1: and that was established from the jump with these tracks 395 00:24:19,560 --> 00:24:22,600 Speaker 1: like this and and it's like these tracks are running 396 00:24:22,640 --> 00:24:28,520 Speaker 1: the full gamut. Jackie Little Pill is successful in providing 397 00:24:28,800 --> 00:24:33,600 Speaker 1: a comprehensive spectrum of the experience of womanhood. And in 398 00:24:33,680 --> 00:24:38,639 Speaker 1: these tracks there is a comprehensive spectrum of all of 399 00:24:38,680 --> 00:24:41,679 Speaker 1: the things that make her full of wrath. There's anger, 400 00:24:42,359 --> 00:24:45,679 Speaker 1: there's immense grief in the track too, you know, and 401 00:24:45,720 --> 00:24:50,040 Speaker 1: there's sadness and sorrow that is very hard for you 402 00:24:50,080 --> 00:24:52,720 Speaker 1: to strike a balance with as a as like a musician, 403 00:24:52,760 --> 00:24:57,080 Speaker 1: I guess also lyrically, that's something that Atlantis is known 404 00:24:57,119 --> 00:24:59,720 Speaker 1: for most in like you know, among like Rolling Stone 405 00:24:59,800 --> 00:25:03,160 Speaker 1: or folks Circles is her lyrics. I love the track 406 00:25:03,240 --> 00:25:05,240 Speaker 1: right through you because it's like she's just like belittle, 407 00:25:05,359 --> 00:25:07,359 Speaker 1: like she says, your shake is like a fish. And 408 00:25:07,359 --> 00:25:09,520 Speaker 1: when I like again like then but not being ready 409 00:25:09,520 --> 00:25:11,280 Speaker 1: when the Jaggon lot pill came out when I would 410 00:25:11,320 --> 00:25:13,000 Speaker 1: hear my mom listen jaging little pill had here. Your 411 00:25:13,000 --> 00:25:15,520 Speaker 1: shake is like a fish, And I thought AD meant that, 412 00:25:15,560 --> 00:25:18,639 Speaker 1: like she like he makes gross milkshakes that tastes like 413 00:25:18,680 --> 00:25:21,439 Speaker 1: fish or something, you know, But she's just like belittling 414 00:25:21,560 --> 00:25:26,040 Speaker 1: his manhood. You're you're like, you know, like the handshake 415 00:25:26,160 --> 00:25:27,919 Speaker 1: is like the thing that the man is proud of, 416 00:25:28,000 --> 00:25:30,920 Speaker 1: and like something that was like you know, beaten into 417 00:25:31,040 --> 00:25:32,439 Speaker 1: me as a child too, is that I had to 418 00:25:32,480 --> 00:25:35,560 Speaker 1: have a firm handshake, you know. And I just loved 419 00:25:35,600 --> 00:25:38,000 Speaker 1: so much hearing like Atlantis like ship all over that 420 00:25:38,080 --> 00:25:40,560 Speaker 1: and just like be be like like like you know, 421 00:25:40,640 --> 00:25:43,679 Speaker 1: being me and woman, like a fierce woman is like 422 00:25:43,760 --> 00:25:47,880 Speaker 1: so far preferable to like whatever is going on there. Really, Yeah, 423 00:25:47,920 --> 00:25:52,439 Speaker 1: she really cuts masculinity off at the knees in a 424 00:25:52,480 --> 00:25:56,240 Speaker 1: way that you can't argue with. It's like she that 425 00:25:56,320 --> 00:25:59,920 Speaker 1: album to me is the last word of a relationship, 426 00:26:00,119 --> 00:26:02,720 Speaker 1: of an argument. I feel like they're I mean something 427 00:26:02,760 --> 00:26:04,480 Speaker 1: that I love about that lyric, and I guess the 428 00:26:04,520 --> 00:26:07,840 Speaker 1: ethos of the album in general is like how guys 429 00:26:07,880 --> 00:26:11,080 Speaker 1: saying like like firm handshakes and like my dad would 430 00:26:11,080 --> 00:26:13,680 Speaker 1: say that to me, that's like how men like culture 431 00:26:13,760 --> 00:26:15,960 Speaker 1: each other, and so for her to say it's like 432 00:26:16,040 --> 00:26:18,800 Speaker 1: such a a subversion of that. And I think that, 433 00:26:18,880 --> 00:26:20,400 Speaker 1: like I love what you said at the beginning about 434 00:26:20,440 --> 00:26:22,679 Speaker 1: like how this is like an a legacy of like 435 00:26:22,760 --> 00:26:25,879 Speaker 1: gay albums because like you know, like Adam Lambert like 436 00:26:25,920 --> 00:26:28,680 Speaker 1: always referencing like you know, Atlantis or like Perfume Genius 437 00:26:28,760 --> 00:26:30,479 Speaker 1: or like all these folks that people that now have 438 00:26:30,600 --> 00:26:33,960 Speaker 1: like a queer like something that's explicitly queer or gay, 439 00:26:34,000 --> 00:26:37,200 Speaker 1: and like their albums come from this like thing that 440 00:26:37,640 --> 00:26:41,800 Speaker 1: maybe it's not explicitly gay, but has the wrath that 441 00:26:42,000 --> 00:26:44,880 Speaker 1: um we all identify with so quickly when you are, 442 00:26:45,080 --> 00:26:47,640 Speaker 1: you know, a teen or when you're consuming this album, 443 00:26:47,760 --> 00:26:51,399 Speaker 1: I feel like it is explicitly gay sometimes, which just 444 00:26:51,440 --> 00:26:55,480 Speaker 1: because it's like just the legacy that it has is 445 00:26:55,560 --> 00:26:58,000 Speaker 1: so gay, Like there's there was a high priel at 446 00:26:58,040 --> 00:27:01,320 Speaker 1: the concert. I love a good high prel. I think 447 00:27:01,359 --> 00:27:05,080 Speaker 1: Atlantis this past tour, the Jagged Little fill Year Tour 448 00:27:05,760 --> 00:27:11,280 Speaker 1: might oust Brittany Spears's Circus tour as my favorite hybrial. 449 00:27:11,520 --> 00:27:14,639 Speaker 1: Before the diva comes on stage, you know, they're like 450 00:27:14,720 --> 00:27:19,800 Speaker 1: showing you a montage of flashes of iconic images, shoots 451 00:27:19,840 --> 00:27:22,480 Speaker 1: and clips that the person has like gone through self 452 00:27:22,480 --> 00:27:25,720 Speaker 1: made fan camp, and you realize watching the Atlantis one 453 00:27:26,359 --> 00:27:31,080 Speaker 1: that all of these zeitgeist moments that she's had kind 454 00:27:31,119 --> 00:27:33,480 Speaker 1: of have arisen from the narrative that she was writing 455 00:27:33,480 --> 00:27:36,600 Speaker 1: in Jagged Little Pill, specifically like her part in the 456 00:27:36,640 --> 00:27:42,280 Speaker 1: movie Dogma where she plays God. Essentially Alan Rickman is 457 00:27:43,080 --> 00:27:46,760 Speaker 1: the voice of God because if God speaks, then Havoc 458 00:27:46,840 --> 00:27:51,280 Speaker 1: is wreaked, and so Atlantis is silent the whole movie 459 00:27:51,560 --> 00:27:55,040 Speaker 1: because if she opens her mouth and like people's heads explode, etcetera. 460 00:27:56,400 --> 00:28:00,159 Speaker 1: And so like to talk about a spiritual image like 461 00:28:00,560 --> 00:28:04,280 Speaker 1: Atlantis as God who is capable of ripping, like you know, 462 00:28:04,320 --> 00:28:07,720 Speaker 1: making the fact it's heads explodes, right or not facts, 463 00:28:07,760 --> 00:28:12,240 Speaker 1: but you know. And so that like wrathful thing was 464 00:28:12,320 --> 00:28:14,600 Speaker 1: kind of like something that she was comfortable playing with. 465 00:28:14,720 --> 00:28:20,480 Speaker 1: She was like acting the wrathful part also, And it's 466 00:28:20,520 --> 00:28:24,040 Speaker 1: just funny because like Jacked Little Pill has so much 467 00:28:24,119 --> 00:28:27,359 Speaker 1: more than that, and you can kind of see the 468 00:28:27,400 --> 00:28:30,399 Speaker 1: story beginning of like the rest of Atlantis's career in 469 00:28:30,440 --> 00:28:34,600 Speaker 1: that there's tracks like Perfect and Mary Jane, which are 470 00:28:34,800 --> 00:28:39,240 Speaker 1: very somber. They actually were the most, the tracks that 471 00:28:39,280 --> 00:28:41,720 Speaker 1: she performed at the concert that I connected with the most, 472 00:28:42,320 --> 00:28:44,080 Speaker 1: and the ones that I felt like she still has 473 00:28:44,120 --> 00:28:47,440 Speaker 1: the best relationship to where these songs about like pain 474 00:28:47,600 --> 00:28:52,680 Speaker 1: and like the the the horrors of womanhood basically, and 475 00:28:52,680 --> 00:28:56,560 Speaker 1: Mary Jane is so sad. In the song Mary Jane, 476 00:28:56,840 --> 00:29:00,280 Speaker 1: there's this lyric where she goes, I hear your using 477 00:29:00,280 --> 00:29:02,480 Speaker 1: weight again, Mary Jane, you ever wonder who you're losing 478 00:29:02,480 --> 00:29:07,040 Speaker 1: it for? And when she's sang that, um, the screens 479 00:29:08,000 --> 00:29:13,880 Speaker 1: flashed like different bodies that Atlantis has had, So there 480 00:29:13,960 --> 00:29:18,560 Speaker 1: was like pregnant Atlantis, like depressed Atlantis, who was like 481 00:29:18,760 --> 00:29:21,800 Speaker 1: larger than she usually was, like really real than Atlantis, 482 00:29:21,800 --> 00:29:24,840 Speaker 1: who was like obviously like supposedly succumbing to whatever pressure 483 00:29:24,920 --> 00:29:28,360 Speaker 1: from being famous or whatever. And you saw how many 484 00:29:28,400 --> 00:29:31,720 Speaker 1: different sizes this person has been and you realize in 485 00:29:31,720 --> 00:29:33,280 Speaker 1: that moment that she wrote that at the beginning of 486 00:29:33,320 --> 00:29:37,000 Speaker 1: her career, that she continued to like interplay with this 487 00:29:37,520 --> 00:29:39,960 Speaker 1: as the career went on, and she's like still feeling 488 00:29:40,520 --> 00:29:42,800 Speaker 1: the things that she felt when she wrote Mary Jane 489 00:29:42,800 --> 00:29:47,880 Speaker 1: performing it in one whereas like with Ironic, she's like 490 00:29:48,600 --> 00:29:50,760 Speaker 1: tossing to the crowd. She'll toss the mic to the crop, 491 00:29:50,760 --> 00:29:53,000 Speaker 1: be like it's like a ray. You know, you don't 492 00:29:53,160 --> 00:29:55,360 Speaker 1: you don't hear her even say that part. I do 493 00:29:55,480 --> 00:29:59,400 Speaker 1: want to know when, as you said, like when Jocked 494 00:29:59,400 --> 00:30:01,360 Speaker 1: Little Pill came not maybe you were a little a 495 00:30:01,440 --> 00:30:04,120 Speaker 1: little too young to really get it. But I have 496 00:30:04,280 --> 00:30:08,680 Speaker 1: always like identified you with Atlantis and with this album specifically. 497 00:30:08,720 --> 00:30:11,480 Speaker 1: Maybe that's because I know you so well. Maybe that's 498 00:30:11,520 --> 00:30:14,320 Speaker 1: because like it's something that we've connected about. Um, but 499 00:30:14,440 --> 00:30:17,880 Speaker 1: when did it really enter your life in a like 500 00:30:18,040 --> 00:30:21,560 Speaker 1: substantial way and when did you kind of like form 501 00:30:21,720 --> 00:30:25,040 Speaker 1: some selfhood around it? You want to know the damnedest thing. 502 00:30:25,240 --> 00:30:27,360 Speaker 1: It's weird, so weird you should ask that Rose because 503 00:30:27,400 --> 00:30:31,719 Speaker 1: my first Atlantis track was actually thank You. That was 504 00:30:31,760 --> 00:30:34,640 Speaker 1: the first time that I was like, And it's because 505 00:30:35,120 --> 00:30:38,000 Speaker 1: I saw that music video with her naked body and 506 00:30:38,000 --> 00:30:41,720 Speaker 1: her tips covered by that fucking long long as hair, 507 00:30:42,680 --> 00:30:46,440 Speaker 1: and I that that image was steered into my brain 508 00:30:46,560 --> 00:30:50,000 Speaker 1: and it's just so um, I guess uncanny the way 509 00:30:50,000 --> 00:30:55,240 Speaker 1: that I have like modeled my like professional life and 510 00:30:55,320 --> 00:30:59,320 Speaker 1: like stage career after that image. Well, to me, it 511 00:30:59,400 --> 00:31:01,840 Speaker 1: does feel so much of your right. Yeah, you are 512 00:31:01,920 --> 00:31:06,080 Speaker 1: the Atlantis of drag Wow, Well, I don't even know 513 00:31:06,360 --> 00:31:09,719 Speaker 1: I can drive home with this gas girl for sure. Um, 514 00:31:10,760 --> 00:31:13,520 Speaker 1: it's not it's not unintentional, I guess. I mean I've 515 00:31:13,560 --> 00:31:17,960 Speaker 1: always like it, appreciated her, like as a style icon. 516 00:31:18,240 --> 00:31:21,760 Speaker 1: Atlantis kind of dresses like more of a pedestrian version 517 00:31:22,040 --> 00:31:26,320 Speaker 1: of like natural born Killers, like Juliette Louis natural born Killers, 518 00:31:26,320 --> 00:31:28,640 Speaker 1: you know what I'm talking about. Just like there's like 519 00:31:28,720 --> 00:31:31,720 Speaker 1: a level of Americana to it, but also like very 520 00:31:31,840 --> 00:31:35,760 Speaker 1: like seventies kind of like hippie hair, lots of macromay 521 00:31:36,160 --> 00:31:39,840 Speaker 1: and um like flares. Atlantis wears boot cut jeans. You know. 522 00:31:40,200 --> 00:31:44,480 Speaker 1: There's also like a Nancy Botwin vibe going on. There's parallel. 523 00:31:44,560 --> 00:31:48,800 Speaker 1: I think there's more parallels between Nancy Botwin or by extension, 524 00:31:49,080 --> 00:31:51,840 Speaker 1: Mary Louise Parker and Atlantis than someone like a Dina 525 00:31:51,920 --> 00:31:54,520 Speaker 1: and Alannas. Like if we're going for great brunettes, I 526 00:31:54,560 --> 00:31:59,720 Speaker 1: would put Atlantis and Mary Louise Parker together sooner. They 527 00:31:59,760 --> 00:32:03,520 Speaker 1: have this enchantress quality about them. It's actually a Ryan 528 00:32:03,560 --> 00:32:09,400 Speaker 1: Strait descriptive work for Mary Louise Parker the enchantress, because 529 00:32:09,680 --> 00:32:13,520 Speaker 1: Mary Louise has this sort of like mccab cloud that 530 00:32:13,560 --> 00:32:16,640 Speaker 1: follows her around. There's sort of this like dark figure 531 00:32:17,320 --> 00:32:20,240 Speaker 1: they were behind her. It also like Kate Bushy almost 532 00:32:20,320 --> 00:32:22,520 Speaker 1: kind of like where there's like this ethereality or like 533 00:32:22,560 --> 00:32:26,719 Speaker 1: powerful feat kind of well, Atlantis definitely is part of 534 00:32:26,720 --> 00:32:32,840 Speaker 1: that lineage of like young songwriters who were like so 535 00:32:33,000 --> 00:32:37,320 Speaker 1: precocious in putting out a work that it really encapsulates 536 00:32:37,320 --> 00:32:39,800 Speaker 1: who they are as an artist, very young in their career, 537 00:32:39,920 --> 00:32:42,240 Speaker 1: like very much in the way that Kate bush did 538 00:32:42,560 --> 00:32:45,440 Speaker 1: with Hounds of Love. And I think you even see 539 00:32:45,480 --> 00:32:49,400 Speaker 1: it in people like Taylor swift Um and honestly, like 540 00:32:49,600 --> 00:32:51,840 Speaker 1: Michelle Branch is a part of that. I feel like 541 00:32:52,240 --> 00:32:55,000 Speaker 1: Avril is like in the legacy of like you know, 542 00:32:55,040 --> 00:32:57,320 Speaker 1: it's like a you know, a completely different version, but 543 00:32:57,400 --> 00:33:00,560 Speaker 1: like obviously comes from like an Atlantis Linit lineage. Well 544 00:33:00,600 --> 00:33:06,640 Speaker 1: Atlantis really um. I think for our generation definitely created 545 00:33:06,720 --> 00:33:11,000 Speaker 1: a mold that a lot of other artists tried to 546 00:33:11,040 --> 00:33:15,400 Speaker 1: fit themselves into and very much like disrupted whatever was 547 00:33:15,520 --> 00:33:19,360 Speaker 1: sort of the current pop star rock star role for 548 00:33:19,400 --> 00:33:22,280 Speaker 1: women at the time. Yeah, like who was popular at 549 00:33:22,280 --> 00:33:25,400 Speaker 1: the time because I'm like Liz Fair. Oh yeah, I 550 00:33:25,400 --> 00:33:28,360 Speaker 1: guess it was popular at the time. Maybe not well, 551 00:33:28,480 --> 00:33:32,000 Speaker 1: she was supposed to actually open for Atlantis this past 552 00:33:32,000 --> 00:33:34,080 Speaker 1: summer and dropped out of the tour for some ship 553 00:33:34,480 --> 00:33:36,280 Speaker 1: could not be dick out of her mouth or whatever. 554 00:33:36,640 --> 00:33:40,800 Speaker 1: P J. Harvey, It's like a contemporary Cheryl Crowe, but 555 00:33:40,960 --> 00:33:44,520 Speaker 1: I think Cheryl Crows maybe post Atlantis. It's like a 556 00:33:44,560 --> 00:33:47,560 Speaker 1: it was a very male dominated like Grateful Dead, Um 557 00:33:47,720 --> 00:33:50,120 Speaker 1: was like looping back on their careers. Like it feels 558 00:33:50,120 --> 00:33:51,840 Speaker 1: like it was a very male I mean, everything is 559 00:33:51,840 --> 00:33:54,160 Speaker 1: a male dominated space, but it sounds like obviously like 560 00:33:54,280 --> 00:33:57,280 Speaker 1: rock like well, it's like it was Jack Jams was happening, 561 00:33:57,320 --> 00:34:00,880 Speaker 1: So there's like there's like you know, kind of like 562 00:34:01,000 --> 00:34:05,840 Speaker 1: an infiltration of like harder electronic technical music happening. And 563 00:34:05,880 --> 00:34:10,279 Speaker 1: then also at the same time, like uh, instrumentation in 564 00:34:10,360 --> 00:34:14,960 Speaker 1: music is like really Forloren and slowed down, I guess, 565 00:34:15,760 --> 00:34:18,520 Speaker 1: and um Atlantis is offering us a reprieve from that 566 00:34:18,600 --> 00:34:20,719 Speaker 1: and also kind of like fitting into that mold at 567 00:34:20,719 --> 00:34:23,120 Speaker 1: the same time, which Jack a little pill. But I 568 00:34:23,160 --> 00:34:26,120 Speaker 1: think that that a that a key differences, whereas so 569 00:34:26,160 --> 00:34:30,680 Speaker 1: many artists like struggled to Um break free of their mold, 570 00:34:31,239 --> 00:34:34,880 Speaker 1: like Avril was someone you just mentioned. I think a 571 00:34:34,960 --> 00:34:38,200 Speaker 1: key differences, like Atlantis has had a very like truthful 572 00:34:39,200 --> 00:34:44,520 Speaker 1: and authentic journey even artistically since that point, and people 573 00:34:44,640 --> 00:34:48,480 Speaker 1: were more reluctant to let her. People still are reluctant 574 00:34:48,480 --> 00:34:52,080 Speaker 1: to let her break free of you ought to know 575 00:34:52,680 --> 00:35:08,880 Speaker 1: as a mood. Do you remember, I think this was 576 00:35:08,960 --> 00:35:12,839 Speaker 1: when we were in high school. Um, the Jagged Little 577 00:35:12,880 --> 00:35:17,759 Speaker 1: Pill acoustic rerelease for the anniversary. Yeah, and it was 578 00:35:18,280 --> 00:35:24,200 Speaker 1: at Starbucks. At Starbucks was a Starbucks exclusive, and it's 579 00:35:24,239 --> 00:35:28,840 Speaker 1: it's really great to hear the reinterpretation. I'm going to go. 580 00:35:28,920 --> 00:35:31,120 Speaker 1: And I remember, like the big moment that we all 581 00:35:31,120 --> 00:35:35,000 Speaker 1: talked about. It was during Ironic when she says, it's 582 00:35:35,040 --> 00:35:37,280 Speaker 1: like meeting the man of your dreams and then meeting 583 00:35:37,360 --> 00:35:41,200 Speaker 1: his beautiful husband. And she still does that when she yeah, 584 00:35:41,200 --> 00:35:43,319 Speaker 1: she still does that, I mean, and she goes on 585 00:35:43,440 --> 00:35:47,280 Speaker 1: the concert, she goes so many times she was meeting 586 00:35:47,560 --> 00:35:49,719 Speaker 1: it's meeting the man in my dreams then meeting miss 587 00:35:49,800 --> 00:35:55,480 Speaker 1: beautiful husband. So many times that was just like, yeah, 588 00:35:56,080 --> 00:35:59,360 Speaker 1: fucking same girl. That's why it's a little more explicitly 589 00:35:59,440 --> 00:36:02,160 Speaker 1: queer then that. It's just like and in the High 590 00:36:02,200 --> 00:36:05,560 Speaker 1: Frield too, there's like Frankie Grande, she has Frankie Grande 591 00:36:05,600 --> 00:36:08,279 Speaker 1: like interviewing her on sun red Carpet. It's just like 592 00:36:08,320 --> 00:36:12,000 Speaker 1: this split second of Frankie grind going your music, Oh 593 00:36:12,040 --> 00:36:17,440 Speaker 1: my god, she in it. She was a pr probably 594 00:36:17,520 --> 00:36:19,920 Speaker 1: emailed ahead of times like please consider this clip for 595 00:36:20,040 --> 00:36:26,840 Speaker 1: your real and um it's also if you'll remember, Atlantis 596 00:36:27,120 --> 00:36:31,520 Speaker 1: was actually cast as one of the bisexual swingers that 597 00:36:31,640 --> 00:36:38,799 Speaker 1: Carrie Bradshaw was her adjacent c to queerness is just 598 00:36:38,920 --> 00:36:41,759 Speaker 1: like part of culture of the way that we think 599 00:36:41,760 --> 00:36:44,640 Speaker 1: about and that is for those for those that don't remember, 600 00:36:44,680 --> 00:36:47,000 Speaker 1: probably my favorite, one of my favorite episodes of Sex 601 00:36:47,000 --> 00:36:49,000 Speaker 1: and the City and also one of the most problematic, 602 00:36:49,600 --> 00:36:51,839 Speaker 1: Like it was like literally just carry like coming out 603 00:36:51,880 --> 00:36:56,600 Speaker 1: as like biphobic and like literally she kisses Atlantis. There's 604 00:36:56,600 --> 00:36:59,239 Speaker 1: like a moment where like it's it's the cinema of 605 00:36:59,280 --> 00:37:02,520 Speaker 1: it is like is Carrie going to feel something? Is 606 00:37:02,520 --> 00:37:05,520 Speaker 1: she going to be changed? Is this like this like 607 00:37:05,680 --> 00:37:07,640 Speaker 1: brook It's like a big deal that she like sleps 608 00:37:07,640 --> 00:37:10,160 Speaker 1: to Brooklyn or whatever. Is this like ecosystem of Brooklyn 609 00:37:10,239 --> 00:37:12,040 Speaker 1: queer is going to like open her mind up and 610 00:37:12,080 --> 00:37:14,640 Speaker 1: she kind of like stands up and like literally walks 611 00:37:14,640 --> 00:37:16,640 Speaker 1: out without saying is that anyone by and like the 612 00:37:17,080 --> 00:37:20,040 Speaker 1: narration overhead, like as she's walking down the stairs like 613 00:37:20,239 --> 00:37:23,799 Speaker 1: of this like Brooklyn Warehouses, Like well, I'm a homophobe 614 00:37:23,920 --> 00:37:26,600 Speaker 1: and that it's just gonna be like that, like I 615 00:37:26,680 --> 00:37:29,960 Speaker 1: called me old fashioned or like whatever. Yeah, I guess 616 00:37:30,000 --> 00:37:32,879 Speaker 1: it's just not for me. So what was your crazy life? 617 00:37:32,880 --> 00:37:37,040 Speaker 1: Stas faggots? There's actually do we actually have a quote 618 00:37:37,080 --> 00:37:40,440 Speaker 1: from her of her talking about the episode. She says, 619 00:37:40,840 --> 00:37:43,360 Speaker 1: I kissed Sarah Jessica Parker. I played a lesbian and 620 00:37:43,440 --> 00:37:45,080 Speaker 1: sex in the city, and I had to kiss her. 621 00:37:45,360 --> 00:37:48,480 Speaker 1: I have experimented with same sex relationships in my life, 622 00:37:48,520 --> 00:37:52,720 Speaker 1: but it wasn't about enjoyment with Sarah Jessica. Her character 623 00:37:52,760 --> 00:37:55,400 Speaker 1: was supposed to be reluctant about getting involved, so it 624 00:37:55,440 --> 00:37:58,200 Speaker 1: wasn't a passionate kiss. It was a reticent one, which 625 00:37:58,200 --> 00:38:00,800 Speaker 1: is why I didn't enjoy it. So I can't imagine 626 00:38:00,840 --> 00:38:06,240 Speaker 1: that Sarah Jessica Parker has very good breath. Well, Carrie 627 00:38:06,320 --> 00:38:10,879 Speaker 1: was a chain smoker, Yeah right, I remember. I also 628 00:38:10,880 --> 00:38:12,680 Speaker 1: remember from that episode like one of the big things 629 00:38:12,760 --> 00:38:14,879 Speaker 1: that's like she's like finds out that the guy is bye. 630 00:38:14,960 --> 00:38:18,279 Speaker 1: She's all like, well, like, who do you like having 631 00:38:18,320 --> 00:38:20,520 Speaker 1: sex with more like men are me, you know what 632 00:38:20,600 --> 00:38:23,120 Speaker 1: I mean, and it's like it's it's like everything it's 633 00:38:23,280 --> 00:38:27,160 Speaker 1: so biphobic. But the guy is really hot and Atlantis 634 00:38:27,160 --> 00:38:32,240 Speaker 1: looks incredible, as she always does. And I think during 635 00:38:32,640 --> 00:38:35,320 Speaker 1: the nineties we think of her like that is the 636 00:38:35,760 --> 00:38:39,560 Speaker 1: crystallized image of her with the long brown hair perfectly. 637 00:38:39,800 --> 00:38:41,879 Speaker 1: It very much seems like she dressed herself for sex 638 00:38:41,920 --> 00:38:44,520 Speaker 1: in the city too, or kind of that she kind 639 00:38:44,560 --> 00:38:47,279 Speaker 1: of like I always like figured that she kind of 640 00:38:47,280 --> 00:38:49,560 Speaker 1: like rode herself into it or like, you know what 641 00:38:49,600 --> 00:38:52,480 Speaker 1: I mean. And it was such an event at the 642 00:38:52,560 --> 00:38:57,040 Speaker 1: time that it was her in it and that Atlantis 643 00:38:57,080 --> 00:39:01,000 Speaker 1: Morisset kissed Sarah Jessica Parker like that was the headline. 644 00:39:01,400 --> 00:39:07,000 Speaker 1: That's what they wanted. Honestly. You are a very prolific performer, um, 645 00:39:07,040 --> 00:39:11,000 Speaker 1: and I have seen you do several Atlantis numbers. You 646 00:39:11,160 --> 00:39:14,279 Speaker 1: as we talked about before, did a show once called 647 00:39:14,360 --> 00:39:18,120 Speaker 1: ten Thousand Spoons. Um, what are some of your favorite 648 00:39:18,320 --> 00:39:21,439 Speaker 1: Atlantis numbers? I mean, maybe specifically from Jacked Little Pill 649 00:39:21,920 --> 00:39:26,400 Speaker 1: to perform and why. Most recently it's been all I 650 00:39:26,440 --> 00:39:31,480 Speaker 1: Really Want, the first track on the album that has 651 00:39:31,520 --> 00:39:35,960 Speaker 1: been my most favorite to perform, namely the moment where 652 00:39:36,040 --> 00:39:38,200 Speaker 1: she says, why are you so petrified? Her silence? Here? 653 00:39:38,239 --> 00:39:41,799 Speaker 1: Can you handle this? I've gotten into the habit of 654 00:39:42,800 --> 00:39:45,920 Speaker 1: breaking that number down into two tracks and ending it 655 00:39:45,960 --> 00:39:51,040 Speaker 1: at that moment and kind of waiting like Frankenfurter at 656 00:39:51,120 --> 00:39:56,040 Speaker 1: Antissa like hair can you handle this? And like waiting, 657 00:39:56,080 --> 00:39:58,239 Speaker 1: and then giving the DJ that I like a wink 658 00:39:58,840 --> 00:40:02,520 Speaker 1: to start the next track and go into did you 659 00:40:02,560 --> 00:40:07,759 Speaker 1: think about your bell? That lines um and that song 660 00:40:07,800 --> 00:40:09,319 Speaker 1: has so much drama to it, so much of it 661 00:40:09,360 --> 00:40:12,160 Speaker 1: does you ought to know? Is the one that makes 662 00:40:12,200 --> 00:40:15,200 Speaker 1: me the most money? I'll say that, I'm sure it's 663 00:40:15,239 --> 00:40:20,160 Speaker 1: the same case for atlantis um. Aside from that, I 664 00:40:20,239 --> 00:40:24,000 Speaker 1: perform Not the Doctor. It's the one that lyrically I 665 00:40:24,040 --> 00:40:27,640 Speaker 1: can connect to what some some of the most you know, 666 00:40:27,719 --> 00:40:31,800 Speaker 1: the trope of like what is the tracks relationship to womanhood? 667 00:40:31,840 --> 00:40:36,080 Speaker 1: I'd say Not the Doctor is like exhaustion and so 668 00:40:36,480 --> 00:40:40,800 Speaker 1: um as another as another brunette diva who's over it 669 00:40:40,880 --> 00:40:43,320 Speaker 1: all the time. I love Not the Doctor to perform 670 00:40:43,360 --> 00:40:46,520 Speaker 1: it all I really want I've done right through you too, 671 00:40:47,280 --> 00:40:50,920 Speaker 1: But I don't know, man. I struggle with audiences and 672 00:40:51,320 --> 00:40:54,520 Speaker 1: mid tempo rock numbers. You know. That's why these other 673 00:40:54,560 --> 00:40:57,000 Speaker 1: tracks in the in Jagged Little Pill, like Perfect and 674 00:40:57,040 --> 00:40:59,879 Speaker 1: Mary Jane just don't make great drag numbers. But it's 675 00:41:00,040 --> 00:41:02,320 Speaker 1: you know, but they do make three out of however, 676 00:41:02,480 --> 00:41:04,880 Speaker 1: is not bad. Yeah, they make great songs to listen 677 00:41:04,920 --> 00:41:08,319 Speaker 1: to when you're really stoned at home or like on 678 00:41:08,360 --> 00:41:13,440 Speaker 1: a road trip. Atlantis is amazing driving music. Um. I mean, 679 00:41:13,440 --> 00:41:16,399 Speaker 1: I always think of the Ironic video with the four 680 00:41:16,480 --> 00:41:19,759 Speaker 1: different versions of her in the car. Um. Did you 681 00:41:19,880 --> 00:41:22,799 Speaker 1: notice that Casey Musgraves gave a little shout out to 682 00:41:22,840 --> 00:41:27,160 Speaker 1: the Ironic video in her ross recent project. There's a 683 00:41:27,480 --> 00:41:30,479 Speaker 1: there's a scene. I think it's Justified, right, The track 684 00:41:30,520 --> 00:41:32,880 Speaker 1: on the Casey album is Justified where she's like in 685 00:41:32,920 --> 00:41:37,160 Speaker 1: a car like driving it out, which is so Atlantis 686 00:41:37,280 --> 00:41:45,080 Speaker 1: and so me just mean that Casey is in different seats, 687 00:41:45,239 --> 00:41:47,880 Speaker 1: in the different four corners of the car, in different outfits, 688 00:41:47,880 --> 00:41:50,640 Speaker 1: the way that Atlantis is in the Ironic video. Also 689 00:41:50,719 --> 00:41:54,040 Speaker 1: one of the most iconic Beanies of all time, aside 690 00:41:54,040 --> 00:41:57,280 Speaker 1: from Alpha Buzz to Bring it All. So many Burnett's, 691 00:41:57,360 --> 00:41:59,640 Speaker 1: so many in the legacy, so many Burnettes, so few 692 00:41:59,680 --> 00:42:03,920 Speaker 1: Beanie I am before we hopped on the mic. I 693 00:42:03,960 --> 00:42:05,960 Speaker 1: found out that you, like me, used to be a 694 00:42:06,080 --> 00:42:08,319 Speaker 1: Jesus freak, and I love that you found thank you 695 00:42:08,640 --> 00:42:11,200 Speaker 1: whow you were in the church? Question said, oh yeah, definitely. 696 00:42:11,200 --> 00:42:14,080 Speaker 1: What was that? Was there a dichotomy there, like when 697 00:42:14,120 --> 00:42:17,080 Speaker 1: you like got into Atlantis, were you kind of like 698 00:42:17,840 --> 00:42:21,440 Speaker 1: this is like anti Christian? Yeah. I I fancied myself 699 00:42:21,560 --> 00:42:24,040 Speaker 1: sort of a Boheim type of figure. When I was 700 00:42:24,080 --> 00:42:27,759 Speaker 1: a child, I kind of had one foot out of 701 00:42:27,760 --> 00:42:30,879 Speaker 1: the church the entire you know, going back to like 702 00:42:30,960 --> 00:42:34,160 Speaker 1: you know, queerness and trauma. The church for me was 703 00:42:34,239 --> 00:42:38,360 Speaker 1: more than just a familial implementation. It was also eventually 704 00:42:38,440 --> 00:42:40,799 Speaker 1: a hiding place for me. So there was a point 705 00:42:40,840 --> 00:42:42,880 Speaker 1: at which there was this sort of tongue in cheek 706 00:42:43,120 --> 00:42:46,640 Speaker 1: thing for me personally of like I'm biding my time 707 00:42:46,800 --> 00:42:49,800 Speaker 1: until I am you know, I mean I would I 708 00:42:50,080 --> 00:42:54,959 Speaker 1: I kind of like fancied a broader spectrum the whole time. 709 00:42:55,000 --> 00:42:56,879 Speaker 1: I always I was like I knew I would move 710 00:42:56,960 --> 00:42:59,399 Speaker 1: to New York, for instance. So it was the same 711 00:42:59,600 --> 00:43:03,800 Speaker 1: me who like got into Atlantis that was like leaving 712 00:43:03,800 --> 00:43:08,200 Speaker 1: this place to the secular. Yeah, yeah, yeah, so to speak, 713 00:43:08,840 --> 00:43:12,840 Speaker 1: but um, you know, for as pious as my family 714 00:43:12,960 --> 00:43:18,560 Speaker 1: was I was I did have access um to um 715 00:43:18,640 --> 00:43:21,800 Speaker 1: what could be given to me by media. The Internet 716 00:43:21,920 --> 00:43:24,960 Speaker 1: is what got my parents. That was where the line 717 00:43:25,000 --> 00:43:27,719 Speaker 1: in the sand was drawn. Honey. They could not deal 718 00:43:27,760 --> 00:43:30,319 Speaker 1: with that. Yeah, no, it's something they couldn't even the 719 00:43:30,480 --> 00:43:32,960 Speaker 1: I had parental controls, but like I would never I 720 00:43:33,040 --> 00:43:35,880 Speaker 1: was never really allowed to use the Internet, and I 721 00:43:35,920 --> 00:43:39,399 Speaker 1: had unfettered access. But you know what I do, I 722 00:43:39,480 --> 00:43:44,440 Speaker 1: do have a gate a gatekeeping story tied to Atlantis gatekeeping, 723 00:43:44,600 --> 00:43:47,839 Speaker 1: which is that I, as I said, Jagged Little Pill 724 00:43:47,880 --> 00:43:50,560 Speaker 1: was the first CD I ever bought. I was obsessed 725 00:43:50,600 --> 00:43:52,160 Speaker 1: with it. I think a lot of it was going 726 00:43:52,200 --> 00:43:54,880 Speaker 1: over my head and I just like, like, I just 727 00:43:54,920 --> 00:43:59,560 Speaker 1: liked the music. Um. But my mom was also obsessed 728 00:43:59,600 --> 00:44:02,799 Speaker 1: with it. And I imagine that being a young mother. 729 00:44:03,000 --> 00:44:04,719 Speaker 1: My mom at this point would have been in her 730 00:44:04,760 --> 00:44:08,000 Speaker 1: early thirties, who like a young mother who had gotten 731 00:44:08,000 --> 00:44:11,040 Speaker 1: married really early, Like I'm sure she was really feeling 732 00:44:11,560 --> 00:44:15,760 Speaker 1: Jagged Little Pill. And she went to go see Atlantis 733 00:44:15,840 --> 00:44:19,440 Speaker 1: in concert and I begged and begged and begged for 734 00:44:19,520 --> 00:44:22,000 Speaker 1: her to take me, and she said, no, this is 735 00:44:22,080 --> 00:44:26,560 Speaker 1: my night out. And I have a very vivid memory 736 00:44:26,600 --> 00:44:28,440 Speaker 1: of her leaving to go to the concert and me 737 00:44:28,600 --> 00:44:32,440 Speaker 1: standing at the window upstairs, like banging and crying, so 738 00:44:32,520 --> 00:44:35,600 Speaker 1: sad and resentful. And now I can look back on 739 00:44:35,680 --> 00:44:38,319 Speaker 1: that and be like, she needed her fucking night out 740 00:44:38,360 --> 00:44:41,200 Speaker 1: so she could go scream along to You Ought to 741 00:44:41,239 --> 00:44:44,160 Speaker 1: Know or like whatever song really like connected for her 742 00:44:44,560 --> 00:44:47,359 Speaker 1: and leave me her like annoying kid at home. But 743 00:44:47,440 --> 00:44:51,440 Speaker 1: I was so pissed for years after that. Still am 744 00:44:51,480 --> 00:44:54,680 Speaker 1: a little bit. Yeah that's a that's a tough burn girl, 745 00:44:55,719 --> 00:44:59,200 Speaker 1: But you know what, I'm glad that night. But that's 746 00:44:59,239 --> 00:45:01,279 Speaker 1: like the beautiful thing about like the wrath of the 747 00:45:01,320 --> 00:45:03,880 Speaker 1: album is that it can, like you get a mom, 748 00:45:03,920 --> 00:45:06,240 Speaker 1: like a mom with kids can connect to the wrath 749 00:45:06,320 --> 00:45:08,680 Speaker 1: in a completely different way that the eight year old 750 00:45:08,800 --> 00:45:11,520 Speaker 1: or the twelve year old who listens to it doesn't 751 00:45:11,600 --> 00:45:14,320 Speaker 1: understand the lyrics but connects to it. And like Michelle 752 00:45:14,320 --> 00:45:16,160 Speaker 1: Branch was that person from me. And I remember listening 753 00:45:16,160 --> 00:45:18,440 Speaker 1: to Hotel Paper and like are you happy now and 754 00:45:18,480 --> 00:45:22,200 Speaker 1: being like, yeah, I'm so fucking angry, fuck my parents, 755 00:45:22,200 --> 00:45:24,279 Speaker 1: but like I didn't really actually understand that the song 756 00:45:24,840 --> 00:45:26,880 Speaker 1: was And then you listen to it retrospectively and it's 757 00:45:26,920 --> 00:45:29,839 Speaker 1: completely different experience what is Are you happy now? Are 758 00:45:29,960 --> 00:45:31,560 Speaker 1: are you happy now? I know, I know the song 759 00:45:31,840 --> 00:45:35,000 Speaker 1: is that actually about you? Looking? It's a it's a 760 00:45:35,040 --> 00:45:38,719 Speaker 1: scorned lover, Yeah, scorned exactly, It's an ex scorned lover 761 00:45:38,960 --> 00:45:41,160 Speaker 1: being like, do you is this actually what you want 762 00:45:41,200 --> 00:45:57,239 Speaker 1: in our relationship? Kind of? Have you engaged with the 763 00:45:57,320 --> 00:46:05,719 Speaker 1: Jagged Little Hill musical at all? Um? I haven't. I've seen, um, 764 00:46:05,760 --> 00:46:11,040 Speaker 1: I've seen snippets. There were a few seconds in the 765 00:46:11,120 --> 00:46:14,080 Speaker 1: hype reel from the tour, and I think that was 766 00:46:14,120 --> 00:46:17,680 Speaker 1: about enough for me. I understand that the main character 767 00:46:17,760 --> 00:46:21,120 Speaker 1: is non binary, and I really appreciate that the NBA's 768 00:46:21,160 --> 00:46:24,200 Speaker 1: get this w in this way um to be the 769 00:46:24,200 --> 00:46:26,960 Speaker 1: main character in the Atlantis musical. But I don't do 770 00:46:27,080 --> 00:46:35,720 Speaker 1: jukebox musicals pretty much as a rule, not even um. 771 00:46:35,760 --> 00:46:39,359 Speaker 1: I mean, you know, the the exceptions can be made, girl, 772 00:46:39,440 --> 00:46:46,520 Speaker 1: and I'm reasonable, I'm reasonable, um, But you know, like 773 00:46:46,640 --> 00:46:49,560 Speaker 1: I mean, the catalog speaks for itself. I don't know 774 00:46:49,600 --> 00:46:51,960 Speaker 1: about Jagged Little Pill. And see, this is going back 775 00:46:51,960 --> 00:46:54,160 Speaker 1: to what I said about the drag show, things like 776 00:46:54,239 --> 00:46:57,879 Speaker 1: I'm not sure that that music makes entertaining theater in 777 00:46:57,880 --> 00:47:01,480 Speaker 1: that way. I picture it be like, you know, basically 778 00:47:01,520 --> 00:47:04,520 Speaker 1: like fun Home, except the music it is jagged Little Pill. 779 00:47:04,920 --> 00:47:08,960 Speaker 1: It's literally that. But like, but you're still musicals do 780 00:47:09,160 --> 00:47:11,520 Speaker 1: like historically suck, Like I don't know why Mulan Rouge 781 00:47:11,520 --> 00:47:15,239 Speaker 1: wants so many things this year, but like when it 782 00:47:15,719 --> 00:47:23,840 Speaker 1: was time, you're so fucking wrong for that. The genius 783 00:47:24,000 --> 00:47:28,840 Speaker 1: in Lulan Rouge is the movie. It's the boss Lerman 784 00:47:29,920 --> 00:47:34,480 Speaker 1: fantasy of it all, not to mention the nicole kidman 785 00:47:34,520 --> 00:47:40,640 Speaker 1: aspect absolutely, which like obviously you're not going to duplicate 786 00:47:40,719 --> 00:47:44,400 Speaker 1: that on stage. But the issue with Mulan Rouge the musical, 787 00:47:44,600 --> 00:47:47,480 Speaker 1: or at least my issue with it taking home Best Musical. 788 00:47:47,560 --> 00:47:51,160 Speaker 1: I mean, come on, talk about pandemic times. It's really 789 00:47:51,239 --> 00:47:55,360 Speaker 1: that bad. I mean they had that was one of 790 00:47:55,440 --> 00:47:59,320 Speaker 1: the first musicals I've been to that had a canned soundtrack. Yeah, 791 00:47:59,600 --> 00:48:05,160 Speaker 1: they hit play on a CD and some belong to it, 792 00:48:05,200 --> 00:48:07,680 Speaker 1: and that's winning Best Musical. Forget the fact that it 793 00:48:07,719 --> 00:48:11,319 Speaker 1: was musical filled with So the concept with the movie 794 00:48:11,360 --> 00:48:14,080 Speaker 1: of Mulan Rouge is that it's filled with mashups and 795 00:48:14,200 --> 00:48:18,280 Speaker 1: re contextualizations of popular music from the previous ten twenty 796 00:48:18,360 --> 00:48:21,480 Speaker 1: years at the time. So the updated Broadway version of 797 00:48:21,520 --> 00:48:26,640 Speaker 1: the musical includes some of those numbers, and also is 798 00:48:26,760 --> 00:48:30,239 Speaker 1: updated to include your favorites from the past ten to 799 00:48:30,280 --> 00:48:35,160 Speaker 1: twenty years of the current day, including Bad Romance. That 800 00:48:35,280 --> 00:48:39,600 Speaker 1: fucking song like cut Up and Dance with Me is 801 00:48:39,719 --> 00:48:43,360 Speaker 1: in the musical of Mulan Rouge, the Tony winning Musical 802 00:48:43,400 --> 00:48:46,280 Speaker 1: of Mulan Rouge. If you can believe that, I'm just saying, 803 00:48:46,600 --> 00:48:49,439 Speaker 1: I'm just saying I had a good time, Honey, this 804 00:48:49,560 --> 00:48:54,240 Speaker 1: is this was blocks away from Hello Dolly with Bette Midler. 805 00:48:55,480 --> 00:48:58,200 Speaker 1: You know what I didn't. I didn't pay to see it. 806 00:48:58,840 --> 00:49:02,839 Speaker 1: That's important. I would. No. I just mean, like, if 807 00:49:02,880 --> 00:49:07,720 Speaker 1: we're placing it in the pantheon, sure, I get it. 808 00:49:08,120 --> 00:49:11,439 Speaker 1: I don't love a jukebox musical either. You don't feel 809 00:49:11,480 --> 00:49:14,560 Speaker 1: precious about the form though, No, right, no, not at all. 810 00:49:14,680 --> 00:49:18,480 Speaker 1: I if I'm entertained, I'm entertained. Um. I usually like 811 00:49:19,160 --> 00:49:21,360 Speaker 1: a musical that's a little bit more of a blockbuster. 812 00:49:21,400 --> 00:49:23,359 Speaker 1: I'm going to see Phantom of the Opera tomorrow night, 813 00:49:23,560 --> 00:49:27,600 Speaker 1: and it is my favorite musical. That's your religious upbringing. Yeah, 814 00:49:29,320 --> 00:49:32,720 Speaker 1: that's that Jewish girl coming to New York City. I see, 815 00:49:32,800 --> 00:49:38,320 Speaker 1: that's why you're so rent and Wicked. We're featuring, yes, Rent, 816 00:49:38,480 --> 00:49:42,040 Speaker 1: not really for me, I never super connected with it, 817 00:49:42,400 --> 00:49:46,359 Speaker 1: but Wicked for sure. For my sixteenth birthday, we came 818 00:49:46,400 --> 00:49:49,240 Speaker 1: into New York. I saw normal Leobutts and kristin Chinois 819 00:49:49,320 --> 00:49:55,520 Speaker 1: last performance. Whoa, yeah, Wicked. You know my Wicked story? 820 00:49:55,760 --> 00:49:59,560 Speaker 1: What is it? It's my great curse in life. Actually 821 00:50:00,000 --> 00:50:03,960 Speaker 1: it's the day I was cursed. So this is the 822 00:50:04,040 --> 00:50:07,480 Speaker 1: day Charlene was cursed in terms of me being a 823 00:50:07,520 --> 00:50:14,720 Speaker 1: theater consumer. Yes, um, so it is January two thousand five. 824 00:50:15,719 --> 00:50:20,239 Speaker 1: Adina Menzel has announced that she's leaving Wicked. She's been 825 00:50:20,280 --> 00:50:26,680 Speaker 1: doing it for three years. I am surprised by my family, 826 00:50:26,680 --> 00:50:29,360 Speaker 1: who would eventually be shocked that I was a faggot 827 00:50:29,920 --> 00:50:34,760 Speaker 1: with tickets to a Dena's last performance on Broadway in Wicked. 828 00:50:35,080 --> 00:50:40,120 Speaker 1: This is basically your golden ticket, Charlie bucket scenario for 829 00:50:40,200 --> 00:50:43,160 Speaker 1: me as a kid. Right, this is pretty much the 830 00:50:43,160 --> 00:50:46,920 Speaker 1: penultimate like thing that I could have desired to experience 831 00:50:46,920 --> 00:50:49,960 Speaker 1: at that time, Right, you know, it's a whole like 832 00:50:50,480 --> 00:50:52,319 Speaker 1: going all the way to New York just to see 833 00:50:52,320 --> 00:50:57,000 Speaker 1: Wicked situation, you know, seething jealousy from my siblings, etcetera. 834 00:50:57,400 --> 00:50:59,480 Speaker 1: We arrive in New York, you like, check into the 835 00:50:59,520 --> 00:51:03,799 Speaker 1: hotel and intown, et cetera. We're like having a light meal. 836 00:51:03,880 --> 00:51:06,960 Speaker 1: I can't eat a thing beforehand. I'm about to you know, 837 00:51:07,080 --> 00:51:10,200 Speaker 1: I have a date with Destiny, baby, you know. And 838 00:51:11,120 --> 00:51:14,720 Speaker 1: suffice to say, we show up to the theater and 839 00:51:16,000 --> 00:51:19,040 Speaker 1: we see the placard. At this performance, the role of 840 00:51:19,080 --> 00:51:22,080 Speaker 1: Alphaba will be played by Shoshana Bean, who was in 841 00:51:22,160 --> 00:51:26,359 Speaker 1: Dinas standby at the time, meaning that aDNA was going 842 00:51:26,440 --> 00:51:28,960 Speaker 1: to miss her last show and Wicked. Of course we 843 00:51:29,080 --> 00:51:33,600 Speaker 1: learned um as a gay community in in our youth 844 00:51:34,719 --> 00:51:38,120 Speaker 1: later that evening that she had, in fact, during the 845 00:51:38,160 --> 00:51:42,920 Speaker 1: matinee performance of her last day at Wicked, fallen through 846 00:51:43,080 --> 00:51:46,880 Speaker 1: the trap door. At the very end of Wicked, Alphaba 847 00:51:47,040 --> 00:51:50,799 Speaker 1: like melts through a trap door in the stage and 848 00:51:51,000 --> 00:51:55,000 Speaker 1: the platform that she stepped onto was not there. The 849 00:51:55,320 --> 00:51:59,239 Speaker 1: very last day she was in Wicked, she fell through 850 00:51:59,280 --> 00:52:01,000 Speaker 1: the hole in the state agent, cracked a rib and 851 00:52:01,080 --> 00:52:09,880 Speaker 1: was hospitalized. Yes, and I have to bring it all 852 00:52:09,920 --> 00:52:12,640 Speaker 1: back to me, honey. I was, of course fell to 853 00:52:12,719 --> 00:52:16,759 Speaker 1: my knees and webb when that happened, right, um, And 854 00:52:16,840 --> 00:52:19,640 Speaker 1: I was like, you know, when Shoshana Bean ran on 855 00:52:19,800 --> 00:52:22,880 Speaker 1: stage to sing the Wizard and I I crossed my 856 00:52:23,040 --> 00:52:26,840 Speaker 1: arms and frowned, and my dad was like, you know, 857 00:52:26,960 --> 00:52:29,160 Speaker 1: this is just a lesson in learning to be happy 858 00:52:29,200 --> 00:52:31,600 Speaker 1: with what you get in life. You know, things aren't 859 00:52:31,600 --> 00:52:40,960 Speaker 1: always going to go your way. Son, I'm just this side. 860 00:52:41,239 --> 00:52:45,520 Speaker 1: I'm beside myself. I'm like, I remember, I was like, uh, 861 00:52:45,760 --> 00:52:49,040 Speaker 1: trying to weigh pros and cons of like staying versus leaving. 862 00:52:49,120 --> 00:52:51,600 Speaker 1: You know. I was like, I was like, if I leave, 863 00:52:51,680 --> 00:52:53,120 Speaker 1: I don't It's not like I get to see a 864 00:52:53,200 --> 00:52:55,480 Speaker 1: Dina again some day, you know, I might as well stay, 865 00:52:55,960 --> 00:52:58,279 Speaker 1: and like trick myself into thinking that I just like, 866 00:52:58,840 --> 00:53:04,319 Speaker 1: you know, missed the boat. So since then, most of 867 00:53:04,360 --> 00:53:07,000 Speaker 1: the time that I go to Broadway, the leading lady 868 00:53:07,200 --> 00:53:10,480 Speaker 1: calls out of the show. Laura B Nancy did it 869 00:53:10,520 --> 00:53:12,960 Speaker 1: when I went to see My Fair Lady as recently 870 00:53:13,120 --> 00:53:19,640 Speaker 1: as nineteen. Yes, I am cursed to miss the bitch 871 00:53:20,000 --> 00:53:24,759 Speaker 1: singing the songs. That is devastating. Definitely. I also think that, 872 00:53:24,840 --> 00:53:27,640 Speaker 1: like that's why for me, I don't get hung up 873 00:53:27,640 --> 00:53:31,040 Speaker 1: on the individual performer. I'm there for the show, but 874 00:53:31,120 --> 00:53:34,799 Speaker 1: I understand, girl, it's horrible. Also, did an Adida show 875 00:53:34,880 --> 00:53:36,960 Speaker 1: up for the curtain call for that performance, and like 876 00:53:37,000 --> 00:53:40,880 Speaker 1: a red track, a red Adida's track with a rib broken, 877 00:53:41,280 --> 00:53:44,920 Speaker 1: with a rib broken, fractured, bruised. They were like, if 878 00:53:44,920 --> 00:53:47,160 Speaker 1: you want to get paid for this, you better walk 879 00:53:47,200 --> 00:53:51,160 Speaker 1: out there and you say you're goodbye. Another instance is 880 00:53:51,200 --> 00:53:53,799 Speaker 1: Patty Lapone calling out of Sweeney Todd when I went 881 00:53:53,840 --> 00:54:02,120 Speaker 1: to see it, girl, trust I went back that girl. 882 00:54:02,200 --> 00:54:05,200 Speaker 1: I saw that production twice where she played the tuba. 883 00:54:05,480 --> 00:54:09,520 Speaker 1: One of maybe the best theatrical performance I've ever been 884 00:54:09,560 --> 00:54:12,400 Speaker 1: to she played that. Yeah, it was a It was 885 00:54:12,440 --> 00:54:15,000 Speaker 1: a production of Sweeney Todd where all of the actors 886 00:54:15,080 --> 00:54:18,920 Speaker 1: were also the orchestra. It was the first production of 887 00:54:18,960 --> 00:54:22,400 Speaker 1: that kind. There was like a little like Sondheim revival 888 00:54:22,440 --> 00:54:27,160 Speaker 1: moment at the time, and it was the actors, the 889 00:54:27,239 --> 00:54:31,120 Speaker 1: players were the orchestra. And they actually did company with 890 00:54:31,200 --> 00:54:35,560 Speaker 1: the same concept the next year, and that is recorded 891 00:54:35,560 --> 00:54:37,759 Speaker 1: on PBS if you want to catch that. But of 892 00:54:37,760 --> 00:54:41,040 Speaker 1: course the Sweeney Todd is you can only see itt 893 00:54:41,120 --> 00:54:45,000 Speaker 1: Um Lincoln Center, the definitive one. Yeah. I just learned 894 00:54:45,040 --> 00:54:47,799 Speaker 1: also that the production of a Little Night Music with 895 00:54:47,880 --> 00:54:53,200 Speaker 1: Katherine Zena Jones and Angela Landsberry, the recording that's at 896 00:54:53,200 --> 00:54:55,200 Speaker 1: the public Library for those of you who don't know. 897 00:54:55,280 --> 00:54:58,000 Speaker 1: If you missed a Broadway show or you want to 898 00:54:58,000 --> 00:55:00,480 Speaker 1: see the original Broadway cast of any given show, you 899 00:55:00,520 --> 00:55:03,320 Speaker 1: can see that they're all taped and they're at Ligoln 900 00:55:03,320 --> 00:55:07,640 Speaker 1: Center Juilliard Library. Yes, so you can't like take you that, 901 00:55:07,680 --> 00:55:09,440 Speaker 1: you have to like stay there. It's basically like for 902 00:55:09,480 --> 00:55:14,520 Speaker 1: academic purposes or whatever. But or like you know, gay nerds. Um, 903 00:55:14,560 --> 00:55:16,839 Speaker 1: So I just learned that the production of a Little 904 00:55:16,920 --> 00:55:20,279 Speaker 1: Night Music with kaven Zeta Jones they recorded on a 905 00:55:20,520 --> 00:55:27,600 Speaker 1: night where the standby was for Kevin performing. Literally I 906 00:55:27,640 --> 00:55:29,279 Speaker 1: was like, oh, at least I get to go see that, 907 00:55:29,560 --> 00:55:31,799 Speaker 1: and you went to the Juilliard libe or did you 908 00:55:31,840 --> 00:55:35,600 Speaker 1: collapse on the floor again? And it's just the curse, 909 00:55:35,680 --> 00:55:37,799 Speaker 1: and I just I can accept it. I'm blessed in 910 00:55:37,880 --> 00:55:41,840 Speaker 1: many ways. I have many blessings, but I have a 911 00:55:41,840 --> 00:55:44,560 Speaker 1: few curses too, and that's one of them. And so 912 00:55:44,640 --> 00:55:46,920 Speaker 1: I just know, I note, I know now tos reset 913 00:55:46,920 --> 00:55:50,560 Speaker 1: my expectations. So like, for instance, I was delighted with 914 00:55:50,640 --> 00:55:53,719 Speaker 1: surprise when Bette Midler showed up for Hello Dolly, or 915 00:55:53,800 --> 00:55:56,000 Speaker 1: when Patty showed up both all three times, and I 916 00:55:56,040 --> 00:55:58,960 Speaker 1: saw jips right, and you must have been delighted when 917 00:55:59,000 --> 00:56:03,480 Speaker 1: Atlantis showed up at her own concert. Girl I had, 918 00:56:03,880 --> 00:56:06,040 Speaker 1: I was. I was sad that Liz Fair called out 919 00:56:06,360 --> 00:56:11,480 Speaker 1: replaced her with cat Powers, so I had before. I'll 920 00:56:11,480 --> 00:56:15,080 Speaker 1: say that I don't feature cat Power really, but I'm 921 00:56:15,120 --> 00:56:17,520 Speaker 1: glad they did it. And see they had they had 922 00:56:17,560 --> 00:56:21,080 Speaker 1: Garbage opening for Atlantis. I really wanted to see them 923 00:56:21,080 --> 00:56:26,920 Speaker 1: both together contemporary, would you say? So? The difference between 924 00:56:26,960 --> 00:56:29,960 Speaker 1: the two and one was palpable, to say the least. 925 00:56:30,480 --> 00:56:36,360 Speaker 1: There was this sort of nostalgic and past time quality 926 00:56:36,440 --> 00:56:43,520 Speaker 1: to Shirley Manson's performing. There was this undeniable, like has 927 00:56:43,600 --> 00:56:47,359 Speaker 1: been quality to it, you know, and she was still 928 00:56:47,360 --> 00:56:49,840 Speaker 1: doing it. She was hitting the notes and singing the songs. 929 00:56:50,480 --> 00:56:53,640 Speaker 1: She had this whole diet tribe before. She's sang cherry 930 00:56:53,719 --> 00:56:59,279 Speaker 1: lips about how she never takes requests because requests don't 931 00:56:59,320 --> 00:57:01,960 Speaker 1: acknowledge the act that the artist has put something together 932 00:57:02,000 --> 00:57:04,239 Speaker 1: for you to see, and weird decide as artists, and 933 00:57:04,239 --> 00:57:06,399 Speaker 1: everyone's screaming, and she's like, but I'm going to take 934 00:57:06,440 --> 00:57:08,160 Speaker 1: this one request because this bitch in the front row 935 00:57:08,160 --> 00:57:11,120 Speaker 1: ask for it. You see this girl, He's like basically 936 00:57:11,200 --> 00:57:15,439 Speaker 1: in a bikini like Cherry fucking Loves. Do you take 937 00:57:15,520 --> 00:57:23,000 Speaker 1: requests when you're performing? Um, I I take suggestions. I'll 938 00:57:23,000 --> 00:57:26,800 Speaker 1: say that The thing about people suggesting a requesting drag 939 00:57:26,880 --> 00:57:30,480 Speaker 1: numbers is that people are usually projecting with their suggestions 940 00:57:30,480 --> 00:57:33,240 Speaker 1: of drag shows. Usually someone will suggest a number to 941 00:57:33,320 --> 00:57:36,280 Speaker 1: me that they very much want to perform and drag themselves. 942 00:57:36,840 --> 00:57:40,000 Speaker 1: You know, I'm like, why don't you do that track? 943 00:57:40,240 --> 00:57:41,960 Speaker 1: They'll send me tracks that I've never even heard, be 944 00:57:42,000 --> 00:57:44,000 Speaker 1: like I see you performing this, like I see you 945 00:57:44,040 --> 00:57:47,120 Speaker 1: performing this boom because I don't know that song. Well, 946 00:57:47,160 --> 00:57:56,120 Speaker 1: I have a suggestion. Um. Has anyone ever suggested Atlantis? Um? 947 00:57:56,200 --> 00:58:00,320 Speaker 1: There were There was a large contingency of voices trying 948 00:58:00,320 --> 00:58:02,840 Speaker 1: to get me to do Atlantis at this year's bush Wig, 949 00:58:02,840 --> 00:58:07,360 Speaker 1: because of the reinvigorated spirit that I had involving her, 950 00:58:07,400 --> 00:58:11,680 Speaker 1: because of seeing the concert so high on psychedelics. There 951 00:58:11,760 --> 00:58:13,640 Speaker 1: was this moment at the end of the concert too, 952 00:58:14,520 --> 00:58:21,120 Speaker 1: where Atlantis's kids ran on stage and shot confetti cannons 953 00:58:22,200 --> 00:58:25,520 Speaker 1: into the crowd. And that's the point at which I 954 00:58:25,600 --> 00:58:30,120 Speaker 1: just completely lost it because it was just like such 955 00:58:30,120 --> 00:58:32,240 Speaker 1: a resolution. It was such a resolution to all of 956 00:58:32,280 --> 00:58:35,080 Speaker 1: the struggle that she was like singing about on stage beforehand, 957 00:58:35,560 --> 00:58:39,440 Speaker 1: and like she's like, I have a rad life. I'm 958 00:58:39,480 --> 00:58:42,280 Speaker 1: like touring with my family, this music that made me 959 00:58:42,320 --> 00:58:46,360 Speaker 1: a ship ton of money and like gave me this 960 00:58:46,760 --> 00:58:50,480 Speaker 1: really interesting life. But I love that though. That like 961 00:58:50,640 --> 00:58:53,560 Speaker 1: that's to me is like that image of like the 962 00:58:53,640 --> 00:58:56,560 Speaker 1: kids shooting the company cannons is like a beautiful way 963 00:58:56,600 --> 00:58:59,560 Speaker 1: to like round out like where it all started and 964 00:58:59,600 --> 00:59:01,240 Speaker 1: like a play pace of grief and wrath and all 965 00:59:01,280 --> 00:59:04,000 Speaker 1: the different versions of like you know, the scorned woman 966 00:59:04,000 --> 00:59:07,480 Speaker 1: of the woman like a womanhood and like the plights 967 00:59:07,560 --> 00:59:10,680 Speaker 1: of that. But like that's beautiful and like, yeah, I 968 00:59:10,680 --> 00:59:14,120 Speaker 1: can understand what I'm emotional just you describing it. I 969 00:59:14,160 --> 00:59:17,040 Speaker 1: don't ever want anyone to shoot a confetti cannon at me, 970 00:59:17,120 --> 00:59:19,040 Speaker 1: but that's just me. I was like far enough back, 971 00:59:19,080 --> 00:59:23,960 Speaker 1: you know, like picking it out of your mouth, because 972 00:59:24,000 --> 00:59:26,280 Speaker 1: that is one of the one of the rules I 973 00:59:26,320 --> 00:59:28,960 Speaker 1: think at like a concert or a drag show, one 974 00:59:28,960 --> 00:59:30,480 Speaker 1: of the things that you shouldn't be doing. Did you 975 00:59:30,480 --> 00:59:34,760 Speaker 1: tweet about this recently? The rules for like Newby Queens 976 00:59:34,840 --> 00:59:37,640 Speaker 1: not to do it shows. I'm really I'm actually proud 977 00:59:37,640 --> 00:59:41,080 Speaker 1: of us because we've started implementing this into the culture. 978 00:59:42,160 --> 00:59:45,600 Speaker 1: We're moving past messes as a drag community as a 979 00:59:45,640 --> 00:59:51,000 Speaker 1: whole um. It's important because there's a few reasons. And 980 00:59:51,400 --> 00:59:54,760 Speaker 1: what I'm saying is like drag shows that result in 981 00:59:54,960 --> 00:59:56,920 Speaker 1: something that has to be cleaned up. That's what I 982 00:59:56,920 --> 01:00:00,720 Speaker 1: mean by messrs is like cleaned up by someone else. Yeah, 983 01:00:00,840 --> 01:00:03,560 Speaker 1: and there's and so for forever and ever, we were 984 01:00:03,600 --> 01:00:05,920 Speaker 1: doing this thing where if you're making a mess, you 985 01:00:06,000 --> 01:00:08,760 Speaker 1: laid down a tarp, which was enough incentive not to 986 01:00:08,800 --> 01:00:10,760 Speaker 1: do it for me, because when you see the tart 987 01:00:10,800 --> 01:00:13,200 Speaker 1: being drug out stage, just like I wonder what's gonna happen, 988 01:00:13,400 --> 01:00:17,840 Speaker 1: Boy Wolf's gonna come out and pour milk either gonna 989 01:00:17,880 --> 01:00:22,280 Speaker 1: be blood or milk or food or something. You know 990 01:00:22,520 --> 01:00:28,440 Speaker 1: every time yea or a coke. You know, I'm guilty 991 01:00:28,440 --> 01:00:32,200 Speaker 1: of it. I did it back in the day, watermelon, 992 01:00:32,600 --> 01:00:37,440 Speaker 1: watermelon and Sun's so at the point the thing is. 993 01:00:39,880 --> 01:00:45,400 Speaker 1: And also let's not forget the real pig heart. Yeah, 994 01:00:46,200 --> 01:00:48,560 Speaker 1: you describe all of these to me right now, and 995 01:00:48,560 --> 01:00:51,360 Speaker 1: then we will I need to know, Okay, Well, back 996 01:00:51,360 --> 01:00:56,360 Speaker 1: in the olden days when I like dabbled in performance art, 997 01:00:56,720 --> 01:00:58,840 Speaker 1: I at bush Wig one year I did a performance 998 01:00:58,840 --> 01:01:02,000 Speaker 1: of cool for the Summer, a demilovado um in which 999 01:01:02,040 --> 01:01:05,120 Speaker 1: I slathered myself in sunscreen and then poured the sunscreen 1000 01:01:05,160 --> 01:01:07,760 Speaker 1: on a watermelon and ate it. That was actually not 1001 01:01:07,880 --> 01:01:11,560 Speaker 1: a huge mess, and it was carpeted. It was pretty contained. 1002 01:01:12,320 --> 01:01:16,240 Speaker 1: It was a cart Why who did that? The venue 1003 01:01:17,320 --> 01:01:20,080 Speaker 1: under dunk House and then um I used to throw 1004 01:01:20,120 --> 01:01:25,439 Speaker 1: this party called Psychic um and for Psychic Snow one year. 1005 01:01:25,960 --> 01:01:30,400 Speaker 1: Part of the like ritual that we did every party, 1006 01:01:31,040 --> 01:01:36,080 Speaker 1: I bit into a cow heart. Yeah, that's very very 1007 01:01:36,080 --> 01:01:38,280 Speaker 1: There was also a psychic where we stuffed me into 1008 01:01:38,280 --> 01:01:42,560 Speaker 1: a suitcase that I go into, filled it with dirt. 1009 01:01:44,640 --> 01:01:47,480 Speaker 1: And on that note, I'm so glad we as a 1010 01:01:47,480 --> 01:01:52,200 Speaker 1: community have moved graduate because it makes it It makes 1011 01:01:52,200 --> 01:01:56,040 Speaker 1: it perilous for the drug queen after you, and it's 1012 01:01:56,080 --> 01:01:58,680 Speaker 1: inconsiderate because the bar staff or the club staff has 1013 01:01:58,680 --> 01:02:01,960 Speaker 1: to clean it up. And also the chief reason for 1014 01:02:01,960 --> 01:02:03,520 Speaker 1: you not to make a mess as a drag queen 1015 01:02:03,640 --> 01:02:07,200 Speaker 1: on stage is it has been done before, it doesn't 1016 01:02:07,240 --> 01:02:09,880 Speaker 1: look cool, and there's not really much that can be 1017 01:02:09,920 --> 01:02:15,240 Speaker 1: done with that medium anymore. Like people like when drag 1018 01:02:15,280 --> 01:02:18,120 Speaker 1: queens like bleed everywhere, like they spill something everywhere. It's 1019 01:02:18,160 --> 01:02:22,040 Speaker 1: almost like the scream that results is like a belabored scream. 1020 01:02:22,040 --> 01:02:30,080 Speaker 1: It's almost like an obligatory like she did it, so yes, 1021 01:02:30,200 --> 01:02:35,480 Speaker 1: drag babies, um cut it out rely on your goddess 1022 01:02:35,520 --> 01:02:40,640 Speaker 1: given stage presence. You heard it from Atlantis Morrisset's music, 1023 01:02:41,240 --> 01:02:49,240 Speaker 1: and you can't go wrong. We'll be back next week 1024 01:02:49,280 --> 01:02:54,280 Speaker 1: with a discussion on Obsessed, starring Beyonce and the archetype 1025 01:02:54,400 --> 01:02:59,000 Speaker 1: of them Fatale. If you will, I am actually so 1026 01:02:59,080 --> 01:03:00,920 Speaker 1: excited to talk to you about that, Rose and it 1027 01:03:01,000 --> 01:03:03,600 Speaker 1: is your first time watching it. You can tell us 1028 01:03:03,840 --> 01:03:06,080 Speaker 1: what to talk about next, whether it's a show, a book, 1029 01:03:06,080 --> 01:03:09,240 Speaker 1: a cultural phenomenon. We want to hear from you. You 1030 01:03:09,280 --> 01:03:12,760 Speaker 1: can call to confess at three to three pennants. That's 1031 01:03:12,840 --> 01:03:16,440 Speaker 1: three to three seven three six two six two three. 1032 01:03:16,800 --> 01:03:19,080 Speaker 1: I'm your co host, fran Torado, and you can find 1033 01:03:19,080 --> 01:03:21,600 Speaker 1: me at Friends, squish Coat, wherever you want on social 1034 01:03:21,880 --> 01:03:24,560 Speaker 1: and I'm Rose Damn You. You can also find me 1035 01:03:24,600 --> 01:03:28,080 Speaker 1: wherever you want at Rose Damn You. You can subscribe 1036 01:03:28,120 --> 01:03:30,520 Speaker 1: to Like a Virgin anywhere you listen and leave us 1037 01:03:30,520 --> 01:03:33,720 Speaker 1: a rating on Spotify or a review on Apple Podcasts 1038 01:03:33,720 --> 01:03:36,480 Speaker 1: Like a virgin is I Heart Radio Production, our producers 1039 01:03:36,480 --> 01:03:40,560 Speaker 1: Phoebe Unter, the support from Lindsay Hoffman, Julian Weller, Jess Crane, 1040 01:03:40,600 --> 01:03:44,200 Speaker 1: Chitch and Nikki Etour until next week, See you later, 1041 01:03:44,280 --> 01:03:45,360 Speaker 1: Virgins of What