WEBVTT - The Alanis of Drag (feat. Charlene Incarnate)

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<v Speaker 1>I have homosexuals who I hit up for advice for numbers,

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<v Speaker 1>but these are gold Star Gaze and not in the

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<v Speaker 1>never Touched a Vagina since you know what I mean.

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<v Speaker 1>In the like saw Diva's Live as it aired, I

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<v Speaker 1>want you to know that this episode is uh that

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<v Speaker 1>owned Jaggon Little Kids. You're trying not to corner yourself

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<v Speaker 1>as the singer on this podcast. Do you really want

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<v Speaker 1>to be the songstress of Like a Vision? Today we'll

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<v Speaker 1>be taking a look back at Atlantis Morrisett's Jagged Little Pill,

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<v Speaker 1>because this is like a Virgin, the show where we

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<v Speaker 1>give yesterday's pop culture today's taste. I'm Rose Damn and

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<v Speaker 1>I'm Fran Toronto here to talk about Jagged Little Hill.

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<v Speaker 1>With us is show girl, high priestess, emphasis on high

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<v Speaker 1>drag artist and Miga Judy, Charlene and Karnet. I will say,

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<v Speaker 1>you know, Rose, before we have to get into Jagged

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<v Speaker 1>Little Pill. Should we go touday Nio? Yes, let's take

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<v Speaker 1>a trip down the Nile? But will there be enough champagne? Yes?

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<v Speaker 1>I actually brought enough champagne to fill the Nile. I

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<v Speaker 1>have to say I'm kind of um gal gado. Stand now, girl,

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<v Speaker 1>We are going to put you into G G. A.

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<v Speaker 1>Galagado holes and I wait. So this weekend, Fran and

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<v Speaker 1>I saw Death on the Nile Um with our friend

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<v Speaker 1>La La, and as we were walking out, we were,

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<v Speaker 1>you know, doing that thing where you leave a movie

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<v Speaker 1>and everyone's like starting to say what they wait, wait, wait,

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<v Speaker 1>wait wait I have okay, I just have to say, like,

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<v Speaker 1>I experienced this movie being like, this must be one

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<v Speaker 1>of the worst movies I've seen in a minute. And

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<v Speaker 1>that is and that is sort of the vibe you

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<v Speaker 1>and Lala started to give off as we were leaving,

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<v Speaker 1>and I said, I loved it. And y'all, I thought

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<v Speaker 1>you were going to not give me a ride home

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<v Speaker 1>because of that. Our experiences of that movie were dramatically different,

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<v Speaker 1>let's say that. And yeah, I was sitting next to

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<v Speaker 1>you the whole time laughing, well because I was, I was,

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<v Speaker 1>you know, making some commentary throughout the film, like when

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<v Speaker 1>when spoiler alert, gal Gado is killed, I said, army

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<v Speaker 1>hammer is going to go fire up the grill, Oh god,

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<v Speaker 1>like very quickly. We have to just kind of like

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<v Speaker 1>you know, in the pot. Yeah. Yeah. So basically, gal Gado,

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<v Speaker 1>you know, is a wealthy billionaire with a colonialist hobby

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<v Speaker 1>for like, you know, exploring Egypt, and she and her

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<v Speaker 1>mail order bride army Hammer decide to you know, invite like, okay,

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<v Speaker 1>but you do, didn't You actually buried a very important part,

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<v Speaker 1>which is that army Hammer who marries from getting there,

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<v Speaker 1>I'm getting there, I'm getting Do not trust me at all?

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<v Speaker 1>Do you not trust me? I don't trust you literally

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<v Speaker 1>at all. That is rich coming from someone who threatens

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<v Speaker 1>to kill me almost every podcast. Yeah, and you know what,

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<v Speaker 1>I would get away with it, and because because Pole

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<v Speaker 1>is not coming to save you know, you would not

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<v Speaker 1>get away with it because at the end of an

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<v Speaker 1>Agatha Christie novel, the person who is most obviously the

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<v Speaker 1>killer is the killer and there are hours of audio

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<v Speaker 1>recordings of me threatening to kill you. So anyways that

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<v Speaker 1>they invite you know a few dozen of their like

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<v Speaker 1>most mortal enemies to their wedding, and of course their

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<v Speaker 1>wedding takes place on Zeni Um and there's like this

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<v Speaker 1>kind of likes best friend played by an actress who

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<v Speaker 1>I really love but only referred to her as baby

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<v Speaker 1>Margot Rubbie Um keeps showing up at everywhere they go

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<v Speaker 1>and just like staring at them, and so Armie Hammer

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<v Speaker 1>and Gal Gadot put out a call to find what

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<v Speaker 1>is basically like the detective with the most absurdest steampunk

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<v Speaker 1>mustache they could possibly find. And this detective accuses literally

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<v Speaker 1>every single character of murder until he gets it right

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<v Speaker 1>on the last try. Five people die and he outs

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<v Speaker 1>to lesbians. Three people die. Um, he does out to

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<v Speaker 1>lesbians forcibly. And I did think that at the end

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<v Speaker 1>of the movie when they all like get off the boat,

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<v Speaker 1>that he was going to be like, by the way,

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<v Speaker 1>the police are here to arrest you. So okay, top line,

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<v Speaker 1>I loved it. I had a great time. I as

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<v Speaker 1>I tried to explain to frand you know, this is

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<v Speaker 1>not a thriller mystery with modern sensibilities. This is an

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<v Speaker 1>Agatha Christie who done it. And the movies specifically are

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<v Speaker 1>very much made for a kind of boomer sensibility, people

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<v Speaker 1>who are familiar with Agatha Christie novels and want to

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<v Speaker 1>see a very faithful, lush adaptation of them. And I

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<v Speaker 1>guess I'm a boomer because I really enjoyed it. Well

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<v Speaker 1>that's not that's not news to anybody. I really feel

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<v Speaker 1>like that I'm a boomer. Yeah, you're a boomer. You

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<v Speaker 1>literally are no offense Rose. The movie delivered on what

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<v Speaker 1>I signed up for during a completely displaced, kind of

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<v Speaker 1>almost sex scene between Army Hammer and gal Gadot that

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<v Speaker 1>takes place on an Egyptian ruin, because the Egyptian ruins.

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<v Speaker 1>That was great. The Egyptian ruins make them so horny,

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<v Speaker 1>they literally cannot control themselves around all of these dead

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<v Speaker 1>like mummies, and gal Gato like backs up on it,

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<v Speaker 1>backs up as if she's like, she's like, do me

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<v Speaker 1>doggy style literally, and that's not an exaggeration, and and

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<v Speaker 1>gal is so it is so poorly blocked. They did

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<v Speaker 1>maybe two takes and they were like, yeah, we got it.

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<v Speaker 1>That look. That was just imagine Kenneth Brana directing that. Also, Man,

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<v Speaker 1>I had never heard of Fran did not know who

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<v Speaker 1>Kenneth Branna was. I have talked about Kenneth Branna to

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<v Speaker 1>a few other people and they didn't know who he

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<v Speaker 1>was either. So I think that you're just exactly the

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<v Speaker 1>demographic for Kenneth Brannah. Yeah, I'm a boomer, Yeah, exactly

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<v Speaker 1>exactly when I signed When I signed up for a mystery,

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<v Speaker 1>you would think that there would be you know, twists, turns,

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<v Speaker 1>red Herrings. Clues dropped along the way like scandalous like

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<v Speaker 1>reveals and moments where like oh my god, and they

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<v Speaker 1>were like three of those like there, Yeah, it doesn't

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<v Speaker 1>really do that. There's the the miss The clues are

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<v Speaker 1>not really telegraphed to the audience. And also, like let's

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<v Speaker 1>say spoiler alert, the people who end up being the

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<v Speaker 1>killers are like mostly it's it's like the most obvious

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<v Speaker 1>choice for who done. And Rose can vouch for me.

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<v Speaker 1>The first clue dropped, literally the very first clue with

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<v Speaker 1>that is, in my opinion, telegraphed to the audience. I

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<v Speaker 1>turned to Rose and I said it's so and so

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<v Speaker 1>and so and so, and Rose goes, well, and she

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<v Speaker 1>was right like it would be way too obvious, and

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<v Speaker 1>I was kind of like, yeah, it would be too obvious,

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<v Speaker 1>and that your frand are you are the acu pire

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<v Speaker 1>of our time? Okay, well, let me just grow out

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<v Speaker 1>a super steampunk mustache. I will say I enjoyed all

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<v Speaker 1>of the performances in this film, with the exception of

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<v Speaker 1>Russell Brands, which I thought was very flat. And then

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<v Speaker 1>also there's a character name I thought, and Gal was

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<v Speaker 1>kind of fun. I thought gal was so fun. I

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<v Speaker 1>thought she was almost perfectly cast, like I think casting

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<v Speaker 1>someone who's gorgeous and kind of bad acting, it's like

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<v Speaker 1>perfect for a mystery. And all Tomargo Robbie was good.

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<v Speaker 1>She was stunning. I felt like, you know, that was

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<v Speaker 1>there was nothing wrong with like necessarily that. I thought

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<v Speaker 1>all the performances were good. I just thought it was

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<v Speaker 1>a really poorly constructed movie that was completely like it

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<v Speaker 1>was virtually joyless. Well, I was very I was filled

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<v Speaker 1>with joy watching it, especially because of gal Gado's livery

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<v Speaker 1>of and enough champagne to fill the nile, which was

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<v Speaker 1>as satisfying as I thought it would. Well. When we

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<v Speaker 1>walked out of this movie, I was just stunned because

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<v Speaker 1>I was like, I was like, we just watched a

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<v Speaker 1>two hour like movie that was so so bad and

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<v Speaker 1>the only reason we saw it was for one single tweet.

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<v Speaker 1>Literally literally, I had no plans of seeing this, and

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<v Speaker 1>I saw the video people reacting to that line on

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<v Speaker 1>Twitter last week and was like, we have to go,

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<v Speaker 1>we have to go, which we did decide what as

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<v Speaker 1>we were watching drag Race last week, which I am

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<v Speaker 1>still so confused by this week's episode of drag Race. Why,

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<v Speaker 1>I don't understand what the judges were thinking in their

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<v Speaker 1>choices of the tops and bottoms and the winner. So

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<v Speaker 1>I mean, if you don't watch drag Race this week,

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<v Speaker 1>it was it was an unconventional materials design challenge and

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<v Speaker 1>the looks were mostly bad, and one of the worst

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<v Speaker 1>ones was the one that won. The look that Georgia

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<v Speaker 1>has made. How it's extremely obvious that this is like

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<v Speaker 1>a tool of production and that they're trying to like

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<v Speaker 1>stoke tensions between the queens by making them jealous and confused.

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<v Speaker 1>It's like literally psychological warfare, and they are clearly not

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<v Speaker 1>picking the winner so that they can just stir the pot.

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<v Speaker 1>But this is drastic even for drag Race, because Georgia's

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<v Speaker 1>look is so literally look at the material, yes, exactly,

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<v Speaker 1>like look at the material. I would feel differently if

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<v Speaker 1>it was just one. But they gave positive critiques to

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<v Speaker 1>like two or three of like the worst looks. Ever,

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<v Speaker 1>I don't understand what the judges see and Desa I

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<v Speaker 1>don't either. That she was wearing curtain and all of

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<v Speaker 1>her runways have been totally lackluster and she's a seamstress,

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<v Speaker 1>and all of the looks that she She's always saying

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<v Speaker 1>I made this, and it's like, well, you shouldn't have,

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<v Speaker 1>because and she is one of the most like she's

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<v Speaker 1>kind of one of the most like entitled, and like

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<v Speaker 1>she's really like grumpy about a lot of things and

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<v Speaker 1>like she but she's an amazing lip sinker. And I

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<v Speaker 1>think that we were totally robbed of the experience of

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<v Speaker 1>Georgia's and Asia lip sinking to Sugar Mama. That would

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<v Speaker 1>have been on real, that would have been unreal, and

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<v Speaker 1>it would have been but Maddie, Maddie had to be

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<v Speaker 1>in the bottom. No, I mean, and she had to

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<v Speaker 1>go her time. I disagree. If I was in production,

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<v Speaker 1>I would have been like, let's keep Maddie another week

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<v Speaker 1>because she's good for TV. Let's send Aja home and

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<v Speaker 1>they're going to have a dope ass lip sync to

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<v Speaker 1>Sugar Mama, Like that would have been incredible, Like and

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<v Speaker 1>I want to see George's lip sync like five more times,

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<v Speaker 1>and so does Rue like she keeps saying it, you know, yeah,

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<v Speaker 1>I do think. I do just think that, like the

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<v Speaker 1>narrative of Maddie, like they probably felt like they had

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<v Speaker 1>gotten everything they could out of it, because like even

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<v Speaker 1>though there was like a lot of hubbub at the

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<v Speaker 1>beginning of the season about her, like it didn't really continue.

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<v Speaker 1>There wasn't a lot of drama around her being straight,

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<v Speaker 1>and like, you know, she had a fight with Jasmine

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<v Speaker 1>in Untucked this week, and so I think like they've

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<v Speaker 1>gotten all the mileage they could out of her storyline.

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<v Speaker 1>But I do think, like I'm just so mystified because

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<v Speaker 1>I really felt like a lot of the girls who

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<v Speaker 1>were safe should have been in the top, especially Willow.

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<v Speaker 1>I think she should have won. Her look was the best.

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<v Speaker 1>I thought Willow or Angeria should have won, and Jeria, Yeah, Anderia,

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<v Speaker 1>Willow and Juria right now are definitely my front runners,

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<v Speaker 1>Like I think they will be in the top three,

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<v Speaker 1>unless I am worried that the screen time we're seeing

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<v Speaker 1>around how like exhausted Willow is Like I wonder if

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<v Speaker 1>that's threading a plot line that will like pay off

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<v Speaker 1>in quotation marks with her like having to leave the competition,

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<v Speaker 1>which would be horrible, you like, but you know drag races,

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<v Speaker 1>like they're so heavy handed with editing that that's my

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<v Speaker 1>immediate fear. But I do think she can and should

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<v Speaker 1>go all the way to them. I agree. I think

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<v Speaker 1>that you and I are both rooting for Willow to win.

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<v Speaker 1>To be honest, I mean, Anderia is worthy of the Wind,

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<v Speaker 1>but like willows story in the Wind is like so good,

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<v Speaker 1>and I do think that what Willow does is more singular,

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<v Speaker 1>you know. And Geria has an excellency in the kind

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<v Speaker 1>of pageant queen nous that she is. But we've never

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<v Speaker 1>seen a queen like Willow before. Angeria will be great

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<v Speaker 1>on All Stars. Yeah, exactly seven or whatever number we're

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<v Speaker 1>out now. Anyways, are you listening to the the new

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<v Speaker 1>Competraus album. I have listened to slaptop Dara, ask your thoughts. Yeah,

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<v Speaker 1>it's fun, you know, I don't think it's anything like groundbreaking.

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<v Speaker 1>It's also what like fifteen minutes long. I like the

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<v Speaker 1>vibe of it because I like that it's like this

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<v Speaker 1>dirty Berlin like house that is obviously reminiscent of the

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<v Speaker 1>of her Halloween album, which is obviously her best album

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<v Speaker 1>no skips, point blank period. But like, I think this

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<v Speaker 1>album is like I mean, I think the first two songs,

0:13:56.200 --> 0:13:59.560
<v Speaker 1>which I consider basically one song, are like nice. I

0:13:59.600 --> 0:14:03.120
<v Speaker 1>think not that Kim Petris has ever been a master

0:14:03.240 --> 0:14:07.360
<v Speaker 1>of lyrics, but like the fact that every song is

0:14:07.440 --> 0:14:12.880
<v Speaker 1>kind of this like gay idiot culture algorithm generated kind

0:14:12.880 --> 0:14:15.840
<v Speaker 1>of like slut anthem. Yeah, it's like she she like

0:14:15.960 --> 0:14:18.840
<v Speaker 1>went and took a bunch of tweets and put them

0:14:18.960 --> 0:14:22.000
<v Speaker 1>set them to music. Yeah, and I know it's very

0:14:22.040 --> 0:14:24.760
<v Speaker 1>aware of itself, like Kim is playing a cartoon. She

0:14:24.880 --> 0:14:29.240
<v Speaker 1>knows exactly what she's doing, Like I see the character.

0:14:29.600 --> 0:14:33.240
<v Speaker 1>I just I wondered, like to what end this this

0:14:33.320 --> 0:14:35.880
<v Speaker 1>like kind of music continues on, you know what I mean,

0:14:35.920 --> 0:14:38.080
<v Speaker 1>Like I don't I see a point of view, and

0:14:38.120 --> 0:14:40.120
<v Speaker 1>I think it's really funny. And there are certainly some

0:14:40.200 --> 0:14:42.360
<v Speaker 1>kind of like Mimi bops, like I don't know if

0:14:42.360 --> 0:14:46.440
<v Speaker 1>you saw that TikTok of like Kirby from like Nintendo,

0:14:46.520 --> 0:14:48.360
<v Speaker 1>like sucking up a bunch of things to throat go.

0:14:49.000 --> 0:14:53.000
<v Speaker 1>Have you seen that? It's very funny. Um, But yeah,

0:14:53.120 --> 0:14:55.680
<v Speaker 1>I wonder how long she'll kind of keep that joke going.

0:14:55.880 --> 0:14:58.520
<v Speaker 1>I wonder, like who knows that she's in on the

0:14:58.600 --> 0:15:01.120
<v Speaker 1>joke and who thinks that this is genuinely her music.

0:15:01.120 --> 0:15:04.840
<v Speaker 1>It feels like it has the potential to pigeonhole her

0:15:05.680 --> 0:15:09.760
<v Speaker 1>sort of the same way that doing her Halloween EPs,

0:15:09.920 --> 0:15:13.320
<v Speaker 1>which I think are some of her best music kind

0:15:13.320 --> 0:15:16.320
<v Speaker 1>of pigeon holed her as like spooky Halloween girl, But

0:15:16.400 --> 0:15:18.920
<v Speaker 1>I don't think I think the thing. Actually, I think

0:15:18.960 --> 0:15:23.240
<v Speaker 1>that no one has done that since like Michael Jackson's Thriller,

0:15:23.360 --> 0:15:25.720
<v Speaker 1>you know what I mean, No one's dropping Halloween, you

0:15:25.760 --> 0:15:29.360
<v Speaker 1>know what I mean. I just wonder it's very singular. Yeah,

0:15:29.480 --> 0:15:32.560
<v Speaker 1>I just wonder like where this is coming from, Like

0:15:32.840 --> 0:15:35.920
<v Speaker 1>is it actually the music she wants to be making

0:15:36.120 --> 0:15:39.720
<v Speaker 1>or has she felt like she's hitting a wall in

0:15:39.880 --> 0:15:43.160
<v Speaker 1>terms of what her like mainstream kind of pop offerings

0:15:43.240 --> 0:15:46.720
<v Speaker 1>can do to advance her career. So she's like doubling

0:15:46.760 --> 0:15:49.640
<v Speaker 1>down on being a kind of niche gay pop star

0:15:49.840 --> 0:15:52.560
<v Speaker 1>two minute bimbo bops, you know the other pop girlies

0:15:52.640 --> 0:15:57.440
<v Speaker 1>who are like in the Kim sphere, Charlie is making

0:15:57.800 --> 0:16:01.840
<v Speaker 1>songs that I'm hearing on the radio, and like Caroline

0:16:01.960 --> 0:16:05.160
<v Speaker 1>is getting all of this, you know, mainstream like you know,

0:16:05.240 --> 0:16:11.120
<v Speaker 1>kind of credible music attention, and Kim is like making

0:16:11.720 --> 0:16:17.160
<v Speaker 1>TikTok songs. Yeah that said, Coconuts slaps Love Love that single.

0:16:17.320 --> 0:16:19.920
<v Speaker 1>And then of course you know there's still the stink

0:16:20.000 --> 0:16:23.680
<v Speaker 1>of Dr Luke wafting over it all. Yeah, okay. Also,

0:16:23.960 --> 0:16:28.560
<v Speaker 1>Jasmine Sullivan released a deluxe version of Hotels Very Good.

0:16:28.600 --> 0:16:31.200
<v Speaker 1>Obviously Hurt Me So Good, I think is the standout

0:16:31.240 --> 0:16:34.160
<v Speaker 1>from it. And then also, do you ever listen to Ravenna?

0:16:35.240 --> 0:16:38.480
<v Speaker 1>Ravenna is like she reminds me a little a little

0:16:38.520 --> 0:16:42.520
<v Speaker 1>bit of like Corinne Bailey Ray, maybe like really early

0:16:42.640 --> 0:16:46.120
<v Speaker 1>Solange at your record. Yeah, it's kind of like that.

0:16:46.160 --> 0:16:48.760
<v Speaker 1>It's kind of like these really feel good R and

0:16:48.840 --> 0:16:52.040
<v Speaker 1>B inspired, like positivity bops. They're kind of like self

0:16:52.080 --> 0:16:54.320
<v Speaker 1>care bops kind of. I think a lot of the

0:16:54.360 --> 0:16:56.920
<v Speaker 1>songs are really wonderful as a as a total album,

0:16:56.960 --> 0:16:59.760
<v Speaker 1>it just flows really nicely together. My favorite is Kathy

0:16:59.840 --> 0:17:02.800
<v Speaker 1>Left Katman Do, which I think is just such a

0:17:02.840 --> 0:17:10.080
<v Speaker 1>fun song. The album ends with a thirteen minute guided meditation, which, um,

0:17:10.119 --> 0:17:14.200
<v Speaker 1>I mean, I won't be listening. I don't know if

0:17:14.440 --> 0:17:16.919
<v Speaker 1>I definitely tells us who she is as an artist,

0:17:17.000 --> 0:17:32.639
<v Speaker 1>but the rest of album is is wonderful. You know,

0:17:32.720 --> 0:17:36.560
<v Speaker 1>Atlantis was actually a hip hop artist before Jagged Little Pill.

0:17:36.840 --> 0:17:40.320
<v Speaker 1>She was she was, And that's something that to know

0:17:40.359 --> 0:17:42.840
<v Speaker 1>about Atlantis is that a part of what makes her

0:17:43.240 --> 0:17:46.240
<v Speaker 1>not only one of the creators of one of the

0:17:46.280 --> 0:17:49.560
<v Speaker 1>great rock albums of all time, but also a creator

0:17:49.560 --> 0:17:51.600
<v Speaker 1>of one of the great gay albums of all time?

0:17:51.920 --> 0:17:53.800
<v Speaker 1>Is that kind of first and foremost, she did want

0:17:53.840 --> 0:17:57.080
<v Speaker 1>to be famous. She was doing the grind. There's actually

0:17:57.119 --> 0:18:01.080
<v Speaker 1>a lyric in her most recent album where she complains

0:18:01.080 --> 0:18:03.440
<v Speaker 1>about how she's been working since she can remember, since

0:18:03.440 --> 0:18:09.440
<v Speaker 1>she was single, digits um and so there was intention.

0:18:10.840 --> 0:18:14.639
<v Speaker 1>There was an intention to be a star or someone

0:18:14.720 --> 0:18:18.280
<v Speaker 1>of great significance or influence. Rather, well, that's something that's

0:18:18.280 --> 0:18:20.720
<v Speaker 1>something that seems like it must have resonated for you,

0:18:20.800 --> 0:18:24.320
<v Speaker 1>because I think you do everything you do with intention.

0:18:24.440 --> 0:18:27.160
<v Speaker 1>I mean, listeners, if you don't know her, our guest

0:18:27.240 --> 0:18:32.880
<v Speaker 1>Charlene and Karnate is an incredible Brooklyn based performer, and

0:18:33.000 --> 0:18:35.840
<v Speaker 1>as long as I have known you, I feel like

0:18:36.000 --> 0:18:42.480
<v Speaker 1>everything you do is very intentional, like declaration of your

0:18:42.760 --> 0:18:45.200
<v Speaker 1>taste and point of view and identity. And so you're

0:18:45.240 --> 0:18:49.399
<v Speaker 1>trying to draw parallels between Atlantis and I already at

0:18:49.440 --> 0:18:52.879
<v Speaker 1>the top of the show, I am because because I

0:18:52.960 --> 0:18:56.040
<v Speaker 1>do want to know, like what what was your when

0:18:56.080 --> 0:18:58.760
<v Speaker 1>did you find So that's the thing, that's the that's

0:18:58.760 --> 0:19:00.800
<v Speaker 1>the thing is like what a do you approach this

0:19:00.840 --> 0:19:02.960
<v Speaker 1>conversation from? Because like I said, it's a great It

0:19:03.000 --> 0:19:04.600
<v Speaker 1>was one of the great undeniably one of the great

0:19:04.640 --> 0:19:11.320
<v Speaker 1>rock American rock albums, but also incidentally and curiously one

0:19:11.440 --> 0:19:14.439
<v Speaker 1>of the great gay albums. You know. I when I

0:19:14.440 --> 0:19:19.040
<v Speaker 1>saw Atlanta's this summer at Jones Beach, it really unfolded

0:19:19.080 --> 0:19:22.320
<v Speaker 1>for me, Like how hard she actually rocks and how

0:19:22.480 --> 0:19:25.399
<v Speaker 1>like I wasn't expecting her fan base to like be

0:19:25.560 --> 0:19:27.439
<v Speaker 1>a lot of straight people. I was expecting it to

0:19:27.440 --> 0:19:31.080
<v Speaker 1>be dolls. And at Jones Beach, what was the vibe?

0:19:31.280 --> 0:19:37.000
<v Speaker 1>There were girls like me? I gotta say, they weren't

0:19:37.040 --> 0:19:39.399
<v Speaker 1>like me, like in a girl like me kind of

0:19:39.400 --> 0:19:44.879
<v Speaker 1>like I just mean, they were long haired, brunette women

0:19:44.960 --> 0:19:48.159
<v Speaker 1>who dressed in a specific sort of bow way wherein

0:19:48.280 --> 0:19:51.880
<v Speaker 1>they kind of like fancied themselves in Atlantis of sorts themselves.

0:19:52.480 --> 0:19:54.760
<v Speaker 1>It was it was verging on cosplay. But they were

0:19:54.760 --> 0:19:57.520
<v Speaker 1>all these like, you know, hot straight men that had

0:19:57.560 --> 0:20:00.479
<v Speaker 1>like gotten the tickets for her their girl all and

0:20:00.520 --> 0:20:04.560
<v Speaker 1>like it was date city and so yeah that how

0:20:04.600 --> 0:20:06.240
<v Speaker 1>was the experience of the concert, honey? I mean, what

0:20:06.280 --> 0:20:08.800
<v Speaker 1>can I say aside from She's still got it. It's

0:20:08.800 --> 0:20:11.640
<v Speaker 1>the twenty five year. This past summer was twenty five

0:20:11.720 --> 0:20:14.760
<v Speaker 1>years of Jagged Little Pills. So she performed pretty much

0:20:14.760 --> 0:20:19.359
<v Speaker 1>the whole album, not that she wouldn't anyway, because something

0:20:19.400 --> 0:20:23.760
<v Speaker 1>that I also learned empathetically empathetically rather because I was

0:20:23.800 --> 0:20:26.920
<v Speaker 1>so high, and I took the cue from Atlantis actually

0:20:26.960 --> 0:20:28.560
<v Speaker 1>because in the most recent album she has a song

0:20:28.560 --> 0:20:30.399
<v Speaker 1>about doing assets. So I was like, whatever, she'll probably

0:20:30.400 --> 0:20:32.800
<v Speaker 1>be on my level. And boy was she ever honey.

0:20:33.600 --> 0:20:38.680
<v Speaker 1>And I was like empathetically feeling not only like her

0:20:39.080 --> 0:20:42.560
<v Speaker 1>energy performing in front of me, but also like her

0:20:42.840 --> 0:20:45.960
<v Speaker 1>reconnecting to this music that she made five years ago,

0:20:46.760 --> 0:20:50.280
<v Speaker 1>and like how it had like the journey it had

0:20:50.280 --> 0:20:53.840
<v Speaker 1>taken her on, and how she related to it nowadays

0:20:54.520 --> 0:20:57.240
<v Speaker 1>what songs she connected to more like really obviously and

0:20:57.320 --> 0:20:59.800
<v Speaker 1>which one she was tired of was just like so

0:21:00.359 --> 0:21:02.800
<v Speaker 1>apparent to me and like what she put into them.

0:21:03.040 --> 0:21:04.760
<v Speaker 1>And I have a whole new favorite track list from

0:21:04.760 --> 0:21:06.879
<v Speaker 1>the album now after seeing her before, it was like

0:21:07.080 --> 0:21:09.720
<v Speaker 1>it was all like she her voice is still she's

0:21:09.760 --> 0:21:15.679
<v Speaker 1>got this really like iconic sort of yodeling thing. Um

0:21:15.720 --> 0:21:19.000
<v Speaker 1>that's still like perfectly intact. And she did this thing

0:21:19.040 --> 0:21:23.680
<v Speaker 1>where between numbers she would kind of like vocalize randomly

0:21:24.760 --> 0:21:29.880
<v Speaker 1>in this like kind of operatic ethereal like um yodaly

0:21:30.200 --> 0:21:33.000
<v Speaker 1>sort of way I can I can imagine it, like

0:21:34.080 --> 0:21:36.960
<v Speaker 1>I'm getting about it. That's those were the parts that

0:21:37.000 --> 0:21:40.000
<v Speaker 1>made me cry in the show. It's because I was like,

0:21:40.119 --> 0:21:44.240
<v Speaker 1>this is and she's just so gracious, She's so like

0:21:44.760 --> 0:21:48.159
<v Speaker 1>willing to accept her impact on the world. She realizes

0:21:48.200 --> 0:21:51.760
<v Speaker 1>the magnitude of jagged Little pill, and she she's like,

0:21:51.840 --> 0:21:53.960
<v Speaker 1>you know, like I look up to so many women

0:21:54.000 --> 0:21:57.480
<v Speaker 1>who are creators, who like become like resentful of the

0:21:57.520 --> 0:21:59.840
<v Speaker 1>things that made them, Like take a Dina Menzel another

0:22:00.320 --> 0:22:06.239
<v Speaker 1>like she's she resents so deeply having been Alphaba and

0:22:06.359 --> 0:22:11.159
<v Speaker 1>sort of like she was not hitting the note when

0:22:11.240 --> 0:22:16.320
<v Speaker 1>she left the production on Broadway Girl, and then and

0:22:16.400 --> 0:22:19.240
<v Speaker 1>these assholes actually keep giving her these notes. She can't

0:22:19.320 --> 0:22:21.800
<v Speaker 1>hit two? Did you did you ever hear her hit

0:22:21.840 --> 0:22:26.520
<v Speaker 1>the note in the Frozen song once? She must have

0:22:26.560 --> 0:22:29.720
<v Speaker 1>gotten it exactly once, and they and she's lucky to

0:22:29.720 --> 0:22:31.239
<v Speaker 1>have been in the studio and they're like, all right,

0:22:31.280 --> 0:22:34.520
<v Speaker 1>we got it, the kluck on the road bitch. And

0:22:34.640 --> 0:22:36.960
<v Speaker 1>then they have her, they have her at the Oscars

0:22:37.040 --> 0:22:39.119
<v Speaker 1>like with all of the other else's from around the

0:22:39.119 --> 0:22:42.840
<v Speaker 1>world to we're all hitting the notes. Yes, they were,

0:22:43.240 --> 0:22:46.600
<v Speaker 1>well that was that was frozen two oscars right, Or

0:22:46.640 --> 0:22:49.280
<v Speaker 1>then they have like remember the beginning of the pandemic,

0:22:49.320 --> 0:22:51.680
<v Speaker 1>there was the video of all of the Alphaba's doing

0:22:51.760 --> 0:22:57.080
<v Speaker 1>defined gravity, and like Adina very calculatedly comes in at

0:22:57.320 --> 0:23:03.399
<v Speaker 1>a lower stakes part of the end a limited but

0:23:03.440 --> 0:23:07.840
<v Speaker 1>then they have like forty different girls go wow, and

0:23:07.880 --> 0:23:10.119
<v Speaker 1>you're like, when you hear that so many times in

0:23:10.160 --> 0:23:14.399
<v Speaker 1>a row, you're like, is Adina the Atlantis of musical theater? No,

0:23:14.680 --> 0:23:16.080
<v Speaker 1>I don't think so, because of what he was just

0:23:16.119 --> 0:23:20.679
<v Speaker 1>talking about how she's she's she's not gracious like Atlantis is.

0:23:20.960 --> 0:23:24.600
<v Speaker 1>There's a grace to Atlantis that I think people that

0:23:24.680 --> 0:23:28.360
<v Speaker 1>a novice will often miss because she's so often characterized

0:23:28.400 --> 0:23:31.399
<v Speaker 1>as full of wrath and anger. And a lot of

0:23:31.440 --> 0:23:33.240
<v Speaker 1>that has to do with the track you ought to

0:23:33.280 --> 0:23:36.280
<v Speaker 1>Know from Jagged Little Pill and a few more others.

0:23:36.320 --> 0:23:39.199
<v Speaker 1>There's you ought to Know, which is personal grief and

0:23:39.320 --> 0:23:42.680
<v Speaker 1>anger towards a person, and then there's right through you,

0:23:43.080 --> 0:23:47.280
<v Speaker 1>which is a broader anger towards like men. I'd say,

0:23:47.320 --> 0:23:51.440
<v Speaker 1>because I do think that her fury feels like righteous

0:23:51.520 --> 0:23:55.320
<v Speaker 1>and cosmic and biblical in a way that I think

0:23:55.400 --> 0:23:57.439
<v Speaker 1>is the reason why you ought to know is so

0:23:57.520 --> 0:24:00.879
<v Speaker 1>personal for so many people because it is so specific,

0:24:01.000 --> 0:24:07.159
<v Speaker 1>yet it transcends her specific situation and becomes like universal rage.

0:24:07.680 --> 0:24:10.760
<v Speaker 1>And I get what you're saying about her being this

0:24:10.880 --> 0:24:15.840
<v Speaker 1>like almost this like spiritual figure of most and and

0:24:15.840 --> 0:24:19.520
<v Speaker 1>and that was established from the jump with these tracks

0:24:19.560 --> 0:24:22.600
<v Speaker 1>like this and and it's like these tracks are running

0:24:22.640 --> 0:24:28.520
<v Speaker 1>the full gamut. Jackie Little Pill is successful in providing

0:24:28.800 --> 0:24:33.600
<v Speaker 1>a comprehensive spectrum of the experience of womanhood. And in

0:24:33.680 --> 0:24:38.639
<v Speaker 1>these tracks there is a comprehensive spectrum of all of

0:24:38.680 --> 0:24:41.679
<v Speaker 1>the things that make her full of wrath. There's anger,

0:24:42.359 --> 0:24:45.679
<v Speaker 1>there's immense grief in the track too, you know, and

0:24:45.720 --> 0:24:50.040
<v Speaker 1>there's sadness and sorrow that is very hard for you

0:24:50.080 --> 0:24:52.720
<v Speaker 1>to strike a balance with as a as like a musician,

0:24:52.760 --> 0:24:57.080
<v Speaker 1>I guess also lyrically, that's something that Atlantis is known

0:24:57.119 --> 0:24:59.720
<v Speaker 1>for most in like you know, among like Rolling Stone

0:24:59.800 --> 0:25:03.160
<v Speaker 1>or folks Circles is her lyrics. I love the track

0:25:03.240 --> 0:25:05.240
<v Speaker 1>right through you because it's like she's just like belittle,

0:25:05.359 --> 0:25:07.359
<v Speaker 1>like she says, your shake is like a fish. And

0:25:07.359 --> 0:25:09.520
<v Speaker 1>when I like again like then but not being ready

0:25:09.520 --> 0:25:11.280
<v Speaker 1>when the Jaggon lot pill came out when I would

0:25:11.320 --> 0:25:13.000
<v Speaker 1>hear my mom listen jaging little pill had here. Your

0:25:13.000 --> 0:25:15.520
<v Speaker 1>shake is like a fish, And I thought AD meant that,

0:25:15.560 --> 0:25:18.639
<v Speaker 1>like she like he makes gross milkshakes that tastes like

0:25:18.680 --> 0:25:21.439
<v Speaker 1>fish or something, you know, But she's just like belittling

0:25:21.560 --> 0:25:26.040
<v Speaker 1>his manhood. You're you're like, you know, like the handshake

0:25:26.160 --> 0:25:27.919
<v Speaker 1>is like the thing that the man is proud of,

0:25:28.000 --> 0:25:30.920
<v Speaker 1>and like something that was like you know, beaten into

0:25:31.040 --> 0:25:32.439
<v Speaker 1>me as a child too, is that I had to

0:25:32.480 --> 0:25:35.560
<v Speaker 1>have a firm handshake, you know. And I just loved

0:25:35.600 --> 0:25:38.000
<v Speaker 1>so much hearing like Atlantis like ship all over that

0:25:38.080 --> 0:25:40.560
<v Speaker 1>and just like be be like like like you know,

0:25:40.640 --> 0:25:43.679
<v Speaker 1>being me and woman, like a fierce woman is like

0:25:43.760 --> 0:25:47.880
<v Speaker 1>so far preferable to like whatever is going on there. Really, Yeah,

0:25:47.920 --> 0:25:52.439
<v Speaker 1>she really cuts masculinity off at the knees in a

0:25:52.480 --> 0:25:56.240
<v Speaker 1>way that you can't argue with. It's like she that

0:25:56.320 --> 0:25:59.920
<v Speaker 1>album to me is the last word of a relationship,

0:26:00.119 --> 0:26:02.720
<v Speaker 1>of an argument. I feel like they're I mean something

0:26:02.760 --> 0:26:04.480
<v Speaker 1>that I love about that lyric, and I guess the

0:26:04.520 --> 0:26:07.840
<v Speaker 1>ethos of the album in general is like how guys

0:26:07.880 --> 0:26:11.080
<v Speaker 1>saying like like firm handshakes and like my dad would

0:26:11.080 --> 0:26:13.680
<v Speaker 1>say that to me, that's like how men like culture

0:26:13.760 --> 0:26:15.960
<v Speaker 1>each other, and so for her to say it's like

0:26:16.040 --> 0:26:18.800
<v Speaker 1>such a a subversion of that. And I think that,

0:26:18.880 --> 0:26:20.400
<v Speaker 1>like I love what you said at the beginning about

0:26:20.440 --> 0:26:22.679
<v Speaker 1>like how this is like an a legacy of like

0:26:22.760 --> 0:26:25.879
<v Speaker 1>gay albums because like you know, like Adam Lambert like

0:26:25.920 --> 0:26:28.680
<v Speaker 1>always referencing like you know, Atlantis or like Perfume Genius

0:26:28.760 --> 0:26:30.479
<v Speaker 1>or like all these folks that people that now have

0:26:30.600 --> 0:26:33.960
<v Speaker 1>like a queer like something that's explicitly queer or gay,

0:26:34.000 --> 0:26:37.200
<v Speaker 1>and like their albums come from this like thing that

0:26:37.640 --> 0:26:41.800
<v Speaker 1>maybe it's not explicitly gay, but has the wrath that

0:26:42.000 --> 0:26:44.880
<v Speaker 1>um we all identify with so quickly when you are,

0:26:45.080 --> 0:26:47.640
<v Speaker 1>you know, a teen or when you're consuming this album,

0:26:47.760 --> 0:26:51.399
<v Speaker 1>I feel like it is explicitly gay sometimes, which just

0:26:51.440 --> 0:26:55.480
<v Speaker 1>because it's like just the legacy that it has is

0:26:55.560 --> 0:26:58.000
<v Speaker 1>so gay, Like there's there was a high priel at

0:26:58.040 --> 0:27:01.320
<v Speaker 1>the concert. I love a good high prel. I think

0:27:01.359 --> 0:27:05.080
<v Speaker 1>Atlantis this past tour, the Jagged Little fill Year Tour

0:27:05.760 --> 0:27:11.280
<v Speaker 1>might oust Brittany Spears's Circus tour as my favorite hybrial.

0:27:11.520 --> 0:27:14.639
<v Speaker 1>Before the diva comes on stage, you know, they're like

0:27:14.720 --> 0:27:19.800
<v Speaker 1>showing you a montage of flashes of iconic images, shoots

0:27:19.840 --> 0:27:22.480
<v Speaker 1>and clips that the person has like gone through self

0:27:22.480 --> 0:27:25.720
<v Speaker 1>made fan camp, and you realize watching the Atlantis one

0:27:26.359 --> 0:27:31.080
<v Speaker 1>that all of these zeitgeist moments that she's had kind

0:27:31.119 --> 0:27:33.480
<v Speaker 1>of have arisen from the narrative that she was writing

0:27:33.480 --> 0:27:36.600
<v Speaker 1>in Jagged Little Pill, specifically like her part in the

0:27:36.640 --> 0:27:42.280
<v Speaker 1>movie Dogma where she plays God. Essentially Alan Rickman is

0:27:43.080 --> 0:27:46.760
<v Speaker 1>the voice of God because if God speaks, then Havoc

0:27:46.840 --> 0:27:51.280
<v Speaker 1>is wreaked, and so Atlantis is silent the whole movie

0:27:51.560 --> 0:27:55.040
<v Speaker 1>because if she opens her mouth and like people's heads explode, etcetera.

0:27:56.400 --> 0:28:00.159
<v Speaker 1>And so like to talk about a spiritual image like

0:28:00.560 --> 0:28:04.280
<v Speaker 1>Atlantis as God who is capable of ripping, like you know,

0:28:04.320 --> 0:28:07.720
<v Speaker 1>making the fact it's heads explodes, right or not facts,

0:28:07.760 --> 0:28:12.240
<v Speaker 1>but you know. And so that like wrathful thing was

0:28:12.320 --> 0:28:14.600
<v Speaker 1>kind of like something that she was comfortable playing with.

0:28:14.720 --> 0:28:20.480
<v Speaker 1>She was like acting the wrathful part also, And it's

0:28:20.520 --> 0:28:24.040
<v Speaker 1>just funny because like Jacked Little Pill has so much

0:28:24.119 --> 0:28:27.359
<v Speaker 1>more than that, and you can kind of see the

0:28:27.400 --> 0:28:30.399
<v Speaker 1>story beginning of like the rest of Atlantis's career in

0:28:30.440 --> 0:28:34.600
<v Speaker 1>that there's tracks like Perfect and Mary Jane, which are

0:28:34.800 --> 0:28:39.240
<v Speaker 1>very somber. They actually were the most, the tracks that

0:28:39.280 --> 0:28:41.720
<v Speaker 1>she performed at the concert that I connected with the most,

0:28:42.320 --> 0:28:44.080
<v Speaker 1>and the ones that I felt like she still has

0:28:44.120 --> 0:28:47.440
<v Speaker 1>the best relationship to where these songs about like pain

0:28:47.600 --> 0:28:52.680
<v Speaker 1>and like the the the horrors of womanhood basically, and

0:28:52.680 --> 0:28:56.560
<v Speaker 1>Mary Jane is so sad. In the song Mary Jane,

0:28:56.840 --> 0:29:00.280
<v Speaker 1>there's this lyric where she goes, I hear your using

0:29:00.280 --> 0:29:02.480
<v Speaker 1>weight again, Mary Jane, you ever wonder who you're losing

0:29:02.480 --> 0:29:07.040
<v Speaker 1>it for? And when she's sang that, um, the screens

0:29:08.000 --> 0:29:13.880
<v Speaker 1>flashed like different bodies that Atlantis has had, So there

0:29:13.960 --> 0:29:18.560
<v Speaker 1>was like pregnant Atlantis, like depressed Atlantis, who was like

0:29:18.760 --> 0:29:21.800
<v Speaker 1>larger than she usually was, like really real than Atlantis,

0:29:21.800 --> 0:29:24.840
<v Speaker 1>who was like obviously like supposedly succumbing to whatever pressure

0:29:24.920 --> 0:29:28.360
<v Speaker 1>from being famous or whatever. And you saw how many

0:29:28.400 --> 0:29:31.720
<v Speaker 1>different sizes this person has been and you realize in

0:29:31.720 --> 0:29:33.280
<v Speaker 1>that moment that she wrote that at the beginning of

0:29:33.320 --> 0:29:37.000
<v Speaker 1>her career, that she continued to like interplay with this

0:29:37.520 --> 0:29:39.960
<v Speaker 1>as the career went on, and she's like still feeling

0:29:40.520 --> 0:29:42.800
<v Speaker 1>the things that she felt when she wrote Mary Jane

0:29:42.800 --> 0:29:47.880
<v Speaker 1>performing it in one whereas like with Ironic, she's like

0:29:48.600 --> 0:29:50.760
<v Speaker 1>tossing to the crowd. She'll toss the mic to the crop,

0:29:50.760 --> 0:29:53.000
<v Speaker 1>be like it's like a ray. You know, you don't

0:29:53.160 --> 0:29:55.360
<v Speaker 1>you don't hear her even say that part. I do

0:29:55.480 --> 0:29:59.400
<v Speaker 1>want to know when, as you said, like when Jocked

0:29:59.400 --> 0:30:01.360
<v Speaker 1>Little Pill came not maybe you were a little a

0:30:01.440 --> 0:30:04.120
<v Speaker 1>little too young to really get it. But I have

0:30:04.280 --> 0:30:08.680
<v Speaker 1>always like identified you with Atlantis and with this album specifically.

0:30:08.720 --> 0:30:11.480
<v Speaker 1>Maybe that's because I know you so well. Maybe that's

0:30:11.520 --> 0:30:14.320
<v Speaker 1>because like it's something that we've connected about. Um, but

0:30:14.440 --> 0:30:17.880
<v Speaker 1>when did it really enter your life in a like

0:30:18.040 --> 0:30:21.560
<v Speaker 1>substantial way and when did you kind of like form

0:30:21.720 --> 0:30:25.040
<v Speaker 1>some selfhood around it? You want to know the damnedest thing.

0:30:25.240 --> 0:30:27.360
<v Speaker 1>It's weird, so weird you should ask that Rose because

0:30:27.400 --> 0:30:31.719
<v Speaker 1>my first Atlantis track was actually thank You. That was

0:30:31.760 --> 0:30:34.640
<v Speaker 1>the first time that I was like, And it's because

0:30:35.120 --> 0:30:38.000
<v Speaker 1>I saw that music video with her naked body and

0:30:38.000 --> 0:30:41.720
<v Speaker 1>her tips covered by that fucking long long as hair,

0:30:42.680 --> 0:30:46.440
<v Speaker 1>and I that that image was steered into my brain

0:30:46.560 --> 0:30:50.000
<v Speaker 1>and it's just so um, I guess uncanny the way

0:30:50.000 --> 0:30:55.240
<v Speaker 1>that I have like modeled my like professional life and

0:30:55.320 --> 0:30:59.320
<v Speaker 1>like stage career after that image. Well, to me, it

0:30:59.400 --> 0:31:01.840
<v Speaker 1>does feel so much of your right. Yeah, you are

0:31:01.920 --> 0:31:06.080
<v Speaker 1>the Atlantis of drag Wow, Well, I don't even know

0:31:06.360 --> 0:31:09.719
<v Speaker 1>I can drive home with this gas girl for sure. Um,

0:31:10.760 --> 0:31:13.520
<v Speaker 1>it's not it's not unintentional, I guess. I mean I've

0:31:13.560 --> 0:31:17.960
<v Speaker 1>always like it, appreciated her, like as a style icon.

0:31:18.240 --> 0:31:21.760
<v Speaker 1>Atlantis kind of dresses like more of a pedestrian version

0:31:22.040 --> 0:31:26.320
<v Speaker 1>of like natural born Killers, like Juliette Louis natural born Killers,

0:31:26.320 --> 0:31:28.640
<v Speaker 1>you know what I'm talking about. Just like there's like

0:31:28.720 --> 0:31:31.720
<v Speaker 1>a level of Americana to it, but also like very

0:31:31.840 --> 0:31:35.760
<v Speaker 1>like seventies kind of like hippie hair, lots of macromay

0:31:36.160 --> 0:31:39.840
<v Speaker 1>and um like flares. Atlantis wears boot cut jeans. You know.

0:31:40.200 --> 0:31:44.480
<v Speaker 1>There's also like a Nancy Botwin vibe going on. There's parallel.

0:31:44.560 --> 0:31:48.800
<v Speaker 1>I think there's more parallels between Nancy Botwin or by extension,

0:31:49.080 --> 0:31:51.840
<v Speaker 1>Mary Louise Parker and Atlantis than someone like a Dina

0:31:51.920 --> 0:31:54.520
<v Speaker 1>and Alannas. Like if we're going for great brunettes, I

0:31:54.560 --> 0:31:59.720
<v Speaker 1>would put Atlantis and Mary Louise Parker together sooner. They

0:31:59.760 --> 0:32:03.520
<v Speaker 1>have this enchantress quality about them. It's actually a Ryan

0:32:03.560 --> 0:32:09.400
<v Speaker 1>Strait descriptive work for Mary Louise Parker the enchantress, because

0:32:09.680 --> 0:32:13.520
<v Speaker 1>Mary Louise has this sort of like mccab cloud that

0:32:13.560 --> 0:32:16.640
<v Speaker 1>follows her around. There's sort of this like dark figure

0:32:17.320 --> 0:32:20.240
<v Speaker 1>they were behind her. It also like Kate Bushy almost

0:32:20.320 --> 0:32:22.520
<v Speaker 1>kind of like where there's like this ethereality or like

0:32:22.560 --> 0:32:26.719
<v Speaker 1>powerful feat kind of well, Atlantis definitely is part of

0:32:26.720 --> 0:32:32.840
<v Speaker 1>that lineage of like young songwriters who were like so

0:32:33.000 --> 0:32:37.320
<v Speaker 1>precocious in putting out a work that it really encapsulates

0:32:37.320 --> 0:32:39.800
<v Speaker 1>who they are as an artist, very young in their career,

0:32:39.920 --> 0:32:42.240
<v Speaker 1>like very much in the way that Kate bush did

0:32:42.560 --> 0:32:45.440
<v Speaker 1>with Hounds of Love. And I think you even see

0:32:45.480 --> 0:32:49.400
<v Speaker 1>it in people like Taylor swift Um and honestly, like

0:32:49.600 --> 0:32:51.840
<v Speaker 1>Michelle Branch is a part of that. I feel like

0:32:52.240 --> 0:32:55.000
<v Speaker 1>Avril is like in the legacy of like you know,

0:32:55.040 --> 0:32:57.320
<v Speaker 1>it's like a you know, a completely different version, but

0:32:57.400 --> 0:33:00.560
<v Speaker 1>like obviously comes from like an Atlantis Linit lineage. Well

0:33:00.600 --> 0:33:06.640
<v Speaker 1>Atlantis really um. I think for our generation definitely created

0:33:06.720 --> 0:33:11.000
<v Speaker 1>a mold that a lot of other artists tried to

0:33:11.040 --> 0:33:15.400
<v Speaker 1>fit themselves into and very much like disrupted whatever was

0:33:15.520 --> 0:33:19.360
<v Speaker 1>sort of the current pop star rock star role for

0:33:19.400 --> 0:33:22.280
<v Speaker 1>women at the time. Yeah, like who was popular at

0:33:22.280 --> 0:33:25.400
<v Speaker 1>the time because I'm like Liz Fair. Oh yeah, I

0:33:25.400 --> 0:33:28.360
<v Speaker 1>guess it was popular at the time. Maybe not well,

0:33:28.480 --> 0:33:32.000
<v Speaker 1>she was supposed to actually open for Atlantis this past

0:33:32.000 --> 0:33:34.080
<v Speaker 1>summer and dropped out of the tour for some ship

0:33:34.480 --> 0:33:36.280
<v Speaker 1>could not be dick out of her mouth or whatever.

0:33:36.640 --> 0:33:40.800
<v Speaker 1>P J. Harvey, It's like a contemporary Cheryl Crowe, but

0:33:40.960 --> 0:33:44.520
<v Speaker 1>I think Cheryl Crows maybe post Atlantis. It's like a

0:33:44.560 --> 0:33:47.560
<v Speaker 1>it was a very male dominated like Grateful Dead, Um

0:33:47.720 --> 0:33:50.120
<v Speaker 1>was like looping back on their careers. Like it feels

0:33:50.120 --> 0:33:51.840
<v Speaker 1>like it was a very male I mean, everything is

0:33:51.840 --> 0:33:54.160
<v Speaker 1>a male dominated space, but it sounds like obviously like

0:33:54.280 --> 0:33:57.280
<v Speaker 1>rock like well, it's like it was Jack Jams was happening,

0:33:57.320 --> 0:34:00.880
<v Speaker 1>So there's like there's like you know, kind of like

0:34:01.000 --> 0:34:05.840
<v Speaker 1>an infiltration of like harder electronic technical music happening. And

0:34:05.880 --> 0:34:10.279
<v Speaker 1>then also at the same time, like uh, instrumentation in

0:34:10.360 --> 0:34:14.960
<v Speaker 1>music is like really Forloren and slowed down, I guess,

0:34:15.760 --> 0:34:18.520
<v Speaker 1>and um Atlantis is offering us a reprieve from that

0:34:18.600 --> 0:34:20.719
<v Speaker 1>and also kind of like fitting into that mold at

0:34:20.719 --> 0:34:23.120
<v Speaker 1>the same time, which Jack a little pill. But I

0:34:23.160 --> 0:34:26.120
<v Speaker 1>think that that a that a key differences, whereas so

0:34:26.160 --> 0:34:30.680
<v Speaker 1>many artists like struggled to Um break free of their mold,

0:34:31.239 --> 0:34:34.880
<v Speaker 1>like Avril was someone you just mentioned. I think a

0:34:34.960 --> 0:34:38.200
<v Speaker 1>key differences, like Atlantis has had a very like truthful

0:34:39.200 --> 0:34:44.520
<v Speaker 1>and authentic journey even artistically since that point, and people

0:34:44.640 --> 0:34:48.480
<v Speaker 1>were more reluctant to let her. People still are reluctant

0:34:48.480 --> 0:34:52.080
<v Speaker 1>to let her break free of you ought to know

0:34:52.680 --> 0:35:08.880
<v Speaker 1>as a mood. Do you remember, I think this was

0:35:08.960 --> 0:35:12.839
<v Speaker 1>when we were in high school. Um, the Jagged Little

0:35:12.880 --> 0:35:17.759
<v Speaker 1>Pill acoustic rerelease for the anniversary. Yeah, and it was

0:35:18.280 --> 0:35:24.200
<v Speaker 1>at Starbucks. At Starbucks was a Starbucks exclusive, and it's

0:35:24.239 --> 0:35:28.840
<v Speaker 1>it's really great to hear the reinterpretation. I'm going to go.

0:35:28.920 --> 0:35:31.120
<v Speaker 1>And I remember, like the big moment that we all

0:35:31.120 --> 0:35:35.000
<v Speaker 1>talked about. It was during Ironic when she says, it's

0:35:35.040 --> 0:35:37.280
<v Speaker 1>like meeting the man of your dreams and then meeting

0:35:37.360 --> 0:35:41.200
<v Speaker 1>his beautiful husband. And she still does that when she yeah,

0:35:41.200 --> 0:35:43.319
<v Speaker 1>she still does that, I mean, and she goes on

0:35:43.440 --> 0:35:47.280
<v Speaker 1>the concert, she goes so many times she was meeting

0:35:47.560 --> 0:35:49.719
<v Speaker 1>it's meeting the man in my dreams then meeting miss

0:35:49.800 --> 0:35:55.480
<v Speaker 1>beautiful husband. So many times that was just like, yeah,

0:35:56.080 --> 0:35:59.360
<v Speaker 1>fucking same girl. That's why it's a little more explicitly

0:35:59.440 --> 0:36:02.160
<v Speaker 1>queer then that. It's just like and in the High

0:36:02.200 --> 0:36:05.560
<v Speaker 1>Frield too, there's like Frankie Grande, she has Frankie Grande

0:36:05.600 --> 0:36:08.279
<v Speaker 1>like interviewing her on sun red Carpet. It's just like

0:36:08.320 --> 0:36:12.000
<v Speaker 1>this split second of Frankie grind going your music, Oh

0:36:12.040 --> 0:36:17.440
<v Speaker 1>my god, she in it. She was a pr probably

0:36:17.520 --> 0:36:19.920
<v Speaker 1>emailed ahead of times like please consider this clip for

0:36:20.040 --> 0:36:26.840
<v Speaker 1>your real and um it's also if you'll remember, Atlantis

0:36:27.120 --> 0:36:31.520
<v Speaker 1>was actually cast as one of the bisexual swingers that

0:36:31.640 --> 0:36:38.799
<v Speaker 1>Carrie Bradshaw was her adjacent c to queerness is just

0:36:38.920 --> 0:36:41.759
<v Speaker 1>like part of culture of the way that we think

0:36:41.760 --> 0:36:44.640
<v Speaker 1>about and that is for those for those that don't remember,

0:36:44.680 --> 0:36:47.000
<v Speaker 1>probably my favorite, one of my favorite episodes of Sex

0:36:47.000 --> 0:36:49.000
<v Speaker 1>and the City and also one of the most problematic,

0:36:49.600 --> 0:36:51.839
<v Speaker 1>Like it was like literally just carry like coming out

0:36:51.880 --> 0:36:56.600
<v Speaker 1>as like biphobic and like literally she kisses Atlantis. There's

0:36:56.600 --> 0:36:59.239
<v Speaker 1>like a moment where like it's it's the cinema of

0:36:59.280 --> 0:37:02.520
<v Speaker 1>it is like is Carrie going to feel something? Is

0:37:02.520 --> 0:37:05.520
<v Speaker 1>she going to be changed? Is this like this like

0:37:05.680 --> 0:37:07.640
<v Speaker 1>brook It's like a big deal that she like sleps

0:37:07.640 --> 0:37:10.160
<v Speaker 1>to Brooklyn or whatever. Is this like ecosystem of Brooklyn

0:37:10.239 --> 0:37:12.040
<v Speaker 1>queer is going to like open her mind up and

0:37:12.080 --> 0:37:14.640
<v Speaker 1>she kind of like stands up and like literally walks

0:37:14.640 --> 0:37:16.640
<v Speaker 1>out without saying is that anyone by and like the

0:37:17.080 --> 0:37:20.040
<v Speaker 1>narration overhead, like as she's walking down the stairs like

0:37:20.239 --> 0:37:23.799
<v Speaker 1>of this like Brooklyn Warehouses, Like well, I'm a homophobe

0:37:23.920 --> 0:37:26.600
<v Speaker 1>and that it's just gonna be like that, like I

0:37:26.680 --> 0:37:29.960
<v Speaker 1>called me old fashioned or like whatever. Yeah, I guess

0:37:30.000 --> 0:37:32.879
<v Speaker 1>it's just not for me. So what was your crazy life?

0:37:32.880 --> 0:37:37.040
<v Speaker 1>Stas faggots? There's actually do we actually have a quote

0:37:37.080 --> 0:37:40.440
<v Speaker 1>from her of her talking about the episode. She says,

0:37:40.840 --> 0:37:43.360
<v Speaker 1>I kissed Sarah Jessica Parker. I played a lesbian and

0:37:43.440 --> 0:37:45.080
<v Speaker 1>sex in the city, and I had to kiss her.

0:37:45.360 --> 0:37:48.480
<v Speaker 1>I have experimented with same sex relationships in my life,

0:37:48.520 --> 0:37:52.720
<v Speaker 1>but it wasn't about enjoyment with Sarah Jessica. Her character

0:37:52.760 --> 0:37:55.400
<v Speaker 1>was supposed to be reluctant about getting involved, so it

0:37:55.440 --> 0:37:58.200
<v Speaker 1>wasn't a passionate kiss. It was a reticent one, which

0:37:58.200 --> 0:38:00.800
<v Speaker 1>is why I didn't enjoy it. So I can't imagine

0:38:00.840 --> 0:38:06.240
<v Speaker 1>that Sarah Jessica Parker has very good breath. Well, Carrie

0:38:06.320 --> 0:38:10.879
<v Speaker 1>was a chain smoker, Yeah right, I remember. I also

0:38:10.880 --> 0:38:12.680
<v Speaker 1>remember from that episode like one of the big things

0:38:12.760 --> 0:38:14.879
<v Speaker 1>that's like she's like finds out that the guy is bye.

0:38:14.960 --> 0:38:18.279
<v Speaker 1>She's all like, well, like, who do you like having

0:38:18.320 --> 0:38:20.520
<v Speaker 1>sex with more like men are me, you know what

0:38:20.600 --> 0:38:23.120
<v Speaker 1>I mean, and it's like it's it's like everything it's

0:38:23.280 --> 0:38:27.160
<v Speaker 1>so biphobic. But the guy is really hot and Atlantis

0:38:27.160 --> 0:38:32.240
<v Speaker 1>looks incredible, as she always does. And I think during

0:38:32.640 --> 0:38:35.320
<v Speaker 1>the nineties we think of her like that is the

0:38:35.760 --> 0:38:39.560
<v Speaker 1>crystallized image of her with the long brown hair perfectly.

0:38:39.800 --> 0:38:41.879
<v Speaker 1>It very much seems like she dressed herself for sex

0:38:41.920 --> 0:38:44.520
<v Speaker 1>in the city too, or kind of that she kind

0:38:44.560 --> 0:38:47.279
<v Speaker 1>of like I always like figured that she kind of

0:38:47.280 --> 0:38:49.560
<v Speaker 1>like rode herself into it or like, you know what

0:38:49.600 --> 0:38:52.480
<v Speaker 1>I mean. And it was such an event at the

0:38:52.560 --> 0:38:57.040
<v Speaker 1>time that it was her in it and that Atlantis

0:38:57.080 --> 0:39:01.000
<v Speaker 1>Morisset kissed Sarah Jessica Parker like that was the headline.

0:39:01.400 --> 0:39:07.000
<v Speaker 1>That's what they wanted. Honestly. You are a very prolific performer, um,

0:39:07.040 --> 0:39:11.000
<v Speaker 1>and I have seen you do several Atlantis numbers. You

0:39:11.160 --> 0:39:14.279
<v Speaker 1>as we talked about before, did a show once called

0:39:14.360 --> 0:39:18.120
<v Speaker 1>ten Thousand Spoons. Um, what are some of your favorite

0:39:18.320 --> 0:39:21.439
<v Speaker 1>Atlantis numbers? I mean, maybe specifically from Jacked Little Pill

0:39:21.920 --> 0:39:26.400
<v Speaker 1>to perform and why. Most recently it's been all I

0:39:26.440 --> 0:39:31.480
<v Speaker 1>Really Want, the first track on the album that has

0:39:31.520 --> 0:39:35.960
<v Speaker 1>been my most favorite to perform, namely the moment where

0:39:36.040 --> 0:39:38.200
<v Speaker 1>she says, why are you so petrified? Her silence? Here?

0:39:38.239 --> 0:39:41.799
<v Speaker 1>Can you handle this? I've gotten into the habit of

0:39:42.800 --> 0:39:45.920
<v Speaker 1>breaking that number down into two tracks and ending it

0:39:45.960 --> 0:39:51.040
<v Speaker 1>at that moment and kind of waiting like Frankenfurter at

0:39:51.120 --> 0:39:56.040
<v Speaker 1>Antissa like hair can you handle this? And like waiting,

0:39:56.080 --> 0:39:58.239
<v Speaker 1>and then giving the DJ that I like a wink

0:39:58.840 --> 0:40:02.520
<v Speaker 1>to start the next track and go into did you

0:40:02.560 --> 0:40:07.759
<v Speaker 1>think about your bell? That lines um and that song

0:40:07.800 --> 0:40:09.319
<v Speaker 1>has so much drama to it, so much of it

0:40:09.360 --> 0:40:12.160
<v Speaker 1>does you ought to know? Is the one that makes

0:40:12.200 --> 0:40:15.200
<v Speaker 1>me the most money? I'll say that, I'm sure it's

0:40:15.239 --> 0:40:20.160
<v Speaker 1>the same case for atlantis um. Aside from that, I

0:40:20.239 --> 0:40:24.000
<v Speaker 1>perform Not the Doctor. It's the one that lyrically I

0:40:24.040 --> 0:40:27.640
<v Speaker 1>can connect to what some some of the most you know,

0:40:27.719 --> 0:40:31.800
<v Speaker 1>the trope of like what is the tracks relationship to womanhood?

0:40:31.840 --> 0:40:36.080
<v Speaker 1>I'd say Not the Doctor is like exhaustion and so

0:40:36.480 --> 0:40:40.800
<v Speaker 1>um as another as another brunette diva who's over it

0:40:40.880 --> 0:40:43.320
<v Speaker 1>all the time. I love Not the Doctor to perform

0:40:43.360 --> 0:40:46.520
<v Speaker 1>it all I really want I've done right through you too,

0:40:47.280 --> 0:40:50.920
<v Speaker 1>But I don't know, man. I struggle with audiences and

0:40:51.320 --> 0:40:54.520
<v Speaker 1>mid tempo rock numbers. You know. That's why these other

0:40:54.560 --> 0:40:57.000
<v Speaker 1>tracks in the in Jagged Little Pill, like Perfect and

0:40:57.040 --> 0:40:59.879
<v Speaker 1>Mary Jane just don't make great drag numbers. But it's

0:41:00.040 --> 0:41:02.320
<v Speaker 1>you know, but they do make three out of however,

0:41:02.480 --> 0:41:04.880
<v Speaker 1>is not bad. Yeah, they make great songs to listen

0:41:04.920 --> 0:41:08.319
<v Speaker 1>to when you're really stoned at home or like on

0:41:08.360 --> 0:41:13.440
<v Speaker 1>a road trip. Atlantis is amazing driving music. Um. I mean,

0:41:13.440 --> 0:41:16.399
<v Speaker 1>I always think of the Ironic video with the four

0:41:16.480 --> 0:41:19.759
<v Speaker 1>different versions of her in the car. Um. Did you

0:41:19.880 --> 0:41:22.799
<v Speaker 1>notice that Casey Musgraves gave a little shout out to

0:41:22.840 --> 0:41:27.160
<v Speaker 1>the Ironic video in her ross recent project. There's a

0:41:27.480 --> 0:41:30.479
<v Speaker 1>there's a scene. I think it's Justified, right, The track

0:41:30.520 --> 0:41:32.880
<v Speaker 1>on the Casey album is Justified where she's like in

0:41:32.920 --> 0:41:37.160
<v Speaker 1>a car like driving it out, which is so Atlantis

0:41:37.280 --> 0:41:45.080
<v Speaker 1>and so me just mean that Casey is in different seats,

0:41:45.239 --> 0:41:47.880
<v Speaker 1>in the different four corners of the car, in different outfits,

0:41:47.880 --> 0:41:50.640
<v Speaker 1>the way that Atlantis is in the Ironic video. Also

0:41:50.719 --> 0:41:54.040
<v Speaker 1>one of the most iconic Beanies of all time, aside

0:41:54.040 --> 0:41:57.280
<v Speaker 1>from Alpha Buzz to Bring it All. So many Burnett's,

0:41:57.360 --> 0:41:59.640
<v Speaker 1>so many in the legacy, so many Burnettes, so few

0:41:59.680 --> 0:42:03.920
<v Speaker 1>Beanie I am before we hopped on the mic. I

0:42:03.960 --> 0:42:05.960
<v Speaker 1>found out that you, like me, used to be a

0:42:06.080 --> 0:42:08.319
<v Speaker 1>Jesus freak, and I love that you found thank you

0:42:08.640 --> 0:42:11.200
<v Speaker 1>whow you were in the church? Question said, oh yeah, definitely.

0:42:11.200 --> 0:42:14.080
<v Speaker 1>What was that? Was there a dichotomy there, like when

0:42:14.120 --> 0:42:17.080
<v Speaker 1>you like got into Atlantis, were you kind of like

0:42:17.840 --> 0:42:21.440
<v Speaker 1>this is like anti Christian? Yeah. I I fancied myself

0:42:21.560 --> 0:42:24.040
<v Speaker 1>sort of a Boheim type of figure. When I was

0:42:24.080 --> 0:42:27.759
<v Speaker 1>a child, I kind of had one foot out of

0:42:27.760 --> 0:42:30.879
<v Speaker 1>the church the entire you know, going back to like

0:42:30.960 --> 0:42:34.160
<v Speaker 1>you know, queerness and trauma. The church for me was

0:42:34.239 --> 0:42:38.360
<v Speaker 1>more than just a familial implementation. It was also eventually

0:42:38.440 --> 0:42:40.799
<v Speaker 1>a hiding place for me. So there was a point

0:42:40.840 --> 0:42:42.880
<v Speaker 1>at which there was this sort of tongue in cheek

0:42:43.120 --> 0:42:46.640
<v Speaker 1>thing for me personally of like I'm biding my time

0:42:46.800 --> 0:42:49.800
<v Speaker 1>until I am you know, I mean I would I

0:42:50.080 --> 0:42:54.959
<v Speaker 1>I kind of like fancied a broader spectrum the whole time.

0:42:55.000 --> 0:42:56.879
<v Speaker 1>I always I was like I knew I would move

0:42:56.960 --> 0:42:59.399
<v Speaker 1>to New York, for instance. So it was the same

0:42:59.600 --> 0:43:03.800
<v Speaker 1>me who like got into Atlantis that was like leaving

0:43:03.800 --> 0:43:08.200
<v Speaker 1>this place to the secular. Yeah, yeah, yeah, so to speak,

0:43:08.840 --> 0:43:12.840
<v Speaker 1>but um, you know, for as pious as my family

0:43:12.960 --> 0:43:18.560
<v Speaker 1>was I was I did have access um to um

0:43:18.640 --> 0:43:21.800
<v Speaker 1>what could be given to me by media. The Internet

0:43:21.920 --> 0:43:24.960
<v Speaker 1>is what got my parents. That was where the line

0:43:25.000 --> 0:43:27.719
<v Speaker 1>in the sand was drawn. Honey. They could not deal

0:43:27.760 --> 0:43:30.319
<v Speaker 1>with that. Yeah, no, it's something they couldn't even the

0:43:30.480 --> 0:43:32.960
<v Speaker 1>I had parental controls, but like I would never I

0:43:33.040 --> 0:43:35.880
<v Speaker 1>was never really allowed to use the Internet, and I

0:43:35.920 --> 0:43:39.399
<v Speaker 1>had unfettered access. But you know what I do, I

0:43:39.480 --> 0:43:44.440
<v Speaker 1>do have a gate a gatekeeping story tied to Atlantis gatekeeping,

0:43:44.600 --> 0:43:47.839
<v Speaker 1>which is that I, as I said, Jagged Little Pill

0:43:47.880 --> 0:43:50.560
<v Speaker 1>was the first CD I ever bought. I was obsessed

0:43:50.600 --> 0:43:52.160
<v Speaker 1>with it. I think a lot of it was going

0:43:52.200 --> 0:43:54.880
<v Speaker 1>over my head and I just like, like, I just

0:43:54.920 --> 0:43:59.560
<v Speaker 1>liked the music. Um. But my mom was also obsessed

0:43:59.600 --> 0:44:02.799
<v Speaker 1>with it. And I imagine that being a young mother.

0:44:03.000 --> 0:44:04.719
<v Speaker 1>My mom at this point would have been in her

0:44:04.760 --> 0:44:08.000
<v Speaker 1>early thirties, who like a young mother who had gotten

0:44:08.000 --> 0:44:11.040
<v Speaker 1>married really early, Like I'm sure she was really feeling

0:44:11.560 --> 0:44:15.760
<v Speaker 1>Jagged Little Pill. And she went to go see Atlantis

0:44:15.840 --> 0:44:19.440
<v Speaker 1>in concert and I begged and begged and begged for

0:44:19.520 --> 0:44:22.000
<v Speaker 1>her to take me, and she said, no, this is

0:44:22.080 --> 0:44:26.560
<v Speaker 1>my night out. And I have a very vivid memory

0:44:26.600 --> 0:44:28.440
<v Speaker 1>of her leaving to go to the concert and me

0:44:28.600 --> 0:44:32.440
<v Speaker 1>standing at the window upstairs, like banging and crying, so

0:44:32.520 --> 0:44:35.600
<v Speaker 1>sad and resentful. And now I can look back on

0:44:35.680 --> 0:44:38.319
<v Speaker 1>that and be like, she needed her fucking night out

0:44:38.360 --> 0:44:41.200
<v Speaker 1>so she could go scream along to You Ought to

0:44:41.239 --> 0:44:44.160
<v Speaker 1>Know or like whatever song really like connected for her

0:44:44.560 --> 0:44:47.359
<v Speaker 1>and leave me her like annoying kid at home. But

0:44:47.440 --> 0:44:51.440
<v Speaker 1>I was so pissed for years after that. Still am

0:44:51.480 --> 0:44:54.680
<v Speaker 1>a little bit. Yeah that's a that's a tough burn girl,

0:44:55.719 --> 0:44:59.200
<v Speaker 1>But you know what, I'm glad that night. But that's

0:44:59.239 --> 0:45:01.279
<v Speaker 1>like the beautiful thing about like the wrath of the

0:45:01.320 --> 0:45:03.880
<v Speaker 1>album is that it can, like you get a mom,

0:45:03.920 --> 0:45:06.240
<v Speaker 1>like a mom with kids can connect to the wrath

0:45:06.320 --> 0:45:08.680
<v Speaker 1>in a completely different way that the eight year old

0:45:08.800 --> 0:45:11.520
<v Speaker 1>or the twelve year old who listens to it doesn't

0:45:11.600 --> 0:45:14.320
<v Speaker 1>understand the lyrics but connects to it. And like Michelle

0:45:14.320 --> 0:45:16.160
<v Speaker 1>Branch was that person from me. And I remember listening

0:45:16.160 --> 0:45:18.440
<v Speaker 1>to Hotel Paper and like are you happy now and

0:45:18.480 --> 0:45:22.200
<v Speaker 1>being like, yeah, I'm so fucking angry, fuck my parents,

0:45:22.200 --> 0:45:24.279
<v Speaker 1>but like I didn't really actually understand that the song

0:45:24.840 --> 0:45:26.880
<v Speaker 1>was And then you listen to it retrospectively and it's

0:45:26.920 --> 0:45:29.839
<v Speaker 1>completely different experience what is Are you happy now? Are

0:45:29.960 --> 0:45:31.560
<v Speaker 1>are you happy now? I know, I know the song

0:45:31.840 --> 0:45:35.000
<v Speaker 1>is that actually about you? Looking? It's a it's a

0:45:35.040 --> 0:45:38.719
<v Speaker 1>scorned lover, Yeah, scorned exactly, It's an ex scorned lover

0:45:38.960 --> 0:45:41.160
<v Speaker 1>being like, do you is this actually what you want

0:45:41.200 --> 0:45:57.239
<v Speaker 1>in our relationship? Kind of? Have you engaged with the

0:45:57.320 --> 0:46:05.719
<v Speaker 1>Jagged Little Hill musical at all? Um? I haven't. I've seen, um,

0:46:05.760 --> 0:46:11.040
<v Speaker 1>I've seen snippets. There were a few seconds in the

0:46:11.120 --> 0:46:14.080
<v Speaker 1>hype reel from the tour, and I think that was

0:46:14.120 --> 0:46:17.680
<v Speaker 1>about enough for me. I understand that the main character

0:46:17.760 --> 0:46:21.120
<v Speaker 1>is non binary, and I really appreciate that the NBA's

0:46:21.160 --> 0:46:24.200
<v Speaker 1>get this w in this way um to be the

0:46:24.200 --> 0:46:26.960
<v Speaker 1>main character in the Atlantis musical. But I don't do

0:46:27.080 --> 0:46:35.720
<v Speaker 1>jukebox musicals pretty much as a rule, not even um.

0:46:35.760 --> 0:46:39.359
<v Speaker 1>I mean, you know, the the exceptions can be made, girl,

0:46:39.440 --> 0:46:46.520
<v Speaker 1>and I'm reasonable, I'm reasonable, um, But you know, like

0:46:46.640 --> 0:46:49.560
<v Speaker 1>I mean, the catalog speaks for itself. I don't know

0:46:49.600 --> 0:46:51.960
<v Speaker 1>about Jagged Little Pill. And see, this is going back

0:46:51.960 --> 0:46:54.160
<v Speaker 1>to what I said about the drag show, things like

0:46:54.239 --> 0:46:57.879
<v Speaker 1>I'm not sure that that music makes entertaining theater in

0:46:57.880 --> 0:47:01.480
<v Speaker 1>that way. I picture it be like, you know, basically

0:47:01.520 --> 0:47:04.520
<v Speaker 1>like fun Home, except the music it is jagged Little Pill.

0:47:04.920 --> 0:47:08.960
<v Speaker 1>It's literally that. But like, but you're still musicals do

0:47:09.160 --> 0:47:11.520
<v Speaker 1>like historically suck, Like I don't know why Mulan Rouge

0:47:11.520 --> 0:47:15.239
<v Speaker 1>wants so many things this year, but like when it

0:47:15.719 --> 0:47:23.840
<v Speaker 1>was time, you're so fucking wrong for that. The genius

0:47:24.000 --> 0:47:28.840
<v Speaker 1>in Lulan Rouge is the movie. It's the boss Lerman

0:47:29.920 --> 0:47:34.480
<v Speaker 1>fantasy of it all, not to mention the nicole kidman

0:47:34.520 --> 0:47:40.640
<v Speaker 1>aspect absolutely, which like obviously you're not going to duplicate

0:47:40.719 --> 0:47:44.400
<v Speaker 1>that on stage. But the issue with Mulan Rouge the musical,

0:47:44.600 --> 0:47:47.480
<v Speaker 1>or at least my issue with it taking home Best Musical.

0:47:47.560 --> 0:47:51.160
<v Speaker 1>I mean, come on, talk about pandemic times. It's really

0:47:51.239 --> 0:47:55.360
<v Speaker 1>that bad. I mean they had that was one of

0:47:55.440 --> 0:47:59.320
<v Speaker 1>the first musicals I've been to that had a canned soundtrack. Yeah,

0:47:59.600 --> 0:48:05.160
<v Speaker 1>they hit play on a CD and some belong to it,

0:48:05.200 --> 0:48:07.680
<v Speaker 1>and that's winning Best Musical. Forget the fact that it

0:48:07.719 --> 0:48:11.319
<v Speaker 1>was musical filled with So the concept with the movie

0:48:11.360 --> 0:48:14.080
<v Speaker 1>of Mulan Rouge is that it's filled with mashups and

0:48:14.200 --> 0:48:18.280
<v Speaker 1>re contextualizations of popular music from the previous ten twenty

0:48:18.360 --> 0:48:21.480
<v Speaker 1>years at the time. So the updated Broadway version of

0:48:21.520 --> 0:48:26.640
<v Speaker 1>the musical includes some of those numbers, and also is

0:48:26.760 --> 0:48:30.239
<v Speaker 1>updated to include your favorites from the past ten to

0:48:30.280 --> 0:48:35.160
<v Speaker 1>twenty years of the current day, including Bad Romance. That

0:48:35.280 --> 0:48:39.600
<v Speaker 1>fucking song like cut Up and Dance with Me is

0:48:39.719 --> 0:48:43.360
<v Speaker 1>in the musical of Mulan Rouge, the Tony winning Musical

0:48:43.400 --> 0:48:46.280
<v Speaker 1>of Mulan Rouge. If you can believe that, I'm just saying,

0:48:46.600 --> 0:48:49.439
<v Speaker 1>I'm just saying I had a good time, Honey, this

0:48:49.560 --> 0:48:54.240
<v Speaker 1>is this was blocks away from Hello Dolly with Bette Midler.

0:48:55.480 --> 0:48:58.200
<v Speaker 1>You know what I didn't. I didn't pay to see it.

0:48:58.840 --> 0:49:02.839
<v Speaker 1>That's important. I would. No. I just mean, like, if

0:49:02.880 --> 0:49:07.720
<v Speaker 1>we're placing it in the pantheon, sure, I get it.

0:49:08.120 --> 0:49:11.439
<v Speaker 1>I don't love a jukebox musical either. You don't feel

0:49:11.480 --> 0:49:14.560
<v Speaker 1>precious about the form though, No, right, no, not at all.

0:49:14.680 --> 0:49:18.480
<v Speaker 1>I if I'm entertained, I'm entertained. Um. I usually like

0:49:19.160 --> 0:49:21.360
<v Speaker 1>a musical that's a little bit more of a blockbuster.

0:49:21.400 --> 0:49:23.359
<v Speaker 1>I'm going to see Phantom of the Opera tomorrow night,

0:49:23.560 --> 0:49:27.600
<v Speaker 1>and it is my favorite musical. That's your religious upbringing. Yeah,

0:49:29.320 --> 0:49:32.720
<v Speaker 1>that's that Jewish girl coming to New York City. I see,

0:49:32.800 --> 0:49:38.320
<v Speaker 1>that's why you're so rent and Wicked. We're featuring, yes, Rent,

0:49:38.480 --> 0:49:42.040
<v Speaker 1>not really for me, I never super connected with it,

0:49:42.400 --> 0:49:46.359
<v Speaker 1>but Wicked for sure. For my sixteenth birthday, we came

0:49:46.400 --> 0:49:49.240
<v Speaker 1>into New York. I saw normal Leobutts and kristin Chinois

0:49:49.320 --> 0:49:55.520
<v Speaker 1>last performance. Whoa, yeah, Wicked. You know my Wicked story?

0:49:55.760 --> 0:49:59.560
<v Speaker 1>What is it? It's my great curse in life. Actually

0:50:00.000 --> 0:50:03.960
<v Speaker 1>it's the day I was cursed. So this is the

0:50:04.040 --> 0:50:07.480
<v Speaker 1>day Charlene was cursed in terms of me being a

0:50:07.520 --> 0:50:14.720
<v Speaker 1>theater consumer. Yes, um, so it is January two thousand five.

0:50:15.719 --> 0:50:20.239
<v Speaker 1>Adina Menzel has announced that she's leaving Wicked. She's been

0:50:20.280 --> 0:50:26.680
<v Speaker 1>doing it for three years. I am surprised by my family,

0:50:26.680 --> 0:50:29.360
<v Speaker 1>who would eventually be shocked that I was a faggot

0:50:29.920 --> 0:50:34.760
<v Speaker 1>with tickets to a Dena's last performance on Broadway in Wicked.

0:50:35.080 --> 0:50:40.120
<v Speaker 1>This is basically your golden ticket, Charlie bucket scenario for

0:50:40.200 --> 0:50:43.160
<v Speaker 1>me as a kid. Right, this is pretty much the

0:50:43.160 --> 0:50:46.920
<v Speaker 1>penultimate like thing that I could have desired to experience

0:50:46.920 --> 0:50:49.960
<v Speaker 1>at that time, Right, you know, it's a whole like

0:50:50.480 --> 0:50:52.319
<v Speaker 1>going all the way to New York just to see

0:50:52.320 --> 0:50:57.000
<v Speaker 1>Wicked situation, you know, seething jealousy from my siblings, etcetera.

0:50:57.400 --> 0:50:59.480
<v Speaker 1>We arrive in New York, you like, check into the

0:50:59.520 --> 0:51:03.799
<v Speaker 1>hotel and intown, et cetera. We're like having a light meal.

0:51:03.880 --> 0:51:06.960
<v Speaker 1>I can't eat a thing beforehand. I'm about to you know,

0:51:07.080 --> 0:51:10.200
<v Speaker 1>I have a date with Destiny, baby, you know. And

0:51:11.120 --> 0:51:14.720
<v Speaker 1>suffice to say, we show up to the theater and

0:51:16.000 --> 0:51:19.040
<v Speaker 1>we see the placard. At this performance, the role of

0:51:19.080 --> 0:51:22.080
<v Speaker 1>Alphaba will be played by Shoshana Bean, who was in

0:51:22.160 --> 0:51:26.359
<v Speaker 1>Dinas standby at the time, meaning that aDNA was going

0:51:26.440 --> 0:51:28.960
<v Speaker 1>to miss her last show and Wicked. Of course we

0:51:29.080 --> 0:51:33.600
<v Speaker 1>learned um as a gay community in in our youth

0:51:34.719 --> 0:51:38.120
<v Speaker 1>later that evening that she had, in fact, during the

0:51:38.160 --> 0:51:42.920
<v Speaker 1>matinee performance of her last day at Wicked, fallen through

0:51:43.080 --> 0:51:46.880
<v Speaker 1>the trap door. At the very end of Wicked, Alphaba

0:51:47.040 --> 0:51:50.799
<v Speaker 1>like melts through a trap door in the stage and

0:51:51.000 --> 0:51:55.000
<v Speaker 1>the platform that she stepped onto was not there. The

0:51:55.320 --> 0:51:59.239
<v Speaker 1>very last day she was in Wicked, she fell through

0:51:59.280 --> 0:52:01.000
<v Speaker 1>the hole in the state agent, cracked a rib and

0:52:01.080 --> 0:52:09.880
<v Speaker 1>was hospitalized. Yes, and I have to bring it all

0:52:09.920 --> 0:52:12.640
<v Speaker 1>back to me, honey. I was, of course fell to

0:52:12.719 --> 0:52:16.759
<v Speaker 1>my knees and webb when that happened, right, um, And

0:52:16.840 --> 0:52:19.640
<v Speaker 1>I was like, you know, when Shoshana Bean ran on

0:52:19.800 --> 0:52:22.880
<v Speaker 1>stage to sing the Wizard and I I crossed my

0:52:23.040 --> 0:52:26.840
<v Speaker 1>arms and frowned, and my dad was like, you know,

0:52:26.960 --> 0:52:29.160
<v Speaker 1>this is just a lesson in learning to be happy

0:52:29.200 --> 0:52:31.600
<v Speaker 1>with what you get in life. You know, things aren't

0:52:31.600 --> 0:52:40.960
<v Speaker 1>always going to go your way. Son, I'm just this side.

0:52:41.239 --> 0:52:45.520
<v Speaker 1>I'm beside myself. I'm like, I remember, I was like, uh,

0:52:45.760 --> 0:52:49.040
<v Speaker 1>trying to weigh pros and cons of like staying versus leaving.

0:52:49.120 --> 0:52:51.600
<v Speaker 1>You know. I was like, I was like, if I leave,

0:52:51.680 --> 0:52:53.120
<v Speaker 1>I don't It's not like I get to see a

0:52:53.200 --> 0:52:55.480
<v Speaker 1>Dina again some day, you know, I might as well stay,

0:52:55.960 --> 0:52:58.279
<v Speaker 1>and like trick myself into thinking that I just like,

0:52:58.840 --> 0:53:04.319
<v Speaker 1>you know, missed the boat. So since then, most of

0:53:04.360 --> 0:53:07.000
<v Speaker 1>the time that I go to Broadway, the leading lady

0:53:07.200 --> 0:53:10.480
<v Speaker 1>calls out of the show. Laura B Nancy did it

0:53:10.520 --> 0:53:12.960
<v Speaker 1>when I went to see My Fair Lady as recently

0:53:13.120 --> 0:53:19.640
<v Speaker 1>as nineteen. Yes, I am cursed to miss the bitch

0:53:20.000 --> 0:53:24.759
<v Speaker 1>singing the songs. That is devastating. Definitely. I also think that,

0:53:24.840 --> 0:53:27.640
<v Speaker 1>like that's why for me, I don't get hung up

0:53:27.640 --> 0:53:31.040
<v Speaker 1>on the individual performer. I'm there for the show, but

0:53:31.120 --> 0:53:34.799
<v Speaker 1>I understand, girl, it's horrible. Also, did an Adida show

0:53:34.880 --> 0:53:36.960
<v Speaker 1>up for the curtain call for that performance, and like

0:53:37.000 --> 0:53:40.880
<v Speaker 1>a red track, a red Adida's track with a rib broken,

0:53:41.280 --> 0:53:44.920
<v Speaker 1>with a rib broken, fractured, bruised. They were like, if

0:53:44.920 --> 0:53:47.160
<v Speaker 1>you want to get paid for this, you better walk

0:53:47.200 --> 0:53:51.160
<v Speaker 1>out there and you say you're goodbye. Another instance is

0:53:51.200 --> 0:53:53.799
<v Speaker 1>Patty Lapone calling out of Sweeney Todd when I went

0:53:53.840 --> 0:54:02.120
<v Speaker 1>to see it, girl, trust I went back that girl.

0:54:02.200 --> 0:54:05.200
<v Speaker 1>I saw that production twice where she played the tuba.

0:54:05.480 --> 0:54:09.520
<v Speaker 1>One of maybe the best theatrical performance I've ever been

0:54:09.560 --> 0:54:12.400
<v Speaker 1>to she played that. Yeah, it was a It was

0:54:12.440 --> 0:54:15.000
<v Speaker 1>a production of Sweeney Todd where all of the actors

0:54:15.080 --> 0:54:18.920
<v Speaker 1>were also the orchestra. It was the first production of

0:54:18.960 --> 0:54:22.400
<v Speaker 1>that kind. There was like a little like Sondheim revival

0:54:22.440 --> 0:54:27.160
<v Speaker 1>moment at the time, and it was the actors, the

0:54:27.239 --> 0:54:31.120
<v Speaker 1>players were the orchestra. And they actually did company with

0:54:31.200 --> 0:54:35.560
<v Speaker 1>the same concept the next year, and that is recorded

0:54:35.560 --> 0:54:37.759
<v Speaker 1>on PBS if you want to catch that. But of

0:54:37.760 --> 0:54:41.040
<v Speaker 1>course the Sweeney Todd is you can only see itt

0:54:41.120 --> 0:54:45.000
<v Speaker 1>Um Lincoln Center, the definitive one. Yeah. I just learned

0:54:45.040 --> 0:54:47.799
<v Speaker 1>also that the production of a Little Night Music with

0:54:47.880 --> 0:54:53.200
<v Speaker 1>Katherine Zena Jones and Angela Landsberry, the recording that's at

0:54:53.200 --> 0:54:55.200
<v Speaker 1>the public Library for those of you who don't know.

0:54:55.280 --> 0:54:58.000
<v Speaker 1>If you missed a Broadway show or you want to

0:54:58.000 --> 0:55:00.480
<v Speaker 1>see the original Broadway cast of any given show, you

0:55:00.520 --> 0:55:03.320
<v Speaker 1>can see that they're all taped and they're at Ligoln

0:55:03.320 --> 0:55:07.640
<v Speaker 1>Center Juilliard Library. Yes, so you can't like take you that,

0:55:07.680 --> 0:55:09.440
<v Speaker 1>you have to like stay there. It's basically like for

0:55:09.480 --> 0:55:14.520
<v Speaker 1>academic purposes or whatever. But or like you know, gay nerds. Um,

0:55:14.560 --> 0:55:16.839
<v Speaker 1>So I just learned that the production of a Little

0:55:16.920 --> 0:55:20.279
<v Speaker 1>Night Music with kaven Zeta Jones they recorded on a

0:55:20.520 --> 0:55:27.600
<v Speaker 1>night where the standby was for Kevin performing. Literally I

0:55:27.640 --> 0:55:29.279
<v Speaker 1>was like, oh, at least I get to go see that,

0:55:29.560 --> 0:55:31.799
<v Speaker 1>and you went to the Juilliard libe or did you

0:55:31.840 --> 0:55:35.600
<v Speaker 1>collapse on the floor again? And it's just the curse,

0:55:35.680 --> 0:55:37.799
<v Speaker 1>and I just I can accept it. I'm blessed in

0:55:37.880 --> 0:55:41.840
<v Speaker 1>many ways. I have many blessings, but I have a

0:55:41.840 --> 0:55:44.560
<v Speaker 1>few curses too, and that's one of them. And so

0:55:44.640 --> 0:55:46.920
<v Speaker 1>I just know, I note, I know now tos reset

0:55:46.920 --> 0:55:50.560
<v Speaker 1>my expectations. So like, for instance, I was delighted with

0:55:50.640 --> 0:55:53.719
<v Speaker 1>surprise when Bette Midler showed up for Hello Dolly, or

0:55:53.800 --> 0:55:56.000
<v Speaker 1>when Patty showed up both all three times, and I

0:55:56.040 --> 0:55:58.960
<v Speaker 1>saw jips right, and you must have been delighted when

0:55:59.000 --> 0:56:03.480
<v Speaker 1>Atlantis showed up at her own concert. Girl I had,

0:56:03.880 --> 0:56:06.040
<v Speaker 1>I was. I was sad that Liz Fair called out

0:56:06.360 --> 0:56:11.480
<v Speaker 1>replaced her with cat Powers, so I had before. I'll

0:56:11.480 --> 0:56:15.080
<v Speaker 1>say that I don't feature cat Power really, but I'm

0:56:15.120 --> 0:56:17.520
<v Speaker 1>glad they did it. And see they had they had

0:56:17.560 --> 0:56:21.080
<v Speaker 1>Garbage opening for Atlantis. I really wanted to see them

0:56:21.080 --> 0:56:26.920
<v Speaker 1>both together contemporary, would you say? So? The difference between

0:56:26.960 --> 0:56:29.960
<v Speaker 1>the two and one was palpable, to say the least.

0:56:30.480 --> 0:56:36.360
<v Speaker 1>There was this sort of nostalgic and past time quality

0:56:36.440 --> 0:56:43.520
<v Speaker 1>to Shirley Manson's performing. There was this undeniable, like has

0:56:43.600 --> 0:56:47.359
<v Speaker 1>been quality to it, you know, and she was still

0:56:47.360 --> 0:56:49.840
<v Speaker 1>doing it. She was hitting the notes and singing the songs.

0:56:50.480 --> 0:56:53.640
<v Speaker 1>She had this whole diet tribe before. She's sang cherry

0:56:53.719 --> 0:56:59.279
<v Speaker 1>lips about how she never takes requests because requests don't

0:56:59.320 --> 0:57:01.960
<v Speaker 1>acknowledge the act that the artist has put something together

0:57:02.000 --> 0:57:04.239
<v Speaker 1>for you to see, and weird decide as artists, and

0:57:04.239 --> 0:57:06.399
<v Speaker 1>everyone's screaming, and she's like, but I'm going to take

0:57:06.440 --> 0:57:08.160
<v Speaker 1>this one request because this bitch in the front row

0:57:08.160 --> 0:57:11.120
<v Speaker 1>ask for it. You see this girl, He's like basically

0:57:11.200 --> 0:57:15.439
<v Speaker 1>in a bikini like Cherry fucking Loves. Do you take

0:57:15.520 --> 0:57:23.000
<v Speaker 1>requests when you're performing? Um, I I take suggestions. I'll

0:57:23.000 --> 0:57:26.800
<v Speaker 1>say that The thing about people suggesting a requesting drag

0:57:26.880 --> 0:57:30.480
<v Speaker 1>numbers is that people are usually projecting with their suggestions

0:57:30.480 --> 0:57:33.240
<v Speaker 1>of drag shows. Usually someone will suggest a number to

0:57:33.320 --> 0:57:36.280
<v Speaker 1>me that they very much want to perform and drag themselves.

0:57:36.840 --> 0:57:40.000
<v Speaker 1>You know, I'm like, why don't you do that track?

0:57:40.240 --> 0:57:41.960
<v Speaker 1>They'll send me tracks that I've never even heard, be

0:57:42.000 --> 0:57:44.000
<v Speaker 1>like I see you performing this, like I see you

0:57:44.040 --> 0:57:47.120
<v Speaker 1>performing this boom because I don't know that song. Well,

0:57:47.160 --> 0:57:56.120
<v Speaker 1>I have a suggestion. Um. Has anyone ever suggested Atlantis? Um?

0:57:56.200 --> 0:58:00.320
<v Speaker 1>There were There was a large contingency of voices trying

0:58:00.320 --> 0:58:02.840
<v Speaker 1>to get me to do Atlantis at this year's bush Wig,

0:58:02.840 --> 0:58:07.360
<v Speaker 1>because of the reinvigorated spirit that I had involving her,

0:58:07.400 --> 0:58:11.680
<v Speaker 1>because of seeing the concert so high on psychedelics. There

0:58:11.760 --> 0:58:13.640
<v Speaker 1>was this moment at the end of the concert too,

0:58:14.520 --> 0:58:21.120
<v Speaker 1>where Atlantis's kids ran on stage and shot confetti cannons

0:58:22.200 --> 0:58:25.520
<v Speaker 1>into the crowd. And that's the point at which I

0:58:25.600 --> 0:58:30.120
<v Speaker 1>just completely lost it because it was just like such

0:58:30.120 --> 0:58:32.240
<v Speaker 1>a resolution. It was such a resolution to all of

0:58:32.280 --> 0:58:35.080
<v Speaker 1>the struggle that she was like singing about on stage beforehand,

0:58:35.560 --> 0:58:39.440
<v Speaker 1>and like she's like, I have a rad life. I'm

0:58:39.480 --> 0:58:42.280
<v Speaker 1>like touring with my family, this music that made me

0:58:42.320 --> 0:58:46.360
<v Speaker 1>a ship ton of money and like gave me this

0:58:46.760 --> 0:58:50.480
<v Speaker 1>really interesting life. But I love that though. That like

0:58:50.640 --> 0:58:53.560
<v Speaker 1>that's to me is like that image of like the

0:58:53.640 --> 0:58:56.560
<v Speaker 1>kids shooting the company cannons is like a beautiful way

0:58:56.600 --> 0:58:59.560
<v Speaker 1>to like round out like where it all started and

0:58:59.600 --> 0:59:01.240
<v Speaker 1>like a play pace of grief and wrath and all

0:59:01.280 --> 0:59:04.000
<v Speaker 1>the different versions of like you know, the scorned woman

0:59:04.000 --> 0:59:07.480
<v Speaker 1>of the woman like a womanhood and like the plights

0:59:07.560 --> 0:59:10.680
<v Speaker 1>of that. But like that's beautiful and like, yeah, I

0:59:10.680 --> 0:59:14.120
<v Speaker 1>can understand what I'm emotional just you describing it. I

0:59:14.160 --> 0:59:17.040
<v Speaker 1>don't ever want anyone to shoot a confetti cannon at me,

0:59:17.120 --> 0:59:19.040
<v Speaker 1>but that's just me. I was like far enough back,

0:59:19.080 --> 0:59:23.960
<v Speaker 1>you know, like picking it out of your mouth, because

0:59:24.000 --> 0:59:26.280
<v Speaker 1>that is one of the one of the rules I

0:59:26.320 --> 0:59:28.960
<v Speaker 1>think at like a concert or a drag show, one

0:59:28.960 --> 0:59:30.480
<v Speaker 1>of the things that you shouldn't be doing. Did you

0:59:30.480 --> 0:59:34.760
<v Speaker 1>tweet about this recently? The rules for like Newby Queens

0:59:34.840 --> 0:59:37.640
<v Speaker 1>not to do it shows. I'm really I'm actually proud

0:59:37.640 --> 0:59:41.080
<v Speaker 1>of us because we've started implementing this into the culture.

0:59:42.160 --> 0:59:45.600
<v Speaker 1>We're moving past messes as a drag community as a

0:59:45.640 --> 0:59:51.000
<v Speaker 1>whole um. It's important because there's a few reasons. And

0:59:51.400 --> 0:59:54.760
<v Speaker 1>what I'm saying is like drag shows that result in

0:59:54.960 --> 0:59:56.920
<v Speaker 1>something that has to be cleaned up. That's what I

0:59:56.920 --> 1:00:00.720
<v Speaker 1>mean by messrs is like cleaned up by someone else. Yeah,

1:00:00.840 --> 1:00:03.560
<v Speaker 1>and there's and so for forever and ever, we were

1:00:03.600 --> 1:00:05.920
<v Speaker 1>doing this thing where if you're making a mess, you

1:00:06.000 --> 1:00:08.760
<v Speaker 1>laid down a tarp, which was enough incentive not to

1:00:08.800 --> 1:00:10.760
<v Speaker 1>do it for me, because when you see the tart

1:00:10.800 --> 1:00:13.200
<v Speaker 1>being drug out stage, just like I wonder what's gonna happen,

1:00:13.400 --> 1:00:17.840
<v Speaker 1>Boy Wolf's gonna come out and pour milk either gonna

1:00:17.880 --> 1:00:22.280
<v Speaker 1>be blood or milk or food or something. You know

1:00:22.520 --> 1:00:28.440
<v Speaker 1>every time yea or a coke. You know, I'm guilty

1:00:28.440 --> 1:00:32.200
<v Speaker 1>of it. I did it back in the day, watermelon,

1:00:32.600 --> 1:00:37.440
<v Speaker 1>watermelon and Sun's so at the point the thing is.

1:00:39.880 --> 1:00:45.400
<v Speaker 1>And also let's not forget the real pig heart. Yeah,

1:00:46.200 --> 1:00:48.560
<v Speaker 1>you describe all of these to me right now, and

1:00:48.560 --> 1:00:51.360
<v Speaker 1>then we will I need to know, Okay, Well, back

1:00:51.360 --> 1:00:56.360
<v Speaker 1>in the olden days when I like dabbled in performance art,

1:00:56.720 --> 1:00:58.840
<v Speaker 1>I at bush Wig one year I did a performance

1:00:58.840 --> 1:01:02.000
<v Speaker 1>of cool for the Summer, a demilovado um in which

1:01:02.040 --> 1:01:05.120
<v Speaker 1>I slathered myself in sunscreen and then poured the sunscreen

1:01:05.160 --> 1:01:07.760
<v Speaker 1>on a watermelon and ate it. That was actually not

1:01:07.880 --> 1:01:11.560
<v Speaker 1>a huge mess, and it was carpeted. It was pretty contained.

1:01:12.320 --> 1:01:16.240
<v Speaker 1>It was a cart Why who did that? The venue

1:01:17.320 --> 1:01:20.080
<v Speaker 1>under dunk House and then um I used to throw

1:01:20.120 --> 1:01:25.439
<v Speaker 1>this party called Psychic um and for Psychic Snow one year.

1:01:25.960 --> 1:01:30.400
<v Speaker 1>Part of the like ritual that we did every party,

1:01:31.040 --> 1:01:36.080
<v Speaker 1>I bit into a cow heart. Yeah, that's very very

1:01:36.080 --> 1:01:38.280
<v Speaker 1>There was also a psychic where we stuffed me into

1:01:38.280 --> 1:01:42.560
<v Speaker 1>a suitcase that I go into, filled it with dirt.

1:01:44.640 --> 1:01:47.480
<v Speaker 1>And on that note, I'm so glad we as a

1:01:47.480 --> 1:01:52.200
<v Speaker 1>community have moved graduate because it makes it It makes

1:01:52.200 --> 1:01:56.040
<v Speaker 1>it perilous for the drug queen after you, and it's

1:01:56.080 --> 1:01:58.680
<v Speaker 1>inconsiderate because the bar staff or the club staff has

1:01:58.680 --> 1:02:01.960
<v Speaker 1>to clean it up. And also the chief reason for

1:02:01.960 --> 1:02:03.520
<v Speaker 1>you not to make a mess as a drag queen

1:02:03.640 --> 1:02:07.200
<v Speaker 1>on stage is it has been done before, it doesn't

1:02:07.240 --> 1:02:09.880
<v Speaker 1>look cool, and there's not really much that can be

1:02:09.920 --> 1:02:15.240
<v Speaker 1>done with that medium anymore. Like people like when drag

1:02:15.280 --> 1:02:18.120
<v Speaker 1>queens like bleed everywhere, like they spill something everywhere. It's

1:02:18.160 --> 1:02:22.040
<v Speaker 1>almost like the scream that results is like a belabored scream.

1:02:22.040 --> 1:02:30.080
<v Speaker 1>It's almost like an obligatory like she did it, so yes,

1:02:30.200 --> 1:02:35.480
<v Speaker 1>drag babies, um cut it out rely on your goddess

1:02:35.520 --> 1:02:40.640
<v Speaker 1>given stage presence. You heard it from Atlantis Morrisset's music,

1:02:41.240 --> 1:02:49.240
<v Speaker 1>and you can't go wrong. We'll be back next week

1:02:49.280 --> 1:02:54.280
<v Speaker 1>with a discussion on Obsessed, starring Beyonce and the archetype

1:02:54.400 --> 1:02:59.000
<v Speaker 1>of them Fatale. If you will, I am actually so

1:02:59.080 --> 1:03:00.920
<v Speaker 1>excited to talk to you about that, Rose and it

1:03:01.000 --> 1:03:03.600
<v Speaker 1>is your first time watching it. You can tell us

1:03:03.840 --> 1:03:06.080
<v Speaker 1>what to talk about next, whether it's a show, a book,

1:03:06.080 --> 1:03:09.240
<v Speaker 1>a cultural phenomenon. We want to hear from you. You

1:03:09.280 --> 1:03:12.760
<v Speaker 1>can call to confess at three to three pennants. That's

1:03:12.840 --> 1:03:16.440
<v Speaker 1>three to three seven three six two six two three.

1:03:16.800 --> 1:03:19.080
<v Speaker 1>I'm your co host, fran Torado, and you can find

1:03:19.080 --> 1:03:21.600
<v Speaker 1>me at Friends, squish Coat, wherever you want on social

1:03:21.880 --> 1:03:24.560
<v Speaker 1>and I'm Rose Damn You. You can also find me

1:03:24.600 --> 1:03:28.080
<v Speaker 1>wherever you want at Rose Damn You. You can subscribe

1:03:28.120 --> 1:03:30.520
<v Speaker 1>to Like a Virgin anywhere you listen and leave us

1:03:30.520 --> 1:03:33.720
<v Speaker 1>a rating on Spotify or a review on Apple Podcasts

1:03:33.720 --> 1:03:36.480
<v Speaker 1>Like a virgin is I Heart Radio Production, our producers

1:03:36.480 --> 1:03:40.560
<v Speaker 1>Phoebe Unter, the support from Lindsay Hoffman, Julian Weller, Jess Crane,

1:03:40.600 --> 1:03:44.200
<v Speaker 1>Chitch and Nikki Etour until next week, See you later,

1:03:44.280 --> 1:03:45.360
<v Speaker 1>Virgins of What