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Speaker 1: Welcome to Stuff you should Know, a production of iHeartRadio.

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Speaker 2: Hey, and welcome to the podcast. I'm Josh, and there's

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Speaker 2: Chuck and Jerry's here too, And this is a good

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Speaker 2: old fashioned toe tapping, feel good event of the century

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Speaker 2: that we like to call stuff you should know.

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Speaker 1: I cannot stop singing. They say the neon lights up

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Speaker 1: ride a broad Way.

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Speaker 2: That's one of my least favorites. Is that from a

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Speaker 2: chorus line.

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Speaker 1: I don't know I was singing that earlier. I was singing,

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Speaker 1: give my regards to Broadway.

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Speaker 2: Wow, you haven't been singing the one I've been singing.

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Speaker 1: What have you been singing?

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Speaker 2: There's no bitess like show business, like no business. I know.

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Speaker 1: That's great. I do not know the neon lights when

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Speaker 1: I should have looked that up, but I do know.

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Speaker 1: Give my regards to Broadway. Is from Little Johnny Jones

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Speaker 1: from nineteen oh four, written by Georgiam Kohen.

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Speaker 2: Neon Lights is a kraft Work song. You're way off,

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Speaker 2: Oh well, Little Johnny Jones is the most like nineteen

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Speaker 2: twenties play title or musical title I've ever heard.

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Speaker 1: I didn't know craft Work, uh as they say, is

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Speaker 1: the neon lights so bright? Nowthers go.

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Speaker 2: It's a little different. Okay, it's really good though. I

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Speaker 2: think it's actually the best song about Neon lights.

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Speaker 1: Oh that's a bold statement.

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Speaker 2: I know. I'm with you.

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Speaker 1: By the way, this is a listener suggestion, so big

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Speaker 1: thanks to Sarah Nagy for sending this in.

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Speaker 2: Oh nice, thanks Sarah. We should probably say, for anybody

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Speaker 2: who didn't bother looking at the title, we're talking about

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Speaker 2: Broadway today. Broadway as in the American home of musicals,

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Speaker 2: the Great White Way, you know, where musical theater goes

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Speaker 2: to live and thrive and give it a shot at stardom.

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Speaker 1: It's right and non musical theater.

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Speaker 2: True. True. I'm more of a play guy than a

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Speaker 2: musical guy myself. I remember going to see La La

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Speaker 2: Land in the theater and being like, I had no

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Speaker 2: idea this is a musical. Luckily it turned out really well,

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Speaker 2: but okay, good. At first, I was like, you gotta

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Speaker 2: be kidding me, kind of like you know when you

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Speaker 2: go to drink take a sip of water and it

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Speaker 2: turns out to be coke, but it's really shocking, but

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Speaker 2: then you're like, oh, okay, cook's fine. It was a

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Speaker 2: lot like that. The movie version of that.

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Speaker 1: Yeah, I think I've detailed this a little bit. But

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Speaker 1: I've gotten more into musicals and I enjoy musical theater

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Speaker 1: and Broadway, and we try to go to a show

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Speaker 1: and we're in New York and now we're doing an

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Speaker 1: annual Broadway only trip, like where we go see a

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Speaker 1: few of them.

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Speaker 2: That's a pilgrimage, Yeah, pilgrimage.

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Speaker 1: But I do love the plays. And we are in

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Speaker 1: fact going to see Glengary Glenn Ross in May.

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Speaker 2: Haven't you seen the movie?

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Speaker 1: I have? But this has got that killer cast on Broadway.

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Speaker 1: I don't know if you've heard about it or not.

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Speaker 2: No, I haven't, Honestly, I haven't kept up with Broadway lately.

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Speaker 1: Yeah, this has got Glen Garrett, Glenn Ross with Kieran

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Speaker 1: Culkin and Bill Burr and Bob Odenkirk and others.

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Speaker 2: Wow, that is a killer cast.

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Speaker 1: So I grab tickets for that right when they went

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Speaker 1: on sale, and I'm going and my friends are like,

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Speaker 1: ohd you get tickets, man, You're still lucky. I'm like,

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Speaker 1: I just logged on and got them when they went

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Speaker 1: on sale.

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Speaker 2: You logged onto your internet?

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Speaker 1: Yeah, you know, just get on a if you're into

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Speaker 1: that kind of hanging. You just jump on a little

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Speaker 1: like a Broadway Direct email list and then you'll get

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Speaker 1: the aps on all the apps.

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Speaker 2: So you mentioned T is it t TKT Oh?

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Speaker 1: Yeah, the TS booth?

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Speaker 2: Yes? Are they online too? Or is that like a

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Speaker 2: physically stand there in person kind of thing.

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Speaker 1: Yeah. That is the ticket service run for the not

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Speaker 1: for profit Theater Development Fund, And that is if you're

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Speaker 1: in New York and you're like, man, I wish I

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Speaker 1: could go to a show, but I don't want to

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Speaker 1: jump on a resale site and pay a ton of money.

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Speaker 1: There are booths end Times Square and satellite booths at

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Speaker 1: South Street, Seaport and Lincoln Center where you can get

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Speaker 1: day of You can go get day of tickets for

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Speaker 1: people that are like, I can't go Broadway. Can you

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Speaker 1: help me sell these?

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Speaker 2: Yeah? And apparently if you go with like an hour

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Speaker 2: or so before the booth opens, the line once it

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Speaker 2: does open will only be about an hour. That's how

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Speaker 2: long it takes to clear out typically, And people who

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Speaker 2: are in line know what they want to see and

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Speaker 2: they want the best seats, and that's what they're going for.

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Speaker 2: That's why they're standing in line. But if you're like Hey,

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Speaker 2: I'm in New York. Let's catch a show. I don't

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Speaker 2: care what show. You can just show up, like a

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Speaker 2: couple hours after the thing opens and walk right up

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Speaker 2: and pick a show.

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Speaker 1: Yeah, And I got to say, and you know, we'll

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Speaker 1: get to this, or I might as well say it now.

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Speaker 1: The largest Broadway theater. If you've never been, you might

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Speaker 1: be used to like Broadway in your hometown at like

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Speaker 1: the five thousand seat theater or something like they have.

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Speaker 2: Here at the Performing Arts Center, yeah, or.

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Speaker 1: The Performing Art Center. But in New York they're they're

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Speaker 1: pretty small. The largest one is the Gershwin Theater at

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Speaker 1: nineteen hundred and thirty three seats. The smallest of the

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Speaker 1: how many theaters is it? Total?

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Speaker 2: Forty two forty seven forty one theaters forty one The.

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Speaker 1: Smallest is the Haze at five ninety seven. So you know,

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Speaker 1: if you're in town, you want to check out a

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Speaker 1: show in most of those theaters. Most of the seats

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Speaker 1: are pretty great and it's fairly intimate.

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Speaker 2: I don't know much about it lately. Like I left

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Speaker 2: off with Phantom of the Opera, that was probably the

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Speaker 2: last musical I was ever really into. So but I

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Speaker 2: know that since I've been into it, like they've become

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Speaker 2: blockbuster productions, Yeah, very much, along like the Marvel Cinematic

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Speaker 2: Universe movie franchise stuff where it's like, just put a

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Speaker 2: ton of money into it, Yeah, and people come from

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Speaker 2: all over and you'll make ten times what you put

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Speaker 2: into it. Yeah, and that I mean, that's that's fairly

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Speaker 2: fairly new development. Is Is it like that basically across

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Speaker 2: the board now? Or surely that's like a handful of

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Speaker 2: powerhouse shows and the rest of them are more normal

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Speaker 2: and hence ticket prices are more normal, do you know, I.

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Speaker 1: Mean from my experience stuff. You know, if you go

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Speaker 1: to see some of the classics, they're you know, they're

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Speaker 1: big productions, but they're not maybe not as like special

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Speaker 1: effects heavy. They definitely I feel like have jazzed them

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Speaker 1: up a lot more in more recent years, with more

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Speaker 1: sort of jaw dropping moments of like kind of I

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Speaker 1: can't believe they did that live kind of stuff.

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Speaker 2: Like when the Salesman from Death of a Salesman flies

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Speaker 2: out over the crowd at that one scene.

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Speaker 1: But like, for instance, last time we went we saw

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Speaker 1: the that's the best thing we saw. One of the

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Speaker 1: ones we saw was the new Ish Death Becomes Her,

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Speaker 1: which is I can't recommend enough. It is one of

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Speaker 1: the funniest musicals you'll ever see. But it wasn't some

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Speaker 1: lavish production, but they had a couple of very well

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Speaker 1: placed sort of special effects that were very fun and

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Speaker 1: so I think you need to sort of wow the

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Speaker 1: crowd a little bit more these days.

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Speaker 2: Okay, So you're not going to find like a nineteen

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Speaker 2: fifty sixties style musical comedy that isn't relying at all

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Speaker 2: on special effects there anymore.

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Speaker 1: M No. I mean, but maybe not special effects, but

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Speaker 1: the sets are still very big and there's a lot

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Speaker 1: of money poured into it that your plays are you're

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Speaker 1: going to be a little more like stripped down.

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Speaker 2: So okay, last question. Ticket price is, from what I've seen,

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Speaker 2: are like eye popping.

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Speaker 1: Pretty Yeah. I think Wicked was the most expensive. It

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Speaker 1: was two ninety average price.

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Speaker 2: Man out, So there's got to be tickets that are

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Speaker 2: like that the normal person can afford, right.

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Speaker 1: Yeah, yeah, I mean that's the average ticket price. So

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Speaker 1: the cheaper seats for like a show like Wicket or

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Speaker 1: I don't know, probably in the one hundred and something,

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Speaker 1: which is still I mean, that's a lot of money,

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Speaker 1: but I don't know that you can go, like if

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Speaker 1: you're a question is can you go see a Broadway

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Speaker 1: show for like forty five bucks?

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Speaker 2: Yes, that's my question.

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Speaker 1: I don't know, and I doubt it.

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Speaker 2: Yeah, all right, well that's a bit of a shame

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Speaker 2: I have to say.

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Speaker 1: Although I'll have to look at my Glengarry tickets. I

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Speaker 1: don't know that those were like crazy expensive, but I'll check.

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Speaker 1: Why you talk?

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Speaker 2: Okay, well I'm going to start talking about the history

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Speaker 2: of Broadway.

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Speaker 1: Let's do it.

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Speaker 2: So Olivia helped us out with this. Kudos to her

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Speaker 2: because this was a huge, huge topic and she wrangled

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Speaker 2: it greatly. But the street itself, Broadway is really really old.

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Speaker 2: It's actually built on an old Lenape tribe trail that

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Speaker 2: connected the tribes along the thirty miles of Manhattan, So

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Speaker 2: this is like pre contact. Yeah, Broadway was already in

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Speaker 2: existence when the Dutch showed up and they said, this

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Speaker 2: is New Amsterdam. Eventually we'll rename it New York.

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Speaker 1: Yeah.

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Speaker 2: They called it daher Strat, Yeah, which is Gentlemen's Way.

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Speaker 2: So apparently here with two e's in the middle means

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Speaker 2: gentlemen in Dutch. If you want to impress people at

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Speaker 2: your next party. Yeah, but they just called it bread

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Speaker 2: vague or broad way broad road in the English said, well,

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Speaker 2: where's going to call that broadway from now on?

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Speaker 1: Yeah, So that's the street Broadway. The theater district is

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Speaker 1: between Times Square to fifty third Street and then the

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Speaker 1: side streets from six to eighth Avenues. And like I said,

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Speaker 1: it's forty one theaters. And with that smallest one, the Hayes,

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Speaker 1: being five ninety seven, they're all at least five hundred,

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Speaker 1: almost six hundred. I mean, can you squeeze three more

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Speaker 1: seats in there Hayes?

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Speaker 2: Maybe standing room moment.

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Speaker 1: And like I said, the Gershwin is the largest at

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Speaker 1: nineteen thirty three. And you know that's where theater happens.

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Speaker 1: And we're going to talk a little bit about sort

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Speaker 1: of the early theater days, because if you're talking New

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Speaker 1: York theater, you're gonna have to go back to seventeen

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Speaker 1: thirty two to see the first or at least the

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Speaker 1: first record of a performance of a play there. It

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Speaker 1: was called the Recruiting Officer mm hmm, and that was

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Speaker 1: some Londoners traveling through town, and it was the New

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Speaker 1: Theater on Nassau Street. But that was near Broadway, but

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Speaker 1: not anywhere close to the theater district. It was way

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Speaker 1: way downtown and what would now be the Financial District.

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Speaker 2: You're not going to mention the name of the owner

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Speaker 2: of the new theater.

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Speaker 1: Building, Governor Rip van Dam.

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Speaker 2: Which is a really great hotel. Check in name.

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Speaker 1: Yeah, that's good, included just with the governor.

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Speaker 2: Yeah, governor, governor, Okay, I'll give you a special treatment.

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Speaker 1: Yeah.

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Speaker 2: So, yeah, you said that was in what is now

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Speaker 2: the Financial District. So slowly but surely it started to

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Speaker 2: kind of move to what was called the Long Acre Square. Yeah,

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Speaker 2: but before that, there was a lot of theaters that

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Speaker 2: had opened up sporadically away from what we now consider Broadway.

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Speaker 2: And I think the first I don't know if we

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Speaker 2: said it or not, because you corrected me when I

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Speaker 2: said like musicals. You're like, well, plays too, But most

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Speaker 2: people when they're talking about Broadway things, think they're thinking

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Speaker 2: about musicals.

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Speaker 1: Right.

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Speaker 2: So the first musical, as far as anybody can tell,

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Speaker 2: that was performed in New York. It was called The

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Speaker 2: Beggar's Opera. It was about thieves and sex workers. It

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Speaker 2: was a musical comedy. It sounds like it was somewhat

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Speaker 2: like one of the plays that would come in the

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Speaker 2: nineteenth century, or one of the musicals where there were

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Speaker 2: like kind of breaks in between where they some stand

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Speaker 2: up comedian would come out, or a juggler maybe, or

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Speaker 2: somebody would perform a song, but the songs didn't have

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Speaker 2: much to do with the story, if anything at all.

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Speaker 1: Yeah, and we'll get to that. That was sort of

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Speaker 1: the way it went for a while. It was sort

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Speaker 1: of like songs and sketches and stuff like that. That

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Speaker 1: was what a musical was. But we wouldn't have any

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Speaker 1: of this stuff it hadn't been for some pretty notable people.

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Speaker 1: The first one, well, he's actually the first Oscar Hammerstein.

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Speaker 1: What would be two notable Oscar Hammerstein's.

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Speaker 2: Yeah, this is Oscar Hammerstein. I, that's right.

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Speaker 1: He moved from Germany, of course, to New York City

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Speaker 1: in eighteen sixty four and was a cigar factory floor

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Speaker 1: sweeper until he invented a cigar machine and made quite

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Speaker 1: a bit of money doing so, such that he could

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Speaker 1: start funding the opening of his passion, which was opera.

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Speaker 1: So he opened the Harlem Opera House first in eighteen

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Speaker 1: eighty nine and then that very first one in long

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Speaker 1: Acre Square, which will be notable in about a minute

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Speaker 1: and a half because you will learn what that became.

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Speaker 1: Hammerstein's Olympia Theater at Broadway and forty third and forty fourth,

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Speaker 1: and then after that the Republic Theater was in eighteen

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Speaker 1: ninety nine, which is still there but is now the

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Speaker 1: new Victory.

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Speaker 2: Theater, Gotcha, which I think is for young audiences, right,

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Speaker 2: is it? Sure? Yeah? I'm almost positive it.

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Speaker 1: Is like really body kids plays, Yeah.

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Speaker 2: Like Avenue Q.

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Speaker 1: Yeah, exactly.

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Speaker 2: So within like a decade, Oscar Hammerstein the first built

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Speaker 2: like three major theaters in New York City, and he

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Speaker 2: helped pretty much establish this theater district or the concept

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Speaker 2: that New York had a theater district. Yeah, or it

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Speaker 2: was a theater town, I guess. Plus, and this is

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Speaker 2: probably a fairly overlooked component of it. The Inner Borough

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Speaker 2: rapid transit system the train helped too, because it could

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Speaker 2: get people around New York much more easily than before.

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Speaker 2: So with those two things Hammerstein and the irt converging,

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Speaker 2: New York suddenly had like everything it needed, all the

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Speaker 2: ingredients to become like a world class theater destination.

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Speaker 1: Yeah, for sure. So the riding was on the wall.

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Speaker 1: He opened those theaters, other people are like, hey, we

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Speaker 1: can invest money in this now that it's becoming a thing.

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Speaker 1: The New Amsterdam Theater and the Lyceum Theater were both

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Speaker 1: built around the same time in the early nineteen hundreds.

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Speaker 1: And then, oh boy, we're probably more than a minute

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Speaker 1: a half after I promised it. But in nineteen oh five,

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Speaker 1: long Acre Square was renamed for the newly relocated New

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Speaker 1: York Times offices, and thus it became Times Square.

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Speaker 2: That's it, that's it.

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Speaker 1: I was like, was it New York Times Square?

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Speaker 2: And I was like, no, dummy, Just Times Square.

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Speaker 1: Just Times Square. And it was around the same time

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Speaker 1: that these three brothers, Lee, Samuel and Jacob Schubert, a

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Speaker 1: very popular theater named to this day, they opened up

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Speaker 1: a bunch of theaters in New York and elsewhere. And

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Speaker 1: the Schubert Organization still owns and operates seventeen of those

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Speaker 1: forty one theaters.

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Speaker 2: That's a bunch. That's almost half of the theaters on Broadway.

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Speaker 1: They got it locked down, baby.

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Speaker 2: So all of this hubbub and activity of building theaters

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Speaker 2: and attracting like really good performers and plays and musicals

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Speaker 2: by the time World War One rolled around, like New

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Speaker 2: York was on the map for theater and Broadway was

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Speaker 2: the theater district for New York by this time. And

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Speaker 2: one of the things that really helped things along kind

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Speaker 2: of picked up where Oscar Hammerstein the First and the

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Speaker 2: Irt left off to really like give things a real

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Speaker 2: goose was the Zigfield Polly's, which I know we talked

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Speaker 2: about in our episode on Vaudeville in November twenty twenty two.

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Speaker 2: We talked about that a lot. But the idea that

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Speaker 2: like you could go to the theater and you could

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Speaker 2: see some amazing performances and hear some funny comedy and

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Speaker 2: see some crazy dances or great dances like that drew

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Speaker 2: people the theaters like everyday people who might otherwise not

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Speaker 2: have gone through the theater.

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Speaker 1: Yeah, for sure. And you know, some of the some

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Speaker 1: of the songs that you you know, even if you're

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Speaker 1: not a fan of this kind of thing, just kind

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Speaker 1: of leaked into the public consciousness. Like give my regards

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Speaker 1: to Broadway from George Cohen. He also wrote Yankee Doodle

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Speaker 1: Dandy and over there. During World War One, this is

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Speaker 1: when Irving Berlin came around. One of it as you'll see,

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Speaker 1: kind of a series of poor Jewish immag grant families

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Speaker 1: that came to New York and the children of those

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Speaker 1: families ended up being like these amazing Broadway writers and composers.

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Speaker 1: He wrote things like Annie, get your gun and There's

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Speaker 1: no business like show business, your old favorite.

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Speaker 2: That's right. He also wrote White Christmas, which I read

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Speaker 2: is the best selling Christmas song of all time.

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Speaker 1: Which was not on Broadway.

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Speaker 2: No, well, it ended up on Broadway. It was in

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Speaker 2: the movie Holiday Inn, and then they retro created a

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Speaker 2: musical based on the movie.

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Speaker 1: They retconned it right.

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Speaker 2: Another pair that were really huge at this time, where

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Speaker 2: George and Ira Gershwin brothers, another Jewish immigrant family. They

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Speaker 2: created Funny Face Girl, Crazy Porgy and Bess and some

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Speaker 2: of these, as we'll see, we're pretty kind of groundbreaking,

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Speaker 2: especially at the time. But they also launched some stars

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Speaker 2: careers like ethel Merman. Do you think of when you

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Speaker 2: think of somebody singing there's no business like show business?

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Speaker 2: I think ethel Merman.

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Speaker 1: Yeah, in the movie Airplane, right exactly.

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Speaker 2: That's where that's where I first learned about it. Ginger Rogers,

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Speaker 2: Greta Stay are of course Greta Garbo Dance on air.

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Speaker 1: And it wasn't just musical theater at the time. This

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Speaker 1: sort of post World War two era also had some

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Speaker 1: pretty legendary plays like the Iceman Come Up from Eugene

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Speaker 1: O'Neil and Lorraine Hansbury's Raising in the Sun. Of course,

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Speaker 1: but it was times Square after all. So in World

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Speaker 1: War two, that's when you started seeing some you know,

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Speaker 1: the usual thing that would happen was like burlesque theater,

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Speaker 1: eventually peep show, maybe regular movie theater, and then porn theater.

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Speaker 2: Yeah, and you better know the difference. Yeah, I say

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Speaker 2: that we we take a break and we come back

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Speaker 2: and we talk about the establishment of Broadway shows as

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Speaker 2: we know them.

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Speaker 1: Let's do it, Stoffy Jaws.

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Speaker 2: So okay. So one Hammerstein did some amazing stuff, uh

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Speaker 2: with Broadway, creating Broadway. But this family was showing off

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Speaker 2: and they produced Oscar Hammerstein the Second, who was the

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Speaker 2: grandson of Oscar Hammerstein the First, and he got together

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Speaker 2: with a composer named Jerome Kern and they just started

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Speaker 2: making some amazing groundbreaking for the time, especially new kinds

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Speaker 2: of musicals that just they gave us Broadway as we

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Speaker 2: know it today.

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Speaker 1: Yeah, Like, if you go to a musical today, not

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Speaker 1: you're not assured to, but more than likely you're gonna

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Speaker 1: be seen what's called the book musical. And that is

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Speaker 1: when the musical when like the songs are central to

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Speaker 1: the plot in the storyline and moving things. It's not

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Speaker 1: just like, and here's a song to add to this

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Speaker 1: musical review kind of thing. Right. They still have those

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Speaker 1: some you know sometimes, but it's kind of a throwback

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Speaker 1: like these days. The book musical as a direct you know,

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Speaker 1: descendant of Hammerstein too and Jerome Kern is sort of

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Speaker 1: the way to.

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Speaker 2: Go, right. They came up with a Showboat Together, which

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Speaker 2: was an enormously groundbreaking show. It combined both white and

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Speaker 2: black performers on the same stage, which, if you remember

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Speaker 2: a Harry Belafonte episode that was a no no well

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Speaker 2: into the fifties and sixties. These guys made this show

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Speaker 2: in nineteen twenty seven.

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Speaker 1: Yeah, I mean that people were not doing that at time.

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Speaker 1: At the time. They also had blackface in that review

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Speaker 1: because that was something they were also doing at the time.

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Speaker 1: But it was also pretty you know, progressive in some

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Speaker 1: ways by like having an integrated cast.

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Speaker 2: Yeah, and I mean a lot of the themes were

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Speaker 2: about racism, and it just kind of took it head on.

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Speaker 2: It was a serious, dramatic story. It wasn't like, you know,

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Speaker 2: feel good forget your troubles, come on, get happy kind

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Speaker 2: of thing.

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Speaker 1: Yeah, and just to be clear, it was truly integrated.

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Speaker 1: I wasn't saying the blackface was integration. They had real

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Speaker 1: integration and also blackface, which I don't quite understand.

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Speaker 2: But I don't either.

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Speaker 1: Yeah, I don't know how they were doing things in

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Speaker 1: nineteen twenty seven.

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Speaker 2: Like when a woman is in an episode of Monty Python,

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Speaker 2: it's like, why are you guys in drag?

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Speaker 1: Then?

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Speaker 2: Right?

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Speaker 1: Exactly, So Hammerstein is doing his thing, doing pretty well.

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Speaker 1: Jerome Kern's great, but all of a sudden a dude

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Speaker 1: lopes onto the scene named Richard Rogers, and Hammerstein said

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Speaker 1: Rogers and Hammerstein, that sounds that has a nice ring

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Speaker 1: to it. They're old buddies, old former classmates from Columbia

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Speaker 1: years earlier. And Rogers approach Hammerstein and said, hey, there's

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Speaker 1: this play Greengrow the Lilacs from Lynn Riggs. Why don't

404
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Speaker 1: we turn that into a musical, and why don't we

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Speaker 1: do a little different like why don't you write the

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Speaker 1: words to this thing first, I'll write the music and

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Speaker 1: I don't know, let's use an exclamation point in the title,

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Speaker 1: and let's just call it Oklahoma.

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Speaker 2: Oh Oklahoma. Right sure? So this show, this established Richard

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Speaker 2: Rodgers in Oscar Hammer's sign like this is nineteen forty three.

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Speaker 2: It set a record for the most performances at the time.

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Speaker 2: It's long since been just totally demolished, but it had

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Speaker 2: a record performance total of twenty two hundred and twelve.

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Speaker 2: That was just unheard of back then. So imagine, like,

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Speaker 2: you know, you've got some pretty cool stuff under your belt,

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Speaker 2: but all of a sudden you get together with this

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Speaker 2: new collaborator and you create the show that has the

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Speaker 2: longest running or the largest number of performances ever, just

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Speaker 2: right off the bat. That's kind of like what these

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Speaker 2: guys became. Like they were just the stars of Broadway productions.

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Speaker 1: Yeah, I mean giants to this day of the industry,

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Speaker 1: South Pacific, the Sound of Music, the King, and I

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Speaker 1: I mean It's It's their names are basically synonymous with

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Speaker 1: musical theater.

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Speaker 2: I read Chuck also that at one point they had

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Speaker 2: three of the longest running plays or shows on Broadway

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Speaker 2: at the time, and three other shows in production to

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Speaker 2: be adapted to films all at the same time. Giants Giants. Yeah,

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Speaker 2: we could have just left it at that now that

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Speaker 2: I think about it.

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Speaker 1: So there were some like huge, huge shows of the

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Speaker 1: late twentieth century that sort of helped redefine Broadway. West

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Speaker 1: Side Story was one. This was what kind of where

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Speaker 1: the idea of the triple threat came along because they

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Speaker 1: didn't have you know, for a while there there was

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Speaker 1: like a separate chorus and that like did the dancing

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Speaker 1: and stuff. And West Side Story was one of the

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Speaker 1: first ones in nineteen fifty seven to be like, hey,

439
00:22:48,800 --> 00:22:52,159
Speaker 1: you're the lead actor, you're also singing, you're also dancing,

440
00:22:52,200 --> 00:22:54,960
Speaker 1: because that's all part of it, and all of a sudden,

441
00:22:54,960 --> 00:22:57,560
Speaker 1: the triple threat was a thing, and that was the

442
00:22:57,680 --> 00:23:00,280
Speaker 1: real start of another giant abroad Way.

443
00:23:00,440 --> 00:23:05,080
Speaker 2: Steven Sondheim, Yeah, who would go on to direct Contagion,

444
00:23:05,440 --> 00:23:07,080
Speaker 2: which we mentioned recently too.

445
00:23:07,720 --> 00:23:09,760
Speaker 1: No, he wrote the lyrics. And then another name he

446
00:23:09,800 --> 00:23:12,040
Speaker 1: might have heard of, Leonard Bernstein, was a composer for

447
00:23:12,200 --> 00:23:12,880
Speaker 1: West Side Story.

448
00:23:13,119 --> 00:23:18,040
Speaker 2: Yeah, he's great too. Cabaret was another one by this time.

449
00:23:18,119 --> 00:23:21,080
Speaker 2: This is nineteen sixty six. Today you think of Cabaret

450
00:23:21,119 --> 00:23:25,399
Speaker 2: and it's just a cult classic musical, But at the

451
00:23:25,480 --> 00:23:27,920
Speaker 2: time it was groundbreaking in that it introduced a new

452
00:23:28,080 --> 00:23:31,840
Speaker 2: kind of musical to Broadway, which is actually kind of

453
00:23:31,880 --> 00:23:33,800
Speaker 2: a throwback to how it used to be. It's called

454
00:23:33,800 --> 00:23:37,800
Speaker 2: the concept musical. And rather than you know, a through

455
00:23:37,920 --> 00:23:41,320
Speaker 2: line story where the songs advanced the story and everything,

456
00:23:41,600 --> 00:23:44,520
Speaker 2: this was more like there was a theme. The theme

457
00:23:44,680 --> 00:23:46,440
Speaker 2: was the show was said at the kick Hat Club

458
00:23:46,800 --> 00:23:51,159
Speaker 2: in Berlin, I think in Weimar era Berlin. Yeah, and

459
00:23:51,880 --> 00:23:55,040
Speaker 2: through the songs that all kind of have this share

460
00:23:55,119 --> 00:23:58,680
Speaker 2: this kind of same theme, this concept is created. I

461
00:23:58,760 --> 00:24:01,399
Speaker 2: think the theme was seen Cabaret, but I believe that

462
00:24:01,480 --> 00:24:05,440
Speaker 2: it was a meditation on the rise of Nazism during

463
00:24:05,520 --> 00:24:08,320
Speaker 2: the Weimar Republics kind of swinging days.

464
00:24:08,840 --> 00:24:11,120
Speaker 1: Yeah. Yeah, I always wanted to see Cabaret.

465
00:24:13,119 --> 00:24:15,320
Speaker 2: Yeah, well, let's go see it together for the first time.

466
00:24:15,400 --> 00:24:17,560
Speaker 1: Then I don't know that it's is it running? Is

467
00:24:17,600 --> 00:24:18,560
Speaker 1: there a revival going on?

468
00:24:18,960 --> 00:24:21,200
Speaker 2: Oh man, I'm gonna get myself killed. I'm talking about

469
00:24:21,240 --> 00:24:24,160
Speaker 2: the movie. There's movies for all of these pretty much,

470
00:24:24,280 --> 00:24:25,480
Speaker 2: so we can just see the movie.

471
00:24:25,920 --> 00:24:28,480
Speaker 1: There really is. There's two West Side stories in fact.

472
00:24:29,160 --> 00:24:30,760
Speaker 2: Yeah, Steven Spielberg did one.

473
00:24:31,240 --> 00:24:34,160
Speaker 1: Yeah, it was good hair. We have to talk about

474
00:24:34,160 --> 00:24:36,280
Speaker 1: hair from nineteen sixty eight. This is a musical that

475
00:24:37,840 --> 00:24:40,040
Speaker 1: and Livia points us out it wasn't just commenting on

476
00:24:40,480 --> 00:24:42,240
Speaker 1: what's going on in history at the time. It really

477
00:24:42,280 --> 00:24:45,200
Speaker 1: helped kind of shape it in real time. It was

478
00:24:45,240 --> 00:24:47,840
Speaker 1: the first rock musical something I'm a big, big fan of.

479
00:24:48,520 --> 00:24:54,119
Speaker 1: Oh yeah, like the jukebox music. Juke juke box. I

480
00:24:54,160 --> 00:24:56,200
Speaker 1: have such a hard time with that. Musicals are okay,

481
00:24:56,680 --> 00:25:00,280
Speaker 1: not my favorite, but those seventies Jesus Christ super Star

482
00:25:00,480 --> 00:25:03,040
Speaker 1: and Joseph in the Amazing Technical or dream Coat and

483
00:25:03,119 --> 00:25:06,640
Speaker 1: hair like that stuff is so groovy and so cool

484
00:25:07,359 --> 00:25:09,080
Speaker 1: because it's like sixties and seventies.

485
00:25:10,160 --> 00:25:12,920
Speaker 2: Yeah, no, it is super groovy hair. If there's one

486
00:25:12,960 --> 00:25:16,880
Speaker 2: word to describe hair, it's groovy, Yeah. If the other

487
00:25:17,240 --> 00:25:19,760
Speaker 2: there's If you want one more word, it would be nude.

488
00:25:20,480 --> 00:25:24,200
Speaker 1: Yeah, or murkin' because that was in all the whole

489
00:25:24,280 --> 00:25:27,040
Speaker 1: cast was nude, very famously in one scene. But it

490
00:25:27,119 --> 00:25:29,720
Speaker 1: did help launch the careers of Diane Keaton was in

491
00:25:30,040 --> 00:25:34,040
Speaker 1: that original production, as was meat Loaf, a man whose

492
00:25:34,240 --> 00:25:35,239
Speaker 1: house I have been at.

493
00:25:36,080 --> 00:25:39,960
Speaker 2: Oh, of course, so I have no follow up questions

494
00:25:40,000 --> 00:25:44,040
Speaker 2: whatsoever to that? Instead? Well, okay, what were you doing

495
00:25:44,080 --> 00:25:44,880
Speaker 2: in Melof's house?

496
00:25:45,400 --> 00:25:46,240
Speaker 1: I'll tell you offline.

497
00:25:46,680 --> 00:25:51,760
Speaker 2: Okay. Cool. So Stephen Sondheim, who you already mentioned he was.

498
00:25:51,840 --> 00:25:53,720
Speaker 2: He made a name for himself by writing the lyrics

499
00:25:53,720 --> 00:25:56,320
Speaker 2: of West Side Story, but apparently his big breakout was

500
00:25:56,400 --> 00:26:00,600
Speaker 2: something called Company, which was a bunch of vignettes about

501
00:26:01,440 --> 00:26:04,600
Speaker 2: romantic relationships. I have not seen that one either. I

502
00:26:04,800 --> 00:26:07,000
Speaker 2: feel like a rube talking about all these things that

503
00:26:07,040 --> 00:26:09,359
Speaker 2: I haven't seen. But I did read about it, and

504
00:26:09,480 --> 00:26:12,680
Speaker 2: I read that if the whole thing starts at the

505
00:26:12,840 --> 00:26:15,879
Speaker 2: main character's thirty fifth birthday party, he walks into the

506
00:26:15,960 --> 00:26:19,560
Speaker 2: birthday party, and then these vignettes start, and then the

507
00:26:19,640 --> 00:26:23,160
Speaker 2: thing ends, I think with him walking into the thirty

508
00:26:23,200 --> 00:26:26,080
Speaker 2: fifth birthday party. To make it like this all took

509
00:26:26,160 --> 00:26:28,639
Speaker 2: place in just a moment in time. All of these

510
00:26:28,760 --> 00:26:30,800
Speaker 2: vignettes did super cool.

511
00:26:31,000 --> 00:26:34,679
Speaker 1: I have not seen it either. Sondheim also very well

512
00:26:34,760 --> 00:26:37,040
Speaker 1: known for Sweeney Todd, the Demon, Barbara of Fleet Street.

513
00:26:37,320 --> 00:26:37,879
Speaker 2: I have seen that.

514
00:26:38,640 --> 00:26:40,240
Speaker 1: I have not seen that, but friend of the show

515
00:26:40,280 --> 00:26:43,080
Speaker 1: Scott Ackerman highly recommends it, said it's like one of

516
00:26:43,080 --> 00:26:44,040
Speaker 1: the best shows he's ever seen.

517
00:26:44,240 --> 00:26:44,680
Speaker 2: It's great.

518
00:26:45,359 --> 00:26:46,440
Speaker 1: Yeah, I gotta check it out.

519
00:26:47,400 --> 00:26:51,040
Speaker 2: A chorus line another movie that one's kind of meta.

520
00:26:51,160 --> 00:26:54,480
Speaker 2: There was another concept musical where the whole thing takes

521
00:26:54,520 --> 00:26:56,800
Speaker 2: place in an audition. Yeah, so the whole thing is

522
00:26:56,840 --> 00:26:59,879
Speaker 2: about theater life, about theater people, but it's actually a

523
00:27:00,359 --> 00:27:02,720
Speaker 2: musical show. Pretty cool.

524
00:27:03,280 --> 00:27:05,840
Speaker 1: Yeah, And that began a run in nineteen seventy five

525
00:27:05,920 --> 00:27:08,920
Speaker 1: of like a dozen years where some of the giants

526
00:27:09,000 --> 00:27:12,200
Speaker 1: of all time were launched. The chorus line Chicago in

527
00:27:12,280 --> 00:27:17,840
Speaker 1: nineteen seventy five, Le Miz in nineteen eighty seven, Cats

528
00:27:18,080 --> 00:27:21,600
Speaker 1: in nineteen eighty two, which we'll talk about that a

529
00:27:21,640 --> 00:27:24,080
Speaker 1: little more in a sec and then Phantom in eighty eight.

530
00:27:24,680 --> 00:27:28,600
Speaker 1: But Cats very famously was a very very long running

531
00:27:28,600 --> 00:27:31,040
Speaker 1: show that like, some people love, some people hate, some

532
00:27:31,119 --> 00:27:33,119
Speaker 1: people think it's brilliant, some people make fun of it.

533
00:27:34,040 --> 00:27:38,000
Speaker 1: But lyricist Tim Rice got together with composer Andrew Lloyd Webber,

534
00:27:38,119 --> 00:27:41,720
Speaker 1: the Weber Rice Team. They did the Amazing Technical or

535
00:27:41,760 --> 00:27:45,120
Speaker 1: dream Coat Jesus Christ Superstar Avida, and then they said, hey,

536
00:27:45,520 --> 00:27:48,920
Speaker 1: let's turn this T. S. Eliot Old Possum's Book of

537
00:27:49,000 --> 00:27:52,440
Speaker 1: Practical Cats into a musical and have real people dressed

538
00:27:52,480 --> 00:27:53,119
Speaker 1: up as cats.

539
00:27:53,880 --> 00:27:56,040
Speaker 2: Some people say, like, if you could build a time machine,

540
00:27:56,119 --> 00:27:58,040
Speaker 2: what would you do? I would go back and prevent

541
00:27:58,160 --> 00:28:00,280
Speaker 2: Andrew Lloyd Webber from having that thought.

542
00:28:00,920 --> 00:28:03,119
Speaker 1: I've never seen any iteration of cats. I want to

543
00:28:03,480 --> 00:28:04,119
Speaker 1: see something.

544
00:28:04,840 --> 00:28:09,280
Speaker 2: It's the only time, outside of an airplane, where I

545
00:28:09,400 --> 00:28:13,200
Speaker 2: tried to make myself go to sleep in public that

546
00:28:13,840 --> 00:28:16,000
Speaker 2: I was like, I can't I can't even just sit here. Yes,

547
00:28:16,080 --> 00:28:18,639
Speaker 2: it was at a performance, like I can't just sit here,

548
00:28:18,760 --> 00:28:21,600
Speaker 2: Like I have to not be conscious for this. Oh boy,

549
00:28:21,760 --> 00:28:23,080
Speaker 2: now I was too young to leave. I don't think

550
00:28:23,080 --> 00:28:24,879
Speaker 2: I was driving at the time. Was with my family.

551
00:28:25,280 --> 00:28:28,040
Speaker 1: Oh no, you couldn't be like fake sick or anything.

552
00:28:29,880 --> 00:28:32,560
Speaker 2: No. I think I don't have a recollection of the

553
00:28:32,600 --> 00:28:34,439
Speaker 2: show after a certain point, so I think I might

554
00:28:34,520 --> 00:28:36,400
Speaker 2: have been successful in falling asleep.

555
00:28:36,600 --> 00:28:38,360
Speaker 1: Your dad would have been throw up in this bag,

556
00:28:38,560 --> 00:28:42,640
Speaker 1: You'll be fine. And then Phantom was eighty eight, and

557
00:28:42,680 --> 00:28:46,080
Speaker 1: I think that's it's another Andrew Lloyd Weber show. But

558
00:28:46,560 --> 00:28:48,320
Speaker 1: I think that was one of the first ones to

559
00:28:48,480 --> 00:28:53,400
Speaker 1: really ramp up, got real designy and included some special effects,

560
00:28:53,440 --> 00:28:56,080
Speaker 1: and I think that kind of started that trend of

561
00:28:56,160 --> 00:28:57,280
Speaker 1: making things a little bigger.

562
00:28:57,480 --> 00:28:59,720
Speaker 2: Yeah, for sure, that one I can sing along with

563
00:28:59,800 --> 00:29:05,640
Speaker 2: basically from start to finish. I love that one d exactly.

564
00:29:05,880 --> 00:29:07,960
Speaker 2: I knew exactly what you were doing, just think because

565
00:29:07,960 --> 00:29:09,000
Speaker 2: I'm so familiar with it.

566
00:29:09,480 --> 00:29:11,400
Speaker 1: We tried to see Phanom at the Fox Theater here

567
00:29:11,440 --> 00:29:14,720
Speaker 1: in Atlanta, and I actually just joined the Broadway season

568
00:29:14,800 --> 00:29:17,920
Speaker 1: for next season. The season's run from May to May.

569
00:29:18,000 --> 00:29:22,840
Speaker 1: I think on regular Broadway, I'm not sure about the Fox.

570
00:29:23,080 --> 00:29:24,840
Speaker 1: I think it may be about the same. But we

571
00:29:24,920 --> 00:29:27,400
Speaker 1: tried to go see Phantom years ago, but we're both

572
00:29:27,480 --> 00:29:30,080
Speaker 1: so distracted. It was when we were trying to buy

573
00:29:30,120 --> 00:29:32,560
Speaker 1: our first house and we were obsessed with this house

574
00:29:32,600 --> 00:29:35,440
Speaker 1: we were trying to get a bid on, and were

575
00:29:35,640 --> 00:29:37,239
Speaker 1: It was just one of those deals where we were

576
00:29:37,360 --> 00:29:40,560
Speaker 1: not there, our head was elsewhere, and we finally just

577
00:29:40,600 --> 00:29:42,800
Speaker 1: looked at each other and we were like, we need

578
00:29:42,840 --> 00:29:43,440
Speaker 1: to get out of here.

579
00:29:44,640 --> 00:29:47,640
Speaker 2: You should definitely see it again. It's a really great show.

580
00:29:47,720 --> 00:29:48,080
Speaker 2: The music.

581
00:29:48,960 --> 00:29:49,560
Speaker 1: I gotta see it.

582
00:29:49,920 --> 00:29:52,600
Speaker 2: There's like a one ton chandelier that falls to the stage.

583
00:29:52,680 --> 00:29:52,720
Speaker 1: Like.

584
00:29:52,840 --> 00:29:55,320
Speaker 2: It's a good show. And I think you're right that

585
00:29:55,400 --> 00:30:00,440
Speaker 2: it did kick off kind of the mega productions ran

586
00:30:00,600 --> 00:30:04,120
Speaker 2: for thirty five years, and as far as I know,

587
00:30:04,320 --> 00:30:08,120
Speaker 2: it holds the record still for the most performances at

588
00:30:08,160 --> 00:30:10,400
Speaker 2: thirteen nine and eighty one.

589
00:30:10,600 --> 00:30:10,920
Speaker 1: Wow.

590
00:30:11,320 --> 00:30:15,000
Speaker 2: Remember Oklahoma said something at like twenty two hundred before.

591
00:30:15,680 --> 00:30:18,560
Speaker 1: Oh yeah, that's I mean impressive at the time, but yeah,

592
00:30:18,680 --> 00:30:20,840
Speaker 1: that's thirty five years is impressive.

593
00:30:21,000 --> 00:30:23,920
Speaker 2: It's pretty amazing. So yeah, I love that show. I'm

594
00:30:24,040 --> 00:30:26,400
Speaker 2: just gonna say it probably five more times throughout this.

595
00:30:28,360 --> 00:30:30,360
Speaker 1: So we got to talk a little bit about Times Square.

596
00:30:31,640 --> 00:30:33,720
Speaker 1: Even before the seventies came along, it was a pretty

597
00:30:33,760 --> 00:30:36,840
Speaker 1: rowdy place, and the early teens that was a one

598
00:30:36,880 --> 00:30:40,320
Speaker 1: am curfew because it was such a rowdy place. There

599
00:30:40,360 --> 00:30:44,720
Speaker 1: were speakeasies there during Prohibition, burlesque in the thirties, and

600
00:30:44,840 --> 00:30:48,760
Speaker 1: then from the sixties and into the nineties. I think

601
00:30:48,800 --> 00:30:50,520
Speaker 1: I've mentioned this before. When I first started going to

602
00:30:50,560 --> 00:30:52,520
Speaker 1: New York in the mid nineties, there were still peep

603
00:30:52,560 --> 00:30:56,760
Speaker 1: shows there. It was right before the final cleanup happened

604
00:30:57,240 --> 00:31:02,160
Speaker 1: thanks to a few different mayors, but Mayor ed Koch,

605
00:31:02,880 --> 00:31:06,600
Speaker 1: certainly David Dinkins, and then eventually Giuliani would finish up

606
00:31:06,640 --> 00:31:08,720
Speaker 1: the work of cleaning up Time Square.

607
00:31:09,320 --> 00:31:11,800
Speaker 2: Yeah, David Dinkins was the one who I think maybe

608
00:31:11,880 --> 00:31:15,400
Speaker 2: had the biggest impact or we should mention John Lindsay.

609
00:31:15,480 --> 00:31:18,760
Speaker 2: In the early seventies, he created a text incentive where

610
00:31:18,960 --> 00:31:22,520
Speaker 2: if you built in Times Square a new building, you

611
00:31:22,680 --> 00:31:24,960
Speaker 2: could get a pretty good text break, but you had

612
00:31:25,040 --> 00:31:28,040
Speaker 2: to build a theater on the ground floor to try

613
00:31:28,120 --> 00:31:30,200
Speaker 2: to bring the theater back to the area. I thought

614
00:31:30,240 --> 00:31:33,320
Speaker 2: that was a pretty ingenious idea. But to me, David

615
00:31:33,400 --> 00:31:37,120
Speaker 2: Dinkins probably had the biggest impact, good or bad by

616
00:31:37,240 --> 00:31:40,000
Speaker 2: making a deal with Michael Eisner, who was running Walt

617
00:31:40,040 --> 00:31:43,000
Speaker 2: Disney at the time, and he said, just do your

618
00:31:43,120 --> 00:31:45,959
Speaker 2: thing here, Disney, Like, we got a lot of perverts

619
00:31:46,040 --> 00:31:49,080
Speaker 2: running around here. We need some Disney to counterbalance this

620
00:31:49,160 --> 00:31:52,160
Speaker 2: stuff and maybe even overwhelm it. And it worked, like

621
00:31:52,240 --> 00:31:54,880
Speaker 2: if you pour enough Disney onto an area, yeah, the

622
00:31:54,960 --> 00:31:56,280
Speaker 2: perverts just turn and run.

623
00:31:56,720 --> 00:32:00,880
Speaker 1: Right. So they started they dip their toe in the

624
00:32:00,960 --> 00:32:04,320
Speaker 1: pond with renovating and renting out the New Amsterdam Theater,

625
00:32:04,440 --> 00:32:07,920
Speaker 1: which at that point New York City had acquired in

626
00:32:08,040 --> 00:32:10,160
Speaker 1: nineteen ninety two as part of the forty second Street

627
00:32:10,200 --> 00:32:12,800
Speaker 1: development program. Because it was one of those that followed

628
00:32:12,840 --> 00:32:16,880
Speaker 1: the for less theater than movie theater than porn theater model.

629
00:32:17,160 --> 00:32:19,960
Speaker 1: I don't know if that was an official model, and

630
00:32:20,120 --> 00:32:23,320
Speaker 1: then as they were remodeling that in ninety four, before

631
00:32:23,360 --> 00:32:26,360
Speaker 1: they were finished, Disney opened Beauty and the Beast at

632
00:32:26,360 --> 00:32:29,800
Speaker 1: the Palace Theater, of course, the adaptation of the ninety

633
00:32:29,840 --> 00:32:33,520
Speaker 1: one animated film, and it was almost a twelve million

634
00:32:33,520 --> 00:32:36,000
Speaker 1: dollar budget, the most expensive musical ever at the time,

635
00:32:37,000 --> 00:32:39,640
Speaker 1: and ended up running for about thirteen years to total

636
00:32:39,720 --> 00:32:42,280
Speaker 1: grosses of about four hundred and thirty mil.

637
00:32:43,080 --> 00:32:47,120
Speaker 2: That's just insane even today, but this was the mid nineties.

638
00:32:47,880 --> 00:32:51,160
Speaker 1: Yeah, I mean the returns on Broadway. If you can

639
00:32:51,520 --> 00:32:53,360
Speaker 1: get a smash hit going, you know, it's not like

640
00:32:53,440 --> 00:32:55,880
Speaker 1: you have to sink two hundred million dollars into it

641
00:32:55,960 --> 00:32:57,120
Speaker 1: like you do a big budget movie.

642
00:32:57,360 --> 00:33:01,040
Speaker 2: Yeah, there's a lot of front loaded. But then yeah,

643
00:33:01,080 --> 00:33:02,800
Speaker 2: after you get it up and running and it's going,

644
00:33:02,880 --> 00:33:05,280
Speaker 2: it can just go by itself, basically.

645
00:33:05,680 --> 00:33:09,040
Speaker 1: For sure, should we take our second break?

646
00:33:09,880 --> 00:33:12,760
Speaker 2: Oh jeez, I wasn't expecting that, but sure, let's do that.

647
00:33:13,160 --> 00:33:14,840
Speaker 1: All right, We'll be right back and finish up on

648
00:33:14,920 --> 00:33:15,920
Speaker 1: Broadway right after this.

649
00:33:29,080 --> 00:33:30,640
Speaker 2: Stuffy Jaws.

650
00:33:39,800 --> 00:33:43,800
Speaker 1: All right, So Broadway you can go for Escape of

651
00:33:43,840 --> 00:33:46,000
Speaker 1: Spare you always have been able to. You still can.

652
00:33:46,720 --> 00:33:49,480
Speaker 1: But starting in the mid nineties with Rent, people really

653
00:33:49,560 --> 00:33:55,520
Speaker 1: started tackling some heavier topics. Jonathan Larson's rock musical talked

654
00:33:55,520 --> 00:34:00,520
Speaker 1: about addiction and suicide and poverty and aids about Rent

655
00:34:00,640 --> 00:34:04,600
Speaker 1: was another one I left. It was fine, but it

656
00:34:04,720 --> 00:34:07,640
Speaker 1: was another situation where I was with friends and everyone.

657
00:34:08,320 --> 00:34:10,680
Speaker 1: I can't remember. There was some weird distraction where everyone's like,

658
00:34:10,760 --> 00:34:12,120
Speaker 1: do you want to leave? I think our seats were

659
00:34:12,160 --> 00:34:14,440
Speaker 1: bad or something, and it just wasn't happening. But I

660
00:34:14,480 --> 00:34:19,640
Speaker 1: want to see Rent again. Larson very tragically died at

661
00:34:19,719 --> 00:34:23,239
Speaker 1: thirty five years old of an aortic aneurysm the night

662
00:34:23,480 --> 00:34:26,840
Speaker 1: before it premiered off Broadway. I know that's insane, Just

663
00:34:26,920 --> 00:34:28,000
Speaker 1: a brutal, brutal story.

664
00:34:28,120 --> 00:34:31,960
Speaker 2: Yeah, because it's such a legendary show. To just have

665
00:34:32,320 --> 00:34:34,680
Speaker 2: this show that you probably I'm sure he was like,

666
00:34:34,760 --> 00:34:36,960
Speaker 2: I think this is going to be big and then

667
00:34:36,960 --> 00:34:39,759
Speaker 2: he dies right before even seeing it perform once. That's

668
00:34:39,880 --> 00:34:43,279
Speaker 2: just sad to me, very sad. And then another thing

669
00:34:43,360 --> 00:34:46,480
Speaker 2: that kind of came along. There were plenty of escapist shows,

670
00:34:46,560 --> 00:34:48,960
Speaker 2: we should say, and there still are, and a really

671
00:34:49,040 --> 00:34:52,960
Speaker 2: good example from fairly recent times is Mama Mia, which

672
00:34:53,040 --> 00:34:55,319
Speaker 2: is one of those jukebox it is hard to say,

673
00:34:55,400 --> 00:35:00,480
Speaker 2: isn't it a jukebox musical, which is it takes existing

674
00:35:00,560 --> 00:35:03,360
Speaker 2: songs everybody knows and loves and then puts creates like

675
00:35:03,440 --> 00:35:06,880
Speaker 2: a musical around them. And Mama Mia did that back

676
00:35:06,920 --> 00:35:09,320
Speaker 2: in two thousand and one with Abba songs.

677
00:35:10,160 --> 00:35:12,319
Speaker 1: Yeah, and then you know, I haven't seen many of those,

678
00:35:12,400 --> 00:35:15,600
Speaker 1: but they did one of like the eighties rock. The

679
00:35:15,680 --> 00:35:17,680
Speaker 1: Billy Joels had one, Bob Dylan had.

680
00:35:17,560 --> 00:35:22,000
Speaker 2: One, don't forget a Dee Snyder from Twisted's sister had rock.

681
00:35:22,920 --> 00:35:24,560
Speaker 1: Yeah, that's when I met the eighties rock one that

682
00:35:24,640 --> 00:35:28,040
Speaker 1: was rockabates right. But you know, it's a thing I

683
00:35:28,160 --> 00:35:33,160
Speaker 1: prefer something with. I mean, they have stories built around

684
00:35:33,200 --> 00:35:36,200
Speaker 1: the songs, like you said, so they can be okay,

685
00:35:36,280 --> 00:35:39,320
Speaker 1: but I prefer something something a little more straight ahead,

686
00:35:39,640 --> 00:35:41,960
Speaker 1: not based like original music, I guess is what I'm

687
00:35:41,960 --> 00:35:42,239
Speaker 1: trying to do.

688
00:35:44,320 --> 00:35:46,120
Speaker 2: Yeah, there's some good ones. So there's a there's a

689
00:35:46,239 --> 00:35:52,320
Speaker 2: Carol King basically bio musical that I didn't either. I

690
00:35:52,400 --> 00:35:55,560
Speaker 2: didn't either, big.

691
00:35:55,440 --> 00:35:58,120
Speaker 1: Fan of Wicket, still recommend it. Finally saw it last

692
00:35:58,160 --> 00:35:59,040
Speaker 1: year on Broadway.

693
00:35:59,280 --> 00:35:59,400
Speaker 2: Uh.

694
00:36:00,160 --> 00:36:04,040
Speaker 1: Unfortunately it was not the wickedly talented Adele Desime, but

695
00:36:04,160 --> 00:36:08,279
Speaker 1: that's where she made her name, along with who was

696
00:36:08,320 --> 00:36:10,600
Speaker 1: the original? Was it Kristin chenow with I believe.

697
00:36:10,520 --> 00:36:11,560
Speaker 2: Yes it was.

698
00:36:11,719 --> 00:36:11,879
Speaker 1: Yeah.

699
00:36:12,480 --> 00:36:17,200
Speaker 2: I always loved her in uh, Pushing Up Daisies. Do

700
00:36:17,280 --> 00:36:18,080
Speaker 2: you remember that show?

701
00:36:18,680 --> 00:36:20,040
Speaker 1: I do, but I did not see that.

702
00:36:20,800 --> 00:36:23,040
Speaker 2: Oh you should go back and watch it. I saw

703
00:36:23,080 --> 00:36:25,560
Speaker 2: it not too long ago, and it really holds up.

704
00:36:25,640 --> 00:36:26,839
Speaker 2: It is a very charming show.

705
00:36:27,400 --> 00:36:29,800
Speaker 1: We should call this episode Josh and Chuck haven't seen.

706
00:36:29,719 --> 00:36:33,279
Speaker 2: This, Yeah, pretty much, just put a colon before it

707
00:36:33,360 --> 00:36:34,360
Speaker 2: and we can add that.

708
00:36:34,480 --> 00:36:37,480
Speaker 1: Okay, Hamilton is one I did not see, but we

709
00:36:37,560 --> 00:36:39,479
Speaker 1: would be remiss if we did not mention it because

710
00:36:39,480 --> 00:36:43,560
Speaker 1: it was such a landmark play Lynn Manuel Miranda. Of course,

711
00:36:44,040 --> 00:36:49,399
Speaker 1: that one hip hop into historical context on Broadway, which

712
00:36:49,480 --> 00:36:51,400
Speaker 1: is a huge smash it. And I saw it on

713
00:36:51,719 --> 00:36:55,360
Speaker 1: the you know, the TV version of the film the musical,

714
00:36:55,560 --> 00:36:57,120
Speaker 1: so and listen to it quite a bit, but I

715
00:36:57,200 --> 00:36:58,120
Speaker 1: never saw it live.

716
00:36:58,560 --> 00:37:01,000
Speaker 2: That's okay, Chuck, I'll let you the hook. It was

717
00:37:01,040 --> 00:37:04,400
Speaker 2: too expensive, Yeah, it really was, wasn't it. Those were

718
00:37:04,480 --> 00:37:06,840
Speaker 2: some high priced tickets for a while because everybody was

719
00:37:06,880 --> 00:37:08,600
Speaker 2: talking about that show well and.

720
00:37:08,640 --> 00:37:10,040
Speaker 1: It was all sold out, So the only way to

721
00:37:10,040 --> 00:37:12,239
Speaker 1: get tickets was to pay like twelve hundred bucks at

722
00:37:12,280 --> 00:37:14,880
Speaker 1: the time. It would probably be even more now, but

723
00:37:14,960 --> 00:37:16,279
Speaker 1: now you can go see it, and I bet you

724
00:37:16,360 --> 00:37:17,919
Speaker 1: can get tickets for regular price.

725
00:37:18,120 --> 00:37:21,279
Speaker 2: Sure. I got to mention this one. I've not seen this,

726
00:37:21,440 --> 00:37:23,920
Speaker 2: believe it or not, everybody. It's called Dear Evan Hanson.

727
00:37:23,960 --> 00:37:27,040
Speaker 2: It's from twenty sixteen, but I did read a couple

728
00:37:27,120 --> 00:37:30,919
Speaker 2: of articles on it, and it sounds totally off the wall,

729
00:37:31,400 --> 00:37:35,640
Speaker 2: where the title character is mistaken for the best friend

730
00:37:36,239 --> 00:37:40,320
Speaker 2: of a teenager who's just died by suicide, and so

731
00:37:40,480 --> 00:37:44,360
Speaker 2: he suddenly becomes very popular and like everybody wants to

732
00:37:44,960 --> 00:37:48,320
Speaker 2: know what this kid was like, and he uses it

733
00:37:48,440 --> 00:37:51,840
Speaker 2: to basically become popular and liked, whereas otherwise he was

734
00:37:51,880 --> 00:37:54,400
Speaker 2: just kind of overlooked, you know, kid on the sides,

735
00:37:56,160 --> 00:37:59,200
Speaker 2: and there's all this horrible stuff that starts to happen

736
00:37:59,280 --> 00:38:03,160
Speaker 2: and unravels, and I think he's publicly unmasked at some point.

737
00:38:03,480 --> 00:38:06,200
Speaker 1: Yeah, I need that's on my list. A couple of

738
00:38:06,200 --> 00:38:08,880
Speaker 1: good friends have seen it and said it's great, So

739
00:38:09,120 --> 00:38:12,920
Speaker 1: I'm gonna go see that soon. I hope these these

740
00:38:13,000 --> 00:38:15,839
Speaker 1: make a lot of money. Like I said, Wicked set

741
00:38:15,880 --> 00:38:19,160
Speaker 1: a weekly record in December of this past year. Obviously,

742
00:38:19,239 --> 00:38:22,120
Speaker 1: buoyed by the popularity of the movie, but the first

743
00:38:22,200 --> 00:38:26,000
Speaker 1: ever show to have a five million dollar week and

744
00:38:26,320 --> 00:38:28,919
Speaker 1: last season, the twenty three to twenty four season again

745
00:38:29,000 --> 00:38:32,279
Speaker 1: ran from May to May, total grosses of one point

746
00:38:32,360 --> 00:38:36,120
Speaker 1: five to four billion dollars more than twelve million attendees

747
00:38:36,239 --> 00:38:40,520
Speaker 1: over seventy one productions, with an average occupancy of eighty

748
00:38:40,640 --> 00:38:44,640
Speaker 1: nine point nine, so that they're you know, the average

749
00:38:44,640 --> 00:38:48,040
Speaker 1: Broadway show isn't even sold out. It's close to ninety percent.

750
00:38:48,440 --> 00:38:52,480
Speaker 2: Wow. Can we talk about a few flops?

751
00:38:53,600 --> 00:38:56,399
Speaker 1: Yeah, I'm going to pick out a couple of these.

752
00:38:58,320 --> 00:39:01,560
Speaker 1: I'm going to pick out Moose Murder from nineteen eighty three.

753
00:39:03,120 --> 00:39:07,400
Speaker 1: It is a farce, obviously, but it was bankrolled by

754
00:39:07,440 --> 00:39:10,319
Speaker 1: an oil heiress named Lily Robertson and directed by her

755
00:39:10,440 --> 00:39:15,440
Speaker 1: husband and starring the oil heiress Lily Robertson who bankrolled it,

756
00:39:15,640 --> 00:39:18,239
Speaker 1: which should tell you it's not headed toward a great thing.

757
00:39:18,360 --> 00:39:22,600
Speaker 1: Also because it's called Moose Murders and it closed after

758
00:39:22,719 --> 00:39:25,719
Speaker 1: one single performance, and New Yorker art critic Brendan Gill

759
00:39:25,800 --> 00:39:28,560
Speaker 1: said that it would insult the intelligence of an audience

760
00:39:28,680 --> 00:39:30,759
Speaker 1: consisting entirely of Amba's.

761
00:39:31,080 --> 00:39:33,160
Speaker 2: Yeah, I read about that it seems like it was

762
00:39:33,320 --> 00:39:36,680
Speaker 2: just a completely amateur production from start to finish, like

763
00:39:36,840 --> 00:39:40,160
Speaker 2: everybody was basically had no idea what they were doing.

764
00:39:41,040 --> 00:39:43,640
Speaker 2: And if you want to just be delighted, go read

765
00:39:43,800 --> 00:39:47,640
Speaker 2: articles about the flop that was Moose Murders, because it's

766
00:39:47,719 --> 00:39:52,000
Speaker 2: widely considered like the worst show that ever hit Broadway

767
00:39:52,800 --> 00:39:54,880
Speaker 2: in a lot of ways. Though it's tough to qualify that,

768
00:39:55,000 --> 00:39:57,440
Speaker 2: because there's plenty of bad shows out there and some

769
00:39:57,640 --> 00:40:00,920
Speaker 2: have been forgotten, but for some reason, Moose Murders just

770
00:40:01,000 --> 00:40:04,120
Speaker 2: became like the symbol for the worst shows on Broadway.

771
00:40:04,840 --> 00:40:06,759
Speaker 1: Yeah, I mean there's different ways to qualify it, like

772
00:40:06,880 --> 00:40:10,000
Speaker 1: is it just bad bad or is it notoriously flop

773
00:40:10,160 --> 00:40:12,600
Speaker 1: because of how much money it costs? Then it flopped.

774
00:40:12,880 --> 00:40:14,640
Speaker 1: That was the case with a couple of them. But

775
00:40:14,800 --> 00:40:19,960
Speaker 1: Kerry An adaptation of the Stephen King horror novel as

776
00:40:20,000 --> 00:40:23,960
Speaker 1: a musical in nineteen eighty eight, closed after sixteen previews

777
00:40:24,000 --> 00:40:28,320
Speaker 1: and five regular performances at an eight million dollar budget.

778
00:40:28,800 --> 00:40:32,040
Speaker 1: So it's it's widely considered one of the biggest sort

779
00:40:32,080 --> 00:40:34,920
Speaker 1: of just expensive flops of all time.

780
00:40:35,360 --> 00:40:37,880
Speaker 2: Yeah, there's a song about killing a pig in it.

781
00:40:38,040 --> 00:40:40,120
Speaker 2: I think to get the blood to pour on. Yeah,

782
00:40:40,719 --> 00:40:44,439
Speaker 2: and the lyrics it's a simple little gig, you help

783
00:40:44,520 --> 00:40:45,200
Speaker 2: me kill a pig.

784
00:40:46,520 --> 00:40:48,960
Speaker 1: Yeah, And believe it or not that it wasn't like

785
00:40:49,000 --> 00:40:51,680
Speaker 1: an amateurist production. It was directed by Terry Hans, who

786
00:40:51,760 --> 00:40:54,840
Speaker 1: ran the Royal Shakespeare Company for thirteen years, and was

787
00:40:54,960 --> 00:40:58,240
Speaker 1: choreographed by Debbie Allen. So it was a big money

788
00:40:58,320 --> 00:41:01,160
Speaker 1: thing that just was sounds like not a very good idea.

789
00:41:01,320 --> 00:41:02,960
Speaker 2: It was a terrible idea and I'm rid it was

790
00:41:03,120 --> 00:41:06,440
Speaker 2: terribly executed too in the end that they just you know,

791
00:41:06,640 --> 00:41:08,920
Speaker 2: they really tried though. I think that's the difference.

792
00:41:09,560 --> 00:41:13,320
Speaker 1: Well, it has been revived with cult status off Broadway

793
00:41:13,760 --> 00:41:17,160
Speaker 1: like in the twenty tens, So it's one of those.

794
00:41:17,080 --> 00:41:18,600
Speaker 2: I would go see that. I would go see that.

795
00:41:19,000 --> 00:41:19,200
Speaker 1: Yeah.

796
00:41:20,400 --> 00:41:22,879
Speaker 2: And then I think the biggest flop as far as

797
00:41:23,760 --> 00:41:26,759
Speaker 2: money goes is Spider Man Turn Off the Dark from

798
00:41:26,800 --> 00:41:30,279
Speaker 2: twenty eleven. That's another one that just anybody who has

799
00:41:30,320 --> 00:41:34,920
Speaker 2: anything to do or any interest in Broadway they know

800
00:41:35,080 --> 00:41:37,160
Speaker 2: about this flop. Yeah.

801
00:41:37,400 --> 00:41:40,920
Speaker 1: I mean that had all the right ingredients to Broadway

802
00:41:40,960 --> 00:41:44,520
Speaker 1: legend and film director Julie Taymor, who directed The Lion

803
00:41:44,640 --> 00:41:47,400
Speaker 1: King on Broadway. They got Bono in the edge to

804
00:41:47,440 --> 00:41:51,120
Speaker 1: write the music. It was huge special effects and it

805
00:41:51,239 --> 00:41:55,640
Speaker 1: was just problem after problem after problem all like you know,

806
00:41:55,960 --> 00:41:58,040
Speaker 1: kind of front page or at least front page of

807
00:41:58,080 --> 00:41:59,920
Speaker 1: the arts headline kind of problems.

808
00:42:00,320 --> 00:42:03,120
Speaker 2: Yeah, So when you're performing a show or putting on

809
00:42:03,200 --> 00:42:06,200
Speaker 2: a production, you have what are called previews where people

810
00:42:06,280 --> 00:42:09,200
Speaker 2: can come. The critics are not allowed to see it yet,

811
00:42:09,600 --> 00:42:12,080
Speaker 2: but normal people can come and watch it, but under

812
00:42:12,160 --> 00:42:15,360
Speaker 2: the understanding that they're going to be stopping in the

813
00:42:15,360 --> 00:42:18,200
Speaker 2: middle of performance, taking notes, maybe giving notes. There's going

814
00:42:18,280 --> 00:42:21,399
Speaker 2: to be technical glitches, and it's they're working it out

815
00:42:21,600 --> 00:42:25,400
Speaker 2: still in front of an audience. And I think the

816
00:42:25,560 --> 00:42:28,839
Speaker 2: first preview of Spider Man went three and a half

817
00:42:28,920 --> 00:42:33,040
Speaker 2: hours for the first act alone, and there were It

818
00:42:33,200 --> 00:42:35,480
Speaker 2: holds the record for the largest number of previews, more

819
00:42:35,520 --> 00:42:38,560
Speaker 2: previews that have, the more problems you have. Obviously it

820
00:42:38,640 --> 00:42:42,320
Speaker 2: had one hundred and eighty two preview shows before it

821
00:42:42,440 --> 00:42:43,080
Speaker 2: ever opened.

822
00:42:44,000 --> 00:42:47,239
Speaker 1: Yeah, and I've been to some previews. I saw Sarah,

823
00:42:47,320 --> 00:42:51,800
Speaker 1: Jessica Parker and Broderick do the which one was it?

824
00:42:52,000 --> 00:42:53,960
Speaker 1: The Neil Simon one a couple of years ago, and

825
00:42:54,040 --> 00:42:57,000
Speaker 1: that was in previews. Don't let like the idea of

826
00:42:57,040 --> 00:43:00,399
Speaker 1: a preview turning off because like usually they just straight

827
00:43:00,440 --> 00:43:02,799
Speaker 1: through and it's just like a regular performance. Like I've

828
00:43:02,880 --> 00:43:05,319
Speaker 1: never seen a preview that where anyone stopped and did

829
00:43:05,360 --> 00:43:10,200
Speaker 1: anything weird. And critics do actually see those because they

830
00:43:10,280 --> 00:43:14,320
Speaker 1: will review the show before opening night because they have

831
00:43:14,400 --> 00:43:15,120
Speaker 1: seen the preview.

832
00:43:16,480 --> 00:43:19,520
Speaker 2: Okay, I thought I've read somewhere that critics are not allowed,

833
00:43:19,560 --> 00:43:21,799
Speaker 2: So maybe there's like a special preview.

834
00:43:21,520 --> 00:43:23,879
Speaker 1: Or maybe a window or something. Yeah, yeah, that would

835
00:43:23,880 --> 00:43:25,480
Speaker 1: be my guess. I'm not sure how that works, but

836
00:43:26,680 --> 00:43:29,239
Speaker 1: I know it's always I'm not sure if it's like movies.

837
00:43:29,280 --> 00:43:32,200
Speaker 1: I know movies, sometimes they won't let the critics see

838
00:43:32,200 --> 00:43:35,120
Speaker 1: it before it's release, and that always means it stinks. Yeah,

839
00:43:35,600 --> 00:43:37,040
Speaker 1: so I'm not sure if Broadway does that or not.

840
00:43:37,160 --> 00:43:40,919
Speaker 2: Actually, well, Chuck, that's Broadway. We could keep talking about

841
00:43:40,920 --> 00:43:42,759
Speaker 2: this for hours and hours and hours, but I feel

842
00:43:42,800 --> 00:43:45,520
Speaker 2: like we we probably haven't seen most of the stuff

843
00:43:45,560 --> 00:43:46,319
Speaker 2: we would talk about.

844
00:43:47,360 --> 00:43:49,480
Speaker 1: I've seen quite a few in recent years, and I'll

845
00:43:49,520 --> 00:43:51,280
Speaker 1: be going to more and more, so maybe we'll revisit

846
00:43:51,320 --> 00:43:54,000
Speaker 1: this in ten years and I'll be more up to speed.

847
00:43:54,239 --> 00:43:56,920
Speaker 2: Okay, fair enough, sounds good, and we'll have seen carry

848
00:43:57,000 --> 00:43:57,759
Speaker 2: together by then.

849
00:43:58,480 --> 00:44:01,600
Speaker 1: I hope so. And before we end, I think we

850
00:44:01,800 --> 00:44:04,760
Speaker 1: would be remiss if we didn't mention that we recently

851
00:44:04,880 --> 00:44:09,879
Speaker 1: learned that we have, like for sure, literally inspired not one,

852
00:44:10,040 --> 00:44:12,720
Speaker 1: but two Broadway shows from this show.

853
00:44:12,640 --> 00:44:16,520
Speaker 2: Right, Yeah, it's pretty amazing, Chuck. I think we first

854
00:44:16,640 --> 00:44:19,880
Speaker 2: learned about it in Town and Country magazine. They did

855
00:44:19,960 --> 00:44:22,680
Speaker 2: an article called how a secret British spy mission became

856
00:44:22,719 --> 00:44:25,520
Speaker 2: a Broadway hit, and I think someone sent it to

857
00:44:25,719 --> 00:44:27,400
Speaker 2: us and I was like, oh, that's interesting, And as

858
00:44:27,480 --> 00:44:29,560
Speaker 2: I read a little deeper, I found that they mentioned

859
00:44:29,640 --> 00:44:33,480
Speaker 2: us specifically as the inspiration for this hit musical.

860
00:44:34,080 --> 00:44:37,719
Speaker 1: Yeah, that's amazing. And the other one we found out

861
00:44:37,760 --> 00:44:40,960
Speaker 1: from the producers of the show they emailed us the

862
00:44:41,040 --> 00:44:43,760
Speaker 1: one I think is it off Broadway on Tzacho and Vinzetti.

863
00:44:43,480 --> 00:44:46,759
Speaker 2: Right, that's right, Yeah, so big thanks to those guys

864
00:44:46,840 --> 00:44:49,480
Speaker 2: for letting the world know that we helped inspire that,

865
00:44:49,520 --> 00:44:52,640
Speaker 2: because that is quite an honor. And I think we

866
00:44:52,719 --> 00:44:55,960
Speaker 2: would also be remiss to not say, break a leg.

867
00:44:56,640 --> 00:44:58,399
Speaker 2: That's right. Do you have anything else?

868
00:44:59,040 --> 00:44:59,839
Speaker 1: I have nothing else?

869
00:45:00,160 --> 00:45:02,320
Speaker 2: Okay, Well, since Chuck said he has nothing else and

870
00:45:02,560 --> 00:45:04,920
Speaker 2: neither do, I think it's time for listener now.

871
00:45:07,280 --> 00:45:09,080
Speaker 1: Yeah, I'm going to call this rare shout out. We

872
00:45:09,120 --> 00:45:11,000
Speaker 1: don't do shout outs much just because we get a

873
00:45:11,080 --> 00:45:13,120
Speaker 1: lot of requests too, and it would just be shout

874
00:45:13,160 --> 00:45:16,520
Speaker 1: outs every week, but this one touched me. And this

875
00:45:16,640 --> 00:45:20,600
Speaker 1: is from Cody in Raleigh, North Carolina. Hey, guys. In

876
00:45:20,640 --> 00:45:24,040
Speaker 1: twenty eighteen, my dad passed away, leaving behind my mom, who,

877
00:45:24,320 --> 00:45:27,320
Speaker 1: after fifty four years of marriage, had never lived alone.

878
00:45:28,360 --> 00:45:32,520
Speaker 1: She struggles with grief and anxiety induced insomnia as a result,

879
00:45:33,000 --> 00:45:34,880
Speaker 1: so I suggested she listened to Stuff You Should Know

880
00:45:34,920 --> 00:45:36,920
Speaker 1: for middle to night companionship to help her get her

881
00:45:36,960 --> 00:45:39,480
Speaker 1: mind off her troubles. She did, and she's been a

882
00:45:39,560 --> 00:45:43,040
Speaker 1: huge fan ever since. She calls you my guys, and

883
00:45:43,120 --> 00:45:45,799
Speaker 1: this parasocial relationship has been a true life saver for her.

884
00:45:46,040 --> 00:45:47,720
Speaker 1: When I call her up day or night, the podcast

885
00:45:47,840 --> 00:45:50,160
Speaker 1: is off and on in the background, keeping your company

886
00:45:50,239 --> 00:45:52,960
Speaker 1: while she does dishes or rests. Y'all are about the

887
00:45:53,040 --> 00:45:55,320
Speaker 1: same age as me and my brother, so she feels

888
00:45:55,360 --> 00:45:58,600
Speaker 1: like and she feels an anti like affection for you.

889
00:46:00,000 --> 00:46:03,359
Speaker 1: Her eightieth birthday is in April, and I believe we've

890
00:46:03,360 --> 00:46:05,000
Speaker 1: already missed it by the time this would come out.

891
00:46:05,040 --> 00:46:08,160
Speaker 1: But I've been struggling with what to do for her

892
00:46:08,320 --> 00:46:10,799
Speaker 1: as a fun surprise outside the party she's having this week,

893
00:46:11,360 --> 00:46:14,120
Speaker 1: and Cody asked for us to send like a video

894
00:46:14,239 --> 00:46:15,880
Speaker 1: or something, but I said, how about this, We'll do

895
00:46:15,960 --> 00:46:19,480
Speaker 1: a rare shout out and say hello to your wonderful

896
00:46:19,920 --> 00:46:23,239
Speaker 1: mother on her eightieth birthday, Bonnie Nichols. Bonnie, we love

897
00:46:23,280 --> 00:46:25,759
Speaker 1: you and we feel like you are Auntie Bonnie as well,

898
00:46:26,360 --> 00:46:28,960
Speaker 1: and it makes me feel really happy to know that

899
00:46:29,040 --> 00:46:31,200
Speaker 1: you're out there with us listening to us, so that

900
00:46:31,560 --> 00:46:34,720
Speaker 1: parasocial relationship goes both ways. So happy birthday, Auntie.

901
00:46:35,000 --> 00:46:37,640
Speaker 2: Yeah, happy birthday, Bonnie. You can't see me right now,

902
00:46:37,719 --> 00:46:39,920
Speaker 2: but I'm making a heart out of my hands.

903
00:46:40,320 --> 00:46:41,120
Speaker 1: Yeah, that's lovely.

904
00:46:42,040 --> 00:46:44,680
Speaker 2: That's really great. Seriously, thanks for listening to us, Bonnie.

905
00:46:44,680 --> 00:46:47,600
Speaker 2: I'm glad we could help and keep you company. And

906
00:46:47,800 --> 00:46:49,920
Speaker 2: if you want to be like Bonnie, Wait, who was

907
00:46:49,960 --> 00:46:51,160
Speaker 2: it that road in her son?

908
00:46:51,880 --> 00:46:52,600
Speaker 1: Yeah it's Cody.

909
00:46:52,800 --> 00:46:54,799
Speaker 2: Cody. If you want to be like Cody and tell

910
00:46:54,880 --> 00:46:57,320
Speaker 2: us about the Bonnie in your life, we love to

911
00:46:57,400 --> 00:46:59,839
Speaker 2: hear that kind of stuff. You can send it via

912
00:46:59,880 --> 00:47:03,359
Speaker 2: email to Stuff Podcasts at iHeartRadio dot com.

913
00:47:06,760 --> 00:47:09,600
Speaker 1: Stuff you Should Know is a production of iHeartRadio. For

914
00:47:09,719 --> 00:47:13,880
Speaker 1: more podcasts My heart Radio, visit the iHeartRadio app, Apple podcasts,

915
00:47:14,000 --> 00:47:15,840
Speaker 1: or wherever you listen to your favorite shows.