Speaker 1: I'm Hillary Clinton.
Speaker 2: Welcome to a very special episode of You and Me Both.
Speaker 2: You know, just about a week ago, I had the
Speaker 2: pleasure of taping our first ever live show in front
Speaker 2: of a standing room only audience at Symphony Space in
Speaker 2: New York City. Joining me was my very special guest,
Speaker 2: Patty Lapone, with some help from one of my favorite comedians,
Speaker 2: Amber Ruffin, who served as our MC. So buckle up
Speaker 2: and enjoy the show. First you'll hear from Amber Ruffin.
Speaker 3: It is my pleasure to introduce a bona fide Broadway legend,
Speaker 3: the three time Tony Award winning actress singer Patty Lapone
Speaker 3: and former Secretary of State and podcast host Hillary Rodham Clinton.
Speaker 2: Whoa, whoa, this is so excited everybody. I want to
Speaker 2: thank my friend and one of the most genuinely funny
Speaker 2: and wonderful human beings, Amber Ruffin for being with us,
Speaker 2: and Amber will be back out later. But I have
Speaker 2: to tell you this is like a dream come true
Speaker 2: for me. Number one, we are doing the very first
Speaker 2: live version of my podcast, You and Me Both, and
Speaker 2: I could not think of a better person to do
Speaker 2: that with than the one and only Patty LuPone. So
Speaker 2: Patty welcome to this sold out audience here at Symphony Space.
Speaker 2: And when I was thinking, you heard Amber talking about
Speaker 2: how when Chelsea and I did uh gutsy and we
Speaker 2: interviewed a lot of gutsy women who embodies gutsy more
Speaker 2: than Patty and her spunk, her heart, her talent.
Speaker 1: I mean, it is just an amazing combination.
Speaker 2: So I'm going to dive right in and I actually
Speaker 2: read your autobiography. You certainly have a lot of experience
Speaker 2: on stages literally all over. You know, I'm happy to
Speaker 2: be here interviewing you, but honestly, it's always been my
Speaker 2: dream to sing.
Speaker 1: Really yes, well, then.
Speaker 4: You should sing tonight. I an'll have to sing. You
Speaker 4: should sing tonight. You should sing tonight. Oh no, Hilary,
Speaker 4: you should say Now, I.
Speaker 2: Had to make the confession because it would end the
Speaker 2: show early, and so we can't do that. But later
Speaker 2: you're gonna have the real treat of hearing her saying.
Speaker 5: You know.
Speaker 2: I looked at the pictures in your wonderful autobiography I
Speaker 2: read about your life, and I'm so pleased that the
Speaker 2: sag after an actors strike has finished so that you
Speaker 2: could actually talk about a lot of the things You've done.
Speaker 2: It's perfect. Last Frand Dresser. That's all I've got to say.
Speaker 2: God bless Frand Dresser. So let's start at the very beginning.
Speaker 2: You were born on Long Island, Northport.
Speaker 4: Right, Northport.
Speaker 2: Yeah, So tell us a little bit about your family,
Speaker 2: because it turns out that you had a kind of
Speaker 2: pool of talent inside your own family.
Speaker 4: Well, my mother and my father were not at all
Speaker 4: in show business. In fact, my father expected us all
Speaker 4: to be teachers, and my mother was just a Long
Speaker 4: Island housewife. I'm of Italian descent, and when my parents
Speaker 4: were growing up, there was a great deal of prejudice.
Speaker 4: My grandparents wanted their kids, both sides, the Patties and
Speaker 4: the Loupons, to be American. My name is made up
Speaker 4: of my parents' last name. My dad's LuPone, my mother's
Speaker 4: a Patsy, so they wanted their kids to be American.
Speaker 4: So my mother really showed business was the farthest thing
Speaker 4: from her mind for her kids. But she was the
Speaker 4: one that actually started it by enrolling me in a
Speaker 4: dance class. And my brother Bobby saw me in a
Speaker 4: huli skirt and fell in love with the hula skirt,
Speaker 4: and he started dancing. That's the truth.
Speaker 1: Well, but in fact, didn't you form a group later?
Speaker 4: Yes, we did, because we had we had first it
Speaker 4: was Miss Marguerite Dance Studio. Then it was Donald and
Speaker 4: Rosalie Grant Dance Studio. Then it was the Andrea and
Speaker 4: Bonnie and their friend Betty Dance Studio and Andre and Bonnie.
Speaker 4: Andre was it was French. It was so kind of
Speaker 4: exotic and wonderful, and he's a French accent, and he
Speaker 4: put my brothers and I did an adagio waltz. My
Speaker 4: brother Bobby and I did a tango. We actually competed
Speaker 4: at Jones's speech. We won third prize. I still have
Speaker 4: the trophy. So it was sort of even though my
Speaker 4: mother never she actually was famous as saying to my
Speaker 4: brother and I, it upsets me that you flip from
Speaker 4: job to job. Yuh mau. Yeah, that's the way it goes.
Speaker 4: But because she had no clue about about show business.
Speaker 4: But she was the one that introduced us, and Bobby
Speaker 4: and I both found our place. Yeah, it was a calling.
Speaker 2: But you know, I actually love that story because it's
Speaker 2: a story of a certain time and a certain place
Speaker 2: and going from those dance studios and those other opportunities.
Speaker 1: And I love the story that stories you.
Speaker 2: Tell about your rather unusual audition for Juilliard. I mean,
Speaker 2: here is this young girl, you were still a young girl,
Speaker 2: and let it be said you hated school except for music.
Speaker 4: Right, No, it's not in hate school. I was lucky
Speaker 4: to go to a high school, an elementary, a junior high,
Speaker 4: and a high school where music was an integral part
Speaker 4: of our education as important as English, math and science.
Speaker 4: We all studied and we also with the third grade
Speaker 4: was marched into the Ocean Avenue Elementary School. There were
Speaker 4: two posters on the wall band instruments orchestra instruments, and
Speaker 4: our music teachers said pick an instrument, and we learned
Speaker 4: started to learn how to read music in the third
Speaker 4: grade and we carry that all the way through high school.
Speaker 4: So kudos to the Northport school system for instilling music
Speaker 4: into our lives. It breaks my heart that there isn't music.
Speaker 1: It breaks my heart in school.
Speaker 2: And you know, when you think about it, because that
Speaker 2: used to be the norm, you would have, you know, music,
Speaker 2: you might even have music appreciation because I can remember
Speaker 2: in third grade we had a music teacher who would
Speaker 2: come in and she would introduce us to things we would.
Speaker 1: Never have known about.
Speaker 2: I remember having her tell us about Aida and playing
Speaker 2: from the score.
Speaker 1: I'm in third grade. What do I know?
Speaker 2: I know nothing about opera, nothing at all.
Speaker 1: But now so many kids don't have that opportunity.
Speaker 2: So it's really important to, you know, remind everybody that
Speaker 2: it used to be much more common, and it gave
Speaker 2: so many kids a chance to find themselves, find their
Speaker 2: talents or enhance what they need.
Speaker 4: And the arts are the soul of a nation.
Speaker 1: Amen.
Speaker 2: Well, you've done your part to try to, you know,
Speaker 2: deliver a lot to a lot of happy people. And
Speaker 2: I want to go back to this audition at Juilliard
Speaker 2: because here you are in high school and you do
Speaker 2: have support from some teachers and some other adults in
Speaker 2: your life.
Speaker 1: And what did you decide to do?
Speaker 4: I knew what I was going to do. I actually
Speaker 4: I wanted to be a rock and roller because I
Speaker 4: grew up in the age of rock and roll. But
Speaker 4: whenever I opened my mouths to sing a rock and
Speaker 4: roll so I sounded like ethel Mermons, so that wasn't
Speaker 4: going to work. But still I'm a closet rocker, so
Speaker 4: I knew that my I knew at a very young age.
Speaker 4: First of all, I remember when I was sixteen saying,
Speaker 4: my career is in Europe, and of course it hasn't been.
Speaker 4: But I've always felt more European than American, and I
Speaker 4: always wanted my career to be I wanted to sing
Speaker 4: in Europe, and I knew what I was going to do.
Speaker 4: I knew that I wouldn't end up on the Broadway
Speaker 4: musical stage. I just knew that. So it's not that
Speaker 4: I hated school. It's just that I knew where my
Speaker 4: focus was. And when my junior high school guidance counselor
Speaker 4: asked me what I wanted to major in in high school,
Speaker 4: I said music. He said, you can't. Why did you
Speaker 4: ask me then? And ultimately what I did do was
Speaker 4: skip every other class and just went to the music classes.
Speaker 4: I don't know how I graduated. They wanted me out,
Speaker 4: so that's how I got out, and then Julliard, and
Speaker 4: then my mother wanted me to go to a college,
Speaker 4: and I went n and I moved to New York City,
Speaker 4: found one hundred dollars a month, five floor walk up
Speaker 4: railroad flat on East nineteenth and Second Avenue, and got
Speaker 4: a job at the Ginza at waitress, and I auditioned
Speaker 4: for Broadway musicals. My brother Bobby was attending the dance
Speaker 4: division of Juilliard. He said they were starting a drama division,
Speaker 4: and I only auditioned for my mother and my brother.
Speaker 4: I did not want to go to college, and my
Speaker 4: audition was I didn't even care. I picked the most
Speaker 4: obvious classical speech, the most obvious contemporary speech. I went
Speaker 4: at the time, we were hippie, so I was in
Speaker 4: a granny dress with granny shoes and granny glasses. And
Speaker 4: when I did my it was Kate's epulogue from Taming
Speaker 4: of the Shrew five fi on that threatening on Kim Brown,
Speaker 4: dark knot scornful glances at thy lord, thy Master. When
Speaker 4: I finished the speech, John Hausman came to the foot
Speaker 4: of the stage and said, I don't think that's what
Speaker 4: Shakespeare had in mind. And I frankly couldn't care less.
Speaker 4: So I did that, and I did Dolly Levi's money
Speaker 4: speech from the Matchmaker, and then there was a lot
Speaker 4: of silence out there, and of course I couldn't see them.
Speaker 4: Then somebody shouted out an improv, which is I got
Speaker 4: a rejection letter from the drama division of the Juilliard School.
Speaker 4: So I went over to opened up a mailbox, pulled
Speaker 4: out the letter, opened it up, read it, throw it
Speaker 4: over my shoulder.
Speaker 1: That's what got me in.
Speaker 4: That's what got me in.
Speaker 1: And didn't you say John Houseman? Did you say John Houseman?
Speaker 4: Yeah? Okay, mister Housman, mister Houseman to me, yeah?
Speaker 1: For people, who was John Houseman? Because not everybody remembers well.
Speaker 4: John Housman was a very powerful producer in the Mercury Theater.
Speaker 4: He worked with Orson Wells. He was a frightening man
Speaker 4: when I met him, and he was the co artistic
Speaker 4: director of the initial drama division of the Juilliard School.
Speaker 4: The Julliard School used to the Julliard School of Music,
Speaker 4: but in order for them to move down to Lincoln Center,
Speaker 4: they had to become a complete performing arts swing, so
Speaker 4: they had to add a drama division. And Peter Mennon,
Speaker 4: who was the president of the Juilliard School of Music,
Speaker 4: was not happy that we would now have actors in
Speaker 4: the building, and John Housman and Peter Manon did not
Speaker 4: get along at all. But John was also frightening to me.
Speaker 4: I mean, he was a very imposing man, and he
Speaker 4: it was difficult, It was scary to be in that school.
Speaker 4: It was a brutal education.
Speaker 2: And one of the people who you were in that
Speaker 2: school with was someone who I think became your boyfriend
Speaker 2: for a number of years, right, Kevin Klein.
Speaker 4: Yes, yeah, he was my boyfriend.
Speaker 1: And that's all we'll.
Speaker 4: Hear about that.
Speaker 1: Ladies and gentlemen, moving right along.
Speaker 2: So you get out of Juilliard, but you're still part
Speaker 2: of a almost a kind of acting company, right, And
Speaker 2: you performed nearly anywhere, anytime anybody asked, and it was
Speaker 2: apparently an amazing, full immersion experience for you.
Speaker 4: It was you know, acting as a craft, and a
Speaker 4: craft takes training, and we were given the golden opportunity
Speaker 4: to hone our craft. We learned what we could at Juilliard,
Speaker 4: and Juilliard was our class was sort of the guinea
Speaker 4: pigs of the entire acting experience. What they wanted was
Speaker 4: to break the psyche down of an American actor and
Speaker 4: form the Juilliard actor that could be a classical actor,
Speaker 4: a contemporary actor, act in every particular styles, restoration, Jacko Beean,
Speaker 4: Elizabethan modern, and be able to work with Russian directors,
Speaker 4: French directors, American directors. So in school we were inundated
Speaker 4: with technique, not so much acting classes, but a lot
Speaker 4: of technique. When John put us on display on our
Speaker 4: third year, mal Guso, who was a critic, second string
Speaker 4: critic for the New York Times, said, keep this company together,
Speaker 4: don't break them up, which was John's q. To keep
Speaker 4: this company together. So when we graduated from Juilliard, he
Speaker 4: handed us an equity card and a seat on a
Speaker 4: dominical bus and we toured the shows that we had
Speaker 4: been performing in our third and fourth years with sets
Speaker 4: that weren't built to tour. That was the first problem,
Speaker 4: and we had been trained to do three shows and
Speaker 4: on the fourth the performance fell apart. We didn't know
Speaker 4: how to maintain and so we got lessons that no
Speaker 4: actors get any more, which is a pity because we
Speaker 4: were armed to the teeth with technique, so that when
Speaker 4: somebody says something to me, I don't go no, I
Speaker 4: can't do that. At a fear, I say, yeah, I
Speaker 4: can do that because I want to. Whether I know
Speaker 4: how to do it or not, I have the technique
Speaker 4: to figure it out. And if I fail, that's okay.
Speaker 4: That was the other thing that techniques allows. The technique
Speaker 4: allows you to fail because you know, you can figure
Speaker 4: something out.
Speaker 2: I think that's incredible for people to hear, because it's
Speaker 2: not just about acting, it's about life. Yeah, and you know,
Speaker 2: being equipped, you know, having skills putting yourself in new situations,
Speaker 2: oftentimes difficult ones. You're constantly learning, You're constantly honing who
Speaker 2: you are, and for that, you were honing who you
Speaker 2: became as an actor. And I read with just almost
Speaker 2: open mouthed wonder at how you all were willing to
Speaker 2: do anything, take on any challenge, you know, just to
Speaker 2: fulfill that craft of being an actor.
Speaker 4: I think it has to be a passion. That's it,
Speaker 4: you know. I have tremendous problems with the younger performers
Speaker 4: today that say I can't basically or it's too hard.
Speaker 4: You have to love it and you have to want
Speaker 4: to be challenged in anything. I'm not just talking about theater.
Speaker 4: You have to want to be challenged in order to
Speaker 4: grow because you love what you're doing and you want
Speaker 4: to learn. That's the other thing you want to learn.
Speaker 4: And I have to I have to say in many
Speaker 4: of these cases, I think maybe that the younger generation
Speaker 4: is fearful, and fear is a crippler. And if you
Speaker 4: don't admit your fear, embrace your fear, then you will
Speaker 4: put up blocks. I can't do that. I won't do that.
Speaker 4: My character wouldn't let me do that. What the fuck? Sorry,
Speaker 4: my character, you know what I'm saying. So, but and
Speaker 4: I think that I think fear. I think we don't
Speaker 4: acknowledge fear enough in our own lives or in our
Speaker 4: whatever it is we do. And if if we David
Speaker 4: Mammott said this, dare to live in the area where
Speaker 4: you do not know what's going on. That's the area
Speaker 4: you learn. That's the area where things start to pop,
Speaker 4: things start to blossom. When you admit you are not
Speaker 4: in control.
Speaker 2: Then you learn you make yourself vulnerable and you kind
Speaker 2: of take a leap of faith, almost, don't you.
Speaker 1: We're taking a quick break. Stay with us.
Speaker 2: Well, the first time I ever saw you on a
Speaker 2: stage was in your breakthrough role in Avida. Okay, that
Speaker 2: was back in nineteen seventy nine when you played Ava perone. Now,
Speaker 2: you were cast over a lot of really big names,
Speaker 2: famous names, people.
Speaker 1: Who were vying for that role, but they picked you.
Speaker 1: Why do you think they picked you?
Speaker 4: I I don't know. Actually, I know that Joanna Merlin
Speaker 4: got rest her soul was house casting director. Joanna had
Speaker 4: seen us in the acting company, and she knew I
Speaker 4: could act. She didn't know whether I could sing, and
Speaker 4: so my auditions were primarily whether I could sing. And
Speaker 4: I think that Hal would have preferred someone that was unknown.
Speaker 4: Prince help Prince would have preferred someone that was unknown
Speaker 4: to have the control that he needed for this particular piece.
Speaker 4: I mean, I'm just speculating that if there was a
Speaker 4: bigger name, there might have been ego clashes. I don't know.
Speaker 4: It's a very difficult part. Mandy and I actually because
Speaker 4: Mandy went to Juliet as well Patinkin. Mandy and I
Speaker 4: were able to connect the dots in because it's only exposition,
Speaker 4: and then she did this, and then she did that,
Speaker 4: and then she did this, and then she did that
Speaker 4: and then she died. You know, It's like, but it's exposition.
Speaker 4: There's very little conflict. There's very little drama in that.
Speaker 4: So Mandy and I were able to figure out how
Speaker 4: to connect the dots and make it dramatic because we
Speaker 4: had training as actors and the singing was the thing
Speaker 4: that killed me.
Speaker 6: And I.
Speaker 4: Said it afterwards, and how I was very upset with
Speaker 4: me for saying it. But it was a terrible experience
Speaker 4: because I couldn't sing it, and it took such willpower.
Speaker 4: I willed my voice every single night, and I couldn't fail.
Speaker 4: I would not allow myself to fail. I would figure
Speaker 4: this out. This is where I belonged on the Broadway
Speaker 4: musical stage. This is a role you can play. You
Speaker 4: just have to figure it out.
Speaker 2: And when you're talking about how difficult it was, it's
Speaker 2: because of the scoring. It's because of the saying, oh,
Speaker 2: you have to hit. It's because of the breathing that
Speaker 2: is so hard in between those notes.
Speaker 4: Right, it sits, and I'm sure there's singers out there.
Speaker 4: It sings in a sopranos passagio. And the passaggio is
Speaker 4: if if there's a rubber band and you stretch the
Speaker 4: rubber band, the weakest part of the rubber band is
Speaker 4: the passaggio in a voice. It goes from chest to head.
Speaker 4: It's just the weakest part. That's where all the money
Speaker 4: notes were, right in the place where you hit it
Speaker 4: wrong one night, it's going to affect your voice for
Speaker 4: the rest of there's somebody in the audience now that
Speaker 4: was in my castmatee in Ivita, and he can tell
Speaker 4: you every story because one of my closest friends in Ivita,
Speaker 4: Peter Marinos, who was my support backstage, who was my
Speaker 4: support in life with Salma Stretta, because he saw what
Speaker 4: I was going through and it was the singing. The
Speaker 4: singing is so well. The first time I heard the
Speaker 4: concept score with Julie Comington, David Essex and Colin Wilkinson,
Speaker 4: this guy hates women. It was, it was, It was
Speaker 4: so difficult, and Well gave me a tape with four
Speaker 4: speeches from the Casa Rozata and the first two the
Speaker 4: voice and this is the comparison. Is only the tone,
Speaker 4: you guys, It's only the tone. You know, that pin
Speaker 4: that that that Sarah Palin has and Marjorie Taylor Green
Speaker 4: has that wason, she had that ping and so you
Speaker 4: have to pu you have to imbue the music with
Speaker 4: that quality in order to get across. He supports you,
Speaker 4: for he loves you, understands you, is one of you,
Speaker 4: you know, and those notes the d's, d's, e's, f's,
Speaker 4: and g's, and you have to in order to convince
Speaker 4: an audience. The death Camisado's an audience. Why she's such
Speaker 4: a cult figure, you cannot sing it lyrically. And that
Speaker 4: was the thing that was killing me, frankly. And what
Speaker 4: happened and I got through New York, Mandy left and
Speaker 4: I went, oh. And it was very difficult when Mandy
Speaker 4: left because he was my rock. But when I left,
Speaker 4: Tyler Gatchell, the general manager, came he said, why are
Speaker 4: you leaving? It said, because I've lost my sense of humor.
Speaker 4: The role was so controversial. My applause used to dip
Speaker 4: after Mandy's and I would go down going it's because
Speaker 4: I'm so good in the part. Literally it would dip
Speaker 4: out because they were so ambiguous on what they felt
Speaker 4: about Ivita Parron. So I had lost my sense of humor.
Speaker 4: I got to get out of here. Then the woman
Speaker 4: that played Ivita and Australia, and she was talking the
Speaker 4: part it knocked every Evita out. It's such a brutal score.
Speaker 4: So they called me and they said would you come down?
Speaker 4: And I thought, well, I'm never going to get asked
Speaker 4: to sing in Australia again? Why not? And then I
Speaker 4: said to my general manager Howard Haynes, Are you buying
Speaker 4: my performance? I don't know where that came from, and
Speaker 4: he said yes. And when I got to Australia, they
Speaker 4: were doing everything on the opposite foot, and I went,
Speaker 4: I'm not learning what you're doing. You're going to learn
Speaker 4: what I'm doing. I didn't have that much time to
Speaker 4: go back into a part and a part that scared
Speaker 4: me to death, and now I'm in the part with
Speaker 4: a brilliant company of just the most wonderful people in
Speaker 4: the world, and there was no pressure to prove myself.
Speaker 4: I wasn't in New York, one of the cruelest environments
Speaker 4: if you were a performer. I wasn't in New York.
Speaker 4: I didn't have to deal with critics that were cruel.
Speaker 4: David Mammmett said this as well, he doesn't care what
Speaker 4: the critics say as long as he knows they love
Speaker 4: the theater. I'm not sure our critics have ever loved
Speaker 4: the theater.
Speaker 2: Well, this was really revelatory to me because watching you
Speaker 2: do this performance, which you know I have vivid memories
Speaker 2: of all those years ago, there was no sense at
Speaker 2: all how difficult it was.
Speaker 4: I mean, you.
Speaker 2: Inhabited that role, your arms up in that big v
Speaker 2: that you know, just was thrilling. I was not, frankly,
Speaker 2: you know, taken by the controversy over her, but I
Speaker 2: know that there was a lot of controversy there. And
Speaker 2: so you won a Tony Award, how difficult it was,
Speaker 2: and you won a Tony Award and you entered Broadway
Speaker 2: history and you were literally on your way because people
Speaker 2: were just knocked out by your performance and you were too,
Speaker 2: but they gave you a Tony for it.
Speaker 4: But it's interesting because you know, there was a time
Speaker 4: in our Broadway legacy where leading ladies were celebrated and
Speaker 4: then leading men were celebrated, and I was in the
Speaker 4: period where leading men were celebrated. Mikael Barishnikov and Gregory
Speaker 4: Hines and Mandy and David Agdenstein all went off to Hollywood.
Speaker 4: That did not happen for me. It was a controversial character.
Speaker 4: It was a character that people were upset was being
Speaker 4: glorified on stage because she harbored the Nazis. The Patanistas
Speaker 4: harbored the Nazis. And so I had a very difficult
Speaker 4: time after I left Dvita getting work.
Speaker 2: I wanted people to hear that, because that is not
Speaker 2: what anyone would think who loves the theater loves you.
Speaker 4: That it was.
Speaker 1: It was kind of a shock.
Speaker 2: I mean, there you were with this Tony Award and
Speaker 2: you didn't have the kind of offers that shot to
Speaker 2: come now.
Speaker 4: And the thing. The other thing was, I remember, so
Speaker 4: leave you Chule as a god Risisol He's a Romanian director,
Speaker 4: and I find that I prefer European directors to American
Speaker 4: directors because of their concepts, because they come in with
Speaker 4: these fantastic ideas that you have to fulfill and leave
Speaker 4: you was doing his world famous As You Like It
Speaker 4: at the Guthrie and he wanted me to play Rosalind.
Speaker 4: And he came to the dressing room with Margot Harley,
Speaker 4: who is now one of the producers of the Acting Company,
Speaker 4: and he said, will you play Rosalind and As You
Speaker 4: Like It? And I said yes. And when I left Ivita,
Speaker 4: that was my next role. And I was sort of
Speaker 4: admonished by my agents by taking a role at the Guthrie.
Speaker 4: What are you doing? And I said, I'm going back
Speaker 4: to my roots. I'm going back to what I was
Speaker 4: trained for theater. And so I went back to my
Speaker 4: roots and it.
Speaker 2: To feel that really, you know, rejuvenated you totally totally yeah.
Speaker 4: I mean it's it's it's something that I would I
Speaker 4: would do today. Well, for instance, I don't think I'll
Speaker 4: ever go back to Broadway because I don't know what
Speaker 4: Broadway is anymore. That doesn't mean I won't be on
Speaker 4: the stage in New York, but i'll be downtown. I'll
Speaker 4: be east of Broadway, I'll be west of Bay, I'll
Speaker 4: be north of Broadway, I'll be south of Broadway. But
Speaker 4: I don't think Broadway is sustainable anymore. I don't know
Speaker 4: where Broadway is. I think it's the circus Las Vegas
Speaker 4: and Disneyland, I and nobody. You can't have a show
Speaker 4: that runs. I was talking to Amber. You heard me
Speaker 4: talking to Amber. Some like it hot closing with those reviews,
Speaker 4: What is going on? I don't understand it. So you
Speaker 4: can't sustain anything. You cannot sustain something, so it breaks
Speaker 4: your heart. And my heart will continue to be broken
Speaker 4: because I'll probably be in more bombs, you know, on
Speaker 4: more flops whatever, but at least I will be doing something.
Speaker 4: I'm here to recommend ja Ja's African hair bray and
Speaker 4: Stereophonic to non for profit productions that are what theater
Speaker 4: should be in this city.
Speaker 1: Oh, you've got a great response to that.
Speaker 4: Patty.
Speaker 1: So you were talking about how you like European directors.
Speaker 2: You've obviously been on Broadway, you've also been in the
Speaker 2: West End in London. What's the difference and and and
Speaker 2: tell us a little bit about how you compare the experiences.
Speaker 4: Well, I don't think there's any difference. I think if
Speaker 4: you put on something good, audiences will react the same
Speaker 4: way because we're really the same person, you know what
Speaker 4: I mean, it's it's and so the Well, I'll tell
Speaker 4: you a story when I did lems in London, and
Speaker 4: this was Royal Shakespeare Company actors who were doing Shakespeare,
Speaker 4: not musicals, and I was the only musical person. I'm
Speaker 4: one of my favorite two stories, one of my favorite
Speaker 4: John Carrod and Trevor Nunn. We're telling me Nopati when
Speaker 4: you sing I dreamed a dream, you tell it to
Speaker 4: the audience. I looked at them, What did they think
Speaker 4: they brought over here? They said, yeah, I know, yeah,
Speaker 4: I know what you're supposed to do. You brought me
Speaker 4: over here. But but so Trevor Nunn, it's the first
Speaker 4: preview and Trevor Nunn calls us all to the stage
Speaker 4: and he goes. You know that the Royal Shakespeare audience
Speaker 4: will not be used to a musical, and do not
Speaker 4: expect the kind of response you get when you do
Speaker 4: Shakespeare at the end of the show, literally, And so
Speaker 4: I think, if you give people what they want, or
Speaker 4: you move an audience, the audience is transcended. Everybody will
Speaker 4: respond the same way. So I find no difference in
Speaker 4: London audiences and New York audiences. It's you go to
Speaker 4: the theater for a reason and if you are more
Speaker 4: than satisfied you you react that way.
Speaker 1: Well, you've also done a lot of work in TV
Speaker 1: and film.
Speaker 2: You know, you had these hilarious cameos in Lena Dunham's
Speaker 2: TV series Girls, you were a four hundred and fifty
Speaker 2: year old witch in the upcoming Marvel mini series Agatha
Speaker 2: Coven of Chaos, and then there's this part as Mona,
Speaker 2: a pretty cruel and manipulative mother in the film bo
Speaker 2: Is Afraid, which came out this past spring.
Speaker 1: So what would it like being in a Marvel mini series?
Speaker 4: Well, okay, I have to talk about First of all,
Speaker 4: I give up my equity card and I think I'm
Speaker 4: sitting in my apartment in at the kitchen table going
Speaker 4: I wonder what dire action my career is going to
Speaker 4: go in ring Hello, Marvel calling Marvel, called am my agents.
Speaker 4: I said, well, she said, talk to these people. Jack
Speaker 4: Schaefer created wand Division? Did anybody see WandaVision? Jack is brilliant.
Speaker 4: She is the creator of one Division. She has a
Speaker 4: three picture deal with Marvel. She spun off Catherine Hahn's
Speaker 4: character Agatha. So we are the second installment of this triad,
Speaker 4: and we are a coven of witches. And is Catherine
Speaker 4: Aubrey Plaza shares Amida Ali on me and Joe Locke
Speaker 4: from heart Stoppers. And it was one of the best
Speaker 4: experiences I have ever had in my career because of
Speaker 4: Jack and Catherine, who were our leaders. It was a
Speaker 4: set filled with respect, support, love and trust and we
Speaker 4: as women and poor Joe, we as women bonded and
Speaker 4: we still are bonded, and we are a coven and
Speaker 4: it's coming out next Halloween. We we finished you and
Speaker 4: we finished right under the strike. And Jack came into
Speaker 4: my trailer and well, basically, when is this coming out?
Speaker 4: She said, A year from now? I'm reserving my walker,
Speaker 4: but it was an incredible experience, and she's an incredible writer.
Speaker 4: So I don't know whether I've had a Marvel experience.
Speaker 4: I've had a Jack Schaeffer experience, which is incredible.
Speaker 2: Yeah. Well, I have a couple of lightning round questions here.
Speaker 2: All right, what is the favorite role you've ever played?
Speaker 4: I don't have one. It's too limiting.
Speaker 1: Yeah, it's that's that's a fair thing.
Speaker 4: Yeas too limiting.
Speaker 1: Yeah.
Speaker 2: Are there roles that you've had that you thought should
Speaker 2: have won an award that didn't?
Speaker 4: Oh? Yeah, every single one of them.
Speaker 2: So so just just just tell us all okay, you've
Speaker 2: got what three Tony's? Yeah, okay, what are the other two?
Speaker 4: For one?
Speaker 1: We know it's a Vita, but Madame Rose in.
Speaker 4: Gypsy and Evita and Joanne and company jo in a company?
Speaker 1: D Do you have any interest ever directing?
Speaker 4: I don't think I'm smart enough to direct, I don't
Speaker 4: think i'm fond enough to direct, and I don't think
Speaker 4: I have the patience to direct. But I do give
Speaker 4: what are quote unquote master classes to singers when I'm
Speaker 4: on the road, and they're not master classes. I am
Speaker 4: a master of nothing because I am still learning. But
Speaker 4: I am an audience member and I have experience, and
Speaker 4: so I'm able to tell young kids what they're doing
Speaker 4: that isn't engaging an audience, it's not engaging me. And
Speaker 4: I'm your audience, and I can see them transforming to
Speaker 4: I can see them learning when I tell them. And
Speaker 4: it's the simplest stand still. And it's as simple as
Speaker 4: change the key. Where's your power? And your power is
Speaker 4: stillness and the right key boom, nothing else. You're free.
Speaker 4: You're free when your voice is free. You don't have
Speaker 4: to do this. And it's the hardest thing to stand still.
Speaker 4: But where do we all look when we're on stage.
Speaker 4: We're looking at the stillest person on stage, wondering why
Speaker 4: they're thinking. We're not looking everybody that's moving around. We're
Speaker 4: wondering what he's doing, which is nothing, which is everything?
Speaker 1: Oh wow, I love that.
Speaker 2: Well, if not directing, you know, coaching, teaching, you know,
Speaker 2: something that really gives you a chance to, you know,
Speaker 2: talk about all these experiences and all these skills and
Speaker 2: everything that you've learned.
Speaker 4: And I love to give it back because I have
Speaker 4: to say, there's so much talent on the stage I
Speaker 4: love going to the theater, and I'm seeing not great
Speaker 4: stuff except for the two that I've mentioned, But what's
Speaker 4: on the stage, the actors and the singers and the
Speaker 4: dancers on the stage are extraordinary and they deserve better material.
Speaker 2: Well, before we get to the great treat of you
Speaker 2: singing for us, I want to just also mention that,
Speaker 2: you know, during this amazing career.
Speaker 1: Of yours, you're also a mom.
Speaker 2: How I've always wondered, because it is such a demanding
Speaker 2: work schedule when you're in a in a play, how
Speaker 2: did you balance, you know, raising your son Josh with
Speaker 2: everything else you had to do?
Speaker 4: How did you do it?
Speaker 1: Same way you did?
Speaker 2: Yeah?
Speaker 4: It your job was so much tougher than mine. Every
Speaker 4: single job you've had is so much tougher than mine. Well,
Speaker 4: you know, right back at you.
Speaker 2: But I did learn that Josh also sings an X
Speaker 2: and you've had a chance to perform together.
Speaker 4: What was that like? Well, it sees my son, and
Speaker 4: I'm worried for him, you know what I mean? You know,
Speaker 4: and I don't know what Chelsea wanted to do, But
Speaker 4: Josh grew up in a star dressing room and he
Speaker 4: wanted to be on the stage. He wants to work
Speaker 4: in the theater, he wants to work in film. That's
Speaker 4: where he grew up. That's what he wants to do.
Speaker 4: And if you say no, they're gonna do it anyway.
Speaker 4: And so I worry for him in today's world period,
Speaker 4: whether it's show business or just walking down the street.
Speaker 4: You know, to be with him on stage is so sweet.
Speaker 4: It's so sweet. And I just hope all of you
Speaker 4: out there that are of that age, in your thirties
Speaker 4: and trying to make it in this business, I wish
Speaker 4: you all the best of luck and courage, courage, courage.
Speaker 4: Something will happen, something will change. We will make it. Oh,
Speaker 4: I could cry.
Speaker 2: I also, really I want to thank you for your
Speaker 2: activism and how outspoken you are in case you haven't noticed,
Speaker 2: especially you're being outspoken against the anti LGBTQ legislation and
Speaker 2: because you know that's something that you chose to do
Speaker 2: and you've been a really necessary voice.
Speaker 4: Well, thank you, you know. And I don't think I'm
Speaker 4: doing anything extraordinary. It's just that I have family and
Speaker 4: friends in the LGBTQ community and I love them, and
Speaker 4: I am protecting my friends and my family, and this
Speaker 4: is this is insanity. We're in insane times right now,
Speaker 4: and this is insanity.
Speaker 7: I don't know what this is about, but it's it's
Speaker 7: so distressed, so much cruelty, oh and so much you know,
Speaker 7: fear and hatred and anger and insecurity, and it really
Speaker 7: is almost hard to understand how we got to where
Speaker 7: we are.
Speaker 4: Yeah, I don't. I mean, I keep wondering. I mean,
Speaker 4: I'm seventy four years old, and I don't know what
Speaker 4: I expected when I was forty what I would be
Speaker 4: like when I was seventy four. But I never expected this.
Speaker 4: I never expected the PTSD that I live with daily
Speaker 4: to be as extreme. I never expected that I'm on
Speaker 4: the verge of tears all the time. I never expected
Speaker 4: that I would be as terrorized as I am. I
Speaker 4: didn't expect to live out the rest of my life
Speaker 4: in this kind of life fear. I don't, And so
Speaker 4: I will speak up. I will because it's an injustice
Speaker 4: to us. All I don't. I can't make cancer tails
Speaker 4: of anything. Why is love such a underestimated word, a
Speaker 4: dirty word, and hate such a powerful word? Why isn't
Speaker 4: love a more powerful word than hate? And why are
Speaker 4: people that just love each other being tormented. You're all closeted.
Speaker 4: That's what I think.
Speaker 1: We'll be right back.
Speaker 2: And talking about, you know, plays, musicals, history, things that
Speaker 2: can break your heart, try to give you hope afterwards.
Speaker 2: You know, I've recently signed on to help this incredible
Speaker 2: musical about the American suffrage movement.
Speaker 1: Sucks, and you know, it's a part of our history
Speaker 1: that people don't know.
Speaker 2: I mean, you know, women were thrown in jail for
Speaker 2: wanting to vote, they were force fed when they went
Speaker 2: on hunger strikes. And when people try to, you know,
Speaker 2: literally eliminate huge chunks of our history, I just get
Speaker 2: more determined we're going to tell the story.
Speaker 4: Well, I don't understand, in the richest and most progressive
Speaker 4: country in the world, why we are so adamant of suppressing.
Speaker 4: I don't understand that why we don't keep moving forward.
Speaker 1: I don't understand that people want to pull us back.
Speaker 1: I don't get absolutely get it.
Speaker 2: Well, you know, I know you are currently preparing a
Speaker 2: new concert, Patty Lapone, A Life in Notes, that will
Speaker 2: be at Carnegie Hall in April.
Speaker 1: Can you tell us about that?
Speaker 4: Well, I mean, I'm sure a lot of you know that.
Speaker 4: I just I do a lot of concert work, which
Speaker 4: was always you know, we do, those of us that
Speaker 4: go unemployed to supplement our income with concert work, cabaret
Speaker 4: and concert work. And I love doing the concert work.
Speaker 4: And Joseph Fulk and my musical director is right there, Hello, darling.
Speaker 4: He's getting to play. But Joe, Josephin and Scott Whitman
Speaker 4: and I and Jeffrey Richmond have done these shows for
Speaker 4: several years, and this one I didn't want it to
Speaker 4: be about Broadway. I wanted to be about the touchstones,
Speaker 4: musical touchstones in my life growing up on Long Island.
Speaker 4: You know, we all have a song. We all have
Speaker 4: several songs in our lives that we know where we
Speaker 4: were when we heard that song and what we felt.
Speaker 4: And so I'm looking to create a show. We're all
Speaker 4: looking to create a show where the songs are the
Speaker 4: stuff that I grew up with and that meant something
Speaker 4: to me. We're struggling right now. I grew up in
Speaker 4: the fifties in America. We had won a war, the
Speaker 4: middle class was thriving, but all the music were about
Speaker 4: teenage car crashes. Teen Angel patches, she dies, she drowns herself,
Speaker 4: Teen Angel goes running back to the room. The ring
Speaker 4: is she gets hit by a train. It's like everybody's
Speaker 4: dying in cars in the fifties. So I you know
Speaker 4: that we're looking at those songs from my past. Also,
Speaker 4: when I moved to New York City and you know,
Speaker 4: was a pothead and a hippie and heard Lilac Wine
Speaker 4: for the first time. Lilac Wine written in nineteen forty nine,
Speaker 4: but Nina Simons singing Lilac Wine, I will never forget
Speaker 4: hearing that song for the first time in my life.
Speaker 4: I think I was eighteen, free in New York City
Speaker 4: and I heard Lilac Wine and I can see the
Speaker 4: smoke haze, I can see that, you know. But it's
Speaker 4: those kind of songs that meant something to me growing up.
Speaker 1: But everybody can relate to that.
Speaker 2: And as a special trait for our audience, I believe
Speaker 2: you've got a song that you will sing.
Speaker 1: Can you set it up?
Speaker 4: And yeah, it's been cut from the show. But also
Speaker 4: you guys, I was nervous to do this. I have
Speaker 4: to tell you, Hillary, I was nervous to do this.
Speaker 4: I feel like I feel very emotional lately, and I
Speaker 4: you know, I think the world is deeply affecting me,
Speaker 4: So forgive me. But I am tearful when I sing
Speaker 4: this song, and I'm going to try not to cry.
Speaker 4: Am I supposed to God?
Speaker 1: Any sing any.
Speaker 4: Just ah?
Speaker 8: Falcon ladies and tell men, the sound of applause is delicious.
Speaker 9: It's a thrill to have the world at your feet.
Speaker 9: The praise of the crowd is exciting. But I've learned
Speaker 9: that is not what makes our life complete. There's one
Speaker 9: thing you can do for the rest of your days
Speaker 9: that's worth.
Speaker 5: More than applause, the screaming crowd, the bookcase. Make someone happy,
Speaker 5: make just wan someone happy, Make just one.
Speaker 4: Heart the heart you say to wah, a smither cheers you.
Speaker 1: One face that lies when it nears.
Speaker 4: You once saw your reading.
Speaker 3: To fin.
Speaker 4: If you win, it comes and goals in a minute.
Speaker 4: Where's the real stuff in life? To clean to lorne
Speaker 4: is the answer?
Speaker 8: Someone to lie is the answer.
Speaker 6: Wants you fall the build a world around them, someone happy,
Speaker 6: Make just one someone happy, and you who we'll be happy?
Speaker 4: To hon is the answer.
Speaker 1: Someone to love is the answer. What to fall that build.
Speaker 6: Your world around them by.
Speaker 4: Somewhat happy, Make just what somewhat happy, and you will
Speaker 4: be happy to.
Speaker 1: Lethb.
Speaker 4: Wow.
Speaker 2: Wow, well you made a lot of someone's happy Amber.
Speaker 1: I'm so glad you're Backy.
Speaker 2: And you know, Amber is a glass is half full
Speaker 2: to a glasses overflowing kind of person.
Speaker 1: And you're a Broadway uh, you know, star in your
Speaker 1: own right.
Speaker 2: You co wrote the script to Some Like It Hot,
Speaker 2: and now you're updating the script for the Broadway revival.
Speaker 4: Of The Wiz.
Speaker 1: Tell us what that's like. Do you remember seeing the
Speaker 1: Wiz as a kid?
Speaker 4: Yes.
Speaker 3: I was talking to someone and I realized that I
Speaker 3: could say this. I've never known life without the Wiz.
Speaker 3: Someone was asking me, Yeah, you remember your first experience? No,
Speaker 3: do you remember the first time you watched the news?
Speaker 4: No? So I don't.
Speaker 3: I've just always known life with the Whiz and it's
Speaker 3: always been a huge part of I mean, I feel
Speaker 3: like it. I feel like I'm not making this up.
Speaker 3: And that it came on NBC's on Sundays when I
Speaker 3: was little, I think, I think that's true. But I
Speaker 3: know what's true is when you're sick and staying home
Speaker 3: from school after you watch The Price is Right, you
Speaker 3: would get the the VCR tape of The Wiz and
Speaker 3: you would watch that.
Speaker 2: You know. Amber also has a podcast. She hosts The
Speaker 2: Amber and Lacey Lacy and Amber Show. Lacey is your
Speaker 2: sister Lacy?
Speaker 1: Where you at?
Speaker 3: Hey?
Speaker 4: Man?
Speaker 1: Is Lacy here today? Okay?
Speaker 2: Also, you know you guys have written books together. You've
Speaker 2: been you've been talking. I guess since you could both talk?
Speaker 2: And was it like doing that with your sister?
Speaker 3: Lacey is horrible? So everybody who's sitting by her, I am.
Speaker 3: So we have so much fun. We wrote a book
Speaker 3: called You'll Never Believe It Happened to Lacey Crazy Stories
Speaker 3: about racism? And she yeah, yeah, that person's like, oh,
Speaker 3: no versism, they know, but we The book is just
Speaker 3: all the unbelievable stories that are crazy and racists that
Speaker 3: have happened to Lacey that are funny.
Speaker 4: And it's just the funny.
Speaker 3: One example, one quick example, so man, Lacey was she added,
Speaker 3: this was a while ago, and she was paying with
Speaker 3: a check someplace. Now a million years ago, you could
Speaker 3: get black history checks and they had like Malcolm ex and.
Speaker 4: And so.
Speaker 1: She pays for this check, she gives into the catcher.
Speaker 3: The casher goes, I didn't know you could get your
Speaker 3: picture on checks. And the person on the check is
Speaker 3: Harriet Tubman. It's not like a rendition of it.
Speaker 4: It's the picture you're thinking of. There's the only one.
Speaker 4: There's just like a million stories like that.
Speaker 9: A lot.
Speaker 2: Better to laugh, I guess right. So, Amber, I think
Speaker 2: you've got some questions for us from the audience.
Speaker 3: Okay, so the audience asked a lot of thoughtful questions.
Speaker 3: Derek asked a question. I'm very interested in the answer
Speaker 3: for Patty. We hear that Aubrey Plaza is your roommate.
Speaker 3: How has that been working out?
Speaker 4: It's been great. Aubrey and I, you know, were part
Speaker 4: of the Covin rebonded. Aubrey's making her theatrical debut downtown
Speaker 4: at the Lucia Ortel and Danny and the Deep Lucy
Speaker 4: with Christopher Abbott. Aubrey has never been on stage before,
Speaker 4: and I felt her responsibility for taking care of her.
Speaker 4: She had no idea what rehearsal technicals, rehearsal en previews
Speaker 4: was about. And I have loved watching her explore and
Speaker 4: discover what it is to be a stage actor. And
Speaker 4: I have in fact taken care of her. I have
Speaker 4: in fact done her laundry.
Speaker 1: And made her soup.
Speaker 4: And I have a funny picture of us brushing our teeth.
Speaker 3: That is its own TV show and I cannot wait
Speaker 3: to watch it. And then a question from Jeff, Hillary
Speaker 3: and Patty. You've both been passed over for roles where
Speaker 3: you were hands down, where you were hands down the
Speaker 3: most qualified, slashed talented candidates. Jeff's question is how do
Speaker 3: you maintain grounded and motivated to stay in the game
Speaker 3: and not give up in the face of defeat.
Speaker 1: That's heavy, heavy duty.
Speaker 2: You look for ways to kind of keep going that
Speaker 2: you enjoy, that give you satisfaction. It's kind of like
Speaker 2: what Patty was talking about at the beginning of her
Speaker 2: acting career. You keep moving forward, you keep looking for
Speaker 2: new opportunities, you learn from you know, the defeats, the mistakes,
Speaker 2: You pick yourself.
Speaker 1: Up and it is just a part of life.
Speaker 2: Maybe you don't fail on the global stage, but you know,
Speaker 2: everybody fails. Everybody falls. Everybody has to decide whether to
Speaker 2: get back up. And I can highly recommend get back up.
Speaker 1: And keep going.
Speaker 2: And it is not only better for you, it really
Speaker 2: annoys your adversaries.
Speaker 4: Who says I've maintained All I'll say is it hurts
Speaker 4: and you gotta go work through the pain. You gotta
Speaker 4: find the you know, the reason to keep going and
Speaker 4: learn the lesson. And if there is a lesson to
Speaker 4: learn and tell them they made a big mistake. Every
Speaker 4: fucking day, you just keep getting better. That's the mistake
Speaker 4: they made. But you just keep getting better. Hllary.
Speaker 3: A lot of people are wondering who would play you
Speaker 3: in the musical version of your life.
Speaker 4: I don't know.
Speaker 1: You're ready. You want to, I mean, you want to
Speaker 1: get your card back.
Speaker 4: I don't need my card to be on Broadway. That
Speaker 4: is the best kept secret on Broadway. You can work
Speaker 4: on Broadway without being a member of equity.
Speaker 2: Then I have a lot of possibilities. Yeah, yeah, First
Speaker 2: somebody has to write it.
Speaker 1: I'll write it.
Speaker 4: You play Hillary with pleasure and I'd be honored. Okay,
Speaker 4: it's gonna be great. It's a hit.
Speaker 1: From Christy.
Speaker 3: And this is our last question we have today.
Speaker 4: It's for both of you. What is the one thing
Speaker 4: you most admire in each other? May I say Hilary's
Speaker 4: uncompromising resilience? Yeah, well.
Speaker 1: Yeah, I like both those words. I like both those words.
Speaker 2: And for me, looking at Patty and looking at her
Speaker 2: life and looking at her incredible passion and energy.
Speaker 1: It really is that that gutsiness.
Speaker 2: It's that sense that I am here, whether you like
Speaker 2: it or not, as somebody who has seen her on
Speaker 2: the stage, somebody who admires her outspokenness, somebody who also
Speaker 2: hates cell phones interrupting.
Speaker 1: When you're trying to talk to people. For all those reasons.
Speaker 2: Gutsiness I mean, and that to me is a really
Speaker 2: high form of life accomplishment.
Speaker 4: Thank you, Thank.
Speaker 3: Well.
Speaker 2: I honestly I think we could go on and on,
Speaker 2: but you know, we got to, unfortunately bring it to
Speaker 2: a close. And yeah, I know that's why I feel,
Speaker 2: but I want to thank everybody for coming tonight. It
Speaker 2: means the world to us to be able to talk
Speaker 2: and have such an incredibly responsive audience out there. Thank
Speaker 2: both Patty and Amber for who they are and how
Speaker 2: exciting it is to talk to them. Thank Joseph Falcon.
Speaker 1: Who played the piano.
Speaker 2: Thanks to Symphony Space and iHeart Podcasts, but mostly thanks
Speaker 2: to all of you for turning out tonight to see
Speaker 2: this remarkable woman and to give us a chance to
Speaker 2: learn more about her and her extraordinary career. And keep
Speaker 2: in mind next April, Carnegie Hall and then for Amber.
Speaker 2: Keep in mind Amber's Whiz is coming back.
Speaker 1: Thank you all very much.
Speaker 2: You and Me Both is brought to you by iHeart Podcasts.
Speaker 2: We're produced by Julie Subren, Kathleen Russo and Rob Russo,
Speaker 2: with help from Kuma Abadeen, Oscar Flores, Lindsey Hoffman, Sarah Horowitz,
Speaker 2: Laura Olin, Lona Valmorro.
Speaker 1: And Lily Weber.
Speaker 2: Our engineer is Zach McNeice, and the original music is
Speaker 2: by Forrest Gray. If you like You and Me Both,
Speaker 2: tell someone else about it. And if you're not already
Speaker 2: a subscriber, what are you waiting for? You can subscribe
Speaker 2: to You and Me Both on the iHeartRadio app, Apple
Speaker 2: Podcasts or wherever you get your podcasts.
Speaker 1: Thanks for listening and I'll see you next week