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Speaker 1: Look man, oh, I see you? Why why and look

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Speaker 1: over there? How is that? Culture? Yeah? Goodness, Dan du

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Speaker 1: culture East is calling? Opening thought? Are you excited about?

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Speaker 1: Sort of I'm gonna put this on quotes taking seven

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Speaker 1: and a half. And when I say that, we sort

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Speaker 1: of told our guests we're gonna go for like a

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Speaker 1: hard seven and a half up top meeting seven and

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Speaker 1: a half minutes of pop culture. And then there we're

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Speaker 1: sort of some pithy jokes flying around about being excited,

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Speaker 1: like I'll take seven and a half. And then my

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Speaker 1: thought I wanted to open with was are we excited

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Speaker 1: about seven and a half or is that too big? Go? No,

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Speaker 1: I think that's in the goldilocks zone. All right, Really

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Speaker 1: you describe to me a dick that was like an

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Speaker 1: anytime someone says baby arm, I go, oh, let's reconsider. Well,

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Speaker 1: have I ever talked about the time I had text

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Speaker 1: with a guy I bottom for a guy that had

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Speaker 1: a baby arm and I'm swear to god, my asshole

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Speaker 1: made a noise like a Snapple cap was opening. It

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Speaker 1: was like, and I also hit, I'm a riya know it.

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Speaker 1: I was like, and we laughed and we could not

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Speaker 1: keep having sex after that, but that's okay. We had

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Speaker 1: sex later, probably about a week and a half later,

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Speaker 1: seven and a half. Sure, why did you laugh? Because

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Speaker 1: you guys bread a fact off of the cap and

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Speaker 1: it was it was, um, did you know that ten

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Speaker 1: percent of gate people go on? No, I want to

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Speaker 1: know this? Only ten percent? The market's bad. Well, it's

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Speaker 1: ten percent of ten percent, it's percent of the world

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Speaker 1: is queer. Right, So closing that loop, we're both excited

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Speaker 1: about seven and a half. But if it's a baby

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Speaker 1: arm and we make a noise like a soft drink,

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Speaker 1: you can laugh it off and just get ready for later.

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Speaker 1: So sort of that's now, that's a topic that's already

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Speaker 1: been discussed on the podcast, and we're leaving it behind.

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Speaker 1: Now let's move on to this new thing of how

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Speaker 1: many people in the world are queer. It was so

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Speaker 1: often said ten percent, but I feel like this this

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Speaker 1: number is changing. Well, yeah, I'm knowing, you know what,

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Speaker 1: At least in this country, the sense is every ten years,

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Speaker 1: So we're gonna have to wait for another seven years

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Speaker 1: to figure out what the new status. I have not chucked.

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Speaker 1: I just kind of pulled that number out because I

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Speaker 1: think that sounds like roughly the right figure. I'm probably wrong.

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Speaker 1: Can the census taker ask me how I express myself sexually? No?

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Speaker 1: Can they ask me that? Sometimes I go, how do

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Speaker 1: these people know? Sometimes I fill out the census and

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Speaker 1: they leave saying fag well, I'm sorry. I send back

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Speaker 1: the census, going you're not getting anything out of me

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Speaker 1: but the bare essentials. Yeah. I opened the door of

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Speaker 1: the census taker and I crossed my arms like this, Well,

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Speaker 1: go on, go on away, see what you can get

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Speaker 1: out of me, bitch. I missed the census takers from

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Speaker 1: twenty twenty because we were in the pandemic. We were

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Speaker 1: in lockdown and there was no sensus takers. Wow, but

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Speaker 1: I remember were there. It's been a while. It's like

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Speaker 1: Cannibalector once said. A census taker tried to test me

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Speaker 1: once and I said, girl, it's the pandemic. Come back later. Anyway,

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Speaker 1: Today is going to be a really fun episode of

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Speaker 1: the pot. It's been a really incredible sort of week

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Speaker 1: and a half. I have tattoos. Now, congrats? Are you?

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Speaker 1: Are you aquaforing? What's Oh? You still have the thing

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Speaker 1: on the other one. Well, they told me four days

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Speaker 1: we went to an iconic tattoo artist Boonen came and

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Speaker 1: I got a little house on my wrist to get

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Speaker 1: a matching tattooth house. And I got this twenty two

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Speaker 1: on my other risk to denote a powerful year, a

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Speaker 1: powerful year and a powerful Taylor's Swift song as well.

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Speaker 1: Producer Becca says in the chat they came in twenty twenty,

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Speaker 1: but apparently in twenty twenty one they are now asking

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Speaker 1: about sexual orientation. Before then, they did not ask sexual

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Speaker 1: orientation in the census. Good to know, So we're going

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Speaker 1: to find out in nine years. Oh I'm sorry, seven years.

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Speaker 1: I don't know. I don't want to know who cares, Okay,

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Speaker 1: I don't want to know anyone else's. It's not queer to, like, yeah, exactly,

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Speaker 1: be known in that way. It's not queer to be

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Speaker 1: known in that way. Isn't that such a beautiful Oscar

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Speaker 1: wild thought. It's not queer to be known in that way.

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Speaker 1: It's queer to be known in that way. Oh my god.

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Speaker 1: I went to Queer Britain. This lovely museum in the UK.

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Speaker 1: They have Oscar Wilde's prison door. Once in the exhib

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Speaker 1: I go, this is this is too sad. I got

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Speaker 1: if Waltz could talk anyway. Wait, prison door? Was he

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Speaker 1: in prison for homosexuality? They threw him in jail, they did.

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Speaker 1: We can't talk about it. It's too sad. Can you imagine? No, Well,

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Speaker 1: the mood is horrible now. Now the mood's bad. So

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Speaker 1: many queer gay writers from the past suffer terrible face. Yeah,

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Speaker 1: bring the mood back up. Frank O'Hara got run over

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Speaker 1: by a car and on Fire Island. That's how he died.

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Speaker 1: I did not know about that. And to hear about this,

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Speaker 1: and I'm so happy we're sort of starting this podcast

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Speaker 1: in this way. I did not know he was run

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Speaker 1: over on fire in the Fire Island pines. That was awful.

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Speaker 1: I think we can not have better guests. I mean,

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Speaker 1: as the guests. This is the perfect sort of intro

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Speaker 1: lead into our guests. I would say, these are too

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Speaker 1: cerebral people, very smart people who are going to have

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Speaker 1: a lot to say about this. The Frank O'Hara and

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Speaker 1: Oscar Wilde of our generation. Something. Keep them inside, keep

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Speaker 1: him inside. I gotta say I was a little um

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Speaker 1: not nervous. I just had you stress. It's the good

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Speaker 1: kind of stress when you go into a situation. Why, like, oh,

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Speaker 1: because of our guests. Yeah, I'm so excited. Here's the thing, genuine, true,

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Speaker 1: deep wells of talent. And I mean, if you were

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Speaker 1: lucky enough to see their Christmas tour, then you were

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Speaker 1: one of the luckiest fuckers in America. I could not

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Speaker 1: see them because I was on my own tour, but

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Speaker 1: I did sort of run into them iconically in the

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Speaker 1: Ronald Reagan airport and we took a powerful queer photo

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Speaker 1: that I posted too Grid because I said, this is

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Speaker 1: too powerful. It's what Reagan would have wanted. The only

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Speaker 1: thing missing was you bow. Then it would have burned

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Speaker 1: to the ground. It's like a scene out at the

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Speaker 1: Comeback or something. You know, It's like two different queer

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Speaker 1: Christmas comedy shows touring at the same time, but meaning

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Speaker 1: each there at the airport running into each other. The

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Speaker 1: airport is very like curb your enthusiasm to come back.

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Speaker 1: I love that. It's like a little like behind the

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Speaker 1: scenes of showbiz kind of thing. And that's why I

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Speaker 1: brought it right to the grid right right. You know

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Speaker 1: them from not just Drag Race, but Drag Race All Stars.

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Speaker 1: You know them from a multitude of projects between them

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Speaker 1: and if you're lucky enough to be in New York

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Speaker 1: right now, you can go see one of them on

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Speaker 1: Broadway as Major Mama Morton. We were so lucky to

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Speaker 1: be able to go. I was personally blessed to be

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Speaker 1: in the front row, which that's I sort of get

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Speaker 1: really high and then just buy tickets, and then when

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Speaker 1: I show up, I realized, oh, I bought front Row Center,

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Speaker 1: Orchestra Center, Orchestra front Row. I was like, okay, I

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Speaker 1: was enveloped and it was one of the best things

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Speaker 1: I've seen, and I've been seeing everything and I was

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Speaker 1: so happy. I went excellent, electrifying. The energy in that

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Speaker 1: audience is truly incredible. I've never really seen anything like

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Speaker 1: it and brand new, and it's a brand new energy.

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Speaker 1: We're going to talk about it, but gosh, you know him,

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Speaker 1: you love them, and if you weren't lucky enough to

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Speaker 1: see their Christmas special, it is beautifully captured as a

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Speaker 1: one hour special that you can see on any streaming

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Speaker 1: service you'd like any for rental or purchase any one

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Speaker 1: of them, except for the ones that you subscribe to.

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Speaker 1: Is that correct. We're so thrilled to have them here.

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Speaker 1: It's truly our honor to have banjo mon Hello high high,

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Speaker 1: Hi hi hi Hi. Is every introduction that gushing because no,

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Speaker 1: say no, I said no, they're not always that gushing

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Speaker 1: in every single sense of the term. No. This is

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Speaker 1: major and huge. It was love at first sight for

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Speaker 1: us with both of you. It's true. It's lovely to

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Speaker 1: be here with you. Guys. Wait, I want to who's

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Speaker 1: the Larry David in the airport scenario? Oh, I guess

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Speaker 1: who was it? Following? I mean, look, whoever's the richest? Yeah,

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Speaker 1: who's thet's top Let's get real real about the great

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Speaker 1: place to start. Whoever's the most into crypto? That would

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Speaker 1: be Ben. I think I just need to point out that. Okay,

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Speaker 1: first of all, thank all three of you for coming

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Speaker 1: to see Chicago on Broadway. Y'all came at different times,

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Speaker 1: so it's nice to have friends peppered throughout the experience.

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Speaker 1: Most recently, Bowen came with my middle school boyfriend Dan Lansky,

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Speaker 1: the best selling author of The Gilded Razor that is

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Speaker 1: written about his youth and overcoming addiction. And he couldn't

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Speaker 1: remember a lot of the details of when we dated,

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Speaker 1: so I helped him write the chapter that's about me

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Speaker 1: cheating on him in middle school? Oh wow, I heard

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Speaker 1: there was a really sore did love triangle at which

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Speaker 1: Jenks was the vertex of this triangle? Is that correct?

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Speaker 1: It was me and two boys named Sam. Wow, true

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Speaker 1: middle school strumpet behavior. I've always been a huh. Yeah.

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Speaker 1: It continued through life. It's not as if that was

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Speaker 1: some sort of childish phase. The childishness was ever thinking

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Speaker 1: that I was someone who should be monogamous, and that

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Speaker 1: ended at middle school. That's beautiful. And then do you

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Speaker 1: feel some sort of cosmic connection to the people named

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Speaker 1: Sam or is that just trivial? People named Sam just

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Speaker 1: come into my life and stay there. But you have

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Speaker 1: remained friends clearly. Yeah, Sam Landsky and I. It's just oh.

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Speaker 1: And then the third Sam in question is Sam Rogers.

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Speaker 1: I hope he doesn't mind me name in him. But

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Speaker 1: I really like bringing up these two. They've both been

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Speaker 1: on They weren't on my podcast yet, but they were

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Speaker 1: on the thing that predates my podcast, which is a

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Speaker 1: digital show I did in the Pandemic called Jinks Calls

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Speaker 1: Her Friends, and that's exactly what it was. And I

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Speaker 1: called both of these Sam's. And what's really really cool

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Speaker 1: is we all met in middle school. We were all queer.

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Speaker 1: We were all the same age. Sam Lansky and I

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Speaker 1: came out really early. Sam Rogers came out in high school.

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Speaker 1: We all said in middle school what we wanted to

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Speaker 1: do with our lives, and all three of us do

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Speaker 1: exactly what we said we were going to do in

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Speaker 1: middle school, including Sam Rogers, who said he wanted to

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Speaker 1: be a famous actor and a lawyer. And he was

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Speaker 1: in the revival of Westside Story on Broadway. And then

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Speaker 1: when he felt like he had had felt his acting oats,

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Speaker 1: he retired from acting, went back to school, and now

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Speaker 1: he's a lawyer too. And not every love triangle, everyone

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Speaker 1: sort of gets what they want, you know what I mean,

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Speaker 1: really rare for everyone, and I love triangle to like

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Speaker 1: leave it and go on to sort of good things.

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Speaker 1: You know, you could y'all could have really broken each

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Speaker 1: other right there. I know. I think it's queerness. I mean,

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Speaker 1: I think if the queer people in my life, like

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Speaker 1: Dayla is probably the most type A. I don't even

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Speaker 1: she's a monster, but like also she's incredible, Like it's

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Speaker 1: she's an incredible monster. She's a deity. She's a wrathful deity.

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Speaker 1: She's capable of such incredible things with her personality, and

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Speaker 1: it comes, you know, at a cost for everyone involved,

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Speaker 1: including her. But queer people just get shit done. I mean,

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Speaker 1: look at the four of us. If the four of

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Speaker 1: us ever morphed into one person, we'd be the next president.

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Speaker 1: I think we can do it as a refracted beam

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Speaker 1: of light for people. We can each run for office.

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Speaker 1: That's my take. I'm in to it. I mean, is

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Speaker 1: there any reason we can't kind of reconfigure things where

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Speaker 1: actually our quadruple just is I mean, maybe this is

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Speaker 1: becomes one of those successful offshoots of one of Jinx's

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Speaker 1: early relationships, and we all go for the presidency together

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Speaker 1: as a as a four person ticket, three first husbands,

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Speaker 1: and uh you know, we take turn playing. Absolutely there

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Speaker 1: are swings and DayLA's sipping from a manifest that ship

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Speaker 1: mug and so is just in the air. This was

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Speaker 1: It's maybe the cheesiest drink where I've ever owned, but

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Speaker 1: it was sent to me by my drag hero of

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Speaker 1: our La, Jean Merman, and I'm like, I will always

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Speaker 1: drink for it from it forever. It is a great

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Speaker 1: gift and it can be powerful. Bead Wong sent me

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Speaker 1: a mug. That's my favorite Muggets as the word balls

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Speaker 1: on it. I love it. And I don't think you

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Speaker 1: can escape cheesiness or corniness if you have text on

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Speaker 1: a mug. You just have to embrace the fact that

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Speaker 1: it's like, it's silly, it's lovely, it's low steaks. It's

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Speaker 1: rule of culture. Mugs can be silly. It's actually a

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Speaker 1: rule of culture. Bone. What number was that, fifty seven?

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Speaker 1: It was a real culture number, fifty seven. Mugs silly.

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Speaker 1: I mean, we're we're drinking coffee, we're having fun already.

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Speaker 1: Why not have more fun? Why not say it with me?

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Speaker 1: Mat Dragon, Oh my god, exactly. And this is actually

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Speaker 1: this mugs first public appearance, so yeah, this is the

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Speaker 1: big moment. Told us it's coming out party. Yes, wait,

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Speaker 1: Jinx is in New York obviously, mattson La daylor where

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Speaker 1: are you joining us from? I'm getting PMW vibe. I'm

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Speaker 1: in Los Angeles as well, sort of a beautiful day. Huh.

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Speaker 1: It's it's lovely, but I'm in my studio, which is

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Speaker 1: a basement, so it's neither here nor there. But yes, well,

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Speaker 1: if anytime you want to emerge, hon Knee La is laing,

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Speaker 1: I'm ready, Where are we going to the market? How

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Speaker 1: fun was the war? Was that the situation of every

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Speaker 1: day is incredible and gorgeous. And because we have one

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Speaker 1: person that's like, hey, come on, we're gonna make the

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Speaker 1: flight and one person who's like, I'm coming, I'm coming,

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Speaker 1: I'm coming is Jinx's battle grain. Our tours are a

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Speaker 1: lot because we have a huge emotional investment in the show. Right.

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Speaker 1: It's not like a show where it's just like you

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Speaker 1: get up and do a couple numbers and you know,

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Speaker 1: you have a meet and greet and you're girl and

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Speaker 1: with the girls backstage. Our show is our baby. It

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Speaker 1: is also you know, it's our opus, our annual opus

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Speaker 1: that we pour our heart and souls into, you know it.

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Speaker 1: Really we put a lot of ourselves into it. So

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Speaker 1: how the show goes each night determines how we are

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Speaker 1: until the following show. Basically, I have to say more

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Speaker 1: than any other year. Year, like you and I didn't

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Speaker 1: come off stage like it was. You know, sometimes you

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Speaker 1: come off stage and early, oh how did that you

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Speaker 1: end up being? What that was to me? And I

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Speaker 1: don't think we had a show like that this year.

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Speaker 1: It was a good feeling. It was amazing this year,

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Speaker 1: being the first year back to touring post pandemic, where

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Speaker 1: people started to feel at ease of even being there. Like,

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Speaker 1: you know, our tour last year or two years ago

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Speaker 1: got canceled at the end of it because everyone got COVID,

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Speaker 1: not just us, everyone, you know, it was like another wave,

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Speaker 1: so a lot of things went back down, And now

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Speaker 1: it's been it feels like we're all starting to actually

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Speaker 1: feel over the worst of it. So there is a

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Speaker 1: gratitude between performers and audiences right now that is palpable.

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Speaker 1: It's like we're all so grateful to be back at it.

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Speaker 1: And I think a lot of people have realized what

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Speaker 1: aspects of live entertainment they were taking for granted, both

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Speaker 1: your performers and audience members. So I have felt it

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Speaker 1: through our holiday tour. I felt it this entire run

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Speaker 1: of Chicago, like audiences are really really excited to be

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Speaker 1: back in the theater, and it's it's just like a

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Speaker 1: chicken in an egg thing, because performers are bringing a

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Speaker 1: lot of joy to their performance, just happy to be

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Speaker 1: back at it, and that makes the audience excited and

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Speaker 1: then they excited. We all just love each other because

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Speaker 1: none of us got childhoods and the energies was really

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Speaker 1: grant and I like, and maybe it is because there

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Speaker 1: was the pandemic and I didn't obviously we didn't see anything.

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Speaker 1: You kind of take for granted what you didn't see

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Speaker 1: before that. Like I kicked myself thinking about how long

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Speaker 1: I lived in New York and I didn't see all

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Speaker 1: these like incredible shows like all throughout my twenties. You

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Speaker 1: can't replicate that experience. And then all of a sudden

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Speaker 1: you turned around and so and so's not in the

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Speaker 1: show anymore, that show's not available to see anymore. So yeah,

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Speaker 1: that's definitely been true for me. I am online on

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Speaker 1: Broadway dot Com purchasing. But with the tour, it's like

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Speaker 1: I think, because would you say that the tour kind

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Speaker 1: of is this fastimily of like your dynamic in real

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Speaker 1: life or like then Dayla is like trying to like

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Speaker 1: execute on this like holiday special and Jinks is like, well,

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Speaker 1: I don't have the same idea of a Christmas special thing.

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Speaker 1: And then the new I mean, like but to do

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Speaker 1: that every night is I would say, like maybe emotionally

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Speaker 1: like like like the boundaries, like like the boundaries move

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Speaker 1: a little bit, or are aren't totally defined? Do you

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Speaker 1: ever get lost? It's changed a little over the years too,

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Speaker 1: because we rewrite the show essentially every year. We always

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Speaker 1: are like, oh, let's change one or two things, and

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Speaker 1: then it's like ninety percent different. But this did definitely

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Speaker 1: reflect I mean, I was the one who was like, Jinks,

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Speaker 1: we should do a holiday show, like initially, and we

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Speaker 1: sort of talked about this thing, being like, we'll do

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Speaker 1: We'll make it really easy, breezy. You know, we used

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Speaker 1: to host these drag race like viewing parties. We'll just

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Speaker 1: get up there and like, you know, have a few drinks.

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Speaker 1: Jinks doesn't drink anymore, but we used to have a

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Speaker 1: couple of martinis, like, sing some songs. It'll be very casual,

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Speaker 1: and then I sort of Jinks. I may be misremembering this,

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Speaker 1: but I think this is an accurate representation of our

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Speaker 1: dynamic that I was like, no, actually, scratch that. We're

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Speaker 1: scripting an entire thing, and so it is very much

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Speaker 1: The character is very much a reflection of that. And

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Speaker 1: I am always sort of in real life, I'm not

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Speaker 1: dragging Jinks through anything because she's exceptionally game. But I

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Speaker 1: also think that, you know, we've had this character dynamic

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Speaker 1: where we're really adversarial, and this year was the first

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Speaker 1: year where we were like, with this show, we're starting

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Speaker 1: to develop more of a buddy comedy thing where we're

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Speaker 1: like on an adventure together. Yeah, because I think it

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Speaker 1: was feeling. I think it's just our relationship change. The

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Speaker 1: show is changing with it. Yeah, but you know what,

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Speaker 1: like the first instinct for a queer duo to play

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Speaker 1: an adversarial dynamic, I think is like something that a

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Speaker 1: lot of people can identify with. I think Bowen and

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Speaker 1: I for sure a lot of our early work is

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Speaker 1: us being like super adversarial, and I think there is

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Speaker 1: an instinct to want to like stand across from each other,

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Speaker 1: like arms at the hips, like what do you have

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Speaker 1: to say to me? Because it harkens back to like

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Speaker 1: a dynasty soap opera type situation of like let me

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Speaker 1: best you and it. But it is inherently playful. But yeah,

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Speaker 1: sometimes it can feel like maybe sometimes it gets a

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Speaker 1: little real. Well, you know, one thing that I've kind

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Speaker 1: of been becoming much more aware of, and this is

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Speaker 1: one of the few things that can thank Ryan Murphy

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Speaker 1: unabashedly four is Hude, Betty and Joan really taught me

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Speaker 1: how toxic it is to pit people against each other

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Speaker 1: when they otherwise wouldn't have been, you know, like and

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Speaker 1: I think, you know, it's so funny you're talking about

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Speaker 1: you and bowen Dale and I had that. My music

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Speaker 1: partner and I have always had we're two people at odds.

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Speaker 1: My comedy partner, Nick Sejoya. Our early work was all

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Speaker 1: about hating each other. Yeah, So I do think they're

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Speaker 1: that's built into just being because when there's a scarcity

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Speaker 1: of opportunities for people, then you know, when you think

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Speaker 1: of females in this industry being so disenfranchised, and then

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Speaker 1: queer people in this industry being disenfranchised. For much of

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Speaker 1: the history, of course, we get pitted against each other

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Speaker 1: because we're being told there's only one spot for us.

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Speaker 1: And what we're finding out these days is no, let's

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Speaker 1: claim a lot more space. Rather than fighting over the

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Speaker 1: one spot, let's demand two spots and Dayalen I just

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Speaker 1: kind of naturally over the years, have shifted from writing

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Speaker 1: kind of like adversarial variety shows to This year was

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Speaker 1: the first year we wrote a play with a buddy

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Speaker 1: film kind of motif to it, and I think that's

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Speaker 1: the direction we're heading, because it was really rewarding to

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Speaker 1: say this year we are writing a drag variety show

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Speaker 1: and we're writing a three act play. Done, that's what

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Speaker 1: we're doing. I think we also write like we have

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Speaker 1: different touchstones now as queer people for like femininity and culture, right,

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Speaker 1: Like all about Eve is sort of how we grew up,

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Speaker 1: and now we have like Abby and Illana, you know,

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Speaker 1: we like there's a different shift in how women in

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Speaker 1: media are sort of no longer being presented as pitted

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Speaker 1: against each other in the way that they were at

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Speaker 1: a different time. Yeah, it's less like I'm looking hot today,

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Speaker 1: isn't it? And it's more like you're looking hot today?

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Speaker 1: You know. Of such an amazing shift, and it's cool

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Speaker 1: to see that expand into the world of drag, which

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Speaker 1: is historically had Yeah, totally. But I think this is

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Speaker 1: all leading to both of you doing at some point

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Speaker 1: like whatever happened to Baby Jane type. We are so

386
00:22:10,040 --> 00:22:16,119
Speaker 1: perfectly already those market types. It's so already the like

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Speaker 1: bleeding heart martyr and the wheelchair and I'm so already

388
00:22:20,240 --> 00:22:41,040
Speaker 1: the bitter old vaudeville clown in our shadowy Castle. Um wow. Yeah,

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Speaker 1: in the spirit of claiming space and celebrating one another

390
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Speaker 1: rather than being adversarial. I just want to take a

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Speaker 1: moment to gush over the two of you. No need,

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Speaker 1: no need, no I need to. I know Matt showed

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Speaker 1: off his tattoo with the twenty two significant air I

394
00:22:59,000 --> 00:23:02,120
Speaker 1: have to imagine that in cludes I love that for you.

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Speaker 1: That show is so good and you are so good

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00:23:06,040 --> 00:23:10,399
Speaker 1: in it. It's incredible, It's incredible. I'm so happy you

397
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Speaker 1: both enjoyed that, like the funniest, coolest people enjoyed. I

398
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Speaker 1: think that was the first thing that tumbled out of

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Speaker 1: our mouth when we saw you in the airport that

400
00:23:18,880 --> 00:23:21,480
Speaker 1: day too. I feel like we yeah, bowen to see

401
00:23:21,560 --> 00:23:26,400
Speaker 1: you kill it on SNL is just so significant. I mean,

402
00:23:26,640 --> 00:23:31,360
Speaker 1: like SNL is an institution, and I'm so glad they

403
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Speaker 1: finally are realizing that clear people be funny too. But

404
00:23:38,840 --> 00:23:42,359
Speaker 1: you are doing such wonderful stuff on that show and

405
00:23:42,480 --> 00:23:46,840
Speaker 1: so unapologetically for such a large broad audience, and that

406
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Speaker 1: is so important for our community. That means so much.

407
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Speaker 1: Thank you. If you have a flamboyant inanimate object journey

408
00:23:53,840 --> 00:23:57,919
Speaker 1: is I gotta say, I think I have to like

409
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Speaker 1: put a period on it because I love it because

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Speaker 1: it opens up you know. I think we learned this

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Speaker 1: bow and like bone and I used to be a

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Speaker 1: part of this children's theater performance collective called Story Pirates,

413
00:24:09,160 --> 00:24:11,960
Speaker 1: and kids would write stories and you would perform as

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Speaker 1: these things that they wrote. You would you would routinely pencil.

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Speaker 1: And I'm going through a divorce. I have to find

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Speaker 1: a way to get this document to my husband, who's

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00:24:23,160 --> 00:24:28,280
Speaker 1: a mug, yeah, comfy mug. And it's just like I

418
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Speaker 1: remember when that was happening. It opened up the possibility

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Speaker 1: for what you could play. And so I do think

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Speaker 1: it's fucking fun that Bowen like plays these things because

421
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Speaker 1: it's I'm very queer too. I love it. Oh no, certainly, certainly.

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Speaker 1: I think I'm still figuring out where I'm landing with this,

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Speaker 1: because it's that thing where like if you do comedy,

424
00:24:47,920 --> 00:24:50,160
Speaker 1: at some point you're like, oh, when does your act

425
00:24:50,240 --> 00:24:53,639
Speaker 1: become your enemy? You're like, when does this? But maybe

426
00:24:53,640 --> 00:24:57,720
Speaker 1: that's my own fucking weird pathology, because you guys all

427
00:24:57,960 --> 00:25:00,400
Speaker 1: find ways to make things interesting because you is are

428
00:25:00,400 --> 00:25:03,840
Speaker 1: literally doing a show on a recurring basis and are

429
00:25:03,880 --> 00:25:06,600
Speaker 1: having to iterate on it repeatedly and making it interesting

430
00:25:06,920 --> 00:25:08,639
Speaker 1: so that you like fall back in love with it,

431
00:25:08,680 --> 00:25:10,600
Speaker 1: and I just need to. Like with SNL it's like

432
00:25:10,640 --> 00:25:12,400
Speaker 1: it's hard to fall back in love with the thing

433
00:25:12,440 --> 00:25:15,720
Speaker 1: because all that's crystallized is what's on tape. And if

434
00:25:15,720 --> 00:25:17,280
Speaker 1: you do want to read this that it it has

435
00:25:17,320 --> 00:25:20,359
Speaker 1: to like in some way outdo the last showing of it.

436
00:25:20,400 --> 00:25:23,439
Speaker 1: And so that's why it's right. It's a different relationship maybe,

437
00:25:23,560 --> 00:25:24,919
Speaker 1: but that means a lot coming from both of you,

438
00:25:24,960 --> 00:25:27,680
Speaker 1: because I think between the two of you, it's five

439
00:25:27,800 --> 00:25:32,920
Speaker 1: or five the top Snatch game performances ever Paul and

440
00:25:33,000 --> 00:25:35,720
Speaker 1: Maggie Smith, Judy Garland, to Touch Leone and Liliedi those

441
00:25:35,760 --> 00:25:40,000
Speaker 1: are in the top five period between two people. Amazing

442
00:25:40,160 --> 00:25:42,280
Speaker 1: you guys, and everything overlapped seasons. Like I think that

443
00:25:42,440 --> 00:25:44,959
Speaker 1: is It's this wonderful thing that I think is so

444
00:25:45,000 --> 00:25:47,160
Speaker 1: cool about some duos now, where it's like you see

445
00:25:47,200 --> 00:25:51,240
Speaker 1: these two people who are individually phenomenal and then to

446
00:25:51,280 --> 00:25:54,239
Speaker 1: see them sort of like force multiply each other is

447
00:25:54,480 --> 00:25:57,600
Speaker 1: just really awesome. Well, I'll let day La talk on

448
00:25:57,640 --> 00:26:02,439
Speaker 1: it because she'll be more concise than I will. But

449
00:26:03,000 --> 00:26:09,800
Speaker 1: I think my best work is in partnership, like across

450
00:26:09,840 --> 00:26:14,040
Speaker 1: the board, like I. I perform solo when I have to,

451
00:26:14,760 --> 00:26:18,720
Speaker 1: but all of my best work is in collaboration. I agree,

452
00:26:18,760 --> 00:26:20,640
Speaker 1: I feel the same. I feel the same way. I've

453
00:26:20,680 --> 00:26:23,560
Speaker 1: been told I'm supposed to speak on this side. I

454
00:26:23,720 --> 00:26:27,440
Speaker 1: just I was volleying it to you. I was setting

455
00:26:27,520 --> 00:26:32,240
Speaker 1: up a topic. But what's the topic that I can't

456
00:26:32,240 --> 00:26:37,960
Speaker 1: live without you? No collaboration solo? Strange? Oh yeah, because

457
00:26:38,119 --> 00:26:42,160
Speaker 1: Dayla was working solo, you know, and continues to work solo.

458
00:26:42,320 --> 00:26:45,199
Speaker 1: When I work solo, it's actually with my music partner.

459
00:26:45,280 --> 00:26:48,520
Speaker 1: We've always joked that my solo shows are actually two people.

460
00:26:48,880 --> 00:26:52,119
Speaker 1: We just call it my solo show. But Dala's solo

461
00:26:52,200 --> 00:26:55,560
Speaker 1: shows it's her on stage, and if she's with a

462
00:26:55,600 --> 00:26:58,960
Speaker 1: scene partner, it's a puppet that she's also operating so

463
00:26:59,600 --> 00:27:01,760
Speaker 1: and in until she can get her hand up there

464
00:27:01,760 --> 00:27:04,280
Speaker 1: and move my mouth for me, which I'm working on

465
00:27:07,359 --> 00:27:12,359
Speaker 1: and so. But you know, and it's true that when

466
00:27:12,400 --> 00:27:14,760
Speaker 1: I'm doing my solo projects that I am the only

467
00:27:14,800 --> 00:27:17,880
Speaker 1: person on stage, but I do collaborate with a lot

468
00:27:17,920 --> 00:27:21,520
Speaker 1: of people in process, so it's still the result of

469
00:27:21,760 --> 00:27:26,840
Speaker 1: multiple voices, which I think is particularly important when you're

470
00:27:27,480 --> 00:27:29,640
Speaker 1: been at it for this long and like you were saying,

471
00:27:29,640 --> 00:27:33,000
Speaker 1: bowen when you are. I mean, we've been doing the

472
00:27:33,119 --> 00:27:38,320
Speaker 1: same characters for right and in order to keep that

473
00:27:38,400 --> 00:27:41,520
Speaker 1: interesting both for us and I think an audience, It's

474
00:27:41,560 --> 00:27:44,560
Speaker 1: like we've constantly had to discover new depths and new

475
00:27:44,600 --> 00:27:48,199
Speaker 1: angles to that, which I think is really cool to

476
00:27:48,240 --> 00:27:53,960
Speaker 1: be able to take these I'm constantly discovering new depths,

477
00:27:54,480 --> 00:27:58,760
Speaker 1: as do you remember the wedge? Is that still a thing?

478
00:27:59,600 --> 00:28:02,919
Speaker 1: The sex I saw a lot of ads for that

479
00:28:02,960 --> 00:28:06,800
Speaker 1: sex with I don't know angles, but um, like something

480
00:28:06,840 --> 00:28:13,280
Speaker 1: you wedge in there to sort of, you know, just oh,

481
00:28:13,359 --> 00:28:18,320
Speaker 1: that's great, I can use that. Yeah, yeah, well check

482
00:28:18,320 --> 00:28:21,600
Speaker 1: it out. It's called the wedge or something googling. But

483
00:28:21,840 --> 00:28:24,720
Speaker 1: what the hell was I talking about new depths and

484
00:28:24,760 --> 00:28:29,280
Speaker 1: new angles? But I do think that it's fun that

485
00:28:29,359 --> 00:28:33,680
Speaker 1: Jinx and I have these very like cartoonish over sort

486
00:28:33,680 --> 00:28:37,320
Speaker 1: of exaggerated characters. But we've gotten to find ways within

487
00:28:37,840 --> 00:28:40,360
Speaker 1: like our work with each other, we get to find

488
00:28:40,400 --> 00:28:42,960
Speaker 1: ways to like play more of the humanity of them

489
00:28:43,080 --> 00:28:45,560
Speaker 1: underneath that, which I think has been really important in

490
00:28:45,680 --> 00:28:48,760
Speaker 1: terms of the longevity of this project is that every year,

491
00:28:49,040 --> 00:28:51,440
Speaker 1: I think we dive further into that and people have

492
00:28:51,600 --> 00:28:54,680
Speaker 1: even more of a strong emotional connection to it. And

493
00:28:54,720 --> 00:28:57,040
Speaker 1: so what I'm what I'm saying is I think you

494
00:28:57,080 --> 00:29:01,480
Speaker 1: have to spend more time as a weather balloon in order, Yes,

495
00:29:01,960 --> 00:29:05,440
Speaker 1: because they're just gonna keep coming. They're just gonna they

496
00:29:05,480 --> 00:29:07,680
Speaker 1: really are. It's like there's so many of them, you

497
00:29:07,680 --> 00:29:12,440
Speaker 1: could do them with different accents. Bo's love that they

498
00:29:12,480 --> 00:29:17,160
Speaker 1: look big. You know. I wanted to ask about, like

499
00:29:17,200 --> 00:29:21,360
Speaker 1: specifically the characters of Jinks Monsoon and Bende la Creme,

500
00:29:21,400 --> 00:29:24,200
Speaker 1: because when you both came into drag Race, I would

501
00:29:24,520 --> 00:29:28,640
Speaker 1: say that these were both highly characterized personas that you had,

502
00:29:28,760 --> 00:29:31,560
Speaker 1: you know, Jinks Monsoon with the lifted arm and the

503
00:29:31,600 --> 00:29:34,760
Speaker 1: sort of swimsuit like we got what it was immediately,

504
00:29:35,120 --> 00:29:37,080
Speaker 1: and then Bende la Creme. You know, that's sort of

505
00:29:37,120 --> 00:29:39,719
Speaker 1: like pin up vibe that you were playing. I wonder

506
00:29:39,760 --> 00:29:43,320
Speaker 1: how much did drag Race challenge you, How did literally

507
00:29:43,360 --> 00:29:46,080
Speaker 1: the drag Race of it all challenge you to find

508
00:29:46,760 --> 00:29:50,120
Speaker 1: new depths and new angles in those characters, as it were,

509
00:29:50,680 --> 00:29:53,240
Speaker 1: because it feels like that's something that they say, It's like, well,

510
00:29:53,400 --> 00:29:55,960
Speaker 1: we want to know you the vulnerability, and it's it

511
00:29:56,040 --> 00:29:59,000
Speaker 1: is the vulnerability. You know what I'm saying, it's a

512
00:29:59,080 --> 00:30:03,200
Speaker 1: devilish sword, because I think both positive and difficult things

513
00:30:03,440 --> 00:30:08,600
Speaker 1: came out of that breaking down the wall of the

514
00:30:08,760 --> 00:30:13,760
Speaker 1: character and seeing the artist inside. And after season five,

515
00:30:14,480 --> 00:30:18,640
Speaker 1: I felt like people would come to my shows expecting

516
00:30:18,680 --> 00:30:21,560
Speaker 1: to see Jinks the artist, you know, the water off

517
00:30:21,600 --> 00:30:26,240
Speaker 1: a duck's back, you know, sensitive soul, and Jinks the

518
00:30:26,440 --> 00:30:33,760
Speaker 1: character is an narcissistic, pessimistic, nihilistic, milfy bit righte. And

519
00:30:34,280 --> 00:30:36,640
Speaker 1: so people would come to my shows and be kind

520
00:30:36,680 --> 00:30:40,360
Speaker 1: of shocked at what my material is versus who they

521
00:30:40,360 --> 00:30:42,760
Speaker 1: thought they were going to meet that night. And so

522
00:30:42,800 --> 00:30:45,800
Speaker 1: I kind of spent a while between season five and

523
00:30:45,960 --> 00:30:51,720
Speaker 1: All Stars seven reintroducing the character to my audiences so

524
00:30:51,760 --> 00:30:55,200
Speaker 1: that they could tell the difference. And it took I mean, like,

525
00:30:55,240 --> 00:30:57,840
Speaker 1: that's why I'm kind of glad At seven happened when

526
00:30:57,880 --> 00:31:01,320
Speaker 1: it did, because after a decade, and especially after teaming

527
00:31:01,400 --> 00:31:05,600
Speaker 1: up with Dayla and getting our show seen by so

528
00:31:05,640 --> 00:31:09,640
Speaker 1: many more people, because when we combine our powers, our

529
00:31:09,760 --> 00:31:20,560
Speaker 1: reach is like incredible. So it's just it's like, by

530
00:31:20,600 --> 00:31:23,480
Speaker 1: season seven, I had a very clear idea of who

531
00:31:23,520 --> 00:31:26,480
Speaker 1: Jinks the character was, so did my audience and I

532
00:31:26,560 --> 00:31:30,280
Speaker 1: spent season seven using that as a way to reintroduce

533
00:31:30,320 --> 00:31:34,400
Speaker 1: the character. And now when people come to my show,

534
00:31:34,440 --> 00:31:37,080
Speaker 1: they know exactly what the fuck they're gonna get, and

535
00:31:37,160 --> 00:31:40,560
Speaker 1: that is such a boon to me because it means

536
00:31:40,600 --> 00:31:44,520
Speaker 1: I get to start from the plateau of people get it.

537
00:31:44,680 --> 00:31:47,000
Speaker 1: I don't have to introduce as much to them in

538
00:31:47,040 --> 00:31:48,680
Speaker 1: all of my shows. I get to start from a

539
00:31:48,680 --> 00:31:52,960
Speaker 1: place of mutual understanding, all right, right, which is such

540
00:31:52,960 --> 00:31:55,320
Speaker 1: an old school way to approach drag that we do

541
00:31:55,360 --> 00:31:58,480
Speaker 1: where there's really like one character at the heart of it,

542
00:31:58,600 --> 00:32:01,960
Speaker 1: and that's not every drug, which is great, right, Like

543
00:32:02,000 --> 00:32:04,320
Speaker 1: we have drag queens with a lot of different skill sets,

544
00:32:04,520 --> 00:32:06,680
Speaker 1: but it's a real challenge when it goes into a

545
00:32:06,720 --> 00:32:10,120
Speaker 1: reality TV format and you're supposed to like cry about

546
00:32:10,120 --> 00:32:12,040
Speaker 1: your dead mom or whatever while you're putting on makeup,

547
00:32:12,160 --> 00:32:18,200
Speaker 1: and it's she can say that her mom's dead, yeah,

548
00:32:18,280 --> 00:32:23,800
Speaker 1: just this morning. Actually it was rough, but the right.

549
00:32:23,840 --> 00:32:26,160
Speaker 1: But the thing is that we have these amazing, larger

550
00:32:26,160 --> 00:32:29,320
Speaker 1: than life characters, and so I imagine this was very

551
00:32:29,320 --> 00:32:33,560
Speaker 1: intentional going into season six that I had the benefit

552
00:32:33,680 --> 00:32:35,800
Speaker 1: of Jinks just being on five, and so I got

553
00:32:35,800 --> 00:32:40,280
Speaker 1: to like learn from some of her experiences, so I knew, Okay,

554
00:32:40,360 --> 00:32:42,120
Speaker 1: I have to let people know what they're going to

555
00:32:42,200 --> 00:32:45,800
Speaker 1: see when they come on stage. The backfire when I

556
00:32:45,800 --> 00:32:48,280
Speaker 1: come on stage, they're not going on stage and not interactive.

557
00:32:50,480 --> 00:32:54,959
Speaker 1: The backfire aspect of that is that if your character

558
00:32:55,000 --> 00:32:58,360
Speaker 1: has is cartoony and sort of over the top, but

559
00:32:58,480 --> 00:33:01,680
Speaker 1: has any sort of new then that does not know.

560
00:33:01,800 --> 00:33:05,960
Speaker 1: Nuance comes apart across on reality people. I'm sort of

561
00:33:05,960 --> 00:33:08,400
Speaker 1: all the time like, oh my god, she's so positive

562
00:33:08,440 --> 00:33:10,200
Speaker 1: and sweet, and I'm like, but when I use her

563
00:33:10,240 --> 00:33:13,520
Speaker 1: on stage, it's basically a criticis like, it's a critique

564
00:33:13,560 --> 00:33:16,640
Speaker 1: of that outlook total. Yes. Yes, So that was a

565
00:33:16,680 --> 00:33:18,800
Speaker 1: little weird, and then all stars I like went in

566
00:33:18,880 --> 00:33:20,680
Speaker 1: and it was just like, Okay, well, now I'm gonna

567
00:33:20,720 --> 00:33:22,760
Speaker 1: show that I am capable of playing a lot more

568
00:33:22,840 --> 00:33:24,960
Speaker 1: characters because I also do that. On sh she run

569
00:33:25,040 --> 00:33:29,560
Speaker 1: in like a sniper. Truly, she went in like a

570
00:33:29,840 --> 00:33:34,720
Speaker 1: over ops highly trained assassin. Yes, I don't know why

571
00:33:34,720 --> 00:33:37,120
Speaker 1: I'm making it violent. It was like like if mister

572
00:33:37,240 --> 00:33:40,600
Speaker 1: Bean got hired as an assassin and just course accidentally

573
00:33:40,600 --> 00:33:48,160
Speaker 1: shooting the right person. Yeah, but I think Ben's run

574
00:33:48,160 --> 00:33:51,320
Speaker 1: on drag Race is really remarkable because there was such

575
00:33:51,360 --> 00:33:55,240
Speaker 1: a clear threshold between the persona and drag and the

576
00:33:55,280 --> 00:34:00,160
Speaker 1: confessional workroom, real grounded Ben, you know, like that was

577
00:34:00,280 --> 00:34:02,000
Speaker 1: what always sort of struck me. What I was that,

578
00:34:02,080 --> 00:34:04,680
Speaker 1: I was like, God, like, she really has such control

579
00:34:04,760 --> 00:34:07,680
Speaker 1: and a toggle over these two people, and both of

580
00:34:07,720 --> 00:34:09,920
Speaker 1: them feel honest. I wouldn't say authentic. I don't really

581
00:34:09,920 --> 00:34:11,920
Speaker 1: know what that means when I say that we're but

582
00:34:12,200 --> 00:34:15,919
Speaker 1: honest versions of the same person. Does that make sense?

583
00:34:15,960 --> 00:34:19,280
Speaker 1: And I absolutely identify strongly with that. That is very

584
00:34:19,640 --> 00:34:22,880
Speaker 1: much that, like Daala is a very contained version of

585
00:34:22,960 --> 00:34:27,560
Speaker 1: myself that can only exist in sort of short durations, right,

586
00:34:27,600 --> 00:34:29,800
Speaker 1: which is like I think the magic of a character

587
00:34:29,920 --> 00:34:33,160
Speaker 1: like that is like that sort of outlook is not sustainable,

588
00:34:33,480 --> 00:34:36,839
Speaker 1: which is why all of my pessimism is reserved for

589
00:34:37,239 --> 00:34:40,040
Speaker 1: out of drag experiences. Sure, then you become like Lady

590
00:34:40,080 --> 00:34:43,479
Speaker 1: Gaga and you're like, I was this, I am this person,

591
00:34:43,520 --> 00:34:47,040
Speaker 1: like there is no separation between well, and that's kind

592
00:34:47,080 --> 00:34:49,200
Speaker 1: of where we're at, and we talk about this all

593
00:34:49,239 --> 00:34:53,000
Speaker 1: the time as ourselves and in our collaboration. What's really

594
00:34:53,040 --> 00:34:57,440
Speaker 1: really funny is that Dala and Jinx, I mean, we

595
00:34:57,600 --> 00:35:02,719
Speaker 1: both possess multitudes. We both us aspects that are attributed

596
00:35:02,760 --> 00:35:05,839
Speaker 1: to either of us. But it's so funny to hear

597
00:35:05,920 --> 00:35:11,200
Speaker 1: Day Let's say that her character is so contained in optimism,

598
00:35:11,320 --> 00:35:15,280
Speaker 1: and all of her pessimism exists in her real life,

599
00:35:15,680 --> 00:35:18,759
Speaker 1: whereas for me, I get all of my demons out

600
00:35:18,840 --> 00:35:21,640
Speaker 1: on stage, and then my day to day persona is

601
00:35:21,680 --> 00:35:26,520
Speaker 1: this bubbly, over the top optimistic, like let's turn everything

602
00:35:26,560 --> 00:35:28,960
Speaker 1: into a game. I mean, part of that's just me.

603
00:35:29,239 --> 00:35:31,640
Speaker 1: Those are my coping mechanisms so I don't fall back

604
00:35:31,680 --> 00:35:35,399
Speaker 1: into alcoholism. But also it's just who we naturally are,

605
00:35:35,840 --> 00:35:39,239
Speaker 1: you know, Like she it's so funny that like on

606
00:35:39,440 --> 00:35:42,839
Speaker 1: stage I'm the rand and she's the stimpy, and then

607
00:35:42,880 --> 00:35:45,680
Speaker 1: off stage she's the burden. I'm the ernie, you know,

608
00:35:45,880 --> 00:35:48,920
Speaker 1: like we kind of flip flop back and forth. And

609
00:35:48,960 --> 00:35:53,359
Speaker 1: I mean that in all contexts. Yeah, I identify with that.

610
00:35:53,400 --> 00:35:56,480
Speaker 1: I find I find that my day to day, especially

611
00:35:56,520 --> 00:35:59,480
Speaker 1: in like developing my persona for my own special in

612
00:35:59,560 --> 00:36:01,680
Speaker 1: my own Christmas show and the things that I do.

613
00:36:02,040 --> 00:36:07,880
Speaker 1: I've come to realize like I'm much colder on stage

614
00:36:07,880 --> 00:36:10,279
Speaker 1: as like the persona I play, and like much more

615
00:36:10,360 --> 00:36:13,279
Speaker 1: like a smile a lot less, you know what I mean.

616
00:36:13,320 --> 00:36:15,840
Speaker 1: Like sometimes even sometimes I'll look at my own social media,

617
00:36:15,880 --> 00:36:17,480
Speaker 1: like I'll black out and I'll look back at it,

618
00:36:17,520 --> 00:36:21,040
Speaker 1: and I'm like, I am projecting someone who sometimes I

619
00:36:21,200 --> 00:36:23,319
Speaker 1: and I guess that's like a struggle, right, like as

620
00:36:23,320 --> 00:36:26,920
Speaker 1: someone who's like public and trying to be an artist

621
00:36:27,040 --> 00:36:29,720
Speaker 1: but also like has like a podcast and gives people

622
00:36:29,760 --> 00:36:32,720
Speaker 1: a glimpse into their real life. It's like you don't

623
00:36:32,760 --> 00:36:35,759
Speaker 1: always have a hold on like what you're projecting and

624
00:36:35,800 --> 00:36:38,080
Speaker 1: who you are. Like that that's tough to manage. And

625
00:36:38,080 --> 00:36:40,880
Speaker 1: then to see it sort of edited down by someone

626
00:36:40,920 --> 00:36:43,440
Speaker 1: else in a reality show has to be and then

627
00:36:43,520 --> 00:36:47,600
Speaker 1: critiqued on that premise has to be such a mind fuck,

628
00:36:48,040 --> 00:36:50,399
Speaker 1: like because I know it is for me, just like

629
00:36:50,440 --> 00:36:53,480
Speaker 1: in trying to have a career without cameras following it

630
00:36:53,480 --> 00:36:55,120
Speaker 1: and then being like yeah, yeah, yeah, we'll put this

631
00:36:55,160 --> 00:36:58,480
Speaker 1: together and yeah, well I'm staying on my meds and

632
00:36:58,600 --> 00:37:05,040
Speaker 1: drinking plenty of diet. It's a beautiful song. Maria Banford,

633
00:37:05,320 --> 00:37:18,000
Speaker 1: You're welcome. Yeah, we have to ask you both the question,

634
00:37:18,120 --> 00:37:20,479
Speaker 1: which is what was the culture that made you say

635
00:37:20,960 --> 00:37:25,440
Speaker 1: culture was for me? Ben Let's start with you. I

636
00:37:25,480 --> 00:37:29,520
Speaker 1: have really been overthinking this, which is no such thing

637
00:37:29,680 --> 00:37:34,719
Speaker 1: that makes sense what the character is my amoum. I

638
00:37:34,840 --> 00:37:36,600
Speaker 1: talk about a lot of the same touchdow like over

639
00:37:36,600 --> 00:37:38,200
Speaker 1: and over again in interviews, I like talked about the

640
00:37:38,239 --> 00:37:40,160
Speaker 1: same stuff, and I was really thinking about what's my

641
00:37:40,200 --> 00:37:43,759
Speaker 1: angle here? And I think that the first time I

642
00:37:43,800 --> 00:37:47,760
Speaker 1: remember being like deeply affected by a piece of media

643
00:37:47,840 --> 00:37:50,480
Speaker 1: in a way that like rattled my core. With Labyrinth

644
00:37:51,120 --> 00:37:55,560
Speaker 1: it was, oh, you know, it was so like campy

645
00:37:55,640 --> 00:37:58,680
Speaker 1: and over the top and like a musical, but like right,

646
00:37:58,840 --> 00:38:01,080
Speaker 1: so much of my sense of dy I think early

647
00:38:01,160 --> 00:38:04,200
Speaker 1: on was sort of the things where some sort of

648
00:38:04,239 --> 00:38:07,320
Speaker 1: reality and some sort of cartoon or puppet element crossover,

649
00:38:07,360 --> 00:38:09,799
Speaker 1: like whom Roger Bradman was like a huge deal for

650
00:38:09,880 --> 00:38:14,520
Speaker 1: me Pee Wee's Playhouse, which is that kind of dynamic. Um,

651
00:38:14,760 --> 00:38:19,120
Speaker 1: but Labyrinth man just like shook me because I was

652
00:38:19,160 --> 00:38:20,840
Speaker 1: I mean, I think it was like seven or something,

653
00:38:21,200 --> 00:38:27,520
Speaker 1: and um, it was so playful and fun and like

654
00:38:27,640 --> 00:38:31,160
Speaker 1: magical but also so sexy in a way that I

655
00:38:31,239 --> 00:38:34,799
Speaker 1: was not prepared for and that I was so like

656
00:38:35,280 --> 00:38:40,279
Speaker 1: excited but also deeply upset by. Yeah, just sort of

657
00:38:40,920 --> 00:38:46,160
Speaker 1: understanding myself, that's that thing you're like, what is that? Well?

658
00:38:46,160 --> 00:38:48,359
Speaker 1: And I think it's maybe also the first time that

659
00:38:48,400 --> 00:38:52,160
Speaker 1: you're like, oh a piece of media can like reach

660
00:38:52,320 --> 00:38:54,919
Speaker 1: real deep inside you two things that you don't even

661
00:38:54,920 --> 00:38:56,399
Speaker 1: know how. I mean, I obviously I was not thinking

662
00:38:56,440 --> 00:38:58,640
Speaker 1: about that at seven, but when I like reflect on it,

663
00:38:59,000 --> 00:39:01,160
Speaker 1: the way that it can touch parts of you that

664
00:39:01,280 --> 00:39:05,520
Speaker 1: you are unaware of. Yeah, that's why I say that

665
00:39:05,560 --> 00:39:07,960
Speaker 1: the movie Beauty and the Beast is responsible for my

666
00:39:08,000 --> 00:39:17,120
Speaker 1: foot fetish. Why guest on with the toe deep? Oh yeah, yeah,

667
00:39:18,880 --> 00:39:21,440
Speaker 1: like exactly what you want? Was that your gateway to

668
00:39:21,520 --> 00:39:26,239
Speaker 1: David Bowie as well? Yes, yes, yes, And then I uh,

669
00:39:26,880 --> 00:39:30,160
Speaker 1: I became just absolutely obsessed. It was actually it was

670
00:39:30,200 --> 00:39:33,840
Speaker 1: my mom who brought home that VHS of Labyrinth, and

671
00:39:34,000 --> 00:39:35,960
Speaker 1: she was just sort of she put it in sort

672
00:39:36,000 --> 00:39:37,759
Speaker 1: of knowingly and watched it with me, and she was

673
00:39:37,880 --> 00:39:39,279
Speaker 1: there was some part of her that was like, I

674
00:39:39,320 --> 00:39:41,160
Speaker 1: think this is going to speak to you, and then

675
00:39:41,200 --> 00:39:44,759
Speaker 1: afterwards burst into tears and it was like, you know,

676
00:39:44,800 --> 00:39:46,799
Speaker 1: that was not a conversation we were having, but it

677
00:39:46,880 --> 00:39:51,319
Speaker 1: was very much in retrospect her being like okay, like

678
00:39:51,360 --> 00:39:55,359
Speaker 1: I see you, you know, but um wow yeah. No. Afterwards,

679
00:39:55,680 --> 00:39:58,439
Speaker 1: like being able to sort of more fully dive into

680
00:39:58,640 --> 00:40:01,480
Speaker 1: everything else that David Bowie has been was definitely that

681
00:40:01,600 --> 00:40:04,319
Speaker 1: set me off on a path for sure, David Bowie too.

682
00:40:04,520 --> 00:40:07,520
Speaker 1: That's I would also probab maybe even connect that to

683
00:40:07,600 --> 00:40:11,320
Speaker 1: you like gravitating towards drag because David Bowie was in

684
00:40:11,400 --> 00:40:14,680
Speaker 1: an essence a drag queen. I mean, he was everything.

685
00:40:14,920 --> 00:40:19,640
Speaker 1: Oh absolutely. It also launched me into the Jim Henson universe,

686
00:40:19,760 --> 00:40:23,040
Speaker 1: which is also full of drag queens, Yes, Piggy and

687
00:40:23,160 --> 00:40:26,680
Speaker 1: Janice and all these other you know, Frank Oz playing

688
00:40:26,719 --> 00:40:32,120
Speaker 1: all of these amazing archetypal women. Yes, so yeah, from

689
00:40:32,160 --> 00:40:36,960
Speaker 1: all angles, it combined every element of that excellent answer

690
00:40:36,960 --> 00:40:40,000
Speaker 1: because every strand really goes back to that thing for

691
00:40:40,120 --> 00:40:42,319
Speaker 1: to labyrinth for you, where it's the beam of light

692
00:40:42,320 --> 00:40:44,239
Speaker 1: that refracts into all these things that you do now,

693
00:40:44,640 --> 00:40:48,600
Speaker 1: which is beautiful. Yeah, and there's a million other touchstones

694
00:40:48,680 --> 00:40:50,840
Speaker 1: along the way, but that's the first time I remember

695
00:40:50,880 --> 00:40:55,560
Speaker 1: just being truly shattered by something in a good way.

696
00:40:55,719 --> 00:41:00,560
Speaker 1: And also the like bizarre glamor you know, like it's

697
00:41:00,640 --> 00:41:04,160
Speaker 1: glam but it's also fucked well and it's sexy and

698
00:41:04,200 --> 00:41:08,040
Speaker 1: it's fun, but it's also like deeply it's like getting

699
00:41:08,160 --> 00:41:11,720
Speaker 1: into like fears and like it and like all sorts

700
00:41:11,719 --> 00:41:16,200
Speaker 1: of you know, it's it's speaking to sort of serious

701
00:41:16,200 --> 00:41:20,040
Speaker 1: and complex emotions and yeahs, you know, and I like that.

702
00:41:20,120 --> 00:41:22,120
Speaker 1: I like when something is really silly and campy and

703
00:41:22,200 --> 00:41:25,480
Speaker 1: sparkly and draws you in and then uh kind of

704
00:41:25,480 --> 00:41:28,839
Speaker 1: one two punches you as something else. Yeah, we don't

705
00:41:28,840 --> 00:41:31,359
Speaker 1: have enough of that stuff now, we really do. I

706
00:41:31,400 --> 00:41:33,840
Speaker 1: think the last thing I can really imagine. And speaking

707
00:41:33,880 --> 00:41:36,000
Speaker 1: of duos that like went for it in like a

708
00:41:36,080 --> 00:41:39,080
Speaker 1: stylized way that you can see in watching it. I

709
00:41:39,160 --> 00:41:41,120
Speaker 1: was like, people that see this that are young and

710
00:41:41,160 --> 00:41:43,560
Speaker 1: don't really know themselves yet might really find themselves. And

711
00:41:43,640 --> 00:41:48,320
Speaker 1: this is like Barb and Star. Yeah, such an incredible movie.

712
00:41:48,760 --> 00:41:51,120
Speaker 1: Jins and I watched that like within twenty four hours

713
00:41:51,160 --> 00:41:53,400
Speaker 1: of each other and could not shut up about it.

714
00:41:53,480 --> 00:41:57,000
Speaker 1: Anyone who doesn't like that movie doesn't know movies. It's amazing.

715
00:41:57,040 --> 00:41:59,319
Speaker 1: Why are we not seeing drag queens? I don't want

716
00:41:59,320 --> 00:42:01,440
Speaker 1: to say who the villain is. Why have we not

717
00:42:01,520 --> 00:42:06,480
Speaker 1: seen more drag queens cosplaying that villain? Right? You're right, right,

718
00:42:06,600 --> 00:42:12,400
Speaker 1: you're right. Yeah, the soda scream in the beginning, I

719
00:42:12,680 --> 00:42:17,279
Speaker 1: knew and it was beautiful the way that I really

720
00:42:17,320 --> 00:42:21,200
Speaker 1: like spoke to sort of this amazing journey of these

721
00:42:21,200 --> 00:42:25,440
Speaker 1: women in middle age kind of finding themselves and reassessing.

722
00:42:25,719 --> 00:42:28,560
Speaker 1: And it was such an amazing way to get into that.

723
00:42:28,600 --> 00:42:30,640
Speaker 1: And that's what I love about camp in general is

724
00:42:30,680 --> 00:42:33,239
Speaker 1: that it just sort of breadcrumbs you down a road

725
00:42:33,280 --> 00:42:34,640
Speaker 1: and then you can do anything with it, and you

726
00:42:34,680 --> 00:42:38,000
Speaker 1: can keep it silly or you can really go somewhere.

727
00:42:38,000 --> 00:42:41,239
Speaker 1: But people they all their armor is down when they've

728
00:42:41,280 --> 00:42:46,319
Speaker 1: been dazzled by some like bright colors and some goofy jokes. God,

729
00:42:46,320 --> 00:42:48,880
Speaker 1: you're so right. It is breadcrumbs when it comes to

730
00:42:48,920 --> 00:42:52,719
Speaker 1: like delivering camp. I think we all like can recognize

731
00:42:52,719 --> 00:42:55,040
Speaker 1: it at this point in the culture, but to make

732
00:42:55,080 --> 00:42:57,400
Speaker 1: it it is this thing where you leave crumbs and

733
00:42:57,440 --> 00:42:59,520
Speaker 1: then once you fully have the audience in the pocket

734
00:42:59,560 --> 00:43:01,520
Speaker 1: of that, you can do literally anything and we will

735
00:43:01,520 --> 00:43:03,560
Speaker 1: be along for the ride. There can be a crab

736
00:43:03,640 --> 00:43:07,080
Speaker 1: that like comes along and speaks in Morgan Freeman's voice,

737
00:43:07,120 --> 00:43:10,640
Speaker 1: you know, like that speaking of which, and this is

738
00:43:10,680 --> 00:43:12,920
Speaker 1: something that Jinx and I sort of like always think

739
00:43:12,960 --> 00:43:15,400
Speaker 1: about in our shows is that we have like this

740
00:43:15,520 --> 00:43:17,440
Speaker 1: sort of heart that we want to get people to that.

741
00:43:17,520 --> 00:43:19,839
Speaker 1: We really want them to feel vulnerable, and so we

742
00:43:20,200 --> 00:43:21,920
Speaker 1: use a lot of dick jokes to get there, but

743
00:43:22,040 --> 00:43:27,760
Speaker 1: also puppets try having the drag the crab like deliver

744
00:43:28,600 --> 00:43:32,600
Speaker 1: that message. I always, I actually always use puppets to

745
00:43:32,640 --> 00:43:35,400
Speaker 1: talk about them. I did a show like a million

746
00:43:35,520 --> 00:43:39,040
Speaker 1: years ago about um it was. It was about like

747
00:43:39,040 --> 00:43:43,560
Speaker 1: American history, and I used a bald eagle puppet to

748
00:43:43,640 --> 00:43:46,680
Speaker 1: address slavery and genocide because that's the only you know

749
00:43:46,719 --> 00:43:49,680
Speaker 1: what I mean, it's like the only delirious system that

750
00:43:49,800 --> 00:43:51,799
Speaker 1: like the audience will like tolerate because they're like, oh,

751
00:43:51,840 --> 00:43:55,760
Speaker 1: it's a silly puppet giving this heavy, heavy message. Yes, yeah, totally.

752
00:43:56,000 --> 00:43:58,359
Speaker 1: Oh and we do that in the show as well, right,

753
00:43:58,560 --> 00:44:01,759
Speaker 1: except usually our puppets are villa. Yeah. Oh right, because

754
00:44:01,760 --> 00:44:04,000
Speaker 1: it was the it was the Barkart. Yeah. So in

755
00:44:04,080 --> 00:44:06,520
Speaker 1: the in the special, it's the ghost of my dead

756
00:44:06,560 --> 00:44:09,360
Speaker 1: grandmother in a glass of eggnog and she's sort of

757
00:44:09,400 --> 00:44:13,279
Speaker 1: like racist and homophobic. Um yeah, And we've used that

758
00:44:13,320 --> 00:44:16,399
Speaker 1: a lot. We had a transphobic gingerbread man on one

759
00:44:16,440 --> 00:44:19,799
Speaker 1: of our that was like furious that we were not

760
00:44:19,880 --> 00:44:23,680
Speaker 1: necessarily going to assign them mail like through bread ties

761
00:44:23,760 --> 00:44:26,239
Speaker 1: and like signifiers like that. Yeah, were angry about that.

762
00:44:26,400 --> 00:44:29,040
Speaker 1: I'm curious about what other touchstones there were though, because

763
00:44:29,080 --> 00:44:31,080
Speaker 1: you overthought it. I do want to know where else

764
00:44:31,080 --> 00:44:33,600
Speaker 1: your brain went, Like along the way. There's a lot

765
00:44:33,600 --> 00:44:38,680
Speaker 1: of like Elvira hue Herman characters who I really love

766
00:44:38,719 --> 00:44:40,200
Speaker 1: that they never broke. They would go on like a

767
00:44:40,280 --> 00:44:42,560
Speaker 1: late night talk show and they would not reveal the

768
00:44:42,600 --> 00:44:44,399
Speaker 1: person behind them, which is something I was sad about

769
00:44:44,480 --> 00:44:47,960
Speaker 1: Drag Race sort of losing, is that it's like first

770
00:44:48,040 --> 00:44:50,640
Speaker 1: to see the person behind the character, and we've lost

771
00:44:50,760 --> 00:44:55,000
Speaker 1: that thing of people who just never allow you to

772
00:44:55,080 --> 00:44:58,319
Speaker 1: know them, which makes you believe in their characters in

773
00:44:58,360 --> 00:45:01,480
Speaker 1: a way. That's why would we be able to believe

774
00:45:01,480 --> 00:45:04,160
Speaker 1: that Elvira is a person human like moving through the world.

775
00:45:04,360 --> 00:45:07,480
Speaker 1: But Cassandra Peterson has convinced us of that, like we

776
00:45:07,680 --> 00:45:10,480
Speaker 1: bought it right in a way that was like speaking

777
00:45:10,520 --> 00:45:13,640
Speaker 1: to like the child in us and all sorts of stuff.

778
00:45:13,680 --> 00:45:15,800
Speaker 1: And then I don't know, fast forward and when I

779
00:45:15,800 --> 00:45:20,080
Speaker 1: saw the Weekstock documentary, that was really when I was like, oh, click,

780
00:45:20,120 --> 00:45:23,719
Speaker 1: click click, all these sensibilities drag is part of this,

781
00:45:24,360 --> 00:45:29,600
Speaker 1: And that's where I really was able to say, oh,

782
00:45:29,640 --> 00:45:32,279
Speaker 1: all these things that I am already drawn to, or

783
00:45:32,320 --> 00:45:35,200
Speaker 1: that I already am, there's a container for that, and

784
00:45:35,239 --> 00:45:37,960
Speaker 1: it's this thing called drag. And that's how you get

785
00:45:37,960 --> 00:45:41,040
Speaker 1: to incorporate all of it. That is drag, drags the clock,

786
00:45:41,080 --> 00:45:43,440
Speaker 1: and then everything else is sort of the gear and

787
00:45:43,520 --> 00:45:46,200
Speaker 1: the hand and all that saying. I can't think of

788
00:45:46,239 --> 00:45:49,799
Speaker 1: a modern equivalent to like an Elvira, a peewee, like

789
00:45:49,880 --> 00:45:51,879
Speaker 1: someone who will not break on it like that though,

790
00:45:51,920 --> 00:45:55,360
Speaker 1: because we're obsessed with knowing whoeverone is. Does Pete Davidson

791
00:45:55,520 --> 00:45:59,800
Speaker 1: how I don't know about that? But I mean, I

792
00:46:00,120 --> 00:46:01,880
Speaker 1: gonna bring up age just because Matt and I were

793
00:46:01,920 --> 00:46:04,640
Speaker 1: on a Jimmy Glick kick recently and Jimmy Glick is

794
00:46:04,680 --> 00:46:08,360
Speaker 1: like it's it's so ridiculous, And there are problematic aspects

795
00:46:08,360 --> 00:46:12,680
Speaker 1: of Jimmy Glick obviously, but like there's something really pretty

796
00:46:12,719 --> 00:46:15,959
Speaker 1: brilliant about Martin Short, just like staying in that zone

797
00:46:15,960 --> 00:46:18,600
Speaker 1: and having Jimminy Glick be the delivery system for his

798
00:46:19,080 --> 00:46:22,160
Speaker 1: most vile, toxic, mean, rude thoughts and he would just

799
00:46:22,200 --> 00:46:24,719
Speaker 1: insult his guests. You know, you know who is maybe

800
00:46:24,719 --> 00:46:29,280
Speaker 1: our closest thing is Stephen Colbert. Sure, Yeah, totally totally

801
00:46:29,480 --> 00:46:34,160
Speaker 1: less so now but right, and Amy Sedaris has built

802
00:46:34,920 --> 00:46:39,359
Speaker 1: like even just her out of Jerry Blank drag, Like

803
00:46:39,480 --> 00:46:43,520
Speaker 1: by creating at Home with Amy Sedaris, She's created a

804
00:46:43,719 --> 00:46:49,279
Speaker 1: version of herself that is Amy Sedaris, but also a heightened,

805
00:46:49,840 --> 00:46:53,200
Speaker 1: you know, clown form of her. You know what's funny

806
00:46:53,320 --> 00:46:56,960
Speaker 1: is I completely agree with Dayla, And also I think

807
00:46:57,000 --> 00:47:03,879
Speaker 1: there's something very powerful about just us talking about ourselves

808
00:47:04,120 --> 00:47:07,920
Speaker 1: and talking about our lives. You know, Like I really

809
00:47:08,040 --> 00:47:11,680
Speaker 1: did miss the anonymity that I gave up when I

810
00:47:11,719 --> 00:47:14,440
Speaker 1: did drag Race. Like I used to be able to

811
00:47:14,480 --> 00:47:16,920
Speaker 1: be Jinks and then get out of drag and no

812
00:47:16,920 --> 00:47:20,080
Speaker 1: one knew who I was in Seattle. I mean, like

813
00:47:20,280 --> 00:47:24,759
Speaker 1: the more popular I got within the drag scene, the

814
00:47:24,880 --> 00:47:28,200
Speaker 1: less that was. But like I still was able to

815
00:47:28,280 --> 00:47:32,160
Speaker 1: like go places out of drag and just be a

816
00:47:32,280 --> 00:47:35,560
Speaker 1: human being and that's kind of gone from me now.

817
00:47:37,360 --> 00:47:44,800
Speaker 1: But to know that people who resonate with the stories

818
00:47:44,800 --> 00:47:48,399
Speaker 1: that I've been very candid with to know that that

819
00:47:48,520 --> 00:47:51,960
Speaker 1: inspires them and helps them in the same way that

820
00:47:52,040 --> 00:47:54,400
Speaker 1: drag queens did that for me. It might be like

821
00:47:54,520 --> 00:47:58,160
Speaker 1: through different forms, you know, but like people are drawing

822
00:47:58,160 --> 00:48:01,480
Speaker 1: inspiration from me the same way I drew inspiration from

823
00:48:01,960 --> 00:48:05,720
Speaker 1: Lady Bunny and Coco Peru and you know, the old

824
00:48:05,800 --> 00:48:09,520
Speaker 1: guard of drag, the generation that paved this path for me.

825
00:48:10,800 --> 00:48:15,359
Speaker 1: So uh, it's it's give and take. I'm okay with

826
00:48:15,440 --> 00:48:18,360
Speaker 1: it is the thing. It's like, I'm okay and I

827
00:48:18,520 --> 00:48:21,160
Speaker 1: still do what I love to do and they assign

828
00:48:21,280 --> 00:48:24,040
Speaker 1: meaning to it. I always say, listen, I'm really really

829
00:48:24,080 --> 00:48:27,080
Speaker 1: happy to pay it forward. If me getting on stage

830
00:48:27,080 --> 00:48:30,120
Speaker 1: and telling a bunch of satirical dick jokes makes you

831
00:48:30,239 --> 00:48:33,799
Speaker 1: feel more seen than, it's a win win total in us.

832
00:48:34,320 --> 00:48:37,960
Speaker 1: Beautiful Jinx, What about you the culture that made you

833
00:48:38,000 --> 00:48:41,160
Speaker 1: say culture was for you? Um, I'm gonna weave a

834
00:48:41,160 --> 00:48:46,520
Speaker 1: tale of many things that have all fit together, but

835
00:48:46,560 --> 00:48:51,919
Speaker 1: I think my my answer is LARPing, live, oh, role playing.

836
00:48:51,960 --> 00:48:56,799
Speaker 1: Oh my goodness. Now, in middle school, all of my

837
00:48:56,880 --> 00:48:59,919
Speaker 1: friends were Mormons, but I didn't know what Mormons were.

838
00:49:01,120 --> 00:49:06,400
Speaker 1: But these were Portland Mormons, so they were very liberal Mormons.

839
00:49:07,000 --> 00:49:12,279
Speaker 1: And their favorite things were the King Arthur Legends and

840
00:49:12,880 --> 00:49:18,120
Speaker 1: Rocky Horror Picture Show. And so we did a lot

841
00:49:18,160 --> 00:49:20,279
Speaker 1: of things. Yeah, we did a lot of We would

842
00:49:20,320 --> 00:49:22,880
Speaker 1: put on the soundtrack and act out the soundtrack. That

843
00:49:22,920 --> 00:49:26,719
Speaker 1: happened a lot. We all had nicknames based off of

844
00:49:27,400 --> 00:49:32,520
Speaker 1: characters in the King Arthur legends. I was Queen Gwenevere,

845
00:49:32,560 --> 00:49:35,440
Speaker 1: and then I was a greade below or two grades

846
00:49:35,480 --> 00:49:39,520
Speaker 1: below most of the friends in this group, so their

847
00:49:39,600 --> 00:49:45,840
Speaker 1: eighth grade graduation. After the last day of school, we

848
00:49:45,880 --> 00:49:49,640
Speaker 1: went to a park and larked for like three hours.

849
00:49:50,640 --> 00:49:55,400
Speaker 1: And I guess the reason why this is so important

850
00:49:55,440 --> 00:49:59,440
Speaker 1: to me is because it was this moment of realizing

851
00:49:59,480 --> 00:50:04,120
Speaker 1: that if you are just honest about having an interest

852
00:50:04,160 --> 00:50:08,400
Speaker 1: in something, you might find people who share that interest,

853
00:50:08,520 --> 00:50:12,799
Speaker 1: even if it's the dorkiest interest, something you would never

854
00:50:12,960 --> 00:50:16,440
Speaker 1: want to even reveal about yourself. But if you find

855
00:50:16,480 --> 00:50:19,600
Speaker 1: a way to safely reveal that, you might find people

856
00:50:20,239 --> 00:50:26,200
Speaker 1: who share the interest. And like I sincerely loved dressing

857
00:50:26,280 --> 00:50:28,919
Speaker 1: up in Renaissance gear and running around in this park

858
00:50:28,960 --> 00:50:31,840
Speaker 1: with my friends and pretending I was a shape shifter.

859
00:50:32,360 --> 00:50:35,840
Speaker 1: I had this Perier bottle that I had peeled the

860
00:50:35,880 --> 00:50:38,560
Speaker 1: labels off of and it was my shape shifting potion.

861
00:50:39,040 --> 00:50:42,239
Speaker 1: It led to me cracking my tooth. Oh, because they're

862
00:50:42,280 --> 00:50:45,680
Speaker 1: so hard, those bottles. Yeah, someone bumped into me and

863
00:50:45,719 --> 00:50:48,520
Speaker 1: it broke my tooth. And I used to lie and

864
00:50:48,560 --> 00:50:51,000
Speaker 1: say it was a skateboarding accident because I didn't want

865
00:50:51,000 --> 00:50:53,799
Speaker 1: to admit that it was from live action role play.

866
00:50:54,360 --> 00:50:56,880
Speaker 1: But you know, when I think about that, I'm like,

867
00:50:57,040 --> 00:51:00,400
Speaker 1: that just showed me that, like, there are people in

868
00:51:00,440 --> 00:51:02,480
Speaker 1: the world who want to play make believe with you.

869
00:51:02,600 --> 00:51:04,680
Speaker 1: And then it wasn't long after that I saw my

870
00:51:04,719 --> 00:51:07,400
Speaker 1: first drag show. It wasn't long after that that I

871
00:51:07,400 --> 00:51:10,319
Speaker 1: started doing drag and that was just like, those are

872
00:51:10,320 --> 00:51:14,960
Speaker 1: the breadcrumbs of leading to me being me. And then

873
00:51:15,000 --> 00:51:18,920
Speaker 1: I think about The Dresden Dolls and Amanda Palmer. The

874
00:51:18,960 --> 00:51:22,040
Speaker 1: Dresden Doll the first band of my youth that was

875
00:51:22,080 --> 00:51:24,719
Speaker 1: like not a band that my parents listened to when

876
00:51:24,719 --> 00:51:29,000
Speaker 1: I found myself, and it was like so very much.

877
00:51:29,040 --> 00:51:31,200
Speaker 1: It was the exact kind of music I had always

878
00:51:31,280 --> 00:51:34,759
Speaker 1: been waiting for. That Amanda Palmer became this big icon

879
00:51:34,800 --> 00:51:37,840
Speaker 1: to me. Amanda Palmer's gone on to do such amazing things.

880
00:51:38,440 --> 00:51:41,400
Speaker 1: She's continued to be this icon. We got to do

881
00:51:41,440 --> 00:51:44,520
Speaker 1: a duet together. She put out a book and a

882
00:51:44,600 --> 00:51:46,640
Speaker 1: Ted Talk, So if you can't read, you can listen

883
00:51:46,640 --> 00:51:49,920
Speaker 1: to the Ted Talk. But it's called the Art of Asking.

884
00:51:50,000 --> 00:51:53,640
Speaker 1: And that's how I started this whole rant. But the

885
00:51:53,760 --> 00:51:57,600
Speaker 1: art of asking. It's just the concept that if you

886
00:51:57,760 --> 00:52:01,239
Speaker 1: are honest with the world about what it is you

887
00:52:01,320 --> 00:52:04,279
Speaker 1: need or what it is you're looking for, then you

888
00:52:04,400 --> 00:52:06,799
Speaker 1: might find people who want to give it to you,

889
00:52:06,920 --> 00:52:09,600
Speaker 1: and you might not ask for anything in return. They

890
00:52:09,680 --> 00:52:12,480
Speaker 1: might just be looking for someone to give this thing to.

891
00:52:13,080 --> 00:52:16,400
Speaker 1: But you'll never know until you ask. Yeah. So I

892
00:52:16,440 --> 00:52:18,880
Speaker 1: think we've been conditioned to think that we have to

893
00:52:18,920 --> 00:52:21,680
Speaker 1: do everything on our own. And if you need help

894
00:52:21,800 --> 00:52:24,399
Speaker 1: from others, or if you need to ask for help,

895
00:52:24,480 --> 00:52:27,040
Speaker 1: or if you need to ask for assistance, or you're

896
00:52:27,080 --> 00:52:30,960
Speaker 1: searching for people with similar interests, then you're somehow weak

897
00:52:31,360 --> 00:52:35,120
Speaker 1: or less apt or less like fit for the world.

898
00:52:35,520 --> 00:52:39,920
Speaker 1: But a man Palmer says, Nah, there are just times

899
00:52:39,960 --> 00:52:42,879
Speaker 1: when if you ask, you can receive, and it's as

900
00:52:42,920 --> 00:52:49,760
Speaker 1: simple as that. That's wonderful. Between the Dresden Dolls and Larking,

901
00:52:49,920 --> 00:52:53,399
Speaker 1: I think there's this shared thing of like esthetics, where

902
00:52:53,760 --> 00:52:56,279
Speaker 1: like Listen, I never larped, but I would do this

903
00:52:56,400 --> 00:53:01,240
Speaker 1: thing I was like squarely in the eighth grade, let's say,

904
00:53:02,560 --> 00:53:05,799
Speaker 1: going to Chinese school on Sundays, and what I would

905
00:53:05,840 --> 00:53:09,440
Speaker 1: do with the kids in like the fifth grade who

906
00:53:09,440 --> 00:53:12,279
Speaker 1: were around these like all the Chinese kids, kind of

907
00:53:12,280 --> 00:53:14,719
Speaker 1: like we're in the same soup or whatever. And then

908
00:53:14,719 --> 00:53:17,839
Speaker 1: we all like went outside and I would lead these

909
00:53:17,920 --> 00:53:22,680
Speaker 1: like this weird high fantasy like adventure where I was

910
00:53:22,760 --> 00:53:25,360
Speaker 1: the dark Lord and these kids had to chase me

911
00:53:25,480 --> 00:53:28,200
Speaker 1: down and fight me with their spells. But the thing is,

912
00:53:28,200 --> 00:53:31,040
Speaker 1: we didn't have costumes. And so between the Dressdin Dolls

913
00:53:31,040 --> 00:53:33,880
Speaker 1: and you LARPing as Guinevere with your potion, like you

914
00:53:34,000 --> 00:53:37,120
Speaker 1: had costumes and props, and I feel like the Dressden

915
00:53:37,160 --> 00:53:40,719
Speaker 1: Dolls were this group who like embraced this like fusion

916
00:53:40,760 --> 00:53:44,280
Speaker 1: of cabaret and punk and so like it was steampunk

917
00:53:44,560 --> 00:53:50,000
Speaker 1: cabaret punk punk. It was also like very clear even

918
00:53:50,040 --> 00:53:53,560
Speaker 1: though they were a male and a female, and but

919
00:53:53,680 --> 00:53:56,719
Speaker 1: like I would venture that Amanda Palmer identifies as queer,

920
00:53:57,160 --> 00:54:01,560
Speaker 1: and they exuded it at a time when I wasn't

921
00:54:01,719 --> 00:54:05,120
Speaker 1: seeing a lot of queerness and media, I was assigning

922
00:54:05,280 --> 00:54:08,920
Speaker 1: queerness two things, right, you know, remember when we didn't

923
00:54:09,040 --> 00:54:11,480
Speaker 1: used to get to see ourselves on TV, so we

924
00:54:11,520 --> 00:54:14,920
Speaker 1: had to find ourselves. I've always found myself in the

925
00:54:14,960 --> 00:54:20,279
Speaker 1: most random of places, like magic al dispel on ducktails,

926
00:54:20,360 --> 00:54:27,600
Speaker 1: remember that freaking he stuck It's why little queer kids

927
00:54:27,640 --> 00:54:31,040
Speaker 1: are always choosing who they choose in video games, you

928
00:54:31,080 --> 00:54:32,960
Speaker 1: know what I mean. Yeah, I think it's a much

929
00:54:33,000 --> 00:54:37,040
Speaker 1: more mainstream instinct than people realize that they want to

930
00:54:37,040 --> 00:54:39,560
Speaker 1: disappear into something. I mean, even little kids when they're

931
00:54:39,560 --> 00:54:43,040
Speaker 1: playing like man Hunt. You know, there's this fantasy they're

932
00:54:43,080 --> 00:54:46,120
Speaker 1: playing about about hunting and being hunt dead that they

933
00:54:46,160 --> 00:54:49,520
Speaker 1: do in a safe way, or like with video games

934
00:54:49,640 --> 00:54:52,560
Speaker 1: or even in school. I remember my favorite things were where.

935
00:54:52,600 --> 00:54:55,520
Speaker 1: I remember when I was in eighth grade, we were

936
00:54:55,520 --> 00:54:58,719
Speaker 1: going to re enact the Boston massacre trial and I

937
00:54:58,800 --> 00:55:01,400
Speaker 1: was John Adams the Law and it was my favorite

938
00:55:01,440 --> 00:55:05,279
Speaker 1: thing because I would write these long, long speeches to

939
00:55:05,400 --> 00:55:08,279
Speaker 1: give in front of the jury. And I remember I

940
00:55:08,320 --> 00:55:11,000
Speaker 1: think people were afraid of how hard I was committing

941
00:55:11,040 --> 00:55:13,320
Speaker 1: to it, and I was really willing to commit to

942
00:55:13,360 --> 00:55:15,520
Speaker 1: commit to it because I think they were like, it

943
00:55:15,560 --> 00:55:18,560
Speaker 1: wasn't cool to commit to it. It seemed gay to

944
00:55:18,640 --> 00:55:21,200
Speaker 1: commit to this thing, so they didn't vote for me

945
00:55:21,280 --> 00:55:23,160
Speaker 1: at the end. And I remember I did not win

946
00:55:23,239 --> 00:55:27,920
Speaker 1: the tribe. It was really like that. It was very overdrawn,

947
00:55:28,000 --> 00:55:30,400
Speaker 1: and I'm telling you, my closing argument to the jury

948
00:55:30,480 --> 00:55:33,920
Speaker 1: was like ten pages and I'll never forget. My teacher,

949
00:55:34,040 --> 00:55:36,879
Speaker 1: mister Tapagna, pulled me over to the side and he said,

950
00:55:36,960 --> 00:55:40,200
Speaker 1: I want you to know that I appreciate what you've done,

951
00:55:40,239 --> 00:55:41,839
Speaker 1: and I want you to give me that because it's

952
00:55:41,880 --> 00:55:44,240
Speaker 1: one of the best things I've had written in my class.

953
00:55:44,239 --> 00:55:46,680
Speaker 1: And he saw that I tried hard and committed it

954
00:55:46,680 --> 00:55:49,319
Speaker 1: and wanted to live out the fantasy. And it's like

955
00:55:49,400 --> 00:55:52,319
Speaker 1: that thing where you see a kid wanting to live

956
00:55:52,320 --> 00:55:54,799
Speaker 1: out fantasy and other like their peers like stomp it

957
00:55:54,840 --> 00:55:57,759
Speaker 1: out a little bit. And there is that instinct, I think,

958
00:55:57,800 --> 00:56:01,000
Speaker 1: to stomp out creativity and stomp out like imagination, and

959
00:56:01,040 --> 00:56:04,120
Speaker 1: we see it now more than ever because of fear

960
00:56:04,520 --> 00:56:07,239
Speaker 1: and because maybe that you'll look stupid if you try

961
00:56:07,239 --> 00:56:09,520
Speaker 1: to do the same thing. But I really appreciated that

962
00:56:09,600 --> 00:56:12,680
Speaker 1: someone in my life encourage that. Like I said, I

963
00:56:12,719 --> 00:56:14,959
Speaker 1: do think like if we all were more in touch

964
00:56:14,960 --> 00:56:17,279
Speaker 1: with our inner children, we all would be doing more

965
00:56:17,320 --> 00:56:20,600
Speaker 1: things like that. Because it's fantasy, it's imagination, it's fun,

966
00:56:20,640 --> 00:56:23,480
Speaker 1: it doesn't have to be scary or weird. You know. Yeah,

967
00:56:23,480 --> 00:56:26,520
Speaker 1: it's interesting that it's niche because it's actually so universal.

968
00:56:27,600 --> 00:56:31,120
Speaker 1: I think it's why video games are like such a

969
00:56:31,120 --> 00:56:32,879
Speaker 1: big part of our culture. And we're talking a lot

970
00:56:32,920 --> 00:56:35,279
Speaker 1: about queerness and video games, and I think video game

971
00:56:35,280 --> 00:56:37,880
Speaker 1: developers are having to realize that they have a huge

972
00:56:38,000 --> 00:56:41,759
Speaker 1: queer audience because I don't think people realize it. But

973
00:56:41,800 --> 00:56:44,760
Speaker 1: like video games were a safe space for queer kids,

974
00:56:44,920 --> 00:56:47,680
Speaker 1: ye because you could play by yourself, and just like

975
00:56:47,719 --> 00:56:52,120
Speaker 1: you were saying, you choose characters. Especially nowadays, you can

976
00:56:52,160 --> 00:56:55,200
Speaker 1: customize this character, so who cares who you are in

977
00:56:55,239 --> 00:56:57,440
Speaker 1: your day to day life. You can be who you

978
00:56:57,480 --> 00:57:00,960
Speaker 1: want to be in video games and no one has

979
00:57:01,040 --> 00:57:05,000
Speaker 1: to know. And so that's why this kind of representation

980
00:57:05,200 --> 00:57:08,640
Speaker 1: is important. But I think we should just find ways

981
00:57:08,680 --> 00:57:11,279
Speaker 1: to make life more like video games. We should just

982
00:57:11,440 --> 00:57:15,319
Speaker 1: let people be their avatars in their day to day

983
00:57:15,360 --> 00:57:19,000
Speaker 1: life without judgment. I mean, alok v men, And sorry,

984
00:57:19,000 --> 00:57:21,560
Speaker 1: I know I'm on such a tangent right now, but

985
00:57:21,680 --> 00:57:24,920
Speaker 1: Aloke is always talking about the reason why people try

986
00:57:24,960 --> 00:57:29,280
Speaker 1: to squash out that creativity is because they're afraid, And

987
00:57:29,320 --> 00:57:32,520
Speaker 1: you were just saying fear, but it's like it's fear

988
00:57:32,560 --> 00:57:36,600
Speaker 1: of two things. It's fear of someone else living that

989
00:57:36,680 --> 00:57:40,760
Speaker 1: kind of freedom and having to reconcile that they're being

990
00:57:40,880 --> 00:57:44,920
Speaker 1: free and realizing that you're not free, and so having

991
00:57:44,960 --> 00:57:48,640
Speaker 1: to admit that you've been living under this like brainwashed

992
00:57:48,760 --> 00:57:51,960
Speaker 1: conditioning your whole life, and if you wanted to, you

993
00:57:52,000 --> 00:57:54,560
Speaker 1: could actually be free of that. But then also the

994
00:57:54,600 --> 00:57:57,760
Speaker 1: fear of like what would that feel like to let

995
00:57:57,800 --> 00:58:01,520
Speaker 1: all the rules go and of everything we've been taught

996
00:58:01,560 --> 00:58:06,480
Speaker 1: and just actually live authentically, Like that's terrifying for some people,

997
00:58:06,880 --> 00:58:09,760
Speaker 1: and queer people were just used to being terrified, so

998
00:58:09,920 --> 00:58:13,040
Speaker 1: we go for it, right, Yeah, Yeah, yeah, I think

999
00:58:13,040 --> 00:58:15,480
Speaker 1: that's true. It's it's very hard and scary to live

1000
00:58:15,520 --> 00:58:18,720
Speaker 1: your life open to things and taking risks because you

1001
00:58:18,720 --> 00:58:22,640
Speaker 1: get hurt, you know, like especially like when that's intrinsically

1002
00:58:22,640 --> 00:58:24,600
Speaker 1: who you are and who you want to be, you know,

1003
00:58:24,720 --> 00:58:27,280
Speaker 1: especially like living in a world where you are told

1004
00:58:27,480 --> 00:58:30,040
Speaker 1: in a macro sense like you don't fit in here,

1005
00:58:30,480 --> 00:58:34,240
Speaker 1: and so then you're like alone with yourself and you think, well,

1006
00:58:34,280 --> 00:58:35,880
Speaker 1: at a certain point, I look back and I think

1007
00:58:35,920 --> 00:58:37,640
Speaker 1: that actually was a gift, because I'm like, well, if

1008
00:58:37,680 --> 00:58:39,440
Speaker 1: I don't belong here, let me look around for what

1009
00:58:39,560 --> 00:58:41,800
Speaker 1: I do belong. And then it's the asking of it

1010
00:58:41,840 --> 00:58:44,560
Speaker 1: all that you mentioned. It is the finding of community,

1011
00:58:44,600 --> 00:58:48,040
Speaker 1: and then you find your you know, bow and yang

1012
00:58:48,080 --> 00:58:50,400
Speaker 1: to you, or you're been to you or your jings

1013
00:58:50,440 --> 00:58:53,120
Speaker 1: to you, and like you feel encouraged and you feel

1014
00:58:53,360 --> 00:58:56,919
Speaker 1: more like yourself through community. Absolutely. I mean, I think

1015
00:58:56,960 --> 00:58:59,800
Speaker 1: that as queer people, we spend a lot of childhood

1016
00:58:59,840 --> 00:59:04,080
Speaker 1: like waiting for adulthood and then explode into an extreme

1017
00:59:04,360 --> 00:59:07,240
Speaker 1: right because it's been getting pent up for all that time.

1018
00:59:07,480 --> 00:59:09,680
Speaker 1: It's and I think one of the beautiful things about

1019
00:59:09,680 --> 00:59:12,080
Speaker 1: the video game Aspect Right is that, like we just

1020
00:59:12,120 --> 00:59:16,280
Speaker 1: had to wait until we had access to anything that

1021
00:59:16,320 --> 00:59:19,240
Speaker 1: could help us sort of present ourselves the way that

1022
00:59:19,280 --> 00:59:21,840
Speaker 1: we see ourselves, or that we had like a safe

1023
00:59:21,920 --> 00:59:24,600
Speaker 1: environment where we could present ourselves in the way that

1024
00:59:24,600 --> 00:59:29,000
Speaker 1: we see ourselves. And now there is this outlet for

1025
00:59:29,280 --> 00:59:32,880
Speaker 1: queer kids to have some of that. You know. One

1026
00:59:32,880 --> 00:59:34,600
Speaker 1: of my favorite this is actually, I'm sorry this is

1027
00:59:34,600 --> 00:59:36,240
Speaker 1: a tangent, but one of my favorite things to ever

1028
00:59:36,280 --> 00:59:41,400
Speaker 1: be on SNL is Wells for Boys. Oh my god,

1029
00:59:40,600 --> 00:59:44,040
Speaker 1: it's I think it was a water actually, I mean,

1030
00:59:44,120 --> 00:59:47,920
Speaker 1: I think that was a huge deal that was so explicitly,

1031
00:59:48,000 --> 00:59:52,840
Speaker 1: intrinsically deeply queer. Yeah, that was just a way that

1032
00:59:52,920 --> 00:59:56,160
Speaker 1: I've seen myself reflected in media that I have not

1033
00:59:56,280 --> 00:59:58,400
Speaker 1: seen before. But I really, you know, I think a

1034
00:59:58,440 --> 01:00:00,360
Speaker 1: lot of us that's the thing is we just like

1035
01:00:00,400 --> 01:00:02,720
Speaker 1: sit around and wait to be grown up so that

1036
01:00:02,760 --> 01:00:05,560
Speaker 1: we can do anything about it. And then of course

1037
01:00:05,600 --> 01:00:07,240
Speaker 1: we're just going to be like totally balls to the

1038
01:00:07,240 --> 01:00:09,920
Speaker 1: wall by the time we get there totally. I think

1039
01:00:10,200 --> 01:00:12,520
Speaker 1: I am trying to maybe connect too many dots here,

1040
01:00:12,520 --> 01:00:16,120
Speaker 1: But I think, like the thing, the thing from day Alt,

1041
01:00:16,160 --> 01:00:19,560
Speaker 1: the thing from Jenks about these cultural touchdones is that

1042
01:00:19,600 --> 01:00:24,720
Speaker 1: like aesthetics matter in that it is what communicates, It

1043
01:00:24,760 --> 01:00:26,760
Speaker 1: is the medium of communication for people. That's I think

1044
01:00:26,800 --> 01:00:29,520
Speaker 1: that's why, like I always say, like it's not shallow

1045
01:00:29,560 --> 01:00:30,960
Speaker 1: to like care about the way you look, even if

1046
01:00:30,960 --> 01:00:32,720
Speaker 1: it goes against a beauty standard, but it goes if

1047
01:00:32,760 --> 01:00:34,880
Speaker 1: it goes along with the beauty standard. It's like it's

1048
01:00:34,920 --> 01:00:38,560
Speaker 1: important because it might actually play into like a gender

1049
01:00:38,560 --> 01:00:40,840
Speaker 1: expression or another kind of expression. But then I think

1050
01:00:40,840 --> 01:00:43,640
Speaker 1: it's also the reason why not to bring this into

1051
01:00:43,640 --> 01:00:46,280
Speaker 1: the chat. But like the drag bans are like all

1052
01:00:46,280 --> 01:00:49,200
Speaker 1: of a sudden very prolific, is because drag ends up

1053
01:00:49,240 --> 01:00:54,360
Speaker 1: being the most aesthetically impactful thing across the board. And

1054
01:00:54,360 --> 01:00:57,720
Speaker 1: so it's the thing that like Stokes fear in certain

1055
01:00:57,760 --> 01:01:00,960
Speaker 1: people who think, well, this is the most dire dangerous

1056
01:01:00,960 --> 01:01:02,880
Speaker 1: thing that's going on right now, even though it does

1057
01:01:02,880 --> 01:01:05,520
Speaker 1: not pose any threat to them. But it's only because

1058
01:01:05,560 --> 01:01:08,560
Speaker 1: there's this aesthetic quality to drag that like says so

1059
01:01:08,640 --> 01:01:12,800
Speaker 1: much without really saying anything verbally orally. Does that make sense?

1060
01:01:12,840 --> 01:01:15,919
Speaker 1: It's like what we were talking about earlier about like

1061
01:01:16,600 --> 01:01:19,240
Speaker 1: you get to start from a more honest place with

1062
01:01:19,360 --> 01:01:22,880
Speaker 1: new people that you meet. Right, Like, my life has

1063
01:01:22,960 --> 01:01:27,800
Speaker 1: improved so much now that I've started presenting as the

1064
01:01:27,880 --> 01:01:31,240
Speaker 1: way that I feel inside, because people call me ma'am

1065
01:01:31,360 --> 01:01:38,280
Speaker 1: rather than sir, and so I respond joyfully rather than cranky. Yeah, exactly.

1066
01:01:39,720 --> 01:01:44,480
Speaker 1: So yeah, aesthetic, aesthetic presentation can be more important than

1067
01:01:44,560 --> 01:01:50,480
Speaker 1: just you know, vanity or it's not all about ego now,

1068
01:01:50,600 --> 01:01:55,320
Speaker 1: it is also about having a conversation without words. Well

1069
01:01:55,360 --> 01:01:57,400
Speaker 1: and dragon, I think, I mean, I think it's also

1070
01:01:57,480 --> 01:02:01,360
Speaker 1: scary to people in general. But right now, obviously there's

1071
01:02:01,400 --> 01:02:05,400
Speaker 1: a lot happening with drag right now in our country

1072
01:02:05,840 --> 01:02:08,440
Speaker 1: that's like bizarrely high profile. I still it feels surreal

1073
01:02:08,480 --> 01:02:11,240
Speaker 1: to me, but it also feels so familiar, right It's

1074
01:02:11,280 --> 01:02:13,160
Speaker 1: like I think a lot of people are reacting to

1075
01:02:13,160 --> 01:02:14,919
Speaker 1: it in this way where it's like WHOA, who could

1076
01:02:14,920 --> 01:02:16,800
Speaker 1: have seen this? And I'm like, I think most of us,

1077
01:02:16,880 --> 01:02:19,560
Speaker 1: you know, And it started there like that's it was

1078
01:02:19,720 --> 01:02:22,680
Speaker 1: recent history that drag was regarded in this way, and

1079
01:02:22,720 --> 01:02:25,960
Speaker 1: I think it's because it's like, it is the aesthetics

1080
01:02:26,000 --> 01:02:30,080
Speaker 1: about a claiming power. It's about being the most powerful

1081
01:02:30,120 --> 01:02:32,840
Speaker 1: person in the room, and that's huge. And that's what

1082
01:02:32,880 --> 01:02:35,360
Speaker 1: it was in like bull culture in Paris is burning.

1083
01:02:35,360 --> 01:02:37,440
Speaker 1: It was being like, okay, we're not rich and straight,

1084
01:02:37,520 --> 01:02:41,400
Speaker 1: but we can still claim that power in these spaces.

1085
01:02:41,640 --> 01:02:44,880
Speaker 1: And now we're in all the spaces, and of course

1086
01:02:44,880 --> 01:02:48,160
Speaker 1: it's terrifying to people because yeah, yeah, I don't fear

1087
01:02:48,320 --> 01:02:51,560
Speaker 1: controls people. And imagine imagine being like a god fearing

1088
01:02:51,640 --> 01:02:54,320
Speaker 1: person who's been taught that feels that way, and then

1089
01:02:54,360 --> 01:02:57,080
Speaker 1: hearing someone like RuPaul saying I am God and drag,

1090
01:02:57,560 --> 01:03:00,160
Speaker 1: you know what I mean, And suddenly there's hundred of

1091
01:03:00,360 --> 01:03:02,840
Speaker 1: like I guess what ru would call it, monsters running

1092
01:03:02,840 --> 01:03:05,960
Speaker 1: around being God and drag. And then that idea, even

1093
01:03:06,000 --> 01:03:07,960
Speaker 1: if you are not a drag queen or have an

1094
01:03:07,960 --> 01:03:11,200
Speaker 1: instinct to do drag, I remember how revolutionary it was

1095
01:03:11,280 --> 01:03:15,240
Speaker 1: for me to hear that there actually were not limits.

1096
01:03:15,440 --> 01:03:17,800
Speaker 1: That is when my comedy really broke open. And I

1097
01:03:17,840 --> 01:03:21,200
Speaker 1: have to credit like the popularity of drag Race for

1098
01:03:21,440 --> 01:03:24,080
Speaker 1: showing me someone in my twenties who was very much

1099
01:03:24,200 --> 01:03:26,919
Speaker 1: doing this sort of straight drag in my comedy until

1100
01:03:26,960 --> 01:03:31,840
Speaker 1: I realized there was like an empowering thing about really

1101
01:03:32,240 --> 01:03:34,680
Speaker 1: taking your queerness and putting it out there. I mean,

1102
01:03:34,720 --> 01:03:37,160
Speaker 1: it was this weird time in my life and I

1103
01:03:37,160 --> 01:03:38,920
Speaker 1: think I'm speaking for a bow and two, which was

1104
01:03:38,960 --> 01:03:41,920
Speaker 1: like drag Race becoming huge, our friends Josh Sharp and

1105
01:03:41,920 --> 01:03:45,840
Speaker 1: Aaron Jackson, like performing at UCB, which is like a

1106
01:03:46,040 --> 01:03:48,800
Speaker 1: very hetero institution at the time, and then being so

1107
01:03:48,880 --> 01:03:53,000
Speaker 1: unapologetically their fag itself, you know what I mean, Like

1108
01:03:54,200 --> 01:03:57,480
Speaker 1: like and I just like it's this idea like, oh wow,

1109
01:03:57,600 --> 01:04:01,200
Speaker 1: I actually don't have limits, and I don't think I

1110
01:04:01,200 --> 01:04:03,800
Speaker 1: would do anything that I do now if that message

1111
01:04:03,800 --> 01:04:07,160
Speaker 1: hadn't been delivered to me. And so for queer people

1112
01:04:07,200 --> 01:04:11,120
Speaker 1: to be given this powerful message and this powerful tool

1113
01:04:11,240 --> 01:04:14,600
Speaker 1: and to realize, like, don't listen to the naysayers and

1114
01:04:14,600 --> 01:04:16,640
Speaker 1: all these things, like, of course, that's going to be

1115
01:04:16,680 --> 01:04:22,000
Speaker 1: scary for people that want controlled desperately because they're afraid. Yeah,

1116
01:04:22,000 --> 01:04:24,800
Speaker 1: but now that you've mentioned it, I will say that

1117
01:04:24,880 --> 01:04:29,480
Speaker 1: i've seen videos of your UCB characters. You're upright, since

1118
01:04:30,880 --> 01:04:35,280
Speaker 1: I've seen what was this? M Yeah, that was one

1119
01:04:35,320 --> 01:04:38,760
Speaker 1: of my favorite, the most unpredictable Batman villain of all time,

1120
01:04:38,840 --> 01:04:42,000
Speaker 1: where they didn't have an identity or like they basically

1121
01:04:42,000 --> 01:04:44,920
Speaker 1: were everything everywhere all at once if you were, and

1122
01:04:45,000 --> 01:04:47,040
Speaker 1: that would make them actually predictable, because if you think

1123
01:04:47,040 --> 01:04:50,120
Speaker 1: about these Batman villains, it's like, okay, so they're the Joker.

1124
01:04:50,240 --> 01:04:52,400
Speaker 1: You know, there's going to be a card. You know,

1125
01:04:52,440 --> 01:04:54,360
Speaker 1: it's probably going to be the thing opposite of what

1126
01:04:54,400 --> 01:04:56,560
Speaker 1: they say. Like, we really could kill the Joker if

1127
01:04:56,560 --> 01:04:59,160
Speaker 1: we wanted to. I get that gothamester run and be afraid,

1128
01:04:59,440 --> 01:05:01,880
Speaker 1: but like know the Riddler. Let's just get someone who's

1129
01:05:01,920 --> 01:05:04,040
Speaker 1: good at riddles on the case, get someone who's get

1130
01:05:04,040 --> 01:05:06,000
Speaker 1: mamma who's good at wordle to come in here, and

1131
01:05:06,040 --> 01:05:09,000
Speaker 1: we can kill the Riddler to penguin honey and I

1132
01:05:09,000 --> 01:05:13,040
Speaker 1: don't know, I'll turn up the heat. Wow. Speaking of Wordle,

1133
01:05:13,080 --> 01:05:17,480
Speaker 1: we are boycotting the Times now, so yeah, listen, Wordle

1134
01:05:18,360 --> 01:05:22,520
Speaker 1: was if you played Wordle for more than two weeks

1135
01:05:23,120 --> 01:05:28,000
Speaker 1: and I used this word pejoratively. You're a fucking nerd.

1136
01:05:26,600 --> 01:05:30,720
Speaker 1: You're how we already established a love of nerddom in

1137
01:05:30,760 --> 01:05:33,760
Speaker 1: this conversation. Though, Yeah, I'm choosing in this instance to

1138
01:05:33,840 --> 01:05:36,480
Speaker 1: use it prejoratively and to actually, like weabinize that that word. Sure,

1139
01:05:36,520 --> 01:05:39,120
Speaker 1: as a queer person, you have that option absolutely, And

1140
01:05:39,160 --> 01:05:42,680
Speaker 1: I was using faggot prejoratively against Jason. I want to say,

1141
01:05:43,000 --> 01:05:47,560
Speaker 1: Eric Jackson, what a great person. I've known er ages

1142
01:05:47,720 --> 01:05:50,600
Speaker 1: and I have had the biggest crush on them my

1143
01:05:50,840 --> 01:05:56,000
Speaker 1: entire knowing them. But I just the Times. The Times

1144
01:05:55,800 --> 01:05:59,080
Speaker 1: is oh. I felt horrible because I was introducing Sam

1145
01:05:59,160 --> 01:06:01,919
Speaker 1: Lansky to a group of people, and I always love

1146
01:06:01,960 --> 01:06:04,360
Speaker 1: to brag about my friends, and I was like, Sam

1147
01:06:04,480 --> 01:06:08,360
Speaker 1: Lansky New York Times bestseller, But who gives a fuck?

1148
01:06:08,440 --> 01:06:13,920
Speaker 1: What the New York Times thing? You should say, good reads, legend,

1149
01:06:14,080 --> 01:06:26,120
Speaker 1: Sam Lancy, but don't support Amazon. I think, ma, I'm

1150
01:06:26,160 --> 01:06:28,680
Speaker 1: moving very sort of naturally into our so called I

1151
01:06:28,720 --> 01:06:31,040
Speaker 1: don't think so Honey, because there's not a bigger I

1152
01:06:31,080 --> 01:06:33,040
Speaker 1: don't think so Honey than New York Times right now.

1153
01:06:33,480 --> 01:06:36,200
Speaker 1: But this is our sixty second segment where we take

1154
01:06:36,280 --> 01:06:39,440
Speaker 1: something in pop culture and we sort of absolutely rage

1155
01:06:39,480 --> 01:06:42,520
Speaker 1: against it because it needs to be raged against. Mine's

1156
01:06:42,520 --> 01:06:45,480
Speaker 1: a little alt this week both but as a result

1157
01:06:45,560 --> 01:06:47,800
Speaker 1: of my ticket buying spree when I'm high, I've realized

1158
01:06:47,840 --> 01:06:50,920
Speaker 1: something about myself and I would pop off interesting. This

1159
01:06:51,040 --> 01:06:52,800
Speaker 1: is Matt Rogers. I don't think so many a time

1160
01:06:52,840 --> 01:06:55,520
Speaker 1: starts now. I don't think so honey, me during a

1161
01:06:55,520 --> 01:06:58,880
Speaker 1: Broadway show, I'm not watching the story. I'm watching the butts.

1162
01:06:59,320 --> 01:07:02,800
Speaker 1: Especially when I'm in the front row at Chicago, I

1163
01:07:02,840 --> 01:07:05,000
Speaker 1: am looking at your butt. I'm sorry, if you're a

1164
01:07:05,080 --> 01:07:07,120
Speaker 1: dancer in a Broadway show, I'm looking at your butt.

1165
01:07:07,360 --> 01:07:09,840
Speaker 1: It's sort of like it's it's something I can't control.

1166
01:07:10,160 --> 01:07:13,720
Speaker 1: And the garments that my guys are wearing, like, oh my,

1167
01:07:14,600 --> 01:07:18,000
Speaker 1: I'm telling it's happening at something like it Hot. It's

1168
01:07:18,080 --> 01:07:21,280
Speaker 1: happening at Chicago. It's happening over here, over there, it's

1169
01:07:21,280 --> 01:07:24,480
Speaker 1: happening at End Juliet. It's happening at I'm going to

1170
01:07:24,520 --> 01:07:28,000
Speaker 1: see a Dolls House, Jessica chast Stake. There. It's happening

1171
01:07:28,040 --> 01:07:30,360
Speaker 1: at Bet Cinderella. It's one of the only things happening

1172
01:07:30,360 --> 01:07:34,120
Speaker 1: at kidding so much, just happening at Bet Cinderella, and

1173
01:07:34,160 --> 01:07:36,400
Speaker 1: I think I had the time of my life watching it.

1174
01:07:36,440 --> 01:07:41,320
Speaker 1: But I'm still processing. Sure Broadway boys, get in the dms.

1175
01:07:41,400 --> 01:07:43,760
Speaker 1: Reach out. At the very least I can make you laugh.

1176
01:07:43,840 --> 01:07:46,560
Speaker 1: I'll take your ass. Let's have a good time, Let's

1177
01:07:46,600 --> 01:07:48,760
Speaker 1: have a drink and as twirl about the room. I

1178
01:07:48,760 --> 01:07:53,240
Speaker 1: don't think so. And that's one minute lovely. And speaking

1179
01:07:53,240 --> 01:07:56,120
Speaker 1: of Broadway asses, I would say, jinks, that suit really

1180
01:07:56,160 --> 01:07:59,720
Speaker 1: fits you nicely. The suit fits me nicely. The ass

1181
01:07:59,840 --> 01:08:05,680
Speaker 1: is fake, No it is. That's my phone drag ass silly,

1182
01:08:05,760 --> 01:08:14,840
Speaker 1: Well that number thirty None of my silly. Just the

1183
01:08:14,880 --> 01:08:18,960
Speaker 1: most gorgeous people in the world in Broadway ensembles. I mean,

1184
01:08:19,439 --> 01:08:22,760
Speaker 1: it's just I'm so happy for all of them too,

1185
01:08:22,800 --> 01:08:25,719
Speaker 1: because it does feel like an exciting time on Broadway again.

1186
01:08:25,800 --> 01:08:28,960
Speaker 1: Like I went to go see obviously you in Chicago

1187
01:08:29,040 --> 01:08:31,360
Speaker 1: and it felt like, you know, afterwards, we were lucky

1188
01:08:31,479 --> 01:08:34,439
Speaker 1: enough when you popped out, got to meet Lana Gordon

1189
01:08:34,560 --> 01:08:37,040
Speaker 1: who's playing Oh My God, and even she was saying,

1190
01:08:37,040 --> 01:08:40,000
Speaker 1: like the energy has been so great, I mean, like

1191
01:08:40,040 --> 01:08:42,479
Speaker 1: and like to hear about the houses being filled in

1192
01:08:42,520 --> 01:08:44,720
Speaker 1: the way that they have with you, with you, like

1193
01:08:44,760 --> 01:08:47,120
Speaker 1: that's amazing. Not only for you and for Broadway, but

1194
01:08:47,160 --> 01:08:51,240
Speaker 1: also for these incredibly talented people who don't always get

1195
01:08:51,280 --> 01:08:53,880
Speaker 1: receptions like that or excited audience is like that, who

1196
01:08:54,000 --> 01:08:57,160
Speaker 1: really deserve it, because this is to even get one

1197
01:08:57,160 --> 01:08:59,280
Speaker 1: of these jobs and to keep one of these jobs

1198
01:08:59,400 --> 01:09:02,920
Speaker 1: is such a feat and like just so kudos to

1199
01:09:02,960 --> 01:09:06,360
Speaker 1: all of them, and they're gorgeous. Absolutely, I will keep

1200
01:09:06,360 --> 01:09:10,160
Speaker 1: this brief, but it's a really queer time on Broadway

1201
01:09:10,240 --> 01:09:13,719
Speaker 1: right now. Lots of it's true, and it's about fucking time.

1202
01:09:14,040 --> 01:09:17,560
Speaker 1: But I'll say this because it was kind of astounding.

1203
01:09:17,600 --> 01:09:20,120
Speaker 1: I saw Take Me Out, which you probably heard about

1204
01:09:20,640 --> 01:09:24,120
Speaker 1: for Jesse Tyler's Tony winning performance in it, but also

1205
01:09:24,479 --> 01:09:28,640
Speaker 1: full frontal male nudity. Now, both with Chicago and with

1206
01:09:28,880 --> 01:09:31,320
Speaker 1: Take Me Out, there was a thing that drew queer

1207
01:09:31,360 --> 01:09:35,240
Speaker 1: audiences in full frontal male nudity, drag queen on stage,

1208
01:09:35,960 --> 01:09:39,639
Speaker 1: so there was a hook that lured audiences in. Then

1209
01:09:39,720 --> 01:09:42,080
Speaker 1: once they were in Take Me Out, it was a

1210
01:09:42,160 --> 01:09:46,360
Speaker 1: profoundly beautiful show. It was so good, it was confronting,

1211
01:09:46,479 --> 01:09:51,360
Speaker 1: it was honest, it was magnificently performed. Chicago, like you

1212
01:09:51,400 --> 01:09:56,240
Speaker 1: were saying, Lna Gordon and Charlotte dan Bois icons. They

1213
01:09:56,320 --> 01:09:58,479
Speaker 1: are gay icons who have been playing these roles for

1214
01:09:58,640 --> 01:10:02,240
Speaker 1: years and are fine finally getting to play these roles

1215
01:10:02,240 --> 01:10:05,200
Speaker 1: in front of queer audiences who are going to respect

1216
01:10:05,640 --> 01:10:08,280
Speaker 1: the work that they're doing and the level that they're

1217
01:10:08,280 --> 01:10:10,800
Speaker 1: doing it at in a way that their straight audiences

1218
01:10:10,920 --> 01:10:14,679
Speaker 1: might not have access to. So everything you just said, yes, yes, yes,

1219
01:10:14,800 --> 01:10:17,639
Speaker 1: Broadway very queer. It always has been, but now we're

1220
01:10:17,680 --> 01:10:20,840
Speaker 1: being unapologetic about it. Yeah, And I do just want

1221
01:10:20,840 --> 01:10:23,360
Speaker 1: to tag onto that, like I mentioning that I saw

1222
01:10:23,400 --> 01:10:27,000
Speaker 1: these shows just excellent, and there's also in some like

1223
01:10:27,160 --> 01:10:31,480
Speaker 1: It Hot and and Juliette, there are explicit trans narratives

1224
01:10:31,560 --> 01:10:33,920
Speaker 1: in them that like And to see that in more

1225
01:10:33,960 --> 01:10:36,400
Speaker 1: than one show on Broadway right now, not even just

1226
01:10:36,520 --> 01:10:39,679
Speaker 1: queer like it's really exciting. And I found myself looking

1227
01:10:39,720 --> 01:10:43,960
Speaker 1: around and everyone really receiving it and watching it, and

1228
01:10:44,000 --> 01:10:45,960
Speaker 1: I just think about, you know, when I was a

1229
01:10:46,000 --> 01:10:49,880
Speaker 1: little kid seeing Hairspray on Broadway like that that was

1230
01:10:49,960 --> 01:10:53,040
Speaker 1: such a revolutionary thing at the time, and to the

1231
01:10:53,120 --> 01:10:55,800
Speaker 1: progression on that and to see it really happening in

1232
01:10:55,840 --> 01:10:59,160
Speaker 1: Broadway theater, like, you know, kudos. And I've been having

1233
01:10:59,160 --> 01:11:01,120
Speaker 1: a really amazing time. I'm seeing all of these shows.

1234
01:11:02,080 --> 01:11:04,040
Speaker 1: All right, Bowen, yan, are you ready for your I

1235
01:11:04,040 --> 01:11:06,760
Speaker 1: don't think so, honey. I'm ready. I'm ready, and I

1236
01:11:06,760 --> 01:11:09,320
Speaker 1: don't know how this will be received. I feel this

1237
01:11:09,360 --> 01:11:13,640
Speaker 1: way though I do. I do well. If you feel it,

1238
01:11:13,680 --> 01:11:17,360
Speaker 1: you need to speak it, Okay, Bowen, this is your

1239
01:11:17,400 --> 01:11:19,320
Speaker 1: I don't think so, honey. Your time starts now. I

1240
01:11:19,320 --> 01:11:23,320
Speaker 1: don't think so, honey. The words macaroon, macaron, and macaroni.

1241
01:11:23,760 --> 01:11:27,920
Speaker 1: Language fails us all the time. These are three things

1242
01:11:27,960 --> 01:11:30,519
Speaker 1: that are completely different from each other, and yet they

1243
01:11:30,600 --> 01:11:33,960
Speaker 1: share the same root word. Yes, and really it doesn't

1244
01:11:33,960 --> 01:11:36,479
Speaker 1: make any sense. These are things that cannot be interchanged

1245
01:11:36,520 --> 01:11:38,760
Speaker 1: for each other. Maybe a macaroon and a macaroon can

1246
01:11:38,760 --> 01:11:42,920
Speaker 1: be interchanged for each other. They're both sweet, lovely, delectable desserts.

1247
01:11:42,960 --> 01:11:44,880
Speaker 1: They're not the same thing. And I actually don't like

1248
01:11:45,000 --> 01:11:47,560
Speaker 1: it when people refer to a French macaroon as a macaroon.

1249
01:11:47,640 --> 01:11:52,000
Speaker 1: There's no coconut, there's no almond, carelessly tossing this term around.

1250
01:11:52,720 --> 01:11:56,080
Speaker 1: Words matter, and yet words fail us. It is a

1251
01:11:56,280 --> 01:12:01,160
Speaker 1: terrible conundrum we are in. As English speaker. I truly

1252
01:12:01,280 --> 01:12:03,360
Speaker 1: mourn the loss of other languages and an era of

1253
01:12:03,360 --> 01:12:06,640
Speaker 1: globalization in an era when every person on earth is

1254
01:12:06,680 --> 01:12:09,920
Speaker 1: expected to know some English, when they have gorgeous mother

1255
01:12:10,040 --> 01:12:14,479
Speaker 1: tongues that can more readily wield these three different foods

1256
01:12:14,560 --> 01:12:19,479
Speaker 1: with different terms macaroni, macaroon, macaron different things entirely. And

1257
01:12:19,520 --> 01:12:23,840
Speaker 1: that's one minute, My girl said, era of globalization. It's true,

1258
01:12:23,960 --> 01:12:26,000
Speaker 1: it's true. I may you say something subversive, which is

1259
01:12:26,000 --> 01:12:28,479
Speaker 1: that I think a macaron is disgusting, and I'm really

1260
01:12:28,560 --> 01:12:33,320
Speaker 1: upset when somebody offers me a macaroon and get out

1261
01:12:33,320 --> 01:12:36,000
Speaker 1: of here. Get out of here, because a macaron is delectable.

1262
01:12:36,320 --> 01:12:39,599
Speaker 1: I feel the opposite. Ben Well, but we're Jack Spratt

1263
01:12:39,640 --> 01:12:41,400
Speaker 1: and his wife. We're going to polish them all off.

1264
01:12:43,439 --> 01:12:46,200
Speaker 1: I love macaroni. I love macaroni too. I love it.

1265
01:12:46,240 --> 01:12:48,720
Speaker 1: I always forget when someone says macaroni that they don't

1266
01:12:48,720 --> 01:12:52,240
Speaker 1: necessarily mean elbow. But I think of elbow macaroni when

1267
01:12:52,240 --> 01:12:54,200
Speaker 1: I think of macaroni. But it could literally be any

1268
01:12:54,240 --> 01:12:58,639
Speaker 1: tubular pasta. Let's just I didn't know that. Yeah, I'm

1269
01:12:58,720 --> 01:13:04,439
Speaker 1: learning so much here. Any tubular pasta macaroni, Yes, any

1270
01:13:04,479 --> 01:13:09,880
Speaker 1: tubular pasta macaroni. It's square rectangle sort of thing. So

1271
01:13:10,000 --> 01:13:13,720
Speaker 1: Penney is macaroni. Penny is considered macaroni. Next time you go.

1272
01:13:14,080 --> 01:13:16,320
Speaker 1: I don't think so, honey. If you go and buy

1273
01:13:16,320 --> 01:13:19,280
Speaker 1: a penny at the store, you're going to see macaroni

1274
01:13:19,320 --> 01:13:23,759
Speaker 1: on the box. I don't think it's very's telling meat

1275
01:13:24,120 --> 01:13:28,479
Speaker 1: is macaroni. Forget it? It's square rectangle. Wow, that might

1276
01:13:28,520 --> 01:13:31,200
Speaker 1: have to be a rule of culture. What that? Every

1277
01:13:31,400 --> 01:13:35,320
Speaker 1: tubular pasta is Macaroni's consider? What number was that? Again? Seven?

1278
01:13:36,200 --> 01:13:41,440
Speaker 1: It's rule of culture number seven. Every tubular pasta is macaroni.

1279
01:13:41,880 --> 01:13:45,680
Speaker 1: Rigatoni is Macaroni is macaroni. I'm horrified by this, but

1280
01:13:45,720 --> 01:13:48,719
Speaker 1: I resk It's crazy, isn't that jarring? Think? It really

1281
01:13:48,720 --> 01:13:50,320
Speaker 1: freaks me out if I think too hard about it.

1282
01:13:50,400 --> 01:13:55,640
Speaker 1: Macaroons are not macar macaroon, and neither of them are macaroni,

1283
01:13:55,800 --> 01:13:59,919
Speaker 1: And yet they all sound so similar. And when Yankee

1284
01:14:00,040 --> 01:14:04,400
Speaker 1: Doodle stuck a feather in his hat, he called it macaroni. Oh,

1285
01:14:04,479 --> 01:14:09,760
Speaker 1: oh my god, I didn't you know? Then? I identify

1286
01:14:09,880 --> 01:14:12,479
Speaker 1: with you being scared about the new information and fearful.

1287
01:14:12,479 --> 01:14:15,240
Speaker 1: But remember that, you know. Jennifer Lewis once looked me

1288
01:14:15,320 --> 01:14:17,080
Speaker 1: in the eyes on this podcast and she said, we

1289
01:14:17,080 --> 01:14:19,599
Speaker 1: can be scared, but we must not be unafraid. So

1290
01:14:19,720 --> 01:14:22,519
Speaker 1: take this information in and move forth. I think we

1291
01:14:22,520 --> 01:14:25,360
Speaker 1: should start with a bende la creme. I don't think so, honey.

1292
01:14:25,400 --> 01:14:27,519
Speaker 1: What do you say? Wow? I love it. This is

1293
01:14:27,560 --> 01:14:29,800
Speaker 1: this is the moment in time. You're ready, I'm down.

1294
01:14:29,880 --> 01:14:32,759
Speaker 1: Mine is also language based to this. Amazing, It's perfect.

1295
01:14:33,000 --> 01:14:34,599
Speaker 1: This is bende la cremes. I don't think so, honey.

1296
01:14:34,640 --> 01:14:37,200
Speaker 1: Her time starts new. I don't think so, honey. With

1297
01:14:37,240 --> 01:14:40,439
Speaker 1: the de evolution of the English language through TikTok, I

1298
01:14:40,479 --> 01:14:45,720
Speaker 1: cannot handle the POV situation. Yeah, that is not POV.

1299
01:14:45,920 --> 01:14:48,240
Speaker 1: Of me eating a French fry. Is A fistful of

1300
01:14:48,280 --> 01:14:51,880
Speaker 1: French fries is of me eating French fries. It makes

1301
01:14:51,920 --> 01:14:55,320
Speaker 1: me furious. I'm I do not like this no one

1302
01:14:55,520 --> 01:14:59,559
Speaker 1: colon thing. I understand that started a certain way, but

1303
01:14:59,680 --> 01:15:02,720
Speaker 1: it it devolved into it. We don't need everything to

1304
01:15:02,760 --> 01:15:05,160
Speaker 1: start with no one colon. We know that no one's

1305
01:15:05,200 --> 01:15:09,040
Speaker 1: anything that is implicit in leaving it alone. I come

1306
01:15:09,080 --> 01:15:12,400
Speaker 1: from the greatest generation of overusing like and misusing ironic

1307
01:15:12,400 --> 01:15:14,320
Speaker 1: and literally. I feel good about that. I think we

1308
01:15:14,320 --> 01:15:16,840
Speaker 1: should stop it there. I think it's getting too rapid

1309
01:15:16,880 --> 01:15:20,040
Speaker 1: and too out of control is meaningless. I want to

1310
01:15:20,040 --> 01:15:23,760
Speaker 1: hear no more chaotic. Everybody learned what POV is, and

1311
01:15:23,800 --> 01:15:26,479
Speaker 1: stop putting your memes in like four different fonts. Just

1312
01:15:26,560 --> 01:15:29,599
Speaker 1: write a new meme. That is what we need. And

1313
01:15:29,720 --> 01:15:33,720
Speaker 1: I don't think so, honey about any of this d evolution.

1314
01:15:34,080 --> 01:15:37,280
Speaker 1: And that's one minute I knew you by God, I mean,

1315
01:15:37,400 --> 01:15:42,440
Speaker 1: isn't it funny bowen is them? I have always identified

1316
01:15:42,479 --> 01:15:47,600
Speaker 1: as I just especially in the confessionals. I'm like, God,

1317
01:15:47,840 --> 01:15:49,519
Speaker 1: I was like, I could listen to this person just

1318
01:15:49,600 --> 01:15:51,479
Speaker 1: talk and time. Not not that it's that's a means

1319
01:15:51,479 --> 01:15:54,519
Speaker 1: of identification, but I'm just like, oh, I love this

1320
01:15:54,560 --> 01:15:58,599
Speaker 1: person truly truly. But no, no, no, no no, but this

1321
01:15:58,640 --> 01:16:00,040
Speaker 1: is that was a perfect I don't think so and

1322
01:16:00,160 --> 01:16:05,040
Speaker 1: it POV is. The usage is completely bastardized. It's crazy,

1323
01:16:05,080 --> 01:16:09,919
Speaker 1: so upsetting, particularly by really really attractive people who honestly

1324
01:16:10,080 --> 01:16:12,880
Speaker 1: should be trying harder. Yes, agree, but then that kills

1325
01:16:12,880 --> 01:16:16,720
Speaker 1: it for me. I'm like, no, boner gone, it's not

1326
01:16:16,760 --> 01:16:19,680
Speaker 1: gonna work, And no one colon. Yes, it is just

1327
01:16:19,800 --> 01:16:23,240
Speaker 1: at this point a means to like set up a

1328
01:16:23,360 --> 01:16:27,599
Speaker 1: thought that did not need the set up. No, no,

1329
01:16:27,880 --> 01:16:33,040
Speaker 1: it's it's extraneous. Why we can't both completely stop using

1330
01:16:33,120 --> 01:16:37,080
Speaker 1: language correctly and nothing about economy of language. If you're

1331
01:16:37,080 --> 01:16:39,760
Speaker 1: going to be bad at using words, use fewer words,

1332
01:16:39,840 --> 01:16:44,080
Speaker 1: thank you, oh my god. And actually that's a great note.

1333
01:16:44,360 --> 01:16:46,720
Speaker 1: I used to be very global note. I used to

1334
01:16:46,720 --> 01:16:50,479
Speaker 1: be very, very very hard on people misusing literally. But

1335
01:16:50,560 --> 01:16:53,920
Speaker 1: I think at this point the work has sort of

1336
01:16:53,960 --> 01:16:57,040
Speaker 1: like taken on an additional meaning, which is just saying

1337
01:16:57,120 --> 01:17:01,040
Speaker 1: something is amphatic, agreed, it's it's also I mean, I

1338
01:17:01,080 --> 01:17:06,439
Speaker 1: grew up on literally and the alanis Morisset, you know,

1339
01:17:06,680 --> 01:17:10,479
Speaker 1: cultural confusion around and what that means. Yes, And I

1340
01:17:10,520 --> 01:17:13,200
Speaker 1: just feel you know that to me, that's grandfather Dan.

1341
01:17:13,240 --> 01:17:16,360
Speaker 1: I understand that's generational. I was listening to a podcast

1342
01:17:16,479 --> 01:17:20,439
Speaker 1: that I recorded the other day and the amount that

1343
01:17:20,600 --> 01:17:25,200
Speaker 1: I used like and I always overuse, but in this

1344
01:17:25,240 --> 01:17:29,600
Speaker 1: one it was every other word, and I was infuriating.

1345
01:17:29,640 --> 01:17:33,400
Speaker 1: When you catch yourself doing that, Yeah, I'm just saying, everybody,

1346
01:17:33,560 --> 01:17:37,080
Speaker 1: give yourself a little bit of grace because guess what.

1347
01:17:37,800 --> 01:17:40,520
Speaker 1: You go back and watch any of my talk show appearances,

1348
01:17:40,720 --> 01:17:44,000
Speaker 1: you will be stunned at how often like gets thrown

1349
01:17:44,000 --> 01:17:46,200
Speaker 1: in there. And I've just learned to accept it. It's okay.

1350
01:17:46,360 --> 01:17:49,480
Speaker 1: People still understand what I'm saying. I forgive it in others,

1351
01:17:49,560 --> 01:17:52,720
Speaker 1: and I am working on giving myself the same grace. Absolutely.

1352
01:17:52,800 --> 01:17:55,280
Speaker 1: Janine Garofalo when she came on this podcast her I

1353
01:17:55,280 --> 01:17:57,719
Speaker 1: don't think so, honey, was people saying like a lot

1354
01:17:57,880 --> 01:18:00,200
Speaker 1: and we were kind of just sitting there like, oh,

1355
01:18:00,240 --> 01:18:04,479
Speaker 1: so she has never listened to this and thought, oh yeah,

1356
01:18:04,479 --> 01:18:06,200
Speaker 1: I'll do what I have the afternoon for you. Had

1357
01:18:06,240 --> 01:18:08,160
Speaker 1: she listened to this podcast, she would never come on

1358
01:18:08,240 --> 01:18:10,439
Speaker 1: because she doesn't respect us. She doesn't respect us, and

1359
01:18:10,439 --> 01:18:16,719
Speaker 1: that's okay, okay. I have always felt very strongly about

1360
01:18:16,880 --> 01:18:23,400
Speaker 1: grammar and punctuation and respecting language and stuff. And then

1361
01:18:23,760 --> 01:18:27,280
Speaker 1: and then also there is classism in that, right, Like

1362
01:18:27,720 --> 01:18:30,479
Speaker 1: it's been pointed out to me that being like a

1363
01:18:30,560 --> 01:18:34,280
Speaker 1: gatekeeper and not like listening to someone because of the

1364
01:18:34,280 --> 01:18:39,639
Speaker 1: way they speak is inherently classist. I do, though, think

1365
01:18:40,080 --> 01:18:43,679
Speaker 1: that if you want to be a content creator using

1366
01:18:43,920 --> 01:18:47,920
Speaker 1: language as a medium, you should have respect for it, right.

1367
01:18:49,120 --> 01:18:51,280
Speaker 1: I mean, there's got to be some middle ground. But

1368
01:18:51,360 --> 01:18:54,920
Speaker 1: I mean, I don't want to be classist, but I

1369
01:18:55,000 --> 01:18:58,080
Speaker 1: also want to understand what people are saying to me.

1370
01:18:58,280 --> 01:19:02,040
Speaker 1: I feel horrible Sometimes when it's like a typo will

1371
01:19:02,120 --> 01:19:04,799
Speaker 1: really throw me off because I'm like, is this a typo?

1372
01:19:04,960 --> 01:19:08,040
Speaker 1: Because it's a typo? Is this a new abbreviation? I

1373
01:19:08,040 --> 01:19:11,599
Speaker 1: don't understand. Is this a new phrase that's being used.

1374
01:19:13,120 --> 01:19:16,519
Speaker 1: Maybe I'm just maybe it's more my problem than anything else.

1375
01:19:16,520 --> 01:19:18,120
Speaker 1: I don't want to be classist about this, but I

1376
01:19:18,160 --> 01:19:21,639
Speaker 1: am perfectly fine with being agist. Young people are bad

1377
01:19:21,640 --> 01:19:24,240
Speaker 1: at a lot of things, and that I am okay

1378
01:19:24,240 --> 01:19:27,280
Speaker 1: with saying out loud, yeah, this is the perfect kind

1379
01:19:27,320 --> 01:19:30,320
Speaker 1: of ageism. Are you ready? Old people are bad. Young

1380
01:19:30,320 --> 01:19:32,400
Speaker 1: people are also bad at The perfect age is the

1381
01:19:32,400 --> 01:19:37,800
Speaker 1: age that I am? Yes, that's it. Yes, it's equal opportunity.

1382
01:19:37,920 --> 01:19:40,080
Speaker 1: It was a crime when my father felt that way,

1383
01:19:40,200 --> 01:19:43,840
Speaker 1: But now that I am my father's age. Isn't that

1384
01:19:43,920 --> 01:19:46,120
Speaker 1: funny though? When you start to become that person that's

1385
01:19:46,160 --> 01:19:48,840
Speaker 1: like that literally is like these kids, you know what

1386
01:19:48,880 --> 01:19:51,160
Speaker 1: I mean? Like I think it started with like I

1387
01:19:51,160 --> 01:19:54,080
Speaker 1: don't know, I guess like when I didn't and I'm

1388
01:19:54,080 --> 01:19:56,960
Speaker 1: just gonna bravely say this. When I really didn't get

1389
01:19:56,960 --> 01:19:59,640
Speaker 1: the Billie Eilish thing at first, I was like, h

1390
01:20:00,160 --> 01:20:03,120
Speaker 1: I was like wait what, Like it's because I really

1391
01:20:03,200 --> 01:20:08,520
Speaker 1: didn't get it and so so famous like like ubiquitous,

1392
01:20:08,520 --> 01:20:10,760
Speaker 1: like parents know who she is. And there I was

1393
01:20:10,800 --> 01:20:13,920
Speaker 1: being like, h like a cranky about it, and now

1394
01:20:13,960 --> 01:20:16,640
Speaker 1: it is right, But I was thanky about TikTok to

1395
01:20:16,720 --> 01:20:18,559
Speaker 1: it first. Now I think it's fun and goofy and

1396
01:20:18,600 --> 01:20:21,400
Speaker 1: I laugh my little ass off when I'm on it.

1397
01:20:21,439 --> 01:20:24,080
Speaker 1: But like the ways in which like it felt like

1398
01:20:24,120 --> 01:20:27,519
Speaker 1: it accelerated past you, you know what I mean, Like

1399
01:20:27,600 --> 01:20:30,120
Speaker 1: that's what it is. And but but it's it's funny

1400
01:20:30,120 --> 01:20:33,760
Speaker 1: to become like yeah, yeah, get off my lung. I'm

1401
01:20:33,800 --> 01:20:36,400
Speaker 1: having this thing where I like, I have learned a

1402
01:20:36,400 --> 01:20:38,920
Speaker 1: lot of things from young people. I have learned a

1403
01:20:38,920 --> 01:20:42,920
Speaker 1: lot of new ways of thought from young people. Of course,

1404
01:20:43,000 --> 01:20:45,559
Speaker 1: I've learned a lot from my elders. I guess my

1405
01:20:45,640 --> 01:20:49,680
Speaker 1: only frustration with age groups right now is their inability

1406
01:20:49,720 --> 01:20:53,000
Speaker 1: for patients with one another. It's like being a queer

1407
01:20:53,040 --> 01:20:55,720
Speaker 1: person in my thirties. I am finding a lot of

1408
01:20:55,760 --> 01:21:00,479
Speaker 1: frustration in trying to get the older generation and the

1409
01:21:00,560 --> 01:21:03,120
Speaker 1: younger generation to have a conversation with you. I know,

1410
01:21:03,560 --> 01:21:06,960
Speaker 1: like they are each digging their heels in the sand

1411
01:21:07,040 --> 01:21:10,400
Speaker 1: in opposite directions and not across the board. You know,

1412
01:21:10,479 --> 01:21:14,679
Speaker 1: I know plenty of older people who are very open minded.

1413
01:21:14,720 --> 01:21:17,439
Speaker 1: I know plenty of young people are extremely mature. But

1414
01:21:17,520 --> 01:21:19,800
Speaker 1: I'm talking about the issue we're having in the queer

1415
01:21:19,840 --> 01:21:22,519
Speaker 1: community right now and have been having for a while,

1416
01:21:23,160 --> 01:21:25,519
Speaker 1: is old people don't want to learn new stuff because

1417
01:21:25,560 --> 01:21:29,120
Speaker 1: they think I built this community. How dare you tell

1418
01:21:29,120 --> 01:21:32,040
Speaker 1: me there's new terms I don't know? And young people

1419
01:21:32,080 --> 01:21:35,080
Speaker 1: are like, but you built the community for me. So

1420
01:21:35,360 --> 01:21:37,519
Speaker 1: I'm telling you this is what I want. Why aren't

1421
01:21:37,520 --> 01:21:39,880
Speaker 1: you respecting that? And then I'm sitting here in my

1422
01:21:40,160 --> 01:21:43,760
Speaker 1: thirties wanting to have sex with everyone. Sam, can't we

1423
01:21:43,800 --> 01:21:47,080
Speaker 1: all get along? And they're so tired from the fighting

1424
01:21:47,120 --> 01:21:49,280
Speaker 1: and I can't get it up. They can't get it up.

1425
01:21:49,320 --> 01:21:55,320
Speaker 1: And you just bought a WEDGEE what. I can't be

1426
01:21:55,400 --> 01:21:58,839
Speaker 1: a slat in this modern age. If people can't get along,

1427
01:21:59,240 --> 01:22:05,519
Speaker 1: you'll find a way to manage um. All right, So

1428
01:22:05,800 --> 01:22:07,960
Speaker 1: Jinks Moon Soon it's time for I don't think so, honey.

1429
01:22:07,960 --> 01:22:11,400
Speaker 1: Are you're ready? And remember never forget Jinksman Soon judged

1430
01:22:11,439 --> 01:22:13,840
Speaker 1: a lost culture recess. I don't think so, honey. Competition

1431
01:22:14,240 --> 01:22:18,080
Speaker 1: at Clusterfest in San Francisco alongside Alaska Thunderfuck, and it

1432
01:22:18,160 --> 01:22:19,760
Speaker 1: was one of the great episodes. If you want to

1433
01:22:19,760 --> 01:22:24,080
Speaker 1: go back and listen to that episode it was. It

1434
01:22:24,160 --> 01:22:27,240
Speaker 1: was won by Rachel Pegram and it iconically features Joel

1435
01:22:27,280 --> 01:22:29,760
Speaker 1: Kim boosters I don't think so honey after sex when

1436
01:22:29,760 --> 01:22:31,479
Speaker 1: you fart and a little bit of cum comes out,

1437
01:22:31,520 --> 01:22:34,320
Speaker 1: which he did say in front of my entire immediate

1438
01:22:34,360 --> 01:22:39,439
Speaker 1: family in the great city of San Francisco, and I

1439
01:22:39,479 --> 01:22:43,639
Speaker 1: believe it tickled our panelists. So mun come came out.

1440
01:22:47,160 --> 01:22:49,559
Speaker 1: This is your I don't think so honey. Your time

1441
01:22:49,600 --> 01:22:53,200
Speaker 1: starts now. I don't think so honey about trying to

1442
01:22:53,320 --> 01:22:57,400
Speaker 1: blame the safety of children on drag queens when guns

1443
01:22:57,479 --> 01:23:01,200
Speaker 1: killed children and Dreka drag queens don't kill children. But

1444
01:23:01,320 --> 01:23:03,599
Speaker 1: I think that's preaching to the choir. So I'm gonna

1445
01:23:03,600 --> 01:23:05,920
Speaker 1: say I don't think so honey to Jinks right now.

1446
01:23:06,240 --> 01:23:08,639
Speaker 1: You don't need to talk about that because everyone already knows.

1447
01:23:08,680 --> 01:23:10,880
Speaker 1: What I want to talk about is, I don't think

1448
01:23:10,920 --> 01:23:14,600
Speaker 1: so honey. If you're gonna walk down the sidewalk, especially

1449
01:23:14,640 --> 01:23:17,960
Speaker 1: in Times Square, you gotta keep up pace moving. You

1450
01:23:18,000 --> 01:23:20,639
Speaker 1: don't get just slow down. You don't get to turn

1451
01:23:20,680 --> 01:23:22,920
Speaker 1: your head around and look this way. While you're walking

1452
01:23:23,040 --> 01:23:25,160
Speaker 1: that way, you don't get to walk forward to a

1453
01:23:25,280 --> 01:23:28,600
Speaker 1: breast at a snail space. Some of us are on

1454
01:23:28,720 --> 01:23:31,120
Speaker 1: our way to work. Some of us only have an

1455
01:23:31,120 --> 01:23:33,759
Speaker 1: hour long dinner break, and we've gotta go get new nails.

1456
01:23:33,760 --> 01:23:35,840
Speaker 1: If we've got to get new lashes, a new highlighter,

1457
01:23:36,080 --> 01:23:39,160
Speaker 1: and you are slowing us down in every minute fucking counts.

1458
01:23:39,200 --> 01:23:41,719
Speaker 1: So if you are gonna walk in New York City,

1459
01:23:41,760 --> 01:23:43,639
Speaker 1: if you're gonna walk in Time Square, you're gonna walk

1460
01:23:43,640 --> 01:23:45,880
Speaker 1: in a brisk pace. That's just how it goes. If

1461
01:23:45,920 --> 01:23:48,320
Speaker 1: you can't handle it, get out of house, kitchen and

1462
01:23:49,680 --> 01:23:53,320
Speaker 1: god damn it. You know, it's so funny, like even

1463
01:23:53,360 --> 01:23:56,320
Speaker 1: just spending some time in New York, like you become

1464
01:23:56,439 --> 01:23:59,360
Speaker 1: this person who really is Like there's rules of the road,

1465
01:24:00,240 --> 01:24:05,559
Speaker 1: and in addition, there's rules about escalator etiquette. If you

1466
01:24:05,680 --> 01:24:08,960
Speaker 1: are standing on the left side, you have flopped. You

1467
01:24:09,000 --> 01:24:11,479
Speaker 1: are doing the wrong thing. The right side is for standing.

1468
01:24:11,520 --> 01:24:13,320
Speaker 1: The left side of the escalator is a lane for

1469
01:24:13,400 --> 01:24:15,280
Speaker 1: people that want to walk up the escalator. If you

1470
01:24:15,360 --> 01:24:19,240
Speaker 1: don't know this by now, you will never never never

1471
01:24:19,479 --> 01:24:23,280
Speaker 1: know me, my fucking you. I feel like there is

1472
01:24:23,280 --> 01:24:30,440
Speaker 1: a real heterosexual entitlement to couples holding hands on the sidewalks.

1473
01:24:30,760 --> 01:24:33,880
Speaker 1: You do not see queer couples standing next to each other,

1474
01:24:33,920 --> 01:24:36,280
Speaker 1: no matter how many people are bustling down the street,

1475
01:24:36,400 --> 01:24:40,320
Speaker 1: just holding hands, as if it is their god given

1476
01:24:40,600 --> 01:24:44,080
Speaker 1: right to block that much of the side. Straight people

1477
01:24:44,080 --> 01:24:49,880
Speaker 1: are convinced that everyone should celebrate their relationships at all times.

1478
01:24:49,960 --> 01:24:52,320
Speaker 1: Straight you are convinced that we are all so lucky

1479
01:24:52,400 --> 01:24:56,920
Speaker 1: to witness their public displays of affection. And it's just

1480
01:24:57,040 --> 01:25:01,760
Speaker 1: not so straight people. I don't give it shit. Single file.

1481
01:25:01,840 --> 01:25:04,040
Speaker 1: My partner and I walk single file, and that is

1482
01:25:04,080 --> 01:25:08,320
Speaker 1: part of why I love him. Thank you. Michael's a

1483
01:25:08,400 --> 01:25:15,600
Speaker 1: block ahead of me. That's partnership too. It comes, It

1484
01:25:15,640 --> 01:25:18,360
Speaker 1: comes in all forms. You need someone to blaze the trail.

1485
01:25:19,080 --> 01:25:23,400
Speaker 1: I've been speaking of blazing the trail. There's two legends,

1486
01:25:24,160 --> 01:25:29,599
Speaker 1: legendary legends in the zoom. Um. This was so so

1487
01:25:29,800 --> 01:25:32,320
Speaker 1: much fun to have you both. We can't even tell

1488
01:25:32,400 --> 01:25:35,960
Speaker 1: you how much you've both just inspired us, made us laugh,

1489
01:25:36,560 --> 01:25:39,840
Speaker 1: made us scream, point at television screens and go oh

1490
01:25:39,920 --> 01:25:43,920
Speaker 1: my god, and what the fuck? And yes, and stages

1491
01:25:44,520 --> 01:25:47,679
Speaker 1: across the damn country. And I'm gonna imagine the world

1492
01:25:48,000 --> 01:25:52,040
Speaker 1: are also grateful and thankful. You're both amazing well be

1493
01:25:53,920 --> 01:25:59,520
Speaker 1: much two way straight. The feeling is abundantly mutual, outrageously

1494
01:25:59,600 --> 01:26:02,080
Speaker 1: so I can only hope to run it into you

1495
01:26:02,120 --> 01:26:04,760
Speaker 1: guys at airports, all three of you. Yeah, I would

1496
01:26:04,800 --> 01:26:07,200
Speaker 1: love to run into you. I'd be like, where are

1497
01:26:07,200 --> 01:26:09,960
Speaker 1: you going? Can we coordinate like a Delta Lounge moment

1498
01:26:10,040 --> 01:26:13,040
Speaker 1: at some point? World Delta? Right, no Delta. I was

1499
01:26:13,080 --> 01:26:15,200
Speaker 1: just in the Delta Lounge last night and they were

1500
01:26:15,360 --> 01:26:18,760
Speaker 1: doing a JFK. Well, it was packed, and so when

1501
01:26:18,800 --> 01:26:21,160
Speaker 1: they were doing a lovely moment of there's not just

1502
01:26:21,280 --> 01:26:25,160
Speaker 1: one pasta buffet, but two there, I said, thank you,

1503
01:26:25,360 --> 01:26:27,439
Speaker 1: thank you. I was just in JFK the other day

1504
01:26:27,479 --> 01:26:28,760
Speaker 1: and they did the same thing. They set up that

1505
01:26:28,800 --> 01:26:31,840
Speaker 1: little cart right that we're talking about day, a noodle

1506
01:26:31,920 --> 01:26:35,800
Speaker 1: cart like in the corner, and the Nathan's hot Dog

1507
01:26:35,920 --> 01:26:39,599
Speaker 1: cart somewhere too. Wow, that's what you need everywhere across

1508
01:26:39,640 --> 01:26:42,439
Speaker 1: the country. And a Nathan's hot Dog cart, not just

1509
01:26:42,479 --> 01:26:44,280
Speaker 1: in New York, but the what the Delta Lounge at

1510
01:26:44,320 --> 01:26:48,360
Speaker 1: lag already, I gotta say, top notchy. Have you been

1511
01:26:48,400 --> 01:26:50,240
Speaker 1: to the new one in Los Angeles? I mean it's

1512
01:26:50,280 --> 01:26:52,439
Speaker 1: not that new No, it's really, it's really. Oh it's great. No,

1513
01:26:52,680 --> 01:26:55,640
Speaker 1: it's great, very good, well done, Delta. I ate barbecued

1514
01:26:55,800 --> 01:26:59,360
Speaker 1: ribs on a deck. Yeah really, there's that deck where

1515
01:26:59,400 --> 01:27:02,559
Speaker 1: you can walk, you can watch play. It's beautiful. Listen.

1516
01:27:02,600 --> 01:27:05,559
Speaker 1: I'm uncloud nine right now because I haven't had to

1517
01:27:05,600 --> 01:27:11,559
Speaker 1: fly in like six weeks. And every airport, every airport

1518
01:27:11,640 --> 01:27:14,240
Speaker 1: is the most gender phobic place. Oh my god, next

1519
01:27:14,240 --> 01:27:15,720
Speaker 1: time I do this, I'm gonna do it. I don't

1520
01:27:15,720 --> 01:27:18,120
Speaker 1: think so honey about the gender phobia at the t

1521
01:27:18,320 --> 01:27:23,080
Speaker 1: s a security check? Oh oh my gosh. Well, every

1522
01:27:23,120 --> 01:27:26,280
Speaker 1: all the readers have to go, you know, see Jinks

1523
01:27:26,439 --> 01:27:30,720
Speaker 1: on Broadway in Chicago. And in that spirit, bowen. We

1524
01:27:30,840 --> 01:27:34,040
Speaker 1: end every episode of this podcast Lost Culture, a critically

1525
01:27:34,040 --> 01:27:38,439
Speaker 1: acclaimed podcast which has been noted for the chemistry between

1526
01:27:38,439 --> 01:27:42,519
Speaker 1: a toast and it's insight into the entertainment industry with

1527
01:27:42,640 --> 01:27:48,960
Speaker 1: a song whatever happened to please may I? And yes,

1528
01:27:49,520 --> 01:28:04,799
Speaker 1: thank you? And how charming? No? There, master went last class? Last?

1529
01:28:06,320 --> 01:28:10,640
Speaker 1: Oh no, no, just that. Waken and listen. If you

1530
01:28:10,680 --> 01:28:15,120
Speaker 1: want more of that, go to the theater. Bye bye,