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Speaker 1: A Dina Manzelle is here. Grab an air of corn?

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Speaker 1: You would like one? No, you're over here, come over here.

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Speaker 1: Though you haven't been to these studios.

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Speaker 2: This is a new studio.

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Speaker 1: They're so large. She's getting lost in our in our

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Speaker 1: cavernous studios. I went to the farmstand yesterday, so we

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Speaker 1: had That's that's why we have corn and heirloom tomatoes.

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Speaker 2: Am I on?

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Speaker 3: You?

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Speaker 2: Do you know the story about Carol Channing and corn? Yes?

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Speaker 2: You do know?

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Speaker 1: Is that where the lion came from? Corn? When did

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Speaker 1: I eat corn?

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Speaker 3: Yes?

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Speaker 1: Wait?

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Speaker 2: Wait, I don't know this story.

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Speaker 1: A Dina Menzel's here to tell me, tell us make

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Speaker 1: fun of You're not making fun of her?

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Speaker 2: Good story?

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Speaker 3: You know?

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Speaker 1: I look come on, you look fabulous.

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Speaker 2: Okay, you look great?

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Speaker 1: Before you tell the Carol Channing fecal story.

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Speaker 2: Yeah, yes, maybe it's a nerve in myth or something.

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Speaker 1: I hope it's true.

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Speaker 2: But she was in her dressing room.

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Speaker 3: No, somebody young like ani, like a no ensemble person.

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Speaker 2: It's someone I don't know. No, I hadn't heard of.

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Speaker 3: I guess snuck into her uh dressing room, and and

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Speaker 3: she came in and they were hiding, and she just

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Speaker 3: went to the bathroom and then she said, Corn, I

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Speaker 3: don't remember eating corn.

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Speaker 2: That's it, That's all it is.

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Speaker 1: It's still one of the most famous lines of all time.

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Speaker 2: I feel like I say it all the time.

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Speaker 1: You know what they say about corn. You never really

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Speaker 1: say goodbye to Corn. You just say i'll see you later.

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Speaker 3: Yeah.

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Speaker 1: Wow, this this interview has gone off.

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Speaker 2: I know, Oh you got here.

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Speaker 4: I was saying to Elvis that we have known you

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Speaker 4: since you start in Rent. I remember you moving on

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Speaker 4: the stage in Rent. Yes, I mean we've that's how

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Speaker 4: many years we've known you.

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Speaker 2: Yes, I know. And that's also saying how how old

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Speaker 2: I'm But yes, we're all getting there please. But yeah,

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Speaker 2: that's that's good.

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Speaker 1: Speaking a Broadway in Corn. Have you seen Shocked?

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Speaker 2: I haven't yet.

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Speaker 1: Shucked is awesome. We went in not expecting anything, and

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Speaker 1: we walked out just so happy that we've spent some

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Speaker 1: time with Shock. Oh kay, I'm gonna go down the list.

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Speaker 1: It's gonna get okay. Drama Queen is the album. It's

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Speaker 1: out tomorrow. I'm gonna play Beast in a few minutes.

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Speaker 1: But also, she spent she's been spending a lot of

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Speaker 1: time doing pride festivals LGBTQ pride festivals around the globe.

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Speaker 1: I do believe you're you're continuing in Palm Springs and

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Speaker 1: November or something like.

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Speaker 2: Course, I am.

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Speaker 1: You and your sister have a children's book out yes

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Speaker 1: September twelve.

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Speaker 3: Yes, it's the two sites of the Gemini of Me,

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Speaker 3: a children's book and then a gay disco album.

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Speaker 1: Carol tating corn jokes.

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Speaker 3: Although it kind of comes together when you think about

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Speaker 3: drag Queen reading, you know, reading children's books, right, All

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Speaker 3: that's kind.

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Speaker 1: Of all so it all makes sense. There's a marriage

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Speaker 1: in there. Of course, her clothing line en core on QVC.

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Speaker 2: I'm making who told you to promote this? Okay, I'm

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Speaker 2: going down the list, go ahead.

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Speaker 1: You know what one of the many things I love

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Speaker 1: about you? And this is not an age thing, Okay,

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Speaker 1: it's okay if it is, but I know it's already

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Speaker 1: been brought up and it's being I'm a gay guy,

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Speaker 1: so I think I can speak with authority. You are

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Speaker 1: a gay icon now, okay, and a lot of gay

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Speaker 1: icons are much older. You're like the youngest gay icon

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Speaker 1: in the world.

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Speaker 2: No, Lady Gaga is much younger.

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Speaker 1: Yeah, but look the gay community, LGBTQ community. I've read Beyonce.

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Speaker 1: She's younger, Beyonce.

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Speaker 4: Beyonce is always I remember when we first met Beyonce,

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Speaker 4: I feel like she was sixteen for years, every time

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Speaker 4: she came in.

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Speaker 1: Well, she told her she was.

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Speaker 2: She never changed, right, right.

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Speaker 1: But you I've heard you comment on how the community

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Speaker 1: has just embraced you beyond belief and therefore your life

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Speaker 1: has been changed for your relationships in the LGBTQ community.

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Speaker 3: Yes, well, I mean ever since friends. I just you know,

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Speaker 3: people have I mean, they've stuck with me ever since Rent,

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Speaker 3: and I just I feel like they've actually infused and

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Speaker 3: influenced the way I even approach the characters that I've played,

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Speaker 3: you know, because the characters I played have been all

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Speaker 3: about you know, uh, sort of courageous people that want

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Speaker 3: to live their lives authentically, you know, and want to

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Speaker 3: be seen and heard and are you know, sometimes fear

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Speaker 3: being alienated or the people around them sort of leaving

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Speaker 3: them for fear of you know, or the people that

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Speaker 3: are trying to be themselves.

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Speaker 2: You know, they they being hard, what time is it?

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Speaker 1: And then.

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Speaker 3: They have fear of alienating the people around them because

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Speaker 3: they want to be themselves and so sometimes that's really you.

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Speaker 1: Know, you find motivation through those lives for characters you portray.

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Speaker 2: Yeah, I do. Yeah, you know what.

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Speaker 1: It is not being actors. It's interesting learning the craft

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Speaker 1: when you hear someone like you sitting here say, you know,

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Speaker 1: they gave me a script. I saw this character that

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Speaker 1: they wanted me to play, and I'm like, well, how

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Speaker 1: do I bring this character to life? Like where do

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Speaker 1: you find it? You actually look within, but also being

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Speaker 1: aware of people around you, people.

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Speaker 3: Around you, for me, you get inside the script and really,

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Speaker 3: you know, try to let that inform you. Everyone has

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Speaker 3: their different techniques. I feel like the language comes first

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Speaker 3: and you kind of find it and if it's good writing,

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Speaker 3: you find it in the way they speak, the rhythm, punctuation. Also,

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Speaker 3: you find it in the way other characters speak about you,

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Speaker 3: you know. And most of all, you have to remain

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Speaker 3: vulnerable and really peel off all the layers in order

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Speaker 3: for an audience to feel like they're acting with you.

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Speaker 1: It's scary being vulnerable. Yeah, it is a scary thing,

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Speaker 1: but it's a powerful thing as well. And I'm learning

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Speaker 1: I'm loving that now that we have brought mental health

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Speaker 1: out from under the rug and we're talking about it

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Speaker 1: mental health issues, and it's it's great to talk about

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Speaker 1: used to be whispered about for some stupid reason. Being

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Speaker 1: vulnerable used to be a sign of weakness for some people.

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Speaker 1: I find it just a pillar of strength if you

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Speaker 1: can go you know, I'm really kind of effed up

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Speaker 1: about this, this and this, and I want to talk

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Speaker 1: about it.

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Speaker 2: I love that And for me, I mean, I've been told.

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Speaker 3: That I am a role model to a lot of

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Speaker 3: young people because you know, a lot of the things

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Speaker 3: that I sing about and are you know people you know,

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Speaker 3: finding their being empowered and building on their self esteem

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Speaker 3: and all of that, and just you know, being a

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Speaker 3: role model is a lot of pressure because if you

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Speaker 3: you know.

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Speaker 2: You got to walk the walk, talk the talk.

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Speaker 3: And I think people think that I'm like so confidence

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Speaker 3: and you know, put myself out there all the time,

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Speaker 3: but I you know, it's hard to get out of

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Speaker 3: the bed on certain mornings and so and it's much

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Speaker 3: more endearing, no wonder I wanted to forget if I

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Speaker 3: didn't want to put it out there that I'm a mess.

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Speaker 1: It's a very important thing to admit you're a mess,

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Speaker 1: because you're being your authentic self, and that's I mean.

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Speaker 4: Do you do you ever look to me? I look

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Speaker 4: at you and I think, oh my gosh, she was elphable.

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Speaker 4: She was also she played all these iconic incredible like.

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Speaker 2: You to me, you are those that is you, yeah,

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Speaker 2: chicken or the egg. I don't know what's happening.

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Speaker 4: If people yell you down, hey, else walk the street,

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Speaker 4: would you like for them to.

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Speaker 3: Yeah, sure, they can call me whatever they want, as

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Speaker 3: long as they're just you know, calling me and calling

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Speaker 3: me a bad word.

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Speaker 1: Last last time I think we saw you could have

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Speaker 1: been at the iHeartRadio Music Festival in Las Vegas. Or

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Speaker 1: if we're backstage and you had that ring on that

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Speaker 1: finger and it had just been placed, I think it

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Speaker 1: had just been placed on that finger.

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Speaker 3: So that.

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Speaker 1: Is it. I don't I hate getting personal. Asking an

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Speaker 1: interesting question. Do you see the benefit to being partners

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Speaker 1: with someone who's not in the business.

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Speaker 2: Uh, yes, I do.

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Speaker 3: But he's also a very creative person and it was

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Speaker 3: in the business and then sort of foundting. But he

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Speaker 3: understands you know, the creative person, the person, the artists,

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Speaker 3: you know, the schedule, all that stuff. He reads lines

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Speaker 3: with me, which is really good. It needs better than

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Speaker 3: me when he does.

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Speaker 1: That's so cool.

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Speaker 3: But yeah, and he's also the clinical director of a

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Speaker 3: high profile inpatient facility in Maliville. Yes, so.

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Speaker 2: I think that I.

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Speaker 3: Like it because he thinks that I'm you know, like

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Speaker 3: cake compared to some of the people that he's dealing

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Speaker 3: with there. So when I'm having, you know, a lot

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Speaker 3: of issues at home, He's like, I got you, I

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Speaker 3: got this.

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Speaker 1: Oh that's so great. Awesome to have a partner like that.

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Speaker 2: Yeah, he's a good listener.

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Speaker 3: That's good.

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Speaker 1: Yeah, I in my current relationship married. He's a zoo keeper, right,

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Speaker 1: and we have nothing in common. I kid, you know,

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Speaker 1: I mean it's great. Well what did you do today?

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Speaker 1: Well we are talking about, you know, the migration of

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Speaker 1: the Wilderbeast. What do you do today?

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Speaker 3: I interviewed him to you know, it's a total flake

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Speaker 3: and couldn't remember anything.

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Speaker 1: And then and then we had to get rid of

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Speaker 1: because SpongeBob SquarePants was coming in. Yeah, we're not curious, Carol.

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Speaker 2: I'm sorry.

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Speaker 1: Okay, no, not at all. You have nothing to be

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Speaker 1: sorry about. Let's talk about Drama Queen the album. Now

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Speaker 1: you've already kind of whet our appetitle a little bit.

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Speaker 1: The Beast. The song we're playing today, I think is

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Speaker 1: the second or third single from this album. You this album,

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Speaker 1: how is it different than anything you've ever done before?

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Speaker 1: And why did it maybe that way?

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Speaker 3: It's a dance album, really disco inspired. For me, everyone

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Speaker 3: says it's different. For me, it feels like a really

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Speaker 3: organic transition. I mean, all of these super diva quite

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Speaker 3: people with big, big dynamic voices have often crossed over

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Speaker 3: into more contemporary music because dance music really is a

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Speaker 3: great foundation for that, you know.

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Speaker 2: So I just wanted.

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Speaker 3: People to no disrespect to theater people, but they they're

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Speaker 3: taught to behave, except you know, when they're crackling candy

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Speaker 3: or you know, they're yeah.

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Speaker 2: But they're they're they behave.

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Speaker 3: They're very polite, and I just wanted to play to

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Speaker 3: people that were very that misbehave and that you know,

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Speaker 3: like there there was this gig in London that I do.

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Speaker 3: I surprise people at like one in the morning when

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Speaker 3: I'm there. It's at Gay that's the Circuit and I

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Speaker 3: think the club's called Heaven, and I just it's the

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Speaker 3: most electric energy in the room. Everyone's just pressed up

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Speaker 3: against the stage, We're just we're singing, we're crying, we're nostalgic, everything.

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Speaker 3: And I just wanted to do music that I could

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Speaker 3: keep coming back and you know, get people just excited

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Speaker 3: and and so I was doing the music that I

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Speaker 3: felt was like, you know, I needed to write from

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Speaker 3: a very personal place. But then it started to feel

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Speaker 3: like it would really resonate with a lot of my

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Speaker 3: friends in the career community. And so it's this beautiful

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Speaker 3: culmination of the album coming out, you know, being during

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Speaker 3: Pride and an opportunity.

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Speaker 2: To to really just express my gratitude.

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Speaker 3: Like we said in the beginning of the interview, if

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Speaker 3: I can remember anything, I said was like, you know,

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Speaker 3: to be able to say thank you for everyone in

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Speaker 3: the way that they inspire me.

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Speaker 1: What's a cyclical things. I mean, the community is thanking

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Speaker 1: you as well. I mean you. And by the way,

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Speaker 1: Danielle not a gay man. She loves dance music exactly.

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Speaker 2: Yeah, that's true.

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Speaker 1: She loves dance music.

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Speaker 2: And you know, like all the you know, so many

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Speaker 2: of the women.

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Speaker 3: That I that I that influenced me in my life.

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Speaker 2: My idol is like you know, obviously.

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Speaker 3: Donna Summer, huge voice, amazing singer, Barbara Streisan went back

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Speaker 3: and had her disco moments. Diana Ross Glory again a

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Speaker 3: share had most her most successful icons.

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Speaker 2: So it's an organic transition for me.

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Speaker 3: I get to sing big and dramatically and and and

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Speaker 3: own my theatricality. I think that just when you start

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Speaker 3: on Broadway, people have a harder time, you know, listening

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Speaker 3: with fresh years and allowing you to kind of get

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Speaker 3: out of that box.

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Speaker 1: So why is that they want you to be all

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Speaker 1: on a stage that's they really just only allow you,

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Speaker 1: never mind to succeed there.

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Speaker 3: Which I was on a stage at these festivals in

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Speaker 3: front of thousands and thousands of people with dancers, by

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Speaker 3: the way, which is something I always said, No, I'm

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Speaker 3: not a good dancer. I'm not going to have all

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Speaker 3: these hot guys behind me, you know, or women, I guess.

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Speaker 3: But these were just hot guys and and.

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Speaker 2: They made me look so good. I had so much.

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Speaker 1: You should never leave home without them.

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Speaker 3: I will never leave laid outside by the one always

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Speaker 3: one of my dancers.

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Speaker 1: Right, yeah, you should always have hard guy dancers and

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Speaker 1: should never leave the house without an orchestra. Mom always said,

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Speaker 1: can you imagine what it had? What it would have

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Speaker 1: been like and had we survived, had we been a

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Speaker 1: part of like the Studio fifty four era?

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Speaker 3: I know, I was too busy doing weddings and bar

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Speaker 3: mitzvahs at that time.

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Speaker 1: That was before your time.

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Speaker 2: It wasn't it still a little bit in the eighties?

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Speaker 1: Was it the real deal?

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Speaker 3: Yeah?

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Speaker 4: That one, like they had the whole horse and all

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Speaker 4: that stuff.

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Speaker 1: Who's up the front door on a horse? What do

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Speaker 1: we do?

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Speaker 3: Horse? Yeah?

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Speaker 1: That sometimes you had arrived at Studio fifty four on horse.

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Speaker 2: And by the way, Elizam and Allie did have a

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Speaker 2: dance hit.

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Speaker 3: Well, I don't know if it's a hit, but you

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Speaker 3: can YouTube it and it's that's maybe not a great

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Speaker 3: organ That wasn't an organic.

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Speaker 1: I'm not going to play that for you. We were

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Speaker 1: at dinner one night and she was at the table.

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Speaker 1: It was like the eight of us, and she was

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Speaker 1: just it was so fascinating to be sitting next to

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Speaker 1: Eliza men l and uh. In the mid she said, Dolly, yes,

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Speaker 1: could you have any as cigarettes in my purse? I said, well,

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Speaker 1: you can't smoke in here, but take me onside.

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Speaker 2: So I got to take talk about when you went outside,

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Speaker 2: and we talked.

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Speaker 1: About I mean, it was fifty thousand rapid fire conversations

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Speaker 1: at once. It was. It was exhilarating. Yet I don't

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Speaker 1: even know what we talked about, but I lit her up.

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Speaker 1: I smoked one with it in solidarity. Yes, And it

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Speaker 1: was so cool when you meet people like that who

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Speaker 1: are just beyond iconic. I mean, was there anyone, Na

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Speaker 1: Dina you ever met and you're like, holy grab, I'm

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Speaker 1: about to go meet blah.

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Speaker 3: Yeah, I was saying at Kennedy Center Honors to to

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Speaker 3: sing for Barbistuis and I sing, don't ran on my parade?

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Speaker 1: How was it her? Uh?

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Speaker 2: I did? Okay, I didn't hold the note at the

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Speaker 2: anason as I wanted.

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Speaker 3: But but it was great. But I've told the story before.

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Speaker 3: So then after they sat me at this table, you know,

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Speaker 3: they have like a party afterwards, and she didn't talk

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Speaker 3: to me for the longest time, and then she finally

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Speaker 3: kind of put her glasses down. She was holding a

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Speaker 3: fan and not a fan person, like a literal.

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Speaker 2: And she said, did you sing Domrain on my parade

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Speaker 2: for me tonight?

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Speaker 3: And I was like, yeah, that was me, and she

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Speaker 3: just said you were good, and then she got up

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Speaker 3: and she left.

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Speaker 1: I think that good. You did Okay.

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Speaker 3: Then I met her again, after all these years of

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Speaker 3: thinking I don't know if she even liked me. I

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Speaker 3: met her at a Democratic fundraiser where I had to

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Speaker 3: sing again, and she was sitting right in the front

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Speaker 3: of someone's backyard. It was so intimate and that and

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Speaker 3: Nancy Pelosi was there, speaker Pelosi, who I've sung for before.

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Speaker 3: And she's super cool to me. And I said, I,

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Speaker 3: you know, I don't think bar like. She said she

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Speaker 3: I don't like you. And she took my hand and

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Speaker 3: she brought me over and I didn't remind her that

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Speaker 3: she didn't that I didn't think you.

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Speaker 1: Didn't remind her that she didn't like you, and she.

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Speaker 2: Was so she was so nice to me. That was good.

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Speaker 1: And there you go. Look, you know, they say you

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Speaker 1: should never meet your idols, and I did once and

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Speaker 1: it was it was a bad decision. It was he

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Speaker 1: was he was awful. Yeah, can you share Barry manelo.

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Speaker 2: One I always heard. It was so nice.

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Speaker 1: I think he was just having a bad night. Really night.

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Speaker 4: I introduced him to my mom at some party we

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Speaker 4: were at and he the picture of them.

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Speaker 2: Together looked like was he nice to like them.

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Speaker 1: Really, Oh my god, I've never heard this about very

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Speaker 1: we have we have very dear mutual friends. They say, no,

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00:17:04,960 --> 00:17:07,359
Speaker 1: he's really a sweetheart, and well I wrote about it

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00:17:07,359 --> 00:17:09,679
Speaker 1: in my book and he had his people call my

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Speaker 1: people an apologize. Mister Mendel doesn't remember meeting Elvis dra

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Speaker 1: probably because he was in a bad mood.

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Speaker 3: Yeah, you and I have that in common. John Travolda

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Speaker 3: and Barry mad John was super nice to me. Just

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Speaker 3: remember who I was.

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Speaker 1: What was your name it was?

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00:17:30,720 --> 00:17:33,480
Speaker 2: Did he send you flowers to flowers that had these

360
00:17:33,520 --> 00:17:35,240
Speaker 2: pussy willows in them? Which was So.

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Speaker 1: It's a great drag name.

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Speaker 3: Yeah.

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00:17:40,200 --> 00:17:44,560
Speaker 1: Hold, he is welcome, the wickedly talented one and only.

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00:17:47,359 --> 00:17:49,400
Speaker 1: I think Adelzeine is a hot name.

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00:17:49,760 --> 00:17:52,560
Speaker 3: It kind of was a very famous adele now and

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Speaker 3: I don't know where I'm from in the world when

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Speaker 3: the name doeszine.

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Speaker 4: I do remember watching that though on television, going what.

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Speaker 2: The hell get out of town?

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Speaker 3: He was super sweet, So I'm actually thinking, is here

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00:18:06,000 --> 00:18:08,040
Speaker 3: my felt was this? Since he does owe me one

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00:18:08,119 --> 00:18:11,080
Speaker 3: of asking him to do a TikTok where he's dancing

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Speaker 3: to my disco music.

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Speaker 2: He should be That is his strength. Bet he would, Yeah,

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Speaker 2: I think he would. He's a really nice person. He's

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Speaker 2: totally nice.

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00:18:18,880 --> 00:18:19,080
Speaker 3: Yeah.

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00:18:19,480 --> 00:18:21,200
Speaker 1: Yeah, right, so.

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00:18:23,000 --> 00:18:28,720
Speaker 3: We've covered speaking of Barry Manelow, you know, modulations and songs,

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00:18:28,760 --> 00:18:30,760
Speaker 3: you know, when a key goes up and everything goes

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00:18:30,800 --> 00:18:33,000
Speaker 3: a little higher change.

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00:18:33,040 --> 00:18:35,560
Speaker 2: That became Yeah, that became like a taboo.

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00:18:35,119 --> 00:18:38,280
Speaker 3: Thing definitely in the two thousands, like you don't write

384
00:18:38,280 --> 00:18:39,720
Speaker 3: a soumm and now that all the songs a sort

385
00:18:39,720 --> 00:18:41,880
Speaker 3: of linear and they stay in the same place and

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00:18:42,000 --> 00:18:44,160
Speaker 3: they don't even their verse and course don't even change

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00:18:44,200 --> 00:18:47,200
Speaker 3: chord progression. But so it used to be people would say,

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Speaker 3: we can't do a Barry Manelow, you know modulation. But

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Speaker 3: with the disco album we have, I have two songs

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00:18:53,080 --> 00:18:57,359
Speaker 3: with modulation, unapologetic modulations because that was back then that

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Speaker 3: was totally cool to do.

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Speaker 1: Like it was a key it's a key change.

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00:19:00,760 --> 00:19:01,400
Speaker 2: It's a key change.

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00:19:01,400 --> 00:19:02,960
Speaker 3: It's kind of like you know, the Beyonce song is

395
00:19:03,000 --> 00:19:05,160
Speaker 3: the only one where it goes up love on Top

396
00:19:05,200 --> 00:19:06,720
Speaker 3: and it goes up like seven times.

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00:19:07,040 --> 00:19:07,800
Speaker 2: That's a modulate.

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00:19:07,920 --> 00:19:10,159
Speaker 1: Okay, I want to play you my favorite song that

399
00:19:10,240 --> 00:19:13,120
Speaker 1: has a lot of key change. You have it hold

400
00:19:13,119 --> 00:19:19,159
Speaker 1: on holding it up? Okay By the world famous Andy Williams. No,

401
00:19:20,520 --> 00:19:24,920
Speaker 1: I'll tell you what. Well, sleigh ride, but is Happy

402
00:19:24,960 --> 00:19:30,600
Speaker 1: Holiday or the other one? No slave ride. Yeah, here's

403
00:19:30,600 --> 00:19:33,640
Speaker 1: what we're gonna do. What is your what is your favorite?

404
00:19:33,640 --> 00:19:34,520
Speaker 1: Your favorite charity?

405
00:19:35,480 --> 00:19:40,439
Speaker 2: Oh my god, so many. I have my own that

406
00:19:40,520 --> 00:19:41,480
Speaker 2: is called The Broader Way.

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00:19:41,680 --> 00:19:42,360
Speaker 1: The Broader Way.

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00:19:42,600 --> 00:19:44,840
Speaker 3: It's not really a charity, it's a it's a camp

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00:19:44,920 --> 00:19:50,240
Speaker 3: and a foundation for girls from urban communities that go

410
00:19:50,320 --> 00:19:52,679
Speaker 3: up to camp and you know, sort of find their

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00:19:52,760 --> 00:19:53,560
Speaker 3: voice through the arts.

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00:19:53,600 --> 00:19:58,119
Speaker 1: Well, here's what we're gonna do. But they accept contributions. Correct, yes, okay,

413
00:19:58,400 --> 00:20:00,320
Speaker 1: So I tell you what I'm gonna do. This is

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00:20:00,359 --> 00:20:03,040
Speaker 1: the right song? No, no, no.

415
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Speaker 2: And then let's Christmas.

416
00:20:05,200 --> 00:20:11,400
Speaker 4: The Jewish Lady, you have a Christmas that.

417
00:20:10,680 --> 00:20:14,280
Speaker 2: I'm and then it goes.

418
00:20:18,280 --> 00:20:22,960
Speaker 1: Is this it? Hold on? This is it? With every

419
00:20:23,040 --> 00:20:25,240
Speaker 1: key change? I will do it. One thousand dollars to

420
00:20:25,280 --> 00:20:29,560
Speaker 1: the Broader Way. Hold on five key changes in one

421
00:20:29,640 --> 00:20:36,520
Speaker 1: song I think is like eight. She can afford it.

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00:20:37,080 --> 00:20:39,520
Speaker 2: I just didn't want two songs.

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00:20:39,640 --> 00:20:42,159
Speaker 1: I love it. Okay, So the Broader Way I'm going

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00:20:42,359 --> 00:20:46,320
Speaker 1: online broad Away A Broader Way five thousand bucks thanks

425
00:20:46,320 --> 00:20:49,120
Speaker 1: to Andy Williams and an old I'm not taking your money.

426
00:20:49,119 --> 00:20:51,600
Speaker 3: You just promoted it for me, So anybody out there,

427
00:20:51,640 --> 00:20:52,600
Speaker 3: go Broadway.

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00:20:53,280 --> 00:20:55,960
Speaker 1: I'm good for it. The money just keeps coming in.

429
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Speaker 1: I can't do much about it.

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Speaker 2: That's so sweet. Well then you sending five girls to

431
00:20:59,480 --> 00:21:01,240
Speaker 2: camp for that. I love that.

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00:21:00,680 --> 00:21:03,199
Speaker 1: Yes, that's awesome. I want to play beast, but I

433
00:21:03,200 --> 00:21:03,560
Speaker 1: want to.

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00:21:03,480 --> 00:21:07,240
Speaker 2: Say you just say girls everything in between.

435
00:21:07,440 --> 00:21:11,399
Speaker 1: Yeah, okay, okay, yeah, Look, having you here is always

436
00:21:11,400 --> 00:21:13,960
Speaker 1: a treat, aDNA. You always you always have a place

437
00:21:14,000 --> 00:21:16,119
Speaker 1: here because we just think the world of you and

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00:21:16,240 --> 00:21:19,320
Speaker 1: Drama Queen. It's out tomorrow. I want everyone listening to

439
00:21:19,359 --> 00:21:21,800
Speaker 1: the Center of Voice to stream it, download it, by it,

440
00:21:21,880 --> 00:21:23,920
Speaker 1: do whatever you need to do to get it, make

441
00:21:23,960 --> 00:21:24,960
Speaker 1: it happen in support.

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00:21:25,119 --> 00:21:26,240
Speaker 2: Okay, thank you very much.

443
00:21:26,359 --> 00:21:26,959
Speaker 3: Thank you all.

444
00:21:27,320 --> 00:21:29,920
Speaker 1: Make me look good early on the Today Show.

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00:21:30,000 --> 00:21:34,000
Speaker 2: Later, I am am I. That's where I am today.

446
00:21:34,200 --> 00:21:38,080
Speaker 3: That's release party out in Brooklyn a three dollars Bill.

447
00:21:38,480 --> 00:21:40,080
Speaker 2: It's is going to be fun. A lot of drag

448
00:21:40,160 --> 00:21:41,719
Speaker 2: queens are going to do my music for him.

449
00:21:41,800 --> 00:21:44,640
Speaker 1: It's a club called three dollar Bill, right, Yeah, Oh

450
00:21:44,680 --> 00:21:46,480
Speaker 1: my gosh, that's a perfect name for a club.

451
00:21:46,680 --> 00:21:47,880
Speaker 2: Yeah, you've never heard of it.

452
00:21:48,000 --> 00:21:50,040
Speaker 1: No, I need to get out.

453
00:21:50,240 --> 00:21:53,680
Speaker 2: It's the place to be Brooklyn if you're gay.

454
00:21:54,119 --> 00:21:58,920
Speaker 1: Now get for supporting Drama Queen. The album the cut

455
00:21:59,000 --> 00:22:01,560
Speaker 1: is called Beast. It's Adana Menziel. Thanks for coming in, Adana,

456
00:22:01,560 --> 00:22:02,399
Speaker 1: Thank you for having me.