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Speaker 1: Okay, podcast starts. Now, what's up everyone. You are listening

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Speaker 1: to Stradio Lab. We are in New York City live

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Speaker 1: from Times Square. George still reeling.

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Speaker 2: You're not allowed to speak.

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Speaker 1: Sorry, Josh is being silenced. He said something poetic right

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Speaker 1: before we started recording, and I said, not on my watch.

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Speaker 2: I actually am. It's like one of the most beautiful

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Speaker 2: things I've ever heard.

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Speaker 1: Do you want to say what it was?

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Speaker 2: I said, you know, we're getting prepared. Usually we'd explained

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Speaker 2: the podcast of the guests. This time, none of them

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Speaker 2: have ever listened. Sorry. I just had a moment in

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Speaker 2: the middle of that sentence where I remembered I'm being recorded.

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Speaker 1: Do you ever?

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Speaker 2: I was just like I was truly on autopilot. I

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Speaker 2: was like, all right, I should like try to be

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Speaker 2: charming anyway. So I'm Andy Cohen and welcome to watch

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Speaker 2: what Happens live?

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Speaker 1: Or this is not how you act? What the hell whatever?

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Speaker 1: Keep going?

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Speaker 2: So I would say, I said, you know, I said

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Speaker 2: to Josh, you know, you know the drill, like you

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Speaker 2: know how this works. And Josh said, oh, I know

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Speaker 2: the drill. The drill is a warm bath. The drill

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Speaker 2: is a warm drill, and then, of course Josh wisely

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Speaker 2: said that apples that's the title of Fiona Apple song.

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Speaker 2: And here we are and here we are.

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Speaker 1: So now that we've covered.

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Speaker 3: That, what I think is, can I say something briefly, fine,

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Speaker 3: so the listener remember in one thing and I'm done.

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Speaker 3: Remember to the listener. Every beginning to you is actually

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Speaker 3: in media stress to us, like you are seeing your hosts,

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Speaker 3: your friends in the middle of something, and that is

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Speaker 3: keep in throwing.

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Speaker 1: Yeah, you never done, I'm not going through. People don't

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Speaker 1: give us enough credit for when we say podcast starts now,

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Speaker 1: it actually started ten minutes before that.

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Speaker 2: People don't give us enough credit for pretty much most

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Speaker 2: things that we do. People don't realize that everything we

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Speaker 2: do is an insurmountable mountain that we are in the

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Speaker 2: middle of, bleeding from all holes and trying to climb.

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Speaker 2: And at the peak it says, I heart music.

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Speaker 1: I have to say that this run of recordings we

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Speaker 1: have been, you know, it has I'm like, oh, is

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Speaker 1: this what it's like to be Julia Roberts. You know,

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Speaker 1: it's sort of like that like club Club Another Club,

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Speaker 1: Airplane air.

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Speaker 2: Julia Roberts famously Club Club Another Airplane's doing the midnight

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Speaker 2: DJ set, she is going to the gay bar, she's

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Speaker 2: performing at Fort Lauderdale Pride.

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Speaker 1: I'm mixing metaphors and that's okay.

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Speaker 2: What if they book Julia Roberts at Fort Lauderdale Pride

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Speaker 2: and she did like the monologue from Pretty Women that

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Speaker 2: but it was never explained.

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Speaker 1: We actually need to talk about do gay guys care

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Speaker 1: about Julia Roberts at all? What the hell? It's a

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Speaker 1: valid question. I think she is not disrespected enough actually

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Speaker 1: identity for gay guys to actually care that much.

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Speaker 2: Visit.

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Speaker 1: You are so right.

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Speaker 2: She has never had an underdog narrative. Yeah, she she

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Speaker 2: has been that girl from the beginning.

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Speaker 1: So everyone's like, yeah, she's good, like she's beautiful, she's amazing,

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Speaker 1: But there's not that emotional.

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Speaker 2: No gay guy is saying, my favorite actress is Julia Roberts,

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Speaker 2: even though of course when push comes to shove, she

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Speaker 2: is one of the great American actresses.

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Speaker 3: You know what they're saying, this will be brief, and

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Speaker 3: then I'm okay, Josh, they're saying Aaron Brockovich is my

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Speaker 3: favorite actress. They're not saying Julia Robert says.

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Speaker 1: Because Aaron Brockwick is an Underdog.

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Speaker 2: Thank Aaron.

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Speaker 1: I'm done. I'm done. I won't talk. We can hate

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Speaker 1: our guest today.

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Speaker 2: Yeah, I'm like so annoyed.

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Speaker 1: It's like we like, so what what What our listeners

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Speaker 1: will understand is that the podcast actually starts tending this before.

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Speaker 1: And what our guest doesn't understand is actually it started

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Speaker 1: like way before he even got here.

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Speaker 2: Like you think you're the third co host.

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Speaker 3: You think you're just like just to sit here, to cook,

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Speaker 3: to cut one to It's like I should get to

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Speaker 3: come in at that point, but I just think, give me,

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Speaker 3: let me key grip or something.

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Speaker 2: You're ignoring the like do you want to check the shots?

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Speaker 3: I would love to. I love to checking the gate.

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Speaker 3: I die to check the gate.

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Speaker 2: I think I do think there is something very particular

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Speaker 2: about not having a role, you know what I mean,

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Speaker 2: like being in a liminal space between roles. Before we

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Speaker 2: started recording, you were the role of friend. When we

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Speaker 2: introduce you, you will be in the role of guest.

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Speaker 2: Right now you are nothing nothing.

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Speaker 1: But is that sort of sensory deprivation in a way,

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Speaker 1: like are you finally free?

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Speaker 3: Yeah, it's free, Well it's free, but in another sense,

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Speaker 3: you keep fighting in a subspace.

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Speaker 2: If you were actually trying to touch me, if you're

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Speaker 2: actually feeling liberated, you would be basking in the silence.

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Speaker 2: But I can see you wanting so badly to have

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Speaker 2: a different role.

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Speaker 1: Well, you know what's he's asking for us to say?

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Speaker 3: No, Piggy, I hope I've never brought in. Quite frankly,

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Speaker 3: I think perhaps the whole episode exists in this.

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Speaker 2: You know, we used to have the We used to

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Speaker 2: have the brave read, the hutzpah and the punk rock

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Speaker 2: sensibility to do that. Josh, what happened to our punk

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Speaker 2: rock sinsibility?

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Speaker 1: What? No?

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Speaker 2: Because as soon as you said that, I went up

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Speaker 2: with the iHeart Literally as soon as you said we

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Speaker 2: should do the entire episode like that, my instinct was like, well,

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Speaker 2: we can't. We should bring him in soon. Whereas if

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Speaker 2: this was twenty twenty, if this was May twenty twenty,

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Speaker 2: I would be like, that is so fucking badass, Like.

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Speaker 1: Let's do it something really funny.

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Speaker 2: Never introduced a topic. Never promote what you're here to

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Speaker 2: promote exactly, which I'm not gonna say, no.

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Speaker 3: Nora, I'm not on yet.

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Speaker 1: Well, and why would we promote when our guest doesn't

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Speaker 1: even hear.

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Speaker 3: I'm not here, I'm not on, I don't exist.

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Speaker 2: What were you gonna say?

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Speaker 1: Last night, somebody said they'd been listening to us since

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Speaker 1: twenty sixteen, and I was like, well, darling, we haven't

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Speaker 1: been on since twenty We started in twenty twenty. Time

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Speaker 1: is a flash.

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Speaker 2: Well there is something about all right, all right.

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Speaker 1: Twenty twenty was just twenty sixteen again, yeah, and twenty

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Speaker 1: twenty four is just twenty sixteen again, Like we're just

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Speaker 1: doing twenty sixteen. Hon over, it's gone a holl day

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Speaker 1: but for twenty sixteen. But twenty sixteen drag.

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Speaker 4: Yeah, there's finish.

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Speaker 2: Sorry, it's time to to twenty sixteen.

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Speaker 1: What do you make of this?

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Speaker 2: Yeah, Josh, be careful, Please be careful.

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Speaker 1: That was hard to set up.

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Speaker 2: So for anyone who's not watching on YouTube, where our

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Speaker 2: numbers are plummeting, by the way, what Josh just did is, well, they.

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Speaker 1: Can't plumb because they were never high.

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Speaker 2: Excuse me, they were never high because we never promoted it,

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Speaker 2: because we are sort of above it, and yet it's

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Speaker 2: out there, and yet it's out there. So what Josh

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Speaker 2: did for anyone not watching is he took the mic

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Speaker 2: and actually physically moved it away from himself, so that

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Speaker 2: even if he's tempted to participate in the conversation, he

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Speaker 2: can't physically. So now he's sort of evoking a kind

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Speaker 2: of meditation state that is actually it's actually being so

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Speaker 2: jittery that it's almost like an argument against meditation.

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Speaker 1: It's sort of like, oh damn, this guy really can't

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Speaker 1: sit still.

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Speaker 2: Yeah, it's like, oh my god, is he okay?

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Speaker 1: Yeah? They don't let him is a hard no self

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Speaker 1: harm incoming. I think we should bring in our guests. Please,

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Speaker 1: welcome to the show, our dear friend and whose show

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Speaker 1: is having a run Josh. By the time this is out,

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Speaker 1: you will know all about it.

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Speaker 3: You'll be all over www dot Josh sharp todaw dot

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Speaker 3: com the site absolutely and where is it until all

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Speaker 3: the time it's on the internet?

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Speaker 2: Sweetheart? Where is where the show at.

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Speaker 3: The Greenwich House? Some me all know what is the

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Speaker 3: Barrow Street? Sweeney Todd in the Pie Shop, But it's

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Speaker 3: at the Greenwich House Theater and beautiful West Village and

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Speaker 3: locks And you're playing Stonewall, playing Sweeney, I'm playing Sweeney yeah,

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Speaker 3: and missus Lovett and rap.

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Speaker 2: You're playing just to be clear. This is one of

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Speaker 2: those you know, like John Proctor is the villain and Juliet.

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Speaker 2: This is one of these contemporary reboots of a classic

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Speaker 2: musical that is the hero. Yes, Like it's more kind

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Speaker 2: of like woke and LGBT. Right, So it's about.

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Speaker 3: How a right to end at tea.

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Speaker 1: Yeah, there was no Q.

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Speaker 2: There's no I know, can.

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Speaker 1: I actually be an issue with Q?

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Speaker 2: Oh? Is your issue is a queer or is a question?

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Speaker 1: Yes? Yeah, but here's okay queer, right, but sometimes it's questioning.

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Speaker 2: But this, I'm sorry, this instinct is so anti Q,

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Speaker 2: Like Q is this all encompassing thing that is like

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Speaker 2: what isn't Q?

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Speaker 1: But Q being questioning? It's like I'm questioning if I'm

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Speaker 1: even Q. Like that's such a crazy meta narrator.

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Speaker 3: Show me someone who isn't question exactly if any of

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Speaker 3: the letters and you're not Q questioning you haven't seen

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Speaker 3: the matrix yet. Yeah, the point of being under the

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Speaker 3: umbrellas that we see the matrix.

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Speaker 2: Yes, it's like the implication that if you're LGB or

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Speaker 2: T you have this certitude. Yeah you're like, oh, yeah,

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Speaker 2: I'm firmly B, I'm firmly G. It's like, no, you're not.

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Speaker 1: The Q is like underneath all of them.

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Speaker 3: Yeah, yeah, it's the bedrock. It's the bedrock, Honey, it's

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Speaker 3: the bedrock. Q is to be queer, which is to

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Speaker 3: be LGBT.

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Speaker 1: I M plus.

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Speaker 2: You know, the question is the bedrock. The question is

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Speaker 2: the bedrock. The drill is a warm bath lead single,

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Speaker 2: The question is the bedrock, Josh.

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Speaker 1: I have a question. I have a queue. When it

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Speaker 1: comes to to.

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Speaker 3: Rock me, bitch, go ahead and bed rock me up

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Speaker 3: and down.

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Speaker 1: I'm just a rock your damn bed with this one.

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Speaker 1: Let's go insert. I can make your bedrock here. I

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Speaker 1: you know, the punk ok sensibility is of course complicated

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Speaker 1: because at this point you are trying to promote a

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Speaker 1: show that actually you have been working on. It actually

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Speaker 1: does have a week's long run and the months even months,

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Speaker 1: which is one of the longest weeks we have, you know,

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Speaker 1: I know, I know, And so it's sort of I

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Speaker 1: feel sort of mixed. I'm doing a bit about the

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Speaker 1: show and sort of misleading. No bits only, bits only.

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Speaker 1: I mean, I don't care, we can.

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Speaker 2: Do whatever, but you want to sell no tickets.

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Speaker 3: I want to sell it. I think the bits sell

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Speaker 3: the tickets.

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Speaker 1: You know what I mean, it's one of.

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Speaker 2: The well, but only if you then follow up with

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Speaker 2: what the show is like.

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Speaker 1: You're not craving a like. But seriously, the shows about

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Speaker 1: this and this and this. I think they want that

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Speaker 1: your people. I don't fucking know what they want. We

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Speaker 1: want our audience thinks we started in twenty sixteen. Yeah,

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Speaker 1: that's true.

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Speaker 2: Yeah, they're dealing with mentally. They're saying, get that orange

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Speaker 2: cheeto out of the way.

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Speaker 1: They're saying, get that cheat out.

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Speaker 3: Pants suit Nation Rise saying, hey at pants suit Nation.

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Speaker 2: I just discovered the podcast Stradio Lab These It's really

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Speaker 2: amazing LGBTQ plus guys and they talk about politics, media,

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Speaker 2: cultural criticism.

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Speaker 1: They would not have.

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Speaker 4: You.

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Speaker 2: If you think we need to get this orange cheeto

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Speaker 2: out of the way, it has you better give it

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Speaker 2: a look.

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Speaker 1: Like subscribe, like and subscribe. No, I don't.

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Speaker 3: I don't have a strong feeling I feel.

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Speaker 2: I I highly doubt that.

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Speaker 3: I feel like we will talk as we or I

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Speaker 3: guess the strong feeling is that we will talk as

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Speaker 3: we That like for us to do a sort of

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Speaker 3: you know, if we naturally do what's the show about?

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Speaker 2: Great?

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Speaker 1: If we don't.

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Speaker 2: Yeah, sure they're gonna get it.

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Speaker 3: They're gonna go to joshup to do dot com no

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Speaker 3: matter what and find out what it is. But I

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Speaker 3: guess canonically it's the off Broadway one man show that

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Speaker 3: so many of our our peers and ancestors have done

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Speaker 3: before us.

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Speaker 1: You are stepping into a rich tradition.

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Speaker 3: It's my iteration on that, you know what I mean. Yeah,

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Speaker 3: And there's a bit of a Medican seat within it,

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Speaker 3: so that it's not just me, you know, into the

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Speaker 3: microphone for eighty minutes that doesn't and yet that is

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Speaker 3: valid too. And I love some of those Ye for

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Speaker 3: me and my own punk cruck sensibility, I said, I

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Speaker 3: can't ultimately only do one of those.

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Speaker 1: Is the sort of a thing happening? You know? This

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Speaker 1: is something I wonder. Do you sometimes get suffocated by

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Speaker 1: the punk fok sensibility to not do the thing that

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Speaker 1: is the thing that everyone does.

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Speaker 3: Yes, And this is deep therapy talk of like how

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Speaker 3: much are you how much are you trying to explore

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Speaker 3: a un exports space and how much are you just

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Speaker 3: like standing in your own the way of your own success?

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Speaker 1: You know what I mean? How much are you going.

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Speaker 3: This should be weirder, wilder instead of you know, ultimately.

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Speaker 2: Just how much are you producing something and it's good?

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Speaker 2: And how much? And yet you have the instinct to

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Speaker 2: take a dump on it, to give it a twist.

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Speaker 3: And for me, it's often not even taking a dump

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Speaker 3: on it as much as it is what if you

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Speaker 3: made it harder and more inaccessible and in a way

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Speaker 3: that gets me going? But then I'm like, does anyone

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Speaker 3: put you like this?

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Speaker 1: You know what I mean? This is really hard to tell.

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Speaker 1: It's complicated. It's complicated. And we've answered that question as

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Speaker 1: we're now normal on this podcast? Are we?

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Speaker 2: Is this episode normal.

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Speaker 1: Already abnormal?

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Speaker 2: Yeah, we haven't introduced you.

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Speaker 1: We haven't. We haven't even done the interviewl we kind

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Speaker 1: of did we started.

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Speaker 2: Well, what if we just sit in the space between

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Speaker 2: introducing and not welcome to the podcasts? Sharp, Sam, this

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Speaker 2: is he is so pansutonation right now. You need to,

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Speaker 2: you know, sort of access this current state that we're

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Speaker 2: in where there's no democratic you know what you need?

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Speaker 2: You're still you're still nostalgic for Hillary.

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Speaker 1: You guys just think if you didn'tvote for Jill Stein,

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Speaker 1: like we would have a different country.

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Speaker 3: Do you know what Sam needs to do that he's

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Speaker 3: not doing?

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Speaker 1: What question? You think I'm not on the fucking bed rock?

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Speaker 1: You don't think I'm not rock bottom on this bed? Sam?

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Speaker 2: Are you not questioning?

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Speaker 1: I'm questioning everything.

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Speaker 3: See, I'm asking the question and that was declarative, isn't that?

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Speaker 3: So you're not questioning?

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Speaker 1: Question mark?

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Speaker 2: I'm not exclamation ever seen anyone? So first, Sam, are

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Speaker 2: you're not question Are you not questioning?

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Speaker 1: What about me makes you think I'm not? Oh? My god,

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Speaker 1: you're not? Am I not doing it at all times?

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Speaker 1: You're doing an imp of exercise. And don't think I

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Speaker 1: don't know that. You think I don't know that that's

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Speaker 1: a name, but my room. I'll honor my rooms.

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Speaker 2: Wow to La and my present to stake a flag

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Speaker 2: and say I know this. I can't think of anything

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Speaker 2: more toxic and masculine.

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Speaker 3: I know this anything more g quite frankly, yeah, yeah,

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Speaker 3: wo G I thought you're a document GHP certitude of

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Speaker 3: the gh you know what I mean, the G the

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Speaker 3: wisdom of the l Oh my god, you guys, I

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Speaker 3: just figured out what GQ stands for gay questioning When

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Speaker 3: you're subscribing to GQ magazine you're subscribing to gay Question.

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Speaker 1: Yeah, that's what it all. Guys. That's awesome because they're like, like,

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Speaker 1: are you turned on by this? Yeah? For so many people,

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Speaker 1: GQ was gay question.

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Speaker 3: It was somebody of our community to get that and go,

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Speaker 3: I'm receiving this modality different than my peers.

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Speaker 2: No, you're getting the GQ and you're saying, I have

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Speaker 2: received the subliminal messages you are sending me and I

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Speaker 2: will be in fifteen minutes.

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Speaker 3: And you're going, wait, you don't all receive this this way,

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Speaker 3: like that moment that makes you realize you're the other

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Speaker 3: queer Q queer, you know, it's like, you're right, it's

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Speaker 3: gay questioning, it's questioning.

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Speaker 1: I actually think this is one of the smartest things

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Speaker 1: I've ever realized.

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Speaker 2: That g Q is gay question.

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Speaker 1: Yeah. Yeah, the drill is a warm bath the.

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Speaker 2: Gay question, because that's more Kim Petra's I'm sorry to

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Speaker 2: say that GQ is gay questioning is a little more

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Speaker 2: slow off Miami.

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Speaker 1: That's that's been done at Rose. Yeah. Whatever that's good.

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Speaker 2: Also, whatever that's good is whatever that that's good.

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Speaker 3: Respect, respect, g g q's gay questioning, and all of

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Speaker 3: this will be addressed in my show, which is Josh

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Speaker 3: Sharp shada toda, which doesn't stand for anything.

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Speaker 1: It's a word on its own. Yeah, are there multiple

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Speaker 1: a's and tada? Is it liken be t a hyphen

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Speaker 1: d a all owercase?

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Speaker 2: Do you ever think of naming it tada for and

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Speaker 2: it's like a pup?

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Speaker 3: Oh God, call my lawyer. Is it too late to change? Oh? No,

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Speaker 3: I've made I mean, see that version of the show.

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Speaker 3: I'm selling out the Garden, Like what have I done?

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Speaker 3: You have to have a pun in the time. Okay,

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Speaker 3: I've got one to ghettoize myself at this at the

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Speaker 3: famed Gritwich House when I couldn't be playing the Garden.

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Speaker 1: Did you every think it was sort of going Chelsea

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Speaker 1: Handler mode and calling it to darfour?

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Speaker 3: Almost every day I wake up and consider going to

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Speaker 3: the mode, and I'm waiting in the day that I do.

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Speaker 3: It's over for y'all when I go Chelsea.

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Speaker 1: I have seen you go Chelsea Handler mode in private

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Speaker 1: spaces and I have burns from it.

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Speaker 3: Well, you have to keep some things to yourself as

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Speaker 3: a person in the public and the demi public, you

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Speaker 3: have to keep some things for yourself, you know.

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Speaker 1: Yeah, of course, A whole, because these one hundred to

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Speaker 1: two hundred people that know who we are, they'll take everything.

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Speaker 3: Oh they'll take They'll rip you limb from limb.

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Speaker 1: Are you kidding? Down to the bone. I saw what

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Speaker 1: they did to Britney spears.

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Speaker 3: Like a whale at the bottom of the ocean. Every

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Speaker 3: bit of the ecosystem that is the Stradio Lab fan

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Speaker 3: base comes in in their time, the predators, the Mitoplankton,

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Speaker 3: all of it comes until you are not but carcass.

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Speaker 2: They have been plotting since twenty sixteen. Trust Trust you

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Speaker 2: don't think we know what the what? What the riots

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Speaker 2: the January sixth started as it was literally in the

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Speaker 2: Straighter Lab discord.

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Speaker 1: It will live if you called your fans pantsuit nation.

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Speaker 1: There's a world in.

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Speaker 2: Winch the world and which that's another field a Apple.

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Speaker 1: There's a world.

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Speaker 2: There is a world in witch dot dot. It's actually

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Speaker 2: one of those Fiona Apple tracks that's so long, you

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Speaker 2: know how her album titles are so long. But then

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Speaker 2: people abbreviate it as there's a witch do Yeah, there's

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Speaker 2: like that. It's like it's like a poem she wrote,

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Speaker 2: and then she did a little drawing next to it

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Speaker 2: and it's dedicated to one of her dogs, the one

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Speaker 2: that has a terminal illness, the one they all If

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Speaker 2: you don't think, if you don't think every dog has

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Speaker 2: a terminal illness, I don't know what to tell you

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Speaker 2: don't know what to tell you. Clearly are not cute.

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Speaker 1: Because I have not aled it, not one moment, to

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Speaker 1: be honest, Like, being a dog is a terminal illness.

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Speaker 2: Yeah, like, let's start there.

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Speaker 1: The moment you have a dog, you're like, okay, clock

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Speaker 1: stick in Yeah.

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Speaker 2: The sands of the Sands of Time talk about dog like,

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Speaker 2: is someone not comfortable when they don't have a role

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Speaker 2: a dog, Like when that dog is between friend and guests,

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Speaker 2: They're just like, but please give my life. Meeting this

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Speaker 2: cat is the entire thing is cue. Cats are obviously

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Speaker 2: the most cue. I mean they're just like.

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Speaker 3: Well they derive ultimately like certitude from the questioning. You

403
00:17:20,520 --> 00:17:23,000
Speaker 3: know they really the bad rock is strolling in cats.

404
00:17:23,400 --> 00:17:26,679
Speaker 3: We know this, we know this, we know this, we

405
00:17:26,760 --> 00:17:27,800
Speaker 3: know this, we know this.

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Speaker 1: When I meet like a person with a puppy, like

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Speaker 1: there is something sort of old show Girl where I'm

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Speaker 1: like you just wait, yeah, yeah, like, oh god, I've

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00:17:39,080 --> 00:17:41,960
Speaker 1: seen it all Oh god, Yeah, you don't know what's

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Speaker 1: about to happen to your life. And it's it's funny

411
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Speaker 1: to be so young and to be able to have

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Speaker 1: that perspective and have this fun and be so lucky

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Speaker 1: and to be successful. I'm just dog.

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Speaker 2: I have a dog who's old. Should we do our

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Speaker 2: first segment?

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Speaker 1: Oh my god, at.

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Speaker 5: Last the bath has been drawn. I sink in deeper.

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Speaker 5: I sink in deeper. Track hell today, Yeah, get thee

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Speaker 5: to the Greenwich House.

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Speaker 3: Get the pry abound at the Greenwich House seven times.

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Speaker 2: A week, seven times a week.

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Speaker 3: Because maybe too many times we were discussing this off, Mike,

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Speaker 3: but I could bring it on. I've never done one

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Speaker 3: of those runs, and it'll be curious to the something

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00:18:27,560 --> 00:18:30,720
Speaker 3: this is? Did you read Jack Novak's New Yorker piece

426
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Speaker 3: when the special based on the show was coming out, Yes,

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Speaker 3: I did. Something I loved was when she talked in

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Speaker 3: about it, and this is good the cube the New

429
00:18:37,240 --> 00:18:40,320
Speaker 3: Yorker integral to the topic we'll be discussing later. She

430
00:18:40,400 --> 00:18:43,199
Speaker 3: talked about how she realized that doing an off Broadway

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00:18:43,240 --> 00:18:45,160
Speaker 3: run was her birthright, and I read that and went

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Speaker 3: actually low key same and now here.

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Speaker 1: We are well.

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Speaker 2: No, it is sort of when are you going to

435
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Speaker 2: be chosen? Yeah.

436
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Speaker 3: And I was already working on this show at the time,

437
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Speaker 3: and I read that. I was like, wait, it should

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Speaker 3: be one of those. It turned a page for me

439
00:18:57,359 --> 00:18:57,919
Speaker 3: quite literally.

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00:18:58,040 --> 00:19:01,040
Speaker 1: Wow, that's nice. Huge. What's the journey for this thing

441
00:19:01,040 --> 00:19:02,359
Speaker 1: you're making? I said, it's that.

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00:19:02,840 --> 00:19:04,120
Speaker 2: It's that wow.

443
00:19:04,440 --> 00:19:06,600
Speaker 3: And then and then and then the producers abound.

444
00:19:07,800 --> 00:19:09,280
Speaker 2: Oh, there are so many producers.

445
00:19:09,400 --> 00:19:10,119
Speaker 1: Oh God, to have.

446
00:19:10,119 --> 00:19:12,600
Speaker 3: A Mic and a Carlely. God, you'd be lucky to

447
00:19:12,640 --> 00:19:13,600
Speaker 3: have a Mic or a Carley.

448
00:19:15,320 --> 00:19:16,280
Speaker 1: Some people have both.

449
00:19:16,840 --> 00:19:19,000
Speaker 2: You're sneaking in the more traditional promotion.

450
00:19:19,119 --> 00:19:20,800
Speaker 3: I see you see how we're doing it in such

451
00:19:20,800 --> 00:19:21,199
Speaker 3: a que way.

452
00:19:21,280 --> 00:19:22,280
Speaker 2: That's such a cute.

453
00:19:22,320 --> 00:19:25,480
Speaker 1: It's very sort of the Little Women reboot.

454
00:19:26,400 --> 00:19:31,320
Speaker 3: Yeah, and which is why non linear. Yeah, it's oh yes, nonlinear.

455
00:19:31,800 --> 00:19:33,800
Speaker 3: It's gerwig as fuck the way I love.

456
00:19:34,200 --> 00:19:37,040
Speaker 2: The Little Little Little Women reboot.

457
00:19:37,359 --> 00:19:39,399
Speaker 1: It's so good. Okay, what else would we call it.

458
00:19:39,520 --> 00:19:42,439
Speaker 2: It's like, oh, there's a new miniseries that's great expectations, Like, oh,

459
00:19:42,440 --> 00:19:44,000
Speaker 2: they're rebooting, great expectations.

460
00:19:45,200 --> 00:19:46,040
Speaker 1: I'm being normal.

461
00:19:50,040 --> 00:19:52,679
Speaker 2: So, Josh, our first segment, as you well know, is

462
00:19:52,720 --> 00:19:54,800
Speaker 2: called straight Shooters and In this segment, we ask you

463
00:19:54,880 --> 00:19:57,320
Speaker 2: a series of rapid fire questions to gauge your familiarity

464
00:19:57,320 --> 00:19:59,080
Speaker 2: with in complicity and straight culture, where you have to

465
00:19:59,119 --> 00:20:00,639
Speaker 2: choose one thing or another thing, and the one rule

466
00:20:00,720 --> 00:20:03,080
Speaker 2: is you can't ask any follow up questions. Understand how

467
00:20:03,080 --> 00:20:03,800
Speaker 2: the game works.

468
00:20:04,119 --> 00:20:06,520
Speaker 3: Now's the time where Q becomes illegal.

469
00:20:06,600 --> 00:20:12,280
Speaker 1: Sam, this is sort of the forties. This is yeah, okay, Josh,

470
00:20:13,160 --> 00:20:15,720
Speaker 1: A watched pot never boils? Or can you watch my

471
00:20:15,800 --> 00:20:17,520
Speaker 1: spot while I go to the toilet?

472
00:20:19,760 --> 00:20:19,920
Speaker 4: Uh?

473
00:20:20,800 --> 00:20:22,240
Speaker 1: A watched pot never boils?

474
00:20:23,160 --> 00:20:27,520
Speaker 2: Roy g bib or boy please give, Boy, please give?

475
00:20:28,320 --> 00:20:34,440
Speaker 1: French Revolution or NYC stench pollution, n icy stench pollution.

476
00:20:35,440 --> 00:20:41,120
Speaker 2: J W. Anderson or d W from Arthur, d W from.

477
00:20:41,080 --> 00:20:45,960
Speaker 1: Arthur good one though, okay? Pimple popping bids or simple

478
00:20:46,040 --> 00:20:47,120
Speaker 1: topping tips.

479
00:20:48,160 --> 00:20:51,080
Speaker 2: Popping bids, shopping at an H and M or choking

480
00:20:51,080 --> 00:20:52,080
Speaker 2: on an eminem.

481
00:20:52,000 --> 00:20:55,480
Speaker 1: Oh, choking on an M and M. Okay, defying gravity

482
00:20:55,560 --> 00:20:58,119
Speaker 1: or implying you're mad at me, implying you're mad at me?

483
00:20:58,720 --> 00:21:01,159
Speaker 2: No smoking or relax I was joking.

484
00:21:01,359 --> 00:21:06,440
Speaker 3: Relax I was joking that before that was a particularly

485
00:21:06,480 --> 00:21:10,320
Speaker 3: good round. So many of them evocative. A question will

486
00:21:10,359 --> 00:21:12,480
Speaker 3: not be asked, but a statement will be made. So

487
00:21:12,560 --> 00:21:14,359
Speaker 3: many of them colon evocative.

488
00:21:14,960 --> 00:21:15,879
Speaker 2: That's another exact.

489
00:21:15,960 --> 00:21:19,000
Speaker 3: The reviews are in so many of them evocative.

490
00:21:18,600 --> 00:21:21,320
Speaker 2: So many of them colon evocatives. Wow, that's actually Kim

491
00:21:21,600 --> 00:21:24,120
Speaker 2: just trying to do THEODA apple, but she like sort

492
00:21:24,160 --> 00:21:25,240
Speaker 2: of doesn't quite get there.

493
00:21:25,640 --> 00:21:29,720
Speaker 1: Yeah, honestly, if Kim p have a song called evocative.

494
00:21:30,840 --> 00:21:40,359
Speaker 3: Or a cockativeative Cambridge like she does, like her sort

495
00:21:40,359 --> 00:21:43,600
Speaker 3: of like literary horror album.

496
00:21:43,920 --> 00:21:48,920
Speaker 1: The medium is the sensual massage. That's that's good.

497
00:21:50,280 --> 00:21:53,080
Speaker 2: You could The medium is the massage she is writing down.

498
00:21:54,840 --> 00:21:58,159
Speaker 3: Well, Josh stream, she's on the live streams. She is

499
00:21:58,200 --> 00:22:00,720
Speaker 3: on the live stream and she's hard face.

500
00:22:00,920 --> 00:22:03,720
Speaker 1: She's being like, seriously, you guys, you got a vote.

501
00:22:04,680 --> 00:22:06,400
Speaker 2: Kim has been listening since twenty sixteen.

502
00:22:06,520 --> 00:22:08,520
Speaker 1: Yeah, that was who I talked to last night, was Kim.

503
00:22:08,800 --> 00:22:11,440
Speaker 1: She came out to me and she was like, I've

504
00:22:11,440 --> 00:22:12,920
Speaker 1: always loved you since twenty sixteen.

505
00:22:14,080 --> 00:22:16,560
Speaker 2: So Joshree rank each guest's performance on a scale of

506
00:22:16,680 --> 00:22:19,200
Speaker 2: zero to one thousand doves. But now it's Blades of

507
00:22:19,320 --> 00:22:21,560
Speaker 2: Grass and oulating on the album.

508
00:22:21,680 --> 00:22:25,399
Speaker 3: Well and Walt Whitman, of course, no, he is the

509
00:22:25,400 --> 00:22:29,280
Speaker 3: original cruising queer. Let's say that all y'all, all y'all

510
00:22:29,320 --> 00:22:31,359
Speaker 3: Sniffies Queen's give it up to Walt Whitman.

511
00:22:31,720 --> 00:22:32,320
Speaker 1: He invisaged.

512
00:22:32,440 --> 00:22:35,159
Speaker 2: Whitman would have absolutely gone off on.

513
00:22:35,440 --> 00:22:37,960
Speaker 1: No. He was literally like creating a location, being like

514
00:22:38,000 --> 00:22:40,040
Speaker 1: it's the creek with all the boys that are shirtless white.

515
00:22:40,320 --> 00:22:43,960
Speaker 3: Literally, the original Sniffies was blades of Grass. Let's say, wow,

516
00:22:44,000 --> 00:22:46,840
Speaker 3: the original original sniffs was blades of And that's.

517
00:22:46,640 --> 00:22:47,840
Speaker 2: A perfude genius track.

518
00:22:48,040 --> 00:22:48,520
Speaker 1: Exactly.

519
00:22:48,640 --> 00:22:52,840
Speaker 3: I'm fast, I contain multitudes of Sun's whole loads.

520
00:22:53,080 --> 00:22:57,760
Speaker 2: Yeah, exactly. Oh, I'm seeing our coffee is all flying.

521
00:22:57,480 --> 00:23:00,000
Speaker 1: In coffee, thank you so much.

522
00:23:00,000 --> 00:23:05,800
Speaker 4: Oh my god, oh this, oh my god, this so

523
00:23:05,880 --> 00:23:07,160
Speaker 4: this I say this.

524
00:23:07,600 --> 00:23:11,119
Speaker 1: Hey, cheers, cheers, cheers. Girls.

525
00:23:11,200 --> 00:23:14,120
Speaker 2: Damn now you're left out. It's speaking, Oh my god,

526
00:23:14,520 --> 00:23:18,280
Speaker 2: under your breath. Speaking of this has aaron to My

527
00:23:18,320 --> 00:23:20,160
Speaker 2: favorite thing is that part?

528
00:23:20,480 --> 00:23:24,240
Speaker 3: Yeah, Well, I love just to put sort of like

529
00:23:24,320 --> 00:23:27,960
Speaker 3: a three year delay on lexicon for the most yes, yes,

530
00:23:28,000 --> 00:23:30,119
Speaker 3: but it's like the things that are happening now in

531
00:23:30,200 --> 00:23:32,479
Speaker 3: conversation for the most part. First of all, it's all

532
00:23:32,480 --> 00:23:35,280
Speaker 3: a la carte. If you're slavishly devoted to every bit

533
00:23:35,320 --> 00:23:37,760
Speaker 3: that the kids are saying, Oh, it's pathetic. You pick

534
00:23:37,800 --> 00:23:39,639
Speaker 3: what works for you. But often I'm putting them in

535
00:23:39,680 --> 00:23:43,240
Speaker 3: a little lock box. Twenty sixteen, I'm putting them in

536
00:23:43,280 --> 00:23:45,480
Speaker 3: a lock box and I'm saving them for three years

537
00:23:45,480 --> 00:23:47,680
Speaker 3: from now. And that's one where I'm like, finally, let's do.

538
00:23:47,880 --> 00:23:50,160
Speaker 2: I think I'm ready to do that part that Sam

539
00:23:50,200 --> 00:23:50,840
Speaker 2: has a theory.

540
00:23:50,920 --> 00:23:52,800
Speaker 1: I have a really exciting theory that I think you're

541
00:23:52,840 --> 00:23:56,200
Speaker 1: gonna like, I think yos Queen is about to come back.

542
00:23:56,240 --> 00:23:58,240
Speaker 3: See that's what I mean. We're getting the port who

543
00:23:58,240 --> 00:23:59,840
Speaker 3: I'm like, absolutely, I'm down for that.

544
00:24:00,160 --> 00:24:02,720
Speaker 1: When I heard I because I'm in a hotel currently

545
00:24:03,119 --> 00:24:05,320
Speaker 1: and they have like in the elevator they have all

546
00:24:05,320 --> 00:24:07,879
Speaker 1: these like fake buttons that have like letters on them

547
00:24:07,920 --> 00:24:09,520
Speaker 1: and then some of them are highlighted and it says

548
00:24:09,600 --> 00:24:12,280
Speaker 1: yas Queen, And I was like, that is the funniest

549
00:24:12,280 --> 00:24:15,360
Speaker 1: thing I've I love ever seen. I love it. It's so back.

550
00:24:15,640 --> 00:24:18,000
Speaker 3: If you looked at my phone, the amount of alarms

551
00:24:18,000 --> 00:24:20,160
Speaker 3: are set. It's all alarms for four years from now.

552
00:24:20,240 --> 00:24:21,280
Speaker 3: Remember to bring back this.

553
00:24:21,520 --> 00:24:22,080
Speaker 1: Do you know what I mean?

554
00:24:22,280 --> 00:24:25,040
Speaker 3: Well, you're like an archivist, you'reeling it's overheating it is

555
00:24:25,119 --> 00:24:27,399
Speaker 3: hot to the touch my device because of how many

556
00:24:28,240 --> 00:24:31,000
Speaker 3: long term alarms I have set to remember these things.

557
00:24:31,080 --> 00:24:33,000
Speaker 2: So give us an give us sort of an idea

558
00:24:33,040 --> 00:24:34,919
Speaker 2: of what types of things are you seeing maybe in

559
00:24:34,920 --> 00:24:37,840
Speaker 2: the coming year, Oh that are going to make a comeback?

560
00:24:37,920 --> 00:24:43,600
Speaker 2: Like I'm like, okay, so, yas queen, what else from

561
00:24:43,600 --> 00:24:46,919
Speaker 2: that era? I mean, are we talking? Boob pillows are

562
00:24:46,960 --> 00:24:49,640
Speaker 2: coming back? Like a pillow that has that's good line

563
00:24:49,680 --> 00:24:55,280
Speaker 2: drawings of boobs? Are we talking or is it?

564
00:24:55,359 --> 00:24:58,199
Speaker 1: Like I wonder if there's this is sort of akin

565
00:24:58,240 --> 00:25:00,480
Speaker 1: to yas Queen. It's a little further back, like is

566
00:25:00,520 --> 00:25:01,760
Speaker 1: bacon core? Like?

567
00:25:02,119 --> 00:25:04,760
Speaker 3: Oh being like, can I have to say I've always

568
00:25:04,760 --> 00:25:06,679
Speaker 3: loved yes queen with an M at the end?

569
00:25:07,040 --> 00:25:08,440
Speaker 1: Something about that is really right to me?

570
00:25:08,600 --> 00:25:14,919
Speaker 2: Ques answer Queen queen a questioning. It's not queen or queen.

571
00:25:15,600 --> 00:25:18,960
Speaker 2: Actually that is the spectrum is QQQ queer question and Queen?

572
00:25:19,160 --> 00:25:21,320
Speaker 3: Yeah, Monny, I know where you're starting, I know where

573
00:25:21,320 --> 00:25:23,439
Speaker 3: you're end. And I won't say them because I know

574
00:25:23,520 --> 00:25:26,440
Speaker 3: them and you should know them. Should what do we

575
00:25:26,440 --> 00:25:26,920
Speaker 3: think is coming?

576
00:25:27,040 --> 00:25:27,200
Speaker 1: Or no?

577
00:25:27,280 --> 00:25:29,040
Speaker 3: You know you go something now I was gonna I

578
00:25:29,080 --> 00:25:30,359
Speaker 3: was gonna go what do I think is coming back,

579
00:25:30,400 --> 00:25:32,400
Speaker 3: but I don't have the answer in my head right now.

580
00:25:32,440 --> 00:25:34,399
Speaker 1: And this is one of those that's a question that

581
00:25:35,480 --> 00:25:39,480
Speaker 1: Q is so answer based that I do think is

582
00:25:39,520 --> 00:25:42,159
Speaker 1: somewhat illegal for a podcast when when you're asking a

583
00:25:42,240 --> 00:25:44,280
Speaker 1: question that that requires an answer.

584
00:25:44,280 --> 00:25:45,840
Speaker 2: Well, I also think there needs this.

585
00:25:45,880 --> 00:25:49,240
Speaker 1: We could dissect the answer the question. This ideeah is

586
00:25:49,240 --> 00:25:52,280
Speaker 1: fruitful because I do love like obviously you have to

587
00:25:52,320 --> 00:25:53,080
Speaker 1: ask a questions.

588
00:25:53,680 --> 00:25:59,400
Speaker 2: Di Sect is another Kim Petra's track Sect and it's

589
00:25:59,400 --> 00:26:01,920
Speaker 2: sort of a you know, analysis of texts.

590
00:26:02,000 --> 00:26:04,240
Speaker 3: Also, this is another Dick one, so they went yours

591
00:26:04,240 --> 00:26:04,840
Speaker 3: is probably better.

592
00:26:05,119 --> 00:26:06,879
Speaker 2: No, if you know her work, she's gonna have two

593
00:26:06,920 --> 00:26:07,720
Speaker 2: Dick ones in a row.

594
00:26:07,880 --> 00:26:14,840
Speaker 1: Do we Diximal System? Yeah? Okay, Ideology spot that's the

595
00:26:14,920 --> 00:26:19,040
Speaker 1: lead single and actually has a little musicality. Yeah, yes,

596
00:26:19,240 --> 00:26:20,960
Speaker 1: that's kind of nice. Oh that's good.

597
00:26:21,640 --> 00:26:24,800
Speaker 2: So my thing here's where I'm struggling with trend based

598
00:26:24,840 --> 00:26:28,440
Speaker 2: stuff is like trend forecasting is over, you know what

599
00:26:28,520 --> 00:26:31,679
Speaker 2: I mean, And yet I know, I know, I know,

600
00:26:31,720 --> 00:26:33,920
Speaker 2: but it's like, but that's that's the bind we find

601
00:26:33,960 --> 00:26:36,840
Speaker 2: ourselves and you want to engage in the Jois de

602
00:26:36,920 --> 00:26:41,040
Speaker 2: Vive of trend forecasting and the like gay guy play

603
00:26:41,640 --> 00:26:43,439
Speaker 2: that is like this is coming back, this is so

604
00:26:43,520 --> 00:26:44,080
Speaker 2: five years ago.

605
00:26:44,240 --> 00:26:46,479
Speaker 3: You know what you're doing. You're not trends forecasting. You're

606
00:26:46,520 --> 00:26:50,359
Speaker 3: doing the ultimately queer act of reading the vibe. You know,

607
00:26:50,400 --> 00:26:54,720
Speaker 3: you're catching a vibe. Yeah, and as cues we are trained.

608
00:26:54,320 --> 00:26:55,200
Speaker 1: To catch a vibe.

609
00:26:55,359 --> 00:26:58,320
Speaker 3: You're you're reading GQ and you're catching a vibe that

610
00:26:58,440 --> 00:27:00,640
Speaker 3: only is for you message.

611
00:27:00,359 --> 00:27:01,800
Speaker 1: That's only for you? Is it just me? Or is

612
00:27:01,800 --> 00:27:02,800
Speaker 1: this gay questioning?

613
00:27:02,960 --> 00:27:04,680
Speaker 3: Yeah?

614
00:27:04,720 --> 00:27:06,960
Speaker 1: So I think you're catching a vibe? You know how?

615
00:27:07,359 --> 00:27:07,600
Speaker 2: Wow?

616
00:27:07,840 --> 00:27:11,800
Speaker 1: Okay, okay, should we get into our topic? Sure, Josh,

617
00:27:12,040 --> 00:27:15,080
Speaker 1: what topic did you bring today? And what straight about it? Well,

618
00:27:15,520 --> 00:27:17,000
Speaker 1: we have the New Yorker to think.

619
00:27:17,119 --> 00:27:21,600
Speaker 3: Wow, it's not the New Yorker, though, Has anyone done

620
00:27:21,600 --> 00:27:22,880
Speaker 3: the New Yorker That would be good?

621
00:27:23,040 --> 00:27:23,200
Speaker 2: Well?

622
00:27:23,359 --> 00:27:26,399
Speaker 1: Actually New Yorker told well, we did toads, but mostly

623
00:27:26,440 --> 00:27:26,880
Speaker 1: the New Yorker.

624
00:27:27,200 --> 00:27:29,240
Speaker 2: One of our recent guests is a staff writer of

625
00:27:29,280 --> 00:27:31,919
Speaker 2: The New Yorker. Her topic, did they write the article

626
00:27:31,960 --> 00:27:33,240
Speaker 2: that I'm going to rep sadly know?

627
00:27:33,960 --> 00:27:36,040
Speaker 1: Too bad? Actually I should know that.

628
00:27:36,160 --> 00:27:36,520
Speaker 2: Yeah.

629
00:27:36,520 --> 00:27:37,200
Speaker 1: Really, there was a.

630
00:27:37,119 --> 00:27:39,480
Speaker 3: Few topics I was considering, and then there was an

631
00:27:39,560 --> 00:27:42,240
Speaker 3: article today about the band Fish, and I found myself

632
00:27:42,280 --> 00:27:43,720
Speaker 3: crying at it, and then I was like, maybe we

633
00:27:43,800 --> 00:27:44,640
Speaker 3: have to talk about fish.

634
00:27:44,720 --> 00:27:48,000
Speaker 2: Let's shout out. And then the lgbgq BOS creator who

635
00:27:48,040 --> 00:27:52,480
Speaker 2: wrote it, Amanda pet troys, Oh, yes, they're a music critic. Yeah, yeah, no,

636
00:27:52,560 --> 00:27:53,560
Speaker 2: she's she's great.

637
00:27:53,600 --> 00:27:55,720
Speaker 1: So I think I think we should get into fish.

638
00:27:55,960 --> 00:27:59,200
Speaker 3: So Fish, But I've learned in our prediscussions are off, Mike,

639
00:27:59,240 --> 00:28:03,919
Speaker 3: that's now on that this is a this is a

640
00:28:03,960 --> 00:28:06,399
Speaker 3: really foreign topic for you and a mostly foreign topic

641
00:28:06,440 --> 00:28:09,720
Speaker 3: for you. Yeah, yeah, what do you know, let's start there.

642
00:28:09,880 --> 00:28:11,760
Speaker 2: I would say there are certain.

643
00:28:11,480 --> 00:28:12,560
Speaker 1: Things that's something you've give an A.

644
00:28:12,920 --> 00:28:13,639
Speaker 2: No, no, totally.

645
00:28:14,280 --> 00:28:16,040
Speaker 1: There are some a's are easier than others.

646
00:28:16,480 --> 00:28:19,600
Speaker 2: There's something very comforting to me about knowing that certain

647
00:28:19,680 --> 00:28:23,560
Speaker 2: things are like not for me, not for me at

648
00:28:23,560 --> 00:28:25,800
Speaker 2: the base level, but then on top of that, also

649
00:28:25,880 --> 00:28:29,000
Speaker 2: not for me to criticize or judge or respond to.

650
00:28:29,160 --> 00:28:31,000
Speaker 3: Like Fish is something I love about the space. It's

651
00:28:31,000 --> 00:28:34,480
Speaker 3: sort of hermetically sealed, and and that's exactly it.

652
00:28:34,840 --> 00:28:37,280
Speaker 2: I actually there was a time in my life where

653
00:28:37,280 --> 00:28:39,400
Speaker 2: I felt musical theater was that, but then late in

654
00:28:39,440 --> 00:28:41,360
Speaker 2: life I have actually become involved.

655
00:28:42,960 --> 00:28:45,320
Speaker 3: I think there's profound similarities.

656
00:28:45,280 --> 00:28:51,520
Speaker 2: Betwe profound similarities. Actually, I would say anything involving the

657
00:28:51,560 --> 00:28:54,240
Speaker 2: Winter Olympic other than ice skating. Anything involving the Winter

658
00:28:54,320 --> 00:28:56,720
Speaker 2: Olympics for me is that like I don't relate to it.

659
00:28:56,760 --> 00:28:59,200
Speaker 2: To me, the Sumber Olympics or ancient Greece, that's my culture.

660
00:29:00,560 --> 00:29:03,320
Speaker 2: I've never found out what bob sledding is or losing

661
00:29:03,400 --> 00:29:05,800
Speaker 2: or anything like that, Like, nor do I think it's

662
00:29:05,840 --> 00:29:07,760
Speaker 2: good or bad, Like, it's not for me to judge.

663
00:29:07,760 --> 00:29:10,360
Speaker 1: You don't watch cool runnings, don't even know what you're

664
00:29:10,360 --> 00:29:10,760
Speaker 1: talking about.

665
00:29:10,800 --> 00:29:15,080
Speaker 3: What formative text to me the nineties Disney Family comedy

666
00:29:15,080 --> 00:29:18,840
Speaker 3: about Jamaican Bob sled team. That's that's what really implanted her.

667
00:29:19,040 --> 00:29:20,920
Speaker 3: Because I was gonna say, I agree with your sentiment.

668
00:29:20,960 --> 00:29:22,280
Speaker 3: But as soon as you said that Bob sledting, I

669
00:29:22,320 --> 00:29:24,080
Speaker 3: said that I know intimately that's me too.

670
00:29:24,360 --> 00:29:26,440
Speaker 1: It's so important running. There was a lot of child

671
00:29:26,560 --> 00:29:28,680
Speaker 1: media about Winter Olympics. There was a lot of ice

672
00:29:28,680 --> 00:29:31,480
Speaker 1: skating movies. You already accepted ice skating.

673
00:29:31,480 --> 00:29:33,719
Speaker 2: I've exempted ice skating, of course, my point being that

674
00:29:33,840 --> 00:29:34,040
Speaker 2: I have.

675
00:29:34,200 --> 00:29:36,640
Speaker 1: I held the record show we've exempted ice skating.

676
00:29:36,400 --> 00:29:39,880
Speaker 3: And Sam and Josh have excepted Bob Sledding under the

677
00:29:39,960 --> 00:29:41,240
Speaker 3: Cool Runnings clause.

678
00:29:42,080 --> 00:29:44,280
Speaker 2: And by the way, Bob Sledding is another track off

679
00:29:44,320 --> 00:29:51,800
Speaker 2: of slipt Up Norway, which is her winter theme pop Oslow. Okay,

680
00:29:51,880 --> 00:29:54,600
Speaker 2: So the point being, I have known Fish is one

681
00:29:54,640 --> 00:29:57,160
Speaker 2: of those things that you're born knowing. You are born

682
00:29:57,440 --> 00:30:00,200
Speaker 2: knowing that Fish exists and that the thing with is

683
00:30:00,720 --> 00:30:03,000
Speaker 2: that people follow them on tour and it's like a

684
00:30:03,040 --> 00:30:07,040
Speaker 2: culture and you're either a part of it or you're not. Uh,

685
00:30:07,040 --> 00:30:07,600
Speaker 2: And that's it.

686
00:30:08,040 --> 00:30:09,720
Speaker 1: And I pretty much know the same thing, except I

687
00:30:09,720 --> 00:30:13,120
Speaker 1: did listen to a comedy podcast about Fish Scott Ackerman.

688
00:30:13,280 --> 00:30:15,760
Speaker 3: Yeah, I didn't listen to it, but he is a fan.

689
00:30:15,920 --> 00:30:18,440
Speaker 3: He's a fan, and and he's talking to someone else

690
00:30:18,440 --> 00:30:19,840
Speaker 3: who's not a fan and sort of explaining it.

691
00:30:19,880 --> 00:30:22,480
Speaker 1: Harris, we're doing our cover of the We're doing our cover.

692
00:30:23,320 --> 00:30:25,480
Speaker 1: Harris Whittles is the fan, and he's teaching Scott Ackerman

693
00:30:25,560 --> 00:30:26,120
Speaker 1: to like it.

694
00:30:27,120 --> 00:30:30,480
Speaker 2: So you like, listen and what it and uh, was

695
00:30:30,520 --> 00:30:31,640
Speaker 2: it compelling to.

696
00:30:31,960 --> 00:30:34,320
Speaker 1: It was compelling? I mean I never know a lot.

697
00:30:34,360 --> 00:30:36,560
Speaker 1: Actually I never learned to. I never like downloaded an

698
00:30:36,560 --> 00:30:38,720
Speaker 1: album and listened to it. But I did hear a

699
00:30:38,760 --> 00:30:39,600
Speaker 1: lot about it.

700
00:30:40,200 --> 00:30:41,440
Speaker 3: Well, and the truth is, I'm going to be a

701
00:30:41,480 --> 00:30:43,560
Speaker 3: lot more cue than Wittles. I'm not here to convince

702
00:30:43,600 --> 00:30:44,640
Speaker 3: you to like it, do you know what I mean.

703
00:30:44,960 --> 00:30:48,200
Speaker 3: I'm here for us to swim, swim, to play around

704
00:30:48,280 --> 00:30:52,040
Speaker 3: in this pool. I don't wouldn't say I like it anymore.

705
00:30:52,080 --> 00:30:55,360
Speaker 3: What made me weep today was just remembering my former self,

706
00:30:55,760 --> 00:30:57,880
Speaker 3: like remembering the me who was obsessed with them. And

707
00:30:57,880 --> 00:31:00,320
Speaker 3: actually I can still I'll go like every two years

708
00:31:00,360 --> 00:31:02,239
Speaker 3: and sort of have a nostalgia trip, but I'm not

709
00:31:02,280 --> 00:31:05,960
Speaker 3: an active participant in the space anymore. Definitely, I remember

710
00:31:06,000 --> 00:31:08,760
Speaker 3: being the only gay person in the room of twenty thousand,

711
00:31:08,880 --> 00:31:12,920
Speaker 3: Like it is just literally a decidedly straight space. Yeah,

712
00:31:13,120 --> 00:31:16,120
Speaker 3: but upon processing, there are some like queer elements, but

713
00:31:16,160 --> 00:31:17,760
Speaker 3: done in a very straight way, you know what I mean.

714
00:31:17,800 --> 00:31:19,640
Speaker 3: Like we said, there's like a drug and a party culture,

715
00:31:19,920 --> 00:31:21,920
Speaker 3: but also none of them are grooming or bathing.

716
00:31:22,320 --> 00:31:24,760
Speaker 2: Well, there's also a community based element to it that

717
00:31:24,880 --> 00:31:26,960
Speaker 2: is very like queer co op pot luck.

718
00:31:27,200 --> 00:31:30,440
Speaker 3: Absolutely that it does feel like it's a space for

719
00:31:30,520 --> 00:31:33,160
Speaker 3: a certain type of straight person who is like this

720
00:31:33,240 --> 00:31:36,200
Speaker 3: society is not for me to like jump over. While

721
00:31:36,240 --> 00:31:39,000
Speaker 3: still never once dabbling in GQ.

722
00:31:39,320 --> 00:31:41,680
Speaker 2: I mean it's literally a safe space.

723
00:31:42,040 --> 00:31:46,080
Speaker 6: It is a space space for straight yes, you know, yeah,

724
00:31:46,200 --> 00:31:49,760
Speaker 6: boy on girl and girl on boy oriented people to

725
00:31:50,440 --> 00:31:52,800
Speaker 6: do a lot of the other broader cultural.

726
00:31:52,440 --> 00:31:54,920
Speaker 1: Queue that we do as cues. You know. I sometimes

727
00:31:55,000 --> 00:31:57,960
Speaker 1: do feel bad for these types of strait because they

728
00:31:58,040 --> 00:31:59,320
Speaker 1: don't have much.

729
00:32:00,040 --> 00:32:01,400
Speaker 3: Well, there are a few scenes a lot of their

730
00:32:01,520 --> 00:32:04,000
Speaker 3: musical I'm really staying like there's like like hardcore is

731
00:32:04,040 --> 00:32:06,880
Speaker 3: like such a straight scene, but also really weirdly very

732
00:32:06,880 --> 00:32:14,000
Speaker 3: gay Australian rugby. You know, men who become so masculine

733
00:32:14,040 --> 00:32:15,800
Speaker 3: they double back around and they're like, oh yeah, I'll

734
00:32:15,840 --> 00:32:18,520
Speaker 3: like grab my buddy's cock. But I've I've never once

735
00:32:19,160 --> 00:32:21,880
Speaker 3: had sex. I've never once thought a single sexual. I've

736
00:32:21,920 --> 00:32:24,000
Speaker 3: not done an iode of GQ. You know, it's like

737
00:32:24,040 --> 00:32:26,640
Speaker 3: there's there's places for them.

738
00:32:26,400 --> 00:32:29,160
Speaker 1: You know. I just realized we need to reframe the

739
00:32:29,360 --> 00:32:33,160
Speaker 1: entire gay straight thing. So now it's not gay straight anymore.

740
00:32:33,800 --> 00:32:38,520
Speaker 2: Oh okay, So the entire prem now.

741
00:32:38,440 --> 00:32:40,440
Speaker 1: It's Q and A.

742
00:32:41,280 --> 00:32:43,600
Speaker 3: You're either question or answer. So the new podcast is

743
00:32:43,640 --> 00:32:45,040
Speaker 3: called a e O LAP.

744
00:32:47,360 --> 00:32:51,440
Speaker 1: Called Lap. Old McDonald had a farm ah.

745
00:32:51,400 --> 00:32:53,720
Speaker 2: By the way, Q and A parentheses. Queath and ass

746
00:32:53,800 --> 00:32:57,880
Speaker 2: is also another track off of Kim Petris La Pop Cambridge.

747
00:32:59,240 --> 00:33:02,440
Speaker 2: So I, first of all, of course love this.

748
00:33:02,440 --> 00:33:02,880
Speaker 1: Thank you.

749
00:33:04,160 --> 00:33:09,720
Speaker 2: It begs the question in defining Q and A, are

750
00:33:09,760 --> 00:33:13,640
Speaker 2: we creating another binary that is even more rigid?

751
00:33:13,800 --> 00:33:15,520
Speaker 1: What's the liminal space between Q and A?

752
00:33:15,840 --> 00:33:16,280
Speaker 2: Exactly?

753
00:33:16,360 --> 00:33:16,440
Speaker 4: Like?

754
00:33:16,480 --> 00:33:20,080
Speaker 2: What is? You know what it is? It's a yes,

755
00:33:20,680 --> 00:33:23,640
Speaker 2: and it's a statement that ends in ellipses, like it's

756
00:33:23,640 --> 00:33:26,120
Speaker 2: like that Q ends in a question mark, A ends

757
00:33:26,120 --> 00:33:27,200
Speaker 2: in a period.

758
00:33:27,920 --> 00:33:32,840
Speaker 1: It's sort of the liminal space is the amper sand WHOA, it's.

759
00:33:32,720 --> 00:33:33,840
Speaker 2: Already in it.

760
00:33:35,320 --> 00:33:39,040
Speaker 3: The options are Q, A or and that's true and

761
00:33:39,120 --> 00:33:42,480
Speaker 3: no one's even seeing And as the third option, it's

762
00:33:42,560 --> 00:33:45,280
Speaker 3: right there. Yeah, but we needed to be expansive because

763
00:33:45,280 --> 00:33:47,040
Speaker 3: it can't just be we can't make it a you know,

764
00:33:47,080 --> 00:33:49,600
Speaker 3: A try on me anymore. Like it's like, you know,

765
00:33:49,640 --> 00:33:53,680
Speaker 3: we can't we can't make it three. That's the same,

766
00:33:55,600 --> 00:33:57,040
Speaker 3: You're on the right path. We have to find a

767
00:33:57,040 --> 00:33:59,960
Speaker 3: way to break apart it as the third.

768
00:33:59,760 --> 00:34:03,800
Speaker 2: And is the amper stand in in assigning it the

769
00:34:03,920 --> 00:34:07,720
Speaker 2: role of the third option? Aren't we othering it? Do

770
00:34:07,760 --> 00:34:08,319
Speaker 2: you know what I mean?

771
00:34:08,320 --> 00:34:11,719
Speaker 3: But it is the continuation literally, and is the ellipsis yeah,

772
00:34:11,719 --> 00:34:14,120
Speaker 3: dot dot dot and what else? You know, say more

773
00:34:14,160 --> 00:34:16,920
Speaker 3: on that? Yeah, say more on that. The end is

774
00:34:17,320 --> 00:34:20,759
Speaker 3: say more, right, and so the idea of like always exploring,

775
00:34:20,880 --> 00:34:22,920
Speaker 3: say more, you're you're seeking, You're seeking.

776
00:34:23,520 --> 00:34:24,160
Speaker 1: That's the end.

777
00:34:24,320 --> 00:34:26,279
Speaker 2: Here's a question for you, though, absolutely isn't that the

778
00:34:26,360 --> 00:34:29,480
Speaker 2: queue literally seeking more? What is it?

779
00:34:29,480 --> 00:34:32,520
Speaker 3: And I guess what the queue is inherently asking for

780
00:34:32,680 --> 00:34:35,280
Speaker 3: is the A? You at a certain point stop talking

781
00:34:35,280 --> 00:34:38,239
Speaker 3: to get the A. Maybe the end is just you know,

782
00:34:38,640 --> 00:34:40,440
Speaker 3: we're just we're we're riding the way.

783
00:34:40,520 --> 00:34:43,080
Speaker 2: It's interesting you think the A is the more limiting

784
00:34:43,400 --> 00:34:45,880
Speaker 2: option the cue. There's actually something about the queue that

785
00:34:46,000 --> 00:34:47,560
Speaker 2: is like demanding an answer.

786
00:34:47,719 --> 00:34:50,120
Speaker 1: The queue has to stop for the A to exist. Yeah.

787
00:34:50,200 --> 00:34:52,279
Speaker 2: Yeah, the oh my god.

788
00:34:52,280 --> 00:34:53,160
Speaker 1: The queue has to go.

789
00:34:55,520 --> 00:34:58,360
Speaker 3: The que is going and oh oh oh okay, I

790
00:34:58,360 --> 00:34:59,160
Speaker 3: guess it's me now.

791
00:34:59,600 --> 00:35:00,000
Speaker 1: Yeah.

792
00:35:00,040 --> 00:35:05,719
Speaker 2: The Q is an accusation. Accusation, thank you, thank c

793
00:35:09,200 --> 00:35:12,279
Speaker 2: And by the way, you're well dash c U M,

794
00:35:12,360 --> 00:35:16,239
Speaker 2: which is another track off of Yeah Pop Cambridge.

795
00:35:16,680 --> 00:35:23,760
Speaker 1: That's that's slut Pop Manners Edition. Yeah, you're welcome slip

796
00:35:23,760 --> 00:35:30,279
Speaker 1: pop Dear Abby or whatever. Yeah, it's like like that's

797
00:35:30,880 --> 00:35:35,879
Speaker 1: that's there's track on it called That's My Tossed Salad Fork.

798
00:35:36,440 --> 00:35:38,200
Speaker 1: That's that me tossed salad fork.

799
00:35:38,200 --> 00:35:41,560
Speaker 2: That's that me tost salad Forks featuring Sabrina Carpenter.

800
00:35:41,600 --> 00:35:45,200
Speaker 1: Actually, absolutely absolutely, it's an interpolation.

801
00:35:46,400 --> 00:35:49,319
Speaker 3: Oh the way this has my lips chapped, that's when

802
00:35:49,360 --> 00:35:50,040
Speaker 3: you know it's good.

803
00:35:50,480 --> 00:35:51,920
Speaker 1: The lips are chat.

804
00:35:51,760 --> 00:35:55,680
Speaker 3: That's when you know it's good. Watcher listeners. That was

805
00:35:55,719 --> 00:35:56,440
Speaker 3: to the watchers.

806
00:35:56,640 --> 00:36:01,440
Speaker 1: Okay, so call them listeners and watchers we don't do, okay,

807
00:36:01,480 --> 00:36:04,600
Speaker 1: so you love we don't. That was so a of

808
00:36:04,680 --> 00:36:08,360
Speaker 1: you that really, Yes, he gave me a cue. I

809
00:36:08,360 --> 00:36:10,359
Speaker 1: had to give an a like he was literally being

810
00:36:10,400 --> 00:36:11,560
Speaker 1: like gun to my head, that's.

811
00:36:11,440 --> 00:36:13,239
Speaker 2: What you called, And I said, no, but this is

812
00:36:13,560 --> 00:36:16,000
Speaker 2: I'm really it's like you think the A is the

813
00:36:16,000 --> 00:36:19,040
Speaker 2: oppressive one. No, the Q is what is oppressing the A.

814
00:36:19,239 --> 00:36:20,960
Speaker 2: And to give me a declarative.

815
00:36:20,480 --> 00:36:22,680
Speaker 1: Statement, I mean many straight people would argue that is true.

816
00:36:22,840 --> 00:36:26,000
Speaker 2: Yes, it's that is. It's it's like the straight people

817
00:36:26,000 --> 00:36:26,600
Speaker 2: are the ones that are.

818
00:36:26,560 --> 00:36:31,319
Speaker 3: Pressed, done, done hits end, which is why they take

819
00:36:31,360 --> 00:36:32,640
Speaker 3: refuge and fish is why.

820
00:36:33,760 --> 00:36:37,920
Speaker 2: And I not to be so uh standard Q and A.

821
00:36:38,120 --> 00:36:39,560
Speaker 2: I do want to sort of go back to basics,

822
00:36:39,560 --> 00:36:41,680
Speaker 2: and I kind of want to give you a platform. Yeah,

823
00:36:41,760 --> 00:36:43,840
Speaker 2: it talks a little bit about Fish.

824
00:36:44,200 --> 00:36:47,240
Speaker 3: Yeah, I do feel like a lot of like being

825
00:36:47,400 --> 00:36:51,920
Speaker 3: a closeted high schooler in rural North Carolina, it was

826
00:36:51,920 --> 00:36:54,319
Speaker 3: a big part of developing my personality, not just Fish,

827
00:36:54,360 --> 00:36:57,160
Speaker 3: but just like like driving to Ashville and seeing third

828
00:36:57,200 --> 00:36:59,640
Speaker 3: tier jam bands at the Orange Peel was how I

829
00:36:59,640 --> 00:37:02,240
Speaker 3: was like, I am a person. You know, I exist,

830
00:37:02,360 --> 00:37:04,200
Speaker 3: I've been intro and I've been brought on, you know

831
00:37:04,239 --> 00:37:06,640
Speaker 3: what I mean. It's like that, really, so I would

832
00:37:06,680 --> 00:37:08,279
Speaker 3: this is the primer. Let's try to make it as

833
00:37:08,280 --> 00:37:13,120
Speaker 3: succinct as possible, and we're gonna go We're gonna little

834
00:37:13,120 --> 00:37:13,840
Speaker 3: women reboot it.

835
00:37:13,880 --> 00:37:14,879
Speaker 1: We're gonna go out of time.

836
00:37:15,200 --> 00:37:17,040
Speaker 3: I'm not gonna I'm not We're gonna start in the middle,

837
00:37:17,360 --> 00:37:18,279
Speaker 3: as the podcast does.

838
00:37:18,360 --> 00:37:20,920
Speaker 2: Josh, I just want to say if you if you

839
00:37:21,000 --> 00:37:22,959
Speaker 2: start in the beginning, I would tell you to get

840
00:37:23,000 --> 00:37:25,200
Speaker 2: out of your care and leave the idea that you

841
00:37:25,239 --> 00:37:28,399
Speaker 2: would come to this podcast and do linear storytelling as

842
00:37:28,400 --> 00:37:29,320
Speaker 2: though you are, like.

843
00:37:29,520 --> 00:37:33,080
Speaker 3: It's insulting. I even it's insulting to the cubes and

844
00:37:33,880 --> 00:37:36,560
Speaker 3: cut this part of the episode because it's insulting. Cut

845
00:37:36,560 --> 00:37:38,000
Speaker 3: this part of the episode and put it at the end.

846
00:37:38,800 --> 00:37:41,040
Speaker 3: By the way, accountability, keep this part of the episode.

847
00:37:42,680 --> 00:37:45,359
Speaker 3: Cut the part where I said cut it, but keep it.

848
00:37:45,760 --> 00:37:47,359
Speaker 2: And the idea that you're coming in and you're saying,

849
00:37:47,360 --> 00:37:49,200
Speaker 2: you know, a normal person would do linear, but I'm

850
00:37:49,200 --> 00:37:53,760
Speaker 2: gonna do wist. That's like you. It's like very Sam

851
00:37:53,760 --> 00:37:55,560
Speaker 2: Smith saying, am I the first gay person to win?

852
00:37:55,640 --> 00:37:56,920
Speaker 1: Yeah? Exactly, Like it's.

853
00:37:56,800 --> 00:38:01,040
Speaker 3: Like not to being different, Yeah, not even this kind

854
00:38:01,040 --> 00:38:02,200
Speaker 3: of other people do what you're doing.

855
00:38:02,200 --> 00:38:04,080
Speaker 2: It's called conversation. Yea, Like no one is actually going

856
00:38:04,080 --> 00:38:05,799
Speaker 2: on exactly, So you're so right.

857
00:38:06,480 --> 00:38:09,320
Speaker 3: So what you know about them is sort of tapping

858
00:38:09,360 --> 00:38:12,680
Speaker 3: into when the Grateful Dead ended because Jerry died in

859
00:38:12,760 --> 00:38:15,560
Speaker 3: ninety five, Fish, who was already like a really burgeoning

860
00:38:15,600 --> 00:38:18,160
Speaker 3: popular band, had started to like play arenas became like

861
00:38:18,320 --> 00:38:20,960
Speaker 3: mega successful because their fans were like, we need to

862
00:38:21,040 --> 00:38:21,680
Speaker 3: fuck to them.

863
00:38:22,080 --> 00:38:23,400
Speaker 1: But actually they were rather different.

864
00:38:23,400 --> 00:38:27,279
Speaker 3: They're very similar in cultures but different in musical construct.

865
00:38:27,560 --> 00:38:30,200
Speaker 3: They both improvise, so they do a lot of improv

866
00:38:30,239 --> 00:38:33,239
Speaker 3: which you all know as not to UCB training.

867
00:38:33,040 --> 00:38:35,200
Speaker 1: I celebrate and much more free form.

868
00:38:35,239 --> 00:38:37,120
Speaker 3: It's actually more of a jazz style than a UCB

869
00:38:37,200 --> 00:38:39,000
Speaker 3: Amy Poeller told you the rules, so you know what

870
00:38:39,040 --> 00:38:41,239
Speaker 3: I mean. Like it's it's very it's very free form,

871
00:38:41,560 --> 00:38:45,480
Speaker 3: but it's very yes andy okay. And so thus there's

872
00:38:45,520 --> 00:38:48,000
Speaker 3: this culture of people who are chasing the dragon because

873
00:38:48,560 --> 00:38:52,000
Speaker 3: not only do you hear a song more than once,

874
00:38:52,040 --> 00:38:54,279
Speaker 3: and it can go very different directions. You know, you're

875
00:38:54,320 --> 00:38:57,040
Speaker 3: trying to see Sandino do the perfect chessboard, Herald Honey

876
00:38:57,280 --> 00:39:00,080
Speaker 3: preaching to the damn choir, you understand. But also so

877
00:39:00,239 --> 00:39:02,680
Speaker 3: they then sort of extrapolate that on creat a broader

878
00:39:02,719 --> 00:39:04,919
Speaker 3: culture where like for them, the shows are very long,

879
00:39:05,040 --> 00:39:07,120
Speaker 3: like four and a half hours, so they're like an experience,

880
00:39:07,400 --> 00:39:09,640
Speaker 3: and if you could see them every night for a week,

881
00:39:09,719 --> 00:39:12,160
Speaker 3: they don't repeat a song, so you just hear every

882
00:39:12,160 --> 00:39:15,279
Speaker 3: show is literally quite different structurally, and then also even

883
00:39:15,320 --> 00:39:17,080
Speaker 3: if it were the same show played twice, which they

884
00:39:17,120 --> 00:39:19,600
Speaker 3: never would do, they like embrace the energy of the

885
00:39:19,600 --> 00:39:22,600
Speaker 3: space and let it go different places. But musically, The

886
00:39:22,640 --> 00:39:24,640
Speaker 3: Grateful Dead was basically like a folk band who then

887
00:39:24,640 --> 00:39:26,479
Speaker 3: were like, it's pretty easy to just like take LSD

888
00:39:26,560 --> 00:39:28,640
Speaker 3: and riff on these two courts from they sort of

889
00:39:28,640 --> 00:39:32,080
Speaker 3: started as a prog band and we're writing these intensely composed,

890
00:39:32,160 --> 00:39:34,799
Speaker 3: like crazy epic suites that were psychotic and then finding

891
00:39:34,800 --> 00:39:36,640
Speaker 3: out how to improvise within them, which is like a

892
00:39:36,680 --> 00:39:40,839
Speaker 3: weird gnashing of dualities. So musically, but also if you

893
00:39:40,880 --> 00:39:44,480
Speaker 3: told me this is unlistenable, I'd be like valid. I

894
00:39:44,840 --> 00:39:46,920
Speaker 3: get there's a high bird hurdle to get into it,

895
00:39:46,960 --> 00:39:49,720
Speaker 3: and then when people do, you're down bad for it. Yeah,

896
00:39:49,760 --> 00:39:52,000
Speaker 3: And it's half that part of straight people's brain, like baseball,

897
00:39:52,000 --> 00:39:54,040
Speaker 3: where you're like, I need to memorize every statistic.

898
00:39:54,160 --> 00:39:57,200
Speaker 1: There's a there's an obsession your list observe. It's obsessive.

899
00:39:57,520 --> 00:40:00,440
Speaker 3: It's obsessive, and there's a there's a lot of in

900
00:40:00,480 --> 00:40:03,879
Speaker 3: culture stuff, as we know from Yas Queen that part.

901
00:40:04,280 --> 00:40:06,720
Speaker 3: There's all of these things that only this culture knows

902
00:40:07,000 --> 00:40:09,480
Speaker 3: that are fostered by the band to the audience and

903
00:40:09,600 --> 00:40:12,120
Speaker 3: vice versa. I like, literally do gags with the bands.

904
00:40:12,120 --> 00:40:14,200
Speaker 3: I have a cue that demands an a what's their

905
00:40:14,280 --> 00:40:14,839
Speaker 3: yas Queen?

906
00:40:15,960 --> 00:40:17,160
Speaker 1: Oh great point.

907
00:40:19,440 --> 00:40:21,279
Speaker 3: And I know actually that one of one of the

908
00:40:21,280 --> 00:40:23,480
Speaker 3: people in this room is more actively in fish. So

909
00:40:23,680 --> 00:40:26,200
Speaker 3: you can gut check me. At any point, would you

910
00:40:26,239 --> 00:40:28,440
Speaker 3: say it's would you fec driving to a frenzy. Is

911
00:40:28,480 --> 00:40:29,359
Speaker 3: that their yas Queen.

912
00:40:30,080 --> 00:40:31,080
Speaker 1: That's one of the big ones.

913
00:40:31,320 --> 00:40:33,480
Speaker 3: One of their most epic songs has this sort of

914
00:40:33,560 --> 00:40:36,319
Speaker 3: undecipherable lyric that's just sounds that people are always starting

915
00:40:36,360 --> 00:40:39,759
Speaker 3: trying to figure out what it actually is and then

916
00:40:39,760 --> 00:40:41,400
Speaker 3: they've never explained it. But people have a lot of

917
00:40:41,440 --> 00:40:44,560
Speaker 3: theories of what they're trying to say. And it's definitely

918
00:40:44,560 --> 00:40:47,200
Speaker 3: a shorthand for like knowing the band.

919
00:40:47,560 --> 00:40:51,960
Speaker 1: Okay, so okay, So for like a You're like there

920
00:40:52,000 --> 00:40:55,000
Speaker 1: for four plus hours, you're like doing drugs and You're like,

921
00:40:55,040 --> 00:40:58,520
Speaker 1: I'm crazy. I've never been anywhere like this, like where

922
00:40:59,239 --> 00:41:01,160
Speaker 1: part of what feels straight to me about it and

923
00:41:01,200 --> 00:41:03,120
Speaker 1: I'm down to be wrong because I'm just shooting in

924
00:41:03,200 --> 00:41:05,600
Speaker 1: the dark. Is it sexless?

925
00:41:05,880 --> 00:41:11,200
Speaker 3: Are people hooking up sexless? That's interesting sexless? Wouldn't you agree? Sexless?

926
00:41:12,280 --> 00:41:13,720
Speaker 7: I don't think fish is that straight?

927
00:41:14,239 --> 00:41:15,920
Speaker 2: Oh interesting?

928
00:41:16,080 --> 00:41:16,360
Speaker 1: Wow?

929
00:41:16,600 --> 00:41:19,600
Speaker 3: Well, but I think of the amount of straight people,

930
00:41:20,120 --> 00:41:22,520
Speaker 3: which is profound and overwhelming, you know what I mean.

931
00:41:22,760 --> 00:41:24,760
Speaker 3: But you're right, there are a lot of overlaps because

932
00:41:24,840 --> 00:41:26,120
Speaker 3: it's it circles back this thing.

933
00:41:26,160 --> 00:41:30,440
Speaker 2: I mean, any stub of any subculture is exacterently to

934
00:41:30,520 --> 00:41:34,400
Speaker 2: be so basic apparently queer because it is like outside

935
00:41:34,400 --> 00:41:34,920
Speaker 2: the main stream.

936
00:41:34,960 --> 00:41:36,680
Speaker 3: But they're the most successful indie band of all time,

937
00:41:36,760 --> 00:41:38,600
Speaker 3: you know what I mean. It's like they can they

938
00:41:38,640 --> 00:41:40,399
Speaker 3: can sell thirteen knights in a row at the garden

939
00:41:40,440 --> 00:41:42,840
Speaker 3: and aren't on a label. You know, nobody listens to

940
00:41:42,880 --> 00:41:44,880
Speaker 3: their They've never had a pop they've never had a

941
00:41:44,960 --> 00:41:45,520
Speaker 3: radiohead ever.

942
00:41:45,920 --> 00:41:47,360
Speaker 1: So which is that is what's.

943
00:41:47,160 --> 00:41:51,720
Speaker 2: Most intriguing about them to me is like everything else

944
00:41:51,880 --> 00:41:53,640
Speaker 2: that is a subcult you can at least point to.

945
00:41:53,719 --> 00:41:56,880
Speaker 2: Like the one time they were mainstream.

946
00:41:56,520 --> 00:41:59,480
Speaker 3: They had a very brief moment of trying it yeah,

947
00:41:59,560 --> 00:42:03,120
Speaker 3: and the record did like okay, but didn't do anything.

948
00:42:03,160 --> 00:42:04,960
Speaker 3: And then they turned in the next record. This guy

949
00:42:05,040 --> 00:42:06,640
Speaker 3: referenced in The New Yorker, I'm like, here's the next one,

950
00:42:06,680 --> 00:42:08,279
Speaker 3: and the air and our person was not just like

951
00:42:08,440 --> 00:42:10,560
Speaker 3: this is a bad direction. He was like, I refuse

952
00:42:10,719 --> 00:42:12,799
Speaker 3: to even try to do so. Then they're like, all right,

953
00:42:12,840 --> 00:42:15,040
Speaker 3: well never wine. They didn't even give notes. They're like,

954
00:42:15,040 --> 00:42:16,080
Speaker 3: no notes, cut and run.

955
00:42:16,200 --> 00:42:21,719
Speaker 1: Okay, Okay, here's my theory. Ready, Okay they are It's

956
00:42:21,760 --> 00:42:24,680
Speaker 1: not like a band in the classic sense. It's a

957
00:42:25,160 --> 00:42:27,879
Speaker 1: theater show about a band in a way.

958
00:42:27,960 --> 00:42:30,279
Speaker 3: Yes, I mean one of his early pieces, this guy

959
00:42:30,400 --> 00:42:33,040
Speaker 3: was writing sort of like this like fantasy musical that

960
00:42:33,080 --> 00:42:41,600
Speaker 3: he did dissertation stereophonic fantasy. Yeah, exactly. And so I

961
00:42:41,600 --> 00:42:43,880
Speaker 3: think there's always and he's now since written musicals. Like

962
00:42:43,880 --> 00:42:46,160
Speaker 3: a lot of it is drawing from that space of

963
00:42:46,200 --> 00:42:50,960
Speaker 3: like narrative world building. You know, characters, there's characters and songs.

964
00:42:51,000 --> 00:42:54,040
Speaker 3: There's like you know, yeah, there there's a certain state

965
00:42:54,080 --> 00:42:58,640
Speaker 3: of play, profoundly, oh god, profoundly a state of play.

966
00:42:58,719 --> 00:43:00,520
Speaker 3: There's a lot of that because again they're like one

967
00:43:00,800 --> 00:43:03,799
Speaker 3: improv is like we're playing together. And then they then

968
00:43:03,880 --> 00:43:06,239
Speaker 3: wanted Also they have a light sky who's like known

969
00:43:06,280 --> 00:43:07,919
Speaker 3: in the business for being the best at what he does.

970
00:43:08,360 --> 00:43:11,880
Speaker 3: Because you see most big arena stadium shows, they're programmed

971
00:43:11,880 --> 00:43:14,440
Speaker 3: to hell, you have like ninety thousand pre program cues.

972
00:43:14,800 --> 00:43:17,400
Speaker 3: He goes in with I think normally like four and

973
00:43:17,520 --> 00:43:20,240
Speaker 3: improvises the rest of it. And so he is working

974
00:43:20,400 --> 00:43:23,240
Speaker 3: these massive lights and improvising with him. So then sometimes

975
00:43:23,320 --> 00:43:25,200
Speaker 3: they're doing things musically and he responds to it or

976
00:43:25,280 --> 00:43:27,560
Speaker 3: vice versa. He'll do lights and they'll go, we should

977
00:43:27,560 --> 00:43:30,240
Speaker 3: play along to that. Then they extrapolated that to the audience.

978
00:43:30,280 --> 00:43:32,360
Speaker 3: There was a time they literally would throw four big

979
00:43:32,400 --> 00:43:35,319
Speaker 3: balls in the audience, each of which represented a band member,

980
00:43:35,360 --> 00:43:37,520
Speaker 3: and only play when an audience member touched it, because

981
00:43:37,560 --> 00:43:40,080
Speaker 3: they're like, we want you to play us. And that's

982
00:43:40,080 --> 00:43:41,880
Speaker 3: become a thing where they're always like, how do we

983
00:43:41,960 --> 00:43:46,279
Speaker 3: make you as active a participant in this as we are?

984
00:43:48,000 --> 00:43:49,560
Speaker 3: That literal sense of play.

985
00:43:49,400 --> 00:43:52,720
Speaker 1: That's a sense of play. I like that. It reminds

986
00:43:52,800 --> 00:43:55,480
Speaker 1: me of like me at over the eight, like there's something.

987
00:43:55,520 --> 00:43:58,880
Speaker 3: No, it's very over the eight coded which and then

988
00:43:58,920 --> 00:44:00,319
Speaker 3: there's all these facts you would know or do you

989
00:44:00,360 --> 00:44:02,000
Speaker 3: know that like in the Y two K not to

990
00:44:02,040 --> 00:44:02,359
Speaker 3: bring it.

991
00:44:02,320 --> 00:44:04,560
Speaker 1: Back to twenty sixteen, but in the nineteen ninety nine

992
00:44:05,320 --> 00:44:06,560
Speaker 1: was right exactly. Yeah.

993
00:44:07,000 --> 00:44:08,480
Speaker 3: Do you know that they did a concert on New

994
00:44:08,560 --> 00:44:10,920
Speaker 3: Year's Eve that was the biggest attended New Year's Eve

995
00:44:10,920 --> 00:44:11,840
Speaker 3: event in the world.

996
00:44:12,880 --> 00:44:16,720
Speaker 1: Was it in a it in Florida?

997
00:44:17,280 --> 00:44:20,360
Speaker 7: It was a big Cypress Native American.

998
00:44:20,200 --> 00:44:23,720
Speaker 3: I was gonna say, a seminal like reservation in Florida.

999
00:44:24,000 --> 00:44:26,399
Speaker 3: And they had like hundreds of thousands of people there

1000
00:44:27,400 --> 00:44:29,840
Speaker 3: and they played ninety They played all night. They started

1001
00:44:29,840 --> 00:44:32,040
Speaker 3: at ten and played until like eight am the next morning.

1002
00:44:32,080 --> 00:44:34,640
Speaker 1: After the sun came out that that's rave culture. That's

1003
00:44:34,719 --> 00:44:36,239
Speaker 1: rave culture. Do they wear diapers?

1004
00:44:36,440 --> 00:44:37,440
Speaker 2: So here's my question.

1005
00:44:41,160 --> 00:44:43,480
Speaker 7: The first New Year's they played at the Boston Garden,

1006
00:44:44,120 --> 00:44:47,080
Speaker 7: eleven fifty they went backstage and like eleven fifty three

1007
00:44:47,120 --> 00:44:47,680
Speaker 7: they came out of.

1008
00:44:47,719 --> 00:44:50,560
Speaker 1: Divers, folks, they're wearing diapers. But that was as a

1009
00:44:50,560 --> 00:44:51,439
Speaker 1: bit right, it.

1010
00:44:51,360 --> 00:44:53,399
Speaker 7: Was there, like first ever New Year's game.

1011
00:44:53,560 --> 00:44:55,759
Speaker 3: Yeah, Now they do gags every New Year's. It's always

1012
00:44:55,760 --> 00:44:58,120
Speaker 3: a big surprise because they literally do like a theatrical

1013
00:44:58,160 --> 00:45:00,560
Speaker 3: thing as as part of the show. So people come

1014
00:45:00,600 --> 00:45:01,960
Speaker 3: every New year as being like, what's the guy going

1015
00:45:02,000 --> 00:45:03,960
Speaker 3: to be? And they actually like make a you know,

1016
00:45:04,000 --> 00:45:11,480
Speaker 3: like an opera or whatever. Oh yeah, look, well this

1017
00:45:11,680 --> 00:45:13,040
Speaker 3: is really shocking.

1018
00:45:13,080 --> 00:45:15,600
Speaker 2: I'm like getting frustrated that all these people are having

1019
00:45:15,600 --> 00:45:16,279
Speaker 2: more fun than me.

1020
00:45:16,560 --> 00:45:18,960
Speaker 3: Well that's what I actually do. That's something I realized

1021
00:45:18,960 --> 00:45:20,680
Speaker 3: too when I actually the part that made me cry

1022
00:45:20,800 --> 00:45:22,719
Speaker 3: was him thinking about his sobriety. He was talking about

1023
00:45:22,719 --> 00:45:24,120
Speaker 3: a sobriety really poetically.

1024
00:45:24,160 --> 00:45:25,320
Speaker 1: But when did he become sober?

1025
00:45:25,520 --> 00:45:28,920
Speaker 3: The band like busted up because he became so drop.

1026
00:45:29,080 --> 00:45:30,880
Speaker 3: I mean many reasons. I think the operation got too

1027
00:45:30,880 --> 00:45:32,759
Speaker 3: big and they had like fifty people to employ, and

1028
00:45:32,800 --> 00:45:34,000
Speaker 3: then it was like, oh, you have to keep doing this,

1029
00:45:34,040 --> 00:45:36,719
Speaker 3: and then the lead guy was like doing opiates and

1030
00:45:37,440 --> 00:45:39,880
Speaker 3: heroin and stuff, and so like that became unsustainable. So

1031
00:45:39,920 --> 00:45:42,399
Speaker 3: they like briefly broke up. And when was that two

1032
00:45:42,400 --> 00:45:46,319
Speaker 3: thousand and four. Yeah, to have a fact checker, this

1033
00:45:46,400 --> 00:45:46,759
Speaker 3: is tough.

1034
00:45:46,840 --> 00:45:48,759
Speaker 1: I feel like that you this is tough because you're

1035
00:45:48,800 --> 00:45:51,000
Speaker 1: literally now being no, I'm this is I have to

1036
00:45:51,000 --> 00:45:54,280
Speaker 1: have the right as you have. It's become an a podcast.

1037
00:45:54,320 --> 00:45:55,520
Speaker 1: I have to have the right a's you have to.

1038
00:45:55,600 --> 00:45:57,520
Speaker 3: But this is what media needs fact checkers in the room.

1039
00:45:57,560 --> 00:45:59,280
Speaker 3: Are we talking about? I mean, this is twenty sixteen.

1040
00:46:01,080 --> 00:46:01,959
Speaker 1: If us.

1041
00:46:04,080 --> 00:46:06,280
Speaker 3: Fact checked me, like we should that Cheetoh if.

1042
00:46:06,080 --> 00:46:08,399
Speaker 2: You haven't, if you haven't heard of Cambridge Analytica, you're

1043
00:46:08,440 --> 00:46:09,960
Speaker 2: only getting half the story.

1044
00:46:09,960 --> 00:46:11,040
Speaker 1: Cambridge Anaclitica.

1045
00:46:11,440 --> 00:46:14,960
Speaker 2: Oh my god. That's literally best one out of out

1046
00:46:14,960 --> 00:46:20,200
Speaker 2: of slaptop Cambridge literally Cambridge Anaclitica. Wow, oh my god.

1047
00:46:20,320 --> 00:46:22,800
Speaker 3: Then like two years after the breakup, he got arrested

1048
00:46:22,800 --> 00:46:25,120
Speaker 3: with like heroin and pills in his car, and apparently

1049
00:46:25,120 --> 00:46:28,000
Speaker 3: it was just like everybody says, like the the most

1050
00:46:28,080 --> 00:46:30,239
Speaker 3: kind and gracious person to ever be arrested, because I

1051
00:46:30,239 --> 00:46:32,040
Speaker 3: think he was like finally, thank you, thank you. And

1052
00:46:32,040 --> 00:46:33,719
Speaker 3: then he tells the story about then he was on

1053
00:46:33,840 --> 00:46:36,480
Speaker 3: like he managed to avoid jail by doing basically house

1054
00:46:36,560 --> 00:46:40,400
Speaker 3: arrest and like got an apartment next to the jail

1055
00:46:40,880 --> 00:46:42,040
Speaker 3: and couldn't.

1056
00:46:41,680 --> 00:46:41,960
Speaker 1: Have a car.

1057
00:46:43,600 --> 00:46:45,480
Speaker 3: Apparently they like worked it out with a judge where

1058
00:46:45,480 --> 00:46:47,840
Speaker 3: he was like, I'm gonna do two years of community

1059
00:46:47,840 --> 00:46:50,440
Speaker 3: service and I'm gonna live by the jail and and

1060
00:46:50,480 --> 00:46:53,080
Speaker 3: he said it was like the most like beautiful, humbling experience.

1061
00:46:53,080 --> 00:46:54,759
Speaker 3: Because he's still Vermont, he's a rock star. People are

1062
00:46:54,800 --> 00:46:56,680
Speaker 3: coming up, like Trey from Fish. He's like, I'm scrubbing

1063
00:46:56,680 --> 00:46:58,920
Speaker 3: toilets and being like thank you. And then he said

1064
00:46:59,160 --> 00:47:01,040
Speaker 3: his kids would come and visit them on the weekends

1065
00:47:01,320 --> 00:47:03,000
Speaker 3: and they look back and say it was the best

1066
00:47:03,000 --> 00:47:04,640
Speaker 3: part of their lives because before that he was on

1067
00:47:04,680 --> 00:47:06,640
Speaker 3: tour and doing drugs. And he's like this part where

1068
00:47:06,640 --> 00:47:07,760
Speaker 3: I cry.

1069
00:47:07,640 --> 00:47:08,600
Speaker 1: To that that's pretty much.

1070
00:47:08,680 --> 00:47:09,560
Speaker 2: I mean, that's beautiful.

1071
00:47:09,640 --> 00:47:11,200
Speaker 3: But then it got me just thinking about the time

1072
00:47:11,200 --> 00:47:13,120
Speaker 3: of my life when I cared about this stuff and

1073
00:47:13,160 --> 00:47:17,320
Speaker 3: I don't anymore. And that's you know, that's what changed. Oh,

1074
00:47:17,360 --> 00:47:18,320
Speaker 3: that's a great question.

1075
00:47:18,520 --> 00:47:20,439
Speaker 1: You became gay that I became gay.

1076
00:47:20,440 --> 00:47:22,560
Speaker 3: Honestly, I became gay and I said, wait, there's a

1077
00:47:22,600 --> 00:47:23,879
Speaker 3: different version of this, and it's.

1078
00:47:24,320 --> 00:47:25,359
Speaker 1: And I can have sex there.

1079
00:47:25,640 --> 00:47:27,640
Speaker 3: Yeah, you can get your dick sucked if you do

1080
00:47:27,680 --> 00:47:29,840
Speaker 3: this in Berlin. It's literally all the same things.

1081
00:47:30,440 --> 00:47:33,200
Speaker 1: Yeah, it is kind of a bummer. I've been thinking

1082
00:47:33,200 --> 00:47:37,240
Speaker 1: about what gay takes from me, what g takes away

1083
00:47:37,239 --> 00:47:39,799
Speaker 1: from me. Where now I am just like, well, I

1084
00:47:39,840 --> 00:47:41,560
Speaker 1: could be doing this, like I could be getting into

1085
00:47:41,560 --> 00:47:44,240
Speaker 1: this niche subculture, or I could go somewhere and probably

1086
00:47:44,239 --> 00:47:46,440
Speaker 1: have sex. Oh well, these are connected.

1087
00:47:46,440 --> 00:47:48,480
Speaker 3: The part I was going to say is I do now,

1088
00:47:48,560 --> 00:47:51,160
Speaker 3: looking back, love and appreciate it even more now that

1089
00:47:51,239 --> 00:47:53,800
Speaker 3: I think they're even lamer. That it's like an uncool

1090
00:47:53,840 --> 00:47:56,640
Speaker 3: space because so much of queer spaces are about the

1091
00:47:56,680 --> 00:47:57,520
Speaker 3: currency of cool.

1092
00:47:57,600 --> 00:47:58,719
Speaker 1: It's an arms race.

1093
00:47:58,840 --> 00:48:01,440
Speaker 3: It's an arms race for cool, and that theirs is

1094
00:48:01,440 --> 00:48:04,439
Speaker 3: basically everybody agreeing, like, so you're lame, like I'm lame,

1095
00:48:05,200 --> 00:48:06,720
Speaker 3: and it's having.

1096
00:48:06,600 --> 00:48:07,279
Speaker 2: So much thing.

1097
00:48:07,960 --> 00:48:11,560
Speaker 3: It's like, it's so that that is admirable. We should

1098
00:48:11,560 --> 00:48:12,720
Speaker 3: bring that to our Q spaces.

1099
00:48:12,760 --> 00:48:14,640
Speaker 1: We should bring up some Q spaces. But then but

1100
00:48:14,719 --> 00:48:16,600
Speaker 1: we you and I try to do this when we

1101
00:48:16,640 --> 00:48:19,600
Speaker 1: celebrate what we call Philly. Yeah, that's true.

1102
00:48:20,000 --> 00:48:23,080
Speaker 3: Can we explained this theory to George Philly not real Philly.

1103
00:48:23,239 --> 00:48:26,680
Speaker 3: This is I don't know the down just to warn

1104
00:48:26,840 --> 00:48:30,719
Speaker 3: the watchers cost about to be coastal elite, but in

1105
00:48:30,719 --> 00:48:33,359
Speaker 3: a way that doubles back and becomes praise. So this

1106
00:48:33,400 --> 00:48:37,520
Speaker 3: is Australian rugby. All right, So this is so straight

1107
00:48:37,560 --> 00:48:38,480
Speaker 3: it's gay trust us.

1108
00:48:39,640 --> 00:48:42,440
Speaker 2: Coastal Elik is one of the tracks that like Coastal

1109
00:48:42,480 --> 00:48:49,480
Speaker 2: a lick my cock, my cock.

1110
00:48:50,640 --> 00:49:00,360
Speaker 1: So Kat Constal that's featuring k Yeah, okay, So Philly

1111
00:49:00,400 --> 00:49:02,719
Speaker 1: is a real city. That's what this theory is based off. Yeah,

1112
00:49:02,760 --> 00:49:07,520
Speaker 1: and Philly rules, Philly places to go. And I specifically

1113
00:49:07,600 --> 00:49:10,359
Speaker 1: love the gay bars in Philly because they have this

1114
00:49:10,480 --> 00:49:12,680
Speaker 1: like they remind me of like when I was twenty

1115
00:49:12,719 --> 00:49:14,680
Speaker 1: one and going to like sort of a lame gay

1116
00:49:14,680 --> 00:49:16,560
Speaker 1: bar in Chicago and like dancing and let me just

1117
00:49:16,560 --> 00:49:19,600
Speaker 1: gout in music with like my girlfriend. Can I introduce

1118
00:49:19,640 --> 00:49:21,200
Speaker 1: something that we can all use because I love to

1119
00:49:21,239 --> 00:49:25,399
Speaker 1: use this conversation lame open parenthesis, complimentary close parenthesies.

1120
00:49:25,440 --> 00:49:27,920
Speaker 3: We're not saying it pejorative lame. Okay, good, this is

1121
00:49:28,000 --> 00:49:30,720
Speaker 3: lame as in good.

1122
00:49:30,280 --> 00:49:33,360
Speaker 1: And so now that I'm so when you go to Philly,

1123
00:49:33,360 --> 00:49:35,640
Speaker 1: you kind of experience these types of bars and they're

1124
00:49:35,680 --> 00:49:38,359
Speaker 1: too big for some reason. The liminal space.

1125
00:49:38,040 --> 00:49:40,000
Speaker 3: You're unwatched, you're not in the arms race.

1126
00:49:40,080 --> 00:49:41,919
Speaker 1: It's you're not the arms race at all, and you're

1127
00:49:41,920 --> 00:49:42,760
Speaker 1: finally free.

1128
00:49:43,200 --> 00:49:45,719
Speaker 3: Not a single is there, No one could care.

1129
00:49:45,840 --> 00:49:49,040
Speaker 1: They're putting Bruno mars On. Literally that's the liminal space

1130
00:49:49,080 --> 00:49:52,319
Speaker 1: and you're dancing to it. And so now whenever we're

1131
00:49:52,320 --> 00:49:55,759
Speaker 1: in a space that is uncool, we both bond on

1132
00:49:55,880 --> 00:49:59,000
Speaker 1: really enjoying that and we say, yes, it's Philly specifically

1133
00:49:59,040 --> 00:50:00,920
Speaker 1: where you have the can we dox them?

1134
00:50:00,960 --> 00:50:02,719
Speaker 3: I feel like we should dox them, but this is

1135
00:50:02,719 --> 00:50:06,840
Speaker 3: again doxing complimentary. Sometimes we go to Metro, which is

1136
00:50:06,840 --> 00:50:09,520
Speaker 3: my favorite gay bar, but because there's some newer girls

1137
00:50:09,520 --> 00:50:12,479
Speaker 3: in the neighborhood who the quote unquote cool people want

1138
00:50:12,480 --> 00:50:15,000
Speaker 3: to go to, they're not going to Metro anymore, and

1139
00:50:15,040 --> 00:50:15,560
Speaker 3: it's Philly.

1140
00:50:15,680 --> 00:50:18,279
Speaker 2: It's Philly. I love Metro is now Metro we go

1141
00:50:18,360 --> 00:50:20,120
Speaker 2: there and I'll talk to it. I'm one of the

1142
00:50:20,160 --> 00:50:23,000
Speaker 2: girls who is no longer going to Metro and haven't

1143
00:50:23,000 --> 00:50:25,279
Speaker 2: been actually docks them.

1144
00:50:25,840 --> 00:50:30,200
Speaker 1: What the actually an animal because of cool the cool list.

1145
00:50:30,360 --> 00:50:33,000
Speaker 2: But it's not even just that. It's like a return

1146
00:50:33,360 --> 00:50:36,840
Speaker 2: to like Christopher Street for me to like, it's a

1147
00:50:37,680 --> 00:50:39,800
Speaker 2: I would actually Jesus is number one. Well, this is

1148
00:50:39,800 --> 00:50:42,320
Speaker 2: obviously number one, and that's not even that exists outside

1149
00:50:42,360 --> 00:50:45,279
Speaker 2: of the cool uncool spectrum. That's it. I'm even going

1150
00:50:45,320 --> 00:50:48,480
Speaker 2: to like Julius. I just went to the Monster. I'm

1151
00:50:48,520 --> 00:50:49,120
Speaker 2: going to pieces.

1152
00:50:49,200 --> 00:50:50,800
Speaker 1: Here's the monster and going to pieces.

1153
00:50:50,920 --> 00:50:52,200
Speaker 2: I've been to pieces recently.

1154
00:50:53,600 --> 00:50:54,520
Speaker 1: What queens are you seeing?

1155
00:50:54,800 --> 00:50:58,640
Speaker 2: I don't remember what her name was, but she was okay.

1156
00:50:58,560 --> 00:51:00,920
Speaker 3: It's a great trag show. Say more on that. I

1157
00:51:00,920 --> 00:51:03,239
Speaker 3: don't remember her name, but she was okay. That is

1158
00:51:03,320 --> 00:51:04,760
Speaker 3: such a great But that wasn't the ax.

1159
00:51:05,000 --> 00:51:08,279
Speaker 2: But there wasn't anything about because there is this when

1160
00:51:08,280 --> 00:51:12,080
Speaker 2: it comes to uncool gay spaces. If it's long enough ago,

1161
00:51:12,719 --> 00:51:15,759
Speaker 2: then you are basically like wearing an Act up T

1162
00:51:15,880 --> 00:51:18,400
Speaker 2: shirt and pretending it's the eighties.

1163
00:51:18,440 --> 00:51:20,799
Speaker 1: Metro is that part, you know, it's like, but I

1164
00:51:20,800 --> 00:51:26,239
Speaker 1: think that is that part. It's like, it's not is yes,

1165
00:51:26,320 --> 00:51:30,279
Speaker 1: Queen Metro Meros twenty ten Ya kitchen is yes. Queen

1166
00:51:30,600 --> 00:51:32,440
Speaker 1: Metro is that part, and that is fun.

1167
00:51:32,360 --> 00:51:35,240
Speaker 2: And that's the final frontier, because when are the cool

1168
00:51:35,280 --> 00:51:38,520
Speaker 2: gay guys gonna suck at the fuck up and go

1169
00:51:38,560 --> 00:51:39,360
Speaker 2: to Hell's kitchen?

1170
00:51:39,520 --> 00:51:41,560
Speaker 1: Well, when it doesn't take a fucking hour to get there.

1171
00:51:41,560 --> 00:51:42,320
Speaker 1: That's why let's.

1172
00:51:42,160 --> 00:51:45,359
Speaker 3: Start with Christopher Street, and let's start with Josh Sharp, Toda,

1173
00:51:45,520 --> 00:51:48,719
Speaker 3: Josh dot Com, mere blocks from christ I'm loving how

1174
00:51:48,760 --> 00:51:51,640
Speaker 3: non Le start there with what we get these gay

1175
00:51:51,680 --> 00:51:55,560
Speaker 3: guys to do? Bring back Duplex, Bring bring back, bring

1176
00:51:55,640 --> 00:51:58,160
Speaker 3: back Duplex. Do you know how much of the scene

1177
00:51:58,200 --> 00:52:03,160
Speaker 3: that you love The podcast cup Ball is born of Duplex.

1178
00:52:03,200 --> 00:52:03,719
Speaker 1: In anyways, the.

1179
00:52:03,719 --> 00:52:05,920
Speaker 2: First time I ever did a half hour of comedy

1180
00:52:06,040 --> 00:52:08,040
Speaker 2: was at the Duplex. Thank you, leplit a bill with

1181
00:52:08,080 --> 00:52:11,279
Speaker 2: my friend Julia Claire. We did half hours together and

1182
00:52:11,320 --> 00:52:14,000
Speaker 2: the show is called George Severis and Julia Claire Colon.

1183
00:52:14,360 --> 00:52:18,160
Speaker 2: That's a stretch that love love it, love love it.

1184
00:52:18,160 --> 00:52:20,279
Speaker 3: It birthed Aaron and I mean UCB did. But when

1185
00:52:20,280 --> 00:52:21,840
Speaker 3: we were like what if we like broke out at

1186
00:52:21,920 --> 00:52:24,360
Speaker 3: UCB we hosted our variety show at the Duplex.

1187
00:52:24,560 --> 00:52:25,720
Speaker 1: Cole was running there.

1188
00:52:25,680 --> 00:52:27,759
Speaker 3: Like the hit show at the Duplex for a long

1189
00:52:27,800 --> 00:52:30,120
Speaker 3: time was cool. Cole was like paying the bills at

1190
00:52:30,200 --> 00:52:31,279
Speaker 3: Duplex so think.

1191
00:52:31,200 --> 00:52:32,400
Speaker 2: The way if you want to learn more about that.

1192
00:52:32,480 --> 00:52:35,839
Speaker 2: Jeffrey Self's book of essays, Jeffrey describes the duplex era

1193
00:52:36,000 --> 00:52:38,640
Speaker 2: and working with Oh I would love first essay. You

1194
00:52:38,640 --> 00:52:39,800
Speaker 2: don't even have to read the whole.

1195
00:52:39,600 --> 00:52:43,040
Speaker 1: Book, So Christopher Street. Yeah, but this is to the Philly.

1196
00:52:43,200 --> 00:52:44,200
Speaker 2: This is the Philly of it all.

1197
00:52:44,280 --> 00:52:47,680
Speaker 1: Yes and yeah, so Philly the non cool gay guys

1198
00:52:47,719 --> 00:52:49,719
Speaker 1: is a movement that we actually do believe in, and

1199
00:52:49,800 --> 00:52:51,080
Speaker 1: so we're trying to push that.

1200
00:52:51,040 --> 00:52:53,319
Speaker 3: And not to be binary about it because actually, now

1201
00:52:53,360 --> 00:52:55,520
Speaker 3: I'm gonna sort of do the opposite, right, say, like

1202
00:52:55,520 --> 00:52:57,480
Speaker 3: the in between spaces what I don't like. But in

1203
00:52:57,520 --> 00:52:59,520
Speaker 3: these kind of things, there are certain places that are

1204
00:52:59,680 --> 00:53:03,040
Speaker 3: actually cool. You're at a certain like warehousey Rave, and

1205
00:53:03,080 --> 00:53:05,040
Speaker 3: you're like, you've nailed the cool assignment.

1206
00:53:05,200 --> 00:53:05,439
Speaker 1: Yeah.

1207
00:53:05,520 --> 00:53:07,320
Speaker 3: Then there are the Philly spaces where it's like you

1208
00:53:07,360 --> 00:53:10,399
Speaker 3: are owning your uncoolness. It's these places that think they're

1209
00:53:10,400 --> 00:53:12,600
Speaker 3: cool and they're not that are living in the what

1210
00:53:12,760 --> 00:53:15,759
Speaker 3: is the you know this thing in relief when it

1211
00:53:15,800 --> 00:53:17,400
Speaker 3: comes to gay space, I mean, is it now the

1212
00:53:17,440 --> 00:53:18,760
Speaker 3: amper sand is bad where.

1213
00:53:18,560 --> 00:53:21,439
Speaker 1: I'm like you need to just be it or not it?

1214
00:53:21,480 --> 00:53:24,400
Speaker 1: Can you describe what a place that thinks it's cool

1215
00:53:24,440 --> 00:53:25,600
Speaker 1: but isn't feels.

1216
00:53:25,800 --> 00:53:26,720
Speaker 2: Is that Hell's Kitchen?

1217
00:53:26,760 --> 00:53:26,920
Speaker 1: Then?

1218
00:53:27,440 --> 00:53:30,080
Speaker 2: Is Hell's Kitchen the medium? And that's why it's sort

1219
00:53:30,200 --> 00:53:32,239
Speaker 2: we don't know what to do with it because there

1220
00:53:32,320 --> 00:53:36,879
Speaker 2: is it is Hell's Kitchen is attempting to be the

1221
00:53:36,880 --> 00:53:38,800
Speaker 2: gay spot. Yeah, that is its goal.

1222
00:53:39,800 --> 00:53:43,920
Speaker 3: It's there's a tackiness but without any camp. Yeah right, yeah,

1223
00:53:43,920 --> 00:53:48,680
Speaker 3: And there's there's sort of a and I'm not against basicness, like,

1224
00:53:48,760 --> 00:53:51,560
Speaker 3: as we know, basicness can be there's beauty and simplicity.

1225
00:53:52,000 --> 00:53:54,400
Speaker 3: But there's a time that has no queue. So I

1226
00:53:54,400 --> 00:53:56,120
Speaker 3: should say there's a type that has no queue. There's

1227
00:53:56,160 --> 00:53:57,560
Speaker 3: a type of basic where it's like, oh, you haven't

1228
00:53:57,600 --> 00:54:00,359
Speaker 3: considered anything outside of the slang and that that you've

1229
00:54:00,360 --> 00:54:02,760
Speaker 3: like considered it all and gone. What if I embrace

1230
00:54:02,840 --> 00:54:05,279
Speaker 3: the basic? You are only there no.

1231
00:54:05,360 --> 00:54:10,520
Speaker 2: C And in this narrative, is Philly only there no cue?

1232
00:54:10,640 --> 00:54:11,840
Speaker 2: Or his Philly considered?

1233
00:54:11,920 --> 00:54:12,200
Speaker 1: Wow?

1234
00:54:12,320 --> 00:54:14,880
Speaker 3: Don't you feel like Philly has sort of considered I

1235
00:54:14,880 --> 00:54:16,040
Speaker 3: think Philly has considered.

1236
00:54:16,120 --> 00:54:18,239
Speaker 1: Yeah, I think Philly has seen what cool could be

1237
00:54:18,320 --> 00:54:21,560
Speaker 1: and said I'm good. Yeah, I think they ride with

1238
00:54:21,600 --> 00:54:23,840
Speaker 1: my friends. Yeah. Yeah, it's like I don't need to

1239
00:54:23,840 --> 00:54:26,120
Speaker 1: do all that. There's a maturity to Philly. There's a

1240
00:54:26,160 --> 00:54:31,279
Speaker 1: maturity to Philly. Well birth our nation. You see that

1241
00:54:31,320 --> 00:54:34,719
Speaker 1: big old cracked bell. You see that nation came out

1242
00:54:34,719 --> 00:54:36,520
Speaker 1: of that hole. You know there's a maturity.

1243
00:54:36,600 --> 00:54:41,000
Speaker 2: You know what it is, cracked bell, it's bell, it's

1244
00:54:41,960 --> 00:54:43,000
Speaker 2: American standards.

1245
00:54:43,160 --> 00:54:48,880
Speaker 3: Competrious Philly, cracked my bell, crack my bell, open bitch,

1246
00:54:49,880 --> 00:54:52,640
Speaker 3: slapt pop Philly, Philly.

1247
00:54:52,440 --> 00:54:58,359
Speaker 1: Now that I want to be Oh my god, that's amazing.

1248
00:54:59,480 --> 00:55:02,720
Speaker 2: Do you think Philly is Lana del Rey dressing normal

1249
00:55:02,880 --> 00:55:06,080
Speaker 2: but not as an ironic hipstery thing. It's like she

1250
00:55:06,160 --> 00:55:08,960
Speaker 2: has decided she has seen what cool is. She's been

1251
00:55:09,040 --> 00:55:10,800
Speaker 2: dressed by all the big designers, and now she is

1252
00:55:10,840 --> 00:55:14,520
Speaker 2: shopping at Target. I know, don't Okay?

1253
00:55:14,640 --> 00:55:20,080
Speaker 1: I think Philly is almost Kelly Clarkson.

1254
00:55:20,200 --> 00:55:21,080
Speaker 2: Kelly Clarkson.

1255
00:55:21,560 --> 00:55:23,960
Speaker 3: Yes, here's the thing that I think is wrong, but

1256
00:55:23,960 --> 00:55:27,759
Speaker 3: I'm gonna say it. Or is Philly Tate McCrae. And

1257
00:55:27,800 --> 00:55:33,120
Speaker 3: then you go, wait, you know Arca, We're like I

1258
00:55:33,160 --> 00:55:35,040
Speaker 3: knew I like something about totally.

1259
00:55:35,080 --> 00:55:36,319
Speaker 1: Oh you're friends with ARCA.

1260
00:55:36,400 --> 00:55:37,640
Speaker 2: But I think that is more.

1261
00:55:37,840 --> 00:55:38,279
Speaker 1: I didn't you.

1262
00:55:38,280 --> 00:55:40,920
Speaker 3: Didn't give friends with Arca to me. Don't you think

1263
00:55:40,920 --> 00:55:42,120
Speaker 3: that that is that's the maturity.

1264
00:55:42,200 --> 00:55:43,799
Speaker 1: No, that is the maturity.

1265
00:55:43,960 --> 00:55:45,400
Speaker 2: Interesting, Okay, yeah, because.

1266
00:55:45,280 --> 00:55:47,799
Speaker 1: Kelly Clarkson's not totally right either. I'm trying to think

1267
00:55:48,200 --> 00:55:54,440
Speaker 1: what is right Natalie and Bruglia, Katie.

1268
00:55:54,600 --> 00:55:56,520
Speaker 2: I mean, is it Adele? Oh?

1269
00:55:56,640 --> 00:55:59,080
Speaker 1: Maybe Philly is Adele, but that's because I don't identify

1270
00:55:59,120 --> 00:56:02,200
Speaker 1: with Adele. That is tough, and I do identify with

1271
00:56:02,239 --> 00:56:03,680
Speaker 1: phil what's keeping you? Yeah?

1272
00:56:03,680 --> 00:56:04,320
Speaker 2: What is keeping?

1273
00:56:04,600 --> 00:56:08,640
Speaker 1: I love it though, I'm just like, actually, yeah, I

1274
00:56:08,680 --> 00:56:12,520
Speaker 1: mean she's fine, like it's it doesn't inspire hatred or love,

1275
00:56:12,840 --> 00:56:14,760
Speaker 1: but you don't. What about Bruno Mars?

1276
00:56:15,560 --> 00:56:18,640
Speaker 3: Does I feel like spire? I ride for Bruno acts

1277
00:56:18,880 --> 00:56:20,799
Speaker 3: a hot take? Say that you remember this? Erah, this

1278
00:56:20,840 --> 00:56:22,600
Speaker 3: is the duplex Aara say he was better for than

1279
00:56:22,680 --> 00:56:24,400
Speaker 3: Lady Gaga would be like song for a song, name

1280
00:56:24,440 --> 00:56:26,319
Speaker 3: me a Gaga song and there's a better Bruno song.

1281
00:56:26,920 --> 00:56:28,359
Speaker 1: I don't say by that. It was just fun.

1282
00:56:28,560 --> 00:56:30,640
Speaker 3: Yeah, I've sort of agreed with it, but I do

1283
00:56:30,760 --> 00:56:31,440
Speaker 3: ride for Bruno.

1284
00:56:31,760 --> 00:56:31,840
Speaker 4: No.

1285
00:56:31,920 --> 00:56:34,920
Speaker 1: I think I think Bruno is is properly Philly. I

1286
00:56:34,960 --> 00:56:35,640
Speaker 1: think that is a good.

1287
00:56:35,680 --> 00:56:38,400
Speaker 2: Yeah, I think Bruno is Philly. Yeah, what is pink?

1288
00:56:39,440 --> 00:56:41,480
Speaker 1: Oh?

1289
00:56:40,239 --> 00:56:44,680
Speaker 3: God, there's something Midwestern about Yeah, there's something Midwest.

1290
00:56:44,719 --> 00:56:46,520
Speaker 2: I think they're going to go ahead and play pink

1291
00:56:46,560 --> 00:56:48,080
Speaker 2: after the Bruno in Philly.

1292
00:56:48,440 --> 00:56:50,720
Speaker 1: Well, they're gonna play it. But she doesn't. She doesn't

1293
00:56:51,000 --> 00:56:53,000
Speaker 1: symbolize the whole city is Philly.

1294
00:56:53,080 --> 00:56:57,920
Speaker 2: Rupol's drag race, mm.

1295
00:56:56,560 --> 00:57:01,600
Speaker 3: When twenty sixteen, Yeah, krupas drag Race twenty sixteen.

1296
00:57:01,800 --> 00:57:02,759
Speaker 1: It's season A.

1297
00:57:03,000 --> 00:57:05,799
Speaker 2: It's bringing out the signs that say vote dot org.

1298
00:57:06,120 --> 00:57:09,080
Speaker 3: Yeah, it's it's Bob winning after Violet vote dot org.

1299
00:57:09,440 --> 00:57:10,560
Speaker 1: You know what I mean? You know, it to me

1300
00:57:10,680 --> 00:57:14,680
Speaker 1: is an essential Okay, here's another. Okay, I'm tying it

1301
00:57:14,680 --> 00:57:17,160
Speaker 1: to Fish ready, good, Okay, Philly.

1302
00:57:17,320 --> 00:57:19,040
Speaker 3: And if you read it with Josh up Toada too,

1303
00:57:19,120 --> 00:57:21,120
Speaker 3: if you pull that trifecta, that's gonna be funny.

1304
00:57:21,160 --> 00:57:24,200
Speaker 1: Well, this is on you. Potentially. Something that is always

1305
00:57:25,320 --> 00:57:28,800
Speaker 1: a sign of Philly, like a true, tried and true

1306
00:57:28,800 --> 00:57:32,960
Speaker 1: sign of Philly is walking around with shot glasses that

1307
00:57:33,000 --> 00:57:35,800
Speaker 1: are in like neon. Oh yeah, when I see that,

1308
00:57:35,840 --> 00:57:40,080
Speaker 1: I say, I am safely mark my location as in Philly,

1309
00:57:40,200 --> 00:57:43,640
Speaker 1: marked as safe from Hartly test tubes. And I actually

1310
00:57:43,680 --> 00:57:46,120
Speaker 1: think Fish is also they don't do shot glasses and

1311
00:57:46,200 --> 00:57:48,040
Speaker 1: test tubes. But the culture is similar.

1312
00:57:48,160 --> 00:57:52,200
Speaker 3: Absolutely, absolutely they do nitrous they do. They're sucking out

1313
00:57:52,240 --> 00:57:54,240
Speaker 3: of the balloons from the dentist, you know what I mean,

1314
00:57:54,520 --> 00:57:56,880
Speaker 3: that's the that's the shot glass of the fish scene.

1315
00:57:56,920 --> 00:58:00,400
Speaker 2: It's sucking out of my loons. Is another track Slap

1316
00:58:00,440 --> 00:58:02,520
Speaker 2: Pop Philly.

1317
00:58:03,120 --> 00:58:05,600
Speaker 1: What about Philly? Is you think?

1318
00:58:06,200 --> 00:58:08,840
Speaker 2: What about Philly's balloons? Do we think? And now we're

1319
00:58:08,880 --> 00:58:09,840
Speaker 2: back to Fiona Apple.

1320
00:58:10,040 --> 00:58:12,680
Speaker 1: Now that's nonlinear question asking that's.

1321
00:58:12,840 --> 00:58:17,160
Speaker 2: You are amper standing boots with that one part that.

1322
00:58:19,600 --> 00:58:21,280
Speaker 1: Well, I just want to know what, like, are you

1323
00:58:21,320 --> 00:58:24,439
Speaker 1: going to try to incorporate something to symbolize to your

1324
00:58:25,000 --> 00:58:27,280
Speaker 1: the attendees of your show that you're there in Philly.

1325
00:58:27,480 --> 00:58:30,080
Speaker 3: Well, the Christmas Street of it all, it's so easy

1326
00:58:30,120 --> 00:58:32,480
Speaker 3: to do a two show night. Or you're seeing josharp

1327
00:58:32,520 --> 00:58:35,120
Speaker 3: Toda and then Holly box s brains at pieces, you

1328
00:58:35,160 --> 00:58:38,040
Speaker 3: know what I mean? Like you could see an incredible

1329
00:58:38,120 --> 00:58:42,200
Speaker 3: queen or George would call them okay, and I'm not

1330
00:58:42,360 --> 00:58:44,040
Speaker 3: that's not a subweet at the queen I named earlier.

1331
00:58:44,080 --> 00:58:49,200
Speaker 2: I'm just you know, subtit by the way.

1332
00:58:48,000 --> 00:58:49,880
Speaker 1: Sub my tit did.

1333
00:58:50,360 --> 00:58:52,960
Speaker 3: You could see an incredible pieces drag queen post show

1334
00:58:53,000 --> 00:58:54,640
Speaker 3: any night of the week. You could go to Duplex

1335
00:58:54,680 --> 00:58:57,600
Speaker 3: and sing Roses Turn any night after, both before and

1336
00:58:57,720 --> 00:59:00,320
Speaker 3: after my show. Yeah, so it is sort of right

1337
00:59:00,400 --> 00:59:04,040
Speaker 3: in the peak neighborhood for for the Monster at all.

1338
00:59:05,320 --> 00:59:14,800
Speaker 1: You know why Fish doesn't connect with gay people? What, like,

1339
00:59:15,640 --> 00:59:16,440
Speaker 1: how do I say this?

1340
00:59:17,000 --> 00:59:18,120
Speaker 2: There's no like, I.

1341
00:59:18,080 --> 00:59:21,280
Speaker 1: Know there's a lead guy, but like he's not a diva.

1342
00:59:21,520 --> 00:59:24,280
Speaker 3: No, And it's a collective even though he's profoundly the

1343
00:59:24,360 --> 00:59:26,920
Speaker 3: lead guy. It's with a lot of like we I

1344
00:59:27,000 --> 00:59:29,240
Speaker 3: have built this machine and we're all evil parts. Yes,

1345
00:59:29,280 --> 00:59:31,160
Speaker 3: I'm the architect, but you know gay.

1346
00:59:31,040 --> 00:59:32,200
Speaker 1: People need like a hierarchy.

1347
00:59:32,240 --> 00:59:36,920
Speaker 2: Well yes, no, but there is something almost anti anti

1348
00:59:36,960 --> 00:59:41,840
Speaker 2: branding and anti capitalist about the whole machine because, for example,

1349
00:59:41,880 --> 00:59:44,800
Speaker 2: with The Grateful Dead, you might not know anything, but

1350
00:59:44,880 --> 00:59:47,960
Speaker 2: you know the Teddy Bears, the Rainbow the Rainbow Bears

1351
00:59:48,280 --> 00:59:49,240
Speaker 2: dancing around, Like do.

1352
00:59:49,200 --> 00:59:52,560
Speaker 1: You even know the Fish logo? Do I? That is?

1353
00:59:52,600 --> 00:59:54,200
Speaker 1: This is so cool? I literally don't.

1354
00:59:54,280 --> 00:59:55,200
Speaker 2: What is this is that?

1355
00:59:55,280 --> 00:59:57,360
Speaker 3: Maybe this speaks to it because something else they talked

1356
00:59:57,360 --> 00:59:59,960
Speaker 3: about the article is at the time they were getting big,

1357
01:00:00,320 --> 01:00:01,959
Speaker 3: they just talk about how much when like most bands,

1358
01:00:01,960 --> 01:00:04,080
Speaker 3: when they finally have like access, they would like make

1359
01:00:04,200 --> 01:00:05,680
Speaker 3: use of things. But they're like, oh, finally we have

1360
01:00:05,680 --> 01:00:08,080
Speaker 3: the freedom to do say not all the stuff.

1361
01:00:07,880 --> 01:00:08,200
Speaker 1: We want to do.

1362
01:00:08,520 --> 01:00:12,160
Speaker 3: Yeah, for thirty years they've demanded that every venue they're in,

1363
01:00:12,640 --> 01:00:15,760
Speaker 3: any forward facing ads to the audience are covered, so

1364
01:00:15,800 --> 01:00:19,720
Speaker 3: people go early and cover with curtains any like billboards

1365
01:00:19,760 --> 01:00:21,000
Speaker 3: or advertisements in the space.

1366
01:00:21,320 --> 01:00:22,840
Speaker 1: They're like, you should not come in and see like

1367
01:00:22,840 --> 01:00:23,479
Speaker 1: a coke ad.

1368
01:00:23,960 --> 01:00:26,120
Speaker 3: Yeah, that's cool, and every venue does it because they

1369
01:00:26,120 --> 01:00:28,080
Speaker 3: sell a billion tickets. So there's things like that where

1370
01:00:28,080 --> 01:00:30,400
Speaker 3: they're like, oh, you at a time when you be like,

1371
01:00:30,400 --> 01:00:32,280
Speaker 3: what's my brand deal, they're like, how do we eliminate

1372
01:00:32,320 --> 01:00:33,720
Speaker 3: brands from this magical space?

1373
01:00:34,480 --> 01:00:38,600
Speaker 1: Slay, No, that's cool. Slay kind of recurds too, don't

1374
01:00:38,640 --> 01:00:41,000
Speaker 1: but that happen the ones Lady Gaga could never well.

1375
01:00:41,040 --> 01:00:41,480
Speaker 2: First of all, I.

1376
01:00:43,000 --> 01:00:45,280
Speaker 3: Aeo lab or I want to go back to the

1377
01:00:45,280 --> 01:00:46,640
Speaker 3: logos from Mattress.

1378
01:00:46,800 --> 01:00:48,520
Speaker 2: But I do think that's a big part of why

1379
01:00:48,560 --> 01:00:50,800
Speaker 2: it's so siphoned off from the rest of culture is

1380
01:00:50,840 --> 01:00:54,440
Speaker 2: because there's like no advertising a bit. It's literally like

1381
01:00:54,480 --> 01:00:56,080
Speaker 2: by word of mouth, and if you know, you know.

1382
01:00:56,160 --> 01:00:58,200
Speaker 3: And even then you need a guide and even know,

1383
01:00:58,480 --> 01:01:00,800
Speaker 3: like even if your friends like listen to Fish, they'd

1384
01:01:00,800 --> 01:01:03,360
Speaker 3: have to like, but let me make the playlist, yes,

1385
01:01:03,520 --> 01:01:05,520
Speaker 3: or else you will go you will not get it.

1386
01:01:06,480 --> 01:01:09,360
Speaker 2: Community building. Where else are we seeing that?

1387
01:01:09,680 --> 01:01:10,520
Speaker 1: Yeah?

1388
01:01:11,040 --> 01:01:13,360
Speaker 2: Yeah, other jam.

1389
01:01:13,080 --> 01:01:16,520
Speaker 3: Bands also, you know, weirdly, they've sort of invented festival culture, right,

1390
01:01:16,720 --> 01:01:19,280
Speaker 3: Like that is massive, the Coachella of it all. I

1391
01:01:19,280 --> 01:01:21,680
Speaker 3: mean also, you know Jane's Addiction. Did nobody wants to

1392
01:01:21,720 --> 01:01:24,240
Speaker 3: have that conversation? The originator of Lollapalooza.

1393
01:01:24,680 --> 01:01:25,280
Speaker 1: I didn't know this.

1394
01:01:25,680 --> 01:01:28,840
Speaker 3: It was originally a festival that Jain's Addiction started in

1395
01:01:28,840 --> 01:01:31,560
Speaker 3: the nineties and then became Lolla Plouza. But at the

1396
01:01:31,560 --> 01:01:34,280
Speaker 3: same time, Fish was showing throwing festivals that are only

1397
01:01:34,320 --> 01:01:35,960
Speaker 3: Fish and one hundred thousand people come.

1398
01:01:36,000 --> 01:01:37,360
Speaker 1: There's no other bands but Fish.

1399
01:01:37,520 --> 01:01:39,440
Speaker 3: But they do like build a village and there's like

1400
01:01:39,560 --> 01:01:43,440
Speaker 3: art and installations and weirdo shit happening. When Bonnaroo started,

1401
01:01:43,440 --> 01:01:45,720
Speaker 3: which sort of started the modern resurgence of the last

1402
01:01:45,760 --> 01:01:48,080
Speaker 3: twenty years of festivals, because they knew, because it was

1403
01:01:48,120 --> 01:01:50,440
Speaker 3: more of a jam band festival that it's inception. They

1404
01:01:50,480 --> 01:01:52,080
Speaker 3: went to Fish as people were like, how do you

1405
01:01:52,080 --> 01:01:54,600
Speaker 3: do a festival? And so Fish tap Bonnaroo and then

1406
01:01:54,800 --> 01:01:56,000
Speaker 3: now we have Coachella.

1407
01:01:56,240 --> 01:01:57,040
Speaker 1: Wow, you know what I mean.

1408
01:01:57,400 --> 01:01:59,480
Speaker 3: Yeah, So there's so many weird things where it's like,

1409
01:01:59,520 --> 01:02:02,919
Speaker 3: it's crazy that fish is that girl. Until Billy Joel

1410
01:02:02,920 --> 01:02:04,880
Speaker 3: did the Billy Joel, they were the band that had

1411
01:02:04,880 --> 01:02:05,840
Speaker 3: most played the Garden.

1412
01:02:06,360 --> 01:02:06,960
Speaker 1: That's crazy.

1413
01:02:07,000 --> 01:02:08,600
Speaker 3: They played there like one hundred times and sold out

1414
01:02:08,600 --> 01:02:12,040
Speaker 3: every show. Whoa, I'm getting back checked again and I'm

1415
01:02:12,080 --> 01:02:12,920
Speaker 3: appreciate about it.

1416
01:02:13,880 --> 01:02:15,360
Speaker 1: And if only we could do that to the Cheeto

1417
01:02:15,440 --> 01:02:16,120
Speaker 1: and Chief.

1418
01:02:16,360 --> 01:02:18,760
Speaker 2: Oh my god, if only. But he won't come on

1419
01:02:18,800 --> 01:02:20,120
Speaker 2: the podcast. He's afraid.

1420
01:02:20,160 --> 01:02:20,680
Speaker 1: Have you tried?

1421
01:02:21,280 --> 01:02:28,560
Speaker 2: Yes, yes tried. Could you imagine we haven't?

1422
01:02:29,640 --> 01:02:33,120
Speaker 3: What topic do you think he'd do? I think what

1423
01:02:33,200 --> 01:02:34,120
Speaker 3: if he did cheetahs?

1424
01:02:36,120 --> 01:02:38,960
Speaker 2: And it's like charming because he's making fun of himself and.

1425
01:02:38,960 --> 01:02:40,520
Speaker 1: He's like really self aware.

1426
01:02:40,560 --> 01:02:43,320
Speaker 2: It's like, I mean, what what topic would he do

1427
01:02:43,440 --> 01:02:45,320
Speaker 2: if he was really self aware? I guess he could

1428
01:02:45,360 --> 01:02:50,920
Speaker 2: do cheetos. He could do like apprenticing business business.

1429
01:02:51,320 --> 01:02:53,160
Speaker 1: I think it would be funny if like one day

1430
01:02:53,160 --> 01:02:55,200
Speaker 1: he got bonked on the head and like woke up

1431
01:02:55,360 --> 01:02:59,240
Speaker 1: and period, just as a physical gag. Yeah, I know

1432
01:02:59,280 --> 01:03:01,640
Speaker 1: there's more, but just period. Well, if he gets bunked

1433
01:03:01,680 --> 01:03:03,080
Speaker 1: on the head. I'm on that part.

1434
01:03:03,160 --> 01:03:06,560
Speaker 2: I'm that part that part. No, he gets bunked on

1435
01:03:06,560 --> 01:03:08,120
Speaker 2: the head and wakes up. He's like, I want to

1436
01:03:08,120 --> 01:03:09,560
Speaker 2: do a run of my show.

1437
01:03:09,760 --> 01:03:11,240
Speaker 1: If you got bunked on the head and then was like,

1438
01:03:11,360 --> 01:03:13,160
Speaker 1: oh my god, isn't it weird that I'm doing this?

1439
01:03:13,400 --> 01:03:15,680
Speaker 1: Like isn't it crazy? Like that would be really funny,

1440
01:03:15,920 --> 01:03:17,560
Speaker 1: little cartoon birds flying around.

1441
01:03:18,120 --> 01:03:23,360
Speaker 2: Dizzy eyes holds a press conference. Never mind, impressre's so good.

1442
01:03:23,440 --> 01:03:27,440
Speaker 1: That's in your new hour, right, yeah, here's mine never mind, Wow,

1443
01:03:27,480 --> 01:03:28,760
Speaker 1: that's really good. Here's my.

1444
01:03:37,120 --> 01:03:39,440
Speaker 2: And that's the title track from Fielding Apple's new record.

1445
01:03:42,280 --> 01:03:45,280
Speaker 2: She recorded it all at home with her dogs. That's

1446
01:03:45,280 --> 01:03:48,480
Speaker 2: the sound of the dog with the rest.

1447
01:03:48,000 --> 01:03:51,000
Speaker 3: The dog she had at that time, rest in power, power,

1448
01:03:51,080 --> 01:03:54,560
Speaker 3: that time, that time, at that time, that time.

1449
01:03:54,680 --> 01:03:55,840
Speaker 1: This is Trump pop.

1450
01:03:56,440 --> 01:03:58,479
Speaker 3: That's that's good, and set up that part.

1451
01:03:58,920 --> 01:04:00,560
Speaker 2: Maybe if Trump got bunked on the head, he would

1452
01:04:00,600 --> 01:04:02,919
Speaker 2: release Trump Pop Miami, This is Trump Pop.

1453
01:04:04,080 --> 01:04:05,840
Speaker 1: That's good. That's really good.

1454
01:04:05,880 --> 01:04:07,720
Speaker 2: Get your bonks out January sex.

1455
01:04:08,440 --> 01:04:17,400
Speaker 1: Oh, that's good. Terror in my anus. Ifs rolls off

1456
01:04:17,440 --> 01:04:18,360
Speaker 1: the tongue.

1457
01:04:18,400 --> 01:04:20,800
Speaker 2: Rolls off the tongue, that's another track. There we go

1458
01:04:21,400 --> 01:04:24,240
Speaker 2: rolls Royce off the tongue. That's a Kim Petra's track,

1459
01:04:25,680 --> 01:04:26,840
Speaker 2: Lick my Cheetoes.

1460
01:04:34,120 --> 01:04:35,640
Speaker 1: Way to be brought in. I can't wait for the

1461
01:04:35,640 --> 01:04:39,680
Speaker 1: intro to be Overady guests, please welcome to the podcast.

1462
01:04:39,840 --> 01:04:43,480
Speaker 1: Philly's favorite comedian, Josh Sharp. Yes, I'll be playing the

1463
01:04:43,480 --> 01:04:46,400
Speaker 1: Philly Um Theater. Oh, I love that, Josh.

1464
01:04:46,560 --> 01:04:48,800
Speaker 3: To the Big Philly Theater right downtown.

1465
01:04:48,840 --> 01:04:49,400
Speaker 1: You can't miss it.

1466
01:04:49,400 --> 01:04:54,600
Speaker 3: It's just under uptown and it's gonna be amazing.

1467
01:04:54,840 --> 01:04:55,760
Speaker 2: Have you ever been to Denver?

1468
01:04:56,560 --> 01:04:57,760
Speaker 1: Actually you can't ask some of that.

1469
01:04:57,800 --> 01:05:00,640
Speaker 2: George. I'm sorry to be so cute, but I'm going

1470
01:05:00,720 --> 01:05:03,600
Speaker 2: to Denver. Uh, there's no way around it. Because I'm

1471
01:05:03,600 --> 01:05:05,040
Speaker 2: seeing ryle O Khylie at Red Rocks.

1472
01:05:05,160 --> 01:05:07,920
Speaker 1: And when you posted about that, I thought you were kidding.

1473
01:05:08,360 --> 01:05:12,400
Speaker 2: No serious, that rules. And so we've been looking for

1474
01:05:12,440 --> 01:05:14,080
Speaker 2: where to stay and whatever are.

1475
01:05:13,960 --> 01:05:16,120
Speaker 3: They doing, like the twentieth anniversary of Black Light Tour

1476
01:05:16,200 --> 01:05:16,520
Speaker 3: or whatever.

1477
01:05:16,520 --> 01:05:19,640
Speaker 2: I don't remember if it's it might be, but it

1478
01:05:19,680 --> 01:05:20,200
Speaker 2: guys need to.

1479
01:05:20,160 --> 01:05:21,280
Speaker 1: Get into Ryla Kylie Moore.

1480
01:05:21,360 --> 01:05:24,240
Speaker 3: That's like it's such a like like a you know

1481
01:05:24,240 --> 01:05:24,640
Speaker 3: what I mean.

1482
01:05:25,720 --> 01:05:27,280
Speaker 2: Ryle O Kiley is one of I actually recently have

1483
01:05:27,320 --> 01:05:30,000
Speaker 2: this experience with Gossip bet Todo's band, where these are

1484
01:05:30,080 --> 01:05:32,840
Speaker 2: things I think everyone knows and everyone stands, and then

1485
01:05:32,880 --> 01:05:36,440
Speaker 2: you realize no one I saw Gossip. I posted it

1486
01:05:36,600 --> 01:05:37,600
Speaker 2: literally got one reply.

1487
01:05:37,760 --> 01:05:39,920
Speaker 3: I feel the same about The Knife, another band from

1488
01:05:39,920 --> 01:05:40,120
Speaker 3: that era.

1489
01:05:40,280 --> 01:05:42,680
Speaker 1: Yeah, never Knife. But so many gay guests have.

1490
01:05:42,640 --> 01:05:43,880
Speaker 2: Known so many gigs I don't know.

1491
01:05:43,960 --> 01:05:47,800
Speaker 3: They are like girls are at the raves and yeah,

1492
01:05:47,840 --> 01:05:51,320
Speaker 3: it's all good. It's all good anyway, fever Ray. That's yeah,

1493
01:05:51,400 --> 01:05:53,960
Speaker 3: let's that part.

1494
01:05:54,040 --> 01:05:55,840
Speaker 1: I actually don't know. I'm coming clean.

1495
01:05:56,000 --> 01:05:58,600
Speaker 3: You should like you listen to Jenny Lewis at all.

1496
01:05:58,880 --> 01:06:00,320
Speaker 2: No, it's for a band you.

1497
01:06:00,520 --> 01:06:01,440
Speaker 1: It's really good.

1498
01:06:01,320 --> 01:06:03,280
Speaker 3: Because there are there is a class of gay guys

1499
01:06:03,280 --> 01:06:05,520
Speaker 3: not you. We now know who know Jenny Lewis and don't.

1500
01:06:05,320 --> 01:06:07,680
Speaker 2: Know, right Kylie All it's oh, it's like gay guys

1501
01:06:07,680 --> 01:06:09,680
Speaker 2: that know Caroline Polo Chepe but don't know Chairlift.

1502
01:06:09,880 --> 01:06:10,200
Speaker 1: Thank you.

1503
01:06:10,240 --> 01:06:12,080
Speaker 2: And that is a that is a part.

1504
01:06:12,280 --> 01:06:14,720
Speaker 3: That part, that is such a that part. Yeah, what

1505
01:06:14,760 --> 01:06:16,640
Speaker 3: you just said is such. This is why we need

1506
01:06:16,680 --> 01:06:19,120
Speaker 3: it back because that is the response to that. My

1507
01:06:19,240 --> 01:06:20,760
Speaker 3: whole body screams that part.

1508
01:06:21,440 --> 01:06:24,120
Speaker 1: You know what I mean? Damn, that's so, that's so

1509
01:06:24,280 --> 01:06:27,480
Speaker 1: Walt Whitman of you so true, my whole body screaming

1510
01:06:27,520 --> 01:06:28,200
Speaker 1: that part.

1511
01:06:28,120 --> 01:06:30,480
Speaker 3: As I take loads in the Brooklyn Navy Yard.

1512
01:06:30,640 --> 01:06:30,840
Speaker 1: Yeah.

1513
01:06:31,480 --> 01:06:34,160
Speaker 2: War Titman is another track off of Slup.

1514
01:06:34,040 --> 01:06:38,000
Speaker 3: Pop Cambridge back right, slapt pop Cambridge.

1515
01:06:38,000 --> 01:06:40,959
Speaker 2: Slop Pop Walden Pond. Actually it is coming out soon.

1516
01:06:41,160 --> 01:06:41,800
Speaker 1: Oh damn.

1517
01:06:42,080 --> 01:06:44,400
Speaker 3: How many grasses did I get out of a thousand?

1518
01:06:44,400 --> 01:06:44,680
Speaker 1: I don't know.

1519
01:06:44,680 --> 01:06:46,720
Speaker 3: If we said it, we got we went on, So

1520
01:06:46,760 --> 01:06:48,160
Speaker 3: we are sort of still in that segment.

1521
01:06:48,200 --> 01:06:50,600
Speaker 1: Oh, it's still non linear. Well we're liminal. We're still

1522
01:06:50,600 --> 01:06:51,840
Speaker 1: in that segment. Yeah, we can't.

1523
01:06:51,880 --> 01:06:53,880
Speaker 2: But I think because we're so liminal, we can't give

1524
01:06:53,920 --> 01:06:57,600
Speaker 2: you a number. I think that's Juris score was bear emoji?

1525
01:06:57,960 --> 01:07:02,560
Speaker 1: Understood? Yeah? Under still score was bear emoji. That's well, damn,

1526
01:07:02,640 --> 01:07:04,400
Speaker 1: that's what that is.

1527
01:07:04,440 --> 01:07:06,680
Speaker 2: That's either good or bad. That's either good or bad.

1528
01:07:08,080 --> 01:07:12,040
Speaker 2: What if you name your child either oh either, Oh

1529
01:07:12,080 --> 01:07:12,520
Speaker 2: that's good.

1530
01:07:12,800 --> 01:07:14,560
Speaker 1: You hear you have to hear the mother yelling it.

1531
01:07:14,560 --> 01:07:18,400
Speaker 2: Out either and it also it is Actually.

1532
01:07:17,720 --> 01:07:22,880
Speaker 1: You're gonna have a mother. I am the mother. I

1533
01:07:22,920 --> 01:07:27,320
Speaker 1: am the mother. Come through, RuPaul, come through, RuPaul, vote,

1534
01:07:28,600 --> 01:07:36,600
Speaker 1: I am the mother. Clack clack clack clack, clack. Vote vote,

1535
01:07:38,240 --> 01:07:40,320
Speaker 1: but seriously, you guys, get out there. Seriously, you guys,

1536
01:07:40,320 --> 01:07:46,560
Speaker 1: please vote. Should we do our final segment? How well

1537
01:07:46,640 --> 01:07:51,120
Speaker 1: I've lost track of lemon and so nonlinear? You tell

1538
01:07:51,160 --> 01:07:54,520
Speaker 1: me where we are? Where are we have time? Yeah?

1539
01:07:54,520 --> 01:07:57,880
Speaker 3: We should do our final any any lingering Fish notions?

1540
01:07:58,000 --> 01:08:01,400
Speaker 3: I mean really asking us just things that's very cute things. Yeah,

1541
01:08:01,720 --> 01:08:03,160
Speaker 3: it is cute. I just want to know if there's

1542
01:08:03,160 --> 01:08:06,120
Speaker 3: anything that you needed addressed that didn't know I know,

1543
01:08:06,160 --> 01:08:09,520
Speaker 3: and I do feel like it was a touchstone for us. Yeah,

1544
01:08:09,560 --> 01:08:11,280
Speaker 3: you know, it didn't need to be the bedrock. It

1545
01:08:11,320 --> 01:08:13,080
Speaker 3: was a touchstone. It was a touch if we're just

1546
01:08:13,160 --> 01:08:15,640
Speaker 3: making different sort of geological rock.

1547
01:08:15,560 --> 01:08:17,599
Speaker 2: Base touch my stone, by the way, was another.

1548
01:08:17,800 --> 01:08:23,040
Speaker 1: It was like a limestone layer, you know, good limestone bank.

1549
01:08:23,520 --> 01:08:26,719
Speaker 2: There we go, Oh my god, an the limestone festival

1550
01:08:26,720 --> 01:08:27,639
Speaker 2: in Bloomings, Indiana.

1551
01:08:27,680 --> 01:08:31,440
Speaker 1: You're literally just like sort of like fish.

1552
01:08:31,560 --> 01:08:34,960
Speaker 2: Can I ask something basic? What is the backstory of

1553
01:08:35,000 --> 01:08:36,880
Speaker 2: the name fish spelled with a pH?

1554
01:08:36,960 --> 01:08:38,760
Speaker 1: Great question? I don't know. Do you know that?

1555
01:08:38,880 --> 01:08:43,040
Speaker 7: I do a couple of different stories. But when they

1556
01:08:43,120 --> 01:08:46,280
Speaker 7: first started, so they started eighty three, and when they first.

1557
01:08:46,120 --> 01:08:48,800
Speaker 3: Started at Goddard College at Goddard.

1558
01:08:48,400 --> 01:08:51,880
Speaker 7: College, which had thirty three people in every year when

1559
01:08:51,920 --> 01:08:52,600
Speaker 7: they graduated.

1560
01:08:53,680 --> 01:08:55,320
Speaker 2: WHOA they wanted to be.

1561
01:08:56,600 --> 01:08:59,960
Speaker 7: That's why they wanted to be, and that's why.

1562
01:09:00,439 --> 01:09:04,760
Speaker 1: Everyone was just like what oh, and then it became Fish.

1563
01:09:05,160 --> 01:09:06,760
Speaker 1: This is news to me. I'm learning they wanted to

1564
01:09:06,800 --> 01:09:08,040
Speaker 1: be pish, do.

1565
01:09:07,920 --> 01:09:09,479
Speaker 2: Anything that's ahead of their time, because I'm thinking of

1566
01:09:09,560 --> 01:09:12,360
Speaker 2: that very pitchforky band that is three exclamation.

1567
01:09:11,960 --> 01:09:14,760
Speaker 1: Points, Yeah, yeah, t chick chick chick chick chick chat.

1568
01:09:14,760 --> 01:09:15,040
Speaker 1: That's it.

1569
01:09:16,360 --> 01:09:17,560
Speaker 2: That's so Fish.

1570
01:09:17,640 --> 01:09:20,000
Speaker 3: I love to learn that because even though I'm so

1571
01:09:20,080 --> 01:09:22,439
Speaker 3: tapped out of this scene, because it was like the

1572
01:09:22,479 --> 01:09:25,679
Speaker 3: thing I obsessed over from years like seventeen to twenty two.

1573
01:09:26,240 --> 01:09:29,080
Speaker 3: Like I think even now, if you played a live

1574
01:09:29,560 --> 01:09:32,759
Speaker 3: Fish recording, I would know the song and I probably

1575
01:09:32,760 --> 01:09:34,680
Speaker 3: could tell you the year and maybe month of it,

1576
01:09:34,760 --> 01:09:35,840
Speaker 3: you know what I mean. Like, it's still a part

1577
01:09:35,840 --> 01:09:38,080
Speaker 3: of my brain that knows every single thing about this band.

1578
01:09:38,240 --> 01:09:40,639
Speaker 3: So to learn something new that's huge.

1579
01:09:40,840 --> 01:09:41,680
Speaker 1: That's that's huge for.

1580
01:09:41,720 --> 01:09:44,639
Speaker 3: Me in all of my as someone literate in the lore,

1581
01:09:44,720 --> 01:09:45,599
Speaker 3: I didn't know that part.

1582
01:09:45,840 --> 01:09:48,200
Speaker 1: That part that that part well, that's just like how

1583
01:09:48,240 --> 01:09:50,800
Speaker 1: we want to be called aeo lab and people kept

1584
01:09:50,800 --> 01:09:52,480
Speaker 1: saying stradio, Stradio.

1585
01:09:52,240 --> 01:09:55,400
Speaker 3: Lab, and so you just became Stradio Lab.

1586
01:09:55,680 --> 01:09:57,000
Speaker 2: Yeah, first time we ever sold out?

1587
01:09:57,240 --> 01:10:00,599
Speaker 1: One of many, one of many, slippery, slow, what a many?

1588
01:10:00,640 --> 01:10:02,320
Speaker 1: But seriously, you guys, how down the barrel?

1589
01:10:02,360 --> 01:10:05,639
Speaker 3: This episode has been you know, because you guys sold out. Now, yeah,

1590
01:10:05,800 --> 01:10:07,880
Speaker 3: you resisted that urge to make this one punk. And

1591
01:10:07,920 --> 01:10:10,479
Speaker 3: it's just so clear and cogent and literate. First time

1592
01:10:10,479 --> 01:10:11,960
Speaker 3: listeners would know every single word.

1593
01:10:11,960 --> 01:10:14,080
Speaker 2: Oh yeah, no, this is the blueprint.

1594
01:10:13,560 --> 01:10:16,360
Speaker 1: This is blue blue, It's gonna be the FYC episode. Yeah, yeah,

1595
01:10:16,400 --> 01:10:18,479
Speaker 1: this is well, you know, everything you touch becomes afore

1596
01:10:18,520 --> 01:10:24,320
Speaker 1: your consideration. That part, Okay, we should do our final segment.

1597
01:10:24,439 --> 01:10:32,040
Speaker 1: That part, Josh, Our final segment is called shout outs,

1598
01:10:32,040 --> 01:10:33,719
Speaker 1: and then this segment would be amashed to the grand

1599
01:10:33,720 --> 01:10:36,600
Speaker 1: straight tradition of the radio shout out, shouting out to

1600
01:10:36,640 --> 01:10:40,080
Speaker 1: anything that we are enjoying, people, places, things, ideas. Imaginally

1601
01:10:40,120 --> 01:10:42,360
Speaker 1: twousand one, you're in Times Square shouting out to your

1602
01:10:42,400 --> 01:10:43,200
Speaker 1: squad back home.

1603
01:10:44,320 --> 01:10:46,080
Speaker 3: What's made about that is I'm literally in Times Square

1604
01:10:46,160 --> 01:10:47,320
Speaker 3: right now. But it's twenty sixteen.

1605
01:10:47,600 --> 01:10:49,320
Speaker 2: That's the part, Yes, it is, what part.

1606
01:10:49,160 --> 01:10:51,719
Speaker 3: That's the same, It's Times Square so that's the same.

1607
01:10:51,800 --> 01:10:53,000
Speaker 3: We're coming to your life from times.

1608
01:10:53,120 --> 01:10:54,640
Speaker 2: We are coming to your life from we are no

1609
01:10:54,800 --> 01:10:57,280
Speaker 2: cap no cap is that coming back?

1610
01:10:57,320 --> 01:10:59,479
Speaker 3: No, it's too fresh. But it couldn't like three. But

1611
01:10:59,520 --> 01:11:02,040
Speaker 3: I'm we're warm on bet being something. By the way

1612
01:11:02,080 --> 01:11:02,840
Speaker 3: I'm doing for you.

1613
01:11:02,800 --> 01:11:07,480
Speaker 2: By the way, no fap is another track, and bitch.

1614
01:11:08,160 --> 01:11:15,599
Speaker 1: People will get that that's beat. When you said profoundly earlier,

1615
01:11:15,640 --> 01:11:16,760
Speaker 1: I was trying to think of a pun and the

1616
01:11:16,840 --> 01:11:18,360
Speaker 1: only thing I got was propound me?

1617
01:11:20,600 --> 01:11:23,360
Speaker 2: Because the hell is wrong with you? Because ideas like

1618
01:11:23,360 --> 01:11:24,360
Speaker 2: that on the table.

1619
01:11:24,520 --> 01:11:26,240
Speaker 1: Because I was like, if I say pro pound me,

1620
01:11:26,560 --> 01:11:29,240
Speaker 1: no one's going to be like, that's profoundly. We would

1621
01:11:29,280 --> 01:11:29,559
Speaker 1: know that.

1622
01:11:29,640 --> 01:11:30,759
Speaker 2: Oh I see what you're saying.

1623
01:11:30,960 --> 01:11:31,200
Speaker 1: Yeah.

1624
01:11:31,360 --> 01:11:34,640
Speaker 2: But also there's so many lyrical directions there, like I

1625
01:11:34,680 --> 01:11:37,120
Speaker 2: am pro pound me. I am pro the idea of

1626
01:11:37,160 --> 01:11:37,760
Speaker 2: you pounding me.

1627
01:11:37,960 --> 01:11:39,520
Speaker 1: Yeah, I'm definitely propos.

1628
01:11:41,960 --> 01:11:46,000
Speaker 2: Being pounded, pro pound pro, I'm a pro pound me?

1629
01:11:46,360 --> 01:11:46,759
Speaker 1: Yeah?

1630
01:11:47,560 --> 01:11:47,840
Speaker 2: Wow?

1631
01:11:48,760 --> 01:11:50,920
Speaker 1: Should we do? Okay? How do we do it? I'm

1632
01:11:50,920 --> 01:11:52,719
Speaker 1: like George, I don't have one.

1633
01:11:52,920 --> 01:11:55,800
Speaker 2: Oh yeah, I don't either, Josh, I could do one.

1634
01:11:56,080 --> 01:11:59,080
Speaker 1: You want to go first, that's true, you need that.

1635
01:11:59,160 --> 01:12:00,840
Speaker 2: We always think of them on the spot. But of

1636
01:12:00,880 --> 01:12:03,840
Speaker 2: course I just had one come to me on the spot. Okay,

1637
01:12:03,840 --> 01:12:05,559
Speaker 2: go great, and this helped, you know, I came into

1638
01:12:05,600 --> 01:12:07,200
Speaker 2: early on the intro. I should come into early on

1639
01:12:07,240 --> 01:12:07,679
Speaker 2: the clothes.

1640
01:12:07,840 --> 01:12:08,040
Speaker 1: Yeah.

1641
01:12:08,040 --> 01:12:10,559
Speaker 3: Don't you feel as if it bookends for the listener

1642
01:12:10,600 --> 01:12:11,400
Speaker 3: and especially the watcher.

1643
01:12:11,479 --> 01:12:12,200
Speaker 1: It gives a bookend?

1644
01:12:12,560 --> 01:12:17,400
Speaker 3: Yeah, yeah, yeah, Okay. Shout out to Love on the Spectrum.

1645
01:12:17,560 --> 01:12:19,840
Speaker 3: It's the greatest show on television. I'm so happy it's back.

1646
01:12:19,880 --> 01:12:23,439
Speaker 3: These are my absolute friends, y'all. This is the friends

1647
01:12:23,479 --> 01:12:26,639
Speaker 3: cast to me is Love on the Spectrum. Talk about

1648
01:12:26,640 --> 01:12:29,639
Speaker 3: a warm bath. I'm spending time with David, with Abby,

1649
01:12:29,680 --> 01:12:32,200
Speaker 3: with Tanner, with Connor. I'm loving my life. All of

1650
01:12:32,240 --> 01:12:35,360
Speaker 3: the new people are so good. I was weeping like

1651
01:12:35,360 --> 01:12:38,000
Speaker 3: I'm reading the New Yorker Fish article watching this season

1652
01:12:38,000 --> 01:12:41,559
Speaker 3: of Love on the Spectrum. I wish every person would

1653
01:12:41,560 --> 01:12:44,160
Speaker 3: watch that show. I think it is so that part

1654
01:12:44,360 --> 01:12:45,200
Speaker 3: the best.

1655
01:12:44,960 --> 01:12:45,559
Speaker 1: You know what I mean?

1656
01:12:45,840 --> 01:12:48,599
Speaker 3: Yeah, So, shouts out to all of them. I would

1657
01:12:48,640 --> 01:12:51,959
Speaker 3: love to meet or work with any of you. Please

1658
01:12:52,120 --> 01:12:54,759
Speaker 3: find me. Run up to me in a public space

1659
01:12:54,960 --> 01:12:58,240
Speaker 3: with a weapon if you need. I want to know you.

1660
01:12:58,680 --> 01:13:01,160
Speaker 3: I want to be friends with you, and I want

1661
01:13:01,200 --> 01:13:02,320
Speaker 3: to celebrate.

1662
01:13:01,840 --> 01:13:05,599
Speaker 1: You most of all. I have also been. I started

1663
01:13:05,680 --> 01:13:08,320
Speaker 1: season one like two weeks ago, and I love it.

1664
01:13:08,320 --> 01:13:09,799
Speaker 1: It is the best.

1665
01:13:09,960 --> 01:13:13,080
Speaker 3: Yeah, I am very fish about it. Where it's like

1666
01:13:13,160 --> 01:13:17,640
Speaker 3: I have such earnest admiration for the show and the

1667
01:13:17,640 --> 01:13:19,680
Speaker 3: people on it, and they're so funny.

1668
01:13:19,600 --> 01:13:23,120
Speaker 1: And it's it's it's it's really nice. They're so funny.

1669
01:13:24,360 --> 01:13:25,559
Speaker 2: Okay, I have one.

1670
01:13:25,560 --> 01:13:27,360
Speaker 1: Oh, thank God, what's up?

1671
01:13:27,520 --> 01:13:30,880
Speaker 2: I'm gonna keep going with via television theme. What's up,

1672
01:13:30,920 --> 01:13:33,040
Speaker 2: television viewers? I want to give a shout out to

1673
01:13:33,760 --> 01:13:37,120
Speaker 2: this very particular state that I can will my brain

1674
01:13:37,200 --> 01:13:39,719
Speaker 2: to be in. It is it. It is a version

1675
01:13:39,760 --> 01:13:42,120
Speaker 2: of the Sunken Place, but it is I think as

1676
01:13:42,120 --> 01:13:45,760
Speaker 2: a little mourgeois de vive, and I have been accessing

1677
01:13:45,800 --> 01:13:49,439
Speaker 2: it every night over the last calendar month, when every

1678
01:13:49,560 --> 01:13:54,160
Speaker 2: night I am watching Family Guy on Hulu. Dot se

1679
01:13:54,520 --> 01:13:57,000
Speaker 2: to me, I am on season I didn't start from

1680
01:13:57,000 --> 01:13:59,240
Speaker 2: the very beginning, but regardless of very I started, I'm

1681
01:13:59,240 --> 01:14:03,520
Speaker 2: on season eleven. I'm watching it. I am letting it AutoPlay,

1682
01:14:04,000 --> 01:14:08,880
Speaker 2: and I am fully watching Family Guy by myself on

1683
01:14:08,920 --> 01:14:10,479
Speaker 2: my computer in bed.

1684
01:14:10,600 --> 01:14:12,560
Speaker 1: As God intended, I.

1685
01:14:12,320 --> 01:14:14,880
Speaker 2: Am shutting off any part of my brain that is

1686
01:14:14,920 --> 01:14:18,000
Speaker 2: reacting to anything, and it is washing over me the

1687
01:14:18,080 --> 01:14:22,599
Speaker 2: same way, honestly, a warm bath wood. I think when

1688
01:14:22,640 --> 01:14:25,240
Speaker 2: I am ready to comment on what I'm seeing, I

1689
01:14:25,360 --> 01:14:28,639
Speaker 2: will activate. But for now I am in this very

1690
01:14:28,680 --> 01:14:32,240
Speaker 2: special brain state that I think leminals very liminal and

1691
01:14:32,360 --> 01:14:35,960
Speaker 2: is very ampersand and I think rather than judging myself

1692
01:14:36,040 --> 01:14:38,280
Speaker 2: for it, I am going to sit in it and

1693
01:14:38,320 --> 01:14:39,160
Speaker 2: see what comes of it.

1694
01:14:39,600 --> 01:14:44,280
Speaker 1: Wow, whoop, that is crazy preactivated? Yeah, I can't.

1695
01:14:44,479 --> 01:14:46,439
Speaker 2: You want to see people, If you want to see

1696
01:14:46,479 --> 01:14:49,320
Speaker 2: people look shocked, if you want to see the light

1697
01:14:49,400 --> 01:14:51,639
Speaker 2: drain from people's face, tell them you've been watching family

1698
01:14:51,680 --> 01:14:57,479
Speaker 2: guy people on all communities. We're talking gay, straight, all mainstream, old, young.

1699
01:14:58,040 --> 01:15:00,840
Speaker 2: I've never seen a reaction like that, and I've done

1700
01:15:00,840 --> 01:15:02,200
Speaker 2: many things that that are.

1701
01:15:02,160 --> 01:15:08,880
Speaker 1: You've done a thing? Okay, what's up? Freaks, losers and

1702
01:15:08,880 --> 01:15:11,080
Speaker 1: perverts around the globe. I would like to give a

1703
01:15:11,080 --> 01:15:14,240
Speaker 1: shout out to you know that thing when you wake

1704
01:15:14,320 --> 01:15:16,040
Speaker 1: up and you're like really stressed out and it's like

1705
01:15:16,040 --> 01:15:17,920
Speaker 1: three am and you're like, why am I awake? And

1706
01:15:17,960 --> 01:15:19,720
Speaker 1: then you lay there. I want to give a shout

1707
01:15:19,760 --> 01:15:22,439
Speaker 1: out to getting up and saying you know what, enough,

1708
01:15:22,560 --> 01:15:24,400
Speaker 1: I'm gonna do stuff. We didn't get up, and I'm

1709
01:15:24,400 --> 01:15:27,439
Speaker 1: gonna fucking do stuff until I get tired. And I

1710
01:15:27,439 --> 01:15:30,400
Speaker 1: find that this is a much more productive way stuff.

1711
01:15:30,760 --> 01:15:34,439
Speaker 1: I'm well, one, I'm reading it. Sometimes I'm jerking it.

1712
01:15:34,680 --> 01:15:38,040
Speaker 1: Sometimes I'm having a beautiful water. Sometimes I'm journaling. Sometimes

1713
01:15:38,040 --> 01:15:40,240
Speaker 1: as soon as I write down like everything that's running

1714
01:15:40,240 --> 01:15:42,240
Speaker 1: through my mind, I'm like, oh that's it, Okay, time

1715
01:15:42,280 --> 01:15:44,360
Speaker 1: for bed. You need to download. You basically just have

1716
01:15:44,400 --> 01:15:47,439
Speaker 1: to like walk around and be like, okay, enough, just

1717
01:15:47,520 --> 01:15:50,800
Speaker 1: laying here, and then I have a book. I've got

1718
01:15:50,800 --> 01:15:52,320
Speaker 1: a little life from my books so that I can

1719
01:15:52,360 --> 01:15:55,719
Speaker 1: read it without waking up Misha. And it is an amazing,

1720
01:15:55,880 --> 01:16:00,400
Speaker 1: amazing feeling to just lean in and honestly, sometimes when

1721
01:16:00,400 --> 01:16:02,560
Speaker 1: your mind is racing, you actually are having good ideas

1722
01:16:02,800 --> 01:16:04,760
Speaker 1: and you just have to roll with it because you

1723
01:16:04,800 --> 01:16:08,280
Speaker 1: can't you can't know when the spirit of creativity is

1724
01:16:08,280 --> 01:16:11,240
Speaker 1: going to enter you. So when you wake up at

1725
01:16:11,240 --> 01:16:13,240
Speaker 1: three am, just roll with it. XXO.

1726
01:16:14,280 --> 01:16:16,439
Speaker 3: I'm an adherent of this, but it's a practice. They

1727
01:16:16,439 --> 01:16:18,799
Speaker 3: can't you can't always follow because it's happening in a space,

1728
01:16:18,880 --> 01:16:21,320
Speaker 3: a liminal space where your mind is not always your mind.

1729
01:16:21,680 --> 01:16:23,680
Speaker 3: So there's times for the next day. I forget that.

1730
01:16:23,760 --> 01:16:25,800
Speaker 3: I know this is the north Star and I'm so

1731
01:16:25,880 --> 01:16:28,840
Speaker 3: frustrated to not have you know, pointed pointed my sled

1732
01:16:28,880 --> 01:16:29,639
Speaker 3: dogs towards it.

1733
01:16:30,280 --> 01:16:33,480
Speaker 2: By the way, I just read on Billboard that Limanal

1734
01:16:33,920 --> 01:16:37,560
Speaker 2: Billboard limb Anal Space has just premiered and it's the

1735
01:16:37,640 --> 01:16:39,120
Speaker 2: lead single of slipt Pop.

1736
01:16:38,920 --> 01:16:44,080
Speaker 1: Cambridge woom Anal Space Space. That's good. Wow. If anybody

1737
01:16:44,160 --> 01:16:47,400
Speaker 1: out there has a lot of time and a Photoshop account,

1738
01:16:48,240 --> 01:16:50,559
Speaker 1: we would love for you to make an album cover

1739
01:16:50,680 --> 01:16:52,840
Speaker 1: with the track list of all the tracks that we

1740
01:16:52,880 --> 01:16:53,960
Speaker 1: have named today.

1741
01:16:54,200 --> 01:16:58,840
Speaker 3: I want the tracks b www dot Josh Sharptona dot com.

1742
01:16:58,960 --> 01:17:01,200
Speaker 3: That is rare on this graphic that you will share

1743
01:17:01,280 --> 01:17:05,040
Speaker 3: far and wide on the dot com dot com.

1744
01:17:05,280 --> 01:17:09,559
Speaker 1: Perfect okay, perfect, Well, everyone go see Josh's show and.

1745
01:17:10,600 --> 01:17:14,120
Speaker 3: Tickets on sale now, tickets recently on sale at the

1746
01:17:14,160 --> 01:17:15,920
Speaker 3: moment that this episode is coming.

1747
01:17:15,720 --> 01:17:17,880
Speaker 2: Out Josh Sharp Today dot com.

1748
01:17:18,000 --> 01:17:19,639
Speaker 1: Yep. And you know I need this stradio.

1749
01:17:19,640 --> 01:17:22,320
Speaker 3: A lot of freaks there, honestly, and I'm going to

1750
01:17:22,360 --> 01:17:25,080
Speaker 3: say this on this podcast and and no else, y'all

1751
01:17:25,120 --> 01:17:27,719
Speaker 3: will get the show more than every other podcast audience.

1752
01:17:27,800 --> 01:17:30,600
Speaker 2: We know that the girls know.

1753
01:17:30,720 --> 01:17:32,439
Speaker 1: You're going on Exploration Live and you're saying that.

1754
01:17:32,400 --> 01:17:34,519
Speaker 2: Exact same ship. You're on The Daily and you're saying,

1755
01:17:34,520 --> 01:17:37,120
Speaker 2: Michael Barbara, your listeners are going to absolutely freak.

1756
01:17:37,200 --> 01:17:40,920
Speaker 3: You know, the Daily listeners will hate my show. And

1757
01:17:40,960 --> 01:17:42,640
Speaker 3: I will tell that to Michael Barbarrow. I'll say it

1758
01:17:42,680 --> 01:17:45,120
Speaker 3: to his face. I'm here to talk about the topic

1759
01:17:45,120 --> 01:17:46,600
Speaker 3: of the day, but not my show. I do not

1760
01:17:46,680 --> 01:17:49,120
Speaker 3: want your listeners there. Say to Barbaro, do you think

1761
01:17:49,160 --> 01:17:52,800
Speaker 3: you could turn him gay again? I think he's got

1762
01:17:52,800 --> 01:17:54,559
Speaker 3: some cues. I think some cues.

1763
01:17:57,360 --> 01:17:58,519
Speaker 1: He is like ampers encoded.

1764
01:17:58,600 --> 01:18:00,679
Speaker 2: He is so and down.

1765
01:18:00,720 --> 01:18:02,479
Speaker 1: Have you had him on? Yeah?

1766
01:18:02,680 --> 01:18:05,200
Speaker 2: Yeah, actually no, well we had him on, but it

1767
01:18:05,240 --> 01:18:06,240
Speaker 2: was a bad episode and ended up.

1768
01:18:07,040 --> 01:18:09,719
Speaker 3: Yeah, this was mutually agreed upon from both parties.

1769
01:18:10,760 --> 01:18:12,880
Speaker 1: Yeah, yeah, we told him to fuck off. Is this

1770
01:18:12,960 --> 01:18:15,599
Speaker 1: known or I cannot?

1771
01:18:16,000 --> 01:18:16,479
Speaker 2: I don't know.

1772
01:18:17,200 --> 01:18:19,760
Speaker 3: I don't know what y'all podcast Queen's be doing. Y'all have,

1773
01:18:19,920 --> 01:18:20,799
Speaker 3: y'all have a community.

1774
01:18:20,880 --> 01:18:21,880
Speaker 1: Y'all are the fish.

1775
01:18:22,040 --> 01:18:23,479
Speaker 3: You know there's a y'all are the fish.

1776
01:18:24,200 --> 01:18:30,160
Speaker 1: Y'all are the well Michael barbro it's an open Invite's.

1777
01:18:29,800 --> 01:18:32,559
Speaker 3: An open invite, Actually, Barbara, you can come to opening night.

1778
01:18:33,160 --> 01:18:35,559
Speaker 3: I'm gonna save you a ticket in the front waiting

1779
01:18:35,560 --> 01:18:39,920
Speaker 3: for Govment style. If Barbarow comes reserved for barbar.

1780
01:18:39,760 --> 01:18:41,680
Speaker 1: Oh, that'll be nice. And every night you look and

1781
01:18:41,880 --> 01:18:46,000
Speaker 1: he's not there and you're like, fuck, I guess this

1782
01:18:46,040 --> 01:18:49,080
Speaker 1: one's just for me. Well, Josh, thanks so much for

1783
01:18:49,160 --> 01:18:49,919
Speaker 1: doing the podcast.

1784
01:18:50,080 --> 01:18:52,680
Speaker 3: My God a blessing, an absolute blessing, and to be

1785
01:18:52,720 --> 01:18:54,200
Speaker 3: in the i RL kind of way.

1786
01:18:54,640 --> 01:18:55,160
Speaker 1: Thank God.

1787
01:18:55,640 --> 01:18:57,240
Speaker 2: And I just want to say thank you everyone who

1788
01:18:57,240 --> 01:19:00,600
Speaker 2: has participated in the week of Stradio Lab six and

1789
01:19:01,080 --> 01:19:08,679
Speaker 2: one live show, Endless Opportunities and endless Fun and endless

1790
01:19:08,720 --> 01:19:10,120
Speaker 2: play fish style.

1791
01:19:10,760 --> 01:19:16,759
Speaker 4: Thank you well, Bye bye podcast and now want more,

1792
01:19:17,200 --> 01:19:20,280
Speaker 4: Subscribe to our Patreon for two extra episodes a month,

1793
01:19:20,520 --> 01:19:24,280
Speaker 4: discord access and more by heading to patreon dot com

1794
01:19:24,320 --> 01:19:25,799
Speaker 4: slash Stradio Lab.

1795
01:19:25,840 --> 01:19:28,439
Speaker 1: And for all our visual earners, free full length video

1796
01:19:28,479 --> 01:19:31,559
Speaker 1: episodes are available on our YouTube now get back to work.

1797
01:19:31,840 --> 01:19:34,200
Speaker 1: Stradia Lab is a production by Will Ferrell's Big Money

1798
01:19:34,200 --> 01:19:36,040
Speaker 1: Players Network and iHeart Podcasts.

1799
01:19:36,080 --> 01:19:38,920
Speaker 2: Created and hosted by George Severis and Sam Taggart.

1800
01:19:39,040 --> 01:19:43,040
Speaker 1: Executive produced by Will Ferrell, Hans Sony and Olivia Aguilar.

1801
01:19:42,720 --> 01:19:44,880
Speaker 2: Co produced by by Wang edited.

1802
01:19:44,600 --> 01:19:46,680
Speaker 1: And engineered by Adam Avalos.

1803
01:19:46,520 --> 01:19:48,639
Speaker 2: Artwork by Michael Failes and Matt Grugg.

1804
01:19:48,760 --> 01:19:49,960
Speaker 1: Theme music by Ben Kling.