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Speaker 1: Hold on to your lashes. The queen has arrived me

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Speaker 1: Art Simone and.

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Speaker 2: I have a premonition.

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Speaker 1: I can see it clearly, someone wrapped in a tragic

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Speaker 1: beige outfit, a riddle and some hidden sparkle. But you've

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Speaker 1: really got a squint. Oh that's I guess. Ready to

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Speaker 1: meet them me too. This is concealed with Art Simone.

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Speaker 3: Hit it. My name is Tim and I'm currently in Sydney.

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Speaker 4: My dad lives in the Army, so we moved around

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Speaker 4: al I went to seven different schools. I have to

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Speaker 4: say drawing has been my lightsaber growing up because it

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Speaker 4: was a way of expressing and creating and joining myself

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Speaker 4: to the world around me.

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Speaker 3: And I was once an earring.

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Speaker 4: I'm concealing something about myself that has catched me engine

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Speaker 4: Australian culture forever.

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Speaker 1: Oh well, hello Tim, how are you going in beautiful

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Speaker 1: sunny Sydney today?

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Speaker 4: It is actually a gorgeous winter's sunny day.

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Speaker 1: I am very jealous, but look, you've popped onto my

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Speaker 1: screen and I have to admit I know exactly who

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Speaker 1: you are, but our audience doesn't just yet, So I

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Speaker 1: still want to play our regular game that we do

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Speaker 1: here at concealed and ask you three questions, and from

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Speaker 1: the answers to those three questions, the audience can try

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Speaker 1: and work out what it is you are concealing from

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Speaker 1: us here today.

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Speaker 2: Does that sound all right?

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Speaker 3: It sounds like a lot of fun, all right.

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Speaker 1: So, Tim, the first question I have for you is,

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Speaker 1: if you were to be an adamant object, what would

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Speaker 1: you be?

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Speaker 2: Would it be an earring?

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Speaker 3: Yeah, let's go back to the earring. They're inanimate.

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Speaker 4: It depends on how fast you're wiggling, whether the very

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Speaker 4: inanimate or not the old full definition of earring. I mean,

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Speaker 4: I know for a fact that you are very good

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Speaker 4: at accessorizing your beautiful face. But back in the day,

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Speaker 4: a pair of male dancers either side of a drag

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Speaker 4: queen were called ear rings.

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Speaker 1: Oh no, that is news to me. Boys don't get

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Speaker 1: up and dance with drag queens anymore.

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Speaker 2: I tell you what.

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Speaker 1: There's not enough for him on our tiny stages. But

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Speaker 1: I do like that term. So you used to be

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Speaker 1: a dancer, Okay, all right? Do you still like to

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Speaker 1: wiggle it?

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Speaker 3: Well? Yeah I do.

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Speaker 4: I have to get my zimmer frame out these days,

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Speaker 4: but yeah, sure, I haven't been an ewring for a

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Speaker 4: long time.

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Speaker 3: I'm more of a necklace, a pearl necklace.

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Speaker 2: All right, all right, right?

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Speaker 1: Question number two, If you were to name a cockt

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Speaker 1: what would it be?

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Speaker 4: It would be such a giveaway though. It would be

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Speaker 4: a cock on a rock in a frock.

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Speaker 1: Oh okay, Oh, I wonder what that could allude to.

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Speaker 2: It's a mystery.

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Speaker 1: Maybe you're really into bouldering, who knows, or maybe into fowl.

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Speaker 2: You could be really into chickens, who knows? Okay.

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Speaker 1: And the third question I have for you is how

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Speaker 1: would you want to leave this earth?

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Speaker 2: We get a bit metaphorical, a little bit deep.

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Speaker 4: Let's just say that when that moment comes, whether I'm

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Speaker 4: being crushed, a tire is going over my head, a

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Speaker 4: bus tire, I will leave this earth happy knowing that

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Speaker 4: I've contributed something to Australia's identity.

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Speaker 1: Okay, so let's recap Tim. What clues have you given

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Speaker 1: the audience here today? Used to be an ear ring akay,

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Speaker 1: a dancer with the drag queens. And if you were

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Speaker 1: to be run over by a bus, I would die happy.

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Speaker 1: Oh I'll tell you what. It's really difficult to piece

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Speaker 1: these things together. A bus, a cock, and a frock

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Speaker 1: and a rock you know, a drag queen's drag bags.

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Speaker 2: So hard I wonder what it could be.

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Speaker 1: Well, I think I know, but I think we're gonna

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Speaker 1: throw it back to you to announce your official title

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Speaker 1: of what you're concealing from us here today.

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Speaker 4: My name is Tim Chapel, and I'm the costume designer

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Speaker 4: from the Adventures of Priscilla, Queen of the Desert, made

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Speaker 4: in nineteen ninety four.

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Speaker 1: Yeah, it's mister Tim Chapel, icon lension superstar costumey a designer.

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Speaker 2: Ah you, I'm so excited to speak to you.

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Speaker 1: This has been the best surprise I've had in a

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Speaker 1: very long time because your work has impacted so many lives, careers,

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Speaker 1: artists across the world for the last three decades. And ah,

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Speaker 1: I want to pick your little brain, mister Tim Chapple.

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Speaker 3: Ooh, pick away, pick away. My brain is open, ready

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Speaker 3: and waiting for picking.

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Speaker 1: Oh good, because I do have my best nails on,

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Speaker 1: so I will be digging deep. Let's start with what

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Speaker 1: you led with, which is Priscilla, Queen of the Desert,

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Speaker 1: an iconic Australian film. The I would say, in my eyes,

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Speaker 1: the pinnacle of drag representation in the mainstream, especially for

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Speaker 1: our beautiful drag community here.

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Speaker 2: How did you get started on it? Where did it happen?

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Speaker 4: Well, look, I just I want to just correct a

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Speaker 4: little bit of what you just said. I didn't invent

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Speaker 4: the look. I just channeled it. That look already existed

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Speaker 4: in Sydney in the early nineties because back then there

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Speaker 4: wasn't internet, there weren't cell phones, and Sydney was this

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Speaker 4: gorgeous melting part of the most incredible, incredible creativity fashion,

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Speaker 4: music and the drag scene was phenomenal. And I just

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Speaker 4: was in the drag scene making stuff for people like

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Speaker 4: Greedy and Cyndy Pastel and Banina Bards, and I just

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Speaker 4: channeled that look into the film and it made me.

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Speaker 4: It did very well for me, And yes I did.

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Speaker 4: I did influence a lot, because I'm a genius.

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Speaker 3: There's no denying that part.

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Speaker 4: But going totally off track, what I find really fascinating

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Speaker 4: now is how RuPaul's Drag Race has done this big

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Speaker 4: that taken a very very big circle around and now

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Speaker 4: the people who do well on RuPaul's Drag Race embody

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Speaker 4: that that, you know what I mean, they do drag.

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Speaker 4: That's interesting that's got character, that's telling stories.

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Speaker 3: It's not just about being pretty.

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Speaker 4: There's nothing wrong with being pretty, but pretty and interesting

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Speaker 4: it's going to get you way further.

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Speaker 1: Going back to Priscilla, So you were making costumes at

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Speaker 1: the time for the Queens in Sydney Showbags. Yeah, ah,

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Speaker 1: so I didn't know this part actually, So you were

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Speaker 1: working with this community of queens around you. So then

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Speaker 1: how do you get the call to start working on

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Speaker 1: the film.

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Speaker 4: Well, Stephen Elliott like the costumes I've been doing for

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Speaker 4: the show Bags, and he knew how it'd be cheap

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Speaker 4: because I can sew and you and you needed somebody

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Speaker 4: to do drag.

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Speaker 3: So he found me through friends and we did it.

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Speaker 4: That was my first I mean, I've been working as

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Speaker 4: an assistant designer on various TV shows like E Street.

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Speaker 3: Was my first job as a designer and boil up.

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Speaker 2: How old were you at the time?

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Speaker 4: I was twenty four. I was twenty five when I

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Speaker 4: won the Oscar.

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Speaker 1: Jeez jeezz jeez, oh my god, I feel like I've

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Speaker 1: already lost my crime now I'm way past that.

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Speaker 2: What have I got left?

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Speaker 1: Oh?

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Speaker 3: No, I was so unprepared. I wouldn't wish it on anybody.

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Speaker 4: It was kind of I went from being an Aubrey

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Speaker 4: bartender who made a bit of drag on the side

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Speaker 4: to winning an Oscar.

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Speaker 3: I was not prepared. It was very fast growing experience.

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Speaker 1: Yeah, I can only imagine. So what was it like

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Speaker 1: putting together this film? Did you think it was going

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Speaker 1: to go anywhere? Did you know that it was going

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Speaker 1: to be such a big hit or were you just

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Speaker 1: taking each day?

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Speaker 4: You know? Well, I was kind of lucky. So we

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Speaker 4: started a film there. I've got a studio. They gave

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Speaker 4: me a studio in what was actually the boil Is

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Speaker 4: to Show, which it was back then, which is now

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Speaker 4: Fox Studios. And then the film lost is funding, but

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Speaker 4: I still had my studio, so I actually ended up

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Speaker 4: having about eight months to make things. So I just

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Speaker 4: kept making and making and remaking and redoing and remaking,

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Speaker 4: and as you know, anything that you've got time to

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Speaker 4: work on, just get staying around David and better. But

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Speaker 4: you know, I'm shound to bit up my own ass.

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Speaker 4: But there was a couple of moments where I looked

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Speaker 4: at stuff and O and no one's ever seen any

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Speaker 4: of this before I.

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Speaker 3: Could get nominated. I could get nominated for a logan.

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Speaker 1: See, that's still the pinnacle for me. That is still

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Speaker 1: the ultimate goal. One day I want one of those

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Speaker 1: little suckers. I don't care about the other ones. That

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Speaker 1: is the absolute camper for me. I want one of those.

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Speaker 3: I've seen you on telor you're good on teling.

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Speaker 1: I think let the Logi people know, please put in

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Speaker 1: a good word please. So you're working, you're designing all

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Speaker 1: these looks, and then do you get to you travel

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Speaker 1: with the film, right, you go out into the upback,

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Speaker 1: you're there while it's all happening.

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Speaker 3: Oh yeah.

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Speaker 4: It was such a wild experience because I've never seen

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Speaker 4: any of Australia, especially not that part of Australia.

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Speaker 3: So it was this huge adventure.

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Speaker 4: And everybody was around the same age as me except

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Speaker 4: for Terns, and they just did a bunch of idiots

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Speaker 4: traveling across Australia making this film and we were having

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Speaker 4: we were all very invested in what we were doing,

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Speaker 4: but having the best time. And I think that translates

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Speaker 4: onto film. I think somehow you're able to read that,

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Speaker 4: and I think that's one of the.

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Speaker 3: Reasons the film did so well.

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Speaker 4: It's that there's love and joy that goes beyond and

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Speaker 4: somehow attaches itself to the actual film.

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Speaker 1: Will you talk about some of the inspiration for the

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Speaker 1: looks that from Priscilla? Obviously came from all the queens

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Speaker 1: around you and stuff that you working on, But are

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Speaker 1: there any particular inspirations, like where do you suddenly decide

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Speaker 1: you're going to make a dress out of thongs? Where

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Speaker 1: do you decide you're going to create some of these

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Speaker 1: really wacky looks that have stood the test of time

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Speaker 1: and I still replicated to this day.

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Speaker 4: Paka Rabhan did a whole series of dresses in the

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Speaker 4: sixties that we're called the Unwearable Collection and now things

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Speaker 4: like plastic discs or plastic squares, and I was like,

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Speaker 4: oh my god, there's a shopping scene. He should wear

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Speaker 4: a dress made out of credit cards. And so we

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Speaker 4: approached everybody.

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Speaker 3: We approached all.

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Speaker 4: The credit card companies. We even approached Target to see

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Speaker 4: if they would give us one of their lay by gods,

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Speaker 4: and everyone said no. But my mum worked at Target

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Speaker 4: and I was visiting her and she was like, I've

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Speaker 4: got to carry this box of thongs and I was.

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Speaker 3: Like, do you say guns?

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Speaker 4: Oh my god, the colors are perfect and we've got dogs,

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Speaker 4: and we've got them with my mum's discount which made

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Speaker 4: that dress cost about eighteen dollars.

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Speaker 1: Which you could not replicate this day, and a lot

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Speaker 1: of drag queens try to and it's impossible. So that

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Speaker 1: kind of touches on something which I'd like to talk about.

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Speaker 1: Was there a lot of pushback when you were trying

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Speaker 1: to produce this film where you know, you say that

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Speaker 1: target didn't want to help you, These people didn't want

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Speaker 1: to help you. Was it because it was such a

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Speaker 1: queer film, people a bit hesitant to even be associated

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Speaker 1: with it.

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Speaker 3: Well, yeah, one hundred percent.

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Speaker 4: It was a little obscure Australian film about drag queens,

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Speaker 4: and back then drag queens, even though we had, like

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Speaker 4: we had people on TV doing drag in Australia, it

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Speaker 4: was just not it wasn't we know that being gay

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Speaker 4: was still illegal?

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Speaker 3: Well, I think it may just become.

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Speaker 4: Illegal in like the early nineteens, and gay was weird

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Speaker 4: and also we were going through the Aide crisis, so

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Speaker 4: we were weird and we were poisonous.

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Speaker 1: But it really stood the test of time and the triumphant,

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Speaker 1: you know, victory that you all had in creating that

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Speaker 1: film as something just so incredible. And I've had the

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Speaker 1: opportunity to interview a lot of drag artists that were

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Speaker 1: around during the time that Priscilla was being produced and

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Speaker 1: when it came out, and there's obviously lots of different

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Speaker 1: mixed stories that I hear from, depending how bitter some

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Speaker 1: people are. But the big through line is how incredible

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Speaker 1: Priscilla was for visibility for the queer community, visibility for

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Speaker 1: the drag artists, and on top of that, created so

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Speaker 1: many new opportunities for all of these people and really

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Speaker 1: demystified the drag community and the queer community to the

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Speaker 1: larger world.

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Speaker 3: They were people.

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Speaker 4: Yeah, Yeah, it was a film about people who happened

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Speaker 4: to do drag and they were not really well formed tep.

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Speaker 4: You know, the characters were deligiously made. And I love

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Speaker 4: that one had kid. I mean, I've got it's based

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Speaker 4: on Ritual fingers life story, and I know he's a

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Speaker 4: bit bigger about it, and so it should be, because

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Speaker 4: it would be so hard to see your life story

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Speaker 4: made into this internationally successful film. But I hope that

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Speaker 4: he feels touched that his life story also changed lives

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Speaker 4: of I'm serious it's changed the lives of thousands of people.

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Speaker 2: No, I completely agree.

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Speaker 1: And on top of that, it's also thrown a spotlight

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Speaker 1: back on people like Cindy Pastel and the drag community

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Speaker 1: at the time, and now that people are really interested

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Speaker 1: to find out even more about them and the community

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Speaker 1: and what was going on while he was working on Priscilla.

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Speaker 1: It sounds like the most glamorous thing in the world.

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Speaker 1: You know, you had your own studio, you got to

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Speaker 1: be on the road. But tell me what was it

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Speaker 1: actually like? You know, how did you know? How did

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Speaker 1: you get paid?

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Speaker 3: Was scruffy shit.

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Speaker 4: One of the wonderful things was the producers were very

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Speaker 4: egalitarian and we go to share of the film. Lizzy

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Speaker 4: and I got to share. The caterer even got to share.

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Speaker 4: And it's kind of towards the end of when that happens,

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Speaker 4: but now the only people who get points on a

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Speaker 4: film at the producers and the leads. So it was

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Speaker 4: it was scruffy as ship making. It was so scruffy

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Speaker 4: we got out there. They got us the cheapest possible

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Speaker 4: wardrobe truck, which was a mister Whippie Van, and mister

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Speaker 4: Whippie Van shat itself just outside of Lake Eyre. Because

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Speaker 4: I'd hot flued half the dresses together, they all melted

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Speaker 4: into one giant lunth.

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Speaker 2: Oh they would yeah.

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Speaker 4: And the only other vand available was the top of

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Speaker 4: the line, mezzanine level gorgeous, brand new trailer. So I

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Speaker 4: had to sit in there and remake everything in my

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Speaker 4: condition comforts with my lovely music, and Lizzie had to

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Speaker 4: be on set with the flies in the face.

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Speaker 3: Oh, oh my god, the flies out there.

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Speaker 2: I can only imagine.

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Speaker 1: I've done some gigs over the years out in those

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Speaker 1: desolate parts, and there foul, foul, the foul.

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Speaker 4: I'll never forget the time that ter Bernadette got aff

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Speaker 4: got a fly stuff between his real Eila. Oh no,

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Speaker 4: It's like a venus fly trapper got stuck in.

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Speaker 1: It was like, oh, is there any other crazy Atlantish

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Speaker 1: stories from working on the film.

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Speaker 4: Oh my lord, it never ends. There's so many that.

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Speaker 4: I mean, I could go forever, I look. Honestly, I

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Speaker 4: think the biggest victory I had was the silver bustop area,

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Speaker 4: and nearly didn't happen.

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Speaker 3: First we tested it.

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Speaker 4: I'd made another one in SYDNEYA and it was shit,

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Speaker 4: And I went to the producers and I said it's

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Speaker 4: not really very build.

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Speaker 3: And they said, well, what can we do? And I

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Speaker 3: was like, I need every meter.

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Speaker 4: Of silver army in Australia and I got it out

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Speaker 4: like two days later. I had like two hundred meters

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Speaker 4: of silver army and I cut holding on the bias. Yeah,

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Speaker 4: so that when it was up blobing along behind the bus,

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Speaker 4: I figured, if it's cut on the bias, it's not

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Speaker 4: going to tear as easily and it will catch the air. Anyway,

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Speaker 4: cut to five forty five in the morning. Buses set

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Speaker 4: up guys on top of the bus. We've rigged the

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Speaker 4: silver Lamay and I you know, lined it up down

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Speaker 4: the road and the bus takes off and the lamae

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Speaker 4: just goes across the brown and nothing, and I'm like,

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Speaker 4: oh god, down and steps like research research.

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Speaker 3: So I run over, dragged pull the lame back out

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Speaker 3: and we do it again in the same result, but

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Speaker 3: a look at the work.

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Speaker 4: This is the safety opposite comes over to me and says, Jim,

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Speaker 4: I'm really sorry to tell you this, but you're going

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Speaker 4: to have to cut it off because you get caught

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Speaker 4: in the back axle. And okay, So with a heavy

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Speaker 4: heart and her head hung low, and my big scissors

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Speaker 4: marched over to pick up the lamade to cut it,

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Speaker 4: and right at that second, a great, big gust wind

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Speaker 4: picks it all out of my hands, and Stephan's like

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Speaker 4: queen Queen weld camera and we got the shot.

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Speaker 2: And what a bloody great shot it is.

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Speaker 3: I'm so proud, I'm so proud.

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Speaker 4: Credible, and I think the thing that that shot in

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Speaker 4: particular is what really grabs everybody because it just expresses

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Speaker 4: such freedom and everyone can relate.

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Speaker 2: To that look.

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Speaker 1: I could talk for hours about the impact of Priscilla

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Speaker 1: and how it is still inspiring so many people to

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Speaker 1: this day. It's the story is timeless, which is wonderful,

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Speaker 1: but also so a little bit sad that it's still

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Speaker 1: so relatable in terms of where we've come in thirty years,

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Speaker 1: Like have we actually moved on enough? Have we actually progressed?

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Speaker 1: Because I feel like we're backtracking in the current climate.

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Speaker 1: But it is nice that this film still exists, you know.

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Speaker 3: Well, we're working on too now. Ooh yeah.

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Speaker 4: And it's also very important and kind of dangerous and punk,

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Speaker 4: and it's about old gage and old transsexuals and what

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Speaker 4: happens to us now, But all old show girls deserve

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Speaker 4: our happy endings, and that's so exciting.

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Speaker 1: Coming up, we find out what Tim really thinks about

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Speaker 1: RuPaul's Drag Race and what he thinks about the current

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Speaker 1: state of camp costuming in the country. So here with

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Speaker 1: Tim Chappel, the costume designer from The Adventures Priscilla, Queen

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Speaker 1: of the Desert. Now, Tim, I want to go back

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Speaker 1: to RuPaul's drag Race for a moment. I feel like,

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Speaker 1: for me personally, there was a kind of moment in

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Speaker 1: history where drag did kind of lose its fun. It

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Speaker 1: became about either looking as feminine as possible so it

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Speaker 1: could be unclockable, or it wasn't as effervescent as camp. Well,

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Speaker 1: I think we lost a lot of the CAMPERI for

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Speaker 1: a while, and I feel like that was because of

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Speaker 1: something like drag race, because that's what was being celebrated

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Speaker 1: at the time. But it's inspiring to hear that you

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Speaker 1: do think that's coming back round again because that's my

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Speaker 1: favorite type of drag.

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Speaker 4: You know, drag was dangerous and it was a chance

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Speaker 4: to be outrageous and then chance to express sexual politics

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Speaker 4: and state of people fucked up brains on the inside

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Speaker 4: and risky people took risks, and I think people are

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Speaker 4: less likely to take risks these days. They want to

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Speaker 4: be entertaining and do Ariana Grande.

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Speaker 1: That being said, there's some great costumes in Wicked, so

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Speaker 1: if they're doing that version, that's fine by me.

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Speaker 3: Yeah. But and I'm sure she's great too.

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Speaker 4: I reckon, I reckon, Ariana Grande would love to do

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Speaker 4: something that's a bit more risky.

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Speaker 2: Yeah, do you think too.

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Speaker 1: I think Drag Too has become kind of like a

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Speaker 1: piercing contest of how much money you can spend on something,

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Speaker 1: whereas I feel like the Roots used to be a

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Speaker 1: lot more creative on the source material of where you're

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Speaker 1: grabbing materials from you and everything. And that does kind

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Speaker 1: of bring back into some of the work on Priscilla.

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Speaker 1: But I remember talking to maud Boat, who you obviously

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Speaker 1: know is one of the most incredible wig makers.

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Speaker 3: Yeah, she taught me how to make a head.

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Speaker 1: Yes, yeah, she was telling me how the story of

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Speaker 1: her phone wigs came around and she was pulling, you know,

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Speaker 1: styrofoam boxes off the side of the road with chicken

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Speaker 1: wire and a fork and making magic happen.

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Speaker 3: Fucking chicken wire. Oh my god.

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Speaker 4: You know I made parents damn believe with mord taught

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Speaker 4: chicken wire headdress. He came down of Kings Canyon and

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Speaker 4: he said, Tim, I'm a little bit itchy just here,

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Speaker 4: and as you pointed to his.

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Speaker 3: Forage, a bead of blood ran down his place. Bucket

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Speaker 3: chicken wire. We don't use chicken wire anymore, thanks Mardie.

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Speaker 2: So yeah, we definitely have evolved in some aspects.

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Speaker 1: But some of my favorite drag these days still is

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Speaker 1: where it is isn't about you know, how expensive the

400
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Speaker 1: materials are. It's about the concept or where things have

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Speaker 1: come from. And I really hope that that style of

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Speaker 1: drag can still find its place in this world of

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Speaker 1: drag race and beyond.

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Speaker 4: Yeah, and it has got a place, because the thing

405
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Speaker 4: is is when you've got no money money, you have

406
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Speaker 4: to be inventive. And when you're forced to be inventive,

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Speaker 4: it makes you super creative. And you know, style doesn't

408
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Speaker 4: cost anything. You can be ultra stylish and had a

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Speaker 4: year month the.

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Speaker 2: Other The question I want to ask you before before

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Speaker 2: we go is can you rate my look?

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Speaker 3: Well? I love that you took an old Russian lady's

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Speaker 3: dress and then.

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00:23:14,440 --> 00:23:18,359
Speaker 4: Shredded it and then put it on your blocks sheer

415
00:23:18,600 --> 00:23:23,000
Speaker 4: black plat shoes. And I love that you mask their

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00:23:23,080 --> 00:23:25,760
Speaker 4: hot glue marks with winestones.

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Speaker 3: It's perfect.

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Speaker 2: See that's all the secrets.

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Speaker 3: Your eye makeup is really sensational to that.

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Speaker 2: Oh, thank you, thank you very much. I'll take it.

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Speaker 1: Might not get a costume compliment, but I'll take the

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Speaker 1: makeup compliment.

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Speaker 5: Oh no, hang on. Note what I was saying may

424
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Speaker 5: have sound neerchie, but I don't mean that. It's a

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Speaker 5: pinnacle of mock to Croc is what you've got on.

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Speaker 2: Thank you, thank you.

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Speaker 1: One of my favorite things to do with drag is

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Speaker 1: I'll just sometimes I might be in a two dollar shop,

429
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Speaker 1: or i might be in a random gift store and

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Speaker 1: I'll just see a whole bunch of one item and

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00:24:03,160 --> 00:24:04,320
Speaker 1: I go, I need them all. I don't know what

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Speaker 1: I'm gonna do, but I'm gonna make a head dress.

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00:24:05,800 --> 00:24:07,520
Speaker 1: So I'm gonna make a dress. So we're gonna do something.

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Speaker 1: And that's dragged to me.

435
00:24:08,760 --> 00:24:09,119
Speaker 2: I love it.

436
00:24:09,400 --> 00:24:12,639
Speaker 3: That is the pinnacle of mock to Kroock is doing that.

437
00:24:13,040 --> 00:24:15,480
Speaker 1: It's spot that you go, I know what that could

438
00:24:15,520 --> 00:24:17,560
Speaker 1: be I tell you, I still have tubs of random

439
00:24:17,680 --> 00:24:20,200
Speaker 1: objects and items from all over the years, being like no,

440
00:24:20,280 --> 00:24:21,840
Speaker 1: I'll use it one day, and I do.

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00:24:22,160 --> 00:24:22,959
Speaker 2: I go back to them.

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Speaker 1: So my hoarder tendencies are always encouraged, which is a

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Speaker 1: terrible thing to say to a drag queen, but hey,

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Speaker 1: if the.

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Speaker 3: Shoe fits you, put the whore in.

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Speaker 2: However, I do guilty as charge.

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Speaker 1: That was Tim, an Australian icon who can almost dress

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Speaker 1: as well as I can.

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Speaker 3: Not.

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Speaker 1: Every day you get two of the best dressed icons

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Speaker 1: sitting in one studio.

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Speaker 2: I know you want to check us out.

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Speaker 4: Do it.

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Speaker 2: The socials are waiting for you the

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Speaker 1: Next Produced by Indianna Symons Lost in Sound