Cin City

Kevin and Hartley say goodbye to the best bunny that wasn't Bugs.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:24):
Welcome back to Beardless Dick lists me.

Speaker 2 (00:32):
I'm host Kevin Smith and I'm Harley Quinn Smith.

Speaker 1 (00:35):
Look. Podcasting something I've been doing since two thousand and
seventh Theater of the Mind they called this. Origins for
my podcasting casting can be traced back to LaserDisc commentary
threats on movies back used to be an audio medium
and a lot of people listen to us on Spotify

(00:56):
stuff like that. That's just audio, and I've met a
lot of them. For the weekend, it's dropping beardless stick.
What's me.

Speaker 2 (01:03):
That's wow, that's crazy.

Speaker 1 (01:06):
But I say all this just to also acknowledge that
in the age of podcasting, video has become an important
love that and if one were to be able to
see the video for this, you would see only the
Gotten Daughters had.

Speaker 2 (01:28):
Quite frankly, I was I was, honestly was wondering when
you were going to say anything. But I thought it
was just so.

Speaker 1 (01:38):
Like said kid regular, it was on the wire, everything
just waiting. You think I'm gonna have a conversation off
camera about the whole fucking Joe. What's the story there?

Speaker 2 (01:51):
It's a mannequin pussy the band that I like and
that you like them too.

Speaker 1 (01:56):
There's a song that wound up in my playlist.

Speaker 2 (01:59):
Yeah to I think it's sounds Drunk two or something.

Speaker 1 (02:05):
Not to say Will Wilkins, but fuck Will, whoa whoa.
Sometimes when I played the show back, like when I'm
uploading the things to Will, and you know we love Will,
and Will's a genius. I adn't take nothing away. But
he told me to keep my volume at a certain point.

(02:26):
And I don't see my green bar doing much climate.
And when I listen to the playback, you're so much
loud to me, like talk right now, Oh God, jumping
the charts and ship. So I'm making an executive decision here,
man oo, Who's Will Wilkins? Tell me what I can
fucking do with my volume? Not I didn't work thirty

(02:47):
years in this business, so I can have Will Wilkins
tell me keep it at two three, between two and three,
going to fucking four. Maybe we go to five in
this bitch. You know why, because if you can wear
a pussy hat, I can tear my volume. There are
no rules here. We start putting pussy all over your head.
Speaking of pussy all over the head, that's the name

(03:08):
of the band.

Speaker 2 (03:09):
I was like speaking of what that's what you call it?

Speaker 3 (03:12):
Like what that other bands called mannequin pussy?

Speaker 1 (03:14):
Yeah, why don't you call your band pussy all over
your head? Bro? People will chat.

Speaker 2 (03:20):
We have a name, it's Wench.

Speaker 1 (03:22):
I don't got a chat about that. So much pussy
all over your head? Oh my god, that gets covered everywhere.

Speaker 2 (03:29):
Pussy all over? That is insane.

Speaker 1 (03:31):
Is it too late?

Speaker 2 (03:33):
I think it's it's a little late.

Speaker 1 (03:34):
Never too Let me talk to who else is in
the band, Nick and Luke, Wick and Nuke.

Speaker 2 (03:38):
Yes, let me.

Speaker 1 (03:39):
Talk to fucking Igano. Man, I'm gonna I'm gonna put
them on in front of you boys. None of us
are getting younger. We don't have time to see if
Wench works out. But you know what's instantly going to
fucking earn the green that you all need. God, I
already forgot the name of it, which is so weird

(03:59):
becase you would imagine it was memorable. Pussy all over. Yes,
it's the all over part. There's the middle part. I
know it started with the pussy in in with head.
Maybe we just fucking cut the middle man. I just
called pussy head pussy heads pretty sweet.

Speaker 2 (04:11):
That is a good that's a good one.

Speaker 1 (04:13):
Pussy head. You can buy a few of those hashes,
put right head under it, and you're there. You got
mercher already.

Speaker 2 (04:18):
I'm gonna leave. I'm gonna leave pussy.

Speaker 1 (04:21):
You know what as well, you're gonna leave what.

Speaker 2 (04:25):
I'm gonna leave pussy to mannequin pussy and stick with Wench.

Speaker 1 (04:30):
If I had left fucking rats to the New York subway,
there wouldn't be mall rats.

Speaker 2 (04:37):
You're really you have like an attitude today. I'm feisty.
That is exactly what I was looking for. You are
feisty as fuck today.

Speaker 1 (04:47):
I'm not the one that entered the room with a
pussy on my head. Pussy all over your head coming soon?
You could. Back in the day when I was a
kid buying music like record old Sam goodies, you know,
you step go to store to buy music. Ship.

Speaker 2 (05:04):
Yeah, and then.

Speaker 1 (05:06):
Those stories about albums about forty fives, about cassette tapes,
about eight tracks. Then we moved down to compact. This
that was the end of the rainbow.

Speaker 4 (05:18):
Yeah.

Speaker 1 (05:18):
Never got any more physical than that with music, did it?

Speaker 2 (05:24):
I think you covered it.

Speaker 1 (05:26):
Yeah, he's really going.

Speaker 2 (05:28):
Forty, he's really looking really hard. Please don't make that noise.

Speaker 3 (05:33):
Lucky's not making love, She's just cleaning.

Speaker 2 (05:35):
She's just going crazy.

Speaker 1 (05:37):
Luck, he's like dancing dancing. Yeh. Do you guys have
a masturbatory tune in your repertoire yet?

Speaker 2 (05:50):
Anyways, So Cyndy.

Speaker 1 (05:52):
Lauper had a masturbatory song. It was very popular.

Speaker 2 (05:55):
I don't know.

Speaker 1 (05:57):
It's called she Bop. You know that song? Yeah, Okay,
that's a song about jerking off whole song and that's
not a theory now she talks about it all the time.

Speaker 2 (06:04):
That's cool.

Speaker 3 (06:04):
It's about female masturbation.

Speaker 2 (06:06):
Bro, that's that's great.

Speaker 1 (06:09):
I'm not saying be Cyndi Lauper, but like, ain't nobody
done that track since then?

Speaker 2 (06:16):
I have some other inspirations at the moment, but I'll
keep it in mind.

Speaker 1 (06:21):
What is it?

Speaker 3 (06:22):
What are your sonic inspirations?

Speaker 2 (06:24):
Just the relationships I've had?

Speaker 3 (06:26):
There's some you're writing about.

Speaker 2 (06:27):
Yeah, a lot of songs are about specific people. Anyways,
there's one of them about me.

Speaker 1 (06:40):
Well, I should be happy.

Speaker 2 (06:41):
I should be happy. They're not. They're not.

Speaker 3 (06:43):
This is where you're working your ship out, Yeah, this.

Speaker 2 (06:45):
Is where I'm trying to work my feelings out, all right,
speaking of feelings, would you like to say why we
weren't here last week?

Speaker 1 (06:55):
No? You know, I don't want to, you know, I
think I think we can continue apace until we know
we're coming in for a landing, so that we can
get some content going before all right, things fall apart.
The center cannot hold things.

Speaker 2 (07:15):
I'm okay, may I No, I'm not.

Speaker 1 (07:20):
I How about this, kiddo, Let's do something fucking classy. Okay,
we are gonna read some fucking Yates Yates.

Speaker 3 (07:31):
Yeah, bro, yes, are you familiar with No?

Speaker 2 (07:36):
What's Yates?

Speaker 1 (07:37):
Goddamn poet? Oh my god, Well, goddamn poet man. I'll
give you some info on that so that you're not
in the dark and ship. Okay, here we go. Check
out my leg because I'm blind, old and blind. I
don't I don't need William Butler Yates. He needs classes

(08:01):
because he died a long time ago. He was a poet,
let's see former Senator of the Irish Free State. He
was an Irish poet, dramatist and writer. One of the
foremost figures of twentieth century Lisa. He wrote shit like

(08:27):
You and I just the same time. He's most known
for the poem Pussy all over your Head Let's see
classic William A. Butler Yates works Let's See. Yates poetry
often explores Irish history and mythologysh and includes themes of

(08:51):
art versus life, masks, and cyclical theories of life. Some
of his most well known poems include The Lake, Isle
of Industry, To the Rose upon the Road of Time,
and to Ireland in the Coming Times. He wrote plays,
often based uh He plays are often based on Irish legends.

(09:12):
They are full of mysticism and spiritualism. Some of his
plays include Ego Dominus Tuus, Sorry at the Hawks, Well,
Wheels and Butterflies, and The Words upon the Window Pane.
He wrote some prose as well, includes his autobiography called Autobiography,

(09:34):
which includes reveries over childhood and youth, the Trembling of
the Veil, dramatist personae, and the death of Singe. So
I tell you all that because I'm going to read something.

Speaker 2 (09:48):
I'm like, Okay, you.

Speaker 1 (09:51):
Know everyone when I when I died, They're like, yeah,
he did a bunch of shit, but he bo did clerks.
I'm gonna I'm gonna read you Yates's Clerks, which is
not to say it's the first thing he ever did.

Speaker 3 (10:05):
But it's the thing I feel he'll always be remembered for.

Speaker 1 (10:09):
You know what, This is all personal biased. I feel
he'll be remembered for it. And there are other people
who are like who might be like, bro, you don't
even know the work of Yates. He did this, this, this,
and fucking this one is like, you know, fucking fringe
and shit at best. But I think it's fun. I
think in a world where you're.

Speaker 4 (10:29):
About to record your album, yeah tomorrow and the day
after correct, and you're gonna go into the studio tonight
to as the musicians say, jam correct, there's a chance
there's still a chance this could still make the cut.
Oh okay, you know what I'm saying.

Speaker 1 (10:51):
My challenge to you as an artist, ready, yes, is
to take this work, this public domain work, because it's
like hundreds of years old, fucking sing it. I have homeboy,
have lick and nuke. Put some fucking under this ship
and nuke it and lick it. Oh my god, lick it.

(11:14):
But you know, like fucking remember, you know, Janet Jackson
had Jimmy jam and Terry Lewis and ship what asked
their names? Lick and nuke. That's their production, the producer
exactly their babyface names. This is a poem by Yates
called The Second Coming. Okay you ever heard it?

Speaker 2 (11:36):
Should? I should? I have probably.

Speaker 1 (11:38):
There are definitely parts of this that may ring bells,
all right, because they've entered common not so much common vernacular,
but areas of the world that you would fuck with
drama and so forth and such like. But one of
my favorite pieces of literature, well my favorite poem, and
you'll see it's not it's beautifull, but it's horrible. It's

(12:01):
not beautiful, like, oh, this is fucking scary.

Speaker 2 (12:04):
Okay, I'm ready.

Speaker 1 (12:05):
You ready to receive this?

Speaker 2 (12:06):
I'm ready? Should I close my eyes?

Speaker 1 (12:10):
Oh fucking look at me. Let's make it awkward. Look
me right, hold on, I'm gonna go fuck it. Wet
my whistle.

Speaker 2 (12:18):
You need glasses so bad.

Speaker 1 (12:22):
I need some manners.

Speaker 2 (12:23):
You used to wear glasses. I did and now, and
then one day you were like, fuck it.

Speaker 1 (12:28):
Would you like to hear the story? Because I just
I will get to the Second Coming? Okay, I just
told it to somebody recently. I forget who it was,
but I wore glasses forever. If you look back at
photos of me, you know, lots of them. The cover
of my book Tough Ship, I'm wearing glasses.

Speaker 2 (12:47):
You're wearing glasses right there.

Speaker 1 (12:49):
Glasses everywhere I go make cop out and New York,
and I work with Meghan Quinland, who's my assistant there,
and then her chief job was to get me from
Queen's Battery Park because, as somebody who was very familiar

(13:10):
with the isle of Manhattan and getting into Manhattan and
out of Manhattan by way of Jersey, Queen's a bit
of a mystery. So in the beginning, I was like,
you know, rather than me assume that I know what
I'm doing with a local who will get me there back?
So I was like, the office can drive me. So

(13:31):
the line producer of the movie, production manager line producer
was Mike. The production manager was Ray Ray Quentland. Mike
and Ray we call them zusnapollocks. They both had like
white hair. They're older than fuck man. They've been in
New York film forever. Ray, Meghan's father, what used to

(13:53):
be in the lighting. There's a joke about Quinland's in
the film business. Meghan's last name, Ray's last name, Quinland,
Meghan's brother, Ryan Quinland, Megan's cousins also fucking Quinland's and
they all work in the film business. So the joke
in the New York film and particularly on the set
of cop Out was Mikey Tadrose, Mike Tadrose, not Mikey

(14:13):
young Mikey, but big Mike Tadros would be like, fucking
say Quillin on to set one hundred thousand people turning around.
That guy is great. Him and him and Mike and
right were just like true New York film ship.

Speaker 3 (14:28):
So, uh, Ray is just like U.

Speaker 1 (14:32):
I' me and my daughter drive you back. We were
in Queens and whatnot, and I was like smoking weed,
and I remember like I didn't know what to do
about it because I was in an office that had
like some open windows. But I was so brazen. I
was like we were at Kaufnastoria Studios, and I was
just like, well, I guess they should just know who

(14:53):
I am. Just start smoking at the office. But periodically
they would all come on the door and act like
I wasn't smoking enough to be like, if you want
to meet the production and I was like, hey, yeah,
let's go on up, let's go on over you know,
and so you know behind my bag, and particularly Raight
was just like, we can't let this. We can't let

(15:14):
the fucking director drive around New York. Ston't if he's
gonna sit there and smoke. We we can't let him
fucking drive. I know the boys very well, and when
I say boys, they're fucking eighty year old men and ship.
So Ray is just like, uh, my daughter, Megan, Megan's
going to bring you home. And I was like all right.
So Meghan starts driving, and Meghan, you know, while we're driving.

Speaker 3 (15:39):
At one point, I'm like, how are you?

Speaker 1 (15:41):
She's like good. I was like, this is your first
job in film because his Gray's daughter, right, and she's
like yeah, yeah, but everyone in my family works in film,
and she's trying to be very formal black. And I
was like, Megan, how long until we get to Battery Port?
And She's like, probably be about like a half an hour.

(16:01):
And I was like, all right, I'm gonna smoke weed.
Is that okay? Like I'll open the window. She was
like yeah right then and there I was like I
like this fucking So I was smoking weed with Megan
driving when we came to a crowded intersection at which
there was a cop. And this is two thousand and eight,
so we ain't even legal in New York and this

(16:22):
wouldn't even be cool if it was, because you're not
supposed to smoking cars.

Speaker 2 (16:25):
Oh my god.

Speaker 1 (16:27):
I just remember, like fucking I was like, Megan, move, move, move,
move move, because the cop was coming right over to
the car. Ship. I rolled up my window, but her
window was down, and he was like, move this fucking
car right in Megan's face. And she was like all right,
right back in his face. And once again I was
like I like this girl. And the car smelled like weed.
She had no temerity, like she was in the position
to be like yes, officer and like roll her window

(16:49):
up or just roll the window up in like non
and Ship.

Speaker 3 (16:51):
But she gave as good as she got right back
to the car.

Speaker 2 (16:54):
I love New Yorkers.

Speaker 1 (16:57):
She's a long Island kid, and Ship you still wore
the attitude our sleep. So we would drive like you know,
to and from work. She would get picked me up.
We'd go on the FDR, the FDR and the West
Side Highway and whatnot. And I would always like grab
a smoke before work and then grab smoke like afterwork.
So our relationship wasn't the car, and that's how we

(17:17):
got to know each other and stuff. And by the
end of the movie, I was like, you know, do
you want to like, do you ever want to get
out of here? And she was in an age where
she's like, I want to get out of here? And
I was like, if you want to get back, if
you ever wanted to go to the West Coast, you
totally come work for me and ship and she did
so her and her boyfriend at the time moved out
here and Megan worked with us for like five years.

(17:40):
During that entire time, just like on cop Out, I
kind of surrendered driving like I just gave the wheel
to Megan, and Meghan drove literally everywhere, and.

Speaker 2 (17:51):
So I wish somebody else had the wheel. Now, my god,
drive like.

Speaker 1 (17:56):
A fucking now, I drive like it. Now, I drive
like a vengeance, like you won't give me Meghan, and
then I'm gonna drive myself to death.

Speaker 2 (18:04):
It's so fat.

Speaker 1 (18:05):
After Meghan Ashley. But after Ashley, that's when I was like, well,
I guess I'm gonna drive myself again and stuff. But
so while I was driving with Meghan, there's no need
to wear glasses. The only reason I needed glasses was
for distance seeing. I'm near sighted, which means I could
see everything real clearly in the in the foreground, deep distance.
That was the only time I need glasses and the

(18:26):
only reason I needed to see. Like lights at night,
signs during the day totally fine, but at night I
would have to squinch it. Since I wasn't driving, that
was no longer a factor. And then after Meghan like
and Ashley were gone like and I started driving again,
I didn't need my glasses.

Speaker 3 (18:44):
Like. I'm not saying my eyes fixed themselves.

Speaker 2 (18:46):
You just said that you could that you couldn't see
far away, but you could see up close. But yet
you could not. The print on the phone was very constantly.
You have to take a picture of something and zoom
in to just fucking see it. Actually that is that

(19:08):
does not mean that you can see crystal clear.

Speaker 1 (19:11):
When the writing is very small. I don't.

Speaker 2 (19:13):
I bet you have a really bad vision. To be
honest and give me some I'm gonna look at it, okay,
Well you know everything in here?

Speaker 1 (19:28):
Read read that which one with a song in my heart,
Father Dave, Oh come all you faithful, Holy night, silent night,
you can take it back, but just stop waving it
so I can. And now tilted in because you've tilted
it towards the door. Now look at it. What I need,
what you need to do. You're like holding the back here.

(19:49):
I'm like, okay, So anyway, that's why I don't work glasses.

Speaker 2 (19:57):
I don't need the man, but you need to go
see the eye doctors up.

Speaker 1 (20:02):
I have to turn this up at all, maybe, but
I don't think I'm have to open this up. Here
we go, man, remember Yates.

Speaker 2 (20:10):
Yeah, going back to that Oirish. Don't read it in
an Irish accent. Please, don't always.

Speaker 1 (20:22):
No, please, the Second.

Speaker 2 (20:24):
Coming you can read it in your New York accent,
though I like it.

Speaker 3 (20:28):
It's funny, turning and turning in the widening gyre. The
falcon cannot hear the falconer. Things fall apart, the center
cannot hold mere. Anarchy is loosed upon the world. The
blood did and tide is loosed, and everywhere the ceremony
of innocence is drowned. The best lack all conviction, while

(20:52):
the worst are full of passionate intensity. Surely some revelation
is at hand. Surely the Second Coming as it had
the second coming hardly of those words out when a
vast image out of spiritus mundy troubles my sight. Somewhere
in the sands of the desert, a shape with lyon

(21:15):
body and the head of a man, a gaze blank
and pitiless as the sun is moving its slow thighs,
while all about it real shadows of the indignant desert birds.
The darkness drops again. But now I know that twenty
centuries of stony sleep were vexed to nightmare by a

(21:36):
rocking cradle. And what rough beast its hour come round
at last slouches towards Bethlehem to be.

Speaker 2 (21:45):
Born God there that sounds like fucking can't follow be
thy name by iron maiden bush?

Speaker 1 (22:05):
Could they? Man? Why not have fucking looking nuke? Fucking
Oh my God, produce the ship such a good when the.

Speaker 2 (22:17):
Dark?

Speaker 1 (22:18):
When I don't think so. But here's a recitation. Let's
see what it sounds like turning in the wide Ji.

Speaker 2 (22:26):
I mean no one, I was not even.

Speaker 1 (22:34):
Somewhere. The dude who did it is like the hell
I can read as good as the next guy. What
the fuck? Man?

Speaker 2 (22:43):
That's that's metal? If I've ever heard do you know
what it's about you said some folklore, right.

Speaker 1 (22:52):
Well, I mean just didn't listening to it. What was
it about to you? I mean.

Speaker 2 (22:58):
I would need another reading.

Speaker 1 (23:01):
I'm happy to do it, happy to give it. Everyone's like,
are they they just.

Speaker 2 (23:06):
Doing it two times?

Speaker 1 (23:08):
Are you know? They just read poetry on the fucking show.
It's unbelievable this one.

Speaker 2 (23:14):
Can you do it in a New York accent?

Speaker 1 (23:16):
Though? Let me see.

Speaker 2 (23:19):
Channel ra.

Speaker 5 (23:22):
Ting hey turning around, towing around, Hey, Hey, turn around,
turning and turning in the widening giant of Falcon.

Speaker 6 (23:34):
Can I here the falcon okay, tings fall apart in center?
Can I hold mircas loose upon in the world, and
the blood dem tide is loosed, and everywhere the ceremony
of instance is drowned. The best black wall conviction, water
worst are full of passionate intensity. Surely some revelations at

(23:59):
a hand, Shirley, the second comings at hand, the second
coming Hardly are those words out When a vast image,
out of spirit this Monday troubles my sight. Somewhere in
the sands and a desert, a shape with a lion
party and the head of a man, a gaze blanking
pitiles is the sun is moving its slow ties, while

(24:23):
all about it real shadows.

Speaker 1 (24:26):
Of the indignant desert boyds. Almost done for you. The
darkness drops again. But now I know that twenty centuries
a stony sleep were vexed to nightmare by a rocking cradle.

Speaker 6 (24:45):
And what rough beast, it's our come round and last
slouches towards Bethlehem to be born.

Speaker 1 (24:56):
God damn William button.

Speaker 2 (25:00):
Uh, it's infinitely more powerful the second time. Oh my god, Wow,
that was what what a treat that was?

Speaker 3 (25:11):
Why are you talking about my performance?

Speaker 2 (25:13):
Your performance?

Speaker 1 (25:15):
All right? Well, you know, thank you?

Speaker 2 (25:17):
That was that was everything I needed. Thank you?

Speaker 1 (25:21):
So what is it to you?

Speaker 2 (25:24):
What a good question? I mean that was a little
distracted in the second.

Speaker 1 (25:30):
What you didn't parse that all out through that thick accent?
You know, I couldn't boids desert boids.

Speaker 2 (25:40):
Do you know that? I actually have a really hard
time understanding accents, non American accents that way.

Speaker 1 (25:48):
Stare people what I've seen your own accents? You do this,
You're looking at their lips and you're like.

Speaker 2 (25:54):
That is not but trains Boddy me trying to watch.
To be fair, I can't all watch it without captions.

Speaker 1 (26:05):
Aren't el a fan of the band Kneecap.

Speaker 2 (26:08):
I love Me Cap.

Speaker 1 (26:09):
Have you seen the movie?

Speaker 2 (26:11):
I have not seen the movie night. Did you watch it?
How was it?

Speaker 1 (26:15):
Your mother loved it?

Speaker 2 (26:16):
Oh my god, I need to fucking watch it.

Speaker 1 (26:19):
She got very like, like suspicious, how do you know
this movie? That was like, I don't know, but she
was like, where'd you because I was like, ohne Kap.
I was like, this is fantastic. So we're watching it
like twenty minutes because it's got like, you know, politics, Yeah.

Speaker 2 (26:39):
It's all about politics about Orel.

Speaker 1 (26:41):
And she had thoughts and oh, yeah, no wonder she Oh.

Speaker 2 (26:44):
My gosh, so they're so political.

Speaker 1 (26:48):
Very so she was like, how did you hear about this?
I said? Scott Scott Moser said this was his favorite
movie the year. He loved Me Kap the movie, talk
about the movie. But then I said, I was I

(27:10):
callowed that up. She knows her song? She knows that's the.

Speaker 2 (27:14):
Dog's new song, paws.

Speaker 1 (27:20):
Wait.

Speaker 2 (27:21):
Can I say one side thing?

Speaker 1 (27:23):
Yeah?

Speaker 2 (27:24):
Today, Mom said that you could wear one of Wacky's
ears after she passes as a hat. I could somebody
could want that. I don't know, but that was a
conversation that was today.

Speaker 1 (27:40):
That's not what I When I think of Waki and
I think about Wacky passing, the first thought that inches
my head is not like her A very jaunty chappe.
How you feeling?

Speaker 2 (27:56):
Oh my god, Mom would love that, shooking.

Speaker 1 (27:58):
Her temperature holes every day.

Speaker 3 (28:02):
Because I can't wait to where the hat lucky.

Speaker 2 (28:05):
Anyways, that's a little look into how fucking weird I
am my mom.

Speaker 1 (28:13):
Anyways, what was the question for.

Speaker 3 (28:19):
Nap knee Cap? Then I told her Harley likes this
band very much.

Speaker 2 (28:24):
Thank you. So you were part of the narrative, including.

Speaker 1 (28:27):
That's where we see you as the daughter of Jennifer Schwabach.
Like most of the time, it's always me like a
big you're a big billboard for like, yeah, I'm Kevin
Smith's daughter, and whether you you don't even try and
you just are. But every once in a while, like
it's a billboard at night and the lights come on
and the lights are like and Jennifer, oh.

Speaker 2 (28:51):
My god, it's like no, it's like in the corner
of my Kevin Smith is my dad billboard and there's
a little dark section that lights up well only on
the every hour.

Speaker 1 (29:04):
At night when things go.

Speaker 2 (29:06):
Dark, Yes, like five nights after Freddy's.

Speaker 1 (29:13):
It's the fucking picture remember the picture from last Christmas?

Speaker 2 (29:18):
Oh my god, she never knew about that, Shue.

Speaker 1 (29:21):
I still never figure that out.

Speaker 2 (29:22):
It's a picture we make fun of a mom anyways.

Speaker 1 (29:27):
So wait, what was what was the kneecap? So she
loved the flick and how you were with the little
neon on the billboard that lit up in that moment?

Speaker 2 (29:40):
Oh yeah, because I wanted to be included. Your pomo
show was showing.

Speaker 1 (29:45):
And that does not come for me. I don't feel
fomo for anything. I don't think. I don't think I
every one people tell me about a good time like
I used to when I was a kid, Like you know,
my friends would be like, we're going to do a thing.
I just found an old dass journal entry. I gotta
find it and where was it?

Speaker 2 (30:01):
Is a emo?

Speaker 1 (30:02):
Oh I'm so proud of myself because like I, I
want to watch The Hunt for Red October on laser
disc with Brian Johnson, but Brian wants to go do
something way more fun instead with Ed and I have

(30:23):
to write a whole diary entry about you know, I felt.

Speaker 2 (30:28):
Oh my god, I.

Speaker 1 (30:30):
Wrote this was me. I was so when I read it,
I was cringing because I was like, Jesus, he's trying
so hard. He wants to matter so bad, he wants
to be relevant. He's creating his own language, he's trying
to create words. Thank God I met Jason Muse so
that I can steal snoogans the movies, because here's what
I wrote. I'm feeling kind of moky, moky, no idea,

(30:57):
no idea in the course of this, in the course
of this thing that's your song, I'm feeling kind of mokey.
It's gotta be sadder, it's.

Speaker 2 (31:11):
But but I'm feeling moy mokey.

Speaker 1 (31:15):
Those well, we don't want to steal their song. You
gotta get a new composition, man, have a bunch of
different tracks.

Speaker 2 (31:20):
Can't what I'm feeling kind.

Speaker 1 (31:23):
Of It's gonna be like, it's gotta be this, but
I'm feeling mokey. But I'm feeling mokey. Living life in
low key, but I'm feeling mokey. I talk about how

(31:49):
I'm basically the whole piece is me realizing that normally
I would be saddened by this sort of thing, but
I'm not because I've channeled it into more creative thinking.

Speaker 2 (32:00):
Yeah for me, Good for you.

Speaker 1 (32:03):
So I don't feel I don't. I don't feel like fomo.
Like I like, sometimes I'll see I don't. Somebody's doing
a thing and I'm like, oh, I want to be
doing that, and then I just go to work.

Speaker 2 (32:15):
Oh that's what I was going to say.

Speaker 1 (32:17):
I was like, makes me go to work. But rather
than feel fomo, which is like a complete waste of time,
I put that into I'm gonna.

Speaker 2 (32:26):
About knee cap for one second.

Speaker 1 (32:28):
You did? You were like that whole story didn't even
have me any where. I got knee caps too, but
I did. I told her. She was like, and this
is what she said this morning about the move. She's like,
I'm still thinking about bless you. I'm still thinking about
that move as I yeats. That's a true story. Those
dudes are real, Like, those are the real dudes. Those

(32:48):
are real rappers. She's like, they're very good. Oh yeah,
she's I gonna say that about many people, especially white people,
should go. But they're very good.

Speaker 2 (32:55):
Aren't they really really good?

Speaker 1 (32:57):
That's what she said. But aren't they I've been around
the world, so I knew they were.

Speaker 2 (33:02):
Good, but I've been around.

Speaker 1 (33:05):
She was like, Oh, who knew that white people could
wrap as well? I mean, it's one day she'll discover
eminem as well. But she was very But they do
they fucking they could drop a hot fucking sixty rap.

Speaker 2 (33:16):
Is like all about like the best stories, and they
just have so much to say politically.

Speaker 1 (33:22):
She was crying this morning as she spoke about it.
She got emotional really talking about their like, wow, to
save their language.

Speaker 2 (33:30):
Yeah, that's wow, mom. All that makes me.

Speaker 1 (33:34):
Proud that she I gotta admit she was feeling a
little mooky.

Speaker 2 (33:38):
She's feeling that's really beautiful.

Speaker 1 (33:43):
But yes, uh, the movie is beyond I feel.

Speaker 2 (33:48):
Like a fake ass fan right now for not having
in the movie.

Speaker 1 (33:52):
There's a fifty three year old lady who's like, boys
are nice. I saw the movie.

Speaker 2 (33:57):
I really really am behind. I just saw Wicked, like
two weeks late.

Speaker 1 (34:02):
You see Wicked?

Speaker 2 (34:03):
Yeah, I saw Wicked. It was great, very long. Yeah.
I do exist in the belief system of movies being
under two hours.

Speaker 1 (34:15):
You're talking to mister ninety minutes or less. I make
movies like I fucknutes or less.

Speaker 2 (34:22):
God, please please.

Speaker 1 (34:26):
Yes, I'm with you.

Speaker 3 (34:28):
But that being said, you know, wait, did you see it?

Speaker 1 (34:32):
No?

Speaker 3 (34:32):
I saw it play.

Speaker 1 (34:34):
Well yeah, but here's what we have. It plays. You know.
I own a movie theater and it's just back. So
I was like, let's watch Wicked. But then we never
got a chance because fucking activity activity.

Speaker 3 (34:47):
So I am buying tickets.

Speaker 2 (34:52):
To see Wicked and watching it.

Speaker 3 (34:56):
Because I've got me screw screen.

Speaker 7 (35:00):
Oh wow, wow, wow, you were.

Speaker 3 (35:04):
All just there ain't even more screeners.

Speaker 1 (35:07):
There's a whole oscar app so you click on it
and all the movies are there.

Speaker 2 (35:11):
The thing is that everybody's like, you have to see
it in imax.

Speaker 3 (35:16):
There you don't, I don't, you don't.

Speaker 1 (35:19):
I guess nobody. Nobody tells me what to do. Point
in the last thirty years of my life, independence, independent artists,
I'll do it.

Speaker 2 (35:26):
Keeps telling me IMAX.

Speaker 1 (35:27):
I in a movie theater. I'm doing my part for
exhibition and IMAX.

Speaker 3 (35:31):
We ain't got that at my movie theater. And we
have uncomfortable seats.

Speaker 1 (35:34):
That's what we offer. I was just back there, back
East Forst Podcastle Cinemas event. But I wasn't just back
there for that. Lara, who did our costumes on the
four thirty movie Lovely Laura. She who like, I ain't
take anything away from Laura. The costume job is hard.
Costume job in a chem Smith movie, well there it was.

(36:00):
It was think about most of my movies.

Speaker 2 (36:04):
I guess it's all like one outfit. Yeah, that's so funny.

Speaker 1 (36:08):
It's kind of their action figures. I put them in
one outfit. Believe in that. So that way, when I
make a figure later on, people know what movie I'm
talking about a lot of wardrobe changes.

Speaker 2 (36:18):
But then that means that the outfits have to be fine.

Speaker 3 (36:21):
Exactly, But you know, it's like you're you'll, you'll be done.

Speaker 1 (36:25):
Colleen, Colleen, you had more wardrobe changes in Yoga Hoss
than most people have in Kevin Smith movies. Because you
guys were teenage girls, so you were a gym class outfits,
your school uniforms, your ada AD's, and then you had
since most of the adventure takes place over the course

(36:47):
of one night, you were in one outfit for most
of the movie, including the poster. Then that outfit changes
as well.

Speaker 2 (36:54):
That's so wild.

Speaker 1 (36:55):
Yeah. So anyway, large did some great job of the movie.
I was like, hey, man, can you do a Santa
Bob outfit for me, and so she pure, that's.

Speaker 2 (37:02):
What you did this weekend?

Speaker 3 (37:04):
You did you not see my outfit?

Speaker 2 (37:06):
I hear that you love your outfit.

Speaker 1 (37:08):
I brought it home. I just wear it now.

Speaker 2 (37:10):
I hear that you love it.

Speaker 1 (37:12):
It is lovely. She did such a great job.

Speaker 2 (37:14):
I saw a picture. I think I saw a picture.

Speaker 1 (37:17):
I'm sure you a hilarious picture of me. So, because
you know, I did, I played Santa at Jane Soundbob
Secret Stash and we had the chair and people sat
on my lap and we took pictures and ship. But
this we got three legit children, including a baby.

Speaker 2 (37:37):
But you love babies.

Speaker 1 (37:39):
Look at that kid. He's like, this is the worst idea.
Why did I do this?

Speaker 2 (37:47):
What the fuck's so funny? Oh my god, you babies
make you uncomfortable.

Speaker 1 (37:52):
I really, I'm not a baby's guy.

Speaker 2 (37:55):
You're really not a baby's guy.

Speaker 1 (37:57):
And they and the dude had zero problem. He's like,
here you go. And I was like, oh, we're doing
this now. I thought he was gonna be sitting with
me holding the baby.

Speaker 2 (38:04):
That's so oh my gosh, you're spread eagle in that photo.

Speaker 1 (38:09):
That's that's my Santa spread.

Speaker 2 (38:13):
Snow there's a video of a fan handing Ariana Grande
their dog like outside of like a wicked press event,
and she's like, oh, you're getting meet your dog. Like
she's like what. And that's you with the baby.

Speaker 1 (38:30):
Around Grounde like everyone loves her, Like you're you could
do nothing wrong. Right now, you're Calinda, some man's made
a dog.

Speaker 2 (38:37):
I'm biting the dog, the remanding me a dog.

Speaker 1 (38:44):
That movie is doing very well. Yeah, I look forward
to to uh seeing the flick itself. But I love that.

Speaker 2 (38:53):
It's cool, it's fucking it's just amazing.

Speaker 1 (38:57):
I was trying to sell Ernie s Podcastle Keeper Ernie
o'donald It's like, fucked out. I am watching that shit.
I was like, bro, you don't get it. This is
like I said, we were raised on Wizard of Oz
because we didn't have anything like you had, you know,
Disney Channel and DVDs and vhs. We didn't have kids

(39:17):
programming really aimed at us very much. So you know,
once a year they showed me. Twice a year they
showed Wizard of Oz. And again, we had no video
stores who couldn't just go rent Wizard of Us. So
every time they put it on TV. It was a big,
like fucking deal and kid World where it was like,
oh my god, they're gonna show Wizard of Oz again.
Even if you weren't a fan, it was like something

(39:37):
for us at night on television. So we fucked with
that movie all throughout our childhood. Whether we liked it
or not, it was just something that did. So I
was like, on that level alone, this is like the
secret Origin of Wizard of Oz. And it's got Easter
eggs galore and the fucking cowardly Lion's tail shows up.

(40:00):
Ten Man's in it, Scarecrow's in it, and ship and
it's all about like, I think this is how I
define it. Because he's like, well, I don't give a
ship is they're all singing. I said, yeah, he was
going to like that. I was like, you were in Greece.
You played fucking Danny Zeco. He's like, that's different. I said,
let me tell you, dude. I said, this is like
Cobra Kai. Remember how Cobra Kai reframes Johnny as the hero.

Speaker 2 (40:26):
I haven't watched, but okay.

Speaker 1 (40:28):
This is what I said to him.

Speaker 2 (40:32):
I actually haven't seen the show, so fucking rude to me.

Speaker 1 (40:37):
He was like, yeah, I was like, that's what this is.
This is all about how the wicked witch at the
West wasn't so wicked. It's true she was fired.

Speaker 2 (40:45):
What's your favorite.

Speaker 1 (40:45):
Song in in?

Speaker 2 (40:47):
Uh?

Speaker 1 (40:47):
Define gravity?

Speaker 2 (40:49):
But yeah, I mean, I mean, I mean yeah.

Speaker 8 (40:53):
And nobody in all of us, no wizard that there
is or us is ever gone up?

Speaker 1 (41:03):
Bring me jump in with help you happy?

Speaker 2 (41:14):
Oh my god, that was really good.

Speaker 1 (41:16):
So good. I like that popular is also great to happy.
I hope you're happy.

Speaker 2 (41:27):
Oh my god, so good? So figh what is it?

Speaker 1 (41:31):
What's the other line where she's like, oh, that don't
make me. I don't want to cry. So if you so,
and you want to find me, look to the Western skies.

Speaker 9 (41:46):
As someone told me lately, everyone deserves a chance to fly.
And if I'm flying so low, at least.

Speaker 1 (41:56):
I'm flying free. Come on.

Speaker 4 (42:00):
All that is popular is also great?

Speaker 2 (42:07):
Is insane to be you?

Speaker 1 (42:09):
You?

Speaker 2 (42:10):
I don't want to be pop you?

Speaker 1 (42:13):
And also I love if I define gravity? But what's
the song is there that is? Was is ever? Well?
It's just so awesome because she gets so fucked over
by the system and then she.

Speaker 2 (42:34):
Figures out she really it's so and.

Speaker 1 (42:37):
It's also like I don't want to. I don't want to,
Oh my god, but the notion of like that, that
whole that's the end of the first act in the show,
and that's the end of the first half of the
movie and.

Speaker 2 (42:48):
Ship they yeah, the first movie.

Speaker 1 (42:51):
They stretched it to two hours forty five minutes, which
when you see the musical, all of it is two hours.
But to end on that fucking brilliant, so good.

Speaker 3 (43:02):
Also, that'll make motherfuckers come back next year.

Speaker 2 (43:05):
You're gonna be crying.

Speaker 3 (43:07):
Up a storm during the dance.

Speaker 2 (43:09):
During everything during it's there's an animal rights like underlying
story too.

Speaker 1 (43:17):
There wasn't the music as well.

Speaker 2 (43:18):
Fucking nuts.

Speaker 1 (43:20):
Mark Bernard and who had seen the show, but he's like,
I didn't remember it, Like was balling at the dance
scene while she's dancing no music. He was just like,
it's one of the saddest, most heartbreaking things I ever seen.

Speaker 2 (43:33):
Oh my god, it's so it's wow, wow.

Speaker 1 (43:37):
Yeah, it's a fucking fire show.

Speaker 5 (43:39):
It's so good.

Speaker 1 (43:41):
What's the song again where they're like.

Speaker 2 (43:47):
For good, for good, Oh, he crying crying such a
good song.

Speaker 1 (43:54):
Did you have any interesting I wanted to?

Speaker 2 (43:57):
He's so theory right now, so beautiful. Yes, I do
want to see my Wanta too. I haven't yet, though I.

Speaker 1 (44:05):
Have yet to see my on a one.

Speaker 2 (44:07):
You haven't.

Speaker 1 (44:09):
I'm sure you got to a certain age. Like I
stopped watching the.

Speaker 2 (44:12):
Disney's so good, It's so beautiful. I love Malana.

Speaker 1 (44:16):
I saw the opening.

Speaker 2 (44:25):
I knew what you were talking about, though.

Speaker 1 (44:28):
What is the name of that song? I'm taking a
boat out on.

Speaker 2 (44:36):
Those are the lyrics, but good filling, filler lyrics.

Speaker 1 (44:39):
What's happening in the scene.

Speaker 2 (44:40):
Yeah, that's kind of just music description.

Speaker 3 (44:43):
My musical would be a series of action, if you will.

Speaker 1 (44:46):
I'm standing behind a counter. I quick stop selling smoke
feeling bokekie. Oh my god?

Speaker 2 (45:03):
That you also sing that at the same performance.

Speaker 1 (45:07):
Where are you.

Speaker 2 (45:09):
Do your performance? From the School of Rock. You're an impersonation.
So after that, then you sing that song?

Speaker 1 (45:20):
What is her? What was hers again? This?

Speaker 2 (45:24):
Oh wait, no, no, that's Lawrence. I was about to
do Lawrence's yeah, And he's like pointing.

Speaker 10 (45:31):
Yeah, yeah, oh so good. Yeah, And she's like, oh,
oh my god, that's so good.

Speaker 1 (45:46):
Cuts you Like twenty years later, they're doing it their wedding.

Speaker 2 (45:51):
They should have hired you.

Speaker 3 (45:55):
I think if anything, maybe they could reach out to
Jack Black.

Speaker 11 (45:59):
No, no, no, and now standing in for Jack Black.
Not nearly as good, but we got a discount. Salad
bout himself. Kevin James Smith, you ass all Smith.

Speaker 1 (46:12):
Sorry, this is my one man show in honor of you.
Two kids get married. Love is a beautiful thing, and
I celebrate that. Uh school of rock, nay, school of love.
Oh my god, I just do it wordlessly, no.

Speaker 2 (46:32):
Music as she walks down the aisle.

Speaker 1 (46:37):
No, they're all seated. This is at the same reception. Shit,
I wouldn't fuck up their wedding, but I would totally
fuck up the reception.

Speaker 2 (46:42):
Yeah, that's fair.

Speaker 1 (46:43):
And after like twenty minutes of me doing that, like,
I don't think I get for good minutes before somebody's like,
and that was Kevin James Smith, You asshole, I'm not done.
Hold on one more time.

Speaker 2 (47:02):
Oh god, so good, so good, for real, so good.

Speaker 3 (47:12):
Why did you think he was not done?

Speaker 1 (47:14):
Like, is there a number in his head that he's counting?

Speaker 2 (47:18):
Like they stopped him in the middle of one rotation
and he was gonna malfunction. He had to finish me
as fine, me as FuG Oh my god.

Speaker 1 (47:39):
All right, let's get out of here. But I will
say this, it's good to laugh.

Speaker 2 (47:44):
It's good to laugh.

Speaker 1 (47:45):
Tough week last week. We had off last week because
it was Thanksgiving number one, well not at all. We
lost a dear friend, kids, a family member and all
hands are on deck. Uh that that that whole week
and especially that day. Sinny Cinnemon, Harley's bestest friend, and

(48:09):
money in that order shuffled loose this great mortal coil
of ours, and it was, as you could imagine, one
fuck up a bummer. So there was a thought of
like do we address it? And I was like this,
hold on. I want to mention her for sure, to
mark the moment, but we're not going to do a

(48:30):
deep dive because both of us will fall to pieces. One.

Speaker 2 (48:34):
I'm barely holding on right now, but just want to
honor her and just say her name and that I
love Cinnamon so much.

Speaker 1 (48:45):
Then we will give her the beardless, dickless send off.

Speaker 8 (48:49):
All right, I release the beardless send off.

Speaker 1 (48:56):
When we lose someone greater or small legend, they go out,
we give them the dance.

Speaker 2 (49:02):
The School of Rock impressions no music, absolutely silent, like.

Speaker 3 (49:10):
Why do you smile during the death Dance because we're honoring.

Speaker 1 (49:14):
Did you ever see fucking School of Rock? Yeah?

Speaker 2 (49:16):
Come on, we're trying to do it justice.

Speaker 1 (49:19):
That's the two kids in School of Rock, like the
kick from My Carly no backup singer? You want? Who
belts it out? Now? Does? Obviously the one who does this?
Then who's the other one who's holding their arms? And ship? Why? Who?
What's with the b boys? Stand? That's the boy who
works the graphics? Like? Who are these? Are you sure?

(49:39):
Did you see School of Rock? These kids are in
School Rock? Are we talking about the same movie? Are
you sure this isn't half Baked Rock?

Speaker 2 (49:47):
I fucking care.

Speaker 1 (49:49):
It's so accurate.

Speaker 2 (49:50):
The girl that belts it out, she belts it out
so good?

Speaker 1 (49:55):
What little drummer boy? Your guitar hat? What again?

Speaker 2 (50:00):
Lawrence?

Speaker 3 (50:05):
It was tough to learn their names, but you could
learn what they did in the movie.

Speaker 2 (50:09):
Yeah, we just know Lawrence because Lawrence is good at piano.

Speaker 1 (50:14):
I don't. I only know Lawrence because you said his name.
But if you would have been because of what is
the dude? If you would have been like the dude
on keyboards, I wouldn't have known Lawrence, but I would.

Speaker 2 (50:24):
Have been like, yeah, you would have you would have know.

Speaker 1 (50:27):
I love how he pointed the audience, your son is
very scaled.

Speaker 4 (50:31):
Wow.

Speaker 1 (50:32):
Yeah, he's like thanks or something. So's yours.

Speaker 2 (50:36):
Yeah, that's it. That's it, Lawrence. I.

Speaker 1 (50:43):
I was just talking about that movie with somebody recently
where I was like, you jumping down in the aisles
when you were a kid? Answered during the movie.

Speaker 2 (50:48):
I was like, I think it was me.

Speaker 3 (50:50):
You're somebody else?

Speaker 1 (50:51):
Yeah, I mean I have sometimes I have similar conversations
with people that aren't you. Really, I don't want that
to trigger your bum but I was talking about you
in your absence, but they, oh, you know who it was.
This is so fucked up.

Speaker 3 (51:09):
So I was back East, as previously mentioned.

Speaker 1 (51:12):
Mister Black himself. I was back East as previously mentioned.
But when I first landed on Thursday morning, I went
to Philly instead of Jersey, and I went to w MMR,
the radio station there there, to food drive and they
were doing the parking lot of where the Eagles play,
and they've been doing their food drive for like twenty
seven years. Massive, So they pulled in two million pounds

(51:35):
of food and a million dollars in donations of.

Speaker 2 (51:38):
The like four days that's amazing and.

Speaker 1 (51:40):
Goes to full abundance and they'll feed you know, hungry
people in Pennsylvania like all winter and shit like that.
So while I was there, they were like hey, man,
Like I was backstage, they were like, the girls from
Froggy are here. And Froggy was the band that does
the song seven to eleven nachos on the Clerks three Central.

Speaker 2 (52:01):
That's awesome.

Speaker 1 (52:02):
It's like a power trio. They were like fourteen years
old when they were recorded seven eleven.

Speaker 2 (52:09):
A cuteness.

Speaker 1 (52:10):
So the songs in the movie and like WMMR the
President Steve their show, that's they were the first ones.
They're like you got to hear the song by these
like kids, these three girls, man, And so it wound
up and that's how got New Clerk three. I never
met them until backstage at MMOM, and you know they're
all their kids. They're you know, probably their first or

(52:32):
second year in college. They're like eighteen or Max nineteen
or something. But one of them, I was like, how
did you guys get started? And one of them was
just like I was in school rock. I was like
this girl, she was like, no in a.

Speaker 2 (52:45):
School, Oh my god, were you this girl.

Speaker 1 (52:51):
This okay, where's them? Where's the no? They were absolutely
lovely ones like an art school student. I mean, and
they're all they all do jobs, but they're also still
in band. They had their own soda. Somebody made a
froggy soda lemonade flavor. Those That's where I was talking

(53:14):
about you in school. I see, I'm glad I remember that. Kids,
You're like, that's how you're going to end the show.

Speaker 2 (53:27):
You got an extra little anecdote.

Speaker 1 (53:29):
Then some stories don't go yeah. And also we had
to quickly pivot away from Cinnamon.

Speaker 2 (53:36):
Before Mary hard.

Speaker 3 (53:42):
And we had a little fucking wicked of our own
mention it and then quickly move on.

Speaker 1 (53:48):
The poor one out the lake. Great yeah, man, the
original Sin, the greatest, Sweetest, give me sweeties taboo.

Speaker 2 (54:03):
All right, let's cinnamon.

Speaker 1 (54:06):
Little shot? Is it a cram? Let's have a fucking
funeral ceremony for Cinnamon here at the house. And I
will just do shot a coup perfect. We'll have a
picture of sitting, that picture of her like laying on
the face down the air, put two candles next to it,

(54:29):
and I'll be like, is it crame? All songs have
nothing to do with rabbits kind of sexy, soulful songs.

Speaker 2 (54:36):
That's really what I wanted for cinnamon.

Speaker 1 (54:39):
It will be a dry eye in the house, true,
because people will be laughing so hysterically, be like, just.

Speaker 2 (54:44):
Be crying because I'm like, why is he doing so beautiful?

Speaker 1 (54:50):
There it is, my friends, there's your beardless dickless moir
for this week. That's the French version. Wah beardless more?
Don't they just catch on this? And now? When uh?
What's her name? Fucking Bratt Charlie. She was the host

(55:12):
and they did a Montreal morning talk show called There
it is My Friends. There's your beardless dick list for
this week. Uh. If you want to continue the conversation,
come over to that Kevin Smith club where Beardless dickless
plus begins momentarily where you can see us do this, man,

(55:32):
you can see me fucking get you were worried that
you were gonna cry. Meanwhile, I'm like.

Speaker 2 (55:37):
Wicked, Yeah you cried.

Speaker 1 (55:40):
At the end. Are still fucking fred?

Speaker 2 (55:43):
I love you crying over Wicked.

Speaker 1 (55:45):
It makes me soft, you know what it makes me?
It makes me baby dom. There was a couple that
came to the Santa signing or the Santa sign, the
Santa pop for the photo, and the one boy they
made their own T shirts, and the boy's shirt said
Tusk is Cinema and the girl's shirt said Kevin Smith

(56:07):
is baby doll. And so I had to say. I
was like, look, I'm totally flattered, but spare me the
humiliation of having to asked my daughter what that means,
like what exactly baby doll. She's like, baby doll is
like an older man who's like completely safe and harmless
and stuff, and you just want to be around him.
And she's like kind of like Pedro. I was like,
I thought Pedro was Zaddy. She's like, well he's also
Zaddy as well, and she's like, you're not Zaddy, but

(56:29):
you are a very baby doll. Oh, thank you. Time
to go there is for baby doll, Kevin Smith Smith
go have a beardless, dickless day, you baby dolls.

Speaker 7 (56:56):
This has been a podcast production podcast podcast using our
mouths on you since two thousand and seven. Hey kids,
did you like what you just heard?

Speaker 1 (57:09):
Well guess what.

Speaker 7 (57:10):
We've got tons more man thousands of hours of podcasts
waiting for you at that kevinsmithclub dot com.

Speaker 1 (57:17):
Go sign up now.