"Penis Envy" (w/ John Waters)

Happy Pride month from Las Culturistas! For more of your favorite LGBTQ+ content, check out the Outspoken Network from iHeartPodcasts.

All hail the Pope of Trash/Filth Elder/Sultan of Sleaze, the one and only John Waters is here fresh off his 80th birthday. The boys talk to him about bonus holes, shooting machine guns, and somehow stepping into respectability in spite of those topics. Girl, it is SURREAL to see him, can we take a pitcher?! It's an acid trip at whatever age so press play right now.

John Waters stars in the animated series Kevin on Prime Video, available to stream now.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
Look mayre.

Speaker 2 (00:02):
Oh, I see you, my ow and look over there
is that culture.

Speaker 1 (00:06):
Yes, goodness, last culture.

Speaker 2 (00:10):
Ding dong, last culturistas calling welcome to the cavalcadd perversion.

Speaker 1 (00:14):
Oh I'm so excited. I'm wearing my my Seth Bogart
merch for a podcast. This is what they sold at
the Academy Museum.

Speaker 2 (00:24):
Which come on, which was eighteen rooms.

Speaker 1 (00:27):
Oh my god, how are you up on the because
I did my research on the on the exhibit or.

Speaker 2 (00:32):
On well did you see did you see the exhibit?

Speaker 1 (00:34):
I did, indeed go it was fab you went, yeah,
I did go amazing.

Speaker 2 (00:39):
It's a major day. And also I feel like the
spirit of the guest was on the New York City
streets today because I'm walking down the street and I'm
wearing sort of a jacket that I didn't realize had
holes in it, and so medication I was cult holding
in my jacket fell out, just beta blockers felt like.

Speaker 1 (00:54):
Anxiety meds fell on the street.

Speaker 2 (00:56):
And a woman ran up, a crazy woman with a
like a like a pin, like a clothes pin ran
up and said do you need a clothes pin? And
I was like, and I was like, what she goes for?
Your whole, and I was like, okay, today is the
day John Waters is on the Oh my god, A
woman just ran up to me with a big clothes
pin and offered it for me to have for my hole,

(01:19):
for your whole.

Speaker 1 (01:20):
I was like, if this isn't a John Waters film,
absolutely it would need to have been a lot bigger.
I think everything would need to more outsize. But did
you did you pick up your mads? I got them,
don't worry. Okay, this is this is so wonderful. He
just celebrated his eightieth birthday and is going to extremes tour.

(01:40):
He's going to Fire Island for the first time.

Speaker 2 (01:42):
And there is You're going to see him at the
Ice Palace.

Speaker 1 (01:45):
He's now part of the I guess turf war if
you want to call it that, between Fire Island and Provincetown.
But he's a he's a previous, he's a peat Town.

Speaker 2 (01:52):
Gu Oh yeah, you are kind of like showing your
cards there.

Speaker 3 (01:55):
Wow.

Speaker 1 (01:56):
I don't really know what else to say. He's my
favorite director ever. I said this on record. I had
a hard time picking between Female Trouble and Multiple Maniacs
and The Criterion Closet and what did you choose. I
chose Multiple Maniacs because it's it's it's the most shocking
movie still of all time to me because of what
Mink stolen divine do in the church, if you know,

(02:16):
you know, Oh my god. And I was watching Serial
Mom on the plane yesterday for the first time in years,
and that is a perfect movie. It sure is perfect film. Yeah,
it's oh my god. And I had a sex dream
about Johnny Today's sex to me about Matthew Lillard.

Speaker 2 (02:38):
Well, that's just gonna happen.

Speaker 1 (02:39):
That's just gonna happen. But he was like he had
like a dark beard and he was he was just
all mustley. I love the Lillard. I love the Lillard. Well,
he he's my favorite. He's here. Everyone, Please welcome.

Speaker 3 (02:51):
John Waters very much.

Speaker 1 (02:53):
And happy birthday again.

Speaker 3 (02:55):
I know my birthday. My god, it was so overhyped
that people were yelling happy birthday to me on the
subway strangers.

Speaker 1 (03:00):
What could you ask for? What's the appropriate level of
hype for for your eightieth Well I did.

Speaker 3 (03:05):
I did fifty nine shows on the road last year,
but I did nine birthday shows, no eight, I think,
in like ten days or something. So it was I
was I'm a carneye.

Speaker 1 (03:16):
But the math works out eight eight shows? No, what
is it?

Speaker 3 (03:20):
Well? I think it was seven or eight and nine days.
I forget that I did them. I was every day
doing a different city. It was great.

Speaker 1 (03:26):
But you don't. But I feel like you. Maybe you
you're a little bit allergic to like over praise, right,
and this is mostly what this podcast is.

Speaker 3 (03:34):
Well, no, I'm not. I'm just used to. I built
a career on bad reviews. Now when I get good ones,
I'm shocked. I take them with no irony, Like when
the Academy Awards had a museum, how would that ever
be possible? You weren't before, but it was so great,
it was wonderful for me. I don't feel like Jennis
Joplin when she went back to her high school reunion

(03:56):
after she was famous and people were still mean to.

Speaker 1 (04:00):
They were still mean to her. Yes, no one could
get on, which.

Speaker 3 (04:02):
Is kind of funded, which was going to go in
and be like I showed you, and they were still
hateful high ugly basically what They didn't say that, but
they actedly.

Speaker 1 (04:12):
Yeah, they felt it, they thought it. But are people
still mean to you from back in the day?

Speaker 3 (04:18):
Never the people that were mean to me, then didn't matter.
We put them in the ads. We put the the
bad quotes and the ads.

Speaker 1 (04:24):
Yeah, and then, but then you'll never put the good
quotes now in anything necessarily, right.

Speaker 3 (04:30):
Oh sure we would. We would put them on when
my screenplay books came out, but we did publish on
the back the only quote was from the New York
Times for Despert Living, which Criterion is putting out in
four K very soon. But the quote was, you can
look far and wide and you'll never find but you
could look far and wide to find a film this ugly,
but really, why would you? That was the New York

(04:52):
Times quote, And that's on the only thing on the
back of the screenplay book.

Speaker 1 (04:55):
That's wonderful.

Speaker 2 (04:56):
Some of the bad reviews are written the mostantly, I feel,
you know what I mean.

Speaker 3 (05:01):
Sometimes pews mattered. Today it doesn't really hurt you though,
or does it don't have the power they used to
like it used to. If you were an Arn't film,
you got a rave view on the New York Times,
it was a hit. Yeah, Today it doesn't mean it's
a hit. If the bad one it's still a bomb. Right.

Speaker 1 (05:18):
But then our friends, we have friends who have made
what I think were immediately considered future cult classics. Our
friends Josh Sharp and Aaron Jackson mean to movie called
Dix the Musical.

Speaker 3 (05:29):
Yes, I thought, yeah you did. Yeah, yeah, definitely. But
the thing is, a cult classic is the worst thing
you can say when you're trying to get financing. That
means five smart people like it, and it lost money.
Serial Mom was a failure when it came out. Well,
the executive that that he doesn't care, but it's a hit.
Twenty years later he was fired because the movie didn't
make money.

Speaker 1 (05:49):
Right, Yeah, that's all that matters. Do you keep in
touch with them?

Speaker 3 (05:52):
No, I bought a house with the money game. There
you go.

Speaker 1 (05:58):
He got something out of it. Got he lost his job,
but he wouldn't have been nobody.

Speaker 3 (06:02):
It was fair. And you know, it's just like my
movies are weird. They test it, they go to Mid
America to test it. Why wow, that's not where they're
going to play the best.

Speaker 2 (06:11):
Yeah, but you know what, the person that needs those
movies in Mid America like, thank god they went out
and tested there. They get to say, I got to
really find my freak.

Speaker 3 (06:19):
But now it's a different, different world. When I go
everywhere in my audience is if it's in Iowa or
New York. They're the same. They're smart, they dress well,
they've seen every movie. Because you don't have to go
anywhere anymore, I can stay where you are and make
it better.

Speaker 1 (06:32):
Yeah, I feel like there is something about maybe Hairspray
doing so well that like that, that's like the punky,
the punkiest thing you ever.

Speaker 3 (06:43):
It's a devious because it's knuck in it. It plays
in Florida in grade schools and nobody bitches PJ men
singing a love song encouraging interracial dating. Racists even like it.
They're so stupid. Yes.

Speaker 2 (06:54):
Wow, So I was reading that you were initially. Were
you shocked by the PG rating or were you just
like I can't believe we made something.

Speaker 3 (07:04):
No, I was shocked by just because it was divine,
and I right then New Life at the time was
shocked too. They wanted me to put the word shit
in so we'd get a PG thirteen. At least I
said no, let's keep it. That's the shock now that
it is PG.

Speaker 1 (07:16):
Yeah, this is the race we're running because I even
saw a hairspray for the first time in the seventh grade.

Speaker 3 (07:21):
Well, that's fine, perfectly, should see it at any age.
That movie's fine. I think it would get a G today.

Speaker 1 (07:28):
Yeah, you would get a coop of day. But I
just remember it being because I think that was my
first technical exposure and it was and it was when
like they're they're playing it's when like the woman's holding
the sign up that says falsees and I was like, oh,
there's something different about this movie.

Speaker 3 (07:45):
And I Criterion is putting it out now, but we're
we have the side the scenes that were cut out
where Tracy's mean, where she's mean to the kids that
work in the jush shop she said, gets a hickey
in the car, and I hope we've done that. Blue
Balls breaks into Amber's house, reads her diary, and dyes
her hair in her own house, stuff that wisely got
cut out because it goes so far away from the

(08:08):
nice girl that Tracy was right.

Speaker 2 (08:09):
But now I want to see the movie of alt Tracy.

Speaker 1 (08:12):
Yeah, yeah, yeah, you and Adam Shankman still keep in touch. Yeah, yeah, definitely,
So MAT's in an Adam Shankman film. Now, Oh good,
which one to stop that train? Wow?

Speaker 2 (08:23):
Great, it's gonna be really fun it's real. I mean
it just you forget about a time when movies just
went for the fucking joke in every single scene. That's
what this is.

Speaker 3 (08:35):
Yeah, well I'm looking forward to it to see it.
That's what you do for your friends. You pay pay
to see it the friday night it opens in a theater.

Speaker 2 (08:42):
Absolutely, it's exciting to be excited about a movie coming.

Speaker 1 (08:45):
Absolutely, But on that note, it's like what like the
Dicks the musical thing. As it came out, as they
it screened a tiff midnight madness, people were like, this
is a future cul classic and then and like you say,
like Josh and Aaron were like, but wait a minute,
we wanted this to be like I.

Speaker 3 (09:00):
Hear now now, future cult classic means it bombed.

Speaker 1 (09:04):
Yeah yeah, and it will take like years of fermenting
or whatever or a patina or and.

Speaker 3 (09:09):
You can't make a cult movie happen. I mean, I
remember when Mommy Darris after it came out, they tried
to make it a midnight movie. But what why did
not drag queens go to the Milania documentary dressed as
her and shout out stuff like rocky horror. Wouldn't that
have been the most hilarious, so great, it would have been.
Well Republicans have female female impersonators. Mm hmm, yeah, it's

(09:34):
a generous women underneath.

Speaker 2 (09:35):
I can't believe. What did the drag show that happens
at every Republican event?

Speaker 3 (09:40):
Now, Well, they all look the same. They all look
like elderly porn stars.

Speaker 2 (09:44):
Yeah, yeah, yeah, But I do Fox.

Speaker 3 (09:46):
Whenever I go on the shows, they're nice to me.
And I saw so many books when I do Fox,
It's amazing. Wow.

Speaker 1 (09:52):
Are you seeing where the sales are coming from?

Speaker 3 (09:56):
No? I mean I don't care. You know, if they
bought the book, I could certainly not encouraging what they're saying.
And they were nice to me on the shows. I
don't have any trouble. But all the everybody that works
there looks the same.

Speaker 1 (10:08):
Yeah, they're all hot.

Speaker 3 (10:10):
Yeah, women that look like I don't know. People said
to me, did you ever go to Jeffrey Epstein's what
would I Do?

Speaker 2 (10:18):
Pussy Island?

Speaker 3 (10:19):
I would be hiding under a desk, it would have
been No. I didn't go there.

Speaker 1 (10:23):
I no shared interests. Yeah. Do you feel like you
have this air of respectability now as you watch?

Speaker 3 (10:30):
I'm so respectable. I could Puke. I said that at
the Academy Awards Museum. Yes, but it's great, it's nice,
it's not I'm not. I don't take it as revenge
or anything. I think it's just things change.

Speaker 1 (10:40):
Yeah, at what point did things become cult classics to
you in terms of certain films? And I know that's
a dirty term now.

Speaker 3 (10:49):
When Pin Flamingos came out right away, it became a
midnight thing, so I could tell then it was working.
And that was totally by audiences. We went to each
city at a separate time. It did one city at
a time. This was for a video before uh internet
or anything. So you'd go to a city, would start
one day a week, then two days, three days, four days.
So it took two years for Pink Flamingos to open
around the country.

Speaker 1 (11:10):
But is there a rolling timeline with like Hairspray doing
great as it comes out, but then like but then
like cry Baby and then Cereal Mom.

Speaker 3 (11:20):
Hairspray was a hit for reasons, Yes, cry Baby was
definitely not. But then was there this like delayed sort
of like push of like Cryberry then become that then
becomes a cult hit, and then Serial Mom becomes a
cult like like you go on says, but I've never
gotten profit participation from Crybaby or Serial Mom. They've never
broken even Wow. Wow interesting, But that cost a lot

(11:43):
of money.

Speaker 2 (11:44):
Yes, yes, of course I was wondering about just because
you had you talk about building a career on bad reviews,
et cetera. They accumulate and then suddenly you're working with
Johnny Depp on cry Baby and he was truly like
you know Leo before Leo v V Marquee Idol, does

(12:04):
a star at that level seek you out because he
liked your work?

Speaker 3 (12:09):
Or I went to him because I knew he was
like Justin Bieber at the time, was on the cover
of every teen magazine, but he hated that image. Stick
with us, we'll get rid of that.

Speaker 1 (12:17):
Yeah, yeah, we did it.

Speaker 3 (12:18):
Yeah, the same way. Patty Hurst made a movie with me.
She was sick of being a kidnap victim. Everything changes.
I went to a big, big, fancy dinner where she
was honored, and the man sitting at her table, I said,
how do you know Patrician? He said, well, she robbed
the Hiberian bank, which I owned, and he paid five
thousand dollars that dinner. Well, when she was in that

(12:39):
li I mean she didn't think it op, she didn't
know where the bank was. But still, I mean, it's
amazing how things change. It's the same way as what
me getting picked by the National Registry picked Pink Flamingos
as a great American film. What it was the scene
in that screening that made him decide that do my balls, mama?
I mean, what line the singing ass? I'm trying to

(13:00):
think what.

Speaker 1 (13:01):
Particular both of those things.

Speaker 3 (13:03):
Well, maybe, but that means they've got a pretty good
sense of humor.

Speaker 1 (13:06):
They placed that movie above the graduates.

Speaker 3 (13:10):
Variety those for a hundred best Comedies, and I was
there with Charlie Chaplins. It was hilarious because when Variety,
when the movie first came out, we got one of
the best band reviews everywhere from Variety, and they later
said that they were wrong, which was very funny. And
I love Variety. I've been reading it since I was
fifteen years old.

Speaker 2 (13:26):
Do you remember what they initially had said?

Speaker 3 (13:28):
Oh, yeah, the most beyond it out, the most disgusting
film in film history. Something really good.

Speaker 2 (13:33):
Yeah, something very declarative and perfect mark.

Speaker 3 (13:36):
It wasn't pussy footing around.

Speaker 1 (13:38):
Yeah, no, no, no direct communication. I we you have
to know. I think I think I even told you
this when we first met. But at like almost every
other show at US and now or every table read
we tried, Sarah Sherman and I would try to write
in me as any character, any old character screaming now

(14:06):
from female trouble, that's Edith and every Lauren just like
frowning at me, being like, what are you? Why are
you screaming? What is this from? Why? One of our
great screamers? It's I and just Sarah. Sarah and I
bonded for the first time because we each had.

Speaker 3 (14:21):
Female that was in Sarah's show.

Speaker 1 (14:23):
I know, did you watch the whole thing?

Speaker 3 (14:26):
Of course? And when am I gonna host Saturday Night Love.

Speaker 1 (14:30):
Gus, you would be wonderful.

Speaker 3 (14:35):
The crew. It's the only time I could ever write
with somebody else.

Speaker 1 (14:38):
Oh my gosh, I'll come back for that. You, Edith,
I can do, Edith wait. I've always I've I've meant
to ask because I think when when we met was
right before Leslie van Houghton got paroled.

Speaker 3 (14:51):
Yeah, I don't talk about that anymore because I'll tell
you why, And I get why do you ask there's
no such person anymore. She's never going to talk about
it again. She's vanished.

Speaker 1 (14:59):
It's over, yes, because and this actually goes back to
what you're saying about everything changes, like even something as
like completely immoral and dark and awful and inhumane about
what she was involved in and what she did well.

Speaker 3 (15:13):
In marl when you're nineteen and meet the biggest madman
on his But she never blamed him. She said it
was her fault for making him a cult leader. So
all I'm saying is, I just don't talk about it anymore,
only because it's over. He's dead. It's not over for
the victims, and nobody's saying that. You know, I get
why the victims you cannot ask for forgiveness. If they
give it, it's amazing. Like Charlie Kirk's wife the next day,

(15:37):
she did say she forgave who did it? That is Christian.

Speaker 1 (15:41):
It is Christian for better or for worse.

Speaker 3 (15:43):
Well, I'm just saying it's hard to do that. I'm
not picking sides. If somebody killed my mother, could I
ever forgive them? That's a really amazing thing. But I'm
not talking about that. I'm just saying that she was
prolled correctly, and she's out through no such person. She's
never going to talk about it.

Speaker 1 (16:02):
It's over, it's done, and there is like and you,
as a storyteller, can understand like the the ending of something,
like the resolution of something where you're like, there's nothing
to talk about.

Speaker 3 (16:13):
There isn't it's the story has been told to me
in Times is a terrible story. And what point would
it be for her to talk about it? There's no point,
I completely understand.

Speaker 1 (16:23):
I just was always so curious, especially because it's it
and we're not going to talk about it anymore. But
it's like, oh, it's it's over. It's done, and like,
you wrote such a beautiful essay about.

Speaker 3 (16:34):
You, and I think that the La Times editorial we
should it is time for her to live amongst us
again made the governor not turn it down. Yes, so
the paper that made it the most notorious case in
the world also amazingly and I believe correctly ended it.

Speaker 1 (16:54):
And I think through her, you really looked at your
own sort of obsession.

Speaker 3 (17:00):
With Oh yeah, I was apologized for a while, yes, yes, yeah, yeah.
And now true crime. I mean when we made serum
that was a joke on them, but now true that
was before true crime was as popular, right, yeah? And
now serum, mom, it looks like OJ. It was before OJ.

Speaker 1 (17:13):
Even, but it wasn't even meant to be prescient, was it?
You were just kind of doing something well.

Speaker 3 (17:17):
I was parodying True crime?

Speaker 1 (17:19):
Definitely, Yes, introducing Eminem's caramel you already love, now popped
into a totally new texture.

Speaker 2 (17:28):
I'd say Eminem's are one of those truly iconic snacks.

Speaker 1 (17:31):
They've just launched a brand new freeze dried innovation that
brings a whole new vibe to the eminem lineup.

Speaker 2 (17:37):
I mean, come on, what's not to love about Eminem's
by itself.

Speaker 1 (17:42):
And if it's freeze dried, I feel like I'm in space.
Eminem's continues to be that girl. The crunch is unexpected
in the best way way, crisper than you'd think.

Speaker 2 (17:53):
Like you bite into one and there's this little pop
that you don't see coming from something that still tastes
like classic Eminem's caramel.

Speaker 1 (17:59):
Sure they don't look exactly like the Eminems you know,
but the are the Eminems you love. They're perfect for
snacking when watching television, scrolling on your phone, or settling
in for a movie.

Speaker 2 (18:08):
And I'm already thinking that'd be great to have on
handler watching the Culture Awards.

Speaker 1 (18:13):
Yes, the best part is they've got that classic Eminem's
caramel flavor. It's available in stores now.

Speaker 2 (18:21):
I'm gonna try one right now. Amazing pop pop.

Speaker 1 (18:26):
I really do like them. Do you talk to Kathleen Turner? Still?

Speaker 3 (18:29):
Of course, great friends.

Speaker 1 (18:30):
He's one of the greats.

Speaker 3 (18:31):
She just played Gertrude Stein on stage.

Speaker 1 (18:35):
Oh yeah, Oh wow, See I don't keep I got
to keep up with Kathleen.

Speaker 2 (18:39):
Kathleen Turner like that's she really, that's a signature presence.

Speaker 3 (18:45):
Kathleen's great, good friend. Funny, she doesn't suffer fools, but
she's smart. You can tell on a really good.

Speaker 1 (18:50):
Actor, you can tell. Yeah.

Speaker 2 (18:52):
All right, so we have to ask you what you
have your your preparation. Yeah, and that is perfect. We
have a question that we ask every person that comes
on the show, and that, sir, was what was the
culture that made you?

Speaker 1 (19:03):
Say?

Speaker 2 (19:04):
Culture was for me these early influences that made you, when.

Speaker 1 (19:09):
You really look back on it, become John Waters or start.

Speaker 3 (19:11):
There was one culture only and that was being a beatnik.
When I read in Life magazine about ten years old.
I wanted bongos day day. Yeah, you know, I went
to coffee houses where they had poetry. I wanted wore sandals,
dirty sweatshirts, great out black nylons, yeah, seams in the
back and turtlenecks. I still wear turtle next to this day.

(19:34):
Other beatnixt poetry, Oh, coffee houses, Yeah, interracial couples, howls,
city Lights, bookshop, North Beach, Alan Gisberg and his boyfriend Peter.
That was the first queer Beatnicks, junkie William Burrows a
junkie queer on top of it, Leroy Jones, I always
loved him. And Maynard g Krabs from Dobie Gillis the

(19:56):
first beat Nick. And Malcolm Sole, the most famous Beatnick
in Baltiper who was the star of my first movie.
And I just had my first poem published in the
Atlantic last month. Come on, now, I'm officially.

Speaker 2 (20:08):
You're a Beatnick.

Speaker 1 (20:09):
You made it.

Speaker 2 (20:10):
What was your first sort of exposure to this.

Speaker 3 (20:14):
Life magazine When I read about BEATNICKX, Yeah, Life magazine
corrupted me. I read about junkies, homosexuals, BEATNICKX hip everything
Life magazine covered and every family got Life magazine.

Speaker 1 (20:24):
Yeah, was this what led you to your first LSD trip?

Speaker 3 (20:30):
Certainly beatnicks became hippies. Hippies became punks, and still now
I'm a beating I went back to being a beatnick, right, yeah,
but what was he? Pizzadora in Harrisbury is a beatnick
and reads howls. And Alan Ginsburg was mad and I
had he was pissed.

Speaker 1 (20:44):
I asked if I were you, because how old were you?
How old were you on the first trip.

Speaker 3 (20:51):
The first acid I took was in nineteen sixty four.
It wasn't even a legal sixty eight, I believe, and
they used it in a mental institution for alcoholism. My
friend worked there and he stole it and it was
oh he was it was sandos as that it was strong?

Speaker 2 (21:07):
Was it really?

Speaker 3 (21:07):
It was stronger than yeah, and I never I did
it a lot then and then I stopped, and then
I did it again for my book when I was
seventy years old, with ming Stole, we took acid again,
and we hadn't in fifty years. It was still good.

Speaker 2 (21:19):
It was still good.

Speaker 3 (21:20):
I'd only tell old people to take it, not young people. Stupid.
My sixties are over because now when your family is concerned,
and you're older saying I'm not that dementia, I'm tripping.

Speaker 1 (21:28):
Yeah, I'm just wild though, And that's the last time.

Speaker 3 (21:32):
Yes, I wouldn't need to never do it again. And
it was no like microdoses. The young pussies take.

Speaker 2 (21:39):
The little stress.

Speaker 3 (21:40):
You see the people have Timothy Leary's asshole.

Speaker 1 (21:43):
Oh my god, it.

Speaker 3 (21:44):
Was the best ass that I ever took my whole life.

Speaker 1 (21:48):
So I did it for the first time at the
tender age of like twenty seven, and I still feel
like I have holes in my brain.

Speaker 3 (21:54):
That though it wasn't a good experience, it wasn't good,
it was a great experience. I still have a fear
that there I just have.

Speaker 1 (22:03):
I took a melon ball or to my to my
to my head, and I'm like, am I am I
less of a person now because he's so much smarter
now after it.

Speaker 3 (22:11):
I think you're probably better. Although some people I took
LSD with went crazy, they became drug addicts, so it
didn't do that to me. I'm not saying that it's
for everybody, no, of course. And if you ever see
even Bill who is the head of AA who invented it,
he wanted people to take acid. Have you ever seen
it online? When he said can you see it? That's
like the one people in AA don't exactly agree with

(22:32):
the same way Freud was wrong about cocaine, he was
right about a lot of things. And Penis mv's making
a comeback.

Speaker 1 (22:37):
Penis MV is making a comeback.

Speaker 2 (22:39):
It's the rule of culture number thirtyis V is making
a comeback.

Speaker 1 (22:43):
It's the whole looks maxing thing, like yeah, like I
connected to that. It's like it's like it's it's like
there's like this need for mail approval and like right, well.

Speaker 3 (22:52):
It's also now them told me that when you go
with somebody now, you don't know what you're gonna get.
They said, whatever it is, it's politically correct to call
it a bonus.

Speaker 1 (23:01):
It is a bonus.

Speaker 3 (23:03):
How do you talk dirty? Get that bonus bonus? Hole,
dick cocksucker. It used to be shut up and below me.
That was the best.

Speaker 2 (23:14):
Porn title ever, shut up and blow me.

Speaker 3 (23:16):
Yeah, but that's politically incorrect. You can't say that an idea.
I did a photo piece about headline and all women
bought it. Powerful women for their office.

Speaker 2 (23:24):
Yeah good, I love no, I love when we got
to suck my dick from a woman.

Speaker 1 (23:29):
Yeah, did you ever did your did you watch heated Rivalry? Which?

Speaker 3 (23:33):
Oh yes?

Speaker 1 (23:34):
Yeah, so that that I feel like is appealing mostly
to too much.

Speaker 3 (23:38):
Too women it is, which is amazing to me. And
I always heard and I asked, but lesbians if this
is true, and they said, yes, that butch lesbians like
to watch gay men's porn. I don't get why.

Speaker 2 (23:48):
Literally, my therapist is a lesbian. She every session, without fail,
brings up heated rivalry to the point where I'm therapizing her.
I keep being like, so you've brought it up again,
and I just wanted to bring up. But the thing is,
I'm just like, at a certain point, I'm like, because
she always relates.

Speaker 1 (24:07):
In an interesting way.

Speaker 2 (24:09):
But she is a lesbian who's intero heated rivalry.

Speaker 3 (24:12):
That's not hardcore. That's so they're gonna watch it. And
I as why, and they said they want to have
the big dix himself. Imagine. I guess I don't know
if that's true. No, well, that's a form of for
a size envy.

Speaker 1 (24:26):
I don't know.

Speaker 2 (24:26):
I think it has to do with safety, to be
honest with you, I think it has to do with
watching like a love and a sex that has nothing
to do with you, and therefore it's kind of like
I feel detached from it, and it's kind of nice.
I think that's why so many women are fanatical about
heated rivalry. Not to say that gay men aren't, but
it's different. There is a there's like a passion towards

(24:48):
the show.

Speaker 3 (24:49):
Yes, good, yeah, audience. They didn't count on No, and
I love that, and I love that the test screenings
didn't predict that.

Speaker 2 (24:56):
Now No, and did you watch Hunting Wives? See that
was a Lesbie be in Fantasia in Texas.

Speaker 3 (25:02):
No, it's so hard to turn on the TV that
I have to have three assistants there to help me,
or the duct taped to my bed.

Speaker 1 (25:08):
It's I I need, I need the same. I don't.
I don't. I really know how to work the remote either.

Speaker 3 (25:15):
I learned for three channels, ravity or something, because so
many it's so hard, too much, so something. When I
get them, I have to go to a mental institution.

Speaker 1 (25:25):
I have metal.

Speaker 3 (25:29):
I don't think you can say is that politically incorrect?

Speaker 2 (25:32):
You can send me to a mental institution and this
show is over if you can't say that we're in
the show.

Speaker 1 (25:37):
We can't about that. I still say I need to
be institutionalized, and I sometimes I do feel that.

Speaker 3 (25:42):
Davis had the best line about that. When they asked
her about Fay Dune Away, she said, she belongs in
the institution, and I don't mean marriage.

Speaker 1 (25:51):
My Favoritebody Davis quote is someone asked her, how do
you get into Hollywooden She goes, take Fountain.

Speaker 3 (25:56):
Yeah, yeah, that's great, my best thing.

Speaker 1 (25:58):
And there's always that I do.

Speaker 3 (25:59):
Take them. Always think of that when I'm there. She
lived on Fountain at the end in a condo. She did,
I think, yeah.

Speaker 1 (26:07):
Favorite Hollywood star of all time.

Speaker 3 (26:10):
A lot of Turner. Oh, and I'm still friends with
her daughter, Cheryl, the most famous juvenile delinquent in Hollywood
who killed Johnny Stoppinado. And I had Thanksgiving dinner one
year with Cheryl, her lesbian girlfriend Lily Tomlin, and Lana
Turner and myself.

Speaker 1 (26:26):
How do you find these bank robbers? Like they do
they come to your do you find Cheryl was.

Speaker 3 (26:32):
Very famous if you look back on that case, it
was one of the most famous case of real fifties.
And in one of my books, I said I wanted
to meet her and her hairdresser read it and showed
her and she called.

Speaker 1 (26:41):
Me, Wow, this is and this is this is this
is just a lesser version of what you've probably understood,
is that through this like we'll mention one thing or
one person and it somehow finds its way to them.
And I'm like, that is dangerous. I feel like it
does not necessarily it is not necessarily a forced were
good for me in my mental health.

Speaker 3 (27:02):
You know, because it got it well. I've always said
the only person left I want to meet his eminem
and he still hasn't called me, and I've set up
for two years.

Speaker 1 (27:08):
Why what's the what do you think is his what
do you think is his deal?

Speaker 3 (27:12):
I'm all for him good, he's maybe he's better than me.

Speaker 2 (27:17):
I highly doubt that it's because he was.

Speaker 3 (27:21):
He's not homophobic. He gave Elton, John and David for
the wedding matching gold Cock rings.

Speaker 1 (27:25):
He's not home he's hoophobic. But is that part of
the fascination for you?

Speaker 3 (27:29):
Like that he was so Randoms record and I used
to go to this redneck bar in Baltimore where it
was all white guys dressed like black wrappers, hung out
and and every time I woke in, they'd play Pute
by Eminem as a tribute to me.

Speaker 1 (27:42):
Wonderful.

Speaker 3 (27:43):
So every time I woke in here like a sit down.
So it was just a personal thing.

Speaker 2 (27:49):
So did you get the eminem of it all when
he had first come out, because I think as young
gays hearing him on the radio say things like faggot
and like, you know, like whatever look stuff that I
think it bothered us because we had our guards up.
But you at that time, his music it didn't bother you,
bother you.

Speaker 3 (28:05):
I thought it he was just causing trouble. Yeah we did.
I don't know, because it was just a white person
being a rapper was so new and people hadn't seen
that it was. It was over the edge. But no,
I always liked him.

Speaker 1 (28:19):
Yeah, you love something or someone who chafes something.

Speaker 3 (28:23):
Who does something first and changes how we think about that.

Speaker 1 (28:26):
Yes, she did do Yeah. Absolutely, you can play the record.

Speaker 3 (28:31):
Maybe you can playing the record at the beginning of
the show or put it under me.

Speaker 1 (28:35):
It'll score.

Speaker 2 (28:39):
Lightly throughout the episode.

Speaker 1 (28:41):
I think we can make it happen on the show, Eminem.
If Eminem's team people are getting this, what would you
what would you like that encounter to be where would
you want to be? What are you guys doing?

Speaker 3 (28:52):
Oh, just in private, so we're not exploiting it.

Speaker 1 (28:54):
Of course, Yes, they'll love you. I always said, puke
to me, please sa croon puke. And this is this
is something that you cherish, right like you don't want
these interactions to be for public consumption.

Speaker 3 (29:10):
No, no, And if he wanted to talk about you know,
it's just the kind of thing. I have met almost
every famous person I ever wanted to meet. And I'm
not bragging, but just I've been doing this. I'm eighty
years old. I've been doing it for fifty years. Yeah,
and that's thrilling. It's exciting, and they like to meet
you too. It's fun. But uh, At the same time,
I have great friends that are not famous. Many my

(29:32):
closest friends are not famous, and I've had for fifty years.
And I don't trust people that don't have old friends.

Speaker 1 (29:38):
Absolutely, I feel like I'm now getting to the point
where my old friends are college friends. But I feel
like I did a full hard reset once I got
moved to New York. I feel like Matts. Matt's really
good because he grew up in Long Island relatively close,
like you still have a connection to like those people.

Speaker 2 (29:55):
I'm still I'm still but Facebook friend, that's not a friend.

Speaker 3 (29:58):
You know what. You have to go out, you have
to get your hair done, you have to make see
them in person, you have to go to their house.
It's not just that it's easy to do that. But
to be a real friend is work.

Speaker 1 (30:08):
Yeah it is.

Speaker 2 (30:09):
And that what's that they say, like discomfort is is
a is a friend of community? Like in order to
like really maintain community, you have to just make yourselves
a little uncomfortable sometimes, like maybe you haven't seen someone
in a long time, get out there to dinner and
go see them. I try to see my old friends
at least twice a year. And then, you know, it's
funny you say college friends are now old friends.

Speaker 1 (30:31):
That was technically half our life.

Speaker 2 (30:33):
Yeah you know what I mean, Like which it feels
like it went by like that, but you know, I've
known you half my life.

Speaker 1 (30:38):
Yeah, that's crazy, that's kind of wild.

Speaker 3 (30:40):
My best friend is Pat Moran, who's one. You know,
she's cast all my movies, she cast the wires, she's
one in these But wow, wow, we met because we
had the same boyfriend, and I've known her for sixty
years and we've talked every single day for sixty years.

Speaker 1 (30:51):
So was it hard having the same boyfriend at first?

Speaker 3 (30:55):
Not really. No, they're both dead and we're friends.

Speaker 1 (31:00):
Who had him last.

Speaker 3 (31:02):
I'm not gonna say I'm sorry.

Speaker 1 (31:07):
I I really admire. This is the thing that I
maybe took for granted, is that you do have this
wonderful protectiveness over information and people and lives.

Speaker 3 (31:16):
That personal life nobody knows interesting. I mean, I don't
hide it, but none of the people, none of the
boyfriends I have, want to be in the exactly.

Speaker 1 (31:25):
And yet you're still You're still known, You're still in
the Agora. You're still like, it's I do find it you.
You were also my first exposure into what Petown was.

Speaker 3 (31:35):
Yeah, this is my sixty third summer there.

Speaker 2 (31:38):
I was gonna ask, Yeah, so you've seen it all there?

Speaker 3 (31:41):
Oh yeah, I used to be friends of Norman mail Or.
I worked in the bookshop. I waited on Robert Mother.

Speaker 1 (31:46):
Well, I know you worked in the bookshop.

Speaker 3 (31:48):
The promise on bookshop was my main job. The old
one where the porthole building is is a pot shop.
Now it's now across the Street. Yeah, I worked there,
and I worked before that for Molly Malone Cook and
Mary Oliver before she are famous. She was my boss
and she was huddled on the back and a peak
coat acting crazy.

Speaker 2 (32:05):
Wow.

Speaker 3 (32:05):
But uh, that's when I thought she's turned in her grave.
When I had a poem published. I was with her
when she won the Polzer, when she got her award
or whatever award she got pols I think, yeah, And
so I knew him forever, and I worked in both
the bookshops there. That was my education.

Speaker 1 (32:24):
Did you ever do those because now that you have
those artists residencies and those shacks on the beach.

Speaker 3 (32:28):
Yeah, I don't want to be out for we took
now it's fun for an hour. I'm not lugging water
out there.

Speaker 1 (32:36):
In the sand.

Speaker 2 (32:38):
We did, like the the the jeep tour out there.

Speaker 3 (32:42):
That's good.

Speaker 1 (32:42):
I couldn't believe how far out.

Speaker 3 (32:43):
No, it's great. But I'm not lugging my stuff out there.

Speaker 1 (32:46):
No. No, certainly not not.

Speaker 3 (32:48):
You have a coyote come ship on me at this juncture.

Speaker 1 (32:51):
No, but I'm saying, like you are you still you
still expose yourself, but you are protective of others.

Speaker 3 (32:59):
Yeah, yes, I don't tell dirt about people that don't
want it. No, I never do. I never say mean
things about people. I learned a long time ago, because
then I sit next to them at a dinner.

Speaker 2 (33:10):
Literally, yeah, it doesn't matter when yeah, yeah, and.

Speaker 1 (33:13):
I think, okay, and thank you for bringing this up,
because I think this is what Matt and I have
learned because we used to kind of speak a little
too freely on this. You know what I mean?

Speaker 3 (33:21):
And then you don't know. I've had to sit next
to critics who gave me terrible reviews. They're uptight too.

Speaker 1 (33:27):
Yeah, and they're nervous to meet you.

Speaker 3 (33:29):
Well, they don't want to sit next to me at dinner.
It's an irresponsible host that puts you there.

Speaker 2 (33:35):
Or it was a devious host that was doing what
they want to do.

Speaker 3 (33:39):
But I'm fine with it.

Speaker 2 (33:40):
Yeah, yeah, well you can handle whatever.

Speaker 1 (33:43):
You can handle whatever. I feel like. There is this
you I have mister Know it All, which I bought
in Boston. I have my hard copy with me. If
you will sign it later, of course I will thank you.

Speaker 3 (33:57):
But it was that what I ask me to change
a flag I have a flat, which I couldn't do
if I had to change the flat tire or die,
I'd have to die. Yeah, that's to find out in
the hood of my car, or die I'd have to done.

Speaker 2 (34:08):
So have you always chosen partners that this is a
thing they can do handy.

Speaker 3 (34:12):
They can all do it better than I can, right.

Speaker 1 (34:13):
Yeah, Yeah, we've had We've had conversations here with other
with gay men of all of all stripes, who are
like all persuasions, all persuasions, who are like, if I'm
forced to do anything manual like I choose death.

Speaker 2 (34:25):
No, if the grid goes down. We were setting like
a couple friends of ours. They're they're talking about getting
guns from when the grid goes down.

Speaker 3 (34:31):
Well, you know, gays against guns some four. But then
I saw some of the turtle and said, give bags guns,
which made me like you more.

Speaker 2 (34:39):
Well, these gays are like, when the grid goes down,
we're both getting guns.

Speaker 1 (34:42):
I'm like, babe, when the grid goes.

Speaker 3 (34:43):
Down, I'll shoot myself on my leg if I had
a gun.

Speaker 1 (34:47):
You're never the only one that shot.

Speaker 3 (34:49):
A gun once a bike or a straight bike. Grinder
took me in his Cadillac limousine, broken down thing and
we shot machine guns in the woods and it was fun.

Speaker 1 (34:57):
Your first gun was a machine only gun, first and
only gun listen with a.

Speaker 3 (35:03):
Real bike or to a straight guy.

Speaker 2 (35:04):
And you so you knew him enough that you invited me.

Speaker 1 (35:09):
Yeah.

Speaker 2 (35:09):
Sure.

Speaker 3 (35:09):
It wasn't like to blow him. Yeah, yeah, yeah, yeah,
it wasn't like it's just machine guns in the woods.
In one of my movies, he's in Desperate Living. He
plays eater. He has the line, you could suck my
royal hemorrhoids, you fat pig. That's his only line in
the movie.

Speaker 1 (35:24):
And was and what year was this that you shot
the gun?

Speaker 3 (35:28):
Seventy seven?

Speaker 1 (35:29):
Okay, so at.

Speaker 3 (35:32):
That point you'd already like given guns, you'd already used
guns in your films. And Pink Flamingo, is that gun yet?
Is a real gun with real bullets in it? That
just the unit photographer happened to own. We had no
safety people. I don't know what're lucky, you know? Yeah,
I mean there was nobody standing in front of him
when he shot it. Sure certainly was not pistol safety

(35:54):
one of his top things at the time.

Speaker 1 (35:56):
And did you and did you have an intimacy coordinator
on that stuff?

Speaker 3 (36:00):
Always imagine when do you mind eating ship an intimacy.
And even in my last movie, A Dirty Shame, all
the extras had to make out and hump with each
other for hours every night. They didn't know each other.
They just started laughing. I read a thing about Pasolini
Sala where they were underage and nude in it, and
they said, we had the best time. When he'd say cut,

(36:22):
we'd just start laughing. We had the best time.

Speaker 1 (36:24):
What I will appreciate intimacy coordinators. Let's say on Ping Flamingos,
they would have said, this is how, this is how
I would eat ship just so you just so you
have a way in and you don't have to second guess.

Speaker 3 (36:36):
Did you ever work with them?

Speaker 1 (36:37):
And I've I've worked with one.

Speaker 3 (36:39):
And what was the scene that they had to advise you?

Speaker 1 (36:42):
Right, so you're gonna love this. It was it was
just two guys making out at the club, and I
was like, I've had experience doing this.

Speaker 3 (36:50):
Was it a stranger?

Speaker 1 (36:51):
It was an extra? It was it was my love
interest in the movie.

Speaker 3 (36:55):
Oh sorry, it was someone that you work with every day.
That's just called bag, right, that's maybe.

Speaker 1 (37:01):
But they did they did give like actually good like blocking.

Speaker 3 (37:04):
Like camera that's different then.

Speaker 1 (37:07):
And this is a lot of tongue, not a lot
of tongue. And I think, and I think this was
this was something that I maybe I appreciated that knowledge, right,
and it's I think I I wasn't. I obviously would
never wish it into Missy Coordinator upon You'd run, They'd run,

(37:27):
They just run, they would run.

Speaker 3 (37:29):
We had for my last novel, my only novel, letter Mouth.
They have to give it to a sensitivity editor. And
she never called us back. We could never find her again,
and she quit and so she didn't No, there was
it was a famous one and she was a big
editor and she refused to respond.

Speaker 1 (37:48):
But then it got published, so then it was fine.

Speaker 3 (37:51):
It was not a great editor Jonathan GLOSSI who had
faith in his own filth.

Speaker 2 (37:56):
Maybe she was like, if I were to impose sensitivity
on this would lose what makes it special?

Speaker 1 (38:01):
So why would I do that?

Speaker 2 (38:02):
Right?

Speaker 3 (38:02):
They never think that, they wouldn't have a job.

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Speaker 2 (39:00):
One thing could just to speak on the intimistic coordinator,
did you use it for Fire Island? I use that really,
But my thing was like a thing where I was
like the character was drugged in in a sexual situation,
so then it became a thing of like she was
just kind of like administering like safety on it. But
I do think like it's it's it's wildly different when

(39:21):
it comes to like it depends what your film is depicting.

Speaker 1 (39:24):
Yes, you know what I mean. Like the intimacy.

Speaker 2 (39:25):
Coordinator, I hear the conversation about it happening. I think
it's a really fascinating conversation to here. When you speak
to filmmakers like who have been working for a long
long time, this sort of like confusion towards it. And
now it's so industry standard that I just wonder how
that rubs with people that have been working.

Speaker 3 (39:43):
I hated filming sex things. I never liked it.

Speaker 2 (39:46):
It's embarrassing because it's awkward to me.

Speaker 3 (39:48):
It is like, do this, you know, I just want
to make them. But I mean, pink flamingos really gives head.

Speaker 1 (39:54):
Yeah?

Speaker 2 (39:55):
Was that real?

Speaker 3 (39:55):
Yeah? Wow? And to a straight guy and he started laughing.

Speaker 1 (39:59):
They were friend.

Speaker 3 (40:00):
It didn't even get hard. But he had to yell,
do my ball's mama. One of the rudest lines in
the movie. Imagine the end of the Coordinator on that.
Do you mind seeing that?

Speaker 2 (40:11):
Yeah?

Speaker 3 (40:14):
Go ahead, No, you're going to give me a line
reading right, line reading?

Speaker 1 (40:21):
It's just my balls.

Speaker 2 (40:22):
In the last one, I do my balls, mama.

Speaker 3 (40:27):
Good. I did my audio books of all my screenplays
came up and I play every role in the movies,
so it's and I had to yell, do my balls, mama,
I'd look over at the technician, thinking, Jesus, I hope
they were prepared for this, because when you're reading your
own book and it's dirty, it's more mortifying. It sounds
filthier when you read it out loud and you write
it or read.

Speaker 1 (40:47):
It, and then like with with that much time passing,
you're like, oh wow, I didn't realize.

Speaker 3 (40:54):
I know, well, certainly those lines you can't. Like now,
I can say fuck on national network television, but I
can't say fat on PBS, which.

Speaker 1 (41:05):
Would you rather say fat?

Speaker 2 (41:07):
Both? Of course I don't have to say fat fuck
on Fox?

Speaker 1 (41:10):
Yeah? I okay, So mister, not at all? I think.
Was that where you coined philth elder?

Speaker 3 (41:16):
Maybe? Yeah, I did call myself that, But I did
not call myself the Pope of Trash, William Burg, William
Burrows and all those other titles the press made up.
The only thing I ever called myself was a filth elder,
which is not exactly bragging.

Speaker 1 (41:29):
But do you love Pope of trash?

Speaker 3 (41:31):
Sure, because we embros being annointed from God.

Speaker 1 (41:35):
Of course I use that s too. I have the
John Wannerd's.

Speaker 3 (41:37):
Pope of Trash. Wait to see the new stuff we have.
There's the comrags John Winner's crags. I'm the only celebrity
comeragh and.

Speaker 1 (41:45):
We have not for long married celebrity come rag.

Speaker 3 (41:50):
And puke bags. We have also suths Burgart Company and
he did these, but we have a whole new line.
Way to see what we got coming out.

Speaker 1 (41:56):
So I framed the pukebags from the fiftieth anniversary screening
of Pink Flaminga from p Town. Yeah, we were in
Petown for that.

Speaker 3 (42:02):
Right, Yeah, that's where we met.

Speaker 1 (42:03):
That's where we met, and that was that was one
of my favorite nights. I was like, it was my
first time in p Town. We were seeing the Fifth
Universe fiftieth anniversary of Ping Flamingos.

Speaker 2 (42:11):
They were showing fire Island at the phone.

Speaker 1 (42:13):
Yeah yeah yeah. But filth Elder, do you feel like
there are filth protegees? Do you feel like there are pressure?

Speaker 3 (42:20):
I mean there's young people that don't imitate me. The
ones that do, I don't like it. I don't like
the works that they're just trying to be shocking without
being funny or witty. But they're certainly young filmmakers that
surprise me. They're mostly French like Gaspernoi and Bruno Dumont
and all these kind of young filmmakers that are making
I love Eddington, I loved sat Did you see that movie?

(42:42):
It is so good. So I'm just saying there's still
great movies out there, definitely.

Speaker 1 (42:46):
Yes, but none have this kind of like I don't
know there was. There's just a good heartedness to all
your films. Is that a fair I think I was.

Speaker 3 (42:54):
I made fun of things I loved my whole life,
not that I hated. And maybe that's why including I
started making fun of myself by calling my films trash
epics and everything. You know.

Speaker 2 (43:04):
I think that's one of the things that immediately So
one of the we asked this question what was the
culture that make you say culture worse for you? And
one of my answers to that is I was ten
years old and my parents took me to see Hairspray
on Broadway and Good Morning Baltimore. I think that what
jumped out about it the most for me was the
fact that she was so joyfully, joyously singing about and

(43:28):
playing in her world of filth. There's who Lives next Door? Yep, perfect,
But there is there is something about that It's one
of the things I think is the most unfortunate things
in the world is people who take themselves seriously, and
so watching her just immediately a shoe all of that.

(43:51):
But she loved her life, and she was so self confident,
she was so proud of the place she came from,
even though it was garbage, you know, and in that
way it then wasn't garbage. And she saw hope in it,
and she saw possibility and future in it, and she
just went for it. That I think it being made
into a musical and then into a movie musical, that

(44:13):
message keeps getting delivered.

Speaker 3 (44:17):
Can't screw up even a bad version of it. No, Yeah,
because the characters Tracy stands for anybody ever that was
hassled for being different in any kind of way, who
takes what they were hassled by, exaggerates it and wins.
That's all you can do. If they use something against you,
own it, grab it, say yes I am, and then
make it worse.

Speaker 2 (44:36):
It's a long time to learn that though, And I
feel like you know her like that that it's it's
just an important thing. It's like that thing that makes
you different is what makes you special. That's like the
tweet way of saying it, but it's that you said it.

Speaker 3 (44:49):
You haven't heard that terminal. Yeah, I like it, And
then you speak that way that there's a whole language
called something. You know.

Speaker 2 (44:56):
I'm to it, but like, I'm sure we could do it.
We can get all tweet with each other's.

Speaker 1 (45:03):
John Waters' films really break the mold of.

Speaker 2 (45:06):
What legally like.

Speaker 1 (45:07):
It's like, it's like, it's that kind of like I
don't know, and we do that all the time. We're
guilty of that in earnest, but we love to make
fun of it too. I think that's that's like our
that's us making fun of ourselves the way that you
were making it's important to do that. We are not tweet.
I am going to reject this.

Speaker 3 (45:23):
No, I don't think you are either.

Speaker 1 (45:24):
Thank you so much. I feel like the beatnik thing, though,
is is what developed a good taste for you, and
so then you learned the rules and then you were
able to revel in bad taste.

Speaker 3 (45:36):
Well, I was able to realize, like a dirty T
shirt could be great. Yeah, bad that I don't know.
It was beat Nick's outrage people at the time came
out and it was the first thing I saw rebellion
that I wanted to do. I always say, the first
record you buy as a child, no matter how young,
that your parents hate, that's the beginning of the soundtrack

(45:57):
of your life. Wow, what a terrible thing to like
your children's music that stunts your child. If you say, oh,
I love that record, keep find them on you until
you hate it.

Speaker 1 (46:10):
You're so right, You're so right. I yeah, And I
think that bad taste or good taste, whatever side it
falls on is is just compensating for like the thing
that you were lacking.

Speaker 3 (46:26):
Maybe I was drilled good taste and you have to
learn those rules to make fun of bad. So I
thank my parents for that.

Speaker 1 (46:32):
Like what did that? Like, how did that show up
for your parents? Like they were like, this is how
you wear.

Speaker 3 (46:36):
Oh my god, my mother thought you should die if
you were white shoes after Like I'm still right wing
on that. You can't wear velvet before Thanksgiving, you can't
wear a pat in liather before Easter. I believe you
should die if you do that.

Speaker 1 (46:53):
Like in Cereal, Mom, who is that actress who was
also in cry Baby? Like the woman the juror who
gets murdered in serious course? Oh, my gosh, just fashions changed.
It kills her, kills her.

Speaker 3 (47:07):
It really takes that hit. Well, even Kathleen said, better
than any stunt woman I've ever worked.

Speaker 1 (47:11):
Oh yeah, god, I really did. But I think this
is so. I was like reading something about like where
how bad taste shows up, and it's in these cultures.
I'm just gonna I'm just gonna throw these out there.
People can come for me. But it's like, uh, between
like Russian gaudiness and like some kinds of Asian goddiness,

(47:31):
like Saudi gaudiness, Like these are all from.

Speaker 3 (47:35):
It's hair hoppers, people that spend too much time on
their hair without iron or iron without irony, and act
rich when they're not because because they're so labeled and
and look the same as everybody with a hair hopper.
You should Swiss people know how to be rich.

Speaker 1 (47:54):
You hide it because it's coming from like like uh
in let's say, like in all these parts of the
world that I just just kind of rattled off. It's
like because they were coming from like desolate really really
just austere places right where like oh you didn't have
the nice, you had no idea, you had no access
to anything.

Speaker 3 (48:13):
Well, maybe the tyranny of good taste they never grew
up with. That isn't a sort of an American or
British thing.

Speaker 1 (48:20):
Which is what you grew up with your parents, This
tyrannical sense of like this is what you have to do.

Speaker 3 (48:25):
Well, they were very opinionated on and they taught me
what was right and wrong. And I'm not sorry they did.
I still use a lot of the stuff that they
taught me. Yeah, And but yet they were horrified by
the movies I made right up to the end. But
they supported me doing it. They were they were, which
is amazing. And my parents had a happy seventy year marriage,
so I'd give them great credit. Wow.

Speaker 1 (48:47):
And then that also it expands your palette in terms
of like like I've always I love I think I
think I got my first like sort of written sense
of like come to Garson, like Ray Kawakubo stuff from
Role Models, where I was like, oh, yeah, like you
still have this appreciation for like like the current fashion.
Do you still go to metal shows? Yeah?

Speaker 3 (49:09):
I went to I went to see nine Inch Nails.
Just recently we went I saw.

Speaker 1 (49:15):
Amah, wasn't it fabulous?

Speaker 3 (49:18):
The audience is really I just like looking at the
audience at all this it's wild. Yeah, it was.

Speaker 1 (49:23):
It was like it was like it's time for for
fagots to love nine inch nails again.

Speaker 3 (49:27):
Oh, I go to heavy metal lot. I just like
to look at the kids.

Speaker 1 (49:29):
What are you looking for? Because because you're observing.

Speaker 3 (49:31):
Some new some new thing, and I just think they
look great and having fun. And they always I'm always
the oldest person there. Ever since William Burrows died, I'm
the oldest person. Yeah, not that I'm the same, but
he was always the oldest when I and It went anywhere. Yeah,
and so uh no, I just like to see the energy.
I like to see. I hate old people like my

(49:53):
age and say we had more fun that you didn't.
You just don't know what's going on.

Speaker 1 (49:57):
Yeah, fun adapted.

Speaker 3 (49:58):
I would have been a hacker. I would have in
a hacker, except have bad clothes. That poor posture. Yeah
isn't just hunched over.

Speaker 2 (50:07):
The hackers should be using those the standing desk with
the treadmill they walk on. Yeah, you're just gonna do
great hackers.

Speaker 1 (50:14):
So hacker clothes like you can't do there's norm core, yeah,
because there's there's no clay on the table for you
to molder in.

Speaker 3 (50:21):
No, there's no rebellion, look for a hacker, because you
got to blend in. Yeah, you're out. You don't want
to get the dark web, you don't dress for it.

Speaker 2 (50:30):
What do you think of? Like the the people still
debating what camp is now.

Speaker 3 (50:36):
That they are old queens, that the last movie they
saw was Rita Hayworth. I don't know anybody that would
say the word camp.

Speaker 1 (50:44):
Yeah, you've never you don't say it.

Speaker 3 (50:46):
No, that word was over and ninth after Susan Sontag
sitting in an antique store under Tiffany lampshade talking about
Betty Grable.

Speaker 1 (50:56):
Movie Holy Moly, manny.

Speaker 3 (50:59):
Became Cam't became I don't know, trash. Then it became filth.
Now it's just American humor.

Speaker 1 (51:05):
Now it's just it's just funny. Yeah, yeah, yeah, yeah,
Like your stuff will always be singular. It will never
be like even as I'm wearing merch, even as you're
at the Academy, even though even as it's being like
institutionally recognized, it will always have this like like this,
this this this fingerprint of like this's worse now you

(51:27):
think it's worse.

Speaker 3 (51:28):
Now, yes, Because they're political correct. You can't even say
happy birthday, fat so you can't say that anymore. Like
they're the stuff in there, you can't say any of
the ship. It's worse than it ever was, and yet
still nobody gets made.

Speaker 1 (51:42):
Have you heard about this movie, the drama with the Zenda.

Speaker 3 (51:44):
I'm dying to see it though.

Speaker 2 (51:45):
Yeah, I think you love it.

Speaker 3 (51:46):
I think you'd love it. I think there's a lot
of big fan of him. He's wonderful and he takes
chances in all movies. Yes he does, And I'm dying
to see it. Isn't it the same? Didn't Ari Aster
executive producers?

Speaker 1 (51:59):
He did not do that? Yeah, yeah, yeah, I was.

Speaker 3 (52:01):
I was gonna remember the movie about Sleeping Dogs Lie
where the girl tells her boyfriend everybody's playing tell the
truth and she says she blew her dog. It's just
the same kind of genre.

Speaker 2 (52:13):
It's the same conceit.

Speaker 3 (52:15):
Where I know the secret, don't tell.

Speaker 1 (52:18):
Yeah, but in that way she confesses to this deep,
dark secret, right, and it's about like, you know, gun violence,
and and it's it's it's.

Speaker 3 (52:25):
It's no I know what. I'm dying to see it.
That's the next movie I'm fantasy.

Speaker 1 (52:30):
Yeah, but I think about female Trouble all the time
where divine literally shoots up the audience.

Speaker 3 (52:34):
Well, who wants to die for art? That's so poletely incorrect.
After that happened for real, Yeah, yes, that puts it
in a whole difference.

Speaker 1 (52:42):
That's really what it is.

Speaker 3 (52:44):
And I almost no one ever complained about that.

Speaker 2 (52:47):
Literally, like ten years ago, you could make gun violence jokes.

Speaker 1 (52:52):
We we would do it.

Speaker 2 (52:53):
Like back at like UCB and stuff, like when we
were doing sketch comedy like there there would be it
was maybe this is just young people doing comedy and
skin comedy and like doing what they think was funny.
But a common thing was for a gun to come out,
you know what.

Speaker 3 (53:05):
I means ass and desperate living. I cringe at that.

Speaker 2 (53:08):
It would make people nervous.

Speaker 3 (53:09):
Now maybe people nervous then, yeah, people.

Speaker 1 (53:12):
Really nervous now though that it's like.

Speaker 3 (53:15):
No eve, even the pink flaming thing with the vine
with the gun. Sometimes they exit out and stuff really
well because.

Speaker 2 (53:23):
It's yeah, literally triggering.

Speaker 3 (53:26):
And everybody and the politicians in Baltimore, we say, how
can we make this city better? I said, just put
out a bumper sticker, the Wire, it's still like that.

Speaker 1 (53:36):
And that's supposed to make it better.

Speaker 3 (53:38):
Well, let me tell you the Wire. In Japan, they
love it really internationally. One of the most known and
loved things about Baltimore is one of the best TV
shows ever. Yeah, so why do we hide that?

Speaker 1 (53:52):
Why do we hide that? I mean, do you know
if your movies play in Japan?

Speaker 3 (53:57):
Oh, I've been there with.

Speaker 1 (53:58):
Them and they love it.

Speaker 3 (53:59):
There are great was a huge hit because they love
Eddie Furlong, they love hairless androgynous man.

Speaker 1 (54:06):
Yes, le them is you.

Speaker 3 (54:09):
Know, so Stylvester Stallone. They were so gag like the bears.
They don't get that.

Speaker 1 (54:17):
They there's there's a there's a very specific subculture of
bears in Japan. They have they have eagles. They have
multiple eagle locations.

Speaker 3 (54:23):
Okay, well the eagles everywhere. It's just not a young
person ever any one because different you.

Speaker 1 (54:31):
Think, So, yeah, what do you make of pups, of
of of these of these what do you make of
these twins too? And they're not all them up just
like the rest of the dogs adult babies.

Speaker 3 (54:45):
Yeah, yeah, I mean I don't get it. But you
can be whatever you want. But however, aren't plushies lesbians.

Speaker 1 (54:53):
I'm not sure it can be anything.

Speaker 3 (54:56):
But I went to Plushy Night accidentally once in the
Eagle and Baltimore and it was mostly lesbians and thought
I didn't know.

Speaker 1 (55:02):
That, huh, and and plushies are different from furries.

Speaker 3 (55:06):
No, I think it's the same.

Speaker 1 (55:07):
It's the same. I just I don't want.

Speaker 3 (55:09):
To get dressed up like a fucking stuffed animal and
have sex.

Speaker 1 (55:12):
It's too hot, it's so warm.

Speaker 2 (55:13):
Yeah, But then I think probably something else takes over
in the brain, that it's satisfying, where you don't think
about how it's hot, you only think about how it's satisfying.

Speaker 3 (55:22):
Maybe, yeah, maybe there's some things that lose me. Adult
babies when I see them and their fag hags are
called mommies and they nurse them, and you're sitting in
a bouncy chair at sixty weighing one hundred pounds. Lock
them up. I'm marching for them.

Speaker 1 (55:38):
No, no one's marching for them.

Speaker 3 (55:39):
Yeah. Some people are some people are right, babies not me.

Speaker 2 (55:45):
Well, have you watched them? Have you checked in on
I guess the closest thing to the chaos euphoria? Have
you watched any of Euphoria.

Speaker 3 (55:54):
I haven't, and I'm I should.

Speaker 2 (55:56):
You're fine, You're fine, but we're dealing with adult baby stuff.

Speaker 1 (56:00):
Funny for IT season.

Speaker 3 (56:01):
I read all about the shows.

Speaker 2 (56:02):
That I do the same thing, and I'll check in
on clips and I'll be like, Okay, this is what's happening.
But there was some there was some scene last night
in Euphoria where I was watching it for a second
and then I was like, this kind of feels like
a darn Waters movie. It's like, you know, Jacob Alloid
getting the shit kicked out of him by the by
the mob, and Sydney Sweeney has a bloody nose, just
her huge tits in her wedding gown, just like sobbing,

(56:23):
like what's happening? And I'm like, there's something here.

Speaker 1 (56:27):
Spiritually, I feel like one of your movies.

Speaker 3 (56:29):
I guess. But were you laughing?

Speaker 2 (56:33):
I was laughing because I wasn't laugh I didn't have
it in context. I don't know if I'm supposed to
be laughing at home. I don't know what I'm supposed
to feel anymore watching the show, which I think is
an issue.

Speaker 3 (56:41):
Maybe people are talking about it.

Speaker 1 (56:43):
I think you're probably right, I think it's time. It's time.

Speaker 2 (56:48):
Okay, so this is what else must be on your
on your board.

Speaker 3 (56:51):
There we're going to I don't think homework.

Speaker 2 (56:54):
Oh yeahular thing. See I hate being a podcast that
gives homework, but it.

Speaker 1 (56:57):
Is fun homework. You know what I mean at homework?

Speaker 3 (57:00):
Yeah, so this is you give it and they don't prepare.

Speaker 1 (57:03):
It happens all the time.

Speaker 3 (57:04):
Who did the worst?

Speaker 1 (57:06):
The worst?

Speaker 2 (57:06):
I don't think twenty ever probably using we we we
bomb every week?

Speaker 1 (57:11):
You really do.

Speaker 2 (57:12):
I don't think that's true. And well, now I watch
an I bomb, No, watch an eye bomb. Anyway, this
is I don't think so, honey, it's gonna be a
one minute segment. It's gonna bomb, or it's gonna not.

Speaker 3 (57:23):
It's gonna do it is one minute? Do you mean
not to talk fast like the ads of the side
effects at the end of her drug add on the radio?

Speaker 2 (57:29):
You know, don't feel pressure to do that, but if
you could. Yeah, well we're gonna we're gonna model it
for you first and then you're gonna.

Speaker 1 (57:38):
It's fine. All right.

Speaker 2 (57:40):
So I do have something. It's been a struggle. I've
been have this on the brain for a while and
I feel like I actually haven't taken to the mic
on this. So this is a good opportunity.

Speaker 1 (57:49):
We go, we're breaking your ground. This is Matt Rodgers.
I don't think so many as time starts.

Speaker 2 (57:52):
Now, I don't think so honey, you can't buy any
medication you want at the CVS because it's under the
behind the fucking lock box. Get I need musin XT
so it cannot work on me. By the way, Also,
I don't think so money use Next, they said there's
meth in this fuck off? Like is that why it's
behind the glass Because there's meth in it?

Speaker 1 (58:11):
Maketh?

Speaker 2 (58:12):
Okay, that's ridiculous because I'm taking it. It's not even
helping me get not sick. It's not gonna create meth.
I every time I'm in the CVS of the well
Greens have to ring the fucking bell. They take their
sweet time getting over here. Now, you can't even get toothpaste?
Can you make meth from toothpaste? Because you would think
I am really having a hard time when I go

(58:32):
into any store and I'm like, why can't I get this? Oh?
Because if the wrong person came in here and got it,
they're gonna create meth with it. I don't think so, honey.
By the way, I've been not sick for two weeks,
but having whatever's going on here for two weeks musin XD,
I guess I have to increase the myth in there
because it's not working on me. Clarendon, is there enough
myth in that I can't get enough myth to get

(58:53):
me not sick? I don't think so, honey.

Speaker 1 (58:55):
Just let me have the fucking medication that I need.
And that's one plush.

Speaker 3 (58:59):
You have to check out yourself, This is what I'm saying, like.

Speaker 2 (59:04):
I need your help to come get me the product,
and then you're of no help when I'm checking out.

Speaker 1 (59:09):
Damn.

Speaker 3 (59:10):
And they act.

Speaker 1 (59:10):
Man.

Speaker 3 (59:10):
I thought, if if I didn't act, you won't have
a job. You should be glad of it.

Speaker 2 (59:15):
By the way, there's only three people working in there
at any given time, so this is the battle of
the machines.

Speaker 1 (59:21):
Ever done meth?

Speaker 3 (59:24):
Maybe not. I did shots diet pills once, though.

Speaker 2 (59:30):
How did that?

Speaker 3 (59:32):
It was horrible? Big black bubble?

Speaker 1 (59:34):
Oh my god, I tried.

Speaker 3 (59:36):
I did crazy Ship when I was young, but I
never got into it that much. I never liked shooting up.
It was like but I had good veins.

Speaker 2 (59:42):
He did meth one time on accident.

Speaker 3 (59:45):
I did almost everything else when I stopped taking drugs.
Was ecstasy, a drug that makes you love everybody. That's
not a high for me. See, I love it, hate it.

Speaker 1 (59:56):
You would hate it.

Speaker 3 (59:57):
In a cuddle pile? Can you picture me in one?

Speaker 2 (59:59):
No, don't stay from ketemine.

Speaker 3 (01:00:01):
Then, oh I wouldn't do that one either.

Speaker 1 (01:00:03):
No, it's fat.

Speaker 2 (01:00:05):
Yeah, yeah, well the ketamine that will get you barnacling
on someone that you're like.

Speaker 1 (01:00:10):
I don't even like you that much. It's what you
gotta do. You ready, I'm ready? Okay, my phone? Oh no,
I have my own phone for it. All right?

Speaker 2 (01:00:19):
So this will be Bowen Yang's. I don't think so, honey.
And get this if I can get my thing up,
where's my where is he it? This is Bowen Yangs.
I don't think so, honey. As time starts now, I
don't think.

Speaker 1 (01:00:30):
So, honey. The distance between the beach and the main
Dragon Province town. This is why I will always still
gravitate towards Fire Island, despite the despite the way it
changes ear to year, despite the the crowds. You never
know where you're gonna get. Peet Town represents wonderful stability
and wonderful community, and yet if you want a sun

(01:00:53):
bathe in any sort of respectable fashion, you gotta go
to the public pool. I love a plublic pool, but
sometimes even that gets a little yes, I do, John Waters,
I don't love riding a bicycle, especially given my family
history with bicycles, three different generations of bike accidents. I'm
not going to chance it. There's a curse on the
on the Yang family. Uh So that's why I will

(01:01:15):
never really get it up in a sense to go
to the beach in Provincetown and you never know where
you're gonna get weather wise, and there's there's just ship
in the sand because people, the artists and residents are
taking dumps and on the beach. I'm just gonna I'm
just assuming that's what's happening. But I feel like that
is that's that's the main sort of obstacle I have
with Peetown.

Speaker 2 (01:01:36):
And that's one minute. Why don't you just go to
the small beach on Commercial.

Speaker 3 (01:01:39):
Right on the bay beach is right there.

Speaker 1 (01:01:42):
That doesn't count.

Speaker 3 (01:01:44):
Beach where you have to walk across the dunes with
all the bicycles and all that.

Speaker 1 (01:01:48):
That is like a real beach to me.

Speaker 3 (01:01:49):
Well that's because people were having sex.

Speaker 1 (01:01:51):
But I don't even that's even the appeal.

Speaker 2 (01:01:54):
You get a real beach, are people having sex on it?
I'm not doing that at the Baby Beach.

Speaker 1 (01:01:58):
They're not doing that at the Bay Beach. But that's
I do. As I get older, love Petown more and
more over Fire Island.

Speaker 2 (01:02:05):
There's no way it can compete. First of all, in
Pezown you have restaurants, just that alone.

Speaker 1 (01:02:11):
Then you don't have restaurants. No, And well there's a couple,
there's a couple.

Speaker 2 (01:02:15):
I mean there's food. Yeah, there's not restaurants. Like if
you go to Cherry Grove you can get your restaurants.
That's which is where you'll you'll be when you go right.

Speaker 3 (01:02:24):
Both the youth you do both.

Speaker 1 (01:02:27):
It's nice, but you are not going anywhere near the Belvidere.

Speaker 3 (01:02:33):
I don't. I mean, I'll remember about place forever I've stayed.
There are a couple of times it was very very kind
of like Pink Narcissus.

Speaker 1 (01:02:42):
Yes, just I mean it is fantastic in that way
literally where it's it feels like you're in a fantasy.

Speaker 3 (01:02:49):
I don't think you'd love it, but I can you
picture me in the baths. I've never gone to the baths,
and like walking around a towel is not how I
do it.

Speaker 2 (01:02:56):
I feel you go dressed just like this.

Speaker 3 (01:02:58):
I would. Yeah, that was the problem.

Speaker 1 (01:03:01):
So what you're you? You can do whatever you want.

Speaker 3 (01:03:04):
But I'm trying to blend in in between Jews.

Speaker 1 (01:03:06):
That's right, that's right, All right, John.

Speaker 3 (01:03:10):
All right, are you ready, I'm gonna talk fast.

Speaker 1 (01:03:12):
Okay, this is John, this is John Waters. I don't
think so money as time starts now.

Speaker 3 (01:03:16):
I can't stand the way some people talk. I hate
it when actors use the word journey. That's not a
fucking journey, when in the Spirit Awards Escaping from Ukraine is.
I hate airlines when they say your flight is cousins
because of weather. There's always weather, you bad weather. Or
when the NPA say rated X for language. There's always language.
We talk about a silent film. I hate actions say

(01:03:36):
they're humble. We'll go down the SNM bar and get it,
shut up and get smacked around. I hate people say
surreal if you're talking about Dolly, all right, not some
boring thing in their daily Life. I hate it when
weathermen say wind child and heat indexcept bullshit words. I
hate when gay people say this is my lover, Who
are you, lady Chatterly? I hate it also when gay
people say to me, hey girl, but I don't know,

(01:03:56):
excuse me? Do I look like a girl? I guess
it's they all getting dressed this morning, and people say,
are you a top or a bottom? It's not a
political party. I'm independent. And worst of all, when people
say can I take your picture? No, my picture is
home with kool aid in it.

Speaker 2 (01:04:12):
One Oh thank god. That was just about modern life
and I love it. Fifty six seconds and and the
slapping down of the of the paper was the final
four we love picture.

Speaker 3 (01:04:30):
I hate I've heard newsmen say that, look at this picture.
Oh my god, you should be fired. You should be
People say that's a regional thing. No it's not, it's stupid.

Speaker 2 (01:04:39):
I was just I'm I'm an idiot at pizza. I'm
coming up to you. Oh my god, hey girl, it
is surreal to see you. Can we have a picture.

Speaker 3 (01:04:46):
I hate when people, oh god.

Speaker 1 (01:04:48):
It is real to see you girl.

Speaker 3 (01:04:50):
I need a picture, Hey girl too.

Speaker 1 (01:04:52):
Familiars, what how long? Would you have to know someone
for them to call you?

Speaker 3 (01:04:57):
Girl? Now? Do I look if I failed? Getting rested
us sir?

Speaker 1 (01:05:03):
Yeah, yeah, there you go, Hi king some.

Speaker 3 (01:05:08):
Better girl.

Speaker 1 (01:05:09):
Yeah, I guess so, I guess.

Speaker 3 (01:05:10):
Saddio, I've got some they call old people zaddyadi Zaddio
is interesting. I like chickens make good soup. That's my
friend Pat Moran when she dated an older man.

Speaker 1 (01:05:21):
Her mom said that old chickens make good soup. What
is that supposed to mean?

Speaker 3 (01:05:26):
Like, when you're old, young people go after you say,
old chickens make good soup.

Speaker 1 (01:05:29):
Yes, the soup come.

Speaker 2 (01:05:31):
No, it's just yeah, old chickens make good soup.

Speaker 1 (01:05:37):
I means you want to be around in their broth. Yeah,
that's interesting.

Speaker 3 (01:05:42):
I guess.

Speaker 1 (01:05:42):
Yeah, I guess. I guess. I guess old people do.
Old chickens make good stuff. He wants some old people soup?
Crazy cannibal ass?

Speaker 3 (01:05:54):
Yeah?

Speaker 1 (01:05:55):
Well. John Waters, the star of Kevin on Amazon Prime Stars.

Speaker 3 (01:06:00):
I'm not the start.

Speaker 1 (01:06:01):
I think the whoops, John Waters, any parting words of wisdom, I.

Speaker 3 (01:06:10):
Don't know that I would ever preach to anybody. I
want to hear your words, a wisdom of things that
would make me nervous if you're younger than.

Speaker 1 (01:06:17):
Me, are you prompting us right now? What would make
you nervous? Oh my god, hmmm, what would make you nervous?
It sounds like I think you should feel completely liberated
or whatever about talking about this, uh, this idea of

(01:06:38):
like political correctness. I feel like that's the thing that
that that makes everybody nervous. And yet I feel like
you have You've probably earned a place where you can
just sort of You've seen it all, You've done it all.
You've shocked everybody up and down. Like, I think, you
don't have to be nervous about any But I.

Speaker 3 (01:06:52):
Make fun of the rules that we live by, not
our parents. I make fun of the liberals rules. And
now there are more rules than my parents had.

Speaker 1 (01:06:59):
Oh, trust me, understand we do. We understand that completely.
I have a thing.

Speaker 2 (01:07:04):
Okay, So on every episode we end with a song,
So you're gonna do that this time. You're gonna end
this episode with the song.

Speaker 3 (01:07:17):
Hey, hey, set me free, stupid cupid, step fucking with me.

Speaker 1 (01:07:24):
Last Culture Racist is the production by Will Ferrell's Big
Money Players in iHeartRadio podcasts.

Speaker 2 (01:07:28):
Created and hosted by Matt Rogers and Bowen Yang executive
produced by Anna hasby A and produced by Becca Ramos,
Edited and mixed by Duck Babe, and our music

Speaker 1 (01:07:36):
Is by Henry Kamerski