October 13, 2025 • 26 mins
Phil and the crew are doing the show sitting on milk crates and cardboard boxes on 8th Ave in New York. Steve Bosell and Bobbie Dooley guest. Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hello, this is Margaret Gray from the world Famous Phil
Henry Show Backstage Pass. Much has been said, much has
been written about the backstage Pass. But until you get one,
until you've got one in your hot little.
Speaker 2 (00:12):
Hands, who are you? You're no one. You really don't.
Speaker 1 (00:16):
Understand the breadth, the depth, the width, and the sum
of Phil's great talent on The World Famous Phil Henry Show,
Backstage Pass Podcast, the Daily Podcast, the yearly subscription.
Speaker 2 (00:29):
Oh yeah, yeah, damn you pore my buccaneer drums, Margaret,
I beg your pardon. Sorry, The World Famous Phil Henry Show.
Get a subscription for thousands of hours of great radio
and digital content, The Radio Hall of Fame Show, and
Fill's Great Podcast, The World Famous Phil Henry Show. Get
(00:51):
it now for a month less than ten dollars a year,
less than seven dollars a month for the entire year.
It's the It's the greatest value online other than Horn.
Speaker 1 (01:03):
Nice one, Margaret, I'm sorry, but I had to make
that statement.
Speaker 2 (01:08):
Hey, welcome close to the world Famous Phil Henry Show
here from New York, and this is our first opportunity
to bring to you a new show because we've been
encoring here for the last two days. We've had four
shows in three days, and they've been fun, they've been exhilarating.
We've done them before, good audiences, sold out shows, and frankly,
(01:33):
I'm like, pretty beat, but not so beat as to
not be able to bring you our show today. Margaret
Gray is with me. Margaret, I wanted to interrupt, and
I'm AFUYSA.
Speaker 1 (01:43):
I know we're doing this from the streets of New
York and this is exciting, but I need I wanted
to ask Bud.
Speaker 2 (01:50):
There's a milk crate. Could you move the milk crate
over here? When we are sitting on the street here,
the microphone, the mic, the mic that Phil's using is
on a milk crate. There's two milk crates. Market's gonna
sit on one. Where am I sitting? Sit right there
on the steps of the of the building. So I'm
sitting on the steps of a building. Margaret's squatting on
(02:10):
a milk crate. I'm not squatting on she's sitting and
Phil's You're sitting on the steps of this building with
a milk crate. Yeah, so I think we've pretty much
established that we were using milk crates. Yeah, Well, I
was just I was gonna say, yeah, yeah, it is
the milk. It is the milk crate that we're using,
thank you very much. So what I wanted to avoid,
(02:30):
I Phil wanted to avoid. Can I do it, Margaret? No,
I think it's better than I do this.
Speaker 1 (02:35):
Phil wanted to avoid saying that we're sort of in
a sloppy broadcast situation right now. Given the fact that
we just left rehearsals here on forty seventh Street, we
made our way up to eighth Avenue, and it was
there that Phil decided I was a little bit tired.
Phil hasn't slept well, so we decided to just squat.
(02:55):
We're squatting. I'm sitting on a milk creep.
Speaker 2 (02:58):
It was great, you are squatting. I was squatting briefly, well,
I wasn't very feminine, and so we got Mark, we
put Margaret, we put a milk crate underneath her. Oh boy,
I'm sorry.
Speaker 1 (03:11):
Phil says, he's sorry, but he's laughing all the way.
He's been sitting here.
Speaker 2 (03:15):
Going no, well, yes I have, but you're the one
making the issue out of having a squad on a
milk crate. So and even now you're laughing. It is
funny for me to hear you talk. You're sitting on
a milk crate. I'm sorry, what do you want me
to do? But see if they can't borrow a chair
from that rest well, no, no, no, don't go into a
restaurant and ask him for a chair. So we're on
(03:35):
eighth Avenue here in New York, and we've had a
great time. Margaret, what would you say about the pitch?
Speaker 1 (03:40):
It's a great play and it has brought enthusiastic audiences
to the Actors Temple Theater on forty seventh A great cast,
of which Phil is just one part. Tom Alper is
the writer and the star, and Christine Blackburn is our producer.
Mike Keller the wonderful director.
Speaker 2 (03:58):
Mike's a great director, and and we've made a lot
of great friends. And the only reason why I don't
mention the entire cast is I don't remember everybody's bloody.
I know Saint, I know Grant Hill. I'm gonna just
buy memory. Okay, just try it my memory, Philip. You
miss someone, you can explain to them when you go
in for the next rehearsal. Gee, sorry, I forgot you.
You weren't that memorable. No, that's not the case. I
(04:19):
know we have Saint, we have Saint Grant Hill, Juy Russo,
Joe Lorenzo, of course, Tom Alper, and we have Kevin
Bartinier good friend. And we have Connor, Colleen, Megan Weburn.
We have Samue O'Connor. Sammy O'Connor, by the way, plays
the daughter. Yes, Sammy and Megan both Megan understudying Sammy's
(04:42):
role and Mario Corey, Julie Tran and Julie's a riot.
Speaker 1 (04:47):
Julie has a very distinct role in the in the play.
Speaker 2 (04:51):
Yeah, Julie is well. I don't want to say what
she does, but she's she's highlighted. Also Mark Johnson and
Chris Mosselo and and Megan and Chris and Saint are
all understudying. But it's it's a tremendous group of people.
Speaker 3 (05:07):
It is a fun cast and general you were noting, well,
I like everyone hangs out and you've got an espresso
place you're going to Phil and Mario he's always finding
new places.
Speaker 2 (05:18):
To eat, right, Yes, we found a number of new
places to eat, not that you know, I mean you're
not eating. Let's just tell everyone right now, Phil is
not eating. He's not eating. Well that's not true. Well, yes,
it is true.
Speaker 1 (05:32):
He's stopping up in Whole Foods buying bags of apples
and vegan cheese and Dave's bread.
Speaker 2 (05:38):
And that's about it. That's all we've seen him. That's
all you've seen him, it, Yead. I mean, it's like
you come from the Appalachians. Why don't you shut a fight?
Hold on, hold on for a minute, would you get it?
Are you comfortable, Margaret? The milk crate just collapsed again.
The milk crate just collapse. Get a cardboard box or
something we can sit on, will you? For God's sake, Chad,
(05:59):
is any We decided because the studio is not available
to us. I also know we'd have to walk another
five blocks to get back to my apartment, which you know,
it's pouring rain, so we had to get out of
the rain. And we decided to sit here. And we're,
you know, just reviewing the So we've had four great
perform What do you say they're great, Morgan? What the
(06:20):
performance is?
Speaker 1 (06:21):
Oh? Yes, yes, fantastic performances by the pitch cast. And
and I think that the audiences again have been enjoyed
it very very much. Phil is going to be giving
away tickets, right, all right, Well, here's what.
Speaker 2 (06:33):
We're gonna we're gonna do today. We have four pairs
of tickets to give away, four pairs of tickets to
give away before the sixteenth, Is that right? Or for
the sixteenth? I think yeah, the sixteenth will be our
opening date. What have you? If I'm getting it wrong,
please forgive me tom So the first four, So, the
first four people with today's phrase that pays Bud Dickman
(06:58):
may well be a Communist? Oh yeah, right, I just
it's just it's so, the first four people that send
in today's phrase that pays to service at Phil Henryshow
dot com. That's service at Phil Henryshow dot com, win
a pair of tickets each. Okay, today's phrase that pays
Bud Dickman may well be a Communist? Be one of
the first four to send it into service at Phil
(07:20):
Hendryshow dot com and win a pair of tickets to
the pitch for one of our forthcoming shows. And again
we're going to determine it's either for the sixteenth, guys
or one of the shows leading up to the sixteenth.
You know, you shouldn't have given away until you got
the information straight. Well you know what, men, I guess
I just blew it, Okay, General, I fell. I'm just
trying to help you out here, you know, I guess
(07:41):
I just I just butchered it out. Yeah you did?
Did I? Yeah? Because you need to be able to
do a Hi. This is all takeover. Thank you for
starting out. Don't push here, I mean, don't push me
on sitting on a milk crepe. This is Margaret Gray.
And as much as I love.
Speaker 1 (07:56):
Phil in respect, Phil, I think just parking our here's
my language, parking our asses on a street here in
New York. I'm sitting on a milk crate, and a
moment ago, I was having a squat with two my
feet shoulder length apart, squatting.
Speaker 2 (08:11):
That's only because we didn't I could not find the
right milk crate. Oh, you couldn't find the right milk crpe?
Phil was You're You're fine? You're laughing? Why because I'm
sitting on a step here, and me too, I don't
have a step to sit on. I had to squat.
You were squatting almost. Don't say it, Butter, You're gonna
die lickety split. Sorry, Margaret, Okay, Margaret, I get it.
(08:42):
Stop it, please stop it. Here in New York we've
seen a great many wonderful things. One of the things
about New York that I think is true. Let me
let me guess. The people are nice. You're gonna let
me say it. Well, what else were we gonna talk about? Sorry? Yes,
the people are nice. And we've encountered a great many
(09:03):
people with every manner of friendly bits of assistance. Not
that I've needed any. I mean, I know where I'm going,
and I know what I'm doing, but let's just pretend
like I didn't know. Let's pretend, for instance, that I'm
the general stumbling around he watch it, Pal, all right,
lots of people to help out. This is a theater town.
(09:23):
And not only is our play the pitch up on
stage and people are enjoy it. It's a lot of
plays and to tell us a little bit more about
that the city that Margaret, you know New York very well,
and you've been on stage here yourself. Here's Margaret Gray.
Thank you, Phil.
Speaker 1 (09:40):
Here in New York, I did understudy Load Winston for Cavalot,
and I know yeah you too.
Speaker 2 (09:47):
Pal, did you see that. Yeah, he flipped it off.
Someone just flipped me off. Hey, hold on, Margaret, No,
hold on, hey you Margaret's flipping this guy up. Is
that a cab driver? Yeah, yeah, yeah, the time, day
or night.
Speaker 4 (10:03):
Phill's laughing now, of course I am goody as I
was saying, Lord Winston was a great unsung hero of
the Broadway stage.
Speaker 1 (10:15):
He was performing as Gwenevere in Camelot, and this is
under the I think one of the more popular productions
of Camelot in the nineteen eighties and seventies. I understudied her, and.
Speaker 2 (10:28):
A lot of people have never heard in the hold
on now, a lot of people never heard of load Winston. No,
a lot of people have not heard of Load Winston.
People in the know, people in theater, people on Broadway,
people who are familiar with Camelot, they know Load Winston.
It still never not know Load Winston. The name echoes
through time. So just Margaret, I'm not being disrespectful.
Speaker 1 (10:49):
I know that till but a lot of people have
been the other areas of Broadway that are worth noting
the long standing production So Broadway is a place of
great I think magic and the different plays that have
been in production obviously on the stage. Here, let's talk
a little bit about one that I also know, Brigadoon.
(11:12):
Brigadoon was a play that first was mounted. And I've
never really liked that term, right, you know, why not
because I don't like the idea every time I say
something was mounted. I got this guy here, that one
over there, Mark, we haven't said a thing, not yet.
Brigadoon was mounted. You want to say something? No man
(11:32):
in the late nineteen forties here on Broadway and has
often on been a tremendous success. Brigadoon a story of
two men golfing who get lost during their golf game
in a magical land called Brigadoon.
Speaker 2 (11:47):
They're golfing. Yeah, they're golfing. What about it? I thought,
I'm sorry, I thought they were hunting. No, they're golfing. Okay,
there were golfing and a guy hits a shot. Again
I understanding.
Speaker 5 (11:58):
The guy hit a shot way into the wood, and
they went in the woods and there was They're in dune.
Speaker 2 (12:03):
They landed in dune. Huh not doone bring a doon? Yeah, yeah, bringadoo.
Speaker 1 (12:09):
And it's a magical thing. And I understudied Hooper Gondan.
Speaker 2 (12:14):
Uh, who don't do it? Phil? All right, I'm sorry
you don't because you're not familiar with the great Broadway
actors and actresses. Don't mean, doesn't mean you sit there
and go Who this is Gray? You said? Don't mean?
I corrected myself.
Speaker 1 (12:30):
God, I want to kill I'm Margaret Gray, and as
loyal as I've been and as professional as I've been
with Phil down to the years, he's got me squatting
on a milk crate on a sidewalk on Eighth Avenue
in New York.
Speaker 6 (12:41):
Yeah, yeah, goodbye, Margaret coman go see later.
Speaker 2 (12:53):
All right, So we just lost Margaret Gray. She's hoofing
very rapidly, hoofing it up Eighth Avenue. I guess she's
gonna make the hotel. Yeah. Her and Frank grew over
to Milton at the Milton? Where's that in New York? Okay? Sorry?
Another great treat, a great exciting surprise, I should say,
is the visit of my young step daughter, Catherine. I
(13:14):
say young. God. Catherine's now in her thirties. She's a
flight attendant for Alaska Airlines and was laying over in
New York at JFK. Came in from San Diego and
came over to see the play and it was great
seeing her. Then we went off and we had a
kind of a fun time over Christine and Tom's place. Oh,
(13:35):
you guys went over there. Christine busted out to Champagne.
It was great. Here's the thing about for me, and
I just want it for a moment, just take some time,
you know. I started out in radio, and that's really
all I ever wanted to do. I wanted to be
a radio performer. I wanted to take the magic and
what to me was the real draw of radio one
man sort of you like one man creating a movie.
(13:56):
You can create a movie as a single entity on radio,
or at least in the audio mediums, because you have
sound effects, you have the illusion of one or two
or three people, and you're in control of the creative effort.
And that's the thing that I really enjoyed about radio.
But as I kept going and understood the reality of
(14:18):
what I was doing, which was really creating characters and
that's a large part of being an actor, I thought
that's probably where I should be and so I, to
whatever great, to whatever success I had, went into acting
in television and we got jobs in a couple of movies,
but I really wanted to get serious about it. So
(14:38):
that's why I you know, that's why you joined a theater.
Speaker 1 (14:42):
You came back, Yes, I came back because I can
hear you guys floundering. That's why Phil joined the Theatre
West Theater Group in Los Angeles last year and this
year accepted the opportunity to audition for Tom's play Here
off Broadway.
Speaker 2 (14:55):
Yeah, and the things that I'm learning about it. What's
with you? Man? He's pretending like you're storing. I'm sorry,
Miss Henry. Yeah, Okay, if you don't like it, you
can split. Oh my god, I'm sitting here on a
milk crate. Well, if you don't like the milk crate,
but you don't have to be sitting on a milk crate,
you can take off. You're still here. Yeah, I want
to hear what you're gonna say. I was gonna say
that being here and doing this kind of work has
(15:19):
It's been probably more fun than I've had since I
first got into radio, because it's it seems to be
a medium that I really like and really enjoy and
agree with. We've met a lot of great people I
like the idea of working with an ensemble group of
people for an extending period time. We're gonna be here
until the end of November. Just about the end of November.
I shouldn't say the end of it. Maybe the third week.
Speaker 1 (15:41):
The play will close, I think on November seventeenth. Yees,
November seventeenth. Yes, you were talking to me about my experience.
Speaker 2 (15:47):
Well you got up and left, Margaret.
Speaker 1 (15:49):
I know I got up and left because I've been
squatting like some slob picking beans.
Speaker 2 (15:53):
Slob, is it? I'm sorry.
Speaker 1 (15:55):
I I did mean to say that, but Phil's had
me squatting here.
Speaker 2 (15:58):
It's almost like I shouldn't say it. Don't don't do it, Bud, please,
because I will bout you. Well, Margaret, it does look
like you're relieving yourself. What an asshole, Jesus not Damn Phil, Well,
that's what she's doing. We gave you a place to sit,
he calls it giving me a place to sit. They
pulled out what is this? It's a box? I found
a bucks you found huh, Yeah, you wanted to sit
(16:19):
on it. I don't like the way he says sit
on it. Phil Henry Show here from New York City.
We'll be right back our old Famous Phil Henry Show
at Phil Hendryshow dot com. The greatest value online other
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(16:41):
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(17:03):
your ears. The world Famous Phil Henry Show at Philinryshow
dot com. The greatest value online other than porn. From
New York City, It's the Phil Henry Show. As we
are back with you guys, and unfortunately we were not
able to make it back to the I say apartment hotel?
Would you say, I have Margaret? It's like a it's
a verboflat.
Speaker 1 (17:22):
Phil has an apartment up on fifty first Street, but
in a much more I.
Speaker 2 (17:27):
Would say, of elegant section, there's not so much. There's
a lot of people.
Speaker 1 (17:33):
Where Phil was sitting on the street and screaming at
nothing that was there. I would say, I'm not complaining,
but just a lot of people screaming at things that
weren't there.
Speaker 5 (17:43):
Yeah, I'm Margaret Dray.
Speaker 2 (17:49):
There he goes again. Oh man, here's an idea, Phil,
don't eat an apple while you're doing your show. Sorry.
Speaker 1 (17:58):
One of the fascinating things about her is obviously how
actors prepare offstage and what they're doing between scenes to
sort of sharpen their lines, sharpen the dialogue as well
as their character. And they do this with each other
and sort of in concentration. They're in the dressing room
(18:20):
thinking about their punt. When I went into the dressing room,
I was immediately thrown out because the guys, some of
them didn't have their pants on.
Speaker 2 (18:28):
And I apologize for that. Well it wasn't, but you
made a point to me. Hold on, I want to
just to pall. I did walk in on. Phil had
his pants off.
Speaker 1 (18:36):
Anyway, I've got it, Bud. But one thing that I
did see them doing before I turned and quickly left.
The guys were watching New York Jet highlights and checking
to see the NC two A football scores.
Speaker 2 (18:51):
So that's so much for Margaret. That's not fair. We
were doing it for but for two minutes. I know,
I'm just screwing around. In other words, they're human beings. Yes,
actors are human beings like we all are.
Speaker 1 (19:03):
But of course they're talking about the scenes and giving
each other great encouragement, which I was very happy to see.
Speaker 2 (19:09):
That's something that we do, and we did do encourage
each other because we can hear what's going on on stage.
We have a speaker down in the in the dressing room,
so we can hear cues, know when we're about to
go on and so forth. But you can also hear
the You can hear the actors on stage how well
they're executing, and the audience response, and we give each
(19:30):
other encouragement. It's great traveling with us or a few listeners,
one of them a long time a guest of ours
who is here in New York with his wife, April Junior,
and that is Steve Bozell. Steve, Steve, it's great to
see you Thank you, Steve. You had a great experience today. Well,
I did, April and I decided to stop for lunch
(19:51):
and a restaurant is a little bit down from your
hotel fill or your apartment building. It was called Milton
Bandini Soup Club and Milton Bandini Soup Club. Yeah, and
it attracted April and I because we're both very very
you know that we're big on because we're both very
very big soup fans. You're like mister Santos, he enjoys
the broths. Okay, that's nice. The well, he's just mentioning
(20:16):
that Jay Santos talks an off a lot about having
bean broth and so forth. No, I didn't see anything
about broth. We like soups. So there's a place called
Milton Vandini Soup Club. Yeah, Milton Bandini Soup Club. Now
the thing that had happened and I went in and shit,
a car just went by and you got sprayed. I
got sprayed. It's brown. You don't think it's no, it's
(20:38):
just I think it's just mud, Steve, because it looks
like something gotta dodo. Damn it. Can we get to
Let's wipe them down, wipe me down. Okay, April, let's fine. Yeah,
I got some mud. Yeah it's mud. It's not well,
it looked like it might have been some dog shit,
excuse my language. Step So, Milton Bandini Soup club. What
streets it on? I believe it was on fifty first
(20:59):
scene street is where you are. And it was delicious
because they had a variety of soups. But it and
it looked at So we walked in and the first
thing I did was I pulled a twenty dollars bill
out of my wallet because we're in New York City
and my understanding is if you put, you know, tip
(21:20):
tip the major d twenty dollars, you will get you'll
be seated in an area's what's you know? Yeah? Well
you know what I mean? Well, where did you want
to be seated? Well, in a play at a prime table?
Was it crowded? No, it pretty was actually empty, to
be honest with it was right after lunch. It was empty.
But you tipped the guy twenty bucks? Anyway, Yes I did.
(21:41):
Now you're starting to sound like my wife. There's no
need to tip. Well anyway, see, you tipped him, and
what I got, I tipped him twenty bucks and he went yes, sir,
you know, and he goes yes sir and no sir
and all that. But I still he still put us
at a table in the back near the kitchen. So well,
did you see didn't you say anything? No? Because I
April liked the table. It was right next to the
(22:02):
swing and do over the guy come out. Why did
she like that? Did she like it? Because the food
came out past her? Yeah? Pretty much. How was the
food where at Milton Oh oh, oh oh yeah, Milton Bandite,
Milton Bandini Soup Kitchen, Soup Club. It was very good.
I got a MINESTRONI April got the chicken noodle, and
(22:24):
I'll tell you it hit it out of the park.
We enjoyed it very much. And we also had They
also had wonderful baked breads. They had a dry rice
mix you could put into the soup if you wanted to.
They had and they had a selection assen which is
so I would recommend that to anybody once you're in
New York. Milton Bandini Soup Club. And on fifty first, well,
(22:45):
I don't know if it's actually on fifty I remember
walking down fifty first, but I suddenly I got so
fascinated with everything I was looking at, and I found
myself in another street. Well how did you get over there? Well,
April was leading me along just she had me by
the shirt. So April was pulling you by their shirt wherever? Yeah, okay,
so you don't know where that where it was? I
just came to and I was like, oh, yeah, what
(23:06):
do you mean you came to? I mean what I'm
saying is I was suddenly drawn back into a Well
where do you want to eat? Steve? And oh yeah, okay,
Well we can look it up anyway, budd you want
to Yeah, Milton Bandini soup clip, don't do it now, man,
we'll you know. Thank you very much, Steve. It's good
to see you. What's the matter, quay All? It doesn't
see you? Bobby and Steve Duley here in New York City. Bobby,
(23:28):
Hi Phil, Bobby. You have been with us in Florida.
You're here now in New York City. You guys are
heading back to California. Yeah, I got to go back later.
We're gonna I got it. I'll do it. I'll do
it this part, Steve and you can do the other.
Speaker 1 (23:38):
Yeah, we're going to be heading back to California tomorrow morning, because,
as you know, the school year is in full swing
and we want to get back to the boys and
to see how they're doing.
Speaker 2 (23:50):
How do you like New York, Bobby?
Speaker 1 (23:52):
I think New York City is fascinating. There's lots of
things to do, and there's lots of people. But walking
up on you right now, Margaret squatting on a milk crate.
Speaker 2 (24:07):
Okay, we had to cut all of that out. Thank you, Bobby.
We don't want to talk to you, Bobby. It's nothing
against you, is just we had to cut all of
that out. Oh my god, yeah we did the first
I'll tell you why, miss Dooley, because the first thing
you mentioned was Margaret squatting on a milkrate. Milk crate
reminding you of something talk much? Yeah, I talk every day,
(24:29):
mister Dooley. Thank you. This is General Galen Shaw. We
want to thank the Dooley's for that five second interview. No,
I'm just saying Duley, No, sir, I'm saying what's your mouth? Okay,
because when Bobby mentioned that Margaret was Margaret looked like
something when she was squatting on a milk crate. Can
we get her somewhere to suit. Get Bud, give up
(24:50):
your What are you doing? I'm sitting in a chair.
Give that to Margaret for God's sake. Oh sir, I
was wondering what he was doing. Where'd you find the chair?
Over it? Right? Ned dumpster? Oh? Oh god, Oh Jesus,
what's god? It's got? What's it covered in? Just pure
Put down a newspaper. Put the newspaper on it and
sit on it. Sit on what? Sit on the chair? Margaret?
(25:15):
Thank you, mister missus dooley. We got it from here.
So Margaret was squatting on a milk crate, meaning while
Bud's sitting in a chair. Oh good darn, there's Phil again, laughing.
What are you laughing with? Why didn't you give her
the chair that you're sitting in? Man, be a gentleman, Okay,
I forgot. I've been sitting here.
Speaker 1 (25:33):
Ladies and gentlemen, on my haunches. Have you ever seen
the way of catcher is in baseball? That's how I've
been sitting on this street in high heels.
Speaker 2 (25:41):
Yet. This is the world famous Phil Henry Show, Real.
Speaker 5 (25:46):
Famous Phil Henry Show, Executive produced by Phil Henry for
Sampury Incorporated, all rights reserved. On podcast one, this is
Bud Dickman speaking. I'm sorry that I made Miss Gray
squat squat in the street.
Speaker 2 (25:58):
I wasn't squatting in the street. Thank you, thank
Hello, this is Margaret Gray from the world Famous Phil
Henry Show Backstage Pass. Much has been said, much has
been written about the backstage Pass. But until you get one,
until you've got one in your hot little.
Speaker 2 (00:12):
Hands, who are you? You're no one. You really don't.
Speaker 1 (00:16):
Understand the breadth, the depth, the width, and the sum
of Phil's great talent on The World Famous Phil Henry Show,
Backstage Pass Podcast, the Daily Podcast, the yearly subscription.
Speaker 2 (00:29):
Oh yeah, yeah, damn you pore my buccaneer drums, Margaret,
I beg your pardon. Sorry, The World Famous Phil Henry Show.
Get a subscription for thousands of hours of great radio
and digital content, The Radio Hall of Fame Show, and
Fill's Great Podcast, The World Famous Phil Henry Show. Get
(00:51):
it now for a month less than ten dollars a year,
less than seven dollars a month for the entire year.
It's the It's the greatest value online other than Horn.
Speaker 1 (01:03):
Nice one, Margaret, I'm sorry, but I had to make
that statement.
Speaker 2 (01:08):
Hey, welcome close to the world Famous Phil Henry Show
here from New York, and this is our first opportunity
to bring to you a new show because we've been
encoring here for the last two days. We've had four
shows in three days, and they've been fun, they've been exhilarating.
We've done them before, good audiences, sold out shows, and frankly,
(01:33):
I'm like, pretty beat, but not so beat as to
not be able to bring you our show today. Margaret
Gray is with me. Margaret, I wanted to interrupt, and
I'm AFUYSA.
Speaker 1 (01:43):
I know we're doing this from the streets of New
York and this is exciting, but I need I wanted
to ask Bud.
Speaker 2 (01:50):
There's a milk crate. Could you move the milk crate
over here? When we are sitting on the street here,
the microphone, the mic, the mic that Phil's using is
on a milk crate. There's two milk crates. Market's gonna
sit on one. Where am I sitting? Sit right there
on the steps of the of the building. So I'm
sitting on the steps of a building. Margaret's squatting on
(02:10):
a milk crate. I'm not squatting on she's sitting and
Phil's You're sitting on the steps of this building with
a milk crate. Yeah, so I think we've pretty much
established that we were using milk crates. Yeah, Well, I
was just I was gonna say, yeah, yeah, it is
the milk. It is the milk crate that we're using,
thank you very much. So what I wanted to avoid,
(02:30):
I Phil wanted to avoid. Can I do it, Margaret? No,
I think it's better than I do this.
Speaker 1 (02:35):
Phil wanted to avoid saying that we're sort of in
a sloppy broadcast situation right now. Given the fact that
we just left rehearsals here on forty seventh Street, we
made our way up to eighth Avenue, and it was
there that Phil decided I was a little bit tired.
Phil hasn't slept well, so we decided to just squat.
(02:55):
We're squatting. I'm sitting on a milk creep.
Speaker 2 (02:58):
It was great, you are squatting. I was squatting briefly, well,
I wasn't very feminine, and so we got Mark, we
put Margaret, we put a milk crate underneath her. Oh boy,
I'm sorry.
Speaker 1 (03:11):
Phil says, he's sorry, but he's laughing all the way.
He's been sitting here.
Speaker 2 (03:15):
Going no, well, yes I have, but you're the one
making the issue out of having a squad on a
milk crate. So and even now you're laughing. It is
funny for me to hear you talk. You're sitting on
a milk crate. I'm sorry, what do you want me
to do? But see if they can't borrow a chair
from that rest well, no, no, no, don't go into a
restaurant and ask him for a chair. So we're on
(03:35):
eighth Avenue here in New York, and we've had a
great time. Margaret, what would you say about the pitch?
Speaker 1 (03:40):
It's a great play and it has brought enthusiastic audiences
to the Actors Temple Theater on forty seventh A great cast,
of which Phil is just one part. Tom Alper is
the writer and the star, and Christine Blackburn is our producer.
Mike Keller the wonderful director.
Speaker 2 (03:58):
Mike's a great director, and and we've made a lot
of great friends. And the only reason why I don't
mention the entire cast is I don't remember everybody's bloody.
I know Saint, I know Grant Hill. I'm gonna just
buy memory. Okay, just try it my memory, Philip. You
miss someone, you can explain to them when you go
in for the next rehearsal. Gee, sorry, I forgot you.
You weren't that memorable. No, that's not the case. I
(04:19):
know we have Saint, we have Saint Grant Hill, Juy Russo,
Joe Lorenzo, of course, Tom Alper, and we have Kevin
Bartinier good friend. And we have Connor, Colleen, Megan Weburn.
We have Samue O'Connor. Sammy O'Connor, by the way, plays
the daughter. Yes, Sammy and Megan both Megan understudying Sammy's
(04:42):
role and Mario Corey, Julie Tran and Julie's a riot.
Speaker 1 (04:47):
Julie has a very distinct role in the in the play.
Speaker 2 (04:51):
Yeah, Julie is well. I don't want to say what
she does, but she's she's highlighted. Also Mark Johnson and
Chris Mosselo and and Megan and Chris and Saint are
all understudying. But it's it's a tremendous group of people.
Speaker 3 (05:07):
It is a fun cast and general you were noting, well,
I like everyone hangs out and you've got an espresso
place you're going to Phil and Mario he's always finding
new places.
Speaker 2 (05:18):
To eat, right, Yes, we found a number of new
places to eat, not that you know, I mean you're
not eating. Let's just tell everyone right now, Phil is
not eating. He's not eating. Well that's not true. Well, yes,
it is true.
Speaker 1 (05:32):
He's stopping up in Whole Foods buying bags of apples
and vegan cheese and Dave's bread.
Speaker 2 (05:38):
And that's about it. That's all we've seen him. That's
all you've seen him, it, Yead. I mean, it's like
you come from the Appalachians. Why don't you shut a fight?
Hold on, hold on for a minute, would you get it?
Are you comfortable, Margaret? The milk crate just collapsed again.
The milk crate just collapse. Get a cardboard box or
something we can sit on, will you? For God's sake, Chad,
(05:59):
is any We decided because the studio is not available
to us. I also know we'd have to walk another
five blocks to get back to my apartment, which you know,
it's pouring rain, so we had to get out of
the rain. And we decided to sit here. And we're,
you know, just reviewing the So we've had four great
perform What do you say they're great, Morgan? What the
(06:20):
performance is?
Speaker 1 (06:21):
Oh? Yes, yes, fantastic performances by the pitch cast. And
and I think that the audiences again have been enjoyed
it very very much. Phil is going to be giving
away tickets, right, all right, Well, here's what.
Speaker 2 (06:33):
We're gonna we're gonna do today. We have four pairs
of tickets to give away, four pairs of tickets to
give away before the sixteenth, Is that right? Or for
the sixteenth? I think yeah, the sixteenth will be our
opening date. What have you? If I'm getting it wrong,
please forgive me tom So the first four, So, the
first four people with today's phrase that pays Bud Dickman
(06:58):
may well be a Communist? Oh yeah, right, I just
it's just it's so, the first four people that send
in today's phrase that pays to service at Phil Henryshow
dot com. That's service at Phil Henryshow dot com, win
a pair of tickets each. Okay, today's phrase that pays
Bud Dickman may well be a Communist? Be one of
the first four to send it into service at Phil
(07:20):
Hendryshow dot com and win a pair of tickets to
the pitch for one of our forthcoming shows. And again
we're going to determine it's either for the sixteenth, guys
or one of the shows leading up to the sixteenth.
You know, you shouldn't have given away until you got
the information straight. Well you know what, men, I guess
I just blew it, Okay, General, I fell. I'm just
trying to help you out here, you know, I guess
(07:41):
I just I just butchered it out. Yeah you did?
Did I? Yeah? Because you need to be able to
do a Hi. This is all takeover. Thank you for
starting out. Don't push here, I mean, don't push me
on sitting on a milk crepe. This is Margaret Gray.
And as much as I love.
Speaker 1 (07:56):
Phil in respect, Phil, I think just parking our here's
my language, parking our asses on a street here in
New York. I'm sitting on a milk crate, and a
moment ago, I was having a squat with two my
feet shoulder length apart, squatting.
Speaker 2 (08:11):
That's only because we didn't I could not find the
right milk crate. Oh, you couldn't find the right milk crpe?
Phil was You're You're fine? You're laughing? Why because I'm
sitting on a step here, and me too, I don't
have a step to sit on. I had to squat.
You were squatting almost. Don't say it, Butter, You're gonna
die lickety split. Sorry, Margaret, Okay, Margaret, I get it.
(08:42):
Stop it, please stop it. Here in New York we've
seen a great many wonderful things. One of the things
about New York that I think is true. Let me
let me guess. The people are nice. You're gonna let
me say it. Well, what else were we gonna talk about? Sorry? Yes,
the people are nice. And we've encountered a great many
(09:03):
people with every manner of friendly bits of assistance. Not
that I've needed any. I mean, I know where I'm going,
and I know what I'm doing, but let's just pretend
like I didn't know. Let's pretend, for instance, that I'm
the general stumbling around he watch it, Pal, all right,
lots of people to help out. This is a theater town.
(09:23):
And not only is our play the pitch up on
stage and people are enjoy it. It's a lot of
plays and to tell us a little bit more about
that the city that Margaret, you know New York very well,
and you've been on stage here yourself. Here's Margaret Gray.
Thank you, Phil.
Speaker 1 (09:40):
Here in New York, I did understudy Load Winston for Cavalot,
and I know yeah you too.
Speaker 2 (09:47):
Pal, did you see that. Yeah, he flipped it off.
Someone just flipped me off. Hey, hold on, Margaret, No,
hold on, hey you Margaret's flipping this guy up. Is
that a cab driver? Yeah, yeah, yeah, the time, day
or night.
Speaker 4 (10:03):
Phill's laughing now, of course I am goody as I
was saying, Lord Winston was a great unsung hero of
the Broadway stage.
Speaker 1 (10:15):
He was performing as Gwenevere in Camelot, and this is
under the I think one of the more popular productions
of Camelot in the nineteen eighties and seventies. I understudied her, and.
Speaker 2 (10:28):
A lot of people have never heard in the hold
on now, a lot of people never heard of load Winston. No,
a lot of people have not heard of Load Winston.
People in the know, people in theater, people on Broadway,
people who are familiar with Camelot, they know Load Winston.
It still never not know Load Winston. The name echoes
through time. So just Margaret, I'm not being disrespectful.
Speaker 1 (10:49):
I know that till but a lot of people have
been the other areas of Broadway that are worth noting
the long standing production So Broadway is a place of
great I think magic and the different plays that have
been in production obviously on the stage. Here, let's talk
a little bit about one that I also know, Brigadoon.
(11:12):
Brigadoon was a play that first was mounted. And I've
never really liked that term, right, you know, why not
because I don't like the idea every time I say
something was mounted. I got this guy here, that one
over there, Mark, we haven't said a thing, not yet.
Brigadoon was mounted. You want to say something? No man
(11:32):
in the late nineteen forties here on Broadway and has
often on been a tremendous success. Brigadoon a story of
two men golfing who get lost during their golf game
in a magical land called Brigadoon.
Speaker 2 (11:47):
They're golfing. Yeah, they're golfing. What about it? I thought,
I'm sorry, I thought they were hunting. No, they're golfing. Okay,
there were golfing and a guy hits a shot. Again
I understanding.
Speaker 5 (11:58):
The guy hit a shot way into the wood, and
they went in the woods and there was They're in dune.
Speaker 2 (12:03):
They landed in dune. Huh not doone bring a doon? Yeah, yeah, bringadoo.
Speaker 1 (12:09):
And it's a magical thing. And I understudied Hooper Gondan.
Speaker 2 (12:14):
Uh, who don't do it? Phil? All right, I'm sorry
you don't because you're not familiar with the great Broadway
actors and actresses. Don't mean, doesn't mean you sit there
and go Who this is Gray? You said? Don't mean?
I corrected myself.
Speaker 1 (12:30):
God, I want to kill I'm Margaret Gray, and as
loyal as I've been and as professional as I've been
with Phil down to the years, he's got me squatting
on a milk crate on a sidewalk on Eighth Avenue
in New York.
Speaker 6 (12:41):
Yeah, yeah, goodbye, Margaret coman go see later.
Speaker 2 (12:53):
All right, So we just lost Margaret Gray. She's hoofing
very rapidly, hoofing it up Eighth Avenue. I guess she's
gonna make the hotel. Yeah. Her and Frank grew over
to Milton at the Milton? Where's that in New York? Okay? Sorry?
Another great treat, a great exciting surprise, I should say,
is the visit of my young step daughter, Catherine. I
(13:14):
say young. God. Catherine's now in her thirties. She's a
flight attendant for Alaska Airlines and was laying over in
New York at JFK. Came in from San Diego and
came over to see the play and it was great
seeing her. Then we went off and we had a
kind of a fun time over Christine and Tom's place. Oh,
(13:35):
you guys went over there. Christine busted out to Champagne.
It was great. Here's the thing about for me, and
I just want it for a moment, just take some time,
you know. I started out in radio, and that's really
all I ever wanted to do. I wanted to be
a radio performer. I wanted to take the magic and
what to me was the real draw of radio one
man sort of you like one man creating a movie.
(13:56):
You can create a movie as a single entity on radio,
or at least in the audio mediums, because you have
sound effects, you have the illusion of one or two
or three people, and you're in control of the creative effort.
And that's the thing that I really enjoyed about radio.
But as I kept going and understood the reality of
(14:18):
what I was doing, which was really creating characters and
that's a large part of being an actor, I thought
that's probably where I should be and so I, to
whatever great, to whatever success I had, went into acting
in television and we got jobs in a couple of movies,
but I really wanted to get serious about it. So
(14:38):
that's why I you know, that's why you joined a theater.
Speaker 1 (14:42):
You came back, Yes, I came back because I can
hear you guys floundering. That's why Phil joined the Theatre
West Theater Group in Los Angeles last year and this
year accepted the opportunity to audition for Tom's play Here
off Broadway.
Speaker 2 (14:55):
Yeah, and the things that I'm learning about it. What's
with you? Man? He's pretending like you're storing. I'm sorry,
Miss Henry. Yeah, Okay, if you don't like it, you
can split. Oh my god, I'm sitting here on a
milk crate. Well, if you don't like the milk crate,
but you don't have to be sitting on a milk crate,
you can take off. You're still here. Yeah, I want
to hear what you're gonna say. I was gonna say
that being here and doing this kind of work has
(15:19):
It's been probably more fun than I've had since I
first got into radio, because it's it seems to be
a medium that I really like and really enjoy and
agree with. We've met a lot of great people I
like the idea of working with an ensemble group of
people for an extending period time. We're gonna be here
until the end of November. Just about the end of November.
I shouldn't say the end of it. Maybe the third week.
Speaker 1 (15:41):
The play will close, I think on November seventeenth. Yees,
November seventeenth. Yes, you were talking to me about my experience.
Speaker 2 (15:47):
Well you got up and left, Margaret.
Speaker 1 (15:49):
I know I got up and left because I've been
squatting like some slob picking beans.
Speaker 2 (15:53):
Slob, is it? I'm sorry.
Speaker 1 (15:55):
I I did mean to say that, but Phil's had
me squatting here.
Speaker 2 (15:58):
It's almost like I shouldn't say it. Don't don't do it, Bud, please,
because I will bout you. Well, Margaret, it does look
like you're relieving yourself. What an asshole, Jesus not Damn Phil, Well,
that's what she's doing. We gave you a place to sit,
he calls it giving me a place to sit. They
pulled out what is this? It's a box? I found
a bucks you found huh, Yeah, you wanted to sit
(16:19):
on it. I don't like the way he says sit
on it. Phil Henry Show here from New York City.
We'll be right back our old Famous Phil Henry Show
at Phil Hendryshow dot com. The greatest value online other
than porn. You want to have on your fingertips some
of the funniest radio and digital content that the world
has ever known. Get a backstage pass to the Phil
Henry Show. You do it at Phil Hendryshow dot com
(16:41):
for less than ten dollars a month or less than
seven dollars a month for an entire year. The world
Famous Phil Henry Show has thousands of hours of his
great radio Hall of Fame show, his great digital show,
great video casts and home movies. In fact, Phil has
videoed himself doing the show at varieties of times in
different places down through the years. It's home spooky, It'll
blow your mind, It'll blow your mind, clean out of
(17:03):
your ears. The world Famous Phil Henry Show at Philinryshow
dot com. The greatest value online other than porn. From
New York City, It's the Phil Henry Show. As we
are back with you guys, and unfortunately we were not
able to make it back to the I say apartment hotel?
Would you say, I have Margaret? It's like a it's
a verboflat.
Speaker 1 (17:22):
Phil has an apartment up on fifty first Street, but
in a much more I.
Speaker 2 (17:27):
Would say, of elegant section, there's not so much. There's
a lot of people.
Speaker 1 (17:33):
Where Phil was sitting on the street and screaming at
nothing that was there. I would say, I'm not complaining,
but just a lot of people screaming at things that
weren't there.
Speaker 5 (17:43):
Yeah, I'm Margaret Dray.
Speaker 2 (17:49):
There he goes again. Oh man, here's an idea, Phil,
don't eat an apple while you're doing your show. Sorry.
Speaker 1 (17:58):
One of the fascinating things about her is obviously how
actors prepare offstage and what they're doing between scenes to
sort of sharpen their lines, sharpen the dialogue as well
as their character. And they do this with each other
and sort of in concentration. They're in the dressing room
(18:20):
thinking about their punt. When I went into the dressing room,
I was immediately thrown out because the guys, some of
them didn't have their pants on.
Speaker 2 (18:28):
And I apologize for that. Well it wasn't, but you
made a point to me. Hold on, I want to
just to pall. I did walk in on. Phil had
his pants off.
Speaker 1 (18:36):
Anyway, I've got it, Bud. But one thing that I
did see them doing before I turned and quickly left.
The guys were watching New York Jet highlights and checking
to see the NC two A football scores.
Speaker 2 (18:51):
So that's so much for Margaret. That's not fair. We
were doing it for but for two minutes. I know,
I'm just screwing around. In other words, they're human beings. Yes,
actors are human beings like we all are.
Speaker 1 (19:03):
But of course they're talking about the scenes and giving
each other great encouragement, which I was very happy to see.
Speaker 2 (19:09):
That's something that we do, and we did do encourage
each other because we can hear what's going on on stage.
We have a speaker down in the in the dressing room,
so we can hear cues, know when we're about to
go on and so forth. But you can also hear
the You can hear the actors on stage how well
they're executing, and the audience response, and we give each
(19:30):
other encouragement. It's great traveling with us or a few listeners,
one of them a long time a guest of ours
who is here in New York with his wife, April Junior,
and that is Steve Bozell. Steve, Steve, it's great to
see you Thank you, Steve. You had a great experience today. Well,
I did, April and I decided to stop for lunch
(19:51):
and a restaurant is a little bit down from your
hotel fill or your apartment building. It was called Milton
Bandini Soup Club and Milton Bandini Soup Club. Yeah, and
it attracted April and I because we're both very very
you know that we're big on because we're both very
very big soup fans. You're like mister Santos, he enjoys
the broths. Okay, that's nice. The well, he's just mentioning
(20:16):
that Jay Santos talks an off a lot about having
bean broth and so forth. No, I didn't see anything
about broth. We like soups. So there's a place called
Milton Vandini Soup Club. Yeah, Milton Bandini Soup Club. Now
the thing that had happened and I went in and shit,
a car just went by and you got sprayed. I
got sprayed. It's brown. You don't think it's no, it's
(20:38):
just I think it's just mud, Steve, because it looks
like something gotta dodo. Damn it. Can we get to
Let's wipe them down, wipe me down. Okay, April, let's fine. Yeah,
I got some mud. Yeah it's mud. It's not well,
it looked like it might have been some dog shit,
excuse my language. Step So, Milton Bandini Soup club. What
streets it on? I believe it was on fifty first
(20:59):
scene street is where you are. And it was delicious
because they had a variety of soups. But it and
it looked at So we walked in and the first
thing I did was I pulled a twenty dollars bill
out of my wallet because we're in New York City
and my understanding is if you put, you know, tip
(21:20):
tip the major d twenty dollars, you will get you'll
be seated in an area's what's you know? Yeah? Well
you know what I mean? Well, where did you want
to be seated? Well, in a play at a prime table?
Was it crowded? No, it pretty was actually empty, to
be honest with it was right after lunch. It was empty.
But you tipped the guy twenty bucks? Anyway, Yes I did.
(21:41):
Now you're starting to sound like my wife. There's no
need to tip. Well anyway, see, you tipped him, and
what I got, I tipped him twenty bucks and he went yes, sir,
you know, and he goes yes sir and no sir
and all that. But I still he still put us
at a table in the back near the kitchen. So well,
did you see didn't you say anything? No? Because I
April liked the table. It was right next to the
(22:02):
swing and do over the guy come out. Why did
she like that? Did she like it? Because the food
came out past her? Yeah? Pretty much. How was the
food where at Milton Oh oh, oh oh yeah, Milton Bandite,
Milton Bandini Soup Kitchen, Soup Club. It was very good.
I got a MINESTRONI April got the chicken noodle, and
(22:24):
I'll tell you it hit it out of the park.
We enjoyed it very much. And we also had They
also had wonderful baked breads. They had a dry rice
mix you could put into the soup if you wanted to.
They had and they had a selection assen which is
so I would recommend that to anybody once you're in
New York. Milton Bandini Soup Club. And on fifty first, well,
(22:45):
I don't know if it's actually on fifty I remember
walking down fifty first, but I suddenly I got so
fascinated with everything I was looking at, and I found
myself in another street. Well how did you get over there? Well,
April was leading me along just she had me by
the shirt. So April was pulling you by their shirt wherever? Yeah, okay,
so you don't know where that where it was? I
just came to and I was like, oh, yeah, what
(23:06):
do you mean you came to? I mean what I'm
saying is I was suddenly drawn back into a Well
where do you want to eat? Steve? And oh yeah, okay,
Well we can look it up anyway, budd you want
to Yeah, Milton Bandini soup clip, don't do it now, man,
we'll you know. Thank you very much, Steve. It's good
to see you. What's the matter, quay All? It doesn't
see you? Bobby and Steve Duley here in New York City. Bobby,
(23:28):
Hi Phil, Bobby. You have been with us in Florida.
You're here now in New York City. You guys are
heading back to California. Yeah, I got to go back later.
We're gonna I got it. I'll do it. I'll do
it this part, Steve and you can do the other.
Speaker 1 (23:38):
Yeah, we're going to be heading back to California tomorrow morning, because,
as you know, the school year is in full swing
and we want to get back to the boys and
to see how they're doing.
Speaker 2 (23:50):
How do you like New York, Bobby?
Speaker 1 (23:52):
I think New York City is fascinating. There's lots of
things to do, and there's lots of people. But walking
up on you right now, Margaret squatting on a milk crate.
Speaker 2 (24:07):
Okay, we had to cut all of that out. Thank you, Bobby.
We don't want to talk to you, Bobby. It's nothing
against you, is just we had to cut all of
that out. Oh my god, yeah we did the first
I'll tell you why, miss Dooley, because the first thing
you mentioned was Margaret squatting on a milkrate. Milk crate
reminding you of something talk much? Yeah, I talk every day,
(24:29):
mister Dooley. Thank you. This is General Galen Shaw. We
want to thank the Dooley's for that five second interview. No,
I'm just saying Duley, No, sir, I'm saying what's your mouth? Okay,
because when Bobby mentioned that Margaret was Margaret looked like
something when she was squatting on a milk crate. Can
we get her somewhere to suit. Get Bud, give up
(24:50):
your What are you doing? I'm sitting in a chair.
Give that to Margaret for God's sake. Oh sir, I
was wondering what he was doing. Where'd you find the chair?
Over it? Right? Ned dumpster? Oh? Oh god, Oh Jesus,
what's god? It's got? What's it covered in? Just pure
Put down a newspaper. Put the newspaper on it and
sit on it. Sit on what? Sit on the chair? Margaret?
(25:15):
Thank you, mister missus dooley. We got it from here.
So Margaret was squatting on a milk crate, meaning while
Bud's sitting in a chair. Oh good darn, there's Phil again, laughing.
What are you laughing with? Why didn't you give her
the chair that you're sitting in? Man, be a gentleman, Okay,
I forgot. I've been sitting here.
Speaker 1 (25:33):
Ladies and gentlemen, on my haunches. Have you ever seen
the way of catcher is in baseball? That's how I've
been sitting on this street in high heels.
Speaker 2 (25:41):
Yet. This is the world famous Phil Henry Show, Real.
Speaker 5 (25:46):
Famous Phil Henry Show, Executive produced by Phil Henry for
Sampury Incorporated, all rights reserved. On podcast one, this is
Bud Dickman speaking. I'm sorry that I made Miss Gray
squat squat in the street.
Speaker 2 (25:58):
I wasn't squatting in the street. Thank you, thank
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