The Queernut Merkins

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Beck (00:00):
Welcome to Queernecks, the podcast that puts the
Yee Hall in y'all means hall.
I'm your host, Beck,

Dash (00:06):
and I'm your host.
Dash.
Welcome to today's episode.

Beck (00:09):
Um, I was checking email today,
and they said, uh, "Hello,
sweet professor."
And it was like,
" What?"
That's j- I've, I'vegotten some weird emails.
That one just took meoff, off guard a little

Dash (00:21):
I had never gotten one that weird.
I don't think I've ever actually gottenthe, the super, like, salutation.
Most of the time they, therewas no salutation, right?
They, they email you likethey're texting a friend.
So I guess that's a win

Beck (00:35):
Yeah.
My favorite is when you get an emailwith no subject, no name no information
about what class you have them in, anda generic question that could be any
of the classes that you're teaching.
You know?
Like, "When is the final?"
Like, that's something you could lookup on your own, number one, and number
two, it's literally in the syllabus.
Like

Dash (00:53):
I got some emails that, I don't know what happened.
For a while there when I wasteaching first time at EKU about
the UI for our email system,which w- I'm sure was Outlook, uh,
but way back in the day, right?
Like early, early Outlook.
something was going on wherethey would type the whole message
in the subject line because you

Beck (01:16):
Because if you could type,

Dash (01:17):
apparently a

Beck (01:18):
a lot of characters allowed in the subject line,
but you couldn't read the book.
Right.

Dash (01:23):
you know?
So, and I was like, it happened

Beck (01:26):
It happened multiple times.
Finally in class, I was like,"Can I show y'all something?"
Like, I took this thing in contextfrom a different, but I was like,

Dash (01:33):
"I'm getting

Beck (01:34):
"I'm getting this,

Dash (01:35):
does

Beck (01:35):
this does not-- it's not a communication that I can decode.
I can't-"

Dash (01:39):
even if I wanted to."

Beck (01:40):
I wanted

Dash (01:41):
But mostly it was them texting like, " Hey, are we having class tomorrow?"
I

Beck (01:46):
Yeah, exactly.
I have been known to cancel class10 minutes before it started
when something dire happens.
But, you know, i- otherwise I'm gonna letyou know well before it's time for class
that, that we're not having class today

Dash (01:59):
There are ve- very, very few circumstances in which you're
gonna be the first person I tellsomething to, but this is it.
This is the one

Beck (02:09):
God love 'em.

Dash (02:10):
Happy Pride Month

Beck (02:12):
I'm excited.
I'm excited for the tsunami of,"Where is straight pride month?"
And, uh, "What about the veterans?"
I'm excited to, to see all that

Dash (02:22):
Veterans who have, uh, two days that I can think of and a whole month?
Like, there is

Beck (02:28):
Yeah.

Dash (02:28):
Month.

Beck (02:29):
They, they get May and November.
Both of those are Veterans months

Dash (02:33):
Yeah.
There was a town, I think itwas in Kentucky might have
been Bowling Green, where theydeclared June nuclear family month.
Let me look that up real quick 'cause I,I feel like that was a, a homegrown…
Oh, it was Tennessee

Beck (02:50):
That still tracks.

Dash (02:51):
It does, don't it?

Beck (02:53):
Yeah.

Dash (02:53):
In, in
I'm, I'm happier about that.

Beck (02:56):
I'm going to Tennessee in August

Dash (02:58):
It, what,

Beck (02:59):
The, the Kn-

Dash (02:59):
good.
Look forward

Beck (03:00):
the Knoxville area.
Uh, my, my friends from collegefrom 150 years ago we were
all friends in the dorms.
We are getting togetherfor the first time.
They all came to mymom's when my mom died.
They gathered there for me.
But that's the last time we saw everyone.
And the time that we saw everybodybefore that was also at a funeral.
So it's time to get, have agathering that isn't a funeral

Dash (03:22):
Right.
That

Beck (03:24):
So,

Dash (03:24):
get a little off the older you

Beck (03:26):
y- yeah, it really does.
One of my, one of mygirlfriends, her her wife died.
It was during the pandemic, andwe all went to Chicago for that.
And then my mom died, and everybodyshowed up for me for that.
Like I've been to Chicago since then, andI've seen my friend Courtney on my own.
But it's been since mom died the, the, allthree of us, all four of us were together,

(03:48):
No, Tina has a pretty … Apparentlymy friend Tina lives in Knoxville.
She has a pretty big apartment.
She said she has room for everybody.
So we'll see.

Dash (03:56):
Nice.
It used to

Beck (03:57):
Yehaw.

Dash (04:00):
But yeah, anyway,

Beck (04:01):
Right

Dash (04:06):
It just tells you how stupid these folks are, and performative

Beck (04:09):
I have more and more students that are like, "Well, my two moms
blah, blah, blah," or, "My lesbianmoms this or that," or, "My two dads."
I have that pretty often.
It's, it's not even a rareoccurrence anymore, so

Dash (04:21):
Well, and this is more than anti-queer because it's also,
there's whiteness, like there ishegemonic whiteness in this idea
of, you know, the nuclear family.
It's often, like that rhetoric is oftentargeted at Black Americans because
of this stereotype that parents aren'tmarried or something like that, or

(04:42):
the fathers always leave or something.
And I'm not aware of anystatistics that show that that
is disproportionately higher in

Beck (04:50):
that comes from the Moynihan Report.
Do you know the Moynihan Report

Dash (04:53):
I

Beck (04:54):
Um, There's a sociologist who, he studied Black families, uh, supposedly,
and he came out with this paper thatbasically said, he basically blamed
single mothers for the plight of BlackAmerica, saying that there were no
fathers and blah, blah, blah, blah, blah.
So that's where a lotof that fuel came from

Dash (05:13):
Okay.
I just brought that up.
I'm gonna read it later.
this isn't, uh, gonna be affirmingof straight people, right?
it's, it's not about,it's not straight pride.
There's something, there's an addedlayer of normativity to something
like nuclear, it's that birth,that obsession they all have with
babies, that they, they're freakingout right now that nobody's having

Beck (05:36):
Having babies, the population is dropping.

Dash (05:39):
basically

Beck (05:39):
They are

Dash (05:40):
longer

Beck (05:40):
no longer procreating.
It's like

Dash (05:42):
when I

Beck (05:43):
when I think that, my first instinct is:

Dash (05:45):
we

Beck (05:45):
Are we okay?
Like,

Dash (05:47):
you know

Beck (05:47):
do you know how much people want to have babies?
Yeah.

Dash (05:51):
their minds for babies.
If they're not having themright now, something's wrong.
Then those people aren't able to takecare of themselves, and they know
that, and so they're not having babies.
It also

Beck (06:01):
Also, people are concerned

Dash (06:02):
that they're not having

Beck (06:02):
not having relationships,

Dash (06:04):
which is

Beck (06:04):
is really interesting to me because,

Dash (06:06):
they're,

Beck (06:06):
like, they're single

Dash (06:08):
they're no

Beck (06:08):
They're no longer weird.

Dash (06:09):
P-

Beck (06:10):
Like, some people aren't having kids only,

Dash (06:12):
staying

Beck (06:13):
also staying single We don't have as many social opportunities anymore.
Uh, people don't go out and do things.
We just sit at home and doom scroll

Dash (06:20):
all of our time is spent in survival mode,

Beck (06:23):
Yeah

Dash (06:23):
w- w- working two jobs in, in this economy.
Like The, the median incomein the US right now is
somewhere in the 50s, I think.
It's 83,000.
Wait, so that's a dual, that'sa dual income household.
Okay

Beck (06:42):
Ah.
That makes more sense

Dash (06:44):
individual workers, the median annual earnings are about 51,000 For
a family, between like 83 and 100.
A family.
So, you know, I'm, I'm about in that,like, that range for individual worker.

Beck (06:59):
worker

Dash (07:00):
can barely

Beck (07:00):
can barely afford to live

Dash (07:02):
because I

Beck (07:02):
because I live alone.
I'm not gonna it's not, it's not like

Dash (07:06):
one

Beck (07:07):
I really am the one that wants people in the house doing

Dash (07:10):
certain

Beck (07:11):
certain things.
But like the idea is that if we both

Dash (07:14):
full

Beck (07:15):
work that would come to more than what you both could do Right.

Dash (07:20):
Anyway, not the case anymore

Beck (07:23):
Yeah, Shannon and I both work full-time and we
barely, you know what I mean?
We barely cover expensive.
Like, she got paid today, and we weredown to, like, $200 in our checking
account, which is way better thanwe've ever had it, so that's something.
But on the other hand, that's allwe have left over We've gotta save.
We've just got to save.
I took on an extra class on myonline, on my online teaching, uh,

(07:46):
for the rest of the summer, uh, inan effort to save up some money.

Dash (07:50):
Poverty is engineered

Beck (07:51):
Poverty is expensive

Dash (07:53):
I googled how to start an OnlyFans the other day

Beck (07:57):
you, is all I can say.

Dash (07:58):
I'm not gonna do it.
I just had this sudden flight of fancy.
I was listening to a podcastprobably that mentioned it.
No, that is not gonna happen.

Beck (08:08):
there's a market I think for both of us.
Um, a plus size lesbian, like there'splenty of fetishists out there that
would be down for some of my underwear.
And listeners, if that'syou, like let me know.

Dash (08:20):
Right?

Beck (08:22):
Hit a girl up.

Dash (08:24):
we're, we're a solid market, not even a niche market, you know?
Like, that's, I don't know who saidit, I wish I could remember, but I
r- somebody one time s- they weretalking about identity and it was, I
think it was a comedian or a sketchor something, and they said, uh, "Are
you a, a cis straight white man, orare you one of the porn categories?"

(08:44):
' if there is just one pieceof you that is a marginalized
identity, it's somebody's fetish
so yeah, that, I guess thatsegues us into the Foxy Merkins.
What a time.
I
night.
You watched it several days ago, right?

Beck (09:03):
Yes.
Let me get my notes so that I havethem here 'cause I take notes now.

Dash (09:08):
Oh

Beck (09:09):
the first thing I, wanna talk about is how the main character, Margaret,
looks like me, like in, in a lot of ways
So I think that gives me someperspective here, because I pride
myself in being the kind of womanthat no man wants to fuck, right?
I pride myself on that.
Like, the, with my, with my no makeup,with my, with my fat ass, with my, my

(09:34):
clothing choices, with my haircut choices.
I am like the anti-woman, you know?
Um, and so is she, yet she is stillobjectified standing outside of that
Talbots, you know, ev- by women,which is the, the ironic part.
Um, but the fact that she is beingtreated as a sex object when she
is everything but in our culture,I found that really interesting

Dash (09:57):
There are several moments throughout the film where that is complicated super
interesting ways, and I took note of them.
'Cause one of the things about thismovie is it was kind of set out
to not really be about anything.
a Seinfeld type of queer dry comedy.
It's…
There's not even reallya plot, the story, right?

(10:18):
It's director, Olnek, and the twoleads, Lisa Haas and Jackie Moynihan,
I think, they all co-wrote ittogether, which is, you can tell.
Like, oh yeah, this waswritten by multiple people.
It's, you know, all over theplace, and that's fine, right?
'Cause the goal was,like, it's essentially

Beck (10:36):
a Ko-Fi.

Dash (10:37):
a s- it'll be a, a

Beck (10:38):
Yeah, a Ko-Fi

Dash (10:40):
some sketch of a thing, and then another montage, and then suddenly
we're in the next part of the story.
And o- often they don't eventell us how we got there.
Many times I was like, "Wait, what?
Who, who is this?"
So they didn't set out

Beck (10:53):
They didn't set out to make a good movie, and they didn't set out to make

Dash (10:56):
that spoke to any, like, deeper issues.
In fact, the director saidshe wanted to avoid that,

Beck (11:04):
Avoid that.

Dash (11:04):
you can't.
don't care how

Beck (11:06):
I don't care how hard you

Dash (11:08):
to be like, "There's no politics," and to be fair, she didn't say that.
Like, that wasn't the way she phrased it.
Everything you do is political.
So, like, there are still moments in

Beck (11:16):
Still moments in here where really little stuff is

Dash (11:21):
just basket case of a

Beck (11:23):
brutality out of the middle of nowhere

Dash (11:26):
randomly, and, uh, Margaret's gender presentation is one of those things.
It, it brings up a couple of points.
So we have, our two leadcharacters are Margaret and Jo.
Margaret is a, she's very short.
Like, Jo towers over her, and I don'tthink Jackie Moynahan is, like, super
tall, so she's extremely, short.

(11:46):
She wears, she is, I, like, just thetypical, I think, like, butch lesbian.
Like, her outfits, very first onewe see her in is a black T-shirt.

Beck (11:58):
V Neck.

Dash (11:59):
V-neck?

Beck (11:59):
Yeah

Dash (12:00):
I didn't, I didn't notice that.
She's got her black fucking horn-rimglasses like you wear, the lesbian
special, and carpenter pants.
Did you notice her bluejeans were carpenter

Beck (12:13):
I have owned many of them, and her jorts.
She had jorts on in one scene too.
You have … I've had manya pair of carpenter pants.

Dash (12:21):
Yeah.
I have, uh, my emotionalsupport, uh, carpenter pants.
They're two sizes too big, andI was literally wearing jorts
while watching this movie.
So like, that aestheticdoesn't go anywhere, you know?
To me it didn't.
A lot of, and a lot of transguys keep it, actually.
A lot of trans guys are like,"I'm not changing my wardrobe.

(12:42):
I was already dressingfor the job I wanted.
I just went ahead andfinished the job with the

Beck (12:47):
Yehaw Yeah.
I dress like a trans dude, I guess,'cause I wear nothing but men's clothing.
Yeah.
And it's, and I'm not tryingto be masculine though.
That's just what fits myparticular body and my aesthetic.
And there's pockets, 'cause heavenforbid you give a woman a pocket.
Yeah.
I, but I stick to the basics.
I, I do a lot of solid, solidcolors, a lot of V-neck sweaters,

(13:10):
V-neck T-shirts, that kind of thing.
Um, Simple pants, a lot ofblack pants, a lot of khakis.
I don't even own a pair of jeansanymore 'cause I, I'm always … 'cause
I dress up every day, and then Icome home and put on my play clothes.
It's like coming home fromschool and putting on your, your,
uh, your after-school clothes.
So I've got sweatpants and, andreal clothes, and nothing in between

Dash (13:29):
Yeah, I, I had that exact same experience about getting,
like, a real big-kid job.
It's like, "What's the restof my clothes for then?

Beck (13:36):
Yeah

Dash (13:37):
guess I can just get rid of them."
So yeah, it's Margaret, and we see herfirst just standing outside of a building,
and she, creates an, uh, an image.
Like, she signifies something

Beck (13:47):
something.

Dash (13:48):
And her

Beck (13:48):
And her hair too, like it is a very specific

Dash (13:51):
kind of

Beck (13:52):
kind of haircut.
It's not just short.
It's

Dash (13:55):
not

Beck (13:55):
not stylish,

Dash (13:56):
She's got, like,

Beck (13:57):
It's got like this,

Dash (13:58):
this side

Beck (13:58):
side part thing going on.

Dash (14:00):
poofy.

Beck (14:01):
poofy,

Dash (14:01):
clearly

Beck (14:02):
clearly doesn't comb it.
Like, you

Dash (14:04):
got the same

Beck (14:04):
know there's nothing hair, but no, you get like
there a cut, a good cut, and you

Dash (14:09):
comb it and

Beck (14:10):
comb it stylishly.
There have been many a day in my lifethat when I didn't have money for regular
haircuts, that I was like, I was wearingheadbands at one point, my hair got so
long, like just to keep it out of my eyes.
So I have been there.
And she clearly didn't have a lot ofmoney, so like that's where she is.

Dash (14:27):
That's
Cause that T-shirt she'swearing, it's got a hole in it.
and shoes are really old andshe's clearly not somebody,
uh, who has a lot of resources.
So we live in a, I guess a, I don't thinkthis universe is real, but we live in
this, like, fantasy world where there arelesbian hookers all over New York, and

(14:50):
upper middle class business women They

Beck (14:52):
Right.
They know that.

Dash (14:53):
can, will go up

Beck (14:54):
We'll go up and,

Dash (14:55):
them

Beck (14:55):
and solicit intersection and things like that.
One of the craziest things aboutthis, that these transactions

Dash (15:02):
happening

Beck (15:02):
are happening in broad daylight.
They're like on their lunch break.
Right.

Dash (15:06):
business they work in

Beck (15:07):
The advertising agency, 'cause that's always what women do

Dash (15:10):
Yeah.
But this first woman thatMargaret, that solicits Margaret,
serves, uh, a couple purposes.
One, we learn that Margaret isvery new at trying to do this kind
of work, she's terrible at it.
And the woman, she's theone who has the fetish

Beck (15:27):
fetish about over-pennying conservators

Dash (15:36):
There's so many moments where I stop and I'm like, "What is that about?
What does that mean?"

Beck (15:41):
Uh, there were s- I got some lines written down from the
beginning of it when she's like,"Are you a women's studies major?"
That made me, like, cackle out loud.

Dash (15:48):
That w- s- yeah, and so th- and that's the next scene.
Like, after Margaret, she's tryingto negotiate this, with this woman
who wants to overpay her for sex,but the cops come, so she runs away.
She doesn't get to close that deal.
And then she g- heads over to adiner, and she meets a woman standing
outside, she's asking coded questions.
She's like, " Uh, h- uh,d- have you eaten here?

(16:10):
Is it, you know, is it a good place?"
or whatever, and the woman's like, "Yeah."
And she goes, "So how long are you allowedto sit in there without ordering anything?
Say, four hours maybe?"
And the woman is like, "Are you homeless?"
And it turns out that's whobecomes Margaret's kind of like
compatriot for the rest of the film.
are very, very different,

Beck (16:28):
I love how y- I love how they introduced her, when she comes
rolling out from under the sink.
That was, like, one of the, funniermoments she had in the movie

Dash (16:36):
I laugh out loud at that.

Beck (16:37):
Yeah.

Dash (16:38):
but that, we, they also don't tell us how we got there.
So

Beck (16:40):
Yeah

Dash (16:41):
we…
W- and it's, that's fine.
It's, you know, it's interestingthat it went that way.
But so they go in and sit down,and Jo is kind of like, " Uh,
so are you new at this?
Are you in the same line of work as me?"
And they're both talking aboutthe fact that they're hookers.
At what point did you

Beck (16:58):
What point did she realize Wenda fell for him?
I don't think I did.
That's not a note that I made here

Dash (17:04):
It doesn't come up until much later in the movie.
Like her gender presentation is different.
She's, she's classically feminine.
You know, she has long hairthat she styles feminine.
She wears dresses.
Very stylish or she's stylized.
I don't know if it's stylish, thatstupid hat she wears all the time.
she's ve- she's very f-feminine presenting, like
classically feminine presenting.

Beck (17:25):
Right

Dash (17:25):
decides she's gonna, she's gonna t- teach Margaret how to be a better hooker.
So this is kinda how they, theirrelationship starts And then I'm
pretty sure it's the next sceneThere, we cut to the bathroom.
It's the Port Authority in New York,and this scene is so funny to me.
This

Beck (17:42):
Ko-Fi

Dash (17:45):
it's just shot from the doorway.
It's a st- a s- a camera, it's sittingstill, and we're shooting you know,
NPCs and going from the stalls, toiletsflushing, the sound of hands washing.
Multiple times we see this, and thenit kinda clears out, and then suddenly
flings a trash bag off of top of her andsits up, and she's been sleeping there.

(18:08):
I didn't even see her there

Beck (18:09):
I know.
That was the best part of it.
Like, she was so camouflaged.

Dash (18:13):
so hard

Beck (18:14):
Yeah, me too.
Me too.
This movie was not what I expected at all

Dash (18:18):
Yeah.
Well talk about that.
Like, what kinda, what were you expectingand what did it give you differently,

Beck (18:24):
Well, like a name with a, well, with a name like Foxy Merkins, I thought there
would be more about the Foxy Merkins.
It's always funny when the title getssaid in the thing, you know, when
they, when they say the name of themovie or whatever in the, in the thing.
And the, and the guythat's like, "Foxy Merkins.
Foxy Merkins."
Like, that was such a random,interaction, I guess that it's

(18:44):
weird that they pull the whole thingtogether and pull that as the name.
It's clearly, you know, voyeuristic.
They think people will comein for that name alone.
But I think it's off-puttingto some people as well because
it's, you know, kinda crude.
I don't know what I expected, but itcertainly wasn't what they gave me.
We- in a good way.
I ended up really enjoying the film.
So

Dash (19:04):
I think it's hard to expect something with a name like Foxy Merkins.

Beck (19:08):
Yehaw

Dash (19:11):
mean?"
And you have to know what a merkin is.
Not everybody knows what a merkin is.
It's kind of an obscure artifact.
But yeah, And then after Margaretstands up in the bathroom, Jo
comes rolling out from under the

Beck (19:27):
Yehaw

Dash (19:28):
like she's been under this big sinks, and comes out, like, with…
She's, she's dead, right?
Her hair is dead.
She's wearing her clothes.
She comes out and she sits herpurse down and puts her hat on, and
I was like, "What are we doing?"
So this universe is re- it's not ours.
It's really a not real type of placewhich kinda helps me reconcile something

(19:52):
that kind of annoyed me a little bitabout it, because there's a device
in the movie that is inconsistent.
they bring it up

Beck (20:01):
Bring it up and drop it entirely

Dash (20:02):
right at the end, which is the, this documentary that someone is about
the lesbian hookers, where they're inthe diner and they're, there's all these
pieces where it's these women talkingabout what it's like being a hooker to
camera So is this a, is this a fictionpiece or are we doing a mockumentary?
Because they put those two

Beck (20:22):
Those are not

Dash (20:22):
exact

Beck (20:23):
the exact

Dash (20:24):
package, and

Beck (20:24):
That

Dash (20:24):
doesn't

Beck (20:26):
work.
That's the money I Right.

Dash (20:27):
That's what annoyed me about the ending Holy Grail.
And I, I think I'm sensitive tostructure, to that kind of thing.
Like, that's something that I…
think we all have the thing that allowsus to suspend disbelief, and for me,
maybe structure plays a big part in it.

Beck (20:43):
Yeah

Dash (20:43):
really kind of caught off guard by that.
But then thinking back on it,the fact that this universe,
the fictional universe, itdoesn't make any sense either.
It's clearly not a real place.
So, you know, fuck it but yeah, they,they live in the Port Authority bathroom.
They have this little office

Beck (20:58):
the office, but is…
Margaret sits on the toilet and goes

Dash (21:04):
I think, the toilet paper dispenser, and they…
That's like their living room.
They just hang out in there anddrink tequila And they leave the
tequila in there behind the toilet

Beck (21:12):
I guess you never g- know what you're gonna find
when you look under the toilet.

Dash (21:15):
Which is probably why you don't

Beck (21:16):
the, there was a se- do you remember Motor Boater?
Motor Boater.

Dash (21:20):
butter.
Those

Beck (21:21):
yeah

Dash (21:21):
women, that, that really cracked me up

Beck (21:24):
And then the next one I have written down, That's a very
fetching T-shirt you have on.

Dash (21:29):
Right.
That, I wrote that one down too

Beck (21:32):
That made me LOL because, um

Dash (21:35):
okay.

Beck (21:38):
But th- you know, when, I have … When it comes to,
like, sexy time or whatever, Iam not the most intuitive person.
Like, it would never occur tome to, like, go buy lingerie and
wear it, you know what I mean?
So for dressing up for me or whateveris a nice T-shirt and a nice pair of
pants, you know, a nice black T-shirt.

(21:58):
So for them to be like, "That's a fetchingT-shirt you have on," that like … right
on the nail on the head, you know?
Like,

Dash (22:06):
I loved
It, it,

Beck (22:08):
Yeah, it's funny

Dash (22:09):
relatable to me, and funny.
And, and it's, uh, alsokind of class-based, right?
Like, what

Beck (22:15):
Yehaw

Dash (22:17):
to, to do to put herself together for clients?
Trixie Mattel has a story about atime she was in London, I think,
London or France, and was invitedto dinner at this extremely fancy
place, like the kind you're notallowed to go into unless you're
wearing a certain, like a jacket and

Beck (22:35):
a jacket at the bottom.

Dash (22:36):
and she didn't know

Beck (22:37):
She didn't know it was like that because she's white trash, you know?
She was trailer

Dash (22:41):
So she

Beck (22:42):
she

Dash (22:43):
wearing

Beck (22:43):
was wearing designer everything.

Dash (22:45):
clean

Beck (22:45):
was all clean and pressed.
She said she thought it felt like really

Dash (22:48):
great and put

Beck (22:49):
great and put together.
She loved her outfit.
She shows up to this thing

Dash (22:52):
and they won't let her

Beck (22:53):
and they won't let her in, and they're like, "You have to-- You
can wear this disgusting moth-eatenjacket that someone left here."
They have a closet full ofthings that they'll put on you.

Dash (23:01):
"How

Beck (23:01):
And she's like, "How is that better than my clean and pressed clothing

Dash (23:05):
feel

Beck (23:05):
that I feel comfortable

Dash (23:06):
But she said she

Beck (23:08):
she said she was just shocked herself with the reaction she
had because she started crying.
Like, Needy got her to cry

Dash (23:13):
s- and she ran

Beck (23:13):
and she ran away because she was so humiliated

Dash (23:16):
And she was trying

Beck (23:17):
She was trying to describe it because there is
something about a straight man

Dash (23:21):
telling

Beck (23:22):
telling me that I don't

Dash (23:23):
it, that

Beck (23:23):
make it, that I don't-- I'm not,

Dash (23:25):
make the

Beck (23:25):
like I don't cut

Dash (23:27):
there, that,

Beck (23:27):
is a sense that this is a place that I thought I would be welcome

Dash (23:30):
there's

Beck (23:31):
and there was a moment that I didn't even see coming.

Dash (23:33):
Like, I didn't

Beck (23:34):
Like I didn't have the knowledge to anticipate being humiliated in this way.

Dash (23:37):
And I think

Beck (23:38):
And I think that that's kind of, that's a minoritized experience of
like always finding new ways to feel

Dash (23:44):
about

Beck (23:45):
bad in

Dash (23:46):
based on what

Beck (23:47):
that were supposed It's also a case of, of c- uh, cultural capital again.
You know, understanding the differentclass consciousness and the, and the
class, uh, personalities that comethrough, the, the rules that come through
for the different class, the social rules.
Because some people never learn anythingexcept the class that they're in, right?

(24:07):
And I always talk about, when Italk about my experience at Miami,
I went to Miami and I was likeone of five people who didn't have
millionaires as parents, you know?
And so I had to learn how towalk a different walk, um,
just to blend in with people.
And that's, that's a, uh, educationthat you pay for but you don't know that
you're paying for when you go to a placelike that, that, that has so many people

(24:29):
of a higher class than you're used to.
Because take me to a hog roast,I know exactly what to do.
You know what I mean?
I know the etiquette.
I know, uh, the, the beer that you drink.
I know, I know all of those things.
Uh, but you take me to some high-end,uh, champagne soiree, and I would have
no idea what to do in a place like that.

Dash (24:48):
I'm gonna, I'm gonna sweat through my clothes and not say a word.

Beck (24:52):
Yeah.

Dash (24:52):
And Margaret kinda, Margaret and Jo are from two extremely different contexts.

Beck (24:58):
Yehaw

Dash (25:00):
reviews where people were like, "Why were the parent subplots even there?
They didn't go anywhere, they didn't,you know, develop the characters,"
which that part's true, it doesn'treally develop the characters very much.
they're

Beck (25:13):
But they're there because this movie has

Dash (25:16):
strong

Beck (25:16):
strong homages

Dash (25:17):
I'm

Beck (25:18):
identified.
I'm not super familiar withthe pop culture references, but

Dash (25:21):
of

Beck (25:21):
a lot of the references in the movie are to

Dash (25:25):
Midnight

Beck (25:26):
the kind of, okay, the final Friday item
So,

Dash (25:29):
Midnight Cowboy

Beck (25:30):
that cowboy,

Dash (25:30):
Dustin

Beck (25:31):
dust your cock and gone boy

Dash (25:33):
Male hustler

Beck (25:34):
prostitute or gigolo

Dash (25:35):
from

Beck (25:35):
moving from city to city.

Dash (25:36):
And you know,

Beck (25:37):
And, you know, the, the, there's like the scene
everybody knows from it where

Dash (25:40):
to

Beck (25:40):
they're trying to cross the road.

Dash (25:42):
what

Beck (25:42):
a, it's what you call a stolen shot, which is that they didn't actually pay

Dash (25:47):
to

Beck (25:47):
be able to take this shot in downtown New

Dash (25:49):
so nobody's an

Beck (25:50):
So nobody's an actor

Dash (25:51):
they were filming

Beck (25:52):
they were filming this scene and a taxi cab tried to like,

Dash (25:56):
the

Beck (25:56):
came into the crosswalk while Dwight and Poppins were

Dash (25:58):
to

Beck (25:59):
trying to cross.
And

Dash (26:00):
Dustin

Beck (26:00):
so Dustin Hoffman improvises the line where he bankrupts

Dash (26:03):
here."

Beck (26:04):
here."
Very famous

Dash (26:06):
very famous.
And they, so they did that in thismovie with the Foxy Americans.
So that was kind

Beck (26:10):
Yehaw

Dash (26:12):
they're, that they're doing, incorporating elements of that story, But
the other ones were a bit more subtle.
My Own Private Idaho is a Gus Van Santmovie from like early '90s, I think.
It's got River Phoenix and KeanuReeves, and they both male sex workers.
so like the, the subplot

Beck (26:31):
truck squad come out looking

Dash (26:33):
Margaret's

Beck (26:34):
Margaret Strong

Dash (26:35):
that.

Beck (26:35):
from that.
Like there's a next trucksquad in Mile Private, Idaho.
They're looking for,

Dash (26:39):
uh, I think it's River

Beck (26:40):
I think there's River Phoenix is there,

Dash (26:41):
in that.
And then some of

Beck (26:43):
And then some of the more

Dash (26:44):
scenes in the

Beck (26:45):
in

Dash (26:45):
are

Beck (26:46):
are taken from that, like the campfire scene where

Dash (26:49):
is

Beck (26:49):
Marjorie is like

Dash (26:50):
telling

Beck (26:50):
telling Jo if he were to press on him,

Dash (26:52):
An homage to My Own Private Idaho.

Beck (26:54):
I've not seen that, so I didn't catch that

Dash (26:56):
I haven't seen it in a long time.
I don't really like Gus VanZandt that much but let's

Beck (27:01):
But let's talk about some of,

Dash (27:02):
their

Beck (27:03):
their Janes

Dash (27:04):
some of their clients because They really, they kinda threw a lot at us

Beck (27:09):
Well, the, the main one is, is there was a doozy, right?
The one with the, the copsbeing called every time.
That was a, a twist at the endI thought was really funny.
I thought her nakedness inthose scenes was very brave

Dash (27:23):
Wasn't that wild

Beck (27:25):
Yehaw

Dash (27:27):
read, I think, I think it was like roger Ebert.com
or something where they werelike, scenes don't go anywhere.
They're not doing anything.
It's not the right- it'snot enough physical comedy."
And it's like, you don't seewhat's incredible about this?
this composition.
So for anyone who didn't watch themovie, which is probably a lot of people
listening to us right now, there's arecurring gag, I guess you could call
it a gag, with one of Margaret's Janes.

(27:49):
She's the woman who said,"That's a very fetching T-shirt."
they always meet in this

Beck (27:53):
meet in this hotel and multiple

Dash (27:55):
Margaret is

Beck (27:56):
is in there with her and lets her

Dash (27:58):
the

Beck (27:59):
the

Dash (27:59):
and say, like, "We're rounding

Beck (28:01):
We're rounding everybody up.
There's sex workers coming to the hotel.
We're gonna go get all of them.

Dash (28:05):
The, the first time they

Beck (28:06):
The first time they said this, I'm like, "We got 11 of them already."

Dash (28:09):
Like they're dog catchers or something.

Beck (28:12):
The fact that this happens outside of a Talbots is the funniest thing

Dash (28:17):
The woman who tried, who, uh, her up but she thought
the 70% off sign was for her,

Beck (28:23):
Yehaw

Dash (28:24):
for Talbot.
Uh, I wonder if some of that was,like, or how much of this was improv,
because a lot of times you can justsee them playing and having fun
with each other with the stuff, the

Beck (28:35):
Right

Dash (28:36):
telling.
Um, But the second time it happenswith these cops is the one you were
talking about, And kinda, kindagoing back to what you were saying
a, a bit ago, like, real sex is

Beck (28:50):
sex is complicated.
It can be so

Dash (28:53):
in a way where, we do things like leave our socks on or,

Beck (28:58):
Or, you know, leave a baseball cap on with

Dash (29:00):
glasses

Beck (29:01):
glasses

Dash (29:01):
and so

Beck (29:02):
And so

Dash (29:03):
is very

Beck (29:03):
is very much,

Dash (29:04):
she needs to be

Beck (29:05):
she needs to be coached.
The woman has to tell her like

Dash (29:08):
take your clothes off at all?"
And that scene where she's

Beck (29:11):
Where she turned it off without taking

Dash (29:17):
taking the shirt

Beck (29:18):
the shirt

Dash (29:19):
and, uh, that's a trick

Beck (29:20):
That's a trick, Irish.

Dash (29:21):
know, you, like,

Beck (29:21):
Oh yeah, that's the only way to go.

Dash (29:23):
Yeah.

Beck (29:23):
It's the only way to go.
Yeah

Dash (29:25):
As soon as you walk in the door.
But she continues to do that.
Like, she takes the shirtoff under the sheet.
She, like, wrestles her underweardown and off under the sheet.
She's determined not to expose herself.
then the next second the woman says, "Goover there and get the remote control."

Beck (29:41):
Yehaw

Dash (29:43):
fully nude, and this is when these bust in a second time.
And that scene, As an actress, and I,I always go here in my mind when I see
things on camera, what was that like in

Beck (29:54):
But like,

Dash (29:55):
wrote it,

Beck (29:55):
for a month Right?

Dash (29:56):
But the way that shot is

Beck (29:58):
The shot is framed because we're looking through the door
of a very tiny hotel room.
She doesn't have anywhere to go.

Dash (30:03):
just naked

Beck (30:03):
Just maybe wearing her socks and her

Dash (30:05):
and she's, like, got her

Beck (30:06):
She's like got her arms out like this.
She's not covering up

Dash (30:09):
and that scene

Beck (30:09):
and not seeing her laugh in

Dash (30:11):
30 seconds long

Beck (30:12):
Right.
Right

Dash (30:13):
And these cops standing there staring at her.
Those, I mean, they were lookingright, on either side, they had
her flanked, pointing guns at

Beck (30:20):
It's like I can't drop it any further.
It reminded me of the Super Troopers,"I can't pull over any further"

Dash (30:25):
Pull over.

Beck (30:26):
Drop

Dash (30:29):
scene wasn't funny, I'm sorry, but that was hysterical
because it, the absurdity of it.
Like, there's the, it's juxtaposed, right?
There's the piece of her, of thiswoman with a, a, a, a non sexualized,
I guess, non-male gaze body standingthere naked in front of police of all
people, uh, being given orders that shecan't comply with 'cause they're saying,

(30:51):
like, "Drop what's in your hands,"

Beck (30:52):
it in your hands and just like there's nothing.

Dash (30:54):
I can't

Beck (30:54):
I can't drop anything because I don't

Dash (30:56):
anything."

Beck (30:57):
it.

Dash (30:57):
goes on

Beck (30:58):
It goes on and on and on.
I thought it was a great Yeah, I agree

Dash (31:01):
And then they're like, "Take off your socks," and she's gotta
hike her legs up and take her socksoff fully naked I can't think of
another scene like that in a movie,

Beck (31:09):
Right.
Like I said, very brave.
Very brave.
I don't think I could putmy body out there like that.
I just, you know

Dash (31:15):
Yehaw.
And it happens again.
And my question was why does shekeep going back to this woman?
She must pay good

Beck (31:21):
Well, a dollar's a dollar.

Dash (31:23):
She, yeah, she doesn't know that this is, uh, a scene, like this is part

Beck (31:28):
Right

Dash (31:28):
woman's kink.
Which I kinda did.
Did you pick up on that or were you like,

Beck (31:32):
No.

Dash (31:32):
on?
Why, how do the

Beck (31:33):
Yeah.
So my notes are really funny I, 'causeI was, I write as I go, and I was like,

Dash (31:39):
Yehaw

Beck (31:41):
maid by the cop, you didn't see it.
Then it was fake, question mark.
It's her kink, LOL.
LOL, she's big mad.

Dash (31:48):
Uh, a similar thing happened to me.
Like, that was, that was what happenedto me the first time I saw this movie,
and partly it's because the movieis so bonkers you can't predict…
It's hard to be on

Beck (31:57):
Yeah.

Dash (31:57):
right?
You're,

Beck (31:58):
Yeah

Dash (31:58):
you're not gonna be the one that guesses the ending of this movie.
So yeah, I didn't either.
And so on the third one she bringsher maid with her, and already, 'cause
the, her maid is Black, she's wearing amodern, but classic maid outfit and a wax
fabric head, head, hairpiece, headpiece.
Did you notice that?

Beck (32:19):
No

Dash (32:19):
so I was already

Beck (32:20):
So I was already kind of like, "Oh God, what's going on here?
This is interesting."
Right.
Yeah

Dash (32:24):
who has been brought just to clean this motel bathroom is a Black
woman with a wax fabric hairpiece on,"and then the cops come in and shoot her

Beck (32:32):
Yeah, exactly.
It was like a what?

Dash (32:35):
I legit, like my, I think my jaw unhinged 'cause I was like

Beck (32:38):
Yeah.

Dash (32:39):
We're doing that?

Beck (32:40):
Yehaw.

Dash (32:41):
And then the way they react too is like, "You didn't see anything?
You didn't see this?"
Uh, and then covering her in plasticand dragging her out into the hallway

Beck (32:49):
The whole thing was wild.
And then, then it dawns on youwhat's actually happening there.
I th- I thought it was brilliant.
I really did

Dash (32:56):
too.
Because they sto- we, we changevantage points once they're in the
hallway to the other end of thehallway, and so we're looking at them.
The two police are standing.
She's, like, s- laying crosswayson the ground after having been
shot in the plastic, and the twopolice are kinda hunched over her.
And then they stand perfectly stillfor, like, five seconds, and then
all of a sudden she starts laughingand gets up, and they all start

(33:18):
laughing, and then they leave.

Beck (33:20):
Yehaw

Dash (33:22):
I don't think they said anything.
I think they were just laughing, thoughBut that's basically when you're like,
"Okay, something else is going on."
And that's le- next scene Ithink is when Margaret and

Beck (33:32):
Margaret
and Jo are it.

Dash (33:33):
The event.

Beck (33:34):
Yeah, Margaret's telling her about it and how it fits she.

Dash (33:37):
and Jo is like,

Beck (33:37):
And Jo was like, "No, it's a scene with the

Dash (33:40):
And Margaret realizes

Beck (33:41):
realized that

Dash (33:42):
was in

Beck (33:42):
was in on Yeah, I didn't, I don't think I caught that

Dash (33:46):
Why did she, why would she do something like that?

Beck (33:48):
Maybe she got a cut of the money.
I mean, that's the whole pointof the prostitution to begin with

Dash (33:53):
That was what Margaret said, actually.
Margaret was like, "Did you get a cut?"
And Jo didn't answer.
So that's probably what happened theirfriendship is based on the, the Midnight
Cowboy friendship between Jon Voight'scharacter and Dustin Hoffman's character.

Beck (34:07):
Ever seen that?

Dash (34:07):
It's based on a book by a gay man who grew up in Chillicothe,
which I did not know until about 20minutes before we started recording
and I was doing a deep dive.

Beck (34:17):
Wow

Dash (34:18):
yeah.
Uh, here, let me…
Leo Herlihy.
Herlihy.
I don't know which it is.

Beck (34:25):
Really?
Her last one.
Oh.
Sounded like a Pee-wee Hermanskit there for a minute.
Do you remember the meckaleka hi, mecka hiney ho?

Dash (34:37):
like a high, yeah.
Yeah, he was born in Detroitand raised in Chillicothe,

Beck (34:42):
Wow.

Dash (34:43):
several other books too.
He was friends with TennesseeWilliams, Tallulah Bankhead

Beck (34:47):
Wow, somebody cool came out of Chillicothe

Dash (34:49):
Yeah, and I wanna read the book now because it's a lot weirder apparently,
you know, it's, and a lot queerer.
But anyway, uh, the, therelationsh- the dynamic there
is that Jo is not a good person.
She, she has affectionfor Margaret, I think.
I think the affection is real, but she

Beck (35:06):
But she also sees Margaret as a puppet.

Dash (35:08):
sees

Beck (35:08):
She sees Margaret as something to just play bought and sold

Dash (35:14):
off of.
Mm-hmm

Beck (35:16):
Yeah.
So it's a commodifying kind of thing

Dash (35:19):
Right.
And, and that extra interestinggiven Cause she's, she's gay for pay.
Like, she is sleeping with thesewomen money, which I'm not saying…
That's

Beck (35:30):
I'm not saying that's not right?

Dash (35:31):
it's the

Beck (35:31):
But it's the fact that she is straight that

Dash (35:34):
the

Beck (35:34):
makes the business like remarkable.

Dash (35:37):
I'm all for

Beck (35:37):
I'm all for anybody fucking whoever they want to for money.

Dash (35:40):
as long as they

Beck (35:41):
Fuck, it's there.

Dash (35:42):
and sober.
But this moment

Beck (35:43):
but this moment is like, "Wait a minute,

Dash (35:46):
Jo's
very nice to

Beck (35:47):
very nice-"

Dash (35:48):
here."
And then the fact that

Beck (35:49):
And then the fact that she's-- So, you know, after that,

Dash (35:52):
is when Margaret's…
They're back in

Beck (35:53):
they're back in their, their bathroom, Clara calls up Ginger next
to her and was kind of like how kindof a daughter does, and she asks her.

Dash (36:00):
The Merkin thing

Beck (36:01):
The merchant thing had already happened because

Dash (36:03):
We forgot a scene ' I did try to make
c- uh, chronological notes.
We were talking about the

Beck (36:08):
We're talking about different jobs, 'cause

Dash (36:10):
just

Beck (36:10):
than just that,

Dash (36:11):
also

Beck (36:11):
was also the

Dash (36:12):
MFA

Beck (36:13):
MFA she said, "I have … I'm an MF- FA student in drama.
I have no money."
And I felt that, like,

Dash (36:20):
Yeah.

Beck (36:21):
as a former, former MA student myself, I, I felt that

Dash (36:24):
And I, I didn't, I didn't put this together the first time
I watched it, but this time Istarted, I wondered about this.
this whole scene is basically,like, this woman is checking
her maybe checking her out.
She's staring at her withthis really unsettling face.
This, this woman was cast justbecause she could make this face.
Follows her into the movie theater,creeps down in between her legs and the
floor, and eats all her popcorn, a- andthen goes to the bathroom, and Margaret

(36:49):
goes to confront her, and she's like, "Iwas hungry and I don't have any money."
but then um, when shestarts going like, "What

Beck (36:54):
Start feeling like, what are you gonna

Dash (36:55):
Did you think maybe

Beck (36:56):
Did you think maybe that could be a scene also?

Dash (36:58):
been

Beck (36:58):
that could've been like her thing, what she wants to

Dash (37:01):
punished for stealing popcorn in a

Beck (37:03):
popcorn and movies I didn't think of that, but it definitely
could be, for sure I guess I'm kind of
white bread myself.
I don't think of kink and, andlike, "Ooh, that's somebody's kink."
I just don't have those thoughts, I guess.
I guess I should more because thisis the Earth and they're everywhere

Dash (37:17):
yeah.
Uh, and, and it help- I mean, sometimesif, if that's a big part of a piece
of media or something, or the comedy,it can be helpful to be at least
versed in it because it is always…
It's so closely associatedwith queerness, right?
The kink community takes all kinds,

Beck (37:32):
Yehaw

Dash (37:34):
institution or influential person is gonna mock community, it's
with kink, or they're gonna mock thekink community, it's with queerness.
But I, I wasn't savvy to it the firsttime I watched it either, so this time,
knowing that that other piece was in themovie, I just, that is went in my brain.

(37:56):
And then the other one was themotorboaters, these two women that
were there for a women's conference, awomen's which is probably where a lot
of closeted lesbians get their, you

Beck (38:08):
they're, you know, women,

Dash (38:09):
is these

Beck (38:10):
right?

Dash (38:10):
conferences.
I was thinking abouthow certain industries

Beck (38:14):
like,

Dash (38:14):
lesbians.
Remem- you remember, like,

Beck (38:17):
all the,

Dash (38:18):
what you call it?

Beck (38:20):
you know, jokes and stereotypes about what jobs we're Yeah, for sure.

Dash (38:23):
They were firefighters

Beck (38:25):
Gym

Dash (38:26):
Student teachers delivery

Beck (38:28):
delivery drivers
I know a lot of EMT and paramedic queers

Dash (38:34):
Something about that that whole, like, thing, right?
Like, I don't know why, but…
And who knows?
It could be the work or itcould be the community, and
whichever, it doesn't matter.
But these two women have clearly, like,come to this conference to be together.
I don't think they intendedto get the girls in there.
I think they actually just met on

Beck (38:53):
Just met on the elevator.

Dash (38:55):
speaking in this coded talk and brought them up there, and
then they started, like, that'swhen the motorboater scene happened
way they were dressed though, that onewoman in particular with her bowl cut,
that was the worst bowl cut I have everseen And she had bright red lipstick
on, which apparently that was gonna makeher look straight, was the lipstick.
And the rest of her, she's wearing like a,

Beck (39:15):
She's wearing like a,

Dash (39:16):
Scout

Beck (39:16):
fit gown

Dash (39:18):
jorts type of thing.
Like, I just couldn't stop looking atevery piece of her, like everything
that went into making her look.
And then they asked them for some like
other like

Beck (39:28):
other, like, clothing products, and they wanted to watch them do that.
I don't know.

Dash (39:32):
a particular

Beck (39:32):
Like a particular kind of like…

Dash (39:34):
that what

Beck (39:34):
I think that what they were going for with the

Dash (39:36):
of like a

Beck (39:37):
A

Dash (39:38):
non-traumatic or, or, or terribly stigmatized look at the different kinds
of things people might want out of sexwork that's not just P in the V, you know?

Beck (39:51):
Yehaw

Dash (39:51):
There's a, uh, a really funny piece of either writing or improv
where is trying to give Margaretadvice on how to signal to women that
she's a sex worker, and sh- she'slike, "Maybe you should use bandanas."
And it was, you know,

Beck (40:07):
Which, you know, in the references the field Wenda Right.
Right

Dash (40:11):
I only know a few, probably the more salacious ones, right?
Handkerchief code is what it's called.
The hanky code.

Beck (40:17):
I always wear a blue one, dark blue one.
What does that mean?

Dash (40:20):
You're not gonna like it?
That means anal sex.

Beck (40:25):
You're right, I don't like that.

Dash (40:26):
advertising.
so there's a, there's a little codec here.
So I knew that yellow was water sports

Beck (40:37):
Yehaw

Dash (40:39):
And then dark blue is anal sex.
Light blue is oral sex.
Brown we can guess.
Green is prostitution.
Gray is bondage.
Purple is piercing.
What is piercing?

Beck (40:51):
Like as the act or…
Yeah.
Wouldn't you run out of places after some-

Dash (40:57):
well, that's what I'm saying.
Like, is there a limited numberof times you can do this?
I am not trying to kink shame,let me put that out there.
I just have logisticalquestions, you know?

Beck (41:06):
Exactly.

Dash (41:07):
and then red is fisting

Beck (41:08):
Oh.

Dash (41:10):
this Wikipedia page could…
there's gonna be some free fallhappening later, 'cause there's all these
links in here that I wanna click on.
We're not gonna do that right now.
We can do another- we can do alive episode one time where g- we
just do Q- Wikipedia free fall.
But the examples Jo gives, likeshe's clearly making them up, the
red one was for to signal that youonly wanted to be with women who had

(41:34):
experienced the change is what she said.
Oh, I remember the one that made me laugh.
She said yellow was for youhave more than three cats.

Beck (41:42):
There was a line there, she said, "When two women get
together and they start composting,they start sharing clothes."

Dash (41:48):
Yeah.
The, and that's the campfire scene that Iwas talking about that's based on My Own
Private Idaho, and it's kinda similar.
Like, in that scene I forget which,I think it's Keanu Reeves's character
confesses that he's kind of fallingin love with River Phoenix's
character, and he's like, uh…
No, I'm only gay for pay."
and but he has this weirdmetaphorical way of describing it.

(42:11):
And so when she said,Women don't love women."
I think Yeah.
women don't love other women.
And I wanted to, to talk about thatbecause that could mean so many things.
That's so broad and it, and itgestures to, it's about women.
It's not about queer women.
It's, it's not about…
Like she's, she could be talkingabout having women, friends,

(42:34):
Or being allies to one another

Beck (42:37):
It was a very female-centric film

Dash (42:39):
Which on the heels of that one scene where they get drunk in the, in the stall
and she she goes on this rant about howyou were sh- if you were a man or if I
was a man and we were both gay, or if Iwas gay, or if I was a man and you were a
woman and we were both straight, like H-have you ever been on the receiving end

(42:59):
of that kind of straight girl treatment?

Beck (43:01):
Yes.

Dash (43:02):
I felt that scene so deeply.
The

Beck (43:04):
Yeah

Dash (43:05):
of straight women either, "You're so pretty.
Why are you gay?"
Or, " You're so nice.
You're so whatever.
I feel so safe with you.
you were a guy, I would be all over you."

Beck (43:16):
Yep.
Yep.

Dash (43:18):
say that?

Beck (43:19):
I think they think it's a compliment
Sincerely, I think they believetheir, their compliment.
But I don't ever wanna be compared toa man, like, for any reason whatsoever

Dash (43:28):
It's weird.
And, and what if, like whatif I said that to them?
Like, "Oh, well if you were a hot,then I would be all over you."
Like, that doesn't make any sense.
And also, like the culture ofcomplimenting, women know better.
Women know what compliments are from men.
They're weaponized, they're objectifying.

Beck (43:46):
Right?
well I think that's the inflation of,of men thinking their opinions are
worth more than they're actually worth
think a lot of especially whitemen have that particular affliction

Dash (43:57):
anyway, that's another thing that makes me sort of, that made me go like,
"She's not a good person 'cause she'sdoing that straight girl shit to Margaret"

Beck (44:05):
Right?

Dash (44:06):
The bit about her, she does eventually meet her brother apparently.
I had no idea that's who that pers- thiswas in that scene when she, suddenly in
this guy's trailer and she's fainted.
I don't know if I missed something.
Did they cut a scene whereshe ran in there or something?
But it comes out thatthat's her real brother.
She's found him, and he…

Beck (44:22):
I don't remember what you're talking about

Dash (44:24):
she is kinda in and out of consciousness in that guy's trailer, and
is like, " Yeah, can I use your bathroom?
And then your bathroom's disgusting."
That scene is doing nothing except forhe goes, "I've got a picture of you
and Mom," and he shows her a picture ofher as a baby and their mom in a, in…
He calls it the institution.
And I don't

Beck (44:44):
Right

Dash (44:44):
supposed to be real or if it's him fucking with her,
but they get into a fight.
So the mom subplot resurfaces.

Beck (44:50):
Well, most homosexuals I know have some kind of relationship with
their mother or their father, you know?
So

Dash (44:57):
You mean

Beck (44:57):
that could be

Dash (44:58):
drama?

Beck (44:59):
Yeah, most people have with w- at least one of their
parents, they've had drama before.
Most of us

Dash (45:04):
exactly

Beck (45:05):
Like, I think of my friend Jonas, I talk about him often.
When he came out, he had to come outto his mom like five times 'cause she
kept like pretending she didn't hear him

Dash (45:13):
And then the- we- I, I assume she never found her mom.
They just kinda drop it.
But Jo's mom, we meet her, shefinds her in the bathroom, and
she's like, "We're gonna cut you offfinancially if you don't come home."

Beck (45:24):
Right.

Dash (45:25):
it turns out that Jo

Beck (45:27):
So it,

Dash (45:27):
had

Beck (45:28):
think that it turned out that Bill had, had money the whole Oh
yeah, that's what I took from it

Dash (45:33):
particular kind of identity tourism.
There- I have known people who have…
It's like LARPing as a certain identity.
Like rich people who do poor people shit

Beck (45:44):
I'm not gonna say his name, but I know somebody who is very,
very wealthy who goes to thehealth department and is on welfare

Dash (45:52):
Wow, that sounds, like, broad

Beck (45:54):
I don't know how he does it, but he does it

Dash (45:56):
Yeah.
there's, it's like, uh, rich peoplewho live in, uh, sh- shacks and
talk about like, "Oh, I only…
Uh, we can all of our stuff, andwe only eat organic, and we…"
But, and it's like you can do that,
more power to you, whatever.
But then they'll start talkinglike, "And it's healthier.
It's better for you.
People who, you know, live thatway, they're healthier than us.

(46:19):
They're better…"
It's like fetishizing poverty

Beck (46:21):
Yeah, this guy wears old clothes and has a middle-of-the-range
car and shops at Aldi and doesall of the signifying things.
He doesn't want anybody to know hehas money, and he absolutely has money

Dash (46:33):
Yeah.
And, and lesbians are kind of…
have been, lesbian culture anyway,that was one of my problems with,
like, The L Word, those rich womenall in LA there on that show.
Like the home birth thing,giving birth at home.
Well, it's natural.
People have been

Beck (46:48):
Like the home birth,

Dash (46:49):
People have been

Beck (46:49):
giving birth at
Well, I, I think that's acompletely different conversation.
Like, being born at home, we medicalizechildbirth so much that it's overdone,
that I think most women if they are normaland healthy you know, they're young or
whatever, they can do the birth at home,and I don't think that is such a big deal.

(47:12):
A lot of them do waterbirths and things like that.
Like, my grandparents were born at home.
Lots of people were born at home.
And I think it's ridiculous thatwe take surgeons, like OBGYNs, and
have them doing something mundane.
My argument is that we should havemore midwives, basically and we should
be doing more things in the home.
We shouldn't-- There's no reason forevery birth to go through the hospital.

(47:33):
Because when you go to thehospital, time is money, right?
And you go in, and you're in labor, andyour labor is gonna take 25 hours, say.
Well, by hour 12, they're readyto move you out of that bed, so
they give you some Pitocin, whichhelps speed up your labor, right?
But then that Pitocin raises thebaby's blood pressure, and then it
becomes, you know, uh, you need anotherintervention, and then you need another
intervention, and then it becomes a,a critical thing for the baby, and you

(47:56):
gotta get him out now, you probably haveto have a C-section or something, all
because you started with that Pitocin.
And if you had done this at home, therewould've been no need for escalation, and
there would've been no danger to the baby.
And that's something that happens a lot

Dash (48:08):
it is the money aspect that creates the thing that annoys me,
Because these are people for whommoney is no object, and they can
afford to pay a midwife by the hour

Beck (48:18):
Wouldn't that be nice?

Dash (48:19):
for a full weekend because they might go into labor or whatever.
And, and also they have the

Beck (48:24):
Yeah

Dash (48:25):
case something goes wrong.
And that's kinda different.
And th- and then for them to golike, "Well, people without access
to, without means do this all thetime and are fine," and it's like,
that's not how it works though.
If there's a crisis for somebodythat you're talking about, they

Beck (48:41):
a crisis for somebody we're talking about.
They don't get to just like

Dash (48:45):
need to, to

Beck (48:46):
ride down to the hospital and get whatever they need to, to help, right?
If something goes wrongthrough home birth,

Dash (48:52):
that's
there's

Beck (48:54):
then that's just death.

Dash (48:55):
So I

Beck (48:56):
no like backup.

Dash (48:57):
needing more doulas and

Beck (48:58):
So I mean, your point about us needing more doulas and midwives
and stuff like that is spot onbecause that should be normal.
It should be like--

Dash (49:05):
be

Beck (49:05):
they should be affordable and they should be accessible.
There's no reason that having a babyshould cost tens of thousands of dollars.
You know what I mean?
That just makes no sense.
And if we had more, more middlemen there,if we had more women especially doing
the jobs of, of midwives and doulas, asyou said then, you know, we would have
a lot less pressure on our hospitals.

(49:27):
You'd have a lot less medical bills.
And if something does go wrong,you could alway-- Like you can call
an ambulance usually around, youknow, a-around in most of the US.

Dash (49:36):
Right.

Beck (49:36):
not always, like, like you're talking about, not always, but

Dash (49:38):
Yeah, and removing like that essential medical like hospital
centric thing of birth would freeup a lot of space in hospitals,
but we can't risk women havingchoices in how those things go.

Beck (49:52):
Exactly.
Exactly

Dash (49:53):
all know who the boogeyman is there.
Um, How the hell does this movie end?

Beck (50:03):
Jo goes home and Margaret walks into the literal sunset
with her new girlfriend.
I, I, I was mad as hell

Dash (50:10):
Th- something we didn't mention is at one place they went looking for
her mom, they, they went to LittleItaly, and they meet an Italian man.
And, and Jo, like, hintsthat she's pregnant there.
She just mentions that her boobs aregrowing, and it's like, okay, well, in
movies, that means that you're pregnant.
And she was.
Next time we see her, she'sgone to the Port Authority

(50:31):
bathroom looking for Margaret.
She's not there, but she's wearing pearls.

Beck (50:36):
There,

Dash (50:36):
very Republican

Beck (50:37):
wearing pearls,

Dash (50:38):
She

Beck (50:39):
wearing this very Republican outfit,

Dash (50:42):
something's different

Beck (50:42):
her hair up in a bun.

Dash (50:44):
she married the

Beck (50:44):
Clearly there's something different about her.
I don't know if she married the hotel.
We don't know

Dash (50:49):
the, and she does this interview

Beck (50:51):
she does this interview

Dash (50:54):
she

Beck (50:55):
for the doc- for the documentary crew about why

Dash (50:58):
and the stuff she's saying is infuriating.
But it

Beck (51:01):
That's the thing

Dash (51:01):
class tourism, 'cause she was, it was, like, white

Beck (51:03):
But it

Dash (51:04):
a

Beck (51:04):
was more of that class bit, you know, like

Dash (51:06):
I understand these women now.
I c- I, maybe I could help them.
Like that, the way she wastalking about her experience,

Beck (51:12):
the way she was talking about her experience,

Dash (51:14):
class,

Beck (51:16):
there's a kind of tourism that like middle class,

Dash (51:18):
we like to

Beck (51:19):
predominantly white people do where they go to

Dash (51:21):
themselves

Beck (51:21):
we like

Dash (51:22):
the Eat

Beck (51:22):
or make themselves better,

Dash (51:24):
This is a

Beck (51:24):
you know, like they is a kind of,

Dash (51:26):
that is based in self-improvement,

Beck (51:29):
tourism

Dash (51:29):
to

Beck (51:30):
that is

Dash (51:31):
in,

Beck (51:31):
self-improvement,

Dash (51:32):
country

Beck (51:32):
it has to happen

Dash (51:33):
there,

Beck (51:34):
in

Dash (51:34):
you get experiences,

Beck (51:35):
country or whatever.
You go over there, andcome back enlightened.

Dash (51:39):
Well, that's kinda what Jo was reminding me of when she was
talking about, like, what the

Beck (51:43):
Kind of what Jo was reminded about, like what the experiences
of living as a homeless were

Dash (51:49):
in

Beck (51:50):
in relation with back to Yeah, I thought it was great storytelling
all the way up to the end.
And I know things like sometimesthere, there aren't good resolutions or
whatever, but just being like, "Well,we walked into the sunset," that's like
the, the laziest way to end something.
Which might have been symbolic.
I don't know.
Did she walk into the sunsetand get her, her wishes?
You know, did, did that relationship workout so she didn't have to be homeless

(52:13):
or a prostitute or all those things?
I don't know.
They don't really give you any ideaof what happens after she walks into
that sunset, which is … I … It,it really pissed me off, 'cause
I felt like there should've beenmore of a resolution for Margaret.
Like, where is she going?
What's happening?
and not let it all reston having a girlfriend

Dash (52:31):
like that trope is intentionally, like it's about
not knowing what happens to the
in

Beck (52:44):
is

Dash (52:44):
is finished

Beck (52:45):
we never heard from them again.
story

Dash (52:47):
open-ended.

Beck (52:47):
now

Dash (52:48):
uh, what I wish they had

Beck (52:50):
is open.
What, what I wish they had done were

Dash (52:54):
where she meets

Beck (52:54):
end on the scene before

Dash (52:56):
the same

Beck (52:56):
with Margaret where she leaves

Dash (52:58):
the fetish

Beck (52:59):
it's the same woman that wanted, that had the, the fetish
of wanting to overpay for sex.

Dash (53:04):
She's no

Beck (53:06):
But she looks different.
She's no a Wall Street trader or whatever.

Dash (53:10):
pant suit anymore, or

Beck (53:11):
But she did, she's not

Dash (53:12):
and she's

Beck (53:12):
vest anymore with her

Dash (53:16):
produce trimmings, and Margaret says, "Wow."

Beck (53:19):
purchases.

Dash (53:20):
and she was like,

Beck (53:21):
Margaret says when last he helped her with the gate, shopping sprees

Dash (53:25):
the woman starts laughing and she goes, "Hey,

Beck (53:28):
I sort of

Dash (53:28):
me?"

Beck (53:29):
was

Dash (53:29):
like,

Beck (53:29):
laughing

Dash (53:30):
now.

Beck (53:30):
and she goes, "Hey, do you remember me?"

Dash (53:32):
a Wall Street person."

Beck (53:33):
go, "I look different now.
I'm no longer a

Dash (53:34):
"Yeah, I just started

Beck (53:35):
wealthy Brit."
composting my farts."

Dash (53:38):
notion of women don't love each other, all they

Beck (53:41):
So there's this notion of women don't love each
accomplish and then come back.

Dash (53:46):
like Jo was wrong about

Beck (53:47):
But it seems like it, it's like Jo was wrong about that

Dash (53:50):
see Margaret have a

Beck (53:51):
they-- this is the first time in

Dash (53:53):
together carrying this

Beck (53:54):
They go inside together carrying Yeah,
agree.

Dash (53:59):
hadn't put that together till you just pointed that out though
What do you think about the title?
What are the, what is it with the Merkins?
Why did we do that?

Beck (54:06):
About Yeah.
I don't know.
That was a, a big question that I have.
'Cause it really sets the tone.
Like, it, it makes you expect somethingthat you're not gonna get, and the
s- the movie could've completely gonewithout that storyline, you know?
There was no reason to leavethe merkin in the end or in, in
that last scene or letting…
close to the end there.
The, there was no need forhim to be in the graveyard.

(54:28):
Like, that just wasreally kind of pointless.
I think it was, I think itwas maybe I, I don't know.
Maybe it was just to be weird.
Maybe it was to be sensational.

Dash (54:37):
homage to some other movie, in this genre that we're not aware of, listeners,
and you know, please let us know.
Like, what is the deal with the merkins?
It was funny.
I really enjoyed that scene.
it- they're, relevant to sex workbecause of what Jo tells us about how

Beck (54:56):
sex work because it's like they were telling us about how they were invented by

Dash (55:00):
their

Beck (55:01):
sex

Dash (55:02):
sores, but that doesn't really give us much else.
I don't know.
Maybe we'll know by, bythe next time we record.
that's the Foxy merkins,for whatever it's worth

Beck (55:12):
I liked it.
I would give it…
I liked it overall, so left me withsome questions, but I liked it overall

Dash (55:19):
Yeah, I had some questions as well, which I think I- we shared.
But there was one scene, the one scenewhere they are talking about Margaret's
gender presentation when Jo says, "Youlook like the kind of woman that they
wouldn't be caught dead with, thatthey would be mortified to be seen
with, so they're gonna pay you more for

Beck (55:38):
They would be so they don't take any more pictures.
As a former

Dash (55:42):
hit

Beck (55:42):
butch lesbian,

Dash (55:43):
I really…

Beck (55:44):
that really hit home.
Yeah.

Dash (55:46):
was being said there

Beck (55:48):
Yep, I know that.
I knew exactly what they were saying too.
As a, like a…
And, and people think that I'm, like,denigrating myself or somehow being
down on myself, but I pride myself ofbeing a woman that men would not want
to be fucking, you know what I mean?
Like, I've put work into this.
Like, I've, I've, I've takentime and, and cultivated this.
But to see her reflected in that andto still see the objectification and

(56:10):
the sex work I thought really kindof turned things on its head, because
she's not your standard, uh, prostitute.
She's no pretty woman, you know?
She's no Julia Roberts.
And and when we think of prostitutes,at least movie ones, they're usually
beautiful or, you know, have a sexybody or something like that, and she
has none of those things going for her.
Like, she's naked in white socks,and there's just, you know, rolls

(56:33):
upon rolls upon rolls, and that'sgenerally not what we see as sexy.
And so I think the, the whole thingis kind of, is turned on its head

Dash (56:42):
the sex tape that subplot.
This movie is very bad.
It's riddled with subplots that arejust thrown in and then disappear.
But one of them is Jo hasrecorded Margaret having sex
with a Republican senator.
She said it was an accident.
I don't know if I believeher, to be honest,

Beck (56:59):
She said it

Dash (57:00):
But they decide that they're gonna blackmail this woman

Beck (57:03):
decide they're gonna blackmail this

Dash (57:05):
CNN.
They said CNN

Beck (57:06):
by selling the sex tapes.
I don't know

Dash (57:09):
meet in a car with someone, it's a Merkin salesman

Beck (57:13):
Someone went to the merch event.

Dash (57:16):
"Wait, weren't you

Beck (57:16):
there was this

Dash (57:17):
He was like, "Yeah,

Beck (57:18):
person.

Dash (57:18):
to do

Beck (57:19):
They're like, "Wait, weren't you the merch girl?"
And I was like, "Yeah."
And they're like,

" " Dash (57:22):
We can't buy

Beck (57:24):
we can't buy them.

Dash (57:25):
the sex tape, and they're like, "What do you mean?
It's…

Beck (57:27):
I was like, "Why?"
And he's like, "Well,

Dash (57:28):
And he,

Beck (57:29):
you would be in it."
I was like, "What's the issue with it?"

Dash (57:31):
for not

Beck (57:32):
And

Dash (57:32):
to

Beck (57:32):
he starts talking his reason for not wanting to buy the sex tape.

Dash (57:36):
saying was that

Beck (57:37):
And I finally, sex tape.

Dash (57:38):
aren't

Beck (57:39):
Oh.
That sex tapes aren't about whothey're in, it's about whether they're

Dash (57:44):
the

Beck (57:44):
good or not.
So,

Dash (57:45):
having sex."

Beck (57:46):
nobody in.

Dash (57:47):
just a little slice of media commentary for

Beck (57:50):
That was like Reminds me of a game Shannon and I used to
play, like the gross-out game.
We'd think of two peopleand be like, "Them fucking."
Like think of the two worst peopleyou can think of, like Steve Urkel
and Ronald McDonald, them fucking.

Dash (58:02):
I- I, uh, try to think up crazy things to ask you?
I thought of one that I immediately mademyself laugh with, with the answer I
came up with And then I also was like,"I shouldn't say this because it's really
inflammatory, but I'm gonna do it anyway."
'Cause the question is, like, what'sthe worst game of fuck, marry, kill?

Beck (58:18):
building?
Oh.

Dash (58:20):
thought

Beck (58:21):
immediately thought the mother, the son, and the hole

Dash (58:25):
It's like, "Oh, that ac- actually is how that went."

Beck (58:28):
That's a good answer though.
That is a good one.
That's…
I think my brother-in-law would bein that mix of the, the, the kill.

Dash (58:35):
Uh, listeners, let us know what's the, what's the worst game of fuck,

Beck (58:38):
Ugh.

Dash (58:40):
Well, we've ta- been

Beck (58:41):
Yehaw.

Dash (58:41):
time, but that's fine.
But maybe it's time to hearfrom this week's sponsor
This week's episode ofQueernecks is brought to you
by Small Town Pride Festival.
This is the one held in the gravellot between the tractor supply and
the volunteer fire department, notthe one held at the Spearmint Rhino.

Beck (58:59):
Fire Department, not the one held at the Clear Lake Diner.

Dash (59:01):
$2 bills.

Beck (59:02):
gonna see, truth then make sure and bring a $2 bill.

Dash (59:05):
starts 20 minutes late because

Beck (59:06):
No, this one is where the drag show

Dash (59:08):
needs to

Beck (59:08):
20 minutes late somebody's uncle bought the bath house
and it closed too early.

Dash (59:12):
softball

Beck (59:12):
one where the total attendance depends on

Dash (59:15):
The

Beck (59:15):
the schedule of the regional tournament happening.
more denim than rhinestones.

Dash (59:19):
folks who grew up hearing, "Nobody

Beck (59:21):
Small town pride is a

Dash (59:22):
to

Beck (59:22):
place where folks who grew up hearing, "Nobody like that lives
around here," get to take a laparound look around, and realize
there actually are quite a few.
When you walk into that alleymall, you see one folding table
with three toddlers melting

Dash (59:34):
aunt is

Beck (59:34):
in the afternoon sun.

Dash (59:36):
beside

Beck (59:36):
Somebody's lesbian aunt is selling handmade earrings.
Side of face and a tongue

Dash (59:40):
free hugs from a row of

Beck (59:42):
Two church moms offering free hugs.

Dash (59:44):
shorts

Beck (59:45):
Well-worn

Dash (59:45):
who walks

Beck (59:46):
in bisexual-themed cargo shorts, anyone who walks

Dash (59:48):
completely

Beck (59:49):
is their very first again.

Dash (59:51):
Lady Gaga on a

Beck (59:52):
completely feral a flatbed hay wagon.

Dash (59:54):
Small Town Pride is about visibility in

Beck (59:57):
this is the small town pride.
This code for being visiblejust to feel impossible.
It's about clear teenagers

Dash (01:00:03):
gay

Beck (01:00:04):
being adults who chose to stick around.

Dash (01:00:05):
the diner

Beck (01:00:06):
It's about an old gay couple finally holding hands in without checking
the parking lot for trouble first.
It is about turning a felt lonely into aplace that might someday feel like home.

Dash (01:00:15):
local vape vendor,

Beck (01:00:16):
year's festival is bigger than ever, featuring one local vape vendor,
six area nonprofits, two people sellingand Jo Don grew a hot dog's worth.

Dash (01:00:24):
and celebrate with the fine people who aren't

Beck (01:00:26):
It's small town pride festival.
Come out and celebrate with the

Dash (01:00:29):
Pride

Beck (01:00:29):
kind of people that aren't afraid of a little gravel in their queer.
Happy Pride Month from Queernecks.

Dash (01:00:34):
few petitions,

Beck (01:00:34):
one-year anniversary.
In We did it.
I do love a small town pride
Yehaw

Dash (01:00:42):
know what

Beck (01:00:42):
Yeah.

Dash (01:00:42):
see.

Beck (01:00:43):
I remember one year we went to Charleston, West Virginia.
That was back, oh God, that had to belike 2002, 2003, like a long time ago.
And there were like200 people there total.
And there was a drag queenwearing her full midnight
drag queen face at high noon.

Speaker (01:00:59):
That's the thing about the Small Town Pride Festival
is it is in the daytime.

Speaker 2 (01:01:03):
Yeah.
There was some place, I remember theyhad a, a softball game that went with it.
Which, what is more pride thanletting lesbians play softball?

Speaker (01:01:13):
Well, here's a shout out for you.
If you are in the Lexington areaof Kentucky, there's a sports
league called Hot Miss Sports,and it's a queer sports club.
They, you know, play kickball.
They have, um, kickball days orvolleyball or pool parties and stuff.
Um, I don't know how you join.

(01:01:33):
I kept, I always wanted to, but um,it was on, I always had to work on
weekends, so I would definitely hitthat up if I was still living there.
'cause there is just something tolike, you know, the, a big city pride.
They don't do things like thatbecause it's all together.
It's one huge thing.
It doesn't have to bepiecemeal and spread out.

(01:01:53):
When we did the, the SouthernIllinois Pride Festival, it was
like we had to do it in shifts.
You know, there was some morningprogramming and then nothing for a
while and some afternoon programming.
And then we went home and sleptfor a while, and then we had
the evening programming at a barsomewhere so that we didn't have to
actually do the facilitation of it.
Like it's that kind of stuff.

(01:02:14):
It's really enmeshed.
Any, uh, final thoughtsabout foxy Americans?

Speaker 2 (01:02:22):
None that I can think of.
I, I thought it was a interesting film.
I think the title is misleading.
Kind of superfluous,like to the whole story.
Um, but I think it's interestingand, you know, I, I thought it was
really interesting to see myselfreflected in such a way in a character
that you've never seen before.
So I thought that was reallycreative and original.

(01:02:43):
I don't know.
I liked it.
It was weird.
Yeah.
But I liked it.

Speaker (01:02:46):
Very weird, but quite a few things in it that I can't remember
seeing anywhere else before or since.
Definitely recommend.
But it is.
It is out there, whichmakes it on brand for us.
Queer Next approved.
Did you bring a nounof Appalachian interest

Speaker 2 (01:03:01):
today?
I did.
I did.
Um, I actually wrote this one a while agoand uh, decided to finally pull it out.
Today, this week's noun of Appalachianinterest is leather britches.
Now let's get one thingsettled right away.
Leather britches are beans.
Y'all not pants, not something thatyou wear to a line dancing night at
the Eagle Club, they're not chaps,they're not fringe, they're beans,

(01:03:22):
leather britches are green beans thathave been strung up with a needle and
thread and left to dry until they looklike they have both been through it.
Folks would hang them ontheir porches in long strands,
almost like Appalachian tinsel.
Forget fancy decorations aroundhere sometimes your porch was
also like a winter food supply.
Back before everybody had freezersand grocery stores close by.
Drying beans was one way to make suresupper lasted past harvest season.

(01:03:45):
You picked the beans in summer, strungthem up and let the air do its work,
and then saved them for the coldmonths When the garden was done and
everybody was tired of pretendingcanned peaches counted as a side dish.
Then when winter rolled in and thehouse needed something warm on the
stove, those dried beans went into thepot with a hunk of pork at a potato.
If you felt froggy.
After a while, they softened backinto something smokey, chewy,

(01:04:06):
and rich enough to make youunderstand why people keep doing it.
And that's the beauty of leather britches.
They're practical, but they'realso a little bit magical.
All summer long, they hangthere looking like they gave up.
Then winter comes and suddenlythey're the star of dinner.
That's not just food preservation.
That's a comeback story.
So leather britches are proof thatAppalachians were doing sustainability

(01:04:27):
long before anybody started chargingmoney to explain it in a conference room.
Nothing got wasted if it could bedried for later and turned into a meal
with enough pork grease and patience.
So if you ever hear somebody talkingabout leather britches, do not
picture a cowboy in a dance hall.
Picture those wrinkled beansturning into the kind of meal that
helped families get through winter.
Appalachian food has always known how totake what was already there and to turn

(01:04:50):
it into something that feels like home.
So leather britches, they mightnot make your ass look good, but
they sure will make you feel fed.

Speaker (01:04:57):
That's a good one.
Very educational.

Speaker 2 (01:05:00):
Thank you.

Speaker (01:05:00):
I did.
I'd never heard him called that.

Speaker 2 (01:05:02):
Yeah, that's, that's the only thing I've ever heard him called.

Speaker (01:05:05):
Interesting.

Speaker 2 (01:05:07):
Do you know what Chow Chow is?

Speaker (01:05:08):
Yes.

Speaker 2 (01:05:09):
I didn't know what that was.
And it turned up on,uh, top Chef this week.
Um, top Chef is in, uh,North Carolina this season.
Are the Carolinas, basically.
And so,

Speaker (01:05:19):
oh, yeah,

Speaker 2 (01:05:20):
yeah.
One, one of the last challengesthey had to, um, incorporate
Appalachian ingredients and onegirl picked, uh, C Cha Chow.
I have the worst song stuckin my head, per usual.
What is it?
This, this week's edition of what'sstuck in Becky's brain Jew box
is the Magic stick by 50 cent.

Speaker (01:05:39):
Oh, that's so specific.

Speaker 2 (01:05:41):
Yes.

Speaker (01:05:42):
Yesterday I got a wild hair, um, and watched the Diddy
documentary that 50 cent produced.

Speaker 2 (01:05:50):
How was that

Speaker (01:05:51):
surprising?
You know, I mean, I knew about, Iwas aware of the, the charge, like
the sexual assault charges andthings like that, but I did not know
that Diddy killed Tupac and Biggie.
It was a, like the, he's a, he has,he's been a shitbag for a long time.
So I was like, well, damn, I wasn'texpecting to learn this today.

Speaker 2 (01:06:11):
I mean, anybody that owns a thousand bottles of, uh, baby oil
that isn't, you know, Johnson andJohnson himself, like that's an issue.

Speaker (01:06:20):
Well, and and according to the documentary, there was GHB in it.

Speaker 2 (01:06:23):
Yeah.

Speaker (01:06:24):
Which that is absolutely fucking bonkers.
Um, well, I guess that'sit for Foxy Merkins.
Maybe that's it for this ourfirst episode of Pride Month.

Speaker 2 (01:06:35):
Are we in Season two?

Speaker (01:06:37):
Season two of Queer Next Maybe.
Maybe it's time for usto swap out that show.
Art For That Crazy Moth.
Man, I made,
did you see that picture Iposted of The Moth Man I made?
Yeah.
Welcome to Season two.
Queer Nut.
Queer of Queer Next.

Speaker 2 (01:06:51):
Queer Nuts.

Speaker (01:06:52):
Queer Nuts.
The Foxy queer nuts.
Well, happy for the opportunityto keep doing these.
Happy that y'all keep listening.
Let's do another year.

Speaker 2 (01:07:04):
Sounds good to me.

Speaker (01:07:05):
See you next week.
Be good.
Happy Pride month.
Say hi to your mom and them.

Speaker 2 (01:07:09):
Bye.

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