Spin the Wheel O' Spite with Nathan Dueck: A Fun Dive into 1979!

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Cue the music.
To the sun.
Podcast.
Yeah, you got it, folks.
It's me again with a littleaptitude for all you out here in
white bread land.
Let's see, we're on 92 FM.
Man, it feels like a niceclean little band so far.

(00:21):
No one else is using it.
The price is right.
This is bigger than friendship.
This is what you call cosmic.
And the Buddhists call it themystery of reincarnation.

(00:44):
Hey, wait a minute.
Since when is Pismo beachinside a cave, I wonder.
You know, I just think weshould have turned left at Albuquerque
and maybe a right trying to Fudgeola.
Who do you think you'retalking to?
I don't take orders from anyone.

(01:09):
Shush.
Hush, please.
Can't talk, little man, butcan't play none either.
Welcome to the Sean Geek andFast Fret podcast.
It's like a big exhale at theend, old man sounds.

(01:30):
I just got off from the couch.
Yeah, that sounds about right.
All right.
Yeah, that's about right.
Okay.
Right out of the gate, Todd.
Okay.
Apparently we're.
We're getting like a ton of complaints.
Oh, no.
Why?
And they're.
They're.
I think they're blaming you.
Oh, they're blaming whoever.

(01:52):
The clean shaven face, babyface McGinnity.
It's not going over at all.
It's the biggest fail of the show.
Shaving that beard.
Yeah, yeah, that's my fault.
It's a bigger fail than thetime we had Corey Morrissette on.
Oh, geez.
Oh, no, no.
I should have said Kevin Brown.
We don't like Kevin Brown, do we?

(02:13):
Hey, by the way, in certainnews, the.
The Kevin Brown diss track,which was the Kevin Brown kiss track,
right.
Debuted on the Seaside Podreview where I just take shots at
him for 3 minutes and 22 seconds.
Went over like a lead balloon.
Just the way I like it.
Oh, wow.

(02:34):
Fun stuff, fun stuff.
Little Randy, can't you seeBrown so wrong.
But at least he likes Vine.
He's realizing for SpeedyCreek bloody down for the 30.

(03:03):
But we are no longer blind.
Not from wake up of three degrees.
But anyway, we're going to dosomething a little bit different
today.
Well, a little bit different actually.
Almost exactly.
Like two weeks ago.
Something almost exactly twoweeks ago.

(03:25):
But we're going to take a spinon it because we don't play by no
rules.
You know what I'm saying,Bruce Lee freak.
Just what Kingswood needs.
Yes.
To quote, no retreat, no surrender.
We don't like Bruce Lee here.
I don't know why I like Bruce Lee.

(03:45):
He's a good guy.
You know what?
I don't think I've ever seen aBruce Lee movie.
Oh, come on.
I watched the Van Damme ones.
I've.
I've watched the Steven Seagal ones.
I've watched the Texas Lone Ranger.
What the hell's his name?

(04:06):
Chuck Norris.
Yeah.
You know what, Todd?
Everybody hated me shaving thebeard off, but I think now the polls
are.
Are in and you are the mosthated man on the Sean Geek podcast.
Oh, great.
You've just taken the title.
Good for you.
Good for you.
It's good to have goals.
Thank you, Todd.
Now you're number one in myfavorite people list.

(04:31):
You just bumped yourself up, mister.
Well, there's Charlie Chan orCharlie Chan.
No.
What?
Charlie Chan.
No.
Who's the other guy?
Jackie Chan.
Jackie Chan.
Charlie Chan.
Charlie Chaplin.
He was the actor from like the30s or whatever it was.
Yeah.
Chaplain.
Yeah, yeah, but well done.

(04:52):
I mean, not well done, but okay.
Yeah, that's our intro.
That's our intro.
Bullshit stuff.
Okay, So I wanna.
We're gonna play things alittle bit different today.
We have the author of 1979 to.

(05:17):
1984.
I hope.
No, no, no, no.
This is a better year.
1984 was a good year for musicand a bad year for George Orwell.
But no, this week we have on Nathan.
Wait.
Russell Duik.
Nathan Russell Duik.
You nailed it.
The author of so you knowWeird pronunciation.

(05:38):
It's not like dweck or sell, but.
You messed up with Russell.
It's actually Russell.
It is Roselle.
Are you serious?
I thought I was in trouble there.
Yeah.
So you've Canada or Canada asmighty cases?

(05:59):
Canada.
Canada.
So you've written some books.
You've vacated our provincefor greener pastures out in the West.
We're going to talk to you,we're going to ask about your work,
but we're also going to getinto some nerdy too.
So, quick spiel.

(06:19):
What'd you do?
What have you written?
And a very.
A brief biography.
And we'll kind of touch ontouch points as we.
As we go.
First, I have to thank youboth, Sean and Todd, for having me
on your podcast.
I feel perfectly comfortablespeaking to somebody who calls himself
Sean Geek.
Since Nathan Nerd seems justso comfortable in this environment.

(06:42):
I just.
At ease.
I've written a few books.
I've been grateful that somepeople have read them.
There's still some of them areeven available.
I started writing poetry inundergraduate 21 years ago and I
got a book published out of that.
Then I took a 10 year breakbecause it turns out that chicks

(07:05):
didn't like my poetry and.
What?
No, you'd be sure.
Yeah.
You know, I honestly thoughtthis would unlock a lot of.
Of hearts for me.
And they say they stay sealedprobably even tighter than before.
But I came back after gettingmarried with a second book of poetry,
then a third after having a child.
And this is the fourth book,but it's not poetry.

(07:29):
I'm trying something differentsince I've had such blistering success
with my previous publications.
This is, this is a book ofself deprecating anecdotes that might
be funny.
Jury is still.
I'm hoping that they willelicit laughter or at least mild
amusement.
But that's what this book is about.

(07:50):
Yeah, I related to a lot ofthe stuff in there and it's so, it's
so you're back.
So let's just cover where thiscomes from.
So background.
You said is.
Is Mennonite.
Is.
Is that correct?
Yeah.
I was, I was born in Winnipeg,where I stayed for as long as it
took my mother to heal.
And then I was raised inWinkler among all of the other Mennonites.

(08:11):
And we are avowedly and proudof our, our heritage in Winkler,
where the vast majority of usare Mennonite, which is a little
bit difficult to understand ifyou're from out of town or if you've
never left the perimeter,because I'm not casting any aspersions.
But if you haven't left theperimeter, you.

(08:32):
You've been surrounded byMennonites, you may not have been
able to identify them becausewe blend in pretty well.
We're like nondescript,camouflaged white folks who happen
to have a very religious, likea strict religious heritage.
And there's a bunch ofethnicity tied into it with like,
with holidays and eatingpatterns, which I didn't really think

(08:52):
of as odd.
That was just plain normal tome, being raised in my, my small
town, which is now asurprisingly large city.
It's huge.
And it didn't even occur to methat I was Mennonite because I never
met somebody who wasn't untilI moved back to the city to start
university at the age of 18.
So that is my heritage.

(09:12):
I was like, I was steeped andit was a stew that I was boiling
and not knowing that it was sohot until I left and cooled off and
then took a look around andlike, oh my gosh, people are way
more fun on this side.
So this is almost like theStephen King novel.
The Dome.
So you've actually.
You were in the dome oroutside the dome.
I'm not sure which side itwould have been.

(09:33):
And then I was inside the dome.
The dome dropped, eviscerateda cow straight in half.
We ate our side of the calfand the other cow just.
Just, like, flopped.
And then I left the dome.
I'm not sure if that story.
I think there was aliens atthe end of that novel.
Oh, maybe those are the peoplefrom Alberta, I think.
Yeah.

(09:56):
See, I've watched all kindsof, you know, the.
The shows like Breaking Amishand, you know, all these other.
The.
Just.
Just all the religions.
There's always in intricacies.
What do they call it?
They're just.
You're right.
They're.
They're.
They all have their ownlittle, little differences.

(10:17):
And I've been kind offascinated by that.
And I'm not too sure what thedifference is between, say, a Mennonite
community versus, say, justfor argument's sake, say a Roman
Catholic community.
Like, is there any differenceat all?
Like, because you say youreating patterns and the other things
are all different.
So what does that mean?

(10:39):
Well, you're getting into it now.
You buckle up.
So what happens is that theMennonites and the Amish and the
Hutterites are related.
Way back in the day, they wereall a break off from.
What was that point?
Mainstream Christianity.
We call ourselves Anabaptists,which roughly means that we baptize

(11:00):
people upon confession oftheir faith when they're adults.
And we all hold.
Yeah, so that's.
That's a primary bigdifference between us and the Roman
Catholics.
But we also are, like, avowed pacifists.
Like, that's a big part of ourculture as well, which is one of
the reasons why my ancestorscame to Canada.
Roughly 100 years ago, my mostrecent ancestors came to this country.

(11:24):
And what happened was thesepeople came to Western Canada.
There's a bunch of us that arein Ontario, but that's a little bit
different.
My ancestors are RussianMennonites, and the ones in Ontario
are very more AmishMennonites, which are close to the
Dutch.
And we formed thesecommunities, farming communities,
primarily in southern Manitobaand in Saskatchewan.

(11:45):
And some of us even found ourway all the way up to B.C.
And we tried to keep toourselves to maintain our religious.
I'm going to say purity, eventhough I feel unclean saying that.
And then over the years, webecame sincerely unclean and far
more impure.
Society.
Oh, absolutely.
We infiltrate society.
And now, like, if you look ata Mennonite without your they live

(12:08):
sunglasses on, we just looklike everyone else.
But then the second that youlike Rod, your Roddy Piper, put on
your shades.
You can see our reallystrange, deformed faces telling you
how to live.
Because the, like, the on theground practical difference between
a community of observantMennonites and a community that's
predominantly Catholic is thatthe Mennonites are far more strict

(12:30):
about certain social mores.
Like, we are not allowed todrink as part of our culture.
My hometown was.
Was proudly dry when I wasgrowing up, so we just drink in the
basement and in the closet.
Whereas the Catholics.
Yeah, that's true.
Same just in hiding.
My experience, Catholics feelperfectly comfortable just drinking
out in the open because that'swhat the Pope would do.

(12:52):
Well, you know the funnything, I, like, I used to work in
Stein.
I worked in Steinbach for two years.
Yeah.
So there's a large Mennonitecommunity there now.
This was when.
I don't know how long I'd beenin Winnipeg.
I don't.
Probably not that long, I guess.
So I didn't know anythingabout Mennonite culture any or any
of that stuff.
So I get a job down inSteinbach because it paid well.

(13:14):
And so I went down there andI, you know, shaved my head.
And I get a lot of looksbecause that was weird.
And.
But I. I know it's not like itwas pretty strict at the time, but
now there's, like the expansion.
And this was like, I don'tknow, 15 years ago probably.
So I think since then, nowthere's a liquor store there.

(13:36):
Now they serve alcohol in the restaurants.
So there's a kind of a changeof culturalization or deculturalization,
I guess that kind of happened.
Let's call it secularization.
And I'll tell you something, too.
That's a big word, like gymnasium.
Oh, just.
We call it gymnasium in Winkler.

(13:56):
We were like.
We were like this, like the.
The step sibling to.
To.
To your experience.
Your experience was like, withthe more worldly Mennonites because
they got the liquor storebefore we did.
And they get really crankywhen you start pointing out how worldly,
uncompromised they are likethe rest of you heathens.

(14:20):
So you married a Mennonite person?
No, I didn't.
What?
Oh, yeah.
Oh, my God.
Were you banished?
I hope not.
I was just home a little whileago and nobody seemed to, like, cast
dispersions or roll their eyeswhen I was around.
So.
No, I was.
I left and I never came back,which I feel really kind of guilty

(14:41):
about now, but I moved toWinnipeg, got a degree, got another
degree, moved to Calgary, gotanother degree.
And while in Calgary I met anice young woman who is half English
and half Scottish.
And now we have very confusedchildren because they have this very
heavy, ethnically weighted name.
Right.

(15:01):
But they don't feel the sameethnic or religious pull that I was.
Like, I have lost my sense ofgravity around them.
If I can do that.
You haven't had a nine tillyou have an anime baby Come come
over.
And make things all rightshould try.
To tie you down but it'suseless to fight Cuz you haven't

(15:26):
had a night till you've had a man.
You know what?
That's actually not like fromlike when we grew up, Todd, because
we grew up in a.
In an Acadian town and.
Acadia.
Acadia.
I don't know if you.
Do you know the Acadians?
Absolutely.

(15:46):
Oh, for sure.
Yeah.
So we're both Acadian.
And it's like French, butlike, it's like a Roman Catholic,
like very staunch RomanCatholic sort of stuff.
And like there was even, Ithink there was a few nuns.
Or was there nuns in schoolwith you, Todd, because you're a
bit older than me.
I'm not that old.

(16:06):
No, but you're like threeyears older because there was a couple.
It's like in our parents's era.
No, no, we did a couple ofnuns at grade one to three.
Well, you know what?
I think there may have beenretired nun because she was mean.
Yeah, my grade one teacher.
Yeah.
What do you mean?
And everyone was terrified ofthat lady.

(16:27):
Who is it?
I can't remember her name though.
Therese.
Or.
No, not Therese.
That was grade two.
Might be.
Yeah, but so being English, wenever really spoke a whole lot of
French.
Like we did a little bit, butnot, you know, so we get the class,
it's like all French and she'stalking to me and I'm just.

(16:49):
I'm the teachers.
Just to clarify, the teachersdo not know how to speak any English.
So they dumped a bunch of two,like me and my brother in a French
school where they didn't speakany English.
They didn't even know how tospeak English.
So.
Sorry, go on, Todd.
Yeah, so.
So I had a.
A pretty long ear for thefirst year because she would always
grab you by the ear.

(17:10):
But then there was anotherguy, Joel Cassidy, that was in my
class and he had the same thing.
But his.
His mom was actually.
I don't know, she was Deaf orshe couldn't talk, but she.
It was.
It was sign language.
So he.
He didn't really know anyFrench either.
So he was kind of.

(17:30):
Yeah, we both had long yearsback then,.
So.
So in your dunk tank style ofimmersion, did you pick up any French?
Are you now fluent?
Oh, he graduated from French school.
So it started in grade.
Like, it was totally French.
It wasn't this Frenchimmersion thing where it's English
and then you learn French.
This was totally French assoon as you walked.
And the same thing even whenit kept the high school.

(17:52):
And, you know, a lot of peopleare talking English and French, but
they would just get their noseout of joint.
Gaetan o' Doyle would walk byand hear someone scary.
He'd hear someone here say acouple English words and he'd just
stop in his tracks and he'dturn around and then he.

(18:12):
Yeah, pretty much.
Oh, yeah, I got.
He caught me.
French only.
I got detention for a week onmy lunch break.
I was speaking English to myfriend Richard, and I got detention
for a week.
That's your own time.
Yeah.
No, no, not there.
You're in my school.
You're going to speak our language.
There was also.
There was also this weird bias against.

(18:33):
There was like a dividebetween the English and the French.
And that has to do with theAcadian upbringing, too, I think,
because the French came overto Canada.
They came and they, you know, they.
They mingled with the localsand then they, you know, they were
doing things together andtrade and all this sort of stuff.
And then the British came orthe English came, and then they came
and said, yeah, you know,we're just going to kill a bunch

(18:54):
of people.
So they just killed a bunch of people.
So the French have a hatredfor the English, and the English
have a hatred for the French there.
And there's a real divide.
I think there's even a set ofrailroad tracks, like the.
Oh, they're from the otherside of the tracks.
Like in the city, in the townwe grew up in.
Like, I know when dad foundout I was.
I was dating an English girl,he was.

(19:15):
He was very angry.
How dare you.
She's from the other side ofthe tracks.
I'm like, what.
What does that even mean?
Like, I didn't know thehistory of colonialism has invaded
your romantic life.
Well, yeah, yeah.
Yeah.
So I don't understand everything.
Like, I don't understandeverything where you're coming from,
but I think there's some kindof similarities in any sort of, like,

(19:35):
you know, Religious culture or whatever.
Where.
Well, in this case, there'sactually an interesting overlap because
language is one way in whichyou can form a border between cultures.
Yeah.
And so the Mennonites that Iwas raised with, my father's first
language was Low German, whichis a dialect of German.
And he learned English bybeing in the world with other people,

(19:56):
but at home they spoke LowGerman as their primary language.
And for generations beforethat, the language had actually been
a way to barriers out of abarrier between Mennonites and the
people outside of their community.
And only a handful of peoplecould actually traverse that boundary
meaningfully.
And strangely, what I've beenlearning their history in Eastern
Europe, those people wereoften Jewish.

(20:18):
So.
So Jewish people who camethrough oftentimes to trade goods
and services would.
Would be allowed into theMennonite community and then allowed
to leave the Mennonitecommunity and go back and forth.
The reason I'm bringing thisup is because French language in
Quebec now is one of thosethings like a shibboleth that shows

(20:38):
if you're inside or outside ofthe community.
And yeah, the province is, inmy opinion, quite rightly, concerned
about diluting the language,the infiltration of the dominant
culture, specifically Englishculture, or more specifically, American
culture.
Right?
Oh, yeah.
So.
Oh, yeah.
So language and culture inthat sense, in my understanding,

(21:00):
are intimately talented.
And this is why I'm actually abit of a problem, because my parents,
both Mennonite, both fluentand Low German, they decided they
didn't want me to know Low German.
We were exclusively English.
Wow.
And.
And I'm part of a generationwhich is marked by the fact that
I was born at the end of 1979.

(21:21):
I'm part of a generation thatdecided that they were just not going
to learn that language.
So the people in my smalltown, which is now a small city,
they became really concernedas the city was evolving because
the youth, me, didn't respectthe traditions of their.
Their elders.
And.
And so it's very peculiar nowbecause I am, I. I like, I dabble

(21:45):
in the mother tongue, but I amin no means fluent.
And when you go to Winkler nowand I'm kind of like, this is your
tourist guide telling you he'sgot a good Winkler, because you're
going to hear people speak alanguage that to themselves, and
then immediately, once you askthem a question, they'll turn and
speak English perfectly well.
But what's interesting also isthat there are certain cultural standards

(22:10):
that people maintain therethat my children find very strange.
They don't know low German,because I don't speak the language
fluently, and I haven't.
Grandpa talks a little German sometimes.
But then we walk around myhometown, which I still feel is my
hometown, even though Ihaven't lived there since 2004.
And we see people in what theycall traditional dress, which looks

(22:31):
very much like when you seehuda rights at Costco, that's almost
identical to the types ofclothing that my grandparents would
have worn, but my parents didn't.
So it's been like aprogression over the 20th century
to the 21st century ofshedding certain of the vestiges
of the Mennonite culture whileasking ourselves, what does it mean
to be Mennonite?
Because we are so easily camouflaged.

(22:53):
We can walk around with cargoshorts and, like, trucker caps just
like everybody else, and we dothis so that we can fit in.
But at the same time, there'ssome part of the culture that lingers,
and oftentimes it's lingeringthrough resentment or anger because
people don't like therepression of the nature of their
parents or their churchcommunity that they were raised while
trying also to have some kindof understanding of why this was

(23:15):
important to your ancestors.
In that way.
It's similar to what you justdescribed as Acadian culture, because
this wasn't a choice you made.
It was the environment inwhich you were raised.
It was the bathwater that yousprung out of.
Yeah.
You still want to know why wasthis important?
Why was it important?
I'm so curious.
Why was it important in highschool that you were speaking English?

(23:37):
That's ridiculous.
Everybody.
There was fluency.
Two languages.
Well, yeah.
Why not?
Why not be bilingual?
Oh, sure.
Why not?
See, now, Acadian is.
And I'm not too sure if.
If you guys have the samething, like with English and Low
German.
With Acadian French, it's.
There's French and there'sEnglish, and you've taken a whole

(24:00):
paragraph, and you've put itall in a bowl, and now you're picking
out all the words and you'reputting it in the sentence.
So now you've got Englishwords, you got French words, and
it's in a.
Little bit of Latin, too, because.
Yeah, like, mom sent, like,background, Right?
Mom sent a video of someone talking.
I'm like, oh, my God.
It just brought me right back.
I was just looking for that right.
Now, Todd, you know, becauseit was like, English and French,

(24:22):
English and French, Englishand French.
I'm like, oh, my God.
So I'm just wondering ifthat's the same thing, because you're
saying, like, you had the LowGerman and English, and I'm just
wondering if they had themwhere they would have, you know,
words from each language inthe same conversation.
Like, you just throw a word inhere because you don't know what
the English word is for it orthe Low German word for.

(24:45):
So you just kind of mix them up.
Is that what happens?
So 100%.
I will play that clip, too,after you finish, because I want
you to hear what it soundslike, because it's.
It's.
It's messed up, but go ahead.
So.
So just.
Just to complete that thought.
You're right, Todd.
What you're describing is, Ithink, what linguists call a pidgin
language.
That's the language thatemerges as a contact.

(25:07):
That's a hybrid of thelanguages of the.
Of cultures.
And.
And that.
That happens when thosecultures have to interact.
But that interaction is notautomatic or immediate.
It takes some effort.
These languages emerge.
You see it happening allthroughout the world.
And the interesting thing whenI'm teaching students from Africa
is that they have pidginlanguages, even though they come

(25:28):
from different countries, andthey can speak their hybrid language,
even if they don't speak theother language from a different country.
And so this 100% happens inInternet communities where you'll
get people, in this case mydad, who will start a sentence in
German and then end it inEnglish, and then sometimes he'll
just mix it around in themiddle of it.

(25:49):
And so you hear his accentbecause he speaks with an accented
English, but then his.
His accent is only one part ofhis linguistic identity.
The other part is the factthat he just interchanges.
And as children, we kind ofhad to figure out how dad was speaking
to us.
And.
And so, like, I might, like,just kind of like bicultural osmosis.

(26:10):
I can pick out the words thatmy dad referred to.
And then.
And then I didn't know thatthat was weird.
So I watched television, and Iwanted to pattern my speech with,
like, the news broadcasters.
So, like, the way I'm speakingtends to be the way that I saw on
tv, which itself is a cultural invasion.
So I was voluntarilyabdicating my own relationship to

(26:34):
my culture because I wanted tobe like the people I saw on television.
I apologize.
Play that.
That.
That's interesting.
Just before I play that clip.
So the same thing happened.
My wife is Portuguese, andwhenever we're having dinner, her
parents, they learned Englishwhen they moved here.
They didn't speak English before.

(26:56):
So there.
There's always this hot.
So I'm listening and I. I'mdoing duolingo.
I'm trying to learn a littlebit of Portuguese because, you know,
it's not enough to be.
Do, like, have two languages.
It's better to have four.
But I also speak a little.
I also have a little bit of Spanish.
Like, I studied Spanish for ayear in university.
So anyway, so I'm listening tothem and I'm trying to, like.

(27:19):
And I can kind of piecetogether what they're saying because
I know enough pigeonPortuguese, I guess, that I can go,
oh, I know what.
That they're talking about rice.
And here they're talking aboutgoing to the store and whatever.
So everybody does it.
Like, it's kind of cool.
But let's play this clipbecause after mom sent this to me,
I watched it like three orfour times.

(27:42):
Now I'm not going to show theclip because it's just.
It'll.
It might screw up the audio.
So if you wanna.
It's not too long, but raiseyour hand if you want me to stop
it and then we'll play it fora second or two here.
You guys ready?
Yeah.
All right, here we go.
It is loading and it is muted.

(28:04):
What the heck?
The mopy.
Chris, drum right low.
Wait, wait, wait.
On a drive.
Le car, Basically.

(28:33):
Saint John's Newfoundland.
Pothole.
Huge one.

(29:07):
Oh, my God.
Okay, so Todd and I arelaughing because we understand everything
he's saying.
Yeah.
How lost were you, Nathan?
I could follow.
I'm going to say 30.
That's pretty good, you're saying.
Yeah, that's.
That's pretty good.
I'm not.
I'm not trying to pat myselfon the back, but I could pick out
French language, like,individual French terms.
But it was the phrasing, theway that he was coaching the words

(29:29):
that was difficult to follow.
Yeah.
Yeah.
So that's how we spoke back home.
Where was.
Where was that recorded?
This was in.
I think this is New Brunswick.
New Brunswick, Yeah.
New Brunswick.
New Brunswick, yeah.
So this is a radio station.
They're interviewing aperformer who had performed up in
Newfoundland.

(29:49):
He was telling a story abouthitting potholes in his Ferrari.
Yes.
And then.
And then trying to get serviceor what.
It's.
It's a funny story.
But the way they told storiesback home, I almost feel like they
were accenting using Englishwords as, like an accent to heighten.

(30:10):
Like, as a comedian might.
Right.
You might.
Comedians back in the 80s,they would.
They would throw around the Fbomb to make it more interesting
to get Your attention.
And I almost feel like thisguy, the way he tells his story.
Oh, then I drove my car.
They're saying that to kind ofheighten the storytelling point of

(30:32):
the story.
And then every time he'strying to heighten, he was throwing
in some English words because,I mean, it's a French radio station,
but that's fascinating.
Well, I'm expecting voitureevery now and then.
Yeah, no, no, it's car.
And hits a hard R, too.
Yeah, car.
That car.
And they don't say drive conduit.

(30:52):
They say drive it.
I'm driving.
I'm driving the car.
Drive it.
More car.
Actually, if I.
If I could raise anotherquestion, just as a point of contact.
One of the things that.
Because you only ever see verystern face Mennonites walking around
in Winnipeg, we have.
We have, like, men with longfaces and beards, like.

(31:14):
Like shady horses.
And we have a very strange andlike, often very dark sense of humor.
Like earthy dark.
Okay, sure.
Which we very do much do notportray in our behavior to the outsiders.
And I'm guessing just from thesounds of what you played, it's quite
similar in your experiencewith your.
Your native culture.

(31:36):
There's definitely a. I don't know.
I don't know if I'd say darkspecifically, but it's definitely
a.
Is it like a smart ass?
Todd?
Would that be the kind of humor.
It's kind of.
I was going to say enlightening.
It's just.
It's a lighter way of saying it.
Instead of being textbook, youknow, every word has to be, you know,

(31:57):
in the English language, youhave to use this word and this word
and form a sentence in this matter.
There.
It's just out the window.
It's like.
And if you.
If you've ever read French,French is usually the end to the
beginning versus English.
Beginning to the end.
On some sentences.

(32:17):
Yeah.
And I can't think of one atthe moment, but, you know, you'll
say a sentence and the word atthe beginning will be at the end.
I went to the store.
No, the store came to me.
Yeah.
And then when you go and youstart throwing in, you know, English
and French words into thatscenario, then it becomes kind of
a little bit comedic.

(32:38):
Like, we had a person in, youknow, her name was La Saguin.
Oh, God.
Yeah.
And she's.
She's kind of the Acadian.
What would you call her?
She was kind of the.
The stereotypical Acadiangrandma was what.

(33:02):
This is what she was personifying.
I'm Trying to see if there'sanything I could find, like, on her.
Like, she's like.
So the.
The.
The lady that played LaSaguin, and she would do, like.
It was like a fringe kind ofequivalent of, like, a fringe play
where she would.
She would just basically tell stories.

(33:23):
Yeah, yeah.
One.
One woman shows.
And she would.
And talk in her way and kindof talk about that.
I'm just trying to see if Ican find.
Now, the funny thing is, iswhen you're younger and you.
You're raised more Englishthan French, but your parents are,
like, full Acadian, theyunderstand the whole language.

(33:44):
When I first saw her lasaguin,I did not understand a word, but
my mother was pissing herselflaughing, and it was like, what?
And then later on, when I, youknow, I went, oh, yeah, lasagun.
And I was listening to hergoing, okay, now I see.
Now I see.
We have to kind of know thelanguage is like.

(34:07):
If you had a comedian, youknow, doing your language, doing
the.
Doing both languages together,that would be famous, you know?
And then you first listen tothem, it's like, okay.
And then later on in life,when you've experienced, you know,
both languages together, thenit's like, okay, I understand what

(34:27):
they're saying.
I can't believe there's noreels on Facebook for the psycho
in.
This is ridiculous.
You're describing somethingthat's old.
I.
Like, I'm kind of out of my depth.
But you're describingsomething linguists refer to as,
like, the syntacticalchallenges or complexities of French,
which works on the Latin skeleton.
Like, it has a Latin inEnglish, which has the chassis of,

(34:49):
like, I don't know, two horses yoked.
Because, like, once the Frenchimposed on the.
On the German to form English,we had to find a way to negotiate
syntax, where we start thesentence, now we end the sentence.
And you're describing somebodywho, for the purposes of humor or
comedic revelation, is doingthat, like, very complex and tactical

(35:13):
work, like, eitherintentionally or to illustrate foolishness.
And.
And.
And that, like, it's.
So.
It's really in.
You're describing somethingthat is incredibly complex but is
interpreted very simply.
Okay, I found that.
That's the truth.
And I found a clip here, soI'll just play a second of it just
to kind of give us a.
Some context here.

(35:33):
Probably going to get aYouTube ad.
Yeah.
No,.
There you go.
Come on.
Easy.
Puts a question to the heart, awkwardly.
Oh, this is Translated.
What?
Come on.
Oh, come on.
Why would you translate that?
That's like 10 o' clock beingin English.

(35:57):
There we.
Go.

(36:25):
Wow.
I'm having a hard timeunderstanding that.
Yeah.
And there's no English in there.
That's just straight Acadian.
It's just straight Acadian,which is Latin and French probably
combo because there's thatlady that mom sends us clips of all
the time.
And they explain where a lotof the Akkadian terms came from.
Like clothing is calledhalved, H, A, R, D, E. Yeah, but

(36:49):
it comes, it comes from something.
So it's not.
They're not just making up a word.
It actually I can't rememberwhat it's.
Whatever.
But anyway.
Wow.
Did we ever go down a rabbit hole?
Yeah, this is, this is exactlythe type of rabbit hole I like to
follow.
Take me where you want to go, Alice.
It's this sort of rabbit hole.
Knew I should have made a left toilet.

(37:11):
Albuquerque, New Mexico.
Cuz that's where we live in Albuquerque.
We just took a.
Was it a right turn, Todd, ora left turn?
Is it a left turn?
It's a left one.
It's a left turn.
I always say I right turnbecause that's the metric system.
It's a metric, right or anAmerican left.

(37:33):
Imperial.
Imperial.
Imperial, yeah.
This is why we can't cook methusing the, the Breaking Bad recipe.
Because we can't do those conversions.
No, no, no, no, no.
Very true, very true.
Was.
Was there as metric?
Oh no, no, no, no, no.
That has to.
Well, he was a high schoolteacher, so maybe it was metric.

(37:55):
Chemistry is the study ofmatter, but I prefer to see it as
the study of change.
Now just, just think about this.
Electrons.
They.
Change their energy levels.
Molecules.
Molecules change their bonds.

(38:16):
Elements.
They combine and change into compounds.
Well, that's.
That's all of life, right?
I mean it's just.
It's the constant, it's the cycle.
It's solution, dissolution,just over and over and over.
It is growth, then decay, then transformation.

(38:39):
It is fascinating.
Really.
Well, because this was a us.
US never implemented.
Really.
Metric.
Yeah, but what about in thescientific community?
Are they using.
What's the measurements they use?
Because scientists aresmarter, right?
So they wouldn't be usingImperial, I would think.
I don't know, using gramsinstead of.

(38:59):
Okay, this is, this is where Ireally do show my ass kilograms.
I study English.
I have no idea what thescientists in Albuquerque do.
What is this science stuff?
What are you talking about?
Is that like Jedi?
There's midi chloriansinvolved, but I'm not sure.
Yeah, I think there'smidichlorians involved, Master sir.

(39:22):
I heard Yoda talking aboutmidi chlorians.
I've been wondering.
What are midi chlorians?
Midi chlorians are amicroscopic life form that resides
within all living cells.
They live inside me?
Inside yourselves?
Yes.
And we are symbionts with them.

(39:42):
Symbionts?
Life forms living together formutual advantage.
Without the midi chlorians,life cannot exist.
And we would have no knowledgeof the Force.
They continually speak to us,telling us the will of the Force.
When you learn to quiet your mind,.
You'll hear them speaking to you.

(40:02):
I don't understand.
With time and training, Annie,you will.
You will.
All right, so I wanted to dosomething because.
Okay, so one of the bigcomplaints we had, other than me
shaving off my beard, wasevery time we've done the Wheel of
Topics side the last, like,three times.
Ever since, we.

(40:23):
We have a new theme song forthe Wheel of Topics.
Okay.
And, you know, we worked on ithard, you and I.
We recorded all theinstruments ourselves.
Well, you did all the instruments.
I did the singing.
Were we getting bad feedbackon that one?
We're getting bad feedback.
The feedback is that we neverspin the wheel.
We just randomly takesomething off the board and decide
to talk about it.
We actually haven't spun the wheel.
We said, no, we're not goingto talk about that.

(40:44):
We're just going to talk about this.
So even though we said we werepulling from the Wheel of Topics,
we've never actually pulledfrom the Wheel of topics.
Never actually rolled the dice.
Never actually rolled the dice.
That's a dice.
Of great consequence.
It is.
Yes.
12 sided.
No, this is a.

(41:04):
This is a 20.
No, no, no.
It is a 20.
20.
Yeah.
Wow.
Yeah.
I used to roll this on thedice when we played D and D, but
it just knock all theminiatures over.
Never knew where you're at.
Do you remember where you were at?
Dungeon disaster.
So I thought it might be funto do the Wheel of Topics with a
guest.
Sure, if you're up for that, Nathan.

(41:26):
I am.
I couldn't be more pro.
Let's roll.
Okay, so I'm not gonna rollthe dice.
The dice roller is actually within.
See, I'm really good in thesheets, as in the Excel sheets.
So I built everything in Excel.
I put a little wheel, which Ican only share one thing at a time.

(41:48):
So if I start sharing.
So basically I'm saying Ican't share it, but it's actually
really a smart way for me todeflect to the listener That I actually
don't have a wheel built.
I'm just rolling a randomthing in an Excel sheet.
But I tell the listeners thatI'm actually rolling it and I do
have a wheel.
Shit.
I just give it away.

(42:08):
Mary wasn't very smart.
Okay, so I hit F9 and itactually randomly selects from our
list of topics.
Our list of topics.
There's 136 topics I added thelatest ones Todd has added to our
list.
They're all in there.
I'm going to hit F9 on our wheel.
And we call it the Wheel of Spite.
And why do we call it theWheel of Spite?

(42:29):
Todd, do you remember why?
No.
Sean, tell us why Nick Jonesnamed it.
Because many of the topics onthe board are ones that Todd added.
And when Todd adds.
So Todd and I share aMicrosoft to do so.
It's like a shopping list sortof program.

(42:50):
I think that's what it wasmeant for.
That's what it's meant for.
But Todd and I share.
And every time we have a topicidea, we add to the list and I take
it out of there, throw it inthe Excel sheet.
But when Todd.
You can tell when Todd isadding a topic that he's pissed off
about because spelling errors galore.
And it's like, so Nick Jones,a previous guest on the show.

(43:12):
So he said.
So Todd gets mad, adds to the list.
So it's the Wheel of Spite,isn't it?
I said, yes, it's the Wheel of Spite.
So it's now called the Wheelof Spite.
Okay.
And as a reminder, no othershow has a wheel, right, Todd?
No other show has a wheel.
Well, not one.
So spiteful.
No, exactly.
Their wheels are fun.

(43:32):
They don't.
It's not, you know, Cheese.
Are we.
Yes, they're cheese wheels.
And they got those little,like those little things that go
in like you put in the kids bikes.
Yeah, that's their wheels.
No, not our wheel.
Our wheel goes hamsters and wheels.
This is a wheel of Spite.
Like I'm feeling oppressed.
What was that sound I madewhen I sat down?

(43:53):
That's the sound our wheel makes.
Pretty.
So.
So you're going to play thesong first or they're going to spin?
Well, if I forget to play thesong, I'll get for that too.
Okay, let's play the song.
This is the Wheel of Spite song.
This is.
We wrote the song too.
It's not based off of an original.
This is an original song Toddand I wrote.

(44:13):
Just kidding.
Here it is.
Spinning wheel on our show.
No one Else does it.
We are so original.
Get up on Patreon so you canwrite and on all your topics, Aren't
you all Wheel of Spy.

(44:37):
Yes, the Wheel of Spite.
And as it says in that littlesong, if you want to contribute to
the Wheel of Spite and youwant to add a topic to the board,
join our Patreon.
I can't remember what.
I don't know, 5, $10, whateverit is, you can do the $75 a month
tier anyway, if you want toadd on to our Wheel of whatever.
You want to give.
You know, we.

(44:58):
We like money, but any.
If you want to add to thewheel of Spite, donate on the Patreon
and you will have full accessto our list.
And you can add your own in there.
You don't even have to spellit right.
No, it could be the Wheel ofSpit for all you did.
That's right.
Exactly.
And the topic could be spit or spite.

(45:18):
Which do you prefer?
All right, so let's roll this thing.
And again, we have the abilityto mulligan it, which basically means
if the topic doesn't feelright for the three of us, we can
skip to the next one.
Okay.
Because I move we're not like.
Nathan, do you followsportsball at all?
I am a. I am an enormousbaseball fan.

(45:40):
Okay, so.
Okay, well.
Okay, well, that's the wrong question.
Are you.
Are you into Taylor Swift?
Oh, absolutely.
Yeah.
Okay, let's find another one.
I'm actually.
I'm trying to find somethingyou don't like.
Oh,.
I was just talking to my children.
I hate raisins.
Like, if you ever had, like,yes topic, I'd be like, raisin.

(46:02):
We could mulligan that one.
Not interested.
Okay.
I. I don't like soft stool.
I don't like soft stool either.
Yeah, I like the ones thatgive you hemorrhoids.
Yeah, that's the one.
Straight.
Just cutting curds over here.
You get that vein in themiddle of your forehead that sticks
out.
You know that one that whenyou're trying to suck the.

(46:25):
Oh, my God.
You go for a milkshake andthey give you those stupid little
goddamn straws and you'resucking and it.
Pain on your forehead sticksout because you can't.
You know.
What kind of straws are those, Todd?
Little dinky ones.
No, not the goddamn straws.
Yeah, well, they're not usedto be a T shirt now like the McDonald's
straws.
At least they're.
They're bigger.
You can get more.
You know, you got your veinpopping in your Forehead.

(46:47):
And you have the bdi.
That's a Winnipeg referencefor everyone.
Yes.
There you go.
Like, yes.
Nice.
I did my homework.
Nice.
I think I want to see apicture of Todd sucking a straw on
our T shirt.
With the vein sticking out?
Yeah, with the vein sticking out.
All right, let's do this.

(47:07):
Did it work?
Oh, wait.
F9.
F9.
Oh, there we go.
Make a sound.
Okay.
No, it doesn't.
I know.
Here's your sound.
Could you come show me someguitar chords?
There you go.
That's the sound.
All right, so number 73 on the list.
Scroll down.

(47:27):
73.
Ah.
Okay.
This is.
Oh, this is actually strangely appropriate.
So this, there's differenttypes of categories.
This is a topic topic.
We have other styles.
There's pass or go, there's versus.
There's incorrect headlines.
This is just topics.
So Toddle have no interest inthis one.

(47:49):
So I'm going to read what itsays and if Todd wants to mulligan
it, we can switch.
But it is author related, sothat's kind of strangely appropriate.
So HarperCollins and Amazonare under fire for changing the covers
on Amazon for their books thatcoincide with the TV series to reflect
the TV series.

(48:10):
So someone puts a book out,Wuthering Heights, whatever it is,
there's the original cover,the original classic cover, and then
a TV series comes out.
So now the COVID of the bookhas been changed to reflect the actors
in the TV show.
Even though it might be aclassic TV show, sorry, a classic

(48:33):
book, they're still going toshow, you know, the, what do you
call it, the A and E movie ofthe week actors, you know, Z list
actors.
And they'll change the COVIDof the book to reflect the actors
in the TV show.
So they're under fire.

(48:53):
HarperCollins specifically wasunder fire for changing all the covers
of their books to reflect themovie of the week.
Now does this mean, does thismean that the original covers are
now worth more because thatthey were changed?
Is it, would this be like a.

(49:13):
Very, very good question?
I. I don't know.
It's interesting also becausethey're like, okay, I'm a lit guy,
my cards are on the table.
There is no real like originalcovers of things, especially something
like Wuthering Heights.
Sure.
If you purchase that in the19th century, you wouldn't see much
of an image on the COVID Butthere has been like a standard Penguin

(49:38):
edition of books cover likethat you can buy on T shirts and
sweaters and mugs and such.
So that I think is what wetake as the template for the default
book cover for a classic book and.
Then something with a painting related.
It's like, it looks painted or whatever.
And then if you go and you buythe Wuthering Heights paperback after

(50:01):
watching the movie, you seeMargot Robbie on the COVID like,
what.
What abomination is this?
Which is interesting, too,because if you read the Margot Roby
covered Wuthering Heights, youwould read another, like, half of
the story that didn't make the movie.
So you'd be like, what the hell?
This is.
This is what I signed up for.
It's funny, though, because,like, if you wanted to buy those

(50:22):
old covers, there's got to bea used bookstore or an online resale
retailer available.
Like, just a step back.
This kind of gets me upsetbecause if we see adaptations or
remakes, do.
I need to play the rant music?
Oh, I'm trying.
I'm trying to get the spike.
I'm sitting here.

(50:45):
Okay, go ahead.
Okay, here we go.
I am Kirk, facing off againstthe Gorn right now.
The issue here is that we have.
Our culture gets upset withremakes and reboots and those sorts
of things, as though theyeliminate the original in the process.
And so when.

(51:06):
When I'm an elderly man now, so.
So when somebody remakessomething I enjoy for my youth, I'm
usually cool with it because Ican always go back to the thing that
was my youth.
And then you hear otherelderly men who look very similar
to me who say things like,you've ruined my childhood.
Oh, what ruined your childhood?
You know what ruined your childhood?
With social media, you clown.

(51:27):
That was our grade one teacherthat ruined our childhood.
It wasn't a cover on a book orit wasn't someone's reinterpretation
of a classic.
It was that lady with the ruler.
I hate.
You know what I hate?
That.
That you just ruined mychildhood comment.
Oh, it irks me.

(51:49):
Yeah.
What?
That is 50 years later.
You ruined my childhood.
Your dad ruined your childhood.
That's who ruined your children.
It's always your dad.
You know, that's the rule.
I thought, well, he started asecond family.
Of course he's going to ruin childhoods.
But.
Yeah, so.

(52:10):
So that's as much spite as Ican muster for that topic.
Todd, do you get any of any of this?
Okay, what do you got to say, Todd?
Well, like I said, the onlything I could really see is if, you
know, if something wasoriginal and then there's a remake

(52:31):
of something.
Like you said, like the book.
Now all of a sudden, thecovers Changed, I mean, yeah.
The first thing you think ofis just like, coins, like minted
coins.
Oh.
There was only like this incirculation or this much.
And so all of a sudden now theprice has gone up for the original
one.
Not that I don't know in thiscase if that would be applicable,
but that's kind of the onlything I can really see.

(52:57):
Yeah.
These are books.
I mean.
That's right.
Todd doesn't read books.
I don't have time for that.
I don't do homework.
So he's not into thosematerial things like the rest of
us.
It's funny because, like, I'mlike, I read.
So this weekend, for example,I read your book.

(53:17):
No, it was a hundred pager, soit's not a big deal, but I read your
book.
And then I finished readingDavid Yon Fuller's book because I
wasn't able to finish it intime when we had him on.
So I finished that and then Istarted reading.
Nathan, you're going to like this.
I started reading.
I bought the omnibus editionof Marvel superhero Secret Wars.

(53:41):
So I started reading throughbecause I have the original 12 issues,
but it looks nice in ahardcover, doesn't it?
So I bought that and I'mreading through and I got like three
quarters through this weekend, and.
It.
Yeah.
So anyways, where was I goingwith this?
Was I supposed to rent or something?
I forget.

(54:02):
I do have a question.
Yes.
Since you've bought the hardcover.
Yes.
And you already have the otherones probably in your little plastic
bags, Right.
Certainly do.
Individual.
Hell, yeah.
Now that you have thehardcover, do you feel the need that
you need these other ones andyou could kind of cash these ones
in.
Are they worth anything or isit more sentimental?

(54:22):
Worth is bigger than what youwould normally get for it.
Issue 8's worth a lot of money.
Why?
Why is that?
Nathan, I'm sure you're goingto tell.
Todd that's got to be thesymbiote black Spider man costume.
That's correct.
Yes.
Yeah.
So the first appearance ofwhat became Venom.
Yeah.
What became Venom.
Yeah.
So pre Venom.

(54:44):
Yeah.
This is what he would have been.
Well, it was actually.
And it was actually the secondappearance because the first appearance
was actually an amazing Spider man.
Because there was the issue ofAmazing Spider man where suddenly
he blips out, and then in thenext issue, he blips back.
So concurrently with theAmazing Spider man series and probably

(55:04):
Spectacular Spider man, theywere running concurrently with the
Secret wars miniseries.
So, you know, he went somewhere.
He went to some place and Cameback and suddenly had a black outfit.
So I have that issue as well.
But that issue, you see himjumping out of a construct and he's
got the black suit on.
Yeah, yeah.
And you're like, what the hell happened?

(55:25):
So you had to wait until issue8 of Marvel Superhero Secret wars
to find out how he got thatblack suit.
I actually was just at themall earlier today, and I saw two
people wearing that very cover.
And.
And I'm like, how the heck is it?
Do I live in a world where nowguys could just walk around in T
shirts with.

(55:45):
With that issue cover?
Like, I was.
I was ashamed of my Spider manfandom as a child.
And.
And you also couldn't display your.
No lack of social cohesion atthat time.
You just had to keep this to yourself.
So the fact that you havethose comments and you preserve those
comics is remarkable.
But the fact that now you can read.

(56:06):
So just to go back to Todd'squestion, I'm getting frothy again.
To go back to Todd's question,now you have the original printing
of the comic books reserved inplastic, like a shrine in your home
with the backing.
Board on in there.
Absolutely.
I mean, sealed.
You don't ever want, like, airto touch it again.

(56:28):
But then you also have thehardcover omnibus, which is for reading
purposes.
The actual enjoyment is not inthe reading.
It's.
It's in the preservation.
Unless you're like Sean or me,where you buy the omnibus so you
can read.
Or in my case, I can read itto my children because sharing those
stories is far more valuableto me than having them in a long

(56:50):
box in the basement.
Right.
You said it.
I. I don't.
So now it's weird.
Okay, So I guess.
Well, we're kind of deviatingfrom the topic, but that's okay.
That's how this show issupposed to work.
Albuquerque.
We took a metric left in Albuquerque.
Welcome to digressions.
But for me, the whole adventof omnibus has been a revelation.

(57:13):
So, Todd, so in the old days,if you wanted to know what happened
in issue 8 of Marvel SuperheroSecret wars, the only way to find
out what happened was to go toevery single comic book shop and
try to find that issue to read it.
Right.
And it was rare becauseeveryone bought it.
Everyone snatched it.

(57:34):
It was.
It's a huge seller.
Hot.
But there's not a lot of themaround, Right.
So the only way was to find itand read it and search or.
No.
No way.
There was no pre orders back then,.
And comic book shops were rare.
And if you lived in rural Manitoba.
Say, Winkler, you didn'tactually get to see the comic series

(57:59):
that you were following forwhole months.
At a time where we grew up,there was no comic shop.
We had to drive all the way toHalifax just to find that issue.
And if we're lucky, they hadit in stock.
And if they did, back then,they were selling it for 20 bucks
for the issue.
I mean, it's way more thanthat now, but.
So last year, my college whereI work invited me to lecture on any

(58:20):
topic I wanted.
So I naturally lectured aboutSuperman and how he compares to Jesus
and who would win in a fight.
And who would win in a fight.
That's awesome.
That was the premise.
But in order to do so, Italked about the death of Superman,
because Superman wasresurrected when I was a young man.
And I bought the omnibus andit's huge.
Like, it's several thousandpages long.

(58:40):
And as I was.
Yeah, because that was like ayear of issues, wasn't it?
It was.
It spanned over two years.
Two years, right.
Because he died, comic bookwent away.
It came back, bunch ofdifferent Superman.
And then finally the realSuperman took over again.
Regardless, there is this tomethat is the size of two Bibles on
my desk right next to my Bible.
And as I was reading it forresearch for this lecture, I'm reading

(59:05):
it and it occurs to me, Thereare whole 200 page sections I've
never seen before because Ifilled in the narrative in my head,
having never seen the comicsin my youth, because you couldn't
find.
Yeah, I couldn't go toWinnipeg every month to buy the comics.
That's the closest place thatcould possibly have these.

(59:26):
And so as I'm reading this,I'm like, oh, my youth was not.
My youth ruined my youth.
My adulthood has actuallyredeemed something that my youth
didn't understand becausethose things are not available.
And as I'm reading thesecomics to my children, I have to
stop explaining to them what aremarkable thing is that we have

(59:46):
this holy tome in our home nowthat can tell the whole story, because
it was not available to me earlier.
And see that.
And that's the beauty of it,of it, Todd, is that if there's something
I read growing up, and, youknow, I had my little comic drawer,
right?
And once it was full, I'd haveto empty it so I could fill it again.

(01:00:07):
So it would all have to getthrown out.
So.
But I still remember, eventhough I didn't have those comics
anymore, I still.
I would memorize every panel.
So When I had to throw themout, everything was memorized or
I would draw them, anything tonot forget about it.
Right.
Is this the same.

(01:00:29):
Sorry.
So.
So when you talk about thecomics and Nathan, you're talking
about, say, you missed acouple issues and you just kind of,
you know, had it in your headof what would have happened type
of thing between issues that you.
You were able to get.
It's kind of like now when itcomes to, say, when you're growing
up and you're watching aseries, say, was on it Wednesday,

(01:00:52):
Wednesday night at 7pm okay,so say you had soccer practice or
you had something that youmissed it back then, it was like
you didn't know.
You had to fill in blanksbecause if you saw the next episode,
you didn't really know whathappened prior.
And nowadays, and similar tothe comic book industry, like when
you.
When you get these.

(01:01:14):
These batches of books alltogether, it's almost like when you
go to Netflix and you want to,you know, and they say Netflix and
chill, or, you know, you wantto Netflix.
You know, when you sit thereand you just watch the whole series,
like from beginning to end,and then if.
If you were watching itreligiously when it was out originally

(01:01:35):
and you missed a coupleepisodes, my God, when you get to
it, it's like, oh, that'swhat, you know, all the.
All the spaces fill in.
It's like, okay, now I understand.
So you're describing thenature of episodic storytelling.
And so individual storiespiece together to form a grand narrative.
And without every piece in thegrand narrative, you have to put

(01:01:58):
it together and build what Ithink we can safely call the head
cannon, which may not be theactual canon of story or the grand
narrative, but the ones thatyou fill in.
And here's the thing, that'sactually an act of creativity.
So I didn't realize this, andSean just put his finger on it.
As a child, he would keeprecords and draw and then build that

(01:02:19):
canon for himself.
And it was more meaningfulbecause of the amount of work he
did to put it into it.
Which is very much incontrast, in my estimation, to when
you sit down to watch Netflix.
If you stream a Netflix showfrom beginning to end, first episode
to last episode, the wholeshow drops in one day, and you just
decide to abdicate allresponsibility and just watch that

(01:02:40):
show, you will lose that showin the next couple days.
Your memory will fade soquickly because.
Because you were so passive,and in your interpretation of it,
it just washed over you.
And it was a great experience.
And you remember enjoyingyourself, but the details of that
story are absolutely lost to you.
But like in this, in the 70s,when like mash was out or Dallas

(01:03:01):
or whatever, any of thoseshows, it was water cooler talk.
So you didn't binge it in, ina weekend or a week or whatever.
You had to watch it forwhatever it was, four or five months
to see all the episodes.
But you retained more becausethe next day Dallas was on whatever
what day, it was Fridays or whatever.
So on Monday, everyone's goingto work.

(01:03:22):
Oh my God, do you see who shot Junior?
Do you.
Who do you think?
And everybody would have theseactive open discussions and like
you're saying, you startfilling in the blanks.
Well, I bet you're so and sodid it.
Now, this isn't somethingthat's on screen, but you start building
creatively your own scenariosfor what it is.
And I'll be honest, back then,people were more creative.

(01:03:45):
The writers had to be more creative.
They didn't have the budgetsto just, well, I can just CGI this
or whatever.
You had to be more creative inyour writing.
You had to be more.
You couldn't go back to thewell all the time.
You had to create new stuff,new content, new types of content
constantly.
You had to be creative in youreveryday life.
You.
You bet.

(01:04:06):
If you're going to the watercooler to talk about this, you better
have your down.
I know people would, wouldwrite down their notes while they're
watching the show so they'd beready for the water cooler, you know,
especially if you're watchinglike sci Fi stuff or whatever, right?
Or Star Trek or whatever.
That was my experience of the accident.
I took notes.
My brothers remember mesitting in the dark taking notes
so I can remember what to talkabout on.

(01:04:27):
Yeah, yeah.
Monday morning in school weused this like.
Sorry, is this like Game ofThrones or Walking Dead?
I. I didn't watch eitherseries, but I know that.
But those were not.
The episode dropped.
No, they weren't.
So the next day people wouldtalk about it.
You know, the ones who, whowould watch them.
You just put your finger onsomething significant.

(01:04:47):
Todd, I just talked over theend of your porn, so you can continue.
I know.
Okay, so here's the thing.
I'm going to take issue withsomething that Sean said a moment
ago and then explain why.
I'm not trying to beconfrontational here, but I don't
know if in the 80s televisualprogramming was more innovative.
I just think that there theyworked on a different economic and

(01:05:10):
social Structure.
You couldn't binge a show.
It just didn't happen.
There are marathons of movieson long weekends, but there's no
television program marathonthat existed.
And in that intervening space,week to week, we had to fill the
time ourselves.
So that's like.
It was creative in one way that.
That they knew they had timeto fill in Hollywood, but it was

(01:05:33):
creative on the other endbecause we also had time to fill
in response to it.
And now, to build into Todd'spoint, you could watch the Walking
Dead.
And then shortly after theshow began, they realized that fans
wanted to hear more about it.
So after Walking Dead, theyhad this program called Talking Dead.
Yep.
And what I think isinteresting is that, like, I never
watched Walking Dead.

(01:05:54):
It wasn't for me.
But I think it's interestingthat we would replace the conversation
over the water cooler withwatching other people have the conversation
about the show immediatelyafter watching it.
Yeah.
And now we don't do thatformally anymore.
Now you just go to YouTube andyou watch people who you admire,
critics you enjoy, talk aboutthe thing that you just watched.

(01:06:15):
And I feel like that's a typeof parasocial relationship that we're
building with strangers, where it's.
It's replacing the creativityof talking to other people over dinner,
at lunch, or between classesor whatever, what have you.
We just listen to other peopletalk about it, and then we nod in
agreement, thinking that we'rejust as clever, as interesting as
the people who are talkingabout the thing that we like.

(01:06:36):
And.
And so that's anotherdepravity of creativity.
Like, we just.
We feel fulfilled in our.
In our engagement andinterpretation of the media that
we enjoy, but we're actuallyjust kind of like.
We're kind of just leecheshanging on to the corpse rather than
participating in thediscussion itself.

(01:06:57):
I'm saying this on a podcast.
Like, now I get to.
I get to cross the greatbeyond and talk to people who I would
normally be listening to.
So now I feel very creative.
But you should feel very entitled.
I mean, you're like the bestpodcast show in the business.
No, I'm just kidding.
There's.
See, now, to take it adifferent angle when you're talking

(01:07:20):
about talking about an episodeif you've ever watched, and we kind
of stumble across it onlybecause it was on and then we were
just too lazy to turn it off.
This show called 90 Day Fiance.
Welcome to America.
I hope I survived the next 90 days.

(01:07:41):
We make out we're four minutes.
Paulina.
Oh, my God.
I always Wanted to get marriedwith a gringo.
Welcome to america.
Usa.

(01:08:01):
Original u.s. yeah.
Are you a redneck?
Do I look like a redneck?
Yeah.
Two, one, go.
I'm excited to show you New York.
I'm a little bit nervous and Idon't know why.
New York's incredible Big, youknow, it's so huge.
This is real.

(01:08:22):
I want.
What the.
I'm giving Katie a lot ofslack, and that's the extra straight
in my face.
This is bull.
At what point do you decidesomething's just not meant to be?

(01:08:46):
Since you got to the United States,.
Everything in our relationshiphas changed.
I don't know what that means.
It means that I'm not ready togive you an answer, and I still need
time.
I just don't know who I amright now.
I just want to.
Just be honest with me.
Jesus Christ.
There's umpteen versions of it.

(01:09:06):
There's one that's called, youknow, the Other Way around or whatever.
So basically what happens isthey go through these couples and
their trials and tribulations,and they're usually the Ken and Barbie
type, you know, type of thing.
And they.
And they go through all yourlife is hard or.
Or, you know, they move fromone country to another, and it kind

(01:09:28):
of shows how everything kindof goes so further on.
As the.
The.
The series went, the peoplethat were at the beginning of the
series are now armchair commentaries.
Commentary, commentary.
So.
So what they do is they say,oh, they're going to show this now.
So what they do is they showthem on their bed watching tv as

(01:09:51):
if, you know, say, you, likeany of us were going to say a bed
at night and turning the TV onand watching.
So they're sitting on theirbed and they're commentating on what's
going on on the screen.
So that's kind of the.
Instead of the water cooler, they've.
They've said, we're just goingto inject this part of it into the
series to seem like it's kindof a water cooler talk instead of

(01:10:15):
actually going.
To the water cooler.
Yeah, yeah.
Which.
Which I think is like a verystrange funhouse simulacrum of aesthetic
engagement.
Wow, that's big words.
Yeah.
Here we go.
Gymnasium gymnastic.
I'm just.
I'm flashing my PhD and nobodywants to see it.

(01:10:35):
But.
But the trick here is that wewant to engage.
Like, we want to interpretwhat we read, what we see and what
we hear.
We want to engage with that stuff.
But I think we've, as aculture, chosen that Our.
Our points of engagement arequite limited.
We don't talk to people theway that we used to.
We just have other people talkabout things.
Then we agree with them ordisagree with them, and then we get

(01:10:57):
really upset in the comments.
Right.
And I would far rather, afterwatching this show, go and talk to
somebody about it or callsomebody about it or write somebody
about it, because that, to me,is more meaningful engagement than
watching people watch the showfor me.
But at the same time, I can'treally deny people that type of aesthetic

(01:11:18):
engagement.
They're choosing to make somesense of what they've seen just through
a televisual or mediated form,pause, and reflection.
Every time I go to watch aconcert, like a musical concert,
I really want to talk to themusicians afterwards.
I wish it was possible becauseI want to ask them questions about,
how did you do this?

(01:11:38):
Why did you make those decisions?
Like, what brought you to thispoint in the performance?
And I.
And there's no way for me todo so and so.
So maybe this is a way to easethat type of excited anxiety about
what you just witnessed.
So, okay, what you said there is.
Is interesting.
Todd and I.
Sorry, Nathan and I wantedTodd to comment on this.

(01:11:58):
So when we.
When we used to play with ourband Dome all the time, I always
made a point to always stickaround before and after.
And then like every other bandthat we played with, I was always
there to watch the band andlisten to the band.
And Todd, we would always talkto the band that we would see performing,

(01:12:20):
and we would always talk tothem, always engage.
And we did the same thing whenwe would play is we made ourselves
open.
We didn't have, you know, ourarms crossed or whatever.
Like, if someone wanted totalk to us and ask those kinds of
questions, we would.
And we always, you know, tryto make ourselves open.
I think as a musician, that'simportant, except Nowadays it's a

(01:12:46):
$700 ticket to go see somebody.
There's no interaction withthe fans anymore.
It's a quote unquote liveperformance, which it's not.
Everything's backing tracked,which is a topic for an upcoming
episode, which Todd and I aretalking about anyway.
But that interaction, see,see, if you had come up to us after
one of our shows and said,okay, why did you guys play this

(01:13:06):
song?
And then you played that songafter, like, what was the point?
Or whatever, we would answerthe question, or why did Todd play
his bass, little bass partlonger, like an extra.
Why are you using a pick?
You're not a. Oh, My God.
Yeah.
Oh, you get that all the time.
Yeah.
Why, you sick?
Yeah.
See, like, you say, like,larger venues.

(01:13:30):
I mean, I. I can see that youcan't really do that.
But the ones that we'replaying, I mean, you could probably
announce it at the very endsaying, you know what?
We're going to be around.
Stick around.
If you guys want to come andcome up and talk to us, that's kind
of an invitation.
Like, we didn't really invite that.
But if people did that morethen the.
The.

(01:13:50):
Because people are nervousenough as it is, like.
And then they see a band playing.
Because I know when, you know,we're growing up and, you know, we
first moved here, we went andsaw live bands at the bars and stuff.
It's like, oh, like, you'reputting them up kind of on a pedestal
and you're going like, no,they don't want to talk to me.
Like, why would they want totalk to me?
But if you had that at theend, inviting them to come, you know,

(01:14:11):
to talk, I mean, that would bea whole different.
Great.
A whole different ball game.
There was.
There was.
Sorry.
You know, there was somethingelse I wanted to say, too, but I
can't remember.
Nathan touched on it, and thenI was gonna say it and I. I forgot.
But anyway, go ahead.
I'll.
I'll probably remember.

(01:14:31):
Well, I was gonna say, like.
So I.
There was a period where I wasgoing and seeing shows all the time,
and I would.
So.
So the.
The.
My favorite band.
Like, when we moved here, myfavorite band was always the Turner.
What they call themselves back then.
How.
No, not Howling Now.
Howling Now.
No, Tooth and Nail.

(01:14:52):
We would go see Tooth and Nailall the time.
And they were playing a bunchof great 60s and 70s covers, but
not the covers everyone else did.
They played.
They would play some Guess who.
No, no bands played Guess who,but they would play some Guess who
songs that were not as popular that.
With that Saskatoon song.
They would play that.

(01:15:13):
They would play Bus Rider, andthey weren't playing, like, the.
The standard fare.
You know, they were playingdifferent stuff, but they would do
the same thing.
They would play Cinnamon Girl,which not all the bands were playing
Cinnamon Girl at the time, orthey would play.
Yeah, not at the time, butthey were.
But they also inserted a bunchof their own songs, and they were
really good with the audience.

(01:15:33):
They spoke with the audiencethrough their entire set.
Talking to the audiencenonstop to the point that you felt
like you could go talk to them.
So I would watch the drummerplay because I Was a drummer and
I wasn't very good.
I don't think I've ever beenvery good.
But I was like, I was watchingto learn.
So I would sit on stage,right, and watch, see if I could

(01:15:57):
pick up anything.
And the drummer noticed me there.
And after he was done, he cameover, he said, look, I noticed you
were sitting there the wholetime watching me play.
I said, I'm really trying tolearn from you because I'm a drummer
and I think you're really good.
And I was watching.
I wanted to see your placementof your hands and how you would do
16th time or 32nd time or whatever.

(01:16:18):
And then he started asking me questions.
Now I'm the fan, but he'sasking me questions.
I will never forget that.
I remembered that.
And I tried to do that atevery show that we played at, to
be friendly enough with the audience.
Because the only reason wemade any money that night or whatever,

(01:16:40):
we put on a show for them.
We have to thank them and wehave to find different ways to thank
them.
And it's not just.
It's not enough.
And I remember that one guy,and when I see him now, he works
at this falafel place, and Igo get a falafel, I say, hey, do
you remember that time I was,you know, I was creeping on you on
the side of the stage andwatching everything.
Babysat your girlfriendbecause she was underage at the bar.

(01:17:02):
Do you remember that time?
Oh, that was you.
I'm like, yeah, that was you.
He goes, wow, you had hairback then.
Or whatever.
Anyway.
But, you know, I stillremember that to this day.
So if you're a performer,anyone listening to the show, if
you're a performer and someonewants to come talk to you after your
show, do not stop what you'redoing and talk to them.

(01:17:23):
Give them the time of day.
Because I remember this.
And it was like 25 years ago.
I still remember that.
Just about to start recordingtheir debut record as well.
Just signing a big contract toget down to the States to do some
playing.
Let's put our hands togetherfor Matt Joe Zone tooth and nail
on Friday Night Live.

(01:18:16):
That is gone.
All our stuff will be when yougo in.
Don't go down to the.
No, But it's up to the chat house.

(01:18:45):
We go, Oh, yeah, yeah.

(01:19:10):
There's a red light of all the.
Do it.
Got enough until I get some more.
Do you know what I mean?

(01:19:33):
Loud house, do you know what I mean?
Yeah, they got the leg rightup to here to another meal Cuz all

(01:20:00):
my friends out here at the cathouse tonight.
Do you know what I mean?

(01:20:23):
Sam.

(01:21:14):
Time in a lockdown.
I'll be there.

(01:21:40):
Yeah.
I live in a dad house.
That house.
That house.
Don't.

(01:22:24):
It's interesting you say thatbecause that is a performance of
itself.
So hear me out.
I, I teach for a living and Ireally enjoy teaching.
Teaching.
And, and I, I, I likedeveloping relationships with students.
Like to see them change and grow.
Like this is all exciting stuff.
But then I have to remindmyself that I am putting on a type
of performance in the class.
Absolutely.

(01:22:44):
You are like, this is me, butit's me plus 33% of myself.
Yep.
Like I get more excited, I'mmore animated.
I will sing and dance.
I do this stuff for my kids too.
But that's genuine.
I will do this for thestudents to maintain attention and
to, to increase engagement andall that.
Keep them off of their phones.
But then sometimes at the endof class, especially at the end of

(01:23:06):
a long term, I'm so tiredafter that performance that I find
it very difficult to engagewith my students after class.
Like in class, I can maintainthe performance and it's genuine.
It's me, but just 33% more.
And then, and then I need totake a break before office hours
just because I kind of have tolike reset my brain after the performance

(01:23:26):
self.
So I can see why certainperformers like here, this is the
case with the, the weaker bands.
Like I heard that the weakerbands were all a bunch of introverts.
And I also am an introvert whohas performative tendencies.
And I can turn it off and on,but I find that sometimes there's
a bit of a drag or a lagbetween those tones.
And so I agree.
I would love to talk toperformers after a musical performance,

(01:23:49):
but I also have to be somewhatrespectful of the fact that it takes
effort and, and.
Sure, there's a performancethat's, that's a.
Great towel off before theytalk to me.
That's a great point.
I never thought of it fromthat perspective because I'm, I'm
an outrovert, but I'm anintrovert who's, who's extroverted
in certain situations.

(01:24:10):
Correct?
Yeah.
So it's, it's, it's not a maskper se, but it's a, it's like a blanket
that I'm holding.
And like, if I'm talking aboutthe piece or the art, whatever we're
doing, I can talk about it andnot be nervous.
But the minute I got to Starttalking about myself and separate
from the piece, then I'm kindof screwed.

(01:24:33):
But so as an example of that,like another example of that was
I saw Devin Townsend, famous Canadian.
Hey, you know the guy?
You know who, I've heard his name.
Yeah.
Okay.
He's fantastic.
He's easily one of the topthree vocalists in the world.

(01:24:58):
We don't even understandsomething's going on.
We don't even understand.
So how could this be wrong?
E oh, E on.

(01:25:32):
Very great guy.
And he's Canadian and hehappens to be a nice guy.
So I saw him play at thePyramid Cabaret in Winnipeg, small
venue.
And then afterwards he was,you know, picking up his gear and
stuff and everyone was comingto go say hello.
So I'm going to go say hello.
I want to meet Devin Townsends.
I mean, he looks like me alittle bit.

(01:25:54):
I want to go talk to the guy.
I want to ask him some questions.
And it was, and I brought thisstory up before, but there was a
kid there talking to him whohad a lot of mental things he was
working through.
And Devin Townsend's music waskeeping him on the right side of

(01:26:15):
a potentially destructive side.
Right.
And he had to talk to Devin Townsend.
And Devin Townsend is like, Ican't not talk to this kid.
I have to.
I have to give him whatevertime he needs and talk to him.
And he, he apologized to uswho wanted to talk to him.
I need to talk to this kid.
I will talk to you all whenwe're done, but I need to talk to

(01:26:37):
this kid.
And he spent the time.
And it was.
I was like 10 minutes talkingto this kid, Devin.
This song got me through thisand, and then, you know, I.
When I was thinking aboutdoing this and doing that, I would
listen to this song and he was like.
And he was, he just listened and.
And he didn't need to do that, man.

(01:26:59):
He didn't need to do that.
And he did it.
And it's like, wow, okay, youknow what?
I don't know.
That was.
That was probably just astherapeutic for him knowing because
disaffected someone else does.
Have a lot of his own mentalanguishes and stuff.
And he's talked publicly about it.
And because he's talkedpublicly about it, this kid, you.

(01:27:22):
Maybe you can relate to whatI'm going through, you know?
And it was like his, hisPersona transcended the music, transcended
everything to being a helpfulhand to someone who actually really
needed it in his time of need.
It was.
I don't know, it was.
I'M getting goosebumps tellingthe story.
It was like, okay, you know what?
I don't need to talk to Devin Townsend.

(01:27:43):
You go ahead.
It was fantastic.
Like, that's.
That's the shit that blows me away.
That's why I'll never say abad word about him.
A moment ago, I kind of.
I set a proposition betweenperformance and genuine.
And I do think in this case,that's where the performance is genuine.
Like, yeah, they're not opposites.
They're just other sides ofthe same coin.

(01:28:03):
Where you would say somethingthat is still a performance, you're
talking to someone you don't know.
So you're performing, butyou're doing so in a way that is
genuine, not only to theperson hearing it, but to you yourself
in the process of performing.
It's still a real interactionbetween real human beings, despite
the fact that the situation wesee is artificial.
Yeah.
And.
And so what you just describedto me seems as legitimate as any

(01:28:28):
other human interaction thatanyone could have.
Right?
Yeah.
These are people who havesomething in common, and they find
a way to speak about somethingimportant to each other in terms
that both can understand andfind meaningful.
Cool as hell.
Cool as hell.
I love Devin Townsend.
I was listening to him today,and I. I don't know, great Canadian

(01:28:48):
genius that more people shouldtalk about.
Okay, do we.
Do we have time for one more topic?
Fire away.
If you can handle me beingwith you this long like I'm olives.
And you might not get.
You might gross sour with.
I don't know how olives work.
Just keep talking.
They were just martinis.

(01:29:08):
The olives just, you know,they belong.
Okay, so what I wanted to dois I wanted to do a pass or go because
people clamor for our pass orgo segments.
And the pass or go segment iswhen we play a song, and the name
of the game is you're going togive it a pass or you're going to
give it a go.
You either love it or you hate it.

(01:29:31):
Now, it.
It can be an endurance test.
So the idea is, I'm going toplay the song.
No one's going to talk.
I'm going to play the song andyou're going to raise your hand for
two reasons.
One, I can't listen to thisshit anymore.
It's fucking horrible.
Pardon my French.
Or it's.
I gotta raise my hand becauseI have to talk about this, because
this might be the most amazingthing I've ever heard.

(01:29:52):
I gotta talk about it right now.
So I've got My pass or go listin front of me and I'm going to randomly
select.
Let's see if this F9 thingworks again.
35.

(01:30:14):
Oh, my God.
This is awesome.
Okay, this is perfect for a guest.
All right.
Now, Todd may or may not haveheard this song before.
I will now.
I'm.
I. I don't identify the song.
The other thing is identifyingwhat the song is if you can identify
the artist or.
Or whatever.
So this song is one of myfavorites that I used to play on

(01:30:37):
rock band all the time.
When I found it was on rockBand, I. I spent the five or seven
dollars or whatever the heckit was and bought it for rock band
so I could play it on rockband and say that I played it on
rock Band.
So let me.
I'm just trying to find ithere because it is an independent
release.

(01:30:59):
Oh, boy, here we go.
This is exciting.
I can't believe we're playingthis on the episode.
We're either going to get alot more hate mail, which is great.
Bring it on.
Bring it on.
So you guys ready for this?
So.
So the rule is raise your handbecause we get that decay on the
audio.
Whatever.
So if we talk, it'll degrade,but raise your hand when you want

(01:31:19):
to talk about it.
I'll pause the song and we'lltalk about it.
Okay, you guys ready?
Can you hear.
Game?

(01:31:46):
They come sh out from the.
You better shoot them oryou're going to die.
I.

(01:32:20):
Is that adam sandler?
What is that?
It's like Adam Sandler, didn'tit, you.
Know, trying to play.
I don't know.
That's weird.
It sounded to me as realbutthole surfers vibe too.
Oh, yeah.
Nice call.
Nice call.
Wow, that was terrible.

(01:32:42):
You can guess.
I don't know.
It's not Todd's cup of tea.
He's playing a game withnothing in it.
It's transparent, apparently.
It's illuminating.
I don't know.
He's got that over driventhing just right on top of his.
His vocals were mixed okay.
But then you put this reallyheavy guitar.

(01:33:07):
I don't know.
It just seemed like it was a.
Like a hamburger.
But instead of.
Instead of putting a bun onit, they decided to put a brick.
It just.
I don't know.
It just weird to my ears.
I like the buzz guitar but Iwas wondering, you know more about
music than I do.
Was there was.
There was this drummer off beat?

(01:33:30):
I. I believe so.
Okay, I'm.
I'm going to.
Once you guys finish talkingabout I will share the, the graphic
like the thumbnail for the,for the song title.
But anyway, go ahead, keep.
So, so what did you think, Nathan?
Did you like it?
Did you hate it?
I think I have a lot moretolerance for this type of music

(01:33:52):
than, than our brother Todd here.
I, I.
Yes, that's right.
I think the reason why isbecause the pairing of the nasally
shrill voices voice and the,and the really kind of buzzsaw, almost
like mosquito sounding guitarreally worked for me.
It was, it was very likecomplimentary but, but that type

(01:34:14):
of like obnoxious like FlamingLips style composition actually goes
a long way with me.
So.
Yeah.
So this is a taste issue, I think.
I, I spent $7 on this for RockBand Todd.
I really wanted this song.
Has a different.
I say different taste.
He's got.

(01:34:35):
He like,.
Like independent artists thatyou've never heard before that has
music.
Love it.
Sean likes that type of thing.
Not so much the Main streetmainstream pop charts type thing.
He likes the stuff that's kindof oddball.

(01:34:56):
So I can see this in his repertoire.
But I wanted to cover this song.
It's just not.
Yeah, it's not something Iwould listen to.
It probably give me a headacheif I listen to it like at full volume
in a, you know, through a stereo.
But I, I'm curious and I wantto put this to a vote so you guys

(01:35:16):
can vote in our Discord Channel.
But Michael Pastor from NewYork, you hate the song.
I can tell.
I totally can tell.
I want to know why you hatethe song, sir.
Okay, I'm going to share thename of the song in the chat so you
can actually see the.
I know you're going to say pass.
Nathan, do you want to hear alittle bit more of it?

(01:35:37):
Oh, absolutely.
Okay, let's listen to a littlebit more because I don't get tired
of the song.
Oh, I made a game with.
Oh, okay.
See, but look at it.
See, I made a game withzombies in it.
I'm going to skip ahead a little.
Bit because it changes sat thetrip hop beat.

(01:36:20):
I can dig it.
It's great.
I didn't know Daniel Johnsonhad this in him.

(01:36:49):
Yeah.
I give this song an eight plusI'm taking it.
So you got to go look for itnow and whatever streaming services.
Okay, so there's a storybehind this song.
So in the the wild west ofXbox360 time, I guess it was Xbox3
360 time, they opened up thethe their platform to independent

(01:37:12):
game creators.
You make a game, you can justput it Right on our network and you'll
get paid.
Super simple, not complex.
They made the barriers forentry super easy.
If you made a game, you canput it on a network.
It was literally that easy.

(01:37:33):
So this guy, a guy, one guysaid, decide I'm going to make a
video game with zombies in it.
Because hey, zombies are popular.
So he made a video game.
It was a top down shooter andyou could play a cooperative.
So you know, and it's justlike, you know, you've got guns and
then you pick up better gunsand you can shoot the zombies.

(01:37:54):
Very simple, very straightforward.
The key though was the gamewas had a price tag of $1 on it.
Sylvie and I bought this game.
We're like, okay, it's thisgame with zombies in it.
It's a buck Now, Nathan, youdon't know me that well, but Todd

(01:38:14):
knows me, is there.
They released a video gamethat had zombies in it.
Sylvia and I go and buy itright away and we're gonna go play
it.
It's just the nature of it.
Walking Dead, when it cameout, we had already been reading
the comic for, you know,several years before the comic even
came out.
We're huge zombie nerds.
Resident Evil right now.
Just before we came online, wewere playing Seven Days to Die, which

(01:38:37):
is the best zombie game ever made.
Sylvie has been playing for180 days on that game.
180 days, not 180 hours.
180 days we play.
We've been playing since itcame out in 2000.
And something I'm going tointerject to suggest this is how

(01:38:59):
I know you're not religious.
Because I, a religious person,can't handle zombies.
Too much life after deathnonsense gets in my resurrection
brain.
And so I, I, I don't like the vibe.
Knowing that I go to churcharound people who may or may not
be alive.
And then I think, oh boy, am Ione of them.
See, that's what it is.

(01:39:20):
It's my Roman Catholicupbringing that scares the out of
me.
It's because I'm terrified.
Oh my gosh, the Catholic upbringing.
Never mind the fact thatcommunion, which is linked to the
resurrection, you're eatingChrist's literal body in the host.
It's not lost on me at all.
Oh boy.
So, okay, so some of thelyrics of this song.

(01:39:42):
Yeah, welcome to my game.
I put zombies in it for your pain.
They come shambling out fromthe sides.
You'd better shoot them oryou're going to die.
Because I made a game withzombies in it.
Yeah, yeah.
And then so he's literally describing.

(01:40:03):
So he goes, I made this gameusing X and xna, which is a graphics.
It costs a dollar and I hopeyou pay.
Yeah, just a dollar.
Oh, please pay.
Because I made a game withzombies in it.
So literally what happens isevery time there's a different level
of the game.
So he, so he said, you knowwhat, I gotta have music in my game.

(01:40:24):
I could play a little bitguitar, I could program a drum machine.
So he decided to write all themusic for the game.
So this is literally the musicthat plays in the game.
And then when we heard that section.
Shift,.
Whatever, kind of like moresurfy stuff.
That's when the level, you getto level two.

(01:40:45):
On level two, the musicchanges, the whole background changes
to the game.
And when you get to levelthree, the music changes again and
it actually goes into a bit of edm.
So he's literally transcendingstyle after style after style for
each level of the game as thegame progresses and gets harder.
So the song is written like acomposer would, with movements.

(01:41:09):
It is.
Yeah, I know, Todd.
It sounds trashy and kind ofover processed or whatever, but it
is a brilliant masterpiece.
And you know what else?
It's not AI like there's no,there's not even a hint or image
of AI in there and there's nota whisper because AI would never
do something that deliberately bad.

(01:41:30):
Yeah, Sylvie and I still playthis freaking game because it's just
a dollar game.
Did you.
You guys have both playedGauntlet, right?
Remember the arcade hit Gauntlet?
It's the same game, exceptinstead of orcs and whatever, it's
just waves of zombies coming in.
And then you get differentshooty shooty weapons or whatever.

(01:41:50):
That's all it is.
There's nothing to it.
It's simple as hell.
But you know the fact thatthis guy said, I'm gonna make this
for a dollar so people buy it.
He sold a million copies, or Idon't know how many he sold, but
he sold a lot.
And you got your dollars worth 10.
Times over, 100 times over.
So for just the fact that thisguy did this, the fact how he did

(01:42:14):
it, the fact that he dideverything by himself with no help,
it's amazing.
It's outsider art.
You just described whatoutsider art is.
Yeah, this is like when weakerthan get together.
The music they made, there'sno way in hell that was mainstream.
But somehow it became mainstream.
No, it didn't become mainstream.

(01:42:36):
People came to them.
Well, if you write left andleaving, then you should have People
lined up inside your doorwanting to talk to you.
Yeah.
Do a little bit of.
A little bit of bending theknee and then praising and worship.
Like you see Wayne's world,I'm not worthy style.
Yeah.

(01:42:57):
Okay.
Because we.
We only did one song.
I want to do one more song.
At least one more song.
Can we do one more song, Nathan?
Absolutely.
Okay, so we're gonna do I'm having.
The time of my life.
Okay, good, good, good.
Okay, so we're gonna do the F9thing again and see what we get.
Oh, there we go.

(01:43:21):
Yeah, let's see.
Oh, oh.
It's pulling from the whole list.
I only want to.
No, one more.
It's pulling from the whole list.
I only want to pull from mypass or go.
Why is it failing there?
Okay, we're gonna go.

(01:43:41):
Let's go with.
There's certain songs I onlywant to play when we have a certain
guest on because they actuallypicked the song on the list.
So let's go with.
Okay, we're gonna go with this one.
Okay, I've.

(01:44:01):
I, I, I picked one here.
Todd Vamp.
While I find this song.
Oh, I want to suck your blood.
Different vampire.
No, no, not vampire.
Just.
Just Vampire blur.

(01:44:22):
Now, I bought this album whenit came out.
When it came out.
Well, not when it came out.
Several years after it came out.
And I just loved the hell outof it.
This guy's in the news a lot lately.
Yes, by extension.
So it's never about him, butit's about the band he is in.

(01:44:45):
He did a solo career after the.
Oh, he always had a solo career.
You see a member of mle crew.
Ah, God damn it.
Stop it.
You're supposed to guess after.
Get it right.
Yeah.
All right.
Wow.
I'm good at these guessing games.
Okay, here we go.
You should play.
You should play Wordle.

(01:45:05):
Probably does.
Okay, I'm gonna play.
I, I have a thumbs up on this song.
I'm gonn.

(01:45:26):
Crack it.
Crack it,.
Crack it.
Crack, crack, crack.
Crank it.
Crank it, motherfucker.
Crank it.
Crick, crack, crick.
Crank it.

(01:45:47):
Crank it.
Crick, crick, crick.
Crank it.
Crank it.
I'm only asking you to pausebecause I'm not sure if I'm hearing
it correctly.
Is it crank it or cricket?
Crank it, crank it.
Okay, because cricket was amore interesting choice.

(01:46:08):
No, I, I think I like cricket better.
Yeah, I heard cricket.
Cricket.
I didn't know what.
What does that have to do with anything?
So, yes, like water polo.
So.
So I used to work.
My first job was at A radio station.
A country music radio station.
I'm sorry.
And.
And every now and then,because the.

(01:46:28):
The radio station the buildingwas in front of, it was right next
to a huge empty field, andyou'd get crickets in the studio.
And so every now and then, I'dbe talking on the radio, and I'd
hear a cricket sound.
Are you serious?
This is no joke.
And I thought, well, it'sbecause my jokes were that bad that,
like, there's some computer programs.

(01:46:51):
That's absolutely hilarious.
And then you'd have to go,like, part of my job was to walk
around with a fly swatter andtry and find the cricket in the studio,
because you couldn't have thecricket there in the morning.
I worked in the evenings.
We had very few listeners inthe evenings.
But the morning show was thebig deal.
That was why the town.
Everyone in town would listento this show.
You couldn't have a cricketplaying screeching in the background

(01:47:13):
during the morning show.
So if I let one live, theywould let me know that I wasn't doing
much of killing crickets.
So the reason I'm saying thisis could be a meta commentary where
they're talking about cricketswithin a song that is, like, deliberately
obnoxious.
Because I'm telling you what,I have so much more to space in my

(01:47:33):
heart and soul for the firstsong, you played with the zombie
game than I do for the second song.
Like, that kind of grates onme that the discordant guitar sound
with the artificial drum soundwas really, like.
That was grading my nerves.
Oh, okay.
What's your.
Your take, Todd?

(01:47:53):
Wow.
I actually enjoyed it becauseit had a BPM where I could kind of
bounce my head back and forth and.
Go, yeah, yeah, yeah, yeah, yeah.
Type of thing where the otherone was kind of like, when the beat
came on, it was like, what areyou doing?
It's like.
It's not even like jazz.
I mean, jazz has got a, youknow, thing going on, but.
But whatever it was, it was,like, totally discombobled.

(01:48:17):
But this one here song justseemed to be your typical.
Okay.
It's got so many beats per.
Per minute type of thing, andit's going.
And you can bop your head to it.
And that was kind of the.
The thing.
Like, the cricket thing waskind of an odd, Odd lyric.
It's like, okay, well, we'regonna do the music, and we're just

(01:48:38):
gonna put this sound sample ofa girl saying cricket.
Well, and we had the mondagreen of whether it was cricket or
Crank it.
So she didn't even articulate.
Yeah, the way she said it too.
So.
So just to be clear.
So his albums, John five'salbums that he does are instrumental
with sound clips.

(01:49:00):
There's no singing.
There's.
Yeah, John 5.
There's no.
Who's that?
Well, do we want to go into this?
John 5 is one of the mostproficient instruments in the history
of mankind.
So he started his career.
Let's see.
Let's.
I'm trying to find.

(01:49:25):
So when you said.
When you see Motley Crew, didthat have anything to do with it?
No, no.
This is way before Motley Crue.
So he's the current guitar player.
Motley Crue.
Okay.
So only.
So in Motley Crue, only twopeople are good at their instruments,
and that's Tommy Lee and John5, currently, which is Nikki 6.

(01:49:46):
Nikki 6 doesn't play.
It's all backing tracks.
Okay.
Yeah.
And.
Well, Vince, he tries.
I guess he tries eating ahoagie or whatever the hell.
Okay, so.
So John 5 started out.
I don't know if he's done alot of stuff.
So he's played with Rob Halford.

(01:50:09):
He's played with.
He had.
He did some work with Trent Reznor.
Oh.
He was the long standingguitarist for Marilyn Manson.
He was the long standingguitarist for K.D.
Lang.
Really?
Oh, yeah.
For a long time.
Yeah.
And he also was the guitariston the David Lee Roth album called

(01:50:35):
DLR Band.
And also all the recent Roth.
David Lee Roth releases overthe last 20 years.
They were all taken from thesecond album that John had done with
Dave.
They're all like, he's themain guy.
He's got.
Who else has he played with?

(01:50:56):
He played with a band called Loser.
He was part of the FantasticFour soundtrack.
Really?
My kids love that soundtrack.
He was also working with RobZombie, but I don't think that actually
ever happened.
It was supposed to happen, butI don't think it did.
There was a real Rob Zombievibe to that song.

(01:51:18):
Oh, hell yeah.
Before I heard the woman'ssample, Cricket, I was thinking,
this sounds like Rob Zombie.
Now he can.
He can play every.
He has every Eddie Van Halenlike memorized.
He can play anything.
The entire catalog with Dropof a Hat.
Same thing with the entireKiss catalog.
Drop of a Hat.
Same thing with the MotleyCrue cat, this guy.

(01:51:39):
But he can also play all theKiddie Lang stuff.
There's another track on here.
I'm just going to play it fora second here.
I'm just imagining him back inconstant craven.
Yeah, but he can play everystyle of music.
He's not a one dimensional player.
I think this is the, thecountry one.
But let's just give it a shot.

(01:52:21):
Okay, Todd, how hard is that?
3 freaking play on guitar.
That would be hard.
I can't.
That's all that chickenpicking stuff.
I can't do that.
So he was a chicken pick.
Sounds like Ween's album.
Remember Wiens?
Oh, country album.
12 greatest.
Yeah, that's one of thegreatest albums of all time.

(01:52:47):
My dinner's all over fireWhile she.
Watches TV and if you everwondered what it's like to be me
she.
Takes all my money and leavesme no smokes Yells at my buddies
and insults my folks I'mbreaking my back.
Doing the best that I can Todddidn't like it when he played it
on Pass or Go before.
What?

(01:53:08):
Which one?
Oh, a different one when weplayed Wean the band.
Wean.
Oh, okay.
But this guy, this guy'sreally talented.
And for me, and this is justmy opinion, I could be wrong.
People can disagree.
But him being in Motley Crueis such a waste.
And he's going to be in Motley Crue.
It'll be like a ten year thing.

(01:53:28):
But he could be doing his solo albums.
He could be working withanybody else.
Hey, Motley Crue is a big name.
Big money.
I mean, he's making money.
Yeah.
Paying the bills, you know,paying for the wife and kids, you
know.
And, and when, if he does, ifand when, I'm sure he'll have a bit
of a nest egg where if hewants to do his recordings, he'll

(01:53:49):
have the money to be able todo it.
Just kind of a means to anend, I guess.
Yeah.
I will say, when Motley Cruecame to Winnipeg, I did consider
it for a moment because John 5but because of the opening bands.

(01:54:12):
So I, I don't know, it waslike one of those.
But I would just, I don'tknow, I, I.
There's a whole backing trackthing which we've brought up.
We are going to have a wholebacking track episode coming up in
two weeks.
I got a lot to say aboutbacking tracks.
I can't spoil it.

(01:54:32):
I can't.
I've been doing research, Todd.
I've been doing homework.
Oh.
You know, when you saidbacking track, I heard back masking.
I was like, you're gonna do anepisode about the backward part.
Satan speaks to you.
That is worthwhile.
We should do that.
That's just a free idea.
I'm listening to that episode.
Oh, yeah, that would be interesting.
I think Jared could the devil,I think, with his whole whole shtick.

(01:54:58):
I mean, we could probably takesome Van Halen songs or something
and play them backwards andsee what we can hear and what we
can't.
There's actually a portion ofI was listening to Purple Rain the
other day.
There's a little section, Ithink it's at the end of Computer
Blue, where Prince put backmasking at the very end of the song.

(01:55:20):
Yeah, yeah, yeah.
I don't know what he said.
I didn't look it up, but I waslike, oh, my gosh.
Princess back masking in 1984.
I, I, I could do a whole, wecould do a whole episode on Prince.
That wouldn't be hard.
If you, if you need a guest.
This is the white guy fromSouthern Marito who wants to talk
about who.
Knows all Minneapolis sound.

(01:55:43):
Oh, I, I've been listening toPurple Rain non stop.
I found my old Todd, Did Itell you this?
I found my old ipod.
Oh, God.
Which I called my, my, mysports car.
It was my red sports car.
I received it as a. Yeah,yeah, exactly.
Yeah.
So you get the reference.

(01:56:19):
So I got it as a gift, and itwas at the time considered an expensive
gift.
Those things were not cheap inthe day.
But I got one and it's like,well, it was the best gift that the
person I was with at the timecould get me within a budget.
But it was still, it was a biggift, right?
So I still have it and I'vedug it out and I plug it in.

(01:56:40):
I have a USB in my car.
I plug it in and whatevermusic we had on there 15 years ago
is all still on there.
And I just hit random and itjust plays.
So there's lots of.
There's only one Prince album,but I wanted to do two.
But I've been listening toPurple Rain a lot, so it's so, so

(01:57:01):
here's.
So it's Purple Rain, Tool,Mastodon, Shakespeare Sister.
I don't know if anybody knowswho that is.
Colin Hay, the guy.
The singer for Men at Work.
And then I have the Shot'sgreatest hits.

(01:57:22):
So those are the main onesthat keep popping up.
Our musical tastes almostentirely aligned, like, with one
exception.
I don't know Shakespeare's Sister.
But every other album.
Oh, my God.
Oh, go, go, go do it.
And then you'll never come back.
Especially the shot A. Oh,yeah, I love Sade.
I'm working on a Sade coverright now.
I found mine My ipod.

(01:57:43):
Did you.
You had one?
There was, there was an ipodand then I had the one previous to
that.
It was like it was made by just.
I didn't know, like Sony or Sanyo.
No, not even Sony.
It was some aftermarket thing.
This was like when ipods came out.
But it was like, well if youcan't afford an ipod, we'll get you
this MP3 player which is somenon brand.

(01:58:05):
Actually I had that and Icharged it up one day and I was listening
to music.
Oh my God, I haven't listenedto this since.
Did you plug it into your car?
No, not the car.
Just put it in your car in its glory.
Yeah, one of these days I've got.
Yeah, I've got an ipod andthat and yeah, I'll have to do that

(01:58:28):
one of these days for sure.
And I, I keep debating like,like if you find it, is it worth
hooking it up to your computerand taking songs out and putting
songs in or to leave it as itis, as the relic for that time of
when you had it?
It's a time capsule.
You're now a museum curator.
Don't touch it.

(01:58:48):
Yeah, yeah.
I don't got a hard drive.
A terabyte hard drive that Igot from a guy who downloaded all
his onto it and it was like ohmy God, the music.
And this was back when youknow it's decently sounding.
It's not like when you enlistto these, these online ones where

(01:59:11):
you kind of lose the fidelitya bit.
Yeah.
So they're either WMAS or, or Flax.
Or pre auto tune era or is itpost auto tune era.
Will be pretty.
Yeah, there we go.
Yeah, these are older.
Yeah, this is, this is beforeshare, before Cher came out with

(01:59:32):
her auto.
Before I believed in lifeafter love.
Yeah, that changed everything.
So what, so what.
What I was going to say was big.
I've been listening to it andI've been singing along and I'm trying
to.
I've been singing againbecause I kind of took time off when
I had the kids to just.
We dropped the band.
Todd still plays but I'm like,I can't do this anymore.

(01:59:54):
Time wise when you have kidsit's hard to go out till 3 or 4 in
the morning and perform live.
So anyway, so I backed off ofthat but I've been singing again
and I've been recording somestuff and I'm like.
I've been going through thePurple Rain album to try to see which
of those songs can I pull offand I can Pull off any of them, which

(02:00:15):
is, like, awesome.
I mean, am I good at it?
Well, you'd all probably say Isuck, but I sound great in my car
when I'm singing along to Prince.
Let me tell you, I would loveto hear your.
Your rendition of Darling Mickey.
Oh, yeah, Darling.
Yeah.
Oh, for sure.
But.
But I was singing all.
And I was listening to a lotof different versions of Purple Rain
that he's done live.

(02:00:35):
And just how great that songis as.
I mean, the whole album.
I like Take Me with you.
I really like Take Me withyou, Computer Blue.
I. I love.
I like the.
Like the.
The B sides or the deep trackseven more.
I don't listen to let's GoCrazier or Doves Cry.
I tend to listen to the otherones, like Baby, I'm a Star.

(02:00:57):
Love that song.
Because he has that reallyhigh range in that one.
It's almost like they sped upthe tape to get him to sing at that.
At that level.
But.
But I want to do.
I want to do.
I want to talk.
Todd has no interest in this,I'm sure.
But I wanted to do.
To talk about Purple Rain.

(02:01:18):
I wanted to talk about diamonds.
Oh, diamonds and pearls.
Yeah.
And I want to talk about theLove Symbol album.
Those are the three in mycatalog that I kept going back to
over and over.
And the Batman soundtrack, butI don't know if I'd put that in there.
But those are like the fouralbums that I just play endlessly.
I don't listen to the greatest hits.
I don't want the greatest hits.

(02:01:39):
I want those four albums.
Those are like my prints.
The Love Symbol album, I thinkis the one of his.
I pick where I deserted on adesert island only because of its
variability.
Oh, it's all over the place.
It's like a mixtape ofgreatest hits.
Yeah.
Because he collected it formany recordings.
But like that song, you listento the song, the Cross from that

(02:02:00):
album.
Yeah.
Like, what the heck is thissong doing here?
It's in the guitar.
Yeah.
Because in.
In those albums, there's moreof his guitar work which people forgot.
Oh, my God.
He's a fantastic guitar player.
Right.
I always knew he was, but kindof people didn't really think about
it because they're like.
A lot of stuff is very synthy,synth driven or whatever.

(02:02:24):
But I mean, he shredded onPurple Rain, but then he would shred.
He would have great solos on other.
Excuse me.
On.
On other albums that were great.
But I think the.
The Cymbal album and Diamondsand Pearls There's a lot of great
moments on.
On those.
Those three.
And I love the Batman soundtrack.

(02:02:45):
I can't tell you the number oftimes I sing these in the temple
while showering.
Oh, sure, yeah.
Why not?
It's.
It's great.
So anyway, so we should cap itoff there.
I just realized how long we'vebeen going.
My counter says one hour and52 minutes, which is our way over
our one hour limit.
But I don't.
I don't care, Todd, who runsthis show?

(02:03:07):
We do.
We do.
We make the rules.
If you don't like it, golisten to and the podcast will rock.
That's what I say.
All right, so we're going tocap it off here.
Nathan, tell us where to find you.
Yeah, this is fun.
You can find me.
I wish I had a website, butI'm not big enough or meaningful
enough to have.

(02:03:27):
You know what people use?
Facebook it is.
Yeah, I'm on Facebook, but youcan find me on Blue sky at Nathan
Do.
I'm on Instagram and Nathan Duick.
I occasionally will log intowhat is formerly known as Twitter,
but only for the baseballtakes, not for the white supremacy.

(02:03:49):
Yeah, my book that.
My.
My most recent book is nowavailable at.
If you're in Winnipeg, you cango find it at McNally Robinson.
So when are you coming back to Winnipeg?
So you can sign the copy thatI go by?
Oh, boy, do I ever want tosign that.
I will be back within the next365 days, guaranteed.

(02:04:09):
Because I need to go home todrink water and breathe the air.
Yeah, you do.
But I don't know if it's goingto be anytime soon.
I'm really, really hoping thatthere will be an event.
I'd love to read from the bookand chat with folks.
Why don't you do it atMcNally, contact them, set it up
for when you are here and thenI'm actually.

(02:04:31):
I'm already speaking to theirsocial media people because every
time they heart a post, I feelmy heart skip a beat since this is
the most important store in my childhood.
And I'm so grateful that I get.
If you need some type ofrelationship in my adulthood, I.
Our show works with them.
So if you need a little bit ofoomph, let me know when you get closer

(02:04:53):
to that date.
And if.
And if you're.
If you're nasty, you canpurchase the book on Amazon or Chapters,
but I.
With alternate covers.
There'll be random actors fromHallmark movies on the COVID of your
book.
There's going to be A goldembossed cover.
There's going to be like.
What are they called when theyhad the.
The bumpy covers?

(02:05:14):
The raised covers.
Yeah.
Embossed.
I think it was in Boston.
Yeah.
And.
And there's going to be a centerfold,.
Or you can have a foil coverlike the comics would always do.
Release 12 different versionsof the same issue with different
foil covers.
One by James Campbell.
Usually I'm gonna have one ina plastic bag with, like, a black

(02:05:36):
armband.
Yes.
Yeah.
Okay.
Yeah, I like that.
Yeah, we're just gonna.
We're just gonna market thatthe heck out of this.
You gotta have a Rob Liefeldcover as well.
With no fingers.
Those feet.
Because he never drew feet.
He never drew feet.
So there's the Rob Liefeld.
I'm wearing Levi's jeansbecause he did.
A really cool ad with lots of pockets.

(02:05:57):
Lots of pockets, absolutely.
For all of my things.
Cargo.
I'm a cargo pant guy.
Yeah.
And I have bandoliers, so youknow what?
He would draw me with aheaving bosom.
You know, he would draw tallwith a heaving bosom.
Well, his.
His Captain America islegendary for his.
Hem, and so he's got, like, a65 chest.

(02:06:20):
Oh, yeah.
So if you want to find me, Iwant to be found.
I would dearly love for you toread my silly book and then tell
me how much you didn't enjoy it.
I'm a disappointment to youand all of your family.
I love it.
I love it.
Thanks.
When you're in town, just whenyou're in, you just message me.

(02:06:40):
I'll.
I'll.
I'll.
I'll.
I'll try to find you onFacebook or whatever.
You're on Facebook?
Absolutely.
Yeah.
Well, we'll just.
It's easier to chat on therethrough messenger or whatever else.
I was born in 1979, so, yes, Iam still on Facebook.
Okay, awesome.
Same.
Here we are.
Because our fans are older, so.
But they hated every singlesong we played tonight, so thank
you for reminding me howirrelevant the music I like is.

(02:07:05):
All my.
All our fans.
I appreciate that.
And you can all side with Toddbecause he is more handsome and he
has the sex.
Your radio voice.
So, Nathan, I think you'reprobably in the same category.
We're not as cool as Todd,but, you know, we can always try.
I was actually intimidatedjust by looking at his.
His image here on Zoom.
I don't know if I can talk to him.

(02:07:26):
Todd, what.
What's your.
What's your code word?
What's what?
What do you always say the.
The sexy word that you always use.
Desire.
Oh, there it is right there.
We.
We have no chance in hell.
My toes involuntarily curled.
Nice.
Okay, well, thanks, Nathan.
I'm gonna hit off on all therecording devices here, and then

(02:07:48):
we'll do a sign off here.
All right, thank you forlistening, and we'll see you next
week, and bye.
Have a good day.

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