March 21, 2024 • 62 mins
WARNING: THIS PROGRAM CLAIMS TO BE SUPPORTED BY RUSSIAN ADVERTISING. Season 3 : Episode VIII
- Streamed Live in front of an International audience on Monday, August 27th, 2018 Featuring Daniel DeBenedetti Special appearance by Michael Caine. The Peasant Revolution Band Variety Hour with Host Jeff Dodge will bring some of the world’s greatest musical talent, local writers & artists, producers & programmers and just plain old regular folk to our planet Earth’s attention. Also with topical sketches, stand-up comedy and live music.
- 00:01 "M.U.S.H." Jeff Dodge as Groucho Alda - Jemila Hart as Hot Glasses - The Commander as Corporal Ringer - Daniel DeBenedetti as Larry Hurns - Rich Reece as Radar
- 02:47 "Suicide Is Painless" written by Johnny Mandel © 1970
- 17:02 Featured Guest - Daniel DeBenedetti Modern Velocity LLC http://modernvelocity.com/
- 25:44 Michael Cohen (Caine) calls in
- 42:27 "Sweet Dreams (Are Made of This)" written by Annie Lennox & David A. Stewart © 1983
- 57:54 "(You Make Me Feel Like) A Natural Woman" written by Gerry Goffin, Carol King & Jerry Wexler ©1967
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Nurse, nurse!
(00:12):
Scalpel.
Thank you, hot glasses.
I need another surgical tool.
And another one.
Wrangler! Wrangler, where are you?
Give me some more of those instruments.
(00:33):
What is it?
Don't you know never to bother someone when he's operating?
I need Larry.
Larry Hearns.
As soon as you can find him. Give me Larry Hearns. Get your Major Hearns.
Larry.
I need your expertise.
We got another boy here.
(00:54):
Doesn't look good.
He's got some bad molars there in the back, but uh...
Did you used to do some dentistry?
You don't have to slobber all over him, Larry. Geez.
Maybe I can revive him.
Wrangler!
Is that my skirt?
(01:16):
You've been into my wardrobe again, haven't you?
Well, you know I'm a size thirty.
Well, then you haven't been in my wardrobe. I'm a size thirty-eight.
Alright Larry, let's dig in.
We gotta save this boy.
(01:38):
Thank you, Hunt Glasses.
You know, we could always meet in the loo in the back if you want.
Well, I'll tell ya.
There's nothing we could do.
(01:58):
He's gone.
Just like that. You hear me, Radar? You killed him.
I hope you feel good about that. You killed him.
Yeah, you think about that.
You think all about that. All you want.
Because uh...
You know, I just don't understand this war game anymore.
(02:20):
It's like...
It's not like the old days when we just do one war at a time.
Like the Korean War.
That's what I signed on for.
It became the Vietnam War.
And the war
against the Falkland Islands. That's when I lost all respect for it.
War against the Falklands.
And uh... you know,
(02:41):
it just makes me think, Larry.
It makes me think about this.
(03:15):
That suicide is painless.
It brings home many changes.
And I can take the whole evening if I please.
In the early morning fog I see
(03:40):
the visions of the things to be.
The pains that often filled my brain.
I realize that I can't see.
That suicide is painless.
(04:02):
It brings home many changes.
And I can take the whole evening if I please.
The sword of time will pierce our skin.
It doesn't matter when it begins.
(04:25):
But as it works its way on in.
The pain grows stronger.
It'll wash it through.
That suicide is painless.
It brings home many changes.
(04:46):
And I can take the whole evening if I please.
A brave man once requested me
to stand up.
Is it to be or not to be?
(05:09):
And I replied, oh why ask me?
That suicide is painless.
It brings home many changes.
And I can take the whole evening if I please.
(05:35):
And you can do the same thing if you please.
Yes, very special episode of the Peasant Revolution
Man Variety Hour.
Special guest Dan DeBenedetti.
(05:56):
We are 27 years away from the planet blowing us away.
If you really don't want to stay,
we'll load off in the Milky Way.
It's a past revolution, man.
We're trying to really understand.
(06:21):
The truth of our mission is to peel off the division.
Join our peasant revolution, man.
Join our peasant revolution, man.
Join our peasant revolution, man.
Join our peasant revolution, man.
(06:45):
Well, the status quo just can't stay.
It's time to go get the hell away.
Will I try to give me some peace today?
But the future seems so far away.
We're a peasant revolution, man.
We're trying to really understand.
(07:09):
And the truth of our mission is to peel off the division.
Join our peasant revolution, man.
Join our peasant revolution, man.
Join our peasant revolution, man.
Join our peasant revolution, man.
(07:32):
Join our peasant...
Yes, well we're back.
We're back indeed.
Indeed we are.
And welcome to the Peasant Revolution Band Variety Hour.
(07:57):
I'm your host, Jeff Dodge.
We're out there streaming live on the old YouTubes.
Now if you were with us earlier or saw some of the early links, you might have to sit
through some filler material we call it.
But somewhere in there is our live 9 o'clock broadcast with a little parody we did called
(08:20):
M.U.S.H.
M.U.S.H.
I'm not sure what that acronym stands for exactly, but we came up with that in the heat
of the moment and we hope you enjoyed that dramatic little presentation there.
Rich, how are you?
Musical director Rich Rich.
I'm doing great.
I'm great.
I'm really glad that last musical number came together so well.
(08:43):
I'm glad to be here over in the historic Alberta neighborhood.
Well greetings from the Kenton, historic Kenton neighborhood.
That's right.
That's right.
You know, I think we might outnumber everybody else here tonight.
We got three Kentonites here.
Yeah, and then our special surprise guest is actually from St. John's.
(09:04):
Oh, all the way out there.
I am outnumbered.
You know, you get out on that end of Lombard, you get a little bit of a sea smell in the
air.
You can really smell the salt from the ocean being so close.
You get out to St. John's.
Well, and I heard our producer might be leaving that area because of that smell.
I'm not sure.
Oh, no, I think that's the rendering plant that we're getting over there.
(09:26):
We're there in what we like to call East Kenton.
East Kenton.
East Kenton, yes.
So Denver is kind of a barrier.
Those who live on the east side, those houses belong to management at the Swift Meat Company
and people on the other side, they were the workers.
Okay.
Yeah.
So there are still workers living in the city limits.
(09:48):
I think so.
I'm not too sure about that.
I maintain a job, but you know, I bought long enough ago.
I'm actually not paying.
I'm not sure.
Anyways, back to the real issues at hand here.
The real issues at hand is I wanted to not get too political here or anything because
we don't like to talk about politics all that much.
(10:10):
You know, the YouTube, our bread and butter, we really enjoyed working with YouTube, but
we've been having trouble with...
Well, first, let's get some announcements out of the way.
We got the Flight 64 Studio is doing their eighth annual multiple maniacs art festival
(10:31):
show.
It's a giant showcase of all the art that goes to Flight 64, a studio that we're all
familiar with playing at.
And unfortunately, we're, you know, we kind of skip...
Are we not doing it this year?
Well, there was some political issues, I guess, between Steve and I.
We've got it worked out now.
(10:52):
Okay.
It was kind of a little thing.
Yeah, we just decided to take a breather.
Okay, so it doesn't have to do with when I accidentally assaulted that yuppie with a
cymbal stand as we were hauling gear past the pizza shop a couple of years ago.
Wasn't that just outside my house?
No, it was just like right over there.
I'll think that as soon as I go to my car.
(11:13):
Steve said, I think you actually hurt her.
And I was like, okay, well, let's let's get out of here then.
And anyways, yeah, these people, they were drinking wine and they were eating pizza.
You know, I'm not an actual sound guy.
I'm, I'm just a carny.
There's a technique.
And so I'm not so good with those things.
And I think you thought because I knew Scott so well that I'd be pretty good with those
(11:35):
carts.
And I don't quite understand, you know, steering from the back the way you've got to do that.
It takes a lot of years of patience and things falling off to get to a point where you know.
Exactly.
I mean, I'm bright enough.
I'd probably carry like those heavy bass mic stands like this, you know, you know, just
to knock the shit out of my ankles.
(11:56):
Anyway, so you and Steve called a truce.
We called a truce and we said, well, can you do this next album at least?
And we have another album in the works, but we're actually working on my mother has an
album that we're working on for her birthday.
Okay.
Happy birthday.
Another announcement.
Happy birthday to my beautiful sister, Sarah out there in Hawaii.
(12:18):
They just survived the crazy hurricane lane stuff.
Oh, that's great.
Yes.
Yes.
Everything turned out as far as I heard and the kids are starting school.
But no, I wanted to get back to YouTube and they've they got this censorship stuff going
on.
I didn't hear about.
I have a lot of Russian advertising, which I'm going to have to go to pretty soon here.
(12:39):
But it's kind of put us in a bind because they got rid of an old friend of ours that
we used to watch and interact with.
Bill Hicks.
Bill Hicks has been banned from the Internet.
I didn't hear about.
Is he dead?
Well, I thought he was dead, but he's I don't I was watching something I thought was Bill
Hicks.
Oh, yeah, I thought on it's gone.
(13:00):
I can't show it to you because it's gone now.
Well, I didn't hear about that.
But you know, first Bill Hicks, then Bill Cosby, you know, I mean, so before you know it, all
of these comedians of a certain age are going to be gone.
Right.
Don't have access.
And you don't think it has anything to do with their own behavior that's driving them?
Come on, man.
(13:21):
It's Hollywood.
Right.
OK, as we're the naive ones.
Yes.
And Hollywood are special people.
They you know, they're more superior to the average human and they have a lot of pressure
on them.
And you know, so with the higher stakes come the higher games.
Right.
And it's a lot of money, a lot of pressure.
And so to relieve that pressure, you have to behave in sort of eccentric ways.
(13:47):
And so that's why they call them background.
Right.
The extras.
Yes, because they're all out of it.
Yeah, they're expendable.
So I'm told from.
Well, I my understanding, it goes something along the likes of do you ever see that movie
Eyes Wide Shut?
Oh, sure.
Sure.
So the Tom Cruise character is kind of like, you know, like a Starbucks worker, like got
(14:13):
invited to this cool party and then everyone's, you know, hey, who's that guy?
He doesn't belong here.
What the hell?
But that he was secretly brought there because they desperately needed coffee.
I didn't catch that part, but I could see that.
That's part of it.
Kubrick was over caffeinated all the time.
That's that is the darn diddley.
(14:35):
But boy, we're we're cooking through here.
And speaking of our Russian advertising, let's take a break and see if we got anything to
look at here.
Thank you.
We'll be right back after these special messages.
All men are still deceiving you.
When they say they love you, all men in the world are lying to you.
They always lie.
I tell you the truth alone.
All men hate you, women.
(14:55):
They hate you.
Because you are a woman.
Men are preventing you from developing.
When they want you, you are not there.
They buy you with their money, with your fear of being left alone, of being left with a child.
All men in the world commit all crimes in the world because of women.
(15:19):
All of them.
No, unfortunately.
What happiness?
I ignore her.
I have no time to deal with her.
All her stupid habits.
30 years in my head, this stupid phrase.
Shoes, fur, everything that interests.
Shoes, fur, shoes, fur.
She already has a hundred pairs of shoes and 20 fur and everything is the same.
(15:41):
Something else.
I say, open Pushkin's fairy tale, fish and fish.
Fairy tale, fish and fish.
Here is your woman's fate.
One more ring, one more, one more, on all fingers, on legs, on arms, that's it.
It starts with a gear.
(16:02):
A well-seasoned pan and a hot flame and utensils.
We'll put it in a pan and keep it sizzling, hot and delicious.
One bite and you'll love it.
(16:27):
See what renowned head chef, Raul Armando Agusta Castillo is cooking up.
Check out our mouth-watering daily specials.
We serve the finest transcontinental delicacies that are out of this world.
Where are you going to find the best meal in town?
Che Bristo.
(16:49):
We're cooking for you.
We are back.
Ladies and gentlemen, I'm so happy to have as our special surprise guest, Daniel de Benedetti.
Yeah!
We're going to turn the lights on, we're going to have a song.
(17:13):
I think it's going to be alright.
Yeah, alright, alright.
Daniel, how are you my friend?
I'm great, wow.
I had no idea the audience was so big.
Yeah, I think there's like two or three people watching right now.
That is amazing.
But where we really make it is in the residuals.
(17:35):
We get a lot of, we go into, I forget what they call it, synchronicity.
Synchronicity with the episodes.
Shout out to the band by the way.
Oh, thanks.
The Peasant Revolution Band, the best band on the block.
And that says rock.
Thank you, thank you.
Yeah, this is the Alberta neighborhood.
There's a lot of players back here.
Right, the Alberta Arts area in a secret undisclosed block.
(18:00):
Oh, Rich is getting the wrong box.
I don't think we're broadcasting.
Are we sure this is going out?
I just clicked on the link and I'm getting the...
Well, you might have to fast forward through.
There might be a delay.
Oh.
Let's see, we can take a quick look at that.
Yeah, yeah, looks like we're there.
(18:24):
Oh, okay, maybe I got the wrong link.
I think there's a delay because we started early,
seeing the television days they didn't have that problem,
which is why we have Dan here.
To talk about the television days.
Well, I remember back when I was a kid.
(18:45):
But tell us, you grew up in Oregon, correct?
I did.
I was born actually in Portland, Oregon,
and grew up on Ainsworth Street briefly.
Oh, right.
Until I was about three years old.
We moved out, we did the farm living thing.
We moved out to Newburgh and I grew up,
(19:06):
I was raised on a nut farm.
That's true.
Filberts or walnuts?
That's what we call them, yes.
Most people know them as hazelnuts now,
but they were filberts then.
Really, the filbert and the hazelnut is the same thing?
They're the same damn thing.
You're kidding me.
Nope.
So the Californians came up here
and changed filbert to hazelnut.
(19:27):
Is that what I'm saying?
It wasn't really the Californians.
I think it was Vicatia, wasn't it?
Well, the nut growers realized that Italian hazelnuts
sold for a lot of money,
and Oregon filberts weren't worth shit.
So they said...
They come in the green thing, right?
You know, I think they used to call them filberts
(19:48):
because that was like the fill.
That's what we put in between the nuts people know.
And there are these other ones.
What the hell are these?
Filberts.
Yeah.
But no, now they're hazelnuts,
and they go really well with Pinot Noir,
which is also what Newberg is famous for now.
Now, how does that feel to grow up in Newberg
(20:09):
and see the new Newberg?
We've grown up...
I personally grew up in Old Portland,
and now it's New Portland.
So how is old Newberg compared to new Newberg?
Yeah, I think it's a little bit like Rip Van Winkle, you know?
You wake up one day and go, what happened?
Uh-huh.
Who are all these people?
And it's only been like two weeks.
(20:31):
Right.
Yeah, yeah.
It's like, how long was I out for?
I was working.
Where did all these people come from?
No, it's interesting because the whole wine thing,
they've made movies about it and whatnot now.
That was a big deal because
there were a couple crazy people in the Willamette Valley making wine,
or so we thought.
David Lett will shine, David Lett...
(20:54):
Ken Follett?
Is that a winemaker?
Who's that guy?
I don't know.
So anyway, these guys...
Ken Williams.
These guys started out making wine
in an area that was believed,
if you took the data that, say, UC Davis
Department of Ethnology and Vintage Culture was using,
(21:17):
they say, well, it's far too cold and wet there.
It's just simply not possible.
Right, right.
But they were using data from the Portland Airport
because that's who was documenting the weather.
Versus the valley where it's a lot warmer.
The valley is a good microclimate.
Yeah, yeah, absolutely.
And then the soil happens to be amazing as well.
And so...
Even though there's an NWS flight service station at McMinnville,
(21:41):
they were still taking the data from Portland?
Well, you've got to remember, this was a long time ago.
We weren't as sophisticated as we are now.
Oh, okay.
We're very sophisticated now
since Facebook and Twitter came out.
You have a supercomputer that can fly an airplane in your pocket
if you're an average person.
It's hard to believe that we got to the moon with that technology.
(22:05):
Right?
Yeah.
So the Filbert Farms...
I'm going to use...
Can I step in here for a second?
We need to clarify something.
Jeff does not actually believe that we went to the moon.
So I think he was just kind of making small talk.
I'm not saying that at all.
I'm saying that we could get up there in an aluminum can, no problem.
(22:26):
Very thin layers of aluminum to pass through the Van Allen radiation belts.
I believe it.
And if you don't believe me, you can buy our album available on Amazon.
And iTunes.
The Moon Conspiracy Landing the Musical.
So available right now.
It's available out there.
We got a couple music videos if you care to look at that.
(22:50):
But on that note, I think it might be time to take a quick little commercial break
and continue our conversation.
Special intimate conversation with Daniel de Benedetti.
Comis is your market of choice for all Russian things.
(23:14):
Here you find Moscow candle cages, golden clocks from our famous gold regions.
We sell funny keychains and gemstones from the Siberian hinterlands.
Along with black seashells.
(23:35):
We have finest capers from Kiev.
Delicious Russian fish and matryoshka dolls to make you smile.
Comis has toys for children and handmade ships from St. Petersburg.
(23:57):
We bring you back to the old country with memories of Mordorland.
At Comis Russian import market, all are welcome.
We put the nick in Nikonak.
(24:44):
We fix.
Your car, our car, we take care.
No problem.
No problem.
We fix.
Broken headlight.
Broken trunk.
(25:05):
Carburetor.
We fix.
No problem.
No problem.
Ready Tuesday.
You come back.
No problem.
Red's Garage.
349 Boga Avenue.
Yah.
What we're talking about, Dan, is so YouTube has to, before they can sue us,
(25:31):
they got to talk to our lawyer about all the Russian stuff, right?
And we have the best lawyer.
Oh, we're back.
We're back.
And we're so happy to be back here on YouTube.
And I was just telling Dan about some of the legal issues we're dealing with
with the new format and everything.
Is that phone ringing?
(25:54):
Hello?
Hello.
Oh, it's our lawyer, Michael Cohen.
Michael Cohen, it's so good to hear from you.
Yeah, we wanted to make sure that we still got you on our side
with this new case we're dealing with.
Well, you've always got me on your side.
Michael, you have a cold or something?
(26:16):
You don't sound like yourself.
What do you mean?
I don't sound like myself.
Oh, my God.
We got Michael Cain.
It's not Michael Cohen.
Michael Cain.
Yes, of course.
This is Michael Cain.
How can I help you?
Well, I was looking for our lawyer, but I did have some questions.
I'm here to talk to you about a special invention of mine known as heart broth.
(26:37):
Heart throb?
Heart broth.
Heart broth.
Yes, instead of bone broth, heart broth.
Heart broth.
So Michael Cain's heart broth is going to be available on the market soon.
You're not coming in.
Hello?
Your heart broth is not available?
Or it is?
(26:58):
My heart broth will be available soon.
Michael Cain, we've got a guest in case you haven't noticed,
and I'm going to continue with that.
I just wanted to ask you one question while we do have you.
What was going through your head during that one scene in Blame It on Rio?
Daddy?
Yeah, that's what I thought.
(27:21):
Okay, cool, man.
Well, it's good talking to you, Michael.
We'll be right back with you.
Maybe next episode you could get us our lawyer, Michael Cohen.
It's been great talking with you.
Yes, Death Trip and Death Trap and all those things.
There's a lot of movies.
Maybe we can fly you out one of these days.
We'll take care.
(27:42):
I would love it.
Okay, you take care, Michael.
Great talking with you.
Bye-bye.
Bye-bye.
Bye.
The illustrious Michael Cain.
You never know who will call in to this show.
But yeah, so Dan, after the Philberts, you got your career going with television.
Is that correct?
Well, I sort of ran off and joined the circus.
(28:04):
Yeah, I suppose so.
How did you get into the circus?
Was it an actual circus?
I think it's all a circus, really.
Isn't it all just one big circus?
You mean life in general or any company has a circus quality to it, I suppose?
What kind of TV are we talking about here?
(28:25):
Well, it's different than all the modern technology we use on things like streamcast,
which are obviously far superior.
Right?
This is amazing.
Right, this is pretty good.
Living in the future.
Yeah.
Yes.
The first spot I was in was shot on two-inch tape.
They had to carry a van around that had, I'm not kidding, this was like 1979.
(28:47):
Just to carry the tape back.
Yeah, just to carry it, yeah.
And then they had to run all these cables inside.
There was another one that carried the machine that ran it.
Everything was so big.
We take eight hours to shoot a 30-second spot for a tiny market.
Were you doing TV at UFO?
No, this is when I was like three.
Oh, okay, that's right.
You were a child actor.
I forgot about that.
My dad sold broadcast for a long time when I was a kid, so when people talk about TV,
(29:11):
I always got to ask, you know, because it's a real name-dropping kind of biz.
Yeah, no, actually my foray into television.
I graduated from the University of Oregon back in the 80s with a degree in telecommunications and film.
But that was kind of like...
Is that from the J-School?
No, it was before it became the J-School.
(29:32):
I can tell you all about this.
It was the same thing, the TCF program, which is still on there.
They were in the arts building.
So now I have a degree in communications.
So when I graduated, one of the first things I did while I was looking for a job was I found a local cable access station.
Oh, sure.
Down in Eugene?
In Newburgh.
(29:53):
Oh, in Newburgh.
Yeah, because I was home for the summer detailing cars and trying to bust into the industry.
And I wrote, produced, and directed a documentary film about the wine country,
the noble Naman Valley and Yamhill County, the heart of the Oregon wine country, which won an award.
(30:15):
But in the meantime, I took a job at Central Oregon Community College and started doing technical theater.
I was teaching technical theater and was kind of the resident designer.
That just sounds like a hell of a commute right there.
Yeah, no, I actually moved there.
It was a real job.
They paid money and stuff so I could get a place to live.
(30:36):
You were broadcasting theater, live theater from there?
No, no, we didn't do much that.
They used to have a broadcast program there, but before I got there, it had been decimated.
So while I was there, I managed to produce a couple radio spots to promote some shows, but I wasn't doing a lot of broadcasting.
(31:00):
I was going live, man.
I was doing the live thing.
Yeah, so that was great.
Oh, that's excellent.
Our favorite sportscaster Bill O'Reilly did his sportscast live, I guess.
Oh, I didn't know that.
When he worked at KATU.
I heard about that.
The first six-figure sportscaster in Portland.
(31:21):
Really? I didn't know that.
Maybe the only.
Yeah, there was this big scandal.
He apparently intentionally left his pay stub on the photocopier so that other people would see it and get all pissed off.
Well, that was sweet of him.
Yeah, that's a good guy.
I think Giannullis saw it.
That's why he gained all that weight.
Oh, he got depressed.
(31:42):
Yeah, a lot of newscasters did at that point.
I can kind of see Jeff Giannullis kind of go like, you guys are getting paid? We're not all interns? What the hell?
Well, it's funny to think back in like, I think in about 78, McCall was making about $52,000 a year at KATU.
That was what he gave up to run for governor.
(32:04):
And so just like six years later, this piece of shit is making twice as much as Tom McCall.
Well, no, he's I guess he's evolved into streamcasting as well.
I mean, everyone's doing it.
His services were no longer required.
I was going to say, he's kind of doing it not totally by choice.
I think he'd love to be back on cable.
(32:25):
Really? I think he's enjoying the streaming.
He can loop all the fuck he wants, I guess.
I'm sure he has a ton of interns working for him.
You can tell by the makeup he wears during the streamcast.
Surely.
I think his pets might be involved with the makeup.
Pet goat or something.
All righty. And so that brings us into the 90s.
(32:50):
Right.
And now let me get this straight. If I recall, you had some kind of the Northwest vibe going in the 90s, no?
With that whole drugstore cowboy scene and all that.
Did you ever meet or work with Gus Van Sant?
Just briefly. I've seen him on the street.
(33:12):
But actually, when I moved back to Portland, it was kind of Gus was already famous.
He was already big. I didn't get to work on those early projects with him, which would have been really cool.
But I moved back to Portland in 1992 because my job at the community college was eliminated, which is the short story.
(33:36):
But there's, oh man, that was a whole other. There's a book in what happened in between there.
But I moved back and decided I was like what I really wanted to do is work in film. So I did.
And I started by doing an internship at the Northwest Film Study Center.
And shout out to Bill over there, who's still there.
(33:59):
Hello, Bill.
Thanks, Bill, for everything you did.
And then so I was working there as an intern for the summer and taking some classes and somehow stumbled into Pacific grip and lighting
and started doing grip work, just like prepping trucks in the shop.
(34:21):
And then so every time I went out on a run, I'd be, you know, you'd be wandering by a production office.
So I'd stop in and go, hey, I'm Dan. What are you doing?
Would you walk in on the set and have to deliver equipment on a set?
Yeah, yeah. Yeah, yeah. Which is really weird because, you know, you pull up in a van and someone's waving their arms.
Right, right, right. Right. Right.
Because they're rolling. They're rolling. You got to wait. You got to wait.
(34:44):
This is the symbol for rolling for anybody out there. If you're walking on a movie set.
It's also the symbol for woohoo. Having a really good time.
It's also end of the day. I'm done rolling. Screw this.
What do they call the? The martini shot.
Right. It's the martini. And the shot before the martini is the there's a name for it.
(35:06):
Cupcake? I don't remember.
No, there's a name for it. I forget what it was.
But yeah, it's a martini.
It's exciting working on a film set. It is a lot of energy.
That's right. Well, there's a lot of people standing around and apparently not doing anything.
Right. Because everyone's waiting to do exactly what they do perfectly or get fired.
(35:28):
And so you're there for that very moment when you need to run in, do your thing and get the hell out of the way.
Because it's a big dance around the camera.
The camera needs to roll. Well, film or now, you know, just.
It's changed now. It's digital information.
It can. They can go on forever on takes, can't they?
(35:52):
Somewhat much longer. Yes. It doesn't cost them as much.
Well, yeah. And you can actually look at what you did right then and there and go, oh, yeah, let's do that one again.
Well, now they're doing like the crazy.
I guess all the movies that Hollywood's interested in now are all kind of the special effects like a comic book type movies.
Right. And those guys are just walking around and ping pong balls and green screens.
(36:16):
Well, it's but they can see the live stuff going on on these monitors.
So the director can't have you seen any of that technology yet?
No, I haven't. I haven't seen the real time effects.
They have some of that's starting to happen, according to the to the old YouTube's.
Well, that could not be real.
You know, the funny thing about the film and TV is like the movies that get made mostly are the ones that are cheap to make.
(36:43):
We're not making any big Busby Berkeley spectaculars anymore.
You know, right. It's usually cop movies are really great because you got you got two partners and then a bunch of extras.
Right. Right. And what you need, you need two actors and a car and a couple of guns.
(37:05):
Hey, we're making a movie. Right.
As opposed to these big choreographed dance numbers and underwater ballet and symphony orchestras.
Yes. That costs money. That all costs money. Yes.
So we just do now they just pay some pimply faced kid to spend 25 hours a day on his computer doing all this animation of hair and stuff.
(37:28):
Instead of the big production that they could have got a bunch of people involved with.
Yeah. Dump it on the one kid.
Yeah. In a third world country where there are no labor laws.
On top of it. They know nothing.
They have no labor laws and they know nothing about our culture and they're trying to do this romcom, you know, and they got all this pressure and a deadline.
Don't even speak the language and they're trying to make these jokes work. It's terrible.
(37:53):
But if you pay them too much, then it's going to drive up the wages for all the competing industries in those countries.
And it's probably going to cause a lot of those businesses to evacuate and then those poor workers will have nothing.
Certainly not the safety nets that we have here for workers in those cases.
Workers are very safe here.
Interesting. Interesting point.
I don't know what I'm talking about.
There's trailer parks.
(38:15):
There's a lot of communities that embrace the workers that don't get paid a lot. And then there's, you know, if you don't get paid enough, just pick up another job.
I mean, I have like seven jobs. I'm doing okay.
Well, I work at both the Astros and the Wendy's and I'm going to clear like 40 grand this year.
Oh, you picked up the Astro gig.
Yeah, I got the Astro and the Wendy's. So I get like 80 hours a week to myself in addition to the 80 I put in at those places.
(38:40):
You'll have to be careful you get moved into another tax bracket and then you'll be moving back.
Well, you know, you know what happened to me a couple of years ago is I was getting all those George Soros checks from going to all those demonstrations.
I was getting paid so much by George Soros that I lost my Obamacare subsidy.
I was making too much from Soros to qualify for Obamacare.
(39:03):
Yeah. Yeah.
It was a tough spot.
That's a hard place to be in.
I was like, am I still going to be a liberal at the end of all this?
Well, you know, those are just labels, I think.
That's true.
But I heard George paid in cash.
Oh, no, that's that was historically. But no, at this point, it was completely legitimate because I thought it was just debit cards.
(39:25):
Oh, no, I was fully got checks.
I wanted it to be legitimate. So I had all the withholdings.
Yeah, his 401k is matching was excellent.
Well, that's I didn't see any money until November of 16.
Then some of the rules changed.
Oh, I see. I see.
All right.
Let's get back to talking about flim film.
(39:47):
Yeah, no, I was just you brought up an interesting point about your days with Antifa because I was right.
I was getting all these calls from they call them the Proud Boys or something like that.
And they're an interesting bunch. Yeah. A lot of interesting ideas about not paying taxes and God and God doesn't pay taxes.
(40:08):
So why should we? I guess. Yeah. That's what I gathered from it.
Except I'm pretty sure that Jesus said to give unto Caesar what is due Caesar and give unto God what is due God.
And well, so I think that's why you're supposed to tithe on your net rather than your gross.
(40:29):
There's so many except for the Mormons.
Jesus out there. Yeah, that's so many versions of Jesus. I don't even know what I'm talking about.
It's like pick the Jesus of your choice.
Did you have a personal favorite Jesus or were you have another deity that influenced you or perhaps no deity?
My own personal Jesus. Yes. Do you have your own personal Jesus?
Oh, sure. You're talking about the Johnny Cash cover, right?
(40:52):
Well, Johnny Cash covered it, right? Yeah. But that's a Eurythmics song, isn't it?
No, it's Depeche Mode. No. Really?
I thought I just invented the term right there. But I guess what did I know?
Personal Jesus. Yeah, we should. We can do that. It's like a very stiff shuffle.
It's a good it's a good like a driving.
(41:15):
Well, you know, we're going to try something special here with with Dan giving us a little Johnny.
Let's see what we can do. Seriously.
Wasn't it kind of like an E-ish thing?
Oh, yeah, we used to play the play the shit out of that on KWVA down in Eugene back in the 90s.
(41:38):
Which one? It was a college station.
College station went on the air in 93. OK. And it was actually Bob Packwood that got the frequency for them.
And it was because, you know, you have voted never college station. Right.
They just had that classical station. And so a bunch of a bunch of people I ended up knowing started this little radio station.
(41:59):
Anyways, that cash album was huge. Ninety seven or so. Yeah, about that.
That was amazing. Yeah. Hurt was a big single off that one.
Of course, you know, Trent Reznor song.
And then, yeah, I thought it's not the original.
Pretty sure it's the Pesh mode.
(42:20):
Is it nine inches?
I don't know. You guys are all fucking with me, right?
I don't know.
(42:57):
Wow, that's amazing.
(43:19):
You just never know what's going to happen. You never know what's going to happen on this show.
And I think that's a good excuse for our next block of commercials.
We'll be right back after these commercial messages.
(43:53):
I'm talking sports.
Watching the peasant revolution band.
Right. I'm sure some of those people are sports fans.
You know, the show because I can't overemphasize it enough.
We talk sports.
(44:14):
Nothing else. Who else is talking about the basketball playoffs?
The NFL draft. All of the sports right now.
We talk about the sports teams that you love.
In fact, you turn it on. You go, I can't believe they're talking about exactly what I want to hear about.
(44:42):
The Garden Fair at 3000 is the only tool you'll ever need for your garden.
It knocks out weeds in seconds.
You're left with a beneficial mulch for your garden.
Maybe you just want to have a tool you can show off to your fellow gardeners.
(45:05):
The best thing is the Garden Fair at 3000's easy cleanup feature.
Just hose it off.
It's available at these fine stores.
(45:39):
That kind of stuff. Okay. So things for business.
The slideshow for the, well we were trying to do a best of Antifa Proud Boy rally and the slideshow was just too hectic to put together for that.
So we said no slideshow. Oh we're back. We're back.
(46:00):
Welcome. Welcome to the show. We're here with Dan DiBenedetti.
Your microphone is far from you.
I was looking for a beer. I don't know what happened.
A beer? Well we can take care of that.
We'll make sure there's a beer as soon as we come back.
(46:22):
Well, I have this interesting question I was going to ask you about when you did, I know you did some acting and when you do acting what kind of things motivates your choices for your roles?
Oh wow. So it's been a while since I've done any acting but I did a couple of roles. Oh thanks. Look at this. Wow. This is service with a smile.
(46:49):
Back in the Bend days in between doing set and lighting design and technical directing and teaching technical theater classes I took a couple of roles.
I was talked into it by, I think there was a girl involved. Anyway.
Oh. To win the affections. Yeah. Well you know.
(47:14):
I will do King Lear. Yeah I didn't do King Lear but I had this great role in this Leslie Sands play.
English Tea Room drama if you will. And I had a great bit part.
I was Will Purdy the mechanic in a show called Something to Hide.
(47:36):
And so I practiced this sort of cockney accent and I just had a couple of bit parts but I was in comic relief. I rolled in and like, hey Mrs. O you know seems to be a broly to call.
I don't know I can't do it anymore. But the funny thing is this is a true story and this is a trip.
So we do the press preview night. We're opening in three days and we do a press preview performance. Yes. And the Bend Bulletin is there of course.
(48:10):
Oh. Very esteemed. Right. I heard it was called Newt Bueller's Bend Bulletin. Is there any truth to that? There might be.
Nose is pretty far up his. Anyway back to the story. So anyway the guy who played the lead, Inspector Davies, this guy was a Shakespearean actor that then went into radio but he was well into his 70s.
(48:38):
Turns out that like as you get older sometimes the old memory thing doesn't work quite as well. Yes. And it's press preview and the dude doesn't know his lines.
The director is furious. After the show she's like. Well what did he do in the moment? Did he improvise? He kind of crashed and burned. It was really awkward.
(49:02):
Was he just silent? Were you acting with him during that moment? Fortunately I didn't have very many scenes with the inspector. Just one or two. Was he doing a Cockney accent as well?
I don't know. Proper English. He's the inspector. So anyway after the press preview performance the director comes out and she asks this guy when can we expect you to know your lines. Right.
(49:40):
He throws his script down and storms out. Says that's it. I'm done. Oh wow. So it gets better. Right. This big panic. What are we going to do. Emergency board meeting because it's the community theater.
No understudy. There was not. But Carol Bryant the director of the theater there grabs me by the arm in the middle of all this chaos. Spins me in front of the board that's arriving to figure out what to do.
(50:13):
And says Dan will do it. Dan will play the inspector. Yes. And you're promoted. I have two days to get this part down and then somebody else takes my part. And the guy who took my part just butchered it.
I nailed that part. But I was smart about playing the inspector which was the lead role in the fucking play. I went from just like nobody. So I had to get my haircut. New costume. And then thank God I was an inspector because I made all these crib notes in my inspector's notebook.
(50:49):
So I'm taking notes. I'm going to check it out. I have the right place all the time. What a great character. Yeah. So but then like about the third night I get really cocky. I think I got this down. And I'm not paying attention to where I am in my little notebook.
Yes. And then all of a sudden it's a three act tearoom drama and it's you know a detective story. So you're going over the same stuff over and over again. And I get mixed up somewhere between the second and third act. I have no idea where the fuck I am.
(51:26):
Were you giving weird cues to other actors. And was it all crazy. I was just I found myself suddenly lost. And then fortunately I was playing opposite a very very talented actress who was playing the part of Mrs. Holt.
And she was she's kind of fed me some wine. She did a great job improvising. Inspector don't you mean to say. You know and I'm like yes. Right. Right. Right.
(51:53):
And then we got back on track. I didn't mean to say it but not that way. And then you go into another tangent. Did you ever get any of that stuff going. And I don't think that the audience ever caught on. Right.
Like I is a sound guy. I can tell you the audience doesn't catch on to a lot of panic like especially the first night that I went out there because we didn't have time to do any blocking or something. Right. So all of a sudden I make an entrance in front of a live audience. And the first thing I do is I'm looking around on the stage to see where the other actors are. Yes.
(52:25):
Yes. Like that was fun. So anyway that was that was one of my acting stories. Well that's that's great Dan. And on that note we got to pay some bills here. We'll be right back with our last little bit here.
Hey it's Sid again. And I got to tell you you've heard it many many many times but Safford Brothers downtown blend taste the city coffee. It's good. And I know I keep saying it I keep coming on this show but it is it's good. You know and and and these days you know my jokes aren't good.
(53:07):
I know a little bit of self deprecation there but the coffee is always good. And that's that's that's what keeps me going. You know a pot or two or three or four you know I'm just sitting here all day you know and I'm drinking Safford Brothers downtown blend taste the city coffee and and life is life is it's good.
(53:30):
Like the coffee. It's good. And you should drink it too. It's good. Like I said.
Smoke it for hours door to door boat boat white wine cheap sugar. Just brined in in like a brand name soy sauce and cheap white wine cheap sugar and salt.
(54:07):
Little herbs in there and you know brined overnight. Let it dry out form a nice little pedicle they call it in this nice. I sort of protective skin on the membrane.
And then we'll smoke it for hours on end and just
(54:32):
keep it in here and wait. Line cut barbless line cut barbless smoke to dry it out smokey flavor.
Door to door boat to boat free range line cut barbless hooked.
(55:06):
We're back Steve that Chinook is wonderful. I don't know how you do it but you should all look that up it's out there available for purchase I believe Steve's Chinook.
And
I'm going to get some Hollywood's with Dave's killer bread. Well Dave's killer. Not as good since that went corporate I have to admit you know that didn't he kill another person or something.
(55:37):
I don't know I heard all this. Is that okay. Well I you know you guys he could have been a Hollywood guy if he's in Hollywood it'd be all right because Hollywood stars have that superior ability to do things like that.
He I don't know if he was ever a Hollywood star he was really close though so we give a lot of slack for meth and killing people. I think there's a made for TV movie about Dave's killer bread killer Dave there and call it killer Dave and the bread.
(56:10):
Killer Dave and the bread. It'd be interesting if they instead of his crazy life they focused on like just the bread making part of it. Right. What oats he used and did he have like a filbert special. You gotta call that chestnut.
I don't know. But I do know this standard has been great having you. Thanks so much for dropping by at the last minute. We're going to wrap things up. Our good friend Lindt chocolate Lindt chocolate has a friend out there is friends band is called the true primitives and they've got an album out.
(56:48):
And I just wanted to push Lindt chocolates friends band true primitives true primitives out there available on I think on CD baby iTunes band camp. I think they're on band camp. So all sorts of things happening.
And I I usually like to conclude the evening. Dan with a little story about the mayors of Portland and you know who's like a legitimate one who's not you know who knows. They're actually talking about.
(57:21):
Hey. Oh hey it's my it's my lovely wife and I don't know if you know this but it was hot glasses hot glasses was actually portrayed by Jamila here Jamila my lovely wife. How are you honey.
Good good.
So the mayor is like telling me that we got to stop believing in conspiracies.
(57:48):
Good night Jeff.
This one goes out to the Queen.
Oh
(58:26):
I'm
(58:55):
so
cute.
(59:27):
That
didn't
I'm a powerful, the one I'm living for
(59:52):
If I make you happy, I don't know what I can do
I don't want you
It'll make me feel
It'll make me feel like a natural woman
Oh, oh, oh, oh
(01:00:15):
Baby, what you done to me
You make me feel so good inside
And I just want to be so close to you
You make me feel so alive
(01:00:37):
You make me feel
You make me feel
You make me feel like a natural woman
Make me feel
You make me feel
You make me feel like a natural woman
(01:01:02):
You make me feel
You make me feel like a natural woman
Woman
You make me feel
You make me feel
(01:01:25):
You make me feel like a natural woman
You make me feel like a natural woman
(01:02:00):
You make me feel
Nurse, nurse!
(00:12):
Scalpel.
Thank you, hot glasses.
I need another surgical tool.
And another one.
Wrangler! Wrangler, where are you?
Give me some more of those instruments.
(00:33):
What is it?
Don't you know never to bother someone when he's operating?
I need Larry.
Larry Hearns.
As soon as you can find him. Give me Larry Hearns. Get your Major Hearns.
Larry.
I need your expertise.
We got another boy here.
(00:54):
Doesn't look good.
He's got some bad molars there in the back, but uh...
Did you used to do some dentistry?
You don't have to slobber all over him, Larry. Geez.
Maybe I can revive him.
Wrangler!
Is that my skirt?
(01:16):
You've been into my wardrobe again, haven't you?
Well, you know I'm a size thirty.
Well, then you haven't been in my wardrobe. I'm a size thirty-eight.
Alright Larry, let's dig in.
We gotta save this boy.
(01:38):
Thank you, Hunt Glasses.
You know, we could always meet in the loo in the back if you want.
Well, I'll tell ya.
There's nothing we could do.
(01:58):
He's gone.
Just like that. You hear me, Radar? You killed him.
I hope you feel good about that. You killed him.
Yeah, you think about that.
You think all about that. All you want.
Because uh...
You know, I just don't understand this war game anymore.
(02:20):
It's like...
It's not like the old days when we just do one war at a time.
Like the Korean War.
That's what I signed on for.
It became the Vietnam War.
And the war
against the Falkland Islands. That's when I lost all respect for it.
War against the Falklands.
And uh... you know,
(02:41):
it just makes me think, Larry.
It makes me think about this.
(03:15):
That suicide is painless.
It brings home many changes.
And I can take the whole evening if I please.
In the early morning fog I see
(03:40):
the visions of the things to be.
The pains that often filled my brain.
I realize that I can't see.
That suicide is painless.
(04:02):
It brings home many changes.
And I can take the whole evening if I please.
The sword of time will pierce our skin.
It doesn't matter when it begins.
(04:25):
But as it works its way on in.
The pain grows stronger.
It'll wash it through.
That suicide is painless.
It brings home many changes.
(04:46):
And I can take the whole evening if I please.
A brave man once requested me
to stand up.
Is it to be or not to be?
(05:09):
And I replied, oh why ask me?
That suicide is painless.
It brings home many changes.
And I can take the whole evening if I please.
(05:35):
And you can do the same thing if you please.
Yes, very special episode of the Peasant Revolution
Man Variety Hour.
Special guest Dan DeBenedetti.
(05:56):
We are 27 years away from the planet blowing us away.
If you really don't want to stay,
we'll load off in the Milky Way.
It's a past revolution, man.
We're trying to really understand.
(06:21):
The truth of our mission is to peel off the division.
Join our peasant revolution, man.
Join our peasant revolution, man.
Join our peasant revolution, man.
Join our peasant revolution, man.
(06:45):
Well, the status quo just can't stay.
It's time to go get the hell away.
Will I try to give me some peace today?
But the future seems so far away.
We're a peasant revolution, man.
We're trying to really understand.
(07:09):
And the truth of our mission is to peel off the division.
Join our peasant revolution, man.
Join our peasant revolution, man.
Join our peasant revolution, man.
Join our peasant revolution, man.
(07:32):
Join our peasant...
Yes, well we're back.
We're back indeed.
Indeed we are.
And welcome to the Peasant Revolution Band Variety Hour.
(07:57):
I'm your host, Jeff Dodge.
We're out there streaming live on the old YouTubes.
Now if you were with us earlier or saw some of the early links, you might have to sit
through some filler material we call it.
But somewhere in there is our live 9 o'clock broadcast with a little parody we did called
(08:20):
M.U.S.H.
M.U.S.H.
I'm not sure what that acronym stands for exactly, but we came up with that in the heat
of the moment and we hope you enjoyed that dramatic little presentation there.
Rich, how are you?
Musical director Rich Rich.
I'm doing great.
I'm great.
I'm really glad that last musical number came together so well.
(08:43):
I'm glad to be here over in the historic Alberta neighborhood.
Well greetings from the Kenton, historic Kenton neighborhood.
That's right.
That's right.
You know, I think we might outnumber everybody else here tonight.
We got three Kentonites here.
Yeah, and then our special surprise guest is actually from St. John's.
(09:04):
Oh, all the way out there.
I am outnumbered.
You know, you get out on that end of Lombard, you get a little bit of a sea smell in the
air.
You can really smell the salt from the ocean being so close.
You get out to St. John's.
Well, and I heard our producer might be leaving that area because of that smell.
I'm not sure.
Oh, no, I think that's the rendering plant that we're getting over there.
(09:26):
We're there in what we like to call East Kenton.
East Kenton.
East Kenton, yes.
So Denver is kind of a barrier.
Those who live on the east side, those houses belong to management at the Swift Meat Company
and people on the other side, they were the workers.
Okay.
Yeah.
So there are still workers living in the city limits.
(09:48):
I think so.
I'm not too sure about that.
I maintain a job, but you know, I bought long enough ago.
I'm actually not paying.
I'm not sure.
Anyways, back to the real issues at hand here.
The real issues at hand is I wanted to not get too political here or anything because
we don't like to talk about politics all that much.
(10:10):
You know, the YouTube, our bread and butter, we really enjoyed working with YouTube, but
we've been having trouble with...
Well, first, let's get some announcements out of the way.
We got the Flight 64 Studio is doing their eighth annual multiple maniacs art festival
(10:31):
show.
It's a giant showcase of all the art that goes to Flight 64, a studio that we're all
familiar with playing at.
And unfortunately, we're, you know, we kind of skip...
Are we not doing it this year?
Well, there was some political issues, I guess, between Steve and I.
We've got it worked out now.
(10:52):
Okay.
It was kind of a little thing.
Yeah, we just decided to take a breather.
Okay, so it doesn't have to do with when I accidentally assaulted that yuppie with a
cymbal stand as we were hauling gear past the pizza shop a couple of years ago.
Wasn't that just outside my house?
No, it was just like right over there.
I'll think that as soon as I go to my car.
(11:13):
Steve said, I think you actually hurt her.
And I was like, okay, well, let's let's get out of here then.
And anyways, yeah, these people, they were drinking wine and they were eating pizza.
You know, I'm not an actual sound guy.
I'm, I'm just a carny.
There's a technique.
And so I'm not so good with those things.
And I think you thought because I knew Scott so well that I'd be pretty good with those
(11:35):
carts.
And I don't quite understand, you know, steering from the back the way you've got to do that.
It takes a lot of years of patience and things falling off to get to a point where you know.
Exactly.
I mean, I'm bright enough.
I'd probably carry like those heavy bass mic stands like this, you know, you know, just
to knock the shit out of my ankles.
(11:56):
Anyway, so you and Steve called a truce.
We called a truce and we said, well, can you do this next album at least?
And we have another album in the works, but we're actually working on my mother has an
album that we're working on for her birthday.
Okay.
Happy birthday.
Another announcement.
Happy birthday to my beautiful sister, Sarah out there in Hawaii.
(12:18):
They just survived the crazy hurricane lane stuff.
Oh, that's great.
Yes.
Yes.
Everything turned out as far as I heard and the kids are starting school.
But no, I wanted to get back to YouTube and they've they got this censorship stuff going
on.
I didn't hear about.
I have a lot of Russian advertising, which I'm going to have to go to pretty soon here.
(12:39):
But it's kind of put us in a bind because they got rid of an old friend of ours that
we used to watch and interact with.
Bill Hicks.
Bill Hicks has been banned from the Internet.
I didn't hear about.
Is he dead?
Well, I thought he was dead, but he's I don't I was watching something I thought was Bill
Hicks.
Oh, yeah, I thought on it's gone.
(13:00):
I can't show it to you because it's gone now.
Well, I didn't hear about that.
But you know, first Bill Hicks, then Bill Cosby, you know, I mean, so before you know it, all
of these comedians of a certain age are going to be gone.
Right.
Don't have access.
And you don't think it has anything to do with their own behavior that's driving them?
Come on, man.
(13:21):
It's Hollywood.
Right.
OK, as we're the naive ones.
Yes.
And Hollywood are special people.
They you know, they're more superior to the average human and they have a lot of pressure
on them.
And you know, so with the higher stakes come the higher games.
Right.
And it's a lot of money, a lot of pressure.
And so to relieve that pressure, you have to behave in sort of eccentric ways.
(13:47):
And so that's why they call them background.
Right.
The extras.
Yes, because they're all out of it.
Yeah, they're expendable.
So I'm told from.
Well, I my understanding, it goes something along the likes of do you ever see that movie
Eyes Wide Shut?
Oh, sure.
Sure.
So the Tom Cruise character is kind of like, you know, like a Starbucks worker, like got
(14:13):
invited to this cool party and then everyone's, you know, hey, who's that guy?
He doesn't belong here.
What the hell?
But that he was secretly brought there because they desperately needed coffee.
I didn't catch that part, but I could see that.
That's part of it.
Kubrick was over caffeinated all the time.
That's that is the darn diddley.
(14:35):
But boy, we're we're cooking through here.
And speaking of our Russian advertising, let's take a break and see if we got anything to
look at here.
Thank you.
We'll be right back after these special messages.
All men are still deceiving you.
When they say they love you, all men in the world are lying to you.
They always lie.
I tell you the truth alone.
All men hate you, women.
(14:55):
They hate you.
Because you are a woman.
Men are preventing you from developing.
When they want you, you are not there.
They buy you with their money, with your fear of being left alone, of being left with a child.
All men in the world commit all crimes in the world because of women.
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All of them.
No, unfortunately.
What happiness?
I ignore her.
I have no time to deal with her.
All her stupid habits.
30 years in my head, this stupid phrase.
Shoes, fur, everything that interests.
Shoes, fur, shoes, fur.
She already has a hundred pairs of shoes and 20 fur and everything is the same.
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Here is your woman's fate.
One more ring, one more, one more, on all fingers, on legs, on arms, that's it.
It starts with a gear.
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Where are you going to find the best meal in town?
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(16:49):
We're cooking for you.
We are back.
Ladies and gentlemen, I'm so happy to have as our special surprise guest, Daniel de Benedetti.
Yeah!
We're going to turn the lights on, we're going to have a song.
(17:13):
I think it's going to be alright.
Yeah, alright, alright.
Daniel, how are you my friend?
I'm great, wow.
I had no idea the audience was so big.
Yeah, I think there's like two or three people watching right now.
That is amazing.
But where we really make it is in the residuals.
(17:35):
We get a lot of, we go into, I forget what they call it, synchronicity.
Synchronicity with the episodes.
Shout out to the band by the way.
Oh, thanks.
The Peasant Revolution Band, the best band on the block.
And that says rock.
Thank you, thank you.
Yeah, this is the Alberta neighborhood.
There's a lot of players back here.
Right, the Alberta Arts area in a secret undisclosed block.
(18:00):
Oh, Rich is getting the wrong box.
I don't think we're broadcasting.
Are we sure this is going out?
I just clicked on the link and I'm getting the...
Well, you might have to fast forward through.
There might be a delay.
Oh.
Let's see, we can take a quick look at that.
Yeah, yeah, looks like we're there.
(18:24):
Oh, okay, maybe I got the wrong link.
I think there's a delay because we started early,
seeing the television days they didn't have that problem,
which is why we have Dan here.
To talk about the television days.
Well, I remember back when I was a kid.
(18:45):
But tell us, you grew up in Oregon, correct?
I did.
I was born actually in Portland, Oregon,
and grew up on Ainsworth Street briefly.
Oh, right.
Until I was about three years old.
We moved out, we did the farm living thing.
We moved out to Newburgh and I grew up,
(19:06):
I was raised on a nut farm.
That's true.
Filberts or walnuts?
That's what we call them, yes.
Most people know them as hazelnuts now,
but they were filberts then.
Really, the filbert and the hazelnut is the same thing?
They're the same damn thing.
You're kidding me.
Nope.
So the Californians came up here
and changed filbert to hazelnut.
(19:27):
Is that what I'm saying?
It wasn't really the Californians.
I think it was Vicatia, wasn't it?
Well, the nut growers realized that Italian hazelnuts
sold for a lot of money,
and Oregon filberts weren't worth shit.
So they said...
They come in the green thing, right?
You know, I think they used to call them filberts
(19:48):
because that was like the fill.
That's what we put in between the nuts people know.
And there are these other ones.
What the hell are these?
Filberts.
Yeah.
But no, now they're hazelnuts,
and they go really well with Pinot Noir,
which is also what Newberg is famous for now.
Now, how does that feel to grow up in Newberg
(20:09):
and see the new Newberg?
We've grown up...
I personally grew up in Old Portland,
and now it's New Portland.
So how is old Newberg compared to new Newberg?
Yeah, I think it's a little bit like Rip Van Winkle, you know?
You wake up one day and go, what happened?
Uh-huh.
Who are all these people?
And it's only been like two weeks.
(20:31):
Right.
Yeah, yeah.
It's like, how long was I out for?
I was working.
Where did all these people come from?
No, it's interesting because the whole wine thing,
they've made movies about it and whatnot now.
That was a big deal because
there were a couple crazy people in the Willamette Valley making wine,
or so we thought.
David Lett will shine, David Lett...
(20:54):
Ken Follett?
Is that a winemaker?
Who's that guy?
I don't know.
So anyway, these guys...
Ken Williams.
These guys started out making wine
in an area that was believed,
if you took the data that, say, UC Davis
Department of Ethnology and Vintage Culture was using,
(21:17):
they say, well, it's far too cold and wet there.
It's just simply not possible.
Right, right.
But they were using data from the Portland Airport
because that's who was documenting the weather.
Versus the valley where it's a lot warmer.
The valley is a good microclimate.
Yeah, yeah, absolutely.
And then the soil happens to be amazing as well.
And so...
Even though there's an NWS flight service station at McMinnville,
(21:41):
they were still taking the data from Portland?
Well, you've got to remember, this was a long time ago.
We weren't as sophisticated as we are now.
Oh, okay.
We're very sophisticated now
since Facebook and Twitter came out.
You have a supercomputer that can fly an airplane in your pocket
if you're an average person.
It's hard to believe that we got to the moon with that technology.
(22:05):
Right?
Yeah.
So the Filbert Farms...
I'm going to use...
Can I step in here for a second?
We need to clarify something.
Jeff does not actually believe that we went to the moon.
So I think he was just kind of making small talk.
I'm not saying that at all.
I'm saying that we could get up there in an aluminum can, no problem.
(22:26):
Very thin layers of aluminum to pass through the Van Allen radiation belts.
I believe it.
And if you don't believe me, you can buy our album available on Amazon.
And iTunes.
The Moon Conspiracy Landing the Musical.
So available right now.
It's available out there.
We got a couple music videos if you care to look at that.
(22:50):
But on that note, I think it might be time to take a quick little commercial break
and continue our conversation.
Special intimate conversation with Daniel de Benedetti.
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Red's Garage.
349 Boga Avenue.
Yah.
What we're talking about, Dan, is so YouTube has to, before they can sue us,
(25:31):
they got to talk to our lawyer about all the Russian stuff, right?
And we have the best lawyer.
Oh, we're back.
We're back.
And we're so happy to be back here on YouTube.
And I was just telling Dan about some of the legal issues we're dealing with
with the new format and everything.
Is that phone ringing?
(25:54):
Hello?
Hello.
Oh, it's our lawyer, Michael Cohen.
Michael Cohen, it's so good to hear from you.
Yeah, we wanted to make sure that we still got you on our side
with this new case we're dealing with.
Well, you've always got me on your side.
Michael, you have a cold or something?
(26:16):
You don't sound like yourself.
What do you mean?
I don't sound like myself.
Oh, my God.
We got Michael Cain.
It's not Michael Cohen.
Michael Cain.
Yes, of course.
This is Michael Cain.
How can I help you?
Well, I was looking for our lawyer, but I did have some questions.
I'm here to talk to you about a special invention of mine known as heart broth.
(26:37):
Heart throb?
Heart broth.
Heart broth.
Yes, instead of bone broth, heart broth.
Heart broth.
So Michael Cain's heart broth is going to be available on the market soon.
You're not coming in.
Hello?
Your heart broth is not available?
Or it is?
(26:58):
My heart broth will be available soon.
Michael Cain, we've got a guest in case you haven't noticed,
and I'm going to continue with that.
I just wanted to ask you one question while we do have you.
What was going through your head during that one scene in Blame It on Rio?
Daddy?
Yeah, that's what I thought.
(27:21):
Okay, cool, man.
Well, it's good talking to you, Michael.
We'll be right back with you.
Maybe next episode you could get us our lawyer, Michael Cohen.
It's been great talking with you.
Yes, Death Trip and Death Trap and all those things.
There's a lot of movies.
Maybe we can fly you out one of these days.
We'll take care.
(27:42):
I would love it.
Okay, you take care, Michael.
Great talking with you.
Bye-bye.
Bye-bye.
Bye.
The illustrious Michael Cain.
You never know who will call in to this show.
But yeah, so Dan, after the Philberts, you got your career going with television.
Is that correct?
Well, I sort of ran off and joined the circus.
(28:04):
Yeah, I suppose so.
How did you get into the circus?
Was it an actual circus?
I think it's all a circus, really.
Isn't it all just one big circus?
You mean life in general or any company has a circus quality to it, I suppose?
What kind of TV are we talking about here?
(28:25):
Well, it's different than all the modern technology we use on things like streamcast,
which are obviously far superior.
Right?
This is amazing.
Right, this is pretty good.
Living in the future.
Yeah.
Yes.
The first spot I was in was shot on two-inch tape.
They had to carry a van around that had, I'm not kidding, this was like 1979.
(28:47):
Just to carry the tape back.
Yeah, just to carry it, yeah.
And then they had to run all these cables inside.
There was another one that carried the machine that ran it.
Everything was so big.
We take eight hours to shoot a 30-second spot for a tiny market.
Were you doing TV at UFO?
No, this is when I was like three.
Oh, okay, that's right.
You were a child actor.
I forgot about that.
My dad sold broadcast for a long time when I was a kid, so when people talk about TV,
(29:11):
I always got to ask, you know, because it's a real name-dropping kind of biz.
Yeah, no, actually my foray into television.
I graduated from the University of Oregon back in the 80s with a degree in telecommunications and film.
But that was kind of like...
Is that from the J-School?
No, it was before it became the J-School.
(29:32):
I can tell you all about this.
It was the same thing, the TCF program, which is still on there.
They were in the arts building.
So now I have a degree in communications.
So when I graduated, one of the first things I did while I was looking for a job was I found a local cable access station.
Oh, sure.
Down in Eugene?
In Newburgh.
(29:53):
Oh, in Newburgh.
Yeah, because I was home for the summer detailing cars and trying to bust into the industry.
And I wrote, produced, and directed a documentary film about the wine country,
the noble Naman Valley and Yamhill County, the heart of the Oregon wine country, which won an award.
(30:15):
But in the meantime, I took a job at Central Oregon Community College and started doing technical theater.
I was teaching technical theater and was kind of the resident designer.
That just sounds like a hell of a commute right there.
Yeah, no, I actually moved there.
It was a real job.
They paid money and stuff so I could get a place to live.
(30:36):
You were broadcasting theater, live theater from there?
No, no, we didn't do much that.
They used to have a broadcast program there, but before I got there, it had been decimated.
So while I was there, I managed to produce a couple radio spots to promote some shows, but I wasn't doing a lot of broadcasting.
(31:00):
I was going live, man.
I was doing the live thing.
Yeah, so that was great.
Oh, that's excellent.
Our favorite sportscaster Bill O'Reilly did his sportscast live, I guess.
Oh, I didn't know that.
When he worked at KATU.
I heard about that.
The first six-figure sportscaster in Portland.
(31:21):
Really? I didn't know that.
Maybe the only.
Yeah, there was this big scandal.
He apparently intentionally left his pay stub on the photocopier so that other people would see it and get all pissed off.
Well, that was sweet of him.
Yeah, that's a good guy.
I think Giannullis saw it.
That's why he gained all that weight.
Oh, he got depressed.
(31:42):
Yeah, a lot of newscasters did at that point.
I can kind of see Jeff Giannullis kind of go like, you guys are getting paid? We're not all interns? What the hell?
Well, it's funny to think back in like, I think in about 78, McCall was making about $52,000 a year at KATU.
That was what he gave up to run for governor.
(32:04):
And so just like six years later, this piece of shit is making twice as much as Tom McCall.
Well, no, he's I guess he's evolved into streamcasting as well.
I mean, everyone's doing it.
His services were no longer required.
I was going to say, he's kind of doing it not totally by choice.
I think he'd love to be back on cable.
(32:25):
Really? I think he's enjoying the streaming.
He can loop all the fuck he wants, I guess.
I'm sure he has a ton of interns working for him.
You can tell by the makeup he wears during the streamcast.
Surely.
I think his pets might be involved with the makeup.
Pet goat or something.
All righty. And so that brings us into the 90s.
(32:50):
Right.
And now let me get this straight. If I recall, you had some kind of the Northwest vibe going in the 90s, no?
With that whole drugstore cowboy scene and all that.
Did you ever meet or work with Gus Van Sant?
Just briefly. I've seen him on the street.
(33:12):
But actually, when I moved back to Portland, it was kind of Gus was already famous.
He was already big. I didn't get to work on those early projects with him, which would have been really cool.
But I moved back to Portland in 1992 because my job at the community college was eliminated, which is the short story.
(33:36):
But there's, oh man, that was a whole other. There's a book in what happened in between there.
But I moved back and decided I was like what I really wanted to do is work in film. So I did.
And I started by doing an internship at the Northwest Film Study Center.
And shout out to Bill over there, who's still there.
(33:59):
Hello, Bill.
Thanks, Bill, for everything you did.
And then so I was working there as an intern for the summer and taking some classes and somehow stumbled into Pacific grip and lighting
and started doing grip work, just like prepping trucks in the shop.
(34:21):
And then so every time I went out on a run, I'd be, you know, you'd be wandering by a production office.
So I'd stop in and go, hey, I'm Dan. What are you doing?
Would you walk in on the set and have to deliver equipment on a set?
Yeah, yeah. Yeah, yeah. Which is really weird because, you know, you pull up in a van and someone's waving their arms.
Right, right, right. Right. Right.
Because they're rolling. They're rolling. You got to wait. You got to wait.
(34:44):
This is the symbol for rolling for anybody out there. If you're walking on a movie set.
It's also the symbol for woohoo. Having a really good time.
It's also end of the day. I'm done rolling. Screw this.
What do they call the? The martini shot.
Right. It's the martini. And the shot before the martini is the there's a name for it.
(35:06):
Cupcake? I don't remember.
No, there's a name for it. I forget what it was.
But yeah, it's a martini.
It's exciting working on a film set. It is a lot of energy.
That's right. Well, there's a lot of people standing around and apparently not doing anything.
Right. Because everyone's waiting to do exactly what they do perfectly or get fired.
(35:28):
And so you're there for that very moment when you need to run in, do your thing and get the hell out of the way.
Because it's a big dance around the camera.
The camera needs to roll. Well, film or now, you know, just.
It's changed now. It's digital information.
It can. They can go on forever on takes, can't they?
(35:52):
Somewhat much longer. Yes. It doesn't cost them as much.
Well, yeah. And you can actually look at what you did right then and there and go, oh, yeah, let's do that one again.
Well, now they're doing like the crazy.
I guess all the movies that Hollywood's interested in now are all kind of the special effects like a comic book type movies.
Right. And those guys are just walking around and ping pong balls and green screens.
(36:16):
Well, it's but they can see the live stuff going on on these monitors.
So the director can't have you seen any of that technology yet?
No, I haven't. I haven't seen the real time effects.
They have some of that's starting to happen, according to the to the old YouTube's.
Well, that could not be real.
You know, the funny thing about the film and TV is like the movies that get made mostly are the ones that are cheap to make.
(36:43):
We're not making any big Busby Berkeley spectaculars anymore.
You know, right. It's usually cop movies are really great because you got you got two partners and then a bunch of extras.
Right. Right. And what you need, you need two actors and a car and a couple of guns.
(37:05):
Hey, we're making a movie. Right.
As opposed to these big choreographed dance numbers and underwater ballet and symphony orchestras.
Yes. That costs money. That all costs money. Yes.
So we just do now they just pay some pimply faced kid to spend 25 hours a day on his computer doing all this animation of hair and stuff.
(37:28):
Instead of the big production that they could have got a bunch of people involved with.
Yeah. Dump it on the one kid.
Yeah. In a third world country where there are no labor laws.
On top of it. They know nothing.
They have no labor laws and they know nothing about our culture and they're trying to do this romcom, you know, and they got all this pressure and a deadline.
Don't even speak the language and they're trying to make these jokes work. It's terrible.
(37:53):
But if you pay them too much, then it's going to drive up the wages for all the competing industries in those countries.
And it's probably going to cause a lot of those businesses to evacuate and then those poor workers will have nothing.
Certainly not the safety nets that we have here for workers in those cases.
Workers are very safe here.
Interesting. Interesting point.
I don't know what I'm talking about.
There's trailer parks.
(38:15):
There's a lot of communities that embrace the workers that don't get paid a lot. And then there's, you know, if you don't get paid enough, just pick up another job.
I mean, I have like seven jobs. I'm doing okay.
Well, I work at both the Astros and the Wendy's and I'm going to clear like 40 grand this year.
Oh, you picked up the Astro gig.
Yeah, I got the Astro and the Wendy's. So I get like 80 hours a week to myself in addition to the 80 I put in at those places.
(38:40):
You'll have to be careful you get moved into another tax bracket and then you'll be moving back.
Well, you know, you know what happened to me a couple of years ago is I was getting all those George Soros checks from going to all those demonstrations.
I was getting paid so much by George Soros that I lost my Obamacare subsidy.
I was making too much from Soros to qualify for Obamacare.
(39:03):
Yeah. Yeah.
It was a tough spot.
That's a hard place to be in.
I was like, am I still going to be a liberal at the end of all this?
Well, you know, those are just labels, I think.
That's true.
But I heard George paid in cash.
Oh, no, that's that was historically. But no, at this point, it was completely legitimate because I thought it was just debit cards.
(39:25):
Oh, no, I was fully got checks.
I wanted it to be legitimate. So I had all the withholdings.
Yeah, his 401k is matching was excellent.
Well, that's I didn't see any money until November of 16.
Then some of the rules changed.
Oh, I see. I see.
All right.
Let's get back to talking about flim film.
(39:47):
Yeah, no, I was just you brought up an interesting point about your days with Antifa because I was right.
I was getting all these calls from they call them the Proud Boys or something like that.
And they're an interesting bunch. Yeah. A lot of interesting ideas about not paying taxes and God and God doesn't pay taxes.
(40:08):
So why should we? I guess. Yeah. That's what I gathered from it.
Except I'm pretty sure that Jesus said to give unto Caesar what is due Caesar and give unto God what is due God.
And well, so I think that's why you're supposed to tithe on your net rather than your gross.
(40:29):
There's so many except for the Mormons.
Jesus out there. Yeah, that's so many versions of Jesus. I don't even know what I'm talking about.
It's like pick the Jesus of your choice.
Did you have a personal favorite Jesus or were you have another deity that influenced you or perhaps no deity?
My own personal Jesus. Yes. Do you have your own personal Jesus?
Oh, sure. You're talking about the Johnny Cash cover, right?
(40:52):
Well, Johnny Cash covered it, right? Yeah. But that's a Eurythmics song, isn't it?
No, it's Depeche Mode. No. Really?
I thought I just invented the term right there. But I guess what did I know?
Personal Jesus. Yeah, we should. We can do that. It's like a very stiff shuffle.
It's a good it's a good like a driving.
(41:15):
Well, you know, we're going to try something special here with with Dan giving us a little Johnny.
Let's see what we can do. Seriously.
Wasn't it kind of like an E-ish thing?
Oh, yeah, we used to play the play the shit out of that on KWVA down in Eugene back in the 90s.
(41:38):
Which one? It was a college station.
College station went on the air in 93. OK. And it was actually Bob Packwood that got the frequency for them.
And it was because, you know, you have voted never college station. Right.
They just had that classical station. And so a bunch of a bunch of people I ended up knowing started this little radio station.
(41:59):
Anyways, that cash album was huge. Ninety seven or so. Yeah, about that.
That was amazing. Yeah. Hurt was a big single off that one.
Of course, you know, Trent Reznor song.
And then, yeah, I thought it's not the original.
Pretty sure it's the Pesh mode.
(42:20):
Is it nine inches?
I don't know. You guys are all fucking with me, right?
I don't know.
(42:57):
Wow, that's amazing.
(43:19):
You just never know what's going to happen. You never know what's going to happen on this show.
And I think that's a good excuse for our next block of commercials.
We'll be right back after these commercial messages.
(43:53):
I'm talking sports.
Watching the peasant revolution band.
Right. I'm sure some of those people are sports fans.
You know, the show because I can't overemphasize it enough.
We talk sports.
(44:14):
Nothing else. Who else is talking about the basketball playoffs?
The NFL draft. All of the sports right now.
We talk about the sports teams that you love.
In fact, you turn it on. You go, I can't believe they're talking about exactly what I want to hear about.
(44:42):
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(45:39):
That kind of stuff. Okay. So things for business.
The slideshow for the, well we were trying to do a best of Antifa Proud Boy rally and the slideshow was just too hectic to put together for that.
So we said no slideshow. Oh we're back. We're back.
(46:00):
Welcome. Welcome to the show. We're here with Dan DiBenedetti.
Your microphone is far from you.
I was looking for a beer. I don't know what happened.
A beer? Well we can take care of that.
We'll make sure there's a beer as soon as we come back.
(46:22):
Well, I have this interesting question I was going to ask you about when you did, I know you did some acting and when you do acting what kind of things motivates your choices for your roles?
Oh wow. So it's been a while since I've done any acting but I did a couple of roles. Oh thanks. Look at this. Wow. This is service with a smile.
(46:49):
Back in the Bend days in between doing set and lighting design and technical directing and teaching technical theater classes I took a couple of roles.
I was talked into it by, I think there was a girl involved. Anyway.
Oh. To win the affections. Yeah. Well you know.
(47:14):
I will do King Lear. Yeah I didn't do King Lear but I had this great role in this Leslie Sands play.
English Tea Room drama if you will. And I had a great bit part.
I was Will Purdy the mechanic in a show called Something to Hide.
(47:36):
And so I practiced this sort of cockney accent and I just had a couple of bit parts but I was in comic relief. I rolled in and like, hey Mrs. O you know seems to be a broly to call.
I don't know I can't do it anymore. But the funny thing is this is a true story and this is a trip.
So we do the press preview night. We're opening in three days and we do a press preview performance. Yes. And the Bend Bulletin is there of course.
(48:10):
Oh. Very esteemed. Right. I heard it was called Newt Bueller's Bend Bulletin. Is there any truth to that? There might be.
Nose is pretty far up his. Anyway back to the story. So anyway the guy who played the lead, Inspector Davies, this guy was a Shakespearean actor that then went into radio but he was well into his 70s.
(48:38):
Turns out that like as you get older sometimes the old memory thing doesn't work quite as well. Yes. And it's press preview and the dude doesn't know his lines.
The director is furious. After the show she's like. Well what did he do in the moment? Did he improvise? He kind of crashed and burned. It was really awkward.
(49:02):
Was he just silent? Were you acting with him during that moment? Fortunately I didn't have very many scenes with the inspector. Just one or two. Was he doing a Cockney accent as well?
I don't know. Proper English. He's the inspector. So anyway after the press preview performance the director comes out and she asks this guy when can we expect you to know your lines. Right.
(49:40):
He throws his script down and storms out. Says that's it. I'm done. Oh wow. So it gets better. Right. This big panic. What are we going to do. Emergency board meeting because it's the community theater.
No understudy. There was not. But Carol Bryant the director of the theater there grabs me by the arm in the middle of all this chaos. Spins me in front of the board that's arriving to figure out what to do.
(50:13):
And says Dan will do it. Dan will play the inspector. Yes. And you're promoted. I have two days to get this part down and then somebody else takes my part. And the guy who took my part just butchered it.
I nailed that part. But I was smart about playing the inspector which was the lead role in the fucking play. I went from just like nobody. So I had to get my haircut. New costume. And then thank God I was an inspector because I made all these crib notes in my inspector's notebook.
(50:49):
So I'm taking notes. I'm going to check it out. I have the right place all the time. What a great character. Yeah. So but then like about the third night I get really cocky. I think I got this down. And I'm not paying attention to where I am in my little notebook.
Yes. And then all of a sudden it's a three act tearoom drama and it's you know a detective story. So you're going over the same stuff over and over again. And I get mixed up somewhere between the second and third act. I have no idea where the fuck I am.
(51:26):
Were you giving weird cues to other actors. And was it all crazy. I was just I found myself suddenly lost. And then fortunately I was playing opposite a very very talented actress who was playing the part of Mrs. Holt.
And she was she's kind of fed me some wine. She did a great job improvising. Inspector don't you mean to say. You know and I'm like yes. Right. Right. Right.
(51:53):
And then we got back on track. I didn't mean to say it but not that way. And then you go into another tangent. Did you ever get any of that stuff going. And I don't think that the audience ever caught on. Right.
Like I is a sound guy. I can tell you the audience doesn't catch on to a lot of panic like especially the first night that I went out there because we didn't have time to do any blocking or something. Right. So all of a sudden I make an entrance in front of a live audience. And the first thing I do is I'm looking around on the stage to see where the other actors are. Yes.
(52:25):
Yes. Like that was fun. So anyway that was that was one of my acting stories. Well that's that's great Dan. And on that note we got to pay some bills here. We'll be right back with our last little bit here.
Hey it's Sid again. And I got to tell you you've heard it many many many times but Safford Brothers downtown blend taste the city coffee. It's good. And I know I keep saying it I keep coming on this show but it is it's good. You know and and and these days you know my jokes aren't good.
(53:07):
I know a little bit of self deprecation there but the coffee is always good. And that's that's that's what keeps me going. You know a pot or two or three or four you know I'm just sitting here all day you know and I'm drinking Safford Brothers downtown blend taste the city coffee and and life is life is it's good.
(53:30):
Like the coffee. It's good. And you should drink it too. It's good. Like I said.
Smoke it for hours door to door boat boat white wine cheap sugar. Just brined in in like a brand name soy sauce and cheap white wine cheap sugar and salt.
(54:07):
Little herbs in there and you know brined overnight. Let it dry out form a nice little pedicle they call it in this nice. I sort of protective skin on the membrane.
And then we'll smoke it for hours on end and just
(54:32):
keep it in here and wait. Line cut barbless line cut barbless smoke to dry it out smokey flavor.
Door to door boat to boat free range line cut barbless hooked.
(55:06):
We're back Steve that Chinook is wonderful. I don't know how you do it but you should all look that up it's out there available for purchase I believe Steve's Chinook.
And
I'm going to get some Hollywood's with Dave's killer bread. Well Dave's killer. Not as good since that went corporate I have to admit you know that didn't he kill another person or something.
(55:37):
I don't know I heard all this. Is that okay. Well I you know you guys he could have been a Hollywood guy if he's in Hollywood it'd be all right because Hollywood stars have that superior ability to do things like that.
He I don't know if he was ever a Hollywood star he was really close though so we give a lot of slack for meth and killing people. I think there's a made for TV movie about Dave's killer bread killer Dave there and call it killer Dave and the bread.
(56:10):
Killer Dave and the bread. It'd be interesting if they instead of his crazy life they focused on like just the bread making part of it. Right. What oats he used and did he have like a filbert special. You gotta call that chestnut.
I don't know. But I do know this standard has been great having you. Thanks so much for dropping by at the last minute. We're going to wrap things up. Our good friend Lindt chocolate Lindt chocolate has a friend out there is friends band is called the true primitives and they've got an album out.
(56:48):
And I just wanted to push Lindt chocolates friends band true primitives true primitives out there available on I think on CD baby iTunes band camp. I think they're on band camp. So all sorts of things happening.
And I I usually like to conclude the evening. Dan with a little story about the mayors of Portland and you know who's like a legitimate one who's not you know who knows. They're actually talking about.
(57:21):
Hey. Oh hey it's my it's my lovely wife and I don't know if you know this but it was hot glasses hot glasses was actually portrayed by Jamila here Jamila my lovely wife. How are you honey.
Good good.
So the mayor is like telling me that we got to stop believing in conspiracies.
(57:48):
Good night Jeff.
This one goes out to the Queen.
Oh
(58:26):
I'm
(58:55):
so
cute.
(59:27):
That
didn't
I'm a powerful, the one I'm living for
(59:52):
If I make you happy, I don't know what I can do
I don't want you
It'll make me feel
It'll make me feel like a natural woman
Oh, oh, oh, oh
(01:00:15):
Baby, what you done to me
You make me feel so good inside
And I just want to be so close to you
You make me feel so alive
(01:00:37):
You make me feel
You make me feel
You make me feel like a natural woman
Make me feel
You make me feel
You make me feel like a natural woman
(01:01:02):
You make me feel
You make me feel like a natural woman
Woman
You make me feel
You make me feel
(01:01:25):
You make me feel like a natural woman
You make me feel like a natural woman
(01:02:00):
You make me feel
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