Latest / Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein / 103: Aimee

Transcript

103: Aimee · Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein

• 0:07
  Speaker 1: What you're listening to Podlandia. Hi, I'm Carrie, I'm Fred.
• 0:38
  Speaker 1: This is AO Rewatch.
• 0:40
  Speaker 2: It's a Portlandia.
• 0:42
  Speaker 3: It's a Portlandia rewatch podcast where we just watch our
• 0:45
  Speaker 3: episodes and talk about them, which we've really been enjoying doing.
• 0:49
  Speaker 2: Yeah.
• 0:50
  Speaker 1: Interestingly enough, we have not gotten to the episode our
• 0:53
  Speaker 1: sketch yet where AO rewatch comes from. Yes, but we
• 0:56
  Speaker 1: will eventually and it will all make sense, yes, yes,
• 1:00
  Speaker 1: but for now we'll just leave it as a mystery.
• 1:03
  Speaker 1: I guess all right, this is the episode that.
• 1:08
  Speaker 2: We call Amy Amy spelled Ai m ee for Amy Min.
• 1:13
  Speaker 1: Amy Min a.
• 1:17
  Speaker 3: Guest star for this the wrap around, the you know,
• 1:19
  Speaker 3: the main part of the show.
• 1:21
  Speaker 1: Yeah, the three part sketch. Yeah. And yeah, you were
• 1:28
  Speaker 1: and are friends with Amy. I'm friendly with Amy.
• 1:30
  Speaker 2: Yeah.
• 1:31
  Speaker 1: And one of the first but certainly not last, musicians
• 1:37
  Speaker 1: to make a guest appearance on our show. But I
• 1:41
  Speaker 1: think would she be the first one that we've talked
• 1:46
  Speaker 1: about so far in terms of like if we're going
• 1:48
  Speaker 1: in order.
• 1:48
  Speaker 2: Yeah, I think this will be the first one I
• 1:51
  Speaker 2: would say.
• 1:51
  Speaker 1: Yeah, And certainly I think I you know, don't quote
• 1:56
  Speaker 1: me on this because it might turn out to be wrong.
• 1:58
  Speaker 1: But she might be the only music Go guest star
• 2:00
  Speaker 1: who's in a wrap round who's in all three parts
• 2:03
  Speaker 1: of a wrap round.
• 2:06
  Speaker 2: Jelaviafra was he was that a rap round or a
• 2:09
  Speaker 2: one off?
• 2:09
  Speaker 1: Oh that's a one off? Oh I think you're right,
• 2:14
  Speaker 1: I mean I will. I may be proven wrong as
• 2:17
  Speaker 1: we continue down this rewatch podcast, but anyway, certainly one
• 2:20
  Speaker 1: of the one of the.
• 2:21
  Speaker 2: First and really featured in this like a main.
• 2:24
  Speaker 1: Doing some heavy lifting.
• 2:27
  Speaker 3: Yes, and uh like carry said old friend of mine.
• 2:31
  Speaker 3: She's so funny, so funny, and her performance, I mean
• 2:35
  Speaker 3: she's great, great, great in this.
• 2:38
  Speaker 1: Yeah. Well we'll get to that specific sketch in a second.
• 2:41
  Speaker 1: It does start with a cold open a character we
• 2:45
  Speaker 1: had just met in episode two, Spike, who's the uh
• 2:54
  Speaker 1: bike bicycle rights fix, the bike gauges in the ear
• 3:00
  Speaker 1: Go tee character.
• 3:03
  Speaker 3: You're very angry, angry, and he's going he's going around
• 3:07
  Speaker 3: town and he's seeing things that are trends and saying
• 3:12
  Speaker 3: that's over.
• 3:13
  Speaker 2: As soon as he sees it, it's over.
• 3:15
  Speaker 1: Yes, as soon as he sees something becoming popular, you know,
• 3:19
  Speaker 1: we no longer wants to have anything to do with it. Yeah,
• 3:23
  Speaker 1: And those things get more and more esoteric.
• 3:25
  Speaker 3: And it is kind of an energy piece in its
• 3:28
  Speaker 3: own way, just kind of just him saying things are
• 3:31
  Speaker 3: over shell art and then chin beards, chin beards, and
• 3:38
  Speaker 3: then you see that he's like a normal guy at
• 3:41
  Speaker 3: the end.
• 3:42
  Speaker 1: Right, well, at the beginning, he's looking into a bar
• 3:46
  Speaker 1: restaurant and he's sort of identifying that if a certain
• 3:48
  Speaker 1: kind of guy is there, that means this place is over.
• 3:53
  Speaker 1: And at the end they sort of swap places. I
• 3:57
  Speaker 1: hear this a lot in this stand age with memes,
• 4:03
  Speaker 1: Like I live with my fourteen year old stepdaughter and
• 4:08
  Speaker 1: she assures me that by the time me or her
• 4:12
  Speaker 1: mom know about something, it's over. Oh wow, yes, So
• 4:16
  Speaker 1: I hear it's over a lot, like oh yeah, that's
• 4:18
  Speaker 1: that's long gone, that's over. Yeah yeah, which I think
• 4:21
  Speaker 1: is probably true, Like if the New York Times is
• 4:24
  Speaker 1: writing about something, it's yes, it's it's coming, it's coming on.
• 4:29
  Speaker 2: It should be in the obituary section of pieces.
• 4:32
  Speaker 1: Yeah yeah. But I think the the impetus, I think
• 4:38
  Speaker 1: where we heard it's over a lot, like in our
• 4:41
  Speaker 1: formative years, meaning sort of college, early days of like
• 4:44
  Speaker 1: playing music was when a band got too popular, that
• 4:47
  Speaker 1: band is over. That is something I heard all the time. Yeah,
• 4:49
  Speaker 1: you know, okay, and like selling out what you know,
• 4:53
  Speaker 1: kind of an arbitrary line, right, Like I mean it
• 4:57
  Speaker 1: used to be the smallest in fraction and could constitute
• 5:01
  Speaker 1: selling out. I mean you could just even play a
• 5:03
  Speaker 1: twenty one and over show ye as opposed to an
• 5:06
  Speaker 1: all ages show.
• 5:06
  Speaker 2: Yep.
• 5:08
  Speaker 1: You could sign to a not just a major label
• 5:11
  Speaker 1: that was obviously selling out we're talking about late eighties,
• 5:14
  Speaker 1: early nineties, but even signing to a bigger independent label
• 5:19
  Speaker 1: or an independent label that was partially or fully owned
• 5:21
  Speaker 1: by major label that could be selling out.
• 5:25
  Speaker 3: Venues, venue sizes. There are some places you're like, oh
• 5:27
  Speaker 3: they're playing there, forget it.
• 5:29
  Speaker 1: Yeah, charging too much for tickets, you know, like anything
• 5:35
  Speaker 1: that sort of reeked of like commercialism, capitalism that you
• 5:39
  Speaker 1: just even ambition was sort of anathema to the like,
• 5:44
  Speaker 1: you know ideology of like you know, punk ideology. It
• 5:48
  Speaker 1: was like, oh, you're ambitious, you're you know, opportunistic.
• 5:52
  Speaker 2: It was an infraction.
• 5:53
  Speaker 1: It was an infraction crime, and there were real consequences,
• 5:56
  Speaker 1: like you could be sort of banished. You you basically
• 6:01
  Speaker 1: became a pariah, like you could lose friends. It sounds
• 6:04
  Speaker 1: silly to say, but it was very very real. Yeah,
• 6:10
  Speaker 1: anything just you know, like aligning yourself with something that
• 6:12
  Speaker 1: was too materialistic to corporate commercials.
• 6:15
  Speaker 2: Obviously, Oh, writing music.
• 6:17
  Speaker 1: For a if you put a song, if you put
• 6:20
  Speaker 1: a song in a commercial, that that was number one.
• 6:23
  Speaker 1: But signing to a major label was definitely you know,
• 6:27
  Speaker 1: if you came from a certain you know community, and
• 6:30
  Speaker 1: they're a handful of those communities that you know, shared
• 6:32
  Speaker 1: that that philosophy Olympia, Chicago, Washington, d C, San Francisco,
• 6:41
  Speaker 1: I mean, and then there were parts of communities that
• 6:45
  Speaker 1: maybe aspired to be on bigger labels. But then there's
• 6:49
  Speaker 1: like a sub sect of those communities that were like
• 6:51
  Speaker 1: absolutely not. And you saw it happen. You know, it's
• 6:53
  Speaker 1: like communities would be torn apart by some bands deciding
• 6:57
  Speaker 1: to go to a major label. Oh yeah, I mean
• 7:00
  Speaker 1: growing up you know in Seattle, certainly saw it happen
• 7:05
  Speaker 1: with with Grunge and and Nirvana.
• 7:07
  Speaker 2: And.
• 7:08
  Speaker 3: It happened to Abandon DC, and it was just yeah,
• 7:14
  Speaker 3: but it's just you know, you're saying that like this
• 7:17
  Speaker 3: just something that was just made up by people who
• 7:19
  Speaker 3: wanted to make issue of that kind of thing.
• 7:22
  Speaker 1: Yeah, well, and I mean you start down anything that's
• 7:24
  Speaker 1: like a purity test, and you're like, okay, you're calling
• 7:27
  Speaker 1: someone to sell out. You're wearing you're smoking a cigarette
• 7:31
  Speaker 1: that's like, you know, manufactured by a major corporation. That's
• 7:34
  Speaker 1: literally harming like millions of people. You're wearing, you know,
• 7:39
  Speaker 1: jeans that are made by a big corporation. You know
• 7:42
  Speaker 1: you're wearing you know, like if you start to get
• 7:44
  Speaker 1: into that mindset, you can never you can never be
• 7:47
  Speaker 1: pure enough, you can never never when. And it never
• 7:49
  Speaker 1: took into consideration class and how people grew up and that,
• 7:54
  Speaker 1: like yeah, not everyone can just not make money from something.
• 7:58
  Speaker 1: You know, that those big conversations just didn't exist endless. Yeah,
• 8:02
  Speaker 1: but it was. It really occupied a lot of time
• 8:08
  Speaker 1: and a discourse.
• 8:09
  Speaker 2: Yeah, like long conversations.
• 8:11
  Speaker 1: Over dinner m m hm and hand ringing. I mean
• 8:16
  Speaker 1: really like people had a hard time making decisions because
• 8:21
  Speaker 1: it felt like a betrayal of your community. Yeah, you know,
• 8:25
  Speaker 1: to make a choice that would sort of remove you
• 8:30
  Speaker 1: from providence, you know, from like Okay, well I thought
• 8:34
  Speaker 1: we were part of something. I thought we were a collective.
• 8:37
  Speaker 1: You know.
• 8:37
  Speaker 2: It's like, wow, no one looked at their own record collections.
• 8:41
  Speaker 3: Like in my record collection there would be every label, Yeah, independent, major,
• 8:47
  Speaker 3: what's the difference.
• 8:48
  Speaker 1: Yeah, yeah, that's where I feel like for us, it
• 8:51
  Speaker 1: came from like just that, and people said it like
• 8:54
  Speaker 1: so with such a certainty, Oh they're over, you know,
• 8:57
  Speaker 1: like as if you would never return to enjoying their
• 9:00
  Speaker 1: music again.
• 9:01
  Speaker 2: Yes, you know.
• 9:03
  Speaker 3: Anyway, So that was another Then this, this is another one
• 9:07
  Speaker 3: where I wore those prosthetics summer years.
• 9:10
  Speaker 1: And yeah, to have the gauges and Spike, I should say,
• 9:14
  Speaker 1: later becomes a character. We pair him with a character
• 9:18
  Speaker 1: of mine named Iris, and they do become a couple
• 9:20
  Speaker 1: that I think came to embody and be stand ins
• 9:25
  Speaker 1: for this time in our life, you know, the time
• 9:27
  Speaker 1: where we were like younger and playing music and like
• 9:30
  Speaker 1: very caught up in some of that you know, somewhat rudimentary,
• 9:36
  Speaker 1: stifling punk ideology, even though we also were very worshipful
• 9:40
  Speaker 1: of it and it really shaped us, you know, we
• 9:44
  Speaker 1: really kind of kept them locked into that mindset.
• 9:47
  Speaker 2: Spike and Iris, they do keep waving the flag.
• 9:51
  Speaker 1: Yeah, they're holding onto it, you know. So, yeah, it's over.
• 9:56
  Speaker 1: I noticed when I was watching it, I'm like, I'm
• 9:58
  Speaker 1: not in this sketch. I have no idea why. I
• 10:00
  Speaker 1: was like trying, Yeah, I want to like go back
• 10:02
  Speaker 1: and look at the calendar. I'm like, why was I
• 10:06
  Speaker 1: in this? Only because later? For sure. I'm not saying
• 10:09
  Speaker 1: that in like a weird egotistical way. It was just
• 10:11
  Speaker 1: that we did so much heavy lifting early on, like
• 10:13
  Speaker 1: we sort of had to be in all the sketches,
• 10:15
  Speaker 1: and later when we were you know, sort of needed
• 10:18
  Speaker 1: for our own mental health or schedules like time off
• 10:22
  Speaker 1: here there. Sometimes when I started directing, I didn't want
• 10:25
  Speaker 1: to be in as in many sketches, but this was
• 10:28
  Speaker 1: like episode three, so I just was it really was
• 10:31
  Speaker 1: noticeable to me. Ye who knows.
• 10:34
  Speaker 3: Yeah, it's like that kind of record keeping. I just
• 10:36
  Speaker 3: feel like that's probably lost.
• 10:38
  Speaker 1: That is lost. I was just surprised to see that
• 10:43
  Speaker 1: early on, because I remember it changing later in US
• 10:46
  Speaker 1: actually meeting like, oh, can we do this sketch without Fred,
• 10:49
  Speaker 1: or can we do this without carry Let's get someone
• 10:51
  Speaker 1: else in. But that just didn't quite exist early on.
• 10:54
  Speaker 1: But apparently it didn't. I guess, so, good job, great
• 10:56
  Speaker 1: job in this sketch. I feel like I could objectively
• 11:00
  Speaker 1: tell yeh awesome.
• 11:03
  Speaker 2: So now we get to Amy part one.
• 11:06
  Speaker 3: Now, this the story in the sketch, it's that Amy
• 11:11
  Speaker 3: is the rock star she is, and then she's also
• 11:14
  Speaker 3: our housekeeper or you hire her up.
• 11:17
  Speaker 2: It's sort of new to us. House cleaner, Yeah, house
• 11:19
  Speaker 2: cleaner based on a real story, based.
• 11:23
  Speaker 1: On a real story. So if you think that the
• 11:26
  Speaker 1: music industry is, you know, bad now, I mean it was.
• 11:29
  Speaker 1: It was also like it's so bad now in terms
• 11:33
  Speaker 1: of like how difficult it is to make money have
• 11:37
  Speaker 1: a viable career as a musician. It's such a stratified
• 11:40
  Speaker 1: industry of the haves and have not, uh, And it
• 11:44
  Speaker 1: was kind of always the case that, like, but it's
• 11:47
  Speaker 1: it's worse now. But back in the I guess early
• 11:51
  Speaker 1: two thousands there, I was living in Portland and I
• 12:00
  Speaker 1: hired a house cleaner that came i think every other week,
• 12:06
  Speaker 1: and one time he brought over He's like, I'm gonna
• 12:10
  Speaker 1: bring someone else to help me great, and he brings
• 12:14
  Speaker 1: over this woman from this band that I was a
• 12:19
  Speaker 1: pretty big fan of, had this band's records, really loved
• 12:24
  Speaker 1: her as a guitar player and songwriter, and it was
• 12:28
  Speaker 1: just this weird, intense, like cognitive dissonance to just one
• 12:35
  Speaker 1: be aware that like, of course, like you, hardly anyone
• 12:40
  Speaker 1: makes a living for music. And two, but I'm also like,
• 12:45
  Speaker 1: oh my gosh, I'm such a fan. And it was
• 12:47
  Speaker 1: very wow, very awkward. And I remember when we were
• 12:53
  Speaker 1: casting for the show, it already was an issue in
• 12:58
  Speaker 1: the broader music industry, and like there were so many
• 13:01
  Speaker 1: people who we admired who legitimately might be like, oh yeah,
• 13:06
  Speaker 1: I'm I'm close to having to do something else besides
• 13:09
  Speaker 1: music anyway, Like this wouldn't even be like funny for me.
• 13:14
  Speaker 1: This is like I'm already working two other jobs. You know,
• 13:17
  Speaker 1: I'm already like whatever, bussing tables or you know, working
• 13:23
  Speaker 1: as a bartender. And I like, I mean, you know,
• 13:26
  Speaker 1: this is all very real stuff. So that was I
• 13:29
  Speaker 1: remember we had a list of other like people to consider,
• 13:33
  Speaker 1: and we were like, that's cutting it too close, that's
• 13:37
  Speaker 1: cutting it too fine. So like Amy was the right
• 13:41
  Speaker 1: kind of person because like she would be she would
• 13:43
  Speaker 1: understand that we were really talking about like the economics
• 13:47
  Speaker 1: of the music industry, the economics of trying to be
• 13:49
  Speaker 1: an artist, you know, both now and then when we
• 13:53
  Speaker 1: were making it. But she also was doing well enough
• 13:56
  Speaker 1: that it wasn't going to be so like personal for her. Yeah,
• 14:02
  Speaker 1: she could sort of understand it but not feel like
• 14:06
  Speaker 1: it was painful.
• 14:07
  Speaker 3: Yeah, and she's so funny in this, Like her performance
• 14:11
  Speaker 3: is like she really plays it exactly real, keeps wanting
• 14:16
  Speaker 3: to get back to her job, which I really liked. Also,
• 14:20
  Speaker 3: I was thinking about while I was watching it. I
• 14:23
  Speaker 3: think it's the first that we see this sort of
• 14:25
  Speaker 3: mystery of Fred and Carrie's relationship because in that house
• 14:31
  Speaker 3: they live together.
• 14:33
  Speaker 2: Are they a couple?
• 14:34
  Speaker 1: It's very ambiguous.
• 14:35
  Speaker 2: Yeah, in a way.
• 14:36
  Speaker 3: That I like, it could be anything, but they're definitely
• 14:40
  Speaker 3: like we're side by side in a way that's not
• 14:43
  Speaker 3: just roommates. Yes, there's something very like we're in the
• 14:46
  Speaker 3: same space all the time. The bedroom could even be.
• 14:49
  Speaker 1: Well, I mean we end up showing that we share
• 14:51
  Speaker 1: a bedroom. We know, Yeah, but he had.
• 14:54
  Speaker 2: I like that you don't know, you don't know.
• 14:55
  Speaker 1: There's an intimacy for sure.
• 14:57
  Speaker 2: Yeah.
• 14:58
  Speaker 1: Yeah, And we're just playing at this again, this intense,
• 15:04
  Speaker 1: ridiculous juxtaposition of like wanting our house cleaned a certain way,
• 15:09
  Speaker 1: but also wanting to let Amy know that we're like
• 15:11
  Speaker 1: really cool and know her music. Yeah, I mean it's
• 15:14
  Speaker 1: very painful and it was really fun. Yeah, and she
• 15:21
  Speaker 1: was great and she is great, and she just she
• 15:25
  Speaker 1: got it. And like again, I mean we'll say this
• 15:29
  Speaker 1: many many times, like and there's someone else who shows
• 15:32
  Speaker 1: up later in this wrap around that is even it's
• 15:36
  Speaker 1: even more pronounced. But like, you know, I think of
• 15:38
  Speaker 1: Amy Mann. I mean, she's like a serious, accomplished songwriter
• 15:43
  Speaker 1: and just here she comes into Portlandia, you know, puts
• 15:47
  Speaker 1: on like this maid's uniform and is just like dusting
• 15:52
  Speaker 1: our house and you know, acting, she's a great actor
• 15:56
  Speaker 1: in this and totally willing to just make fun of
• 15:59
  Speaker 1: the precariousness really of trying to make art in America,
• 16:05
  Speaker 1: you know, and like a country that really doesn't do
• 16:08
  Speaker 1: much to support its artists.
• 16:10
  Speaker 3: And she says, because when we do the fan part,
• 16:13
  Speaker 3: she says thank you in a very real way.
• 16:15
  Speaker 2: She's like, oh, thank you. That means a lot to me.
• 16:17
  Speaker 1: Yeah.
• 16:17
  Speaker 3: And then the cleaning part also, she you know, when
• 16:20
  Speaker 3: we're like, you know, you have to get this this
• 16:23
  Speaker 3: I think it's the stove.
• 16:25
  Speaker 1: Yes, she's yeah, we're getting really particular about how she
• 16:28
  Speaker 1: should do the stove.
• 16:29
  Speaker 3: So she's like taking that information into yeah, and like
• 16:32
  Speaker 3: she's taking that task seriously.
• 16:35
  Speaker 1: Yeah, but it's also kind of interesting because I feel like,
• 16:39
  Speaker 1: as like a creative person artists, when you do have fans,
• 16:43
  Speaker 1: like even though fans aren't asking you to like you know,
• 16:47
  Speaker 1: wash your clothes or like clean the counter, Like there
• 16:51
  Speaker 1: there is a duality to what is sort of required
• 16:53
  Speaker 1: of you. You know, there's the part that's sort of
• 16:55
  Speaker 1: being asked to be really like bigger than life, then
• 17:01
  Speaker 1: you know, like maintain the mythology, maintain the mystery. But
• 17:05
  Speaker 1: then also the part of you that is actually being
• 17:07
  Speaker 1: asked to just sort of be like pedestrian and ordinary
• 17:10
  Speaker 1: and normal. And so this is actually sort of like
• 17:12
  Speaker 1: a distillation of that, you know, like we've we've made
• 17:16
  Speaker 1: it very literal, that sort of contrast that a fan requires,
• 17:20
  Speaker 1: Like do all these really I want you to? I
• 17:22
  Speaker 1: want you to be super relatable and normal but also
• 17:26
  Speaker 1: like larger than life. And I think that's probably tricky
• 17:31
  Speaker 1: for people, you know, to operate on both levels and
• 17:35
  Speaker 1: to not mess up either and not have one soley
• 17:37
  Speaker 1: the other.
• 17:39
  Speaker 3: Have you ever been forced into a situation where you're
• 17:47
  Speaker 3: I'll just say, like you're confronted with being in a
• 17:49
  Speaker 3: situation with let's say fans, people who like the show,
• 17:53
  Speaker 3: for example, or your band, and then you're in a
• 17:56
  Speaker 3: physical situation where at first it's explosive and fun, but
• 18:01
  Speaker 3: then because of the space that you're in, say an
• 18:06
  Speaker 3: airport gate, okay, where it becomes a pedestrian because you're
• 18:11
  Speaker 3: forced into like it's like really exciting. At first, it's
• 18:15
  Speaker 3: such a you know, it's so it's so great to
• 18:17
  Speaker 3: meet you. I was almost gonna say honored, but you
• 18:19
  Speaker 3: know what I mean, people say things and then all
• 18:22
  Speaker 3: of a sudden it happened to me, like after being
• 18:27
  Speaker 3: in a hotel after breakfast, after breakfast, and I see
• 18:30
  Speaker 3: the same people, I hie good morning, So it like
• 18:32
  Speaker 3: it dissipates, so the or deflates right where it really
• 18:37
  Speaker 3: does get boring, and there by the fourth.
• 18:40
  Speaker 1: Day we wish we weren't staying at the same hotel.
• 18:45
  Speaker 3: They fully ignore, not like we're gonna respect a space, more.
• 18:49
  Speaker 1: Like, oh they're begging you to ignore.
• 18:51
  Speaker 2: Yeah, like we're also just trying to have break Yes.
• 18:54
  Speaker 1: That happened to me. This is a slightly different example.
• 18:57
  Speaker 1: I guess this is a more humbling example. So back
• 19:01
  Speaker 1: when slatery Kinney were still playing smaller venues, and you know,
• 19:06
  Speaker 1: we didn't often we were setting up our own gear
• 19:09
  Speaker 1: or just had like maybe one crew member, but we
• 19:11
  Speaker 1: were you know, all hands on deck kind of thing.
• 19:14
  Speaker 1: And sometimes but we would still try to maintain that
• 19:19
  Speaker 1: sort of that distance so that when we got on
• 19:22
  Speaker 1: stage it felt like, ah, we've just appeared, like here,
• 19:25
  Speaker 1: here's a moment. But there weren't bathrooms backstage, So before
• 19:31
  Speaker 1: the show, I would go and have to get in
• 19:34
  Speaker 1: line and wait in line with the audience to use
• 19:38
  Speaker 1: the bathroom. Yeah, and there's nothing that kills that mystery.
• 19:42
  Speaker 1: Then just hey, how's it going, you know, just waiting
• 19:46
  Speaker 1: And then here's the other thing about that. So now
• 19:49
  Speaker 1: I'm you know, there's someone before me, obviously there's someone
• 19:51
  Speaker 1: after me. I could walk into a stall and it
• 19:54
  Speaker 1: could be covered and piss and shit, but when I leave,
• 19:58
  Speaker 1: it has to be clean. So I'm going in there
• 20:03
  Speaker 1: like basically cleaning the bathroom, say that it doesn't look
• 20:06
  Speaker 1: like I'm the one that left that there. So yeah,
• 20:09
  Speaker 1: I'm just like it has to be Yeah, you have
• 20:12
  Speaker 1: to be able to eat off that toilet when I leave. Yeah,
• 20:15
  Speaker 1: And so it was, Yeah, it was. It was a
• 20:17
  Speaker 1: lot of work. It was a lot of work and
• 20:20
  Speaker 1: also awkwardly just you know, the chit chat, the bathroom
• 20:23
  Speaker 1: chit chat, and people, you know, it completely demysticize everything.
• 20:26
  Speaker 1: You're like, Wow. Also the longest hat hand washing I've
• 20:29
  Speaker 1: ever done. Hey, look, guys, you know, just washing those hands.
• 20:33
  Speaker 1: Just making sure that everyone knows what a great hand
• 20:36
  Speaker 1: washer I am. That I never dribble onto the toilet
• 20:40
  Speaker 1: seat that I you know, like it's it's a whole routine,
• 20:46
  Speaker 1: but you know what great A lot of bathrooms got
• 20:48
  Speaker 1: cleaned that way good.
• 20:49
  Speaker 3: Yes, and in fact, to the point of the sketch,
• 20:53
  Speaker 3: you were kind of like a cleaner.
• 20:57
  Speaker 1: Cleaner, But that that did have that feeling of like, oh,
• 21:00
  Speaker 1: I wanted to be just for the sake of the show,
• 21:03
  Speaker 1: to like maintain justlf a little bit of distance so
• 21:06
  Speaker 1: that when I am walk out on stage, the person
• 21:10
  Speaker 1: is not like, oh, that's just the woman that just
• 21:12
  Speaker 1: used the toilet next to me.
• 21:14
  Speaker 3: It also speaks to like the benefit of being in
• 21:17
  Speaker 3: a band. I don't know why I'm picking Motorhead, but
• 21:20
  Speaker 3: if you're in like a biker band, whatever you want
• 21:22
  Speaker 3: to call it, you know what I'm saying, Like you
• 21:24
  Speaker 3: could go into like any bathroom, just light.
• 21:26
  Speaker 2: On a fire on the floor, on the walls. Yeah,
• 21:30
  Speaker 2: Like that's I wonder if like that's why they got
• 21:32
  Speaker 2: into it.
• 21:32
  Speaker 3: Like yeah, when we go anywhere, we could totally be ourselves,
• 21:37
  Speaker 3: right right.
• 21:38
  Speaker 1: I hate to involve in a bathroom talk right here,
• 21:40
  Speaker 1: but I just it reminded me that to me, is
• 21:43
  Speaker 1: is my most like humbling version of that. Yeah, but
• 21:47
  Speaker 1: I know exactly what you're saying. Yeah, it's common, all right.
• 21:51
  Speaker 1: That's Amy Part one Coffee Land and Coffee Land. Man.
• 22:01
  Speaker 1: I watched this and I was like, no, this is
• 22:06
  Speaker 1: like one of those sketches where I'm like I kind
• 22:08
  Speaker 1: of remember the providence of it, like I remember who
• 22:11
  Speaker 1: pitched it and what it was. But I just I
• 22:15
  Speaker 1: would not do this sketch.
• 22:16
  Speaker 2: Again now in the blur of making it.
• 22:19
  Speaker 3: Yeah, you know, it just seems like sure, we'll just
• 22:22
  Speaker 3: do it, you know, Yeah, we'll see how it turns out.
• 22:25
  Speaker 2: Ye.
• 22:25
  Speaker 3: And I remember like also the the looking at coffee
• 22:30
  Speaker 3: shops in Portland as a tourist destination. I liked that
• 22:35
  Speaker 3: aspect of it, like, oh yeah, that could be something
• 22:36
  Speaker 3: that's you know, a site that people would go to,
• 22:42
  Speaker 3: you know, tourist site. But yeah looking back.
• 22:47
  Speaker 1: Yeah do I mean sometimes you make a show, you
• 22:49
  Speaker 1: make something and you're like, yeah, that was a mistake.
• 22:53
  Speaker 2: Easy to skip.
• 22:54
  Speaker 1: Over, easy to skip over.
• 22:55
  Speaker 2: Yeah.
• 22:55
  Speaker 1: So basically, like we're dressed I guess like we're like Japanophiles,
• 23:01
  Speaker 1: Like we're dressed in like har Juku girls yea. And
• 23:05
  Speaker 1: the way that they cut it was as if we
• 23:08
  Speaker 1: were like so obsessed with this like world that like
• 23:11
  Speaker 1: we sort of create like a fantasy world where like
• 23:14
  Speaker 1: we get to live inside of it, and we go
• 23:16
  Speaker 1: to these coffee shops and the cop and everything just
• 23:20
  Speaker 1: keeps getting more diminutive.
• 23:22
  Speaker 3: Coffee, the espressos get, the coffees get smaller, coff getsmall
• 23:26
  Speaker 3: and we go out in line.
• 23:28
  Speaker 1: It's a ride, like it's a ride, yeah, coffee Land.
• 23:31
  Speaker 1: And then there's this cute boy played by Josh Frank,
• 23:36
  Speaker 1: who is this young actor that returns I think he
• 23:40
  Speaker 1: actually returns in Dumpsterday. He returns in this episode and
• 23:43
  Speaker 1: then over and over again, and then we go and
• 23:47
  Speaker 1: then the rest of it's sort of on a green
• 23:49
  Speaker 1: screen for a while and like we're in an imaginary
• 23:51
  Speaker 1: world and then and then it's out. That's basically the sketch.
• 23:55
  Speaker 3: And we used him a lot because, uh, because of
• 23:59
  Speaker 3: our budget it people couldn't always have speaking parts. That
• 24:02
  Speaker 3: becomes more expensive. Yeah, and his reactions were so good
• 24:06
  Speaker 3: yes and dead instead of like not reacting.
• 24:09
  Speaker 1: Yes, and that comes from that's a Jonathan Kreisel like thing.
• 24:15
  Speaker 1: He is great. I mean I think it came from
• 24:18
  Speaker 1: the world of Tim and Eric as well, which is
• 24:21
  Speaker 1: another sketch show, really like absurd kind of at vantguard
• 24:25
  Speaker 1: sketch show. But they really were great with like background
• 24:28
  Speaker 1: actors and like just finding real people and that is
• 24:32
  Speaker 1: something we always aim to do with our background. Yeah,
• 24:37
  Speaker 1: was just I mean, obviously they were all real Portlanders,
• 24:39
  Speaker 1: but just like great faces and people that you know,
• 24:42
  Speaker 1: it's not like central casting for like let's get the
• 24:45
  Speaker 1: hottest people or it's just like let's get everyday people
• 24:48
  Speaker 1: who make our world vibrant and real. And we use
• 24:55
  Speaker 1: you know, we do a lot of cutaway shots, reaction shots,
• 24:58
  Speaker 1: which add to the humor. And Josh had one of
• 25:00
  Speaker 1: those great faces. Yeah, and he just sort of always
• 25:03
  Speaker 1: looked either like right, either dispassionate, sometimes a little perplexed.
• 25:09
  Speaker 1: But he it was great as like almost like to
• 25:10
  Speaker 1: project onto him. Yes, a reaction you know, and uh so, yeah,
• 25:17
  Speaker 1: we I think he was discovered in this one. I
• 25:20
  Speaker 1: don't know if we shot Coffee Land or Dumpster Divers,
• 25:23
  Speaker 1: which is also in this episode first, but either way,
• 25:27
  Speaker 1: it was someone who John Krazel first really loved and
• 25:30
  Speaker 1: then we head back. I can't remember. I think we
• 25:33
  Speaker 1: started noticing that he was someone who was returning over
• 25:35
  Speaker 1: and again, over and over again for a non speaking part,
• 25:37
  Speaker 1: and we did eventually he speaks, and I think we
• 25:40
  Speaker 1: made kind of a a meal of it.
• 25:42
  Speaker 2: Oh yeah, it's much later.
• 25:44
  Speaker 1: It's like season seven or eight.
• 25:47
  Speaker 2: Yeah.
• 25:47
  Speaker 3: Yeah, So from Coffee Land there's another Nina and Lance
• 25:54
  Speaker 3: and this one.
• 25:55
  Speaker 1: I mean, this might just be the cringe episode for
• 25:57
  Speaker 1: me because like a sex toy to me. Also, I'm like,
• 26:00
  Speaker 1: it doesn't it's funny. It doesn't like I can't now
• 26:04
  Speaker 1: I sound like a prude, but it's like one of
• 26:07
  Speaker 1: those things where I'm like, oh, interesting, like I want
• 26:09
  Speaker 1: to I know it does. It becomes not about sexuoys.
• 26:12
  Speaker 1: It becomes about packaging, which again is one of those
• 26:15
  Speaker 1: very Portlandia things of like you think the sketch is
• 26:17
  Speaker 1: going to be about one thing, but it's about the other.
• 26:19
  Speaker 1: And I love the other thing it's about, and it's
• 26:22
  Speaker 1: it's apropos for Nita and Lance to you know, get
• 26:25
  Speaker 1: a sex toy. But I think I remember both of
• 26:28
  Speaker 1: us just kind of being like, huh, like could have
• 26:31
  Speaker 1: been anything they ordered, yeah, right, Like I felt like
• 26:34
  Speaker 1: we were it didn't need to be sort of sexual
• 26:38
  Speaker 1: the thing that we were ordering.
• 26:40
  Speaker 3: Yeah, because that sound, you know, the sound of like
• 26:43
  Speaker 3: huh is exactly how I feel about it, where it's like,
• 26:46
  Speaker 3: oh sure.
• 26:48
  Speaker 1: But I think I just know the things that you
• 26:50
  Speaker 1: and I agree on, like I know, like our sensibility.
• 26:54
  Speaker 1: Like for instance, when we when we first came to
• 26:57
  Speaker 1: the set, there were bookends that were shaped like penises,
• 27:02
  Speaker 1: and we said, no, that's not probably not we don't,
• 27:05
  Speaker 1: probably don't need it.
• 27:06
  Speaker 3: By the way, great art, yeah, yeah, it was just
• 27:09
  Speaker 3: an option.
• 27:09
  Speaker 1: Great penises, great sculptures.
• 27:12
  Speaker 3: But it's almost like in that zone somewhere yeah, yeah, yeah.
• 27:20
  Speaker 3: And then with the yeah, with the sex toy definitely
• 27:23
  Speaker 3: you know what it is. I think the sex toy
• 27:26
  Speaker 3: in it doesn't it doesn't make us laugh, yes, you know,
• 27:32
  Speaker 3: or doesn't make us laugh really like I don't know
• 27:35
  Speaker 3: what would anyway, It's a little thing because you only
• 27:39
  Speaker 3: see it I think once or something.
• 27:40
  Speaker 1: I think it's just a it's a little I wouldn't
• 27:44
  Speaker 1: even call it eccentricity. It's just a sensibility that we
• 27:46
  Speaker 1: share that literally has nothing to do with like our
• 27:50
  Speaker 1: feelings or opinions about like sex or intimacy. It's just
• 27:54
  Speaker 1: the where it interacts with humor that we just don't
• 27:57
  Speaker 1: find it that interesting. Yeah, like not to me. It's
• 28:00
  Speaker 1: not a shorthand for something being funny, you know, like
• 28:05
  Speaker 1: ah sex toy er like farts or something all that
• 28:09
  Speaker 1: we will contradict ourselves when we get into a sketch
• 28:12
  Speaker 1: we have called fart patio, which I do think is
• 28:14
  Speaker 1: really funny. But the exception, that's the exception. And it
• 28:17
  Speaker 1: was almost like, well we're going to do it, let's
• 28:19
  Speaker 1: just fully do this. But yes, anyway, just for people
• 28:24
  Speaker 1: who are you know, listening and watching, like freend and
• 28:27
  Speaker 1: I are longtime friends and there are it's not like
• 28:30
  Speaker 1: telepathic or anything how we communicate, but there is something
• 28:34
  Speaker 1: like we just know about each other. Like and I
• 28:39
  Speaker 1: when I was rewatching this, I just knew, I'm like,
• 28:41
  Speaker 1: this sketch is going to make you uncomfortable, because it's
• 28:44
  Speaker 1: making me uncomfortable like there's just so much of that,
• 28:47
  Speaker 1: like I can I can just feel it.
• 28:49
  Speaker 3: And then on the other hand, we also embrace when
• 28:52
  Speaker 3: as soon as you see the huge box all of the.
• 28:55
  Speaker 1: Bubble wrap, then I'm like, yes, Okay, then I like
• 28:57
  Speaker 1: I relax.
• 28:58
  Speaker 2: Even now I feel.
• 29:00
  Speaker 1: Like I've just been holding my breath the whole time
• 29:02
  Speaker 1: you were talking.
• 29:02
  Speaker 2: About this packaging.
• 29:04
  Speaker 1: Oh now it's about packaging, Thank god. Also, there's this
• 29:08
  Speaker 1: weird thing where like my character Lance like I just
• 29:11
  Speaker 1: keep getting I just like wanting to get back into
• 29:14
  Speaker 1: the like, h the bone zone. You know, I'm just
• 29:17
  Speaker 1: like just back on this thing and like, yeah, but
• 29:19
  Speaker 1: what I love the innocence of Nina sometimes, like she's
• 29:24
  Speaker 1: so there is this like beautiful contrast between like she
• 29:27
  Speaker 1: is like thoroughly and innocent, Like she just has this
• 29:31
  Speaker 1: real sweetness to her and like even though you know
• 29:35
  Speaker 1: you also see her in ways that are much more
• 29:38
  Speaker 1: like adventurous and like provocative, but really she just it's
• 29:44
  Speaker 1: like she's a romantic ultimately yeah and she Yeah, basically,
• 29:49
  Speaker 1: this sexuoy arrives in a package that is not commensurate
• 29:53
  Speaker 1: she was. It's like this and then it's side like.
• 29:56
  Speaker 2: A refrigerator box, which happens still a lot.
• 29:59
  Speaker 1: Yeah, it's very very wasteful.
• 30:02
  Speaker 3: There's a funny thing though, Lance chips away to open
• 30:05
  Speaker 3: everything I think with like a knife or something like.
• 30:08
  Speaker 3: He's very aggressively, like you know, just like everything he
• 30:12
  Speaker 3: does has to be like the tough version.
• 30:15
  Speaker 2: Yeah.
• 30:16
  Speaker 1: But yeah, you like repurpose the like packaging, like the
• 30:19
  Speaker 1: bubble wrap into like a little outfit. Yeah yeah, I
• 30:23
  Speaker 1: mean great, great upcycling, up cycling, great recycling. There.
• 30:27
  Speaker 3: I don't know why it's this is almost this is
• 30:31
  Speaker 3: this border is on pretentious. But uh, I always think
• 30:35
  Speaker 3: of Nina as southern California.
• 30:37
  Speaker 1: Oh okay, it's the rockabilly thing, right.
• 30:40
  Speaker 3: Yeah, rockabilly kind of like Orange County. And then that
• 30:42
  Speaker 3: she moved up to Portland.
• 30:44
  Speaker 1: Yeah I can see that. Yeah, I feel like Lance
• 30:49
  Speaker 1: would not be from the OC. I feel like he's
• 30:53
  Speaker 1: like almost like San Jose or like, oh yeah, even
• 30:58
  Speaker 1: like Stockton or like like kind of that like northern
• 31:03
  Speaker 1: like California, but not the same place. And then he
• 31:05
  Speaker 1: like went down to LA and then they like met
• 31:09
  Speaker 1: and then moved to Portland.
• 31:10
  Speaker 2: Yeah yeah. And then it was Nina's idea.
• 31:12
  Speaker 1: Like we should move to Portland.
• 31:14
  Speaker 2: Yeah, because I can't. He'd be like why Yeah.
• 31:20
  Speaker 1: He just wants to be with her.
• 31:21
  Speaker 2: Yeah.
• 31:21
  Speaker 1: Yeah.
• 31:22
  Speaker 2: I feel like I feel like he's always like fine.
• 31:25
  Speaker 1: Yeah yeah.
• 31:28
  Speaker 3: Let's see Amy part two. Sorry, Amy part two. This
• 31:33
  Speaker 3: is where she walked. So Amy Man washes a sweater.
• 31:37
  Speaker 1: And she shrinks it. She puts a wool sweater into
• 31:40
  Speaker 1: the wash. Yeah, and we get very mad. So this
• 31:43
  Speaker 1: is when it's like we're really vacillating between like trying
• 31:46
  Speaker 1: to maintain that we're cool and that we're big fans
• 31:49
  Speaker 1: and also just completely admonishing her for not doing things correctly,
• 31:55
  Speaker 1: including potentially stealing an item.
• 31:57
  Speaker 2: Yeah.
• 31:57
  Speaker 3: Yeah, So she does this, she's, you know, shrinks the sweater,
• 32:02
  Speaker 3: and we were really confronting her about it. Then we
• 32:04
  Speaker 3: do this thing where we rip up Suzanne Vega poster.
• 32:09
  Speaker 3: And this came from a real story that Petra Hayden,
• 32:13
  Speaker 3: who I'd dated before, who's a singer, a musician, told
• 32:18
  Speaker 3: me about a rep she used to have who showed
• 32:22
  Speaker 3: her a CD of this other Petra, this other singer
• 32:26
  Speaker 3: named Petra and smashed the cover in front of her.
• 32:29
  Speaker 2: To prove like there's only one, there's only one.
• 32:33
  Speaker 3: Petra, and Petra's reaction was like, don't do that. That
• 32:37
  Speaker 3: doesn't do anything for me. So that's what that came from.
• 32:40
  Speaker 1: I didn't remember that, but yeah, that's it's really like
• 32:43
  Speaker 1: horrifying to watch as that. But yeah, also, like looking
• 32:47
  Speaker 1: back on it, I was like, oh, this is kind
• 32:49
  Speaker 1: of how separate from the sketch, but like women were
• 32:51
  Speaker 1: sort of pitted against each other in the music industry
• 32:54
  Speaker 1: at that time.
• 32:54
  Speaker 2: Like there was like a why was that the one
• 32:56
  Speaker 2: to want?
• 32:56
  Speaker 1: Like a scarcity mindset where we're just like, well, if
• 32:59
  Speaker 1: do you like this this one, you can only like one.
• 33:01
  Speaker 2: You know.
• 33:02
  Speaker 1: It was like you were always like yeah.
• 33:04
  Speaker 3: Just yeah, why why Susan Vegas? Yeah, and then later
• 33:09
  Speaker 3: a Tory Amos c D.
• 33:10
  Speaker 1: Yeah again like you yeah, and only allowed to have
• 33:14
  Speaker 1: one favorite.
• 33:17
  Speaker 3: Then it ends with a pinata and this this is
• 33:23
  Speaker 3: and we're smashing it of Sarah McLachlin, Sarah McLaughlin and.
• 33:28
  Speaker 2: It's really great.
• 33:29
  Speaker 3: Because Amy kind of says like that's a friend of mine,
• 33:31
  Speaker 3: like I know her, I don't need this, and we're
• 33:34
  Speaker 3: smashing this panada and it's it's a good presentation of
• 33:40
  Speaker 3: the idea, you know, the way we're turning to her,
• 33:42
  Speaker 3: like it is like psychotic.
• 33:44
  Speaker 1: Right. And again, when we're talking about these rap rounds
• 33:47
  Speaker 1: used to be part rap rounds, we're in part two,
• 33:50
  Speaker 1: which always means heightening, And here we are, like really
• 33:54
  Speaker 1: in a heightened state of ridiculousness, bashing a pinata a
• 33:59
  Speaker 1: saramonclaughlin shape pinata and lo and behold. Sarah McLaughlin also
• 34:05
  Speaker 1: works for friend and Carrie.
• 34:06
  Speaker 2: She is our gardener and she's out there printing trees
• 34:09
  Speaker 2: or whatever.
• 34:09
  Speaker 1: Yeah, pooting hedges. Amy goes out because she can't believe it.
• 34:13
  Speaker 1: She's like, it needs a break. She goes out, and
• 34:16
  Speaker 1: they're Sarah McLachlin.
• 34:18
  Speaker 2: And so happy she was there. She was great.
• 34:23
  Speaker 3: But we were Carrie and I were just talking backstage
• 34:26
  Speaker 3: whatever would be about how surprised we were that she
• 34:30
  Speaker 3: agreed to do it. She seemed like such a star
• 34:32
  Speaker 3: of you know, just a music person who how could
• 34:37
  Speaker 3: we even get a hold.
• 34:38
  Speaker 2: Of someone like that?
• 34:39
  Speaker 1: Yeah, and again, I mean this is probably the first example,
• 34:41
  Speaker 1: but we'll talk about it a lot of just like
• 34:43
  Speaker 1: oh my god, Sarah McLaughlin and Amy, of course, but
• 34:47
  Speaker 1: like revered artists whose work like relies upon people having
• 34:55
  Speaker 1: very like heartfelt, sincere relationships to the songs like the
• 35:02
  Speaker 1: songs mean something and that the artist's intentions are are
• 35:07
  Speaker 1: serious and earnest, and which is great because that is
• 35:11
  Speaker 1: how they are and they're they both write beautiful, incredible songs.
• 35:18
  Speaker 1: But amazing that Sarah was like, absolutely, let me come
• 35:22
  Speaker 1: down from Vancouver and poke fun of myself and poke
• 35:26
  Speaker 1: fun at you guys, these idiotic characters and have fun.
• 35:29
  Speaker 1: And it was It's a dream. It's a dream to
• 35:32
  Speaker 1: just get to kind of just unpack all the stuff
• 35:36
  Speaker 1: play in this world where you know, we get to
• 35:40
  Speaker 1: just explore these what are essentially really awkward dynamics and
• 35:43
  Speaker 1: the ways that people are unfair and unkind and the
• 35:47
  Speaker 1: way the world, you know, works out for certain people.
• 35:51
  Speaker 1: And it's just like she was just up for all
• 35:53
  Speaker 1: of that. And I think also again as someone who
• 35:57
  Speaker 1: is still in the music industry, and I imagine they
• 36:00
  Speaker 1: know just how easy it is to go from being
• 36:05
  Speaker 1: doing okay to not doing okay. So I think, yeah,
• 36:09
  Speaker 1: always willing to explore that too.
• 36:11
  Speaker 3: I have some like singing the scene when Amy just
• 36:15
  Speaker 3: for first addresses Sarah and I like them in the
• 36:18
  Speaker 3: same space. I'm ah, look, they all people do know
• 36:21
  Speaker 3: each other.
• 36:21
  Speaker 1: Yeah, And she says Hi, Sarah maclachlin.
• 36:23
  Speaker 2: Yeah that's right.
• 36:25
  Speaker 1: Yeah, yeah, and I think that that's that's how that
• 36:28
  Speaker 1: one ends. Part two, that's how that ends. But yeah,
• 36:32
  Speaker 1: that felt like for some reason that getting Sarah maclachlin,
• 36:36
  Speaker 1: that felt to me like the first kind of coup.
• 36:37
  Speaker 1: Like I was like, oh, we did it, like like you.
• 36:40
  Speaker 2: Know, how who we knew before?
• 36:42
  Speaker 1: Not a like this is like someone who's just and
• 36:45
  Speaker 1: also this was before the show had aired, so she's
• 36:48
  Speaker 1: leap of faith like you know, and I I do.
• 36:52
  Speaker 1: I just love that just people being game, Yeah, you know,
• 36:55
  Speaker 1: that's that's half of this, you know, it's just that
• 36:59
  Speaker 1: trust and like, yeah, I'm I'm very grateful and appreciative
• 37:03
  Speaker 1: of you know this everyone, but this first season especially
• 37:07
  Speaker 1: just people willing to kind of just explore this windly
• 37:12
  Speaker 1: yeah this world with us and then have and be silly.
• 37:15
  Speaker 1: Just really it is just silliness, you know, Like you know,
• 37:19
  Speaker 1: I keep sort of adding like my own sort of
• 37:23
  Speaker 1: thoughts to it as I rewatch. Obviously that's part of
• 37:25
  Speaker 1: what we're doing. But when you just get rid of
• 37:29
  Speaker 1: all that, like it's it's just a lot of silliness
• 37:32
  Speaker 1: and a lot of fun.
• 37:35
  Speaker 2: You gotta get out of it. You got to get
• 37:37
  Speaker 2: out of there.
• 37:37
  Speaker 1: You got to get out of there. Kind of an
• 37:41
  Speaker 1: energy piece. I guess that's the energy piece against that
• 37:44
  Speaker 1: like quick kind of percussive cadence, like the editing gets
• 37:47
  Speaker 1: really sped up, kind of like quick cuts, a.
• 37:50
  Speaker 3: Version of like did you read in a way or yeah,
• 37:55
  Speaker 3: who came up with this?
• 37:56
  Speaker 2: I feel like, Alison, I think you're right, like.
• 37:59
  Speaker 3: Someone was talking about someone's saying that on the phone,
• 38:01
  Speaker 3: you gotta get out of there.
• 38:02
  Speaker 2: Right, And I think these characters, I don't know if
• 38:06
  Speaker 2: we did them again.
• 38:07
  Speaker 1: We did them again, but.
• 38:08
  Speaker 3: They might have had names, and then it's it's just
• 38:13
  Speaker 3: saying over and over you got to get out of there.
• 38:14
  Speaker 2: And we're just in this food where these food.
• 38:19
  Speaker 1: Carts like carts are food cart pod yeah, and which
• 38:21
  Speaker 1: is very Portland taking table. Yeah. I think this is
• 38:24
  Speaker 1: another one of those things that we continue to do.
• 38:28
  Speaker 1: And I mean not just with with words, so not
• 38:31
  Speaker 1: just linguistically but also thematically. We like to take something
• 38:35
  Speaker 1: and just do it until it just all the meaning
• 38:37
  Speaker 1: is like warped and like deconstructed and like absurd. You know,
• 38:43
  Speaker 1: it's just like say something over and over again, or
• 38:46
  Speaker 1: just like go down one track until you're just like,
• 38:48
  Speaker 1: oh my god, you kept going and then you went further.
• 38:51
  Speaker 1: Like that's a very I feel like Fred and carry
• 38:55
  Speaker 1: very poorly anything to do. And this is like a
• 38:57
  Speaker 1: very I guess, like just tight example of that, right,
• 39:04
  Speaker 1: Like it's just like it's it's a very sort of
• 39:06
  Speaker 1: like pointed example of that with just one expression where
• 39:10
  Speaker 1: we're like we're just gonna keep saying it until it
• 39:12
  Speaker 1: almost has.
• 39:12
  Speaker 3: No meaning anymore, yeah, and then trust that it'll yeah,
• 39:16
  Speaker 3: just shooting it.
• 39:17
  Speaker 2: It is like that's a lot of trust.
• 39:18
  Speaker 1: Yeah, And also like to me, sort of the the
• 39:22
  Speaker 1: interesting part of it is just like you, the audience
• 39:25
  Speaker 1: creates the story. It's like it's you're just a few
• 39:29
  Speaker 1: words and you're like, h you, who's you?
• 39:32
  Speaker 2: Right?
• 39:32
  Speaker 1: You know, get out aware. Like it's just like that's
• 39:35
  Speaker 1: what's sort of fun. It's like playing with people's expectations,
• 39:38
  Speaker 1: playing with people's imaginations.
• 39:40
  Speaker 2: Of what could be on the other end. Yeah.
• 39:41
  Speaker 1: And then it's literally a man in a.
• 39:43
  Speaker 2: River and that's Jedediah, Yeah, who shows up so much.
• 39:48
  Speaker 3: A real Portland figure. He over the years has had
• 39:54
  Speaker 3: various businesses that are.
• 39:57
  Speaker 2: Just I would say, just.
• 40:00
  Speaker 3: The word special might not be the right just like
• 40:03
  Speaker 3: scavenger hunts contests Jededi Acre. And yeah, he ended up
• 40:10
  Speaker 3: being in a lot of the key art and campaigns,
• 40:13
  Speaker 3: ad campaigns and stuff.
• 40:14
  Speaker 1: Yeah, he I mean he shows up in many, many episodes.
• 40:18
  Speaker 2: Yeah.
• 40:19
  Speaker 1: Yeah, and this you know, first season, first couple of episodes.
• 40:22
  Speaker 1: It's like we didn't know that these would be people
• 40:24
  Speaker 1: who we would like collaborate with for the next eight years. Yeah,
• 40:28
  Speaker 1: you know, and that's crew included, you know, just and
• 40:34
  Speaker 1: I remember when we wrap at season eight and looking
• 40:37
  Speaker 1: around and we even did a photo of all the
• 40:39
  Speaker 1: people who had still been there since season one. Oh yes,
• 40:42
  Speaker 1: quite a few of us. But you know that included
• 40:45
  Speaker 1: a lot of these local guest stars with the speaking
• 40:50
  Speaker 1: or non speaking roles who you know, really helped create
• 40:55
  Speaker 1: the world of the show. But yeah, this is a
• 40:57
  Speaker 1: time where we just, yeah, we really just had no
• 40:59
  Speaker 1: idea what was coming next. But yeah, but he's a
• 41:02
  Speaker 1: great example of that.
• 41:04
  Speaker 2: Yeah, I mean.
• 41:05
  Speaker 3: I guess we didn't have any idea, but there was
• 41:08
  Speaker 3: still like an I don't know what to call it.
• 41:11
  Speaker 3: There's like a version of optimism because I remember the
• 41:13
  Speaker 3: feeling of not like, well, who knows when we'll get
• 41:15
  Speaker 3: to do this again. I felt at the time, like, hey,
• 41:18
  Speaker 3: this is pretty cool. Keeps going, you know, some something
• 41:23
  Speaker 3: like that. Now his next sketch strippers another one that
• 41:39
  Speaker 3: it was okay, you know, It's weird when I was
• 41:42
  Speaker 3: watching it is that I thought, oh, this could be
• 41:45
  Speaker 3: an SNL sketch, or or it might have even worked
• 41:49
  Speaker 3: on SNL in a way.
• 41:50
  Speaker 1: You know what. There's there's this one, and there's one
• 41:52
  Speaker 1: coming up in a later episode from season one that
• 41:57
  Speaker 1: to me also feels SNL. And I think there were
• 42:00
  Speaker 1: times in season one where there was still like we
• 42:04
  Speaker 1: were still in conversation with SNL via you you know,
• 42:08
  Speaker 1: and just that idea that like oh, like as of
• 42:13
  Speaker 1: a sketch, like we hadn't necessarily figured out the point
• 42:18
  Speaker 1: of view like completely, like we were really close, like
• 42:22
  Speaker 1: we talked, we were talking the other day like season two.
• 42:25
  Speaker 1: As to me, where it really coalesces, I'm like, this
• 42:29
  Speaker 1: is what we want the show to be. And you
• 42:31
  Speaker 1: see glimpses of it in season one for sure, and
• 42:35
  Speaker 1: we've talked about some of those sketches and we'll continue
• 42:37
  Speaker 1: to and then yeah, some of the others feel like huh,
• 42:40
  Speaker 1: like this just doesn't. It just doesn't feel like it
• 42:44
  Speaker 1: has the Portlandia sensibility that like we really where we
• 42:47
  Speaker 1: were sort of firing on all cylinders and like coming
• 42:51
  Speaker 1: through the lens that we really wanted to create from.
• 42:55
  Speaker 2: Uh.
• 42:55
  Speaker 1: This feels like one of those where it's like the characters,
• 42:58
  Speaker 1: I'm like, I don't know who the characters are. Yeah,
• 43:00
  Speaker 1: it feels like it feels very ephemeral in this way. Yeah,
• 43:04
  Speaker 1: you know, like there's no take on it, right. Yeah,
• 43:08
  Speaker 1: Like that's just.
• 43:09
  Speaker 2: I guess it breezes by fast enough that.
• 43:12
  Speaker 3: I'm I it doesn't bother me. I don't know, it's
• 43:18
  Speaker 3: just it just comes and goes.
• 43:21
  Speaker 1: Yeah, I mean it's okay if I think it's okay
• 43:23
  Speaker 1: to be I don't know it's okay to be bothered.
• 43:27
  Speaker 1: I guess it's just like, you know, we it's like
• 43:28
  Speaker 1: we That's what like process is, right, Like you know
• 43:33
  Speaker 1: there's gonna be things that we're like, okay that that
• 43:36
  Speaker 1: didn't work. That's like that I wouldn't do that.
• 43:40
  Speaker 2: Yeah.
• 43:40
  Speaker 1: I think I think that's part of the interesting part
• 43:43
  Speaker 1: of this exploration, you know. Yeah, And I feel lucky
• 43:47
  Speaker 1: that so far, I'm like okay, yeah, a lot of
• 43:48
  Speaker 1: this is working feels good to me, but yeah, it's
• 43:52
  Speaker 1: inevitable that some things just won't. Yeah, and we'll have
• 43:59
  Speaker 1: to sit with the disc for we'll have to sit
• 44:02
  Speaker 1: with it.
• 44:02
  Speaker 3: I'd be fun to blame somebody. I wish we could
• 44:04
  Speaker 3: just say, like they forced us to make the sketch.
• 44:07
  Speaker 2: Yes, I remember for a i FC and they wrote it.
• 44:12
  Speaker 1: This is the one sketch i f C wrote.
• 44:14
  Speaker 3: They wrote it and were this. The Strip Club was
• 44:17
  Speaker 3: sponsoring it and they paid for it.
• 44:18
  Speaker 2: We had to do it.
• 44:20
  Speaker 1: Yeah, yeah, there were our sponsors this year.
• 44:24
  Speaker 2: Yeah.
• 44:24
  Speaker 1: Yeah, before subru it.
• 44:26
  Speaker 2: Was it was the Strip Club.
• 44:28
  Speaker 1: Yeah, yeah, I mean I think it's I think it's good.
• 44:32
  Speaker 1: It's like this is just like yeah, as we go back,
• 44:37
  Speaker 1: I mean I would be like, it's same with when
• 44:40
  Speaker 1: I think back to like Slater Kinney albums or songs
• 44:44
  Speaker 1: or things I've written, you know, outside of sketch, and
• 44:48
  Speaker 1: I'm like, oh, I'm like I wouldn't have done that now, right,
• 44:51
  Speaker 1: you know? Or like I can hear something in a
• 44:54
  Speaker 1: song that I feel like could have been improved upon,
• 44:57
  Speaker 1: I feel like that's okay, Like, yeah, I always room
• 45:01
  Speaker 1: for improvement, which gets us too dumpster Divers.
• 45:06
  Speaker 3: Which I feel the opposite. I feel like that's we
• 45:10
  Speaker 3: were really trying to, Like.
• 45:13
  Speaker 1: Yes, Slash I also wrote Freagan's which was such a
• 45:16
  Speaker 1: like I remember, like I don't know if people are
• 45:18
  Speaker 1: familiar with the term Freagan. It was like you were
• 45:20
  Speaker 1: vegan unless it was free, yeah, and then you would
• 45:23
  Speaker 1: eat anything that yeah. Oh yeah, legitimate group of people
• 45:29
  Speaker 1: in our community. That was just like hardcore vegan. If
• 45:33
  Speaker 1: it's a free steak, I'll take it.
• 45:34
  Speaker 2: Yeah.
• 45:36
  Speaker 1: Yeah, lots of you know, there's always room to you know,
• 45:41
  Speaker 1: do something else if it's you're not paying for it.
• 45:45
  Speaker 3: I remember when we were telling Ashby about this sketch.
• 45:49
  Speaker 3: I think we were shooting something of Ashby and then
• 45:51
  Speaker 3: we're like, Okay, we're gonna go shoot this thing where
• 45:53
  Speaker 3: we play dumpster divers. And for anyone listening, dumpster divers
• 45:57
  Speaker 3: kind of like it's not homeless or on the unhoused
• 46:03
  Speaker 3: is people who they're sort of like people who like
• 46:08
  Speaker 3: look through dumpsters for things that are still useful.
• 46:11
  Speaker 1: Yeah, gleaners. Yeah, you know, there's a bit of like
• 46:17
  Speaker 1: wanting to yeah, not be wasteful, and also just people
• 46:21
  Speaker 1: who I think enjoy like finding like sort of treasure hunting. Yeah,
• 46:27
  Speaker 1: although sometimes just looking for like, oh my god, can
• 46:30
  Speaker 1: you believe that, like this grocery store and this is true,
• 46:33
  Speaker 1: like throwing out bread that's perfectly good, Like you know,
• 46:36
  Speaker 1: there's like so much waste that of course it makes sense,
• 46:40
  Speaker 1: like if you are willing to like go through a
• 46:44
  Speaker 1: dumpster trash, like you can find literally great stuff, including
• 46:49
  Speaker 1: edible stuff. So and but it becomes sort of like
• 46:53
  Speaker 1: a lifestyle and can then start to veer towards, you know,
• 46:57
  Speaker 1: being pretty self righteous.
• 46:58
  Speaker 2: Yeah, yeah, that's why would.
• 46:59
  Speaker 1: You Why would you buy this when you could just
• 47:03
  Speaker 1: get it for free? Yeah, when you know, like most
• 47:06
  Speaker 1: people would are like, it's okay, I'll go purchase eggs,
• 47:11
  Speaker 1: like if you know, because it's again, these are people
• 47:13
  Speaker 1: that could technically afford it, but there's a thrill, yeah,
• 47:17
  Speaker 1: you know, and stumbling upon it.
• 47:19
  Speaker 3: Oh, we should have done an egg joke in it,
• 47:22
  Speaker 3: cracking an egg that is like so clearly went bad,
• 47:25
  Speaker 3: but still fry it up.
• 47:27
  Speaker 1: But the thing is you already like I was gagging.
• 47:31
  Speaker 3: You were gagging, and some of it is filmed. Yes,
• 47:35
  Speaker 3: you have a real gag in there. Yes, Yeah, it
• 47:38
  Speaker 3: was pretty gross because we were mixing foods together. Yeah,
• 47:41
  Speaker 3: it didn't occur to me when we're writing it that
• 47:43
  Speaker 3: that could happen, that there will be a smell of
• 47:46
  Speaker 3: mixing soups with no refrigeration or heat. It was just
• 47:52
  Speaker 3: you know, we're just in some room. Yeah, and when
• 47:56
  Speaker 3: you pour soup in it.
• 47:58
  Speaker 1: Was getting really gross.
• 48:00
  Speaker 2: Yeah.
• 48:00
  Speaker 1: Yeah.
• 48:04
  Speaker 3: Side note, when I was in this band in the nineties,
• 48:07
  Speaker 3: trench Mouth, we played in Berlin at a squat and
• 48:15
  Speaker 3: there was there was no heating, there was no there
• 48:19
  Speaker 3: were no light, no electricity. So they had kerosene torches dangerous,
• 48:25
  Speaker 3: dangerous and you could smell it, and generators for when
• 48:27
  Speaker 3: we played.
• 48:28
  Speaker 2: But then they also had like a quote unquote feast
• 48:32
  Speaker 2: for us.
• 48:32
  Speaker 1: Oh I've played in a squad too.
• 48:36
  Speaker 3: And I don't know why didn't occur to me because
• 48:39
  Speaker 3: it was so bountiful but suspiciously yes, like why is
• 48:45
  Speaker 3: there so much food? And then as we were going like, oh,
• 48:48
  Speaker 3: they found all this stuff, so go ahead, you could
• 48:52
  Speaker 3: do this, and.
• 48:52
  Speaker 2: You know they're very casual. Yeah, oh my god. The
• 48:56
  Speaker 2: lentil situation, the amount of stews.
• 49:00
  Speaker 1: The amount of stews. Yeah, it's a lot.
• 49:02
  Speaker 2: Yeah, it's a lot.
• 49:03
  Speaker 1: I've been in that situation when I I did, I
• 49:06
  Speaker 1: dabbled in a little dumpster diving when I was in
• 49:10
  Speaker 1: college for cassettes. We found a company out in the
• 49:14
  Speaker 1: suburb that were throwing out cassette tapes. And because I
• 49:18
  Speaker 1: think they were you know, there was a lot of
• 49:20
  Speaker 1: companies and businesses that would record whatever tutorials or instruction manuals, whatever,
• 49:26
  Speaker 1: ship them out, and they for some reason a lot
• 49:29
  Speaker 1: of them were garbage, like they just didn't use all
• 49:32
  Speaker 1: these tapes. And you know, there were a bunch of
• 49:35
  Speaker 1: musicians in Olympia, myself being one of them, and we
• 49:41
  Speaker 1: when we we would sell cassette you know tapes, and
• 49:44
  Speaker 1: so we when we were making our own before we
• 49:46
  Speaker 1: had a label, and we would just record ourselves. We
• 49:49
  Speaker 1: would then transfer our music onto these you know, dumpster
• 49:53
  Speaker 1: dived tapes and make our work for them and sell them.
• 49:58
  Speaker 3: Did it work though, Yeah, it was great. So that's
• 50:01
  Speaker 3: like positive ubsurd diving.
• 50:02
  Speaker 1: Yeah. But there's also a callback to that tiny sweater
• 50:10
  Speaker 1: that Amy Man shrinks.
• 50:11
  Speaker 2: Yes, it's they find it.
• 50:12
  Speaker 1: They find it because a sense of freend and Carrie
• 50:14
  Speaker 1: throw it out. Yeah, and your character finds it and
• 50:18
  Speaker 1: you put it on. And I remember people crying with
• 50:22
  Speaker 1: laughter as you got that on because it was ridiculous.
• 50:25
  Speaker 2: Because it was really tiny. Yeah.
• 50:27
  Speaker 3: I still have that sweater because Amanda men anitam our costumer,
• 50:34
  Speaker 3: framed it.
• 50:35
  Speaker 2: Oh wow, and.
• 50:37
  Speaker 1: You never wear it.
• 50:40
  Speaker 3: I should wear the frame. I almost brought it today
• 50:42
  Speaker 3: and I'd have to go to the office. Then I
• 50:45
  Speaker 3: thought if I came in here with it, it would
• 50:47
  Speaker 3: actually not be that thrilling, and that it's a framed
• 50:51
  Speaker 3: thing in glass, and I'd be like tilting it to
• 50:53
  Speaker 3: the camera and.
• 50:54
  Speaker 2: Then the moment would be like a dead moment, like whoa,
• 50:59
  Speaker 2: there it is. Yeah, that's it. So I say it
• 51:02
  Speaker 2: so you can thank me for thank you. Yeah.
• 51:06
  Speaker 1: The other thing that I want to bring up is
• 51:07
  Speaker 1: that that sweater, both in the Amymen Wrap around and
• 51:13
  Speaker 1: indupt Drivers, was not in the script. This is a
• 51:17
  Speaker 1: case of our props department. Yeah sorry, This is a
• 51:23
  Speaker 1: case of our props department just having something on hand
• 51:26
  Speaker 1: that we decided to use that became like a focal
• 51:29
  Speaker 1: point of the sketch. And our very crafty art department
• 51:35
  Speaker 1: was always like going deep on like the comedy and
• 51:41
  Speaker 1: the details and the specificity and just finding unique items
• 51:47
  Speaker 1: for us to play with. Because they knew so much
• 51:49
  Speaker 1: of it was improvised, they wanted to give us like
• 51:52
  Speaker 1: a lot of material, you know, so we could do
• 51:55
  Speaker 1: prop work and things felt very real, and that we
• 51:58
  Speaker 1: could move through the space and have it feel very
• 52:01
  Speaker 1: like alive and tactile, and often a prop would become
• 52:06
  Speaker 1: part of the story. And this is definitely a case
• 52:09
  Speaker 1: of that.
• 52:09
  Speaker 3: Oh yeah, so there are some easter eggs in this which,
• 52:13
  Speaker 3: by the way, I think we didn't continue doing that
• 52:16
  Speaker 3: throughout the seasons. I think we I did it only
• 52:19
  Speaker 3: in the first couple and after a while.
• 52:21
  Speaker 1: I don't know. I'm just saying, let's put a pin
• 52:23
  Speaker 1: in that we'll find out, Okay, I think you might
• 52:27
  Speaker 1: be right, But I always felt like the intention was
• 52:31
  Speaker 1: to again just create a through line of this world that, like,
• 52:36
  Speaker 1: you know, you might see something from one character's world
• 52:41
  Speaker 1: in another characters world. Sure you might be right, Well,
• 52:45
  Speaker 1: you'll find out, but certainly here.
• 52:46
  Speaker 2: We're doing it, definitely.
• 52:47
  Speaker 3: And so the other items in the dumpster are the
• 52:50
  Speaker 3: box of packaging from Nina and Lance and the Sarah
• 52:56
  Speaker 3: maclachlin pinata.
• 52:59
  Speaker 1: Yes, and you will also in the Nina and Lance sketch,
• 53:05
  Speaker 1: Nina takes a picture of herself in the bubble Rock
• 53:08
  Speaker 1: costume that shows up in a later episode when Lance
• 53:12
  Speaker 1: joys faith when Lance Jodan's Facebook. Ah, so yep, there's
• 53:19
  Speaker 1: a lot.
• 53:21
  Speaker 2: And then Josh Frank is in this.
• 53:23
  Speaker 1: And Josh Frank is in it. He's our little friend.
• 53:26
  Speaker 2: He's our little friend.
• 53:29
  Speaker 1: He is yep, yeah, he's having he has to eat
• 53:32
  Speaker 1: that meal with us.
• 53:33
  Speaker 3: Yes, yeah, uh, that was fun shooting that, even though
• 53:37
  Speaker 3: there was like some gag stuff.
• 53:39
  Speaker 1: Yeah, just and when yeah, when you say gag, you
• 53:42
  Speaker 1: don't mean like we were gagging, like it was so funny,
• 53:45
  Speaker 1: like you were really almost throwing up.
• 53:48
  Speaker 3: But the when we're eating, I remember that being like
• 53:51
  Speaker 3: enjoyable and that like we were trying to make I think,
• 53:53
  Speaker 3: like small talk. We're trying to talk to him like
• 53:57
  Speaker 3: it's a real regular genera.
• 53:58
  Speaker 2: Yeah. Yeah, and we're just eating this really rotten food,
• 54:03
  Speaker 2: rotten food like hard bread.
• 54:07
  Speaker 1: Yes, that is one of your best bits. Is you
• 54:09
  Speaker 1: trying to bite into that bread.
• 54:13
  Speaker 3: It's insane, but you've experienced that, you know that sometimes, Yes,
• 54:19
  Speaker 3: why did I start eating this bread?
• 54:21
  Speaker 1: But now I have to you have to. Yeah, it's
• 54:23
  Speaker 1: very awkward. Yes, if you're with people, you don't know,
• 54:27
  Speaker 1: you know what. We went out to dinner last night and
• 54:29
  Speaker 1: I felt that a little bit with the bread. It
• 54:30
  Speaker 1: wasn't hard, but.
• 54:31
  Speaker 2: It was big and a spongy, spongy an oily and
• 54:36
  Speaker 2: sort of yes, and.
• 54:37
  Speaker 1: I actually thought, like, I need a private moment. I
• 54:40
  Speaker 1: wish there was like a little modesty panel. I know
• 54:43
  Speaker 1: that's what a napkin is, but I wish there was
• 54:44
  Speaker 1: like a more official kind of modesty panel that you
• 54:48
  Speaker 1: could just like put up and just finish eating and
• 54:51
  Speaker 1: then it would just come back down.
• 54:53
  Speaker 3: Absolutely. Yeah, with some seafoods. I think with shrimp that
• 54:57
  Speaker 3: would be helpful.
• 54:58
  Speaker 1: Yes, I actually found the brock Allini also a little
• 55:03
  Speaker 1: bit like really yeah, yeah, I just there was a
• 55:07
  Speaker 1: lot of moments I just needed like a little screen.
• 55:11
  Speaker 2: Yeah, yeah, I'm with you on that. Yeah.
• 55:14
  Speaker 3: The dinner, by the way, was this is the kind
• 55:16
  Speaker 3: of places we eat at eight thousand dollars for two people.
• 55:21
  Speaker 2: That's how we live, like our life.
• 55:22
  Speaker 3: We're doing this now and we're pretending like we're normal people,
• 55:25
  Speaker 3: but we have a very exclusive, specialized, curated life.
• 55:30
  Speaker 1: Put it out there, you know, yeah, manifested friends.
• 55:38
  Speaker 2: So this ends with that, and then uh.
• 55:40
  Speaker 1: I mean part three.
• 55:43
  Speaker 2: And this is oh god, really, uh.
• 55:46
  Speaker 1: Now we want we wanted to play We're just craven,
• 55:49
  Speaker 1: We're just yeah, now we wanted to play a concert.
• 55:51
  Speaker 1: She's cleaned our house.
• 55:52
  Speaker 2: We're still fans places show. Uh.
• 55:56
  Speaker 3: And then she leaves and we do an encore that
• 56:00
  Speaker 3: goes on like the encore she leaves you.
• 56:02
  Speaker 1: She drives away, she goes home.
• 56:04
  Speaker 2: Yep, and we're still yeah, she's brushing her teeth. One
• 56:07
  Speaker 2: my song, yeah.
• 56:09
  Speaker 3: And the music I don't I actually don't know how
• 56:14
  Speaker 3: we got it. But it's a song that has lyrics
• 56:16
  Speaker 3: that's saying that's that's about an encore.
• 56:19
  Speaker 1: Yeah, well that's that weird music library that we really
• 56:21
  Speaker 1: discovered during the show. That was from the library that yeah,
• 56:24
  Speaker 1: that sound alike library.
• 56:26
  Speaker 2: And wow, because it says like one more songs you're.
• 56:29
  Speaker 1: All the time. You know where I hear that. I mean,
• 56:31
  Speaker 1: we really used it because essentially, you know, it's very
• 56:33
  Speaker 1: expensive to buy the rights to a song, so there's
• 56:36
  Speaker 1: all these what are called sound alikes. So it's like
• 56:38
  Speaker 1: you can just like, oh, I need a song that
• 56:40
  Speaker 1: sounds like imagine dragons, or I need a song that
• 56:43
  Speaker 1: sounds like pearl Jam, which we definitely did, or you know,
• 56:46
  Speaker 1: I need a song that sounds like whatever, you know,
• 56:49
  Speaker 1: Joni Mitchell. They have it, and they're a lot cheaper,
• 56:55
  Speaker 1: a lot more affordable. But when I hear it a
• 56:58
  Speaker 1: lot is in reality shows. I don't watch a lot
• 57:00
  Speaker 1: of reality TV, but they use this all the time.
• 57:05
  Speaker 1: Like I was watching that show Traders and they use
• 57:07
  Speaker 1: and you're like, oh is that and you're like, that's
• 57:09
  Speaker 1: not that, And sometimes that you can tell they do
• 57:12
  Speaker 1: the search by lyrics, like if something's happening like fire,
• 57:16
  Speaker 1: and they'll like type in and like, oh, there's a
• 57:18
  Speaker 1: good song. Anyway. We use this library a lot on
• 57:20
  Speaker 1: this show.
• 57:21
  Speaker 3: I thought someone wrote it for the show. But great, Yeah,
• 57:26
  Speaker 3: so that that's going on. And then she goes home
• 57:29
  Speaker 3: brushes brushing her teeth and we call yeah, we're still clapping.
• 57:35
  Speaker 3: So she comes back and she plays one more song,
• 57:38
  Speaker 3: and then Sarah McGlaughlin's there, so there's like an you know,
• 57:44
  Speaker 3: it's like a sort of ominous, fun kind of ending.
• 57:47
  Speaker 1: Yeah, I I like the Rapper. There's this is one
• 57:52
  Speaker 1: of those episodes like I'm fond of it because of
• 57:55
  Speaker 1: the amy stuff and then there's all this stuff that
• 57:57
  Speaker 1: made us completely uncomfortable. So how does that out?
• 58:02
  Speaker 2: How does it net like out?
• 58:04
  Speaker 1: Like, just emotionally, I.
• 58:09
  Speaker 3: Feel comfortable in the discomfort of it me too. That's
• 58:14
  Speaker 3: why I like the things that are awkward in it
• 58:16
  Speaker 3: are almost kind of real. I just feel like we
• 58:18
  Speaker 3: would act that way around certain artists, oh.
• 58:22
  Speaker 1: Like with Amy. Yeah.
• 58:23
  Speaker 3: Yeah, there's another emotional thing that I felt.
• 58:28
  Speaker 2: It was nostalgic for that time. And this is something
• 58:31
  Speaker 2: that's not.
• 58:33
  Speaker 3: Specific to Portland of that time, specific to Portland always,
• 58:39
  Speaker 3: which is when Amy's pulling away, she drives away and
• 58:43
  Speaker 3: the car behind her is has its back facing the
• 58:46
  Speaker 3: camera and is up on a curve, and I could
• 58:48
  Speaker 3: tell that's a real car as opposed to like some
• 58:51
  Speaker 3: picture cars. Yeah yeah, and the tire is up on
• 58:55
  Speaker 3: the curve a little bit. And Portland has this secific
• 59:00
  Speaker 3: thing where people kind of park cars against each other,
• 59:04
  Speaker 3: facing each other. There's a sort of unwritten it's okay
• 59:07
  Speaker 3: to park right up to the corner and also to
• 59:11
  Speaker 3: like not be in the same direction.
• 59:15
  Speaker 2: And it made me like I miss seeing that more.
• 59:19
  Speaker 1: That's sweet. Yeah, I wish people would get their shit
• 59:22
  Speaker 1: together in terms of parking.
• 59:23
  Speaker 2: Yeah all right, all.
• 59:26
  Speaker 1: Right, well thank you so much for listening and watching.
• 59:32
  Speaker 3: Thank you so much, Thank you so much, thank you.
• 59:35
  Speaker 3: One more podcast, one more podcast, one more episode.
• 59:40
  Speaker 1: One more episode. We're going to get to that soon.
• 59:41
  Speaker 1: That's right, all right, goodbye everyone,