Transcript

#9 Milt · Heavyweight

0:08
Speaker 1: I'm just about to go to work. If this is
0:09
Speaker 1: an emergency. Is it's a third time you've called them?
0:12
Speaker 1: Everything okay with the baby? Yes, yes, beautiful baby.
0:16
Speaker 2: Thank you. You know I take a lot of pride
0:18
Speaker 2: in that. God, he's nine months old now. But you know, okay,
0:23
Speaker 2: I will respectfully let you go because I don't want to.
0:25
Speaker 1: There's nothing respectful about you, Johnny, because I told you
0:28
Speaker 1: six months ago I don't want to be on your
0:30
Speaker 1: show anymore. I picked up the phone. It was about
0:35
Speaker 1: something else.
0:35
Speaker 2: But it's you had said to me that you didn't
0:38
Speaker 2: want to be in the introduction to the episodes, right.
0:41
Speaker 2: What if I were to tell you that this isn't
0:43
Speaker 2: an episode, it's a pre episode.
0:45
Speaker 1: Oh god, it's a difference.
0:48
Speaker 2: Well, because it's not going to be a canonical episode.
0:51
Speaker 2: It's an anticipation of the second season, and there isn't
0:56
Speaker 2: going to be another episode coming out for an entire month,
0:58
Speaker 2: so it's very pre on.
1:00
Speaker 1: I don't want to be on the show period. You're
1:04
Speaker 1: not listening as usual.
1:06
Speaker 2: The floor is yours. I'm listening, yeah. From Gimblet Media.
1:16
Speaker 2: I'm Jonathan Goldstein and this is Heavyweight, today's pre season episode.
1:23
Speaker 3: Milt, you have one new voice message, a.
1:38
Speaker 2: Voice message from my friend Gregor something about my podcast
1:43
Speaker 2: destroying lives. Must be a bad connection, I think, because
1:47
Speaker 2: my podcast saves lives. I phone back to remind Gregor
1:52
Speaker 2: how last season my show repaired his friendship with noted
1:55
Speaker 2: vegan and bald headed techno musician Moby in the.
1:59
Speaker 4: Sense that you forced me into with like probably one
2:01
Speaker 4: of the top three most awkward afternoons of my life.
2:03
Speaker 2: So it was a little It was a little awkward
2:06
Speaker 2: in the room, but in the end.
2:07
Speaker 4: It wasn't a little awkward. It was incredibly awkward. You're
2:10
Speaker 4: like a nightmare therapist who causes fights.
2:13
Speaker 2: Okay, yes, you felt that way in the moment. I
2:15
Speaker 2: explain how making things right is often preceded by discomfiture.
2:20
Speaker 2: But the main thing was that people were relating to
2:22
Speaker 2: his journey of healing. In fact, I say the episode
2:26
Speaker 2: generated a very lively discussion on the website Reddit.
2:30
Speaker 5: Reddit.
2:30
Speaker 4: Well, I finally made it to Reddit. Soon I'll be
2:33
Speaker 4: on four un.
2:34
Speaker 2: Thank you when Gregor's done giving me the sasmouthing of
2:36
Speaker 2: a lifetime. He explains that in the end, the podcast
2:40
Speaker 2: did more harm than good. He tells me that the
2:43
Speaker 2: episode actually destroyed his father's oldest friendship destroyed. I ask friendship,
2:50
Speaker 2: I ask. The trouble all started. Gregor explains when his dad,
2:56
Speaker 2: an eighty five year old man named Milt, sent the
2:58
Speaker 2: episode to his friend Sidney. Sidney hated the podcast so
3:03
Speaker 2: much that he sent Milt a letter formally ending their
3:07
Speaker 2: sixty five year friendship, and that was that. According to Gregor,
3:18
Speaker 2: Sidney is a genius and couldn't believe Milt had the
3:21
Speaker 2: audacity to disrespect his intelligence and remaining time on Earth
3:26
Speaker 2: by recommending such a truly terrible podcast. In the time
3:31
Speaker 2: he spent listening to the episode, he could have done
3:34
Speaker 2: something brilliant. Sidney is a professor, the author of countless
3:38
Speaker 2: academic articles, and, according to Gregor, a true literary scholar.
3:43
Speaker 4: A Joycean scholars and James Joyce.
3:46
Speaker 2: As opposed to Joyce de Witt, who played Janet on
3:49
Speaker 2: Three's Company Anyway, very.
3:52
Speaker 4: Very intellectual guy.
3:53
Speaker 6: Right.
3:54
Speaker 4: He does not suffer fools. He's very much inclined to
3:57
Speaker 4: dress people down, set them in their place, that kind
3:59
Speaker 4: of thing.
4:00
Speaker 2: I had ample experience with that kind of thing. Case
4:03
Speaker 2: in point, Gregor proceeds to tell me in painful and
4:06
Speaker 2: gratuitous detail. What Sidney thought of my podcast.
4:10
Speaker 4: Certainly the sound of your voice could make.
4:12
Speaker 2: Among other things, he thought at Jujune middlebrow and nothing
4:15
Speaker 2: but a load of chit chat.
4:17
Speaker 4: As with a lot of things, that says. I kind
4:19
Speaker 4: of agree with him. It is just chitchat. I mean,
4:21
Speaker 4: the podcast was just us talking to each other as not.
4:23
Speaker 2: But I mean, you know Socratic dialogues. I mean all
4:26
Speaker 2: that was really was two guys talking, right.
4:29
Speaker 4: Well, I think, yes, that's empirically true. But I mean
4:32
Speaker 4: if you're a guy who's gonna be like, hey, Socrates talked,
4:35
Speaker 4: I talk I'm Socrates, you know, then I don't think
4:39
Speaker 4: I can get any point through to you at all.
4:44
Speaker 2: Gregor says the letter hit Milled hard. He's lately been
4:47
Speaker 2: taking his meals alone in his office and not speaking
4:50
Speaker 2: much to anyone. It's hard for me to imagine how
4:53
Speaker 2: my show could end the friendship. Sure there were podcasts
4:57
Speaker 2: that could. I'm all a bit positive the Ted Radio
5:00
Speaker 2: destroyed tons, maybe even a few marriages, but not Heavyweight.
5:05
Speaker 2: My heavyweight couldn't hurt a fly. And so I want
5:09
Speaker 2: to see proof. I insist Gregor send me a copy
5:12
Speaker 2: of this breakup letter, which he does, I'm gonna read,
5:15
Speaker 2: We're gonna go through the letter. Okay, we're gonna parse
5:17
Speaker 2: through the letter, all right, sure, Okay, here we go.
5:21
Speaker 2: So it starts off where he says, after our exchange,
5:23
Speaker 2: without so much as a dear milt, the letter launches
5:26
Speaker 2: into a list of complaints written in the style of
5:29
Speaker 2: an academic monograph, replete with annotation and appendices, and then
5:33
Speaker 2: in parentheses see poem about friendship references to previous correspondents.
5:38
Speaker 2: So he quotes from an email sent eleven years earlier. Yeah, okay,
5:44
Speaker 2: so here it is high milt and second references to
5:47
Speaker 2: age old intellectual turf wars, not understanding the neurotic elements
5:51
Speaker 2: of the battle about the school superintendent. Okay, so this
5:53
Speaker 2: is a whole other thing. There are numbered sections which
5:55
Speaker 2: contain lettered sub sections bracketing number C. So it goes
6:00
Speaker 2: back to subsection C bar mitzvah I had invited, And
6:05
Speaker 2: finally there it is like Gregor said the stuff about
6:09
Speaker 2: heavyweight to quote subsection Jay, Jay, you sent me the
6:13
Speaker 2: link to a radio program greg was on. I have
6:15
Speaker 2: listened to similar programs when I was driving. Very rarely,
6:18
Speaker 2: if ever, did I stop my reading or writing to
6:20
Speaker 2: listen to what I call chitchat programs. Seeing that chitchat
6:23
Speaker 2: thing in black and White was especially piquant. But as
6:27
Speaker 2: we read through the letter, it becomes apparent that this
6:30
Speaker 2: friendship has bigger problems than my podcast. According to Sidney,
6:34
Speaker 2: while he always asks after Milt's family, Milt never asks
6:38
Speaker 2: after his. And while Sydney attends Milt's family functions, Milt
6:42
Speaker 2: doesn't attend his. And although Sidney takes an interest in
6:46
Speaker 2: Milt's work, to quote Sydney, when I dedicated a published
6:49
Speaker 2: article to you, I quoted William Carlos Williams, so much depends,
6:53
Speaker 2: to which you replied that it reminds you of the
6:55
Speaker 2: adult pads depends so much for the dedications the history.
7:00
Speaker 2: It seems Sidney isn't so much upset about having listened
7:02
Speaker 2: to an episode of my podcast as he is about
7:05
Speaker 2: having listened to an episode of my podcast starring Milt's son, Gregor,
7:10
Speaker 2: because yet again, Sidney was being asked to care about
7:13
Speaker 2: Milt's family in a way that was never reciprocated. Sidney's
7:17
Speaker 2: real problem, it seems, is that he's always asked to
7:20
Speaker 2: look and listen in on Milt life without being seen
7:23
Speaker 2: and heard himself. Although the letter reads like a legal deposition,
7:31
Speaker 2: by the end, Gregor and I come to see it
7:33
Speaker 2: as something else, an outpouring of sixty years worth of
7:37
Speaker 2: hurt feelings. Their friendship began in nineteen fifty four in
7:47
Speaker 2: a rooming house in Iowa, where they both attended college together.
7:52
Speaker 2: They considered themselves a couple of outcasts who drove to
7:55
Speaker 2: poetry readings in Milt's model tea over late night bottles
7:58
Speaker 2: of Chivus regal. Sydney would share his theories with Milt
8:02
Speaker 2: about Henry Miller's Tropic of Cancer, and Milt would share
8:05
Speaker 2: his attempts at poetry with Sydney. Almost seventy years later,
8:10
Speaker 2: Milt is now a published poet, but when he finishes
8:13
Speaker 2: a poem, he still sends it to Sydney, whose judgment
8:17
Speaker 2: means more than anyone's.
8:18
Speaker 4: It never changed, the roles never changed. He was still
8:21
Speaker 4: the guy in his life whose opinion mattered most to him.
8:23
Speaker 4: About his writing, he would say, here's the thing I did,
8:26
Speaker 4: and Sid didn't just write back like nice smiley face,
8:31
Speaker 4: double exclamation mark. He'd write these kind of like a
8:36
Speaker 4: very deep, analytical kind.
8:37
Speaker 2: Of read Sydney remains a kind of big brother to Milt.
8:41
Speaker 2: This at a time when those older than him that
8:43
Speaker 2: he can look up to are dwindling. And now this
8:47
Speaker 2: unique friendship was ending. And the straw that broke the
8:50
Speaker 2: camel's back was my stupid podcast. I mean, well, you see, okay,
8:55
Speaker 2: I mean, obviously you see the irony in this whole situation.
8:58
Speaker 2: Right after waiting a good long while, it was clear
9:04
Speaker 2: that Gregor did not see the irony in this whole situation.
9:07
Speaker 2: I mean, I have a show that it's raison detra
9:11
Speaker 2: is to unite people, and because of my show, to
9:15
Speaker 2: men in their late eighties who have been friends for
9:17
Speaker 2: the past sixty odd years had a falling out.
9:21
Speaker 4: I mean, the end of Sid's letter to my dad
9:23
Speaker 4: said go shove off. It wasn't a falling out, it
9:26
Speaker 4: was this is the end. I'll never speak to you again.
9:28
Speaker 4: And as far as you having a radio show that
9:31
Speaker 4: brings together, I always thought you're a disputatious character.
9:33
Speaker 2: I think my track record speaks for itself.
9:36
Speaker 4: Your track record. You get into, like a tussle with
9:38
Speaker 4: a raccoon on the way to the liquor store, You're
9:39
Speaker 4: never going to have any success with anything.
9:41
Speaker 2: No, no to discourage you do you think that, you know,
9:45
Speaker 2: maybe I could do something to help?
9:48
Speaker 4: Okay, here we go, Here we go.
9:51
Speaker 2: Because like helping old men like this is sort of
9:53
Speaker 2: what I do.
9:54
Speaker 4: Every one of your ideas is worse than the previous one,
9:56
Speaker 4: and you're building the terrible idea of pyramids.
9:58
Speaker 2: Well you want to try, you want to try calling
10:00
Speaker 2: your dad?
10:00
Speaker 4: Almost to the top.
10:01
Speaker 2: Let's call them together, and.
10:02
Speaker 4: Now we're at the top.
10:07
Speaker 2: Like all Jewish men of a certain age, Milt probably
10:10
Speaker 2: has an answer to telephone in close to fifty years.
10:13
Speaker 2: As expected, Gregor's mom picks.
10:15
Speaker 7: Up my grandchild. Greg's son said when he heard about this,
10:21
Speaker 7: he said, when a person is older, he needs more friends,
10:24
Speaker 7: not less.
10:26
Speaker 2: That's nicely put.
10:27
Speaker 7: The relationship a person has with a friend is so
10:31
Speaker 7: intense and deep. A friendship a buddy.
10:35
Speaker 5: Wow, yeah, okay, here you go over your.
10:42
Speaker 8: Oh hi, Milton, I have Johnny on the phone here,
10:45
Speaker 8: john How.
10:46
Speaker 9: Are you good?
10:47
Speaker 2: How are you Milton?
10:48
Speaker 5: I'm good. Let me just shut my music.
10:50
Speaker 2: Off here, okay, sure, Milt, shush is down. What sounds
10:57
Speaker 2: like a Narlan's Dixieland jamboree marching he is Dan, and
11:01
Speaker 2: I ask if there's a way in which perhaps Gregor
11:03
Speaker 2: and I could help make peace between himself and his friend.
11:06
Speaker 9: Are you talking about Sydney? Yeah, I mean she's very brilliant.
11:12
Speaker 9: You know, he's written at least two three hundred articles.
11:16
Speaker 9: She's a walking encyclopedia about literature. Nobody knows more than
11:21
Speaker 9: he does. But he's more trouble than he's worth. I
11:26
Speaker 9: don't think you realize how crazy he is and difficult
11:31
Speaker 9: to negotiate with.
11:33
Speaker 2: I try to explain how there's nothing really that crazy
11:35
Speaker 2: about Sydney at all. Really, all he wants is more
11:39
Speaker 2: give and take in their friendship. But Milt is too
11:41
Speaker 2: dejected to hear me.
11:44
Speaker 9: I think he's broken up with me. I think he
11:47
Speaker 9: doesn't want to have anything to do with me now
11:48
Speaker 9: from the letter.
11:49
Speaker 5: He said, I think it's over. Forget about Sydney. All right.
11:57
Speaker 8: I'm going to fix this, Dad, don't you worry.
12:00
Speaker 5: I don't want to fix it for you.
12:01
Speaker 9: I don't want to six sir, all right, you're giving
12:06
Speaker 9: up to giving up?
12:08
Speaker 5: Just listening to the Dilama on John Oliver, Yeah, yeah,
12:15
Speaker 5: it knows about.
12:16
Speaker 8: It all right. Mom peals of laughter it's Don Oliver talculator.
12:26
Speaker 8: I can't understand the word. I'll talktilator.
12:28
Speaker 2: Okay, okay, Gregor, Yes, sir, okay. So you heard your father.
12:34
Speaker 2: That's it.
12:36
Speaker 8: I thought your mission on Heavyweight was to resolve conflict.
12:38
Speaker 8: My father's just feeling hurt. I got a massage him
12:42
Speaker 8: a little bit, as far as I'm concerned, and of
12:44
Speaker 8: act one.
12:50
Speaker 2: And what better way to enjoy the end of Act one?
12:53
Speaker 2: But with a message from our sponsors, how was I
13:06
Speaker 2: going to fix this sixty year long friendship. Sydney's letter
13:11
Speaker 2: was an emotional plea that begged for an emotional response.
13:14
Speaker 2: But according to Gregor, his dad, Milt just isn't that
13:17
Speaker 2: kind of touchy feely guy. He's not a card giver,
13:21
Speaker 2: a bar mitzvahgoer. Milt didn't even bother attending Gregor's graduation,
13:25
Speaker 2: saying he didn't get all the hooplaw. In fact, the
13:29
Speaker 2: only time Gregor catches a glimpse of his dad's emotional
13:32
Speaker 2: side is when he's sharing his poetry.
13:35
Speaker 4: He'd be doing public readings of his poems at you know,
13:37
Speaker 4: various events that I'd go to. Yeah, and I'd say
13:41
Speaker 4: in ten of those in four of them, he'd break
13:43
Speaker 4: down crying, and someone, sometimes me, would have to step
13:46
Speaker 4: in and read his poem. And then I started to
13:49
Speaker 4: realize that he was using poetry as the conduit, or
13:53
Speaker 4: as an excuse to open the faucets in his emotional core,
13:58
Speaker 4: to be emotionally.
13:59
Speaker 2: Expressive, sometimes expressive to a degree that makes Gregor uncomfortable.
14:04
Speaker 4: He'll send me a poem written about my mother. To me,
14:06
Speaker 4: you know, it's not exactly erotic poetry. But it's not
14:09
Speaker 4: exactly not erotic poetry.
14:11
Speaker 2: What do you mean? Like you me an example?
14:12
Speaker 4: You know, it's like I wake to the yawning cavern
14:15
Speaker 4: of your body and I'm like, okay, I have to
14:17
Speaker 4: stop here.
14:20
Speaker 2: Milt's written about his wife, his kids, and his grandkids.
14:23
Speaker 2: It made Gregor wonder had Milt ever written a poem
14:27
Speaker 2: for Sydney. We phone Milt back and ask.
14:32
Speaker 4: Not that I'm aware of, but you wrote seven thousand poems.
14:35
Speaker 10: You never wrote a poem about Sydney.
14:37
Speaker 2: No, but the question must have planted a seed in
14:43
Speaker 2: Milt's mind. A few days later, I receive a phone
14:47
Speaker 2: call from Gregor. His dad had sat down and written
14:50
Speaker 2: a poem especially for and dedicated to Sydney. I'm so excited,
14:57
Speaker 2: I can't even wait to finish my cream, cheese and
14:59
Speaker 2: jelly sandwich, which, before conferencing us all back together, him Milt,
15:05
Speaker 2: how are you good? Good? How are you doing?
15:07
Speaker 5: I'm fine?
15:08
Speaker 2: So I hear that you wrote a poem, Gregor was
15:12
Speaker 2: saying about Sid. Yes, normally, Milt males his poems to
15:17
Speaker 2: Sydney to get his feedback. In recent years, emails them.
15:21
Speaker 2: But I ask if with this personal one, he'd be
15:23
Speaker 2: up for phoning Sydney and reading it to him directly.
15:26
Speaker 2: In this way, Milt would be making himself vulnerable with
15:29
Speaker 2: a grand gesture. I was imagining something along the lines
15:33
Speaker 2: of that scene and say anything where the shiftless, half
15:36
Speaker 2: wit kickboxer holds a boombox over his head, but instead
15:40
Speaker 2: of a boombox, it'd be a telephone, and instead of
15:43
Speaker 2: a young couple, it'd be two very old men. After
15:52
Speaker 2: a long pause, Milt.
15:54
Speaker 3: Says, I could do that, But then, after.
15:59
Speaker 2: An even longer pause, he begins to equivocate.
16:03
Speaker 9: She's extremely critical. And you know he also wrote an
16:10
Speaker 9: introduction to one of my books that was pretty pretty
16:13
Speaker 9: insulting about I write poetry like I'm going to go
16:16
Speaker 9: out say something.
16:17
Speaker 2: Why would you publish in your own book of poetry
16:20
Speaker 2: and introduction in which someone is insulting your works?
16:25
Speaker 5: I don't know.
16:27
Speaker 2: Once again, Milt was presenting his work at the feet
16:30
Speaker 2: of the master, but this time it wasn't just for critique.
16:34
Speaker 2: It was to make amends and win back his oldest friend.
16:38
Speaker 2: And that was scarier. Uh, why don't I Why don't
16:43
Speaker 2: I connect you guys? Gregor? So we're not going to
16:47
Speaker 2: speak right.
16:49
Speaker 8: I think we stay out of it. I don't see
16:51
Speaker 8: how we could possibly do any good.
16:53
Speaker 2: Yeah, well, because normally, you know, I like to interlock, interlocute.
16:58
Speaker 8: Right now, you're an inter locke her.
17:01
Speaker 5: Call him up.
17:01
Speaker 8: Let's talk. You tell him and if this whole ship
17:03
Speaker 8: is going to run right into this iceberg er, what's
17:05
Speaker 8: going to happen?
17:06
Speaker 2: I'm going to get him on the phone. Okay, okay,
17:08
Speaker 2: here we go, calling him up.
17:25
Speaker 9: Hello, Hello, Hello, hello, hello, Yes.
17:33
Speaker 5: Who is this is Milt Irlic? How are you?
17:35
Speaker 4: Is this.
17:37
Speaker 5: Milton Irlic?
17:39
Speaker 10: Milton Amic?
17:39
Speaker 9: How are you.
17:42
Speaker 5: Okay? Great to hear from you on hold on?
17:46
Speaker 9: Okay, thank you him, Milt?
17:50
Speaker 10: What a surprise?
17:53
Speaker 5: How are you okay?
17:55
Speaker 10: Okay?
17:56
Speaker 9: Go ahead, Yeah, I'm okay. But the reason I'm calling
17:59
Speaker 9: you uh Greg Greg's friend Jonathan Goldstein. He wants to
18:06
Speaker 9: wants me to read a poem I wrote to you.
18:09
Speaker 9: He's on the phone right now, I believe Jonathan. Are
18:11
Speaker 9: you there yet?
18:13
Speaker 2: Yes? Hi, Hi, Either.
18:15
Speaker 10: It's a group call. That's interesting.
18:18
Speaker 9: Yes.
18:20
Speaker 2: Not only had Milt immediately forgotten our game plan, but
18:23
Speaker 2: he'd also yank down the curtain to reveal lurking in
18:26
Speaker 2: the wings Sydney's least favorite podcast host. But fortunately before
18:31
Speaker 2: Sydney could start critiquing my work, Milt begins.
18:35
Speaker 9: Comment or interrupt anytime you want. The poem is called
18:39
Speaker 9: the Iconic Class and I wrote it, and I wrote
18:43
Speaker 9: it in homage homage to Sydney f okay. Words flow
18:50
Speaker 9: out of their mouths like tropical birds, shive us regal
18:55
Speaker 9: on the rocks, sell thinkers and sellow feelers struggle like
18:59
Speaker 9: sweating sumo wrestlers with a question, how do I live
19:05
Speaker 9: the right life? In impassioned all night arguments, delight in
19:11
Speaker 9: the tropics of Henry Miller and the naked honesty of
19:15
Speaker 9: Molly Bloom's soliloquy. Utopianists, rebel outsiders longing for communion, and community,
19:24
Speaker 9: the en hoping to change the mind numbing deadness of schools,
19:30
Speaker 9: stamping out a mass of men leading lives of quiet desperation,
19:35
Speaker 9: where men suits sit with glazed eyes transfixed by screens,
19:41
Speaker 9: howl for coffee or coke, waiting for long Sunday afternoons,
19:46
Speaker 9: a transformation where killing stops and the dazzling spectrum of
19:51
Speaker 9: consciousness allows one to become more fully human as slender
19:56
Speaker 9: fingers of the sun seep into their chamber. I solemnly
20:00
Speaker 9: tread home, knowing the struggle to awaken a moribund culture
20:05
Speaker 9: has only begun. That's that's the poem.
20:14
Speaker 10: I'm I'm not quite sure. I mean, it's the kind
20:19
Speaker 10: of poem that has so many references to my life
20:28
Speaker 10: until now, he thought nobody noticed. If it weren't so long,
20:34
Speaker 10: I'd have it on my tombstone, you know. Uh just uh.
20:41
Speaker 2: Do you do you feel uh touched hearing hearing this poem?
20:46
Speaker 9: Oh?
20:46
Speaker 10: Of course I do. Uh, of course I feel touched
20:50
Speaker 10: by it. I mean, uh, it's not simply a poem
20:57
Speaker 10: that was delivered the vehicle. There's milt irlic. I mean
21:04
Speaker 10: he brought it to me, and that carries a thousand
21:09
Speaker 10: years of conversations and walks and talks and things like that.
21:15
Speaker 10: So hearing Milt's voice delivering this poem, the weight is
21:22
Speaker 10: a serious weight. It's a major weight, and and that's
21:28
Speaker 10: terribly important to me.
21:31
Speaker 5: Well, thank you for helping to make me a better poet.
21:35
Speaker 10: Yeah, you know, we're we're we're we're at a new phase,
21:45
Speaker 10: new phase.
21:47
Speaker 9: Okay, okay.
21:57
Speaker 2: There was no reference to the letter, nor to there
21:59
Speaker 2: not speak king. In other words, not a lot of
22:02
Speaker 2: chit chat. But by the end of the call things
22:05
Speaker 2: felt back to normal, so much so that just as
22:08
Speaker 2: we're all about to get off the phone, Sidney says,
22:11
Speaker 2: as he always.
22:12
Speaker 10: Does, say hello to family, Milt say.
22:15
Speaker 2: Hello, to which Milt says, as he always does, say
22:19
Speaker 2: he who nothing much of anything, but today Sydney doesn't
22:25
Speaker 2: seem too bothered by it.
22:29
Speaker 10: Bye bye bye bye, say bye bye.
22:32
Speaker 5: Okay, bye bye bye bye.
22:41
Speaker 2: I asked Milt how he feels the whole thing went,
22:43
Speaker 2: and he says better than he expected that sometimes a
22:47
Speaker 2: person just has to take one for the team for
22:49
Speaker 2: the greater good of the friendship.
22:52
Speaker 5: You know.
22:52
Speaker 11: One of the essential things about friendship. I've wrote several
22:57
Speaker 11: I've written several poems about the consentment to sure, there's
23:01
Speaker 11: aways always one partner in the friendship that values it
23:05
Speaker 11: more and wants it to work more. It's like in marriage,
23:09
Speaker 11: there's always one part of the marriage that loves the
23:14
Speaker 11: other person more, and because they love the other person more,
23:17
Speaker 11: they can tolerate being loved less. It's the same thing
23:20
Speaker 11: in friendship.
23:23
Speaker 2: Although I don't ask him out right, I get the
23:25
Speaker 2: feeling mill to saying that in his friendship with Sydney
23:28
Speaker 2: he's that guy, the one who's loving more and trying harder.
23:33
Speaker 2: But I'm also sure that Sydney, at that very moment
23:35
Speaker 2: across town is thinking some version of the same thought.
23:39
Speaker 2: And maybe in all friendships, if you ask who's getting
23:42
Speaker 2: the right end of the deal, the answer is inevitably
23:45
Speaker 2: I am. But if the friendship has a fighting chance
23:49
Speaker 2: of lasting more than sixty years, that answer will also
23:52
Speaker 2: contain some version of but it's worth it. Before we
24:03
Speaker 2: get off the phone, Milt has a question for me.
24:06
Speaker 5: The last thing he said regards to who did you hear? Oh?
24:09
Speaker 2: He said, he said, to give regards to your family.
24:12
Speaker 5: Oh family, I couldn't hear it.
24:14
Speaker 2: Yeah you might. You might want to email him to
24:16
Speaker 2: just say to give regards to his family or he
24:19
Speaker 2: might be sensitive. What would this friendship do without me? Okay, okay,
24:32
Speaker 2: take it easy. Bye bye bye, Hey Gregor you're still there.
24:41
Speaker 8: Yeah, I'll be the first to admit it. I didn't
24:45
Speaker 8: think it would go as well as that went.
24:49
Speaker 2: I have to say, do you do you see any
24:52
Speaker 2: any parallels in in in your dad and Sid's relationship
24:57
Speaker 2: and our relationship.
25:00
Speaker 8: I mean, I think, Sai, it's a genius and I'm
25:02
Speaker 8: a genius. I'll take that.
25:04
Speaker 2: Let me ask you a question. Did you know that
25:08
Speaker 2: I recently had a baby?
25:10
Speaker 5: I think you mentioned that.
25:11
Speaker 2: Do you know his name?
25:13
Speaker 5: Oh?
25:13
Speaker 8: You're deposing me.
25:15
Speaker 2: You've never listened to an episode of Heavyweight.
25:18
Speaker 8: I don't like those earbuds in my ears. They hurt
25:20
Speaker 8: my ears.
25:22
Speaker 2: Do you think we're gonna end up being friends like
25:24
Speaker 2: for the next like sixty years?
25:26
Speaker 8: It you'd be one hundred and fifteen. Can you imagine
25:29
Speaker 8: if you were one hundred and fifteen year ord you
25:30
Speaker 8: like your.
25:42
Speaker 6: Now that the Fernitures return to its goodwill home, Now
25:51
Speaker 6: that the last month's rent is scheming with the damage
25:56
Speaker 6: to pos take this moment to decide.
26:02
Speaker 2: If to feld for Things Accident. Heavyweight is hosted and
26:20
Speaker 2: produced by me Jonathan Goldstein along with Khalila Holt. The
26:24
Speaker 2: senior producer is Caitlin Roberts, editing by Alex Bloomberg and
26:28
Speaker 2: Jorge Just special thanks to Emily Condon, Stevie Lane, Wendy Dore,
26:32
Speaker 2: Kate Parkinson Morgan, and Jackie Cohen. The show was mixed
26:37
Speaker 2: by Matthew Bole with assistants from Kate Bolinsky. Music by
26:41
Speaker 2: Christine Fellows and John K. Sampson. Additional music credits for
26:45
Speaker 2: this episode can be found on our website, Gimbletmedia dot
26:48
Speaker 2: com slash Heavyweight. Our theme song is by the Weaker
26:52
Speaker 2: Than's courtesy of Epitaph Records, and our ad music is
26:55
Speaker 2: by Hailey Shaw. Follow us on Twitter at Heavyweight or
27:00
Speaker 2: email us at Heavyweight at gimbletmedia dot com. Our season
27:03
Speaker 2: begins on October twenty six.
27:07
Speaker 3: Why are we repainted? Wow?
27:15
Speaker 2: You better get yourself a new pair of headphones, my friend,
27:23
Speaker 2: because there's a lot of great stuff coming your way
27:25
Speaker 2: in season two?
27:26
Speaker 8: Are threatening me?
27:27
Speaker 2: I'm you know, I'm working on some stories and some
27:29
Speaker 2: of them take place in Canada.
27:31
Speaker 8: You're working on stories and take place in Canada. I'm
27:33
Speaker 8: not gonna go change my underpants.
27:34
Speaker 2: I don't like when you say that. And you know
27:37
Speaker 2: my friend Jackie, she's she's coming back. I think she's
27:40
Speaker 2: just alady. Know your friend Jackie, you've met her several times.
27:44
Speaker 8: Name doesn't ring a bell