00:00:18.404 --> 00:00:21.364
<v Sara>Welcome to steel watching, which is a podcast for Remington steel

00:00:21.364 --> 00:00:24.804
fans. My name is Sara, and I'm bad and that's good.

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<v Eric>Is that

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<v Speaker 2>how it does sound?

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<v Eric>Yeah. Think that's that's the line. Yeah.

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<v Speaker 3>Well, I'm Eric, and I really kind of get annoyed at the emails

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that I get that say, I sent you an email a few days ago.

00:00:38.579 --> 00:00:40.500
I didn't get any response back from you.

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Well, that's because if you'd emailed me a few days ago, you'd

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already be on my block list, and I would have never gotten this

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email.

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<v Sara>And we have a special guest today.

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<v Speaker 3>Hi. Our special guest. Sign in, please.

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<v Eric>Yes. My name is Steve Sisson, and I'm here. Delighted to be here.

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I have no quick 1 liner like the the you stole the bad man 1, so

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I can't

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<v Sara>use it. I'm sorry. I I was thinking about it all day.

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I was like, I need something for you know?

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<v Eric>I'm a disc jockey without the crazy personality that most disc

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jockeys have, I guess. I could say that.

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<v Sara>That's fair. That's fair.

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<v Speaker 3>Which is a refreshing change, actually.

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<v Sara>Well, it depends. It depends

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<v Eric>on the on the on

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<v Sara>the crazy personality because, like, they're some of them are

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real like, I used to listen to 1 particular radio station.

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It was a rock radio station.

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And they had a couple of really entertaining radio personalities.

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But the problem was, they were entertaining when I was 20.

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Not so much when you're like, because they didn't grow up.

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They stayed as immature and silly.

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And and eventually, it's you're just like, okay.

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<v Eric>That's not for a radio show, but not for real life. Yeah.

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<v Sara>But when I was a kid, and I wanted to actually talk about this a

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little bit before we got into the episode, my absolute favorite

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radio DJ, well, he's radio now, but he had a TV show for a little

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while, was the whole reason that I became really into music.

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Like he hit the show that, you know, you guys had MTV.

00:02:07.189 --> 00:02:11.224
We had a sort of similar channel called MuchMusic. Yeah.

00:02:11.224 --> 00:02:14.664
But the problem was with MuchMusic is that you had to have, like,

00:02:14.664 --> 00:02:16.344
the special cable channel to get it.

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<v Eric>And Right.

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<v Sara>We we didn't.

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But we did have YTV, which was like huge television.

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And on that channel, they had a countdown show every week called

00:02:24.769 --> 00:02:25.569
The Hit List.

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And The Hit List was hosted by a radio DJ named Tarzan Dan.

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Dan Freeman was his actual name.

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But he I mean, he was your quintessential crazy psycho radio

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personality, but it really translated well on TV. Yeah.

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And the interesting thing was it wasn't normal charts are usually

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like primarily pop and you might get a few like rock songs slip

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in there or you'll have rock charts or rap charts or whatever.

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He didn't do any of that. They just kinda put it all together.

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So you could get Backstreet Boys on the charts 1 minute and then

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the next would be Marilyn Manson and it was all So kind of like

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smashed in I got exposed to so much music that it was like

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different genres.

00:03:06.795 --> 00:03:11.995
And every week there was a contest if he you saw him fly by on a

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little Tarzan swinging rope or ride a tricycle by in a music

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video and write down what video you saw him and you could get a

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fan pack. I won 2 of

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<v Eric>them. Wow.

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<v Sara>Nice. Yeah.

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<v Eric>Very good.

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<v Sara>I to tape every episode because I was really into it.

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And he'd have interviews with all the bands and the artists and

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whatnot.

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So eventually, show went off the air and now I think he's doing

00:03:30.864 --> 00:03:32.384
radio programming in BC.

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But just that, you know, few years of my life from probably when

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I was like 14 to about 17 or 18 or so exposed me to like all

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sorts of genres and types of music. And Yeah.

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Because of that, I just love music, every kind.

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So radio DJs, you guys are awesome. Yeah.

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<v Eric>We do what we can.

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<v Sara>It's Yeah.

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<v Speaker 3>Even if they do have hokey names.

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<v Eric>Yeah.

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The best radio names are all, like, 2 first names put together,

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like Rick Michaels or Steve Stevens. You know? Those kind

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<v Speaker 2>of things. Yeah.

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<v Speaker 3>Well, the

00:04:01.004 --> 00:04:04.844
<v Sara>the 1 that I talked about on the radio that I the station I used

00:04:04.844 --> 00:04:08.330
to listen to, the rock station, He goes by Taz now, but he

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started out as Chris the boss's son.

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And it was like a joke, obviously.

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<v Eric>Yeah. Right.

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<v Sara>Which translated to then I don't know how he got to Taz.

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I think it's to do with his last name.

00:04:18.410 --> 00:04:20.009
It's shortened or something like that. But yeah.

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So, yeah, they shorten the last names or do something with it. So

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<v Speaker 3>yeah. Well, before we get into the episode

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<v Sara>Yeah.

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<v Eric>We did

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<v Speaker 3>get an email the other day. Oh. So can I read that?

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<v Sara>Yes. Go for it.

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<v Speaker 3>Thank you.

00:04:34.699 --> 00:04:39.660
It says, I am anonymously famous by you reading my email during

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the Forged podcast episode. Oh.

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That was so cool and strange hearing my words read aloud by a

00:04:45.180 --> 00:04:46.139
host of some kind.

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And now back to your episode covering Forged, which is actually

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in my top 5. Well, glad we could Yeah. Make your day.

00:04:55.185 --> 00:04:57.665
Hopefully hopefully, we made your day by reading your email.

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<v Sara>Yeah. Fingers crossed.

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Is there anything else we have to talk about before we get into

00:05:02.240 --> 00:05:03.600
the actual episode?

00:05:06.639 --> 00:05:08.080
<v Eric>Not that I can think of.

00:05:08.319 --> 00:05:09.920
<v Sara>Cool. Alright. I mean, me either.

00:05:09.920 --> 00:05:12.240
<v Eric>Just making sure because I'm not good at this.

00:05:12.774 --> 00:05:13.975
<v Sara>I forget stuff.

00:05:14.935 --> 00:05:18.535
<v Speaker 3>Well, I would forget stuff except I I write it down, but then I

00:05:18.535 --> 00:05:19.654
forget where I wrote it.

00:05:19.654 --> 00:05:23.335
<v Sara>Where you wrote it. Right. Yeah. Exactly. It's exactly what I do.

00:05:24.214 --> 00:05:24.774
Alright.

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So today, we're gonna be talking about season 4 episode 10, Steel

00:05:29.520 --> 00:05:30.400
on the Air.

00:05:30.720 --> 00:05:34.960
And this episode first aired on 01/07/1986, and it was written by

00:05:34.960 --> 00:05:37.680
Carrie Lenhart and John Sakmar and directed by Christopher

00:05:37.680 --> 00:05:41.040
Hibler. And I don't know if Carrie is a man or a woman.

00:05:41.204 --> 00:05:43.285
I know Kerry can be a man's name.

00:05:43.524 --> 00:05:45.204
My dad used to know a guy named Kerry.

00:05:45.204 --> 00:05:48.964
So I don't know if this is another female writer or not, but it

00:05:48.964 --> 00:05:52.245
could be. But I don't recognize either 1 of those names.

00:05:52.245 --> 00:05:57.319
<v Speaker 3>I would say from the spelling, more likely a man because it's k e

00:05:57.319 --> 00:06:01.480
r r y, whereas a female Carrie is usually with an I at the end.

00:06:01.480 --> 00:06:05.800
But I'll I'll I'll acknowledge that that's not always the case.

00:06:05.879 --> 00:06:10.295
<v Sara>True. So we don't know, but I don't recognize Carrie,

00:06:10.295 --> 00:06:10.935
<v Speaker 3>tell us.

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<v Speaker 2>Let us know.

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<v Sara>You're still around.

00:06:14.694 --> 00:06:17.814
So I went with the TV Guide synopsis, which is 2 disc jockeys are

00:06:17.814 --> 00:06:20.709
the prime suspects in the death of a traffic reporter, but they

00:06:20.709 --> 00:06:21.430
have an alibi.

00:06:21.430 --> 00:06:23.430
They were on the air at the time of the murder, which isn't

00:06:23.430 --> 00:06:25.910
strictly true, but Kind of.

00:06:25.990 --> 00:06:29.270
Kinda gives away kinda gives away a little bit of the plot if we

00:06:29.750 --> 00:06:29.990
yeah.

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<v Speaker 3>Go too much. Yes.

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<v Sara>And I have a couple of questions, Steve, for you once we start to

00:06:35.185 --> 00:06:36.064
get in on this because I think

00:06:36.305 --> 00:06:38.705
<v Eric>Why I'm here. Know more about this than

00:06:38.705 --> 00:06:39.985
<v Sara>than either 1 of us does.

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<v Speaker 2>I got a

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<v Speaker 3>lot of questions.

00:06:42.225 --> 00:06:46.225
<v Sara>That's good. But we open at a small airfield. We see a

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<v Speaker 3>figure Already got a question.

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<v Eric>Wow. Okay. That was quick. Is this the pilot 1?

00:06:50.839 --> 00:06:52.680
You've got the wrong guest. Yeah.

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<v Speaker 3>That's true. No. No.

00:06:54.600 --> 00:06:59.879
It's it's a well, radio stations, they they use pilots and and

00:06:59.879 --> 00:07:03.000
radio people to do the the traffic as we see in this episode.

00:07:04.175 --> 00:07:07.055
But, Mike, I've got actually a couple questions about this.

00:07:07.055 --> 00:07:13.375
First of all, would they work out of a middle of nowhere, no

00:07:13.375 --> 00:07:17.375
nothing airport that's not even got a tower? Right. Yeah.

00:07:17.949 --> 00:07:18.509
You know?

00:07:18.509 --> 00:07:21.149
And second of all, would they actually have the name of the

00:07:21.149 --> 00:07:22.430
station on the side of the plane?

00:07:22.430 --> 00:07:26.669
Because I I I know, Steve, you work for a a radio company that

00:07:26.669 --> 00:07:30.029
has, like, what, 6, 7 different stations? AM and FM?

00:07:30.029 --> 00:07:30.909
<v Eric>Yeah. We have 9.

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<v Speaker 3>9?

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<v Sara>Mhmm. Wow.

00:07:32.954 --> 00:07:35.915
<v Eric>But it's all small market stuff, so we don't have a traffic

00:07:35.915 --> 00:07:36.795
helicopter.

00:07:37.115 --> 00:07:39.754
<v Sara>Well, I'm guessing they probably use radar now, wouldn't they?

00:07:39.834 --> 00:07:40.634
<v Speaker 3>Well, maybe.

00:07:40.634 --> 00:07:45.035
But back in the eighties, I I believe, and certainly in the

00:07:45.035 --> 00:07:49.910
bigger markets now, they will use 1 aircrew, 1 radio guy up in

00:07:49.910 --> 00:07:53.110
the airplane or helicopter or whatever for multiple stations and

00:07:53.110 --> 00:07:54.709
sometimes even a TV station.

00:07:54.709 --> 00:07:56.709
<v Eric>Mhmm. Yep. They all share that. It's yeah.

00:07:56.709 --> 00:07:59.794
Those are expensive resources and very unusual for a station to

00:07:59.794 --> 00:08:01.875
have their own that they only use themselves.

00:08:02.194 --> 00:08:05.074
<v Speaker 3>So even back in the eighties, I I I presume. Yeah.

00:08:05.074 --> 00:08:07.394
<v Sara>Especially since that station director is so cheap.

00:08:07.714 --> 00:08:09.794
<v Eric>Yeah. Yeah. Pretty much more of that now.

00:08:09.794 --> 00:08:12.750
I mean, yeah, there used to be more independent stuff in in

00:08:12.750 --> 00:08:14.430
bigger cities, traffic helicopters and stuff.

00:08:14.430 --> 00:08:17.389
But then there was a there was a tragic accident where a couple

00:08:17.389 --> 00:08:21.389
helicopters collided covering a police chase, and people died And

00:08:21.310 --> 00:08:25.310
in that kinda changed the way things were done even more than

00:08:25.310 --> 00:08:26.669
they were already kinda moving that direction.

00:08:27.324 --> 00:08:29.324
<v Sara>Wow. Yikes. That's good.

00:08:29.324 --> 00:08:29.964
<v Speaker 3>That's not good.

00:08:29.964 --> 00:08:31.564
<v Eric>Yeah. I think it was in Arizona.

00:08:32.125 --> 00:08:38.205
<v Speaker 3>So okay. So right off the bat, we we've got a problem. Yeah.

00:08:39.004 --> 00:08:39.404
<v Eric>Yeah.

00:08:39.500 --> 00:08:42.139
Especially, like, we're we're talking a stand alone AM station.

00:08:42.139 --> 00:08:44.139
Apparently, that's the only radio station there.

00:08:44.139 --> 00:08:45.179
It's not a group.

00:08:45.419 --> 00:08:48.460
It's just an AM that you know, they wouldn't have a big budget

00:08:48.460 --> 00:08:49.100
like that.

00:08:49.179 --> 00:08:52.779
<v Speaker 3>How unusual would it be for an AM station to be stand alone and

00:08:52.779 --> 00:08:57.715
not be owned by a company that, say, owns an FM station as well

00:08:57.715 --> 00:08:59.235
or maybe a couple of AM stations.

00:08:59.235 --> 00:09:00.274
<v Eric>You're you're leading into my

00:09:00.274 --> 00:09:03.154
<v Sara>next question, which was about the difference because I don't

00:09:03.154 --> 00:09:07.475
think a lot of people, unless they're they're our age or older,

00:09:07.475 --> 00:09:10.850
will know the difference between AM and FM or

00:09:10.850 --> 00:09:14.289
<v Eric>what what or what that even means, frankly.

00:09:14.370 --> 00:09:17.089
Well, even in the eighties, you know, even Remington Steele says

00:09:17.089 --> 00:09:19.250
something in the episode. Why can't you listen to like everybody

00:09:19.250 --> 00:09:19.889
<v Sara>else? Yeah.

00:09:20.449 --> 00:09:23.329
<v Eric>I mean, AM was was not cool anymore in the eighties.

00:09:23.329 --> 00:09:25.214
I mean, AM versus where it started.

00:09:25.214 --> 00:09:27.615
That's the amplitude modulation.

00:09:27.615 --> 00:09:29.934
It's the more simple radio technology.

00:09:30.735 --> 00:09:33.695
And then FM came along years and years later. Yeah.

00:09:33.695 --> 00:09:36.414
And I think, especially in market like Los Angeles, it would be

00:09:36.414 --> 00:09:39.629
really unusual to have an AM station all by itself, even in in

00:09:39.629 --> 00:09:41.789
the eighties. It's really unusual now.

00:09:41.789 --> 00:09:44.429
There's tons of consolidation that's happened since then. Yeah.

00:09:44.429 --> 00:09:48.029
I think even back then, a a standalone AM in Los Angeles would be

00:09:48.029 --> 00:09:48.909
an odd thing.

00:09:49.389 --> 00:09:52.269
<v Sara>So amplitude is AM. What does FM stand for then?

00:09:52.544 --> 00:09:53.424
<v Eric>Frequency Okay.

00:09:54.464 --> 00:09:56.225
<v Sara>So what is the difference between the 2?

00:09:56.225 --> 00:09:57.904
Like, how are they different in terms of, like

00:09:58.065 --> 00:10:01.264
<v Eric>In real simple terms, AM is is really simple.

00:10:01.264 --> 00:10:04.625
They're they're they're modulating the volume of the carrier

00:10:04.625 --> 00:10:05.184
signal.

00:10:05.184 --> 00:10:10.429
So in this case, it was 1,400, I think is what it is, r o That's

00:10:10.429 --> 00:10:14.269
the frequency that they're modulating the volume of, and that's

00:10:14.269 --> 00:10:15.870
where the audio comes from.

00:10:16.029 --> 00:10:19.629
Frequency modulation, they modulate the frequency of the carrier,

00:10:19.629 --> 00:10:22.054
which is kind of like the opposite of that in a way.

00:10:22.054 --> 00:10:25.654
And the the upshoot is, you know, there's a lot more, you know,

00:10:25.654 --> 00:10:26.534
stuff around that.

00:10:26.534 --> 00:10:31.014
But the upshoot is that AM is susceptible to noise, any kind of

00:10:31.014 --> 00:10:33.960
electrical interference, lightning, stuff like that, it always

00:10:33.960 --> 00:10:35.480
gets really crackly and noisy.

00:10:35.559 --> 00:10:37.480
And FM is basically immune to that.

00:10:37.480 --> 00:10:39.080
So FM has a much higher fidelity.

00:10:39.080 --> 00:10:42.519
And FM's a higher frequency, higher bandwidth, so you get more

00:10:42.519 --> 00:10:45.720
fidelity that way as well. So that's that's the basic, you know

00:10:45.879 --> 00:10:46.039
<v Speaker 2>Okay.

00:10:46.615 --> 00:10:47.014
<v Sara>Because when

00:10:47.014 --> 00:10:47.654
<v Eric>I was when I

00:10:47.654 --> 00:10:49.735
<v Sara>was younger, I didn't I didn't know the technical stuff.

00:10:49.735 --> 00:10:52.535
I just knew that old people listen to AM radio. Right. Yeah.

00:10:53.095 --> 00:10:54.535
<v Eric>Yeah. Cool stuff. Yeah.

00:10:54.535 --> 00:10:57.495
That's that's where all the album oriented rock stations and all

00:10:57.495 --> 00:10:59.495
that stuff was. The AM was the talk radio.

00:10:59.495 --> 00:11:02.049
Just just because the sound quality is not as good.

00:11:02.049 --> 00:11:03.250
<v Sara>That's Talk all radio.

00:11:03.250 --> 00:11:05.809
<v Eric>Yeah. Those formats kinda ended up on AM by default.

00:11:06.049 --> 00:11:09.889
<v Speaker 3>But in the eighties, I think, I'm not trying to do this from

00:11:09.889 --> 00:11:15.009
memory, and my memory is about if I remember correctly, in the

00:11:15.009 --> 00:11:19.404
eighties, there were still a lot of cars coming with AM only

00:11:19.404 --> 00:11:20.445
radio systems.

00:11:20.445 --> 00:11:21.804
<v Eric>There probably were. Yeah.

00:11:21.804 --> 00:11:25.325
<v Speaker 3>And so you you still had a bunch of radio stations that were

00:11:25.325 --> 00:11:28.924
doing like pop 40 or or pop or top 40 country.

00:11:29.879 --> 00:11:33.559
They were still music stations, but they were, you know, very,

00:11:33.559 --> 00:11:34.040
very focused.

00:11:34.040 --> 00:11:37.240
And then, of course, you had the talk radio coming in during that

00:11:37.240 --> 00:11:40.680
time because you didn't need FM for talk radio.

00:11:40.759 --> 00:11:41.000
<v Eric>Right.

00:11:41.000 --> 00:11:43.465
<v Sara>It's funny because talk radio basically just devolved into

00:11:43.465 --> 00:11:44.665
podcasts, and here we are.

00:11:44.665 --> 00:11:45.545
<v Speaker 3>Yeah. Yeah.

00:11:45.705 --> 00:11:46.184
<v Speaker 2>This is

00:11:46.184 --> 00:11:48.504
<v Eric>the next iteration of it. Right? That's right.

00:11:48.585 --> 00:11:49.785
<v Sara>Yeah. It was like AM.

00:11:49.785 --> 00:11:52.184
I always thought like like I said, AM was for old people.

00:11:52.184 --> 00:11:55.319
Now I find myself going, I wanna listen to to talk radio.

00:11:55.319 --> 00:11:58.279
<v Eric>I wanna listen to in in this episode of Remington Steele, it

00:11:58.279 --> 00:12:01.959
looks like it's a daytime only AM because when when they're

00:12:01.959 --> 00:12:04.440
starting the morning show in the the very beginning of the

00:12:04.440 --> 00:12:06.279
episode, he's the first guy there.

00:12:06.279 --> 00:12:08.279
He's basically turning the lights on in the building and turning

00:12:08.279 --> 00:12:09.924
everything on. That did happen.

00:12:09.924 --> 00:12:13.524
There were a lot of AM stations that went off the air at midnight

00:12:13.524 --> 00:12:16.884
or even at sundown and didn't sign on again until 06:00 in the

00:12:16.884 --> 00:12:19.044
morning, and that kinda looks like that's what he's doing there.

00:12:19.044 --> 00:12:21.365
<v Sara>Kinda like how the TV used to do that snow thing.

00:12:21.365 --> 00:12:22.565
<v Speaker 3>Yeah. Exactly. Yep.

00:12:22.565 --> 00:12:27.040
I I didn't even catch that till you said it, but, yeah, but also

00:12:27.040 --> 00:12:32.080
weren't there some AM stations that would, they would stop the

00:12:32.080 --> 00:12:36.320
live local broadcast, you know, at sundown or wherever, and then

00:12:36.320 --> 00:12:40.000
they'd switch over to like a network feed where it was just-

00:12:40.664 --> 00:12:43.065
<v Eric>do some syndicated programming or something overnight.

00:12:43.304 --> 00:12:46.585
<v Speaker 3>And so the guy coming in in the morning would turn on their local

00:12:46.585 --> 00:12:48.664
studio. Yeah. And that is I miss that.

00:12:48.664 --> 00:12:49.465
<v Eric>That is possible.

00:12:49.465 --> 00:12:51.865
Like, that could be an automated station, and he's just that

00:12:51.865 --> 00:12:54.345
studio is used for their show, and so he's just setting things up

00:12:54.345 --> 00:12:56.279
in there. Yeah. Possible. Fair.

00:12:56.279 --> 00:12:57.960
<v Sara>Yeah. Anyway And I mean That's

00:12:58.200 --> 00:12:59.879
<v Speaker 3>the episode. That's kind of it.

00:12:59.879 --> 00:13:01.960
<v Eric>We're we're we're 30 seconds into the episodes.

00:13:01.960 --> 00:13:03.080
We're making good progress.

00:13:03.160 --> 00:13:03.879
<v Speaker 3>Yeah. It's happening.

00:13:03.879 --> 00:13:06.040
It's only taking us 15 minutes to get there.

00:13:06.680 --> 00:13:09.480
<v Sara>To be fair, not much happens in that first little bit.

00:13:09.480 --> 00:13:11.934
We see the the person walking towards the plane.

00:13:12.014 --> 00:13:13.615
They they're getting it ready to fly.

00:13:13.615 --> 00:13:14.735
<v Eric>They look up. They get the thumbs

00:13:14.735 --> 00:13:16.174
<v Sara>up from the controller and get inside

00:13:16.014 --> 00:13:16.254
<v Speaker 3>Yeah. The

00:13:17.534 --> 00:13:18.735
<v Sara>Just famous thumbs up.

00:13:18.735 --> 00:13:22.174
And he starts pushing some buttons and levers, and then we fade

00:13:22.174 --> 00:13:26.110
to this clock on the wall. And like he said, the room is dark.

00:13:26.110 --> 00:13:28.990
And beside it, we see a sign that says Tyler and Austin time.

00:13:29.149 --> 00:13:31.709
And we get a light turned on, someone enters.

00:13:31.709 --> 00:13:33.149
He shakes his head in annoyance.

00:13:33.149 --> 00:13:35.629
He comes around to the control panel, begins to, you know, get

00:13:35.629 --> 00:13:37.629
the sound equipment ready, and I don't know what he's doing.

00:13:38.024 --> 00:13:40.665
I don't know if he's just pushing buttons to push buttons or if

00:13:40.665 --> 00:13:44.665
maybe actually what he was doing was was stuff he would do.

00:13:44.665 --> 00:13:47.865
<v Eric>It seems like the typical, you know, just flip a bunch of

00:13:47.865 --> 00:13:49.705
switches. He flips a bunch of Yeah.

00:13:50.184 --> 00:13:53.190
And even in a studio where, you know, that studio is offline and

00:13:53.190 --> 00:13:56.230
it's doing syndicated automated programming, you've literally

00:13:56.230 --> 00:13:58.710
probably got 1 or 2 switches you've actually gotta flip to

00:13:58.710 --> 00:13:59.830
actually make the thing go live.

00:13:59.830 --> 00:14:00.389
<v Sara>So yeah.

00:14:00.389 --> 00:14:02.950
I thought that too because I I don't know if you ever saw the I

00:14:02.950 --> 00:14:04.790
know Eric saw the show Firefly.

00:14:04.790 --> 00:14:10.054
There was that's a ship, a spaceship, and the pilot of the plane

00:14:10.054 --> 00:14:13.174
or of the ship, Wash, played by Alan Tudyk, when he was

00:14:13.174 --> 00:14:16.934
interviewed about the ship and whatnot, he basically said there

00:14:16.934 --> 00:14:20.534
were, like, 3 or 4 buttons that he would flick in sequence to,

00:14:20.534 --> 00:14:22.789
like, do anything. Didn't matter what it was.

00:14:22.789 --> 00:14:23.909
Was always the same 3 buttons

00:14:23.909 --> 00:14:26.070
<v Eric>or You just think for for practicality purposes

00:14:26.309 --> 00:14:27.269
<v Speaker 2>Yeah. Know, Exactly. For

00:14:27.350 --> 00:14:31.190
<v Eric>for a radio studio, just to be practical, you don't wanna have 87

00:14:31.269 --> 00:14:34.149
things you've gotta set just right to get on the air.

00:14:34.054 --> 00:14:34.694
Wanna be able You to

00:14:34.694 --> 00:14:35.894
<v Speaker 2>do it fairly easily. So

00:14:36.054 --> 00:14:39.014
<v Sara>Yeah. So, yeah, he starts pressing some buttons.

00:14:39.014 --> 00:14:42.134
He grabs a vinyl record, puts it on the turntable, looks up at

00:14:42.134 --> 00:14:45.095
the clock, moves it back and forth, making, like, a scratching

00:14:45.095 --> 00:14:45.815
sound for some reason.

00:14:45.990 --> 00:14:49.110
<v Eric>Not sure why. Got he's got the audio set. You you queue it up.

00:14:49.110 --> 00:14:52.549
What you really do is you'd you'd hear the beginning of the song,

00:14:52.549 --> 00:14:55.190
then you'd back it up just a little bit Right. Before that.

00:14:55.269 --> 00:14:57.990
So when you push the button, those direct drive turntables kick

00:14:57.990 --> 00:14:59.350
off, the song starts right away.

00:14:59.350 --> 00:15:01.615
So there's no dead roll before the song begins.

00:15:01.774 --> 00:15:03.615
<v Sara>Gotcha. See? This is why we need you here.

00:15:03.615 --> 00:15:04.095
<v Speaker 3>And it doesn't

00:15:04.095 --> 00:15:08.815
<v Eric>go exactly. Yep. Yep. You've got that with just enough for that.

00:15:08.815 --> 00:15:10.894
And what would actually happen is those old records that you'd

00:15:10.894 --> 00:15:12.815
play over and over again, they'd get what they call cue burn.

00:15:13.269 --> 00:15:16.389
The first few seconds of that record would get really worn out

00:15:16.389 --> 00:15:17.429
because of people doing that.

00:15:17.429 --> 00:15:20.870
And so when you started that song, the first few seconds sounded

00:15:20.870 --> 00:15:23.110
really bad, and then it would sound better afterwards.

00:15:23.110 --> 00:15:25.990
<v Sara>Which is annoying to all of us who would sit there with our tape,

00:15:26.485 --> 00:15:30.325
you know, recorder ready to press record. Right? Wouldn't

00:15:30.085 --> 00:15:32.325
<v Eric>And then the stupid meeting would talk over the intro anyway.

00:15:32.325 --> 00:15:32.725
<v Speaker 2>So Oh

00:15:32.725 --> 00:15:35.764
<v Sara>my god. Don't even get me started on that. Or it's at the end.

00:15:35.764 --> 00:15:36.404
Right? That was

00:15:36.404 --> 00:15:37.045
<v Eric>such a sucks

00:15:37.045 --> 00:15:41.059
<v Sara>by so and so. And we're like, I know. Yep. Thanks a lot, jerk.

00:15:41.459 --> 00:15:45.539
<v Speaker 3>As far as the groove burn goes, that's probably 1 of the reasons

00:15:45.539 --> 00:15:46.980
why they went to carts.

00:15:47.059 --> 00:15:47.379
<v Eric>Yeah.

00:15:47.379 --> 00:15:49.459
In fact, lot of stations, and I think especially big market

00:15:49.459 --> 00:15:52.019
stations, the first thing they would do when they'd get a new 45

00:15:52.019 --> 00:15:55.014
or a record is they would record that onto a cart, and they would

00:15:55.014 --> 00:15:56.695
actually just play the carts on the air.

00:15:56.934 --> 00:15:59.815
So a lot of stations didn't ever play the records live.

00:16:00.214 --> 00:16:03.575
<v Sara>It looks more impressive, though. Mhmm. Yeah. It does. Yes.

00:16:04.695 --> 00:16:06.855
And here's what I was confused about as well.

00:16:06.855 --> 00:16:10.550
When it shoots back up to the clock and and maybe I I can't read

00:16:10.550 --> 00:16:13.029
analog time anymore, but it looked like it said noon.

00:16:13.509 --> 00:16:15.750
<v Speaker 2>No. Just hit that. Isn't it supposed

00:16:15.750 --> 00:16:17.509
<v Sara>to be 6AM? What did I miss?

00:16:17.509 --> 00:16:18.630
<v Eric>I didn't notice that.

00:16:18.790 --> 00:16:21.509
<v Sara>Where did you see that? At the clock, it looks like it's noon.

00:16:21.509 --> 00:16:24.304
I saw 2 of the buttons pointing towards the

00:16:24.144 --> 00:16:24.784
<v Speaker 3>Well, there's a

00:16:24.784 --> 00:16:26.144
<v Eric>big hand and a little hand. And

00:16:26.544 --> 00:16:27.824
<v Speaker 3>then there's the red hand.

00:16:27.824 --> 00:16:28.865
<v Speaker 2>Yes. Yeah.

00:16:28.865 --> 00:16:31.985
<v Sara>I didn't see the little hand, though. Thought it was up. Okay.

00:16:32.065 --> 00:16:32.384
<v Eric>I'm looking

00:16:32.384 --> 00:16:35.024
<v Speaker 3>at it right here. I went back

00:16:35.024 --> 00:16:35.504
<v Sara>and looked at

00:16:35.504 --> 00:16:39.649
<v Speaker 3>are 1 of those typical young people who don't know how to read

00:16:39.970 --> 00:16:43.090
<v Sara>analog blocks. Went back I

00:16:44.049 --> 00:16:46.370
<v Speaker 3>was looking for the analog How are your glasses?

00:16:46.450 --> 00:16:48.610
Have you had your glasses checked lately?

00:16:49.490 --> 00:16:49.889
<v Sara>Funny.

00:16:52.355 --> 00:16:55.714
<v Eric>Anyhoo. So we cut

00:16:55.714 --> 00:16:58.995
<v Speaker 3>this time for you to get bigger glasses. We

00:17:00.834 --> 00:17:01.794
<v Sara>cut this a plane to

00:17:02.034 --> 00:17:03.954
<v Eric>another little inside thing.

00:17:04.194 --> 00:17:07.554
Typically, a morning show like that, those guys would be there

00:17:07.869 --> 00:17:10.029
well before the show would think so.

00:17:10.029 --> 00:17:12.909
Mean, hour at the minimum because you're doing all your show

00:17:12.909 --> 00:17:14.589
prep, you're getting all your bits together.

00:17:14.909 --> 00:17:18.029
Those guys would be there at least an hour before 06:00.

00:17:18.029 --> 00:17:19.869
And so it wouldn't be like, oh, man.

00:17:20.284 --> 00:17:22.605
Know, I'm just now setting things up, and I've got 30 seconds

00:17:22.605 --> 00:17:24.524
before I start, and the guy's not here yet.

00:17:24.605 --> 00:17:27.884
He would know a couple hours before that the guy wasn't gonna be

00:17:27.884 --> 00:17:28.364
there.

00:17:28.524 --> 00:17:29.884
<v Sara>Yeah. Yeah. I thought that too.

00:17:29.884 --> 00:17:31.964
But I guess for the purpose of the episode, this is 1 of those

00:17:31.964 --> 00:17:33.484
hand waves like, ah, we gotta just

00:17:33.484 --> 00:17:34.765
<v Eric>go with It's much more dramatic the

00:17:34.765 --> 00:17:35.970
<v Speaker 3>way it's portrayed, for sure.

00:17:35.970 --> 00:17:41.250
<v Sara>So he he he looks up at the at the door, and we see the plane

00:17:41.250 --> 00:17:43.890
taking off back to the clock even closer to the hour.

00:17:43.890 --> 00:17:47.650
And then Bud, who we who we later find out this is Bud, looks

00:17:47.650 --> 00:17:48.690
anxiously out the door.

00:17:48.690 --> 00:17:52.204
He closes it, and he pulls the blinds down over the window and

00:17:52.204 --> 00:17:55.164
sits down to put his headphones on, flicks more switches and

00:17:55.164 --> 00:17:58.684
pushes it's an 8 track, right, that he plops down there and

00:17:58.684 --> 00:18:00.525
<v Eric>tries to jiggle. 8 tracks are kinda based on it.

00:18:00.525 --> 00:18:03.769
The the NAB, National Association of Broadcasters, card.

00:18:03.769 --> 00:18:04.250
<v Sara>Gotcha.

00:18:04.250 --> 00:18:07.049
<v Eric>Basically, the same idea. Endless loop tape. Very similar format.

00:18:07.049 --> 00:18:07.369
Yeah.

00:18:07.369 --> 00:18:10.089
<v Sara>Right. Okay. And it's labeled Tyler and Austin jingle.

00:18:10.089 --> 00:18:13.529
So he's got that ready to go, and then we switch.

00:18:13.690 --> 00:18:16.970
And we've got upbeat music starting to play, and we see the

00:18:16.970 --> 00:18:20.825
screen fade to Laura's room where the clock reads 05:59, so her

00:18:20.825 --> 00:18:22.904
clock's maybe a little bit fast or his is

00:18:23.065 --> 00:18:26.505
<v Eric>It's a little slow. I'm presuming the radio station yeah.

00:18:26.505 --> 00:18:26.984
The radio

00:18:26.984 --> 00:18:28.105
<v Speaker 3>station's time was correct.

00:18:28.105 --> 00:18:31.384
<v Eric>They started at 06:00. Their clock's a little behind.

00:18:31.944 --> 00:18:35.799
<v Speaker 3>Know, those old analog or analog in the sense that they're

00:18:35.799 --> 00:18:35.960
<v Eric>not

00:18:35.960 --> 00:18:40.919
<v Speaker 3>digital computerized clocks, you to set them by hand, and you

00:18:40.919 --> 00:18:42.919
could never get it right to the exact second.

00:18:42.919 --> 00:18:44.599
<v Eric>No. It's like sitting in microwave clock today.

00:18:44.599 --> 00:18:45.879
You're never gonna get it.

00:18:45.960 --> 00:18:49.000
<v Sara>We have an analog 1 in our living room, and it it it's always

00:18:49.000 --> 00:18:51.684
kinda off a little bit. So it's Yeah. Yep.

00:18:51.684 --> 00:18:54.164
But, yeah, we hear we see Laura in bed, and she's sort of

00:18:54.164 --> 00:18:56.964
floundering as she reaches over for the clock radio.

00:18:57.204 --> 00:18:59.204
And then we hear 2 voices coming through.

00:18:59.444 --> 00:19:02.164
A man saying, good morning, Los Angeles. Norman Austin here.

00:19:02.164 --> 00:19:04.404
And then another voice announced himself as Bud Tyler.

00:19:04.909 --> 00:19:07.710
Bud Tyler says he has a piece of advice, which Norman finishes

00:19:07.710 --> 00:19:10.509
for him saying, shut this damn thing off and get back to sleep.

00:19:12.509 --> 00:19:13.390
<v Speaker 3>Funny, funny.

00:19:13.390 --> 00:19:16.750
<v Eric>They used all their best aligners for that 1 show.

00:19:16.750 --> 00:19:19.744
That 1 day was the best show they ever had. Exactly.

00:19:19.744 --> 00:19:21.264
They all started laughing after that.

00:19:21.265 --> 00:19:23.744
<v Sara>It wasn't even the 2 of them. It was just Bud. Right.

00:19:23.744 --> 00:19:27.825
And then Bud says, if they're already up to find a bed, any bed,

00:19:27.825 --> 00:19:30.304
and get back in it because that's where the real fun is.

00:19:30.299 --> 00:19:32.700
Then And we hear the jingle play again as Laura lays back, and

00:19:32.700 --> 00:19:35.579
she smiles. So, obviously, she listens to this every morning.

00:19:36.059 --> 00:19:39.660
And after the jingle, we hear some kind of spring sound effect.

00:19:39.820 --> 00:19:40.059
<v Eric>Yeah.

00:19:40.059 --> 00:19:43.259
And What they don't tell you is that's how every show started.

00:19:43.259 --> 00:19:44.860
They use that exact same line

00:19:45.115 --> 00:19:47.354
<v Speaker 3>every morning, probably.

00:19:49.115 --> 00:19:50.954
<v Eric>So she was wondering, yeah. There it is.

00:19:50.954 --> 00:19:52.714
There's the joke I was waiting for.

00:19:52.714 --> 00:19:53.434
<v Sara>Yep.

00:19:54.154 --> 00:19:56.954
And then we hear Bud's voice asking if Norman wants to put that

00:19:56.954 --> 00:20:00.839
thing away before he hurts somebody. Okay.

00:20:02.039 --> 00:20:04.919
<v Eric>Well, they managed to sneak TNA into the jingle too.

00:20:05.079 --> 00:20:05.799
<v Sara>There was I

00:20:05.799 --> 00:20:07.000
<v Eric>saw this. TNA ways.

00:20:07.000 --> 00:20:11.559
<v Sara>Pretty pretty, like I was like, okay. At the TNA way,

00:20:11.559 --> 00:20:13.160
<v Eric>A stand alone name in Los Angeles.

00:20:13.160 --> 00:20:15.424
You gotta you gotta be edgy to stand out, probably. So

00:20:16.625 --> 00:20:18.944
<v Sara>Well, maybe they should have hired Ryman Lyman.

00:20:19.424 --> 00:20:24.144
<v Eric>Right? We'll get there. Oh, please. Please. So then we

00:20:24.144 --> 00:20:27.424
<v Sara>hear, and I say this in quotes, Norman, because we know,

00:20:27.424 --> 00:20:30.759
obviously, it's Bud doing both of these voices, announced that in

00:20:30.759 --> 00:20:33.320
just a moment, will be joining Doug West high in the sky for a

00:20:33.320 --> 00:20:36.039
look at Los Angeles traffic. And then we cut back to the plane.

00:20:36.039 --> 00:20:37.960
It's flying over the highways of LA.

00:20:38.200 --> 00:20:41.240
Then we cut to Laura as, okay, what music is this?

00:20:41.240 --> 00:20:42.519
Because my brain blanks.

00:20:42.519 --> 00:20:45.725
I've heard this music, this this trumpet playing.

00:20:45.725 --> 00:20:48.285
<v Eric>Oh, like the revelry kind of bugle thing that

00:20:48.285 --> 00:20:48.684
<v Speaker 2>they use

00:20:48.684 --> 00:20:50.125
<v Speaker 3>for military. Yeah.

00:20:50.125 --> 00:20:52.684
<v Sara>Exactly. Yeah. Okay. That's playing.

00:20:53.244 --> 00:20:56.845
And she gets out of bed as as Budd and Norman, again, air quotes,

00:20:57.119 --> 00:21:00.240
urge the slug of beds to get up and give and they give the

00:21:00.240 --> 00:21:02.799
weather report 65 degrees into the high seventies.

00:21:03.039 --> 00:21:05.519
Laura goes over to her closet to look for something to wear.

00:21:05.759 --> 00:21:08.559
We come back to the studio and we see, again, the 2 voices that

00:21:08.559 --> 00:21:10.480
Laura's hearing are actually just the 1.

00:21:10.480 --> 00:21:12.720
He's doing both the voices of the DJs.

00:21:13.414 --> 00:21:17.095
Bud says there's a gorgeous morning sunrise out the KROT window,

00:21:17.095 --> 00:21:21.015
which obviously we know there isn't because he's got Yeah.

00:21:21.015 --> 00:21:21.894
The office outside.

00:21:21.894 --> 00:21:22.214
<v Speaker 3>That's the

00:21:22.214 --> 00:21:23.015
<v Eric>theater of the mind.

00:21:23.015 --> 00:21:24.615
They they probably did that in radio all the time.

00:21:24.615 --> 00:21:26.615
Looking out the window and there was I mean, literally, the

00:21:26.615 --> 00:21:27.230
hallway was all

00:21:28.750 --> 00:21:31.150
<v Sara>Depressing depressing fluorescent lights.

00:21:31.150 --> 00:21:33.950
<v Eric>You know, all these shows are done in closets somewhere anyway.

00:21:34.190 --> 00:21:37.549
<v Sara>What was funny too is that we still do that in some ways because,

00:21:37.549 --> 00:21:41.294
like, I used to work for a hotel company that shall not be named

00:21:41.535 --> 00:21:44.174
Marriott and sorry.

00:21:45.214 --> 00:21:47.934
<v Speaker 3>They did they slip out? Yeah.

00:21:47.934 --> 00:21:49.615
<v Sara>Well, at the time, it was Starwood.

00:21:49.615 --> 00:21:52.734
So they owned the Sheraton's and the 4 Points and all those

00:21:52.734 --> 00:21:53.454
hotels.

00:21:53.454 --> 00:21:56.539
And I was in the call center And I wasn't supposed to tell

00:21:56.539 --> 00:21:57.820
anybody I was in the call center.

00:21:57.820 --> 00:22:00.380
So when people would call me to book reservations, I was supposed

00:22:00.380 --> 00:22:03.579
to basically let them think I was at the property. So Oh, yeah.

00:22:03.660 --> 00:22:06.539
We would have information about things like how to get directions

00:22:06.539 --> 00:22:08.619
from the airport to the hotel and stuff like that.

00:22:09.404 --> 00:22:11.884
But if they asked us, like, what floor is the pool on?

00:22:11.884 --> 00:22:12.684
I'd be like,

00:22:13.965 --> 00:22:16.684
<v Speaker 2>I Yeah. Don't Yeah. Yeah.

00:22:16.684 --> 00:22:18.765
<v Sara>You'll have to call the front desk.

00:22:18.765 --> 00:22:20.045
<v Eric>Am in the Yeah.

00:22:21.509 --> 00:22:23.349
<v Sara>Yeah, so we would kind of do the same thing.

00:22:23.349 --> 00:22:25.589
We'd make them think we were there. We were not there.

00:22:26.070 --> 00:22:28.789
So, yeah, he he says that there's a gorgeous morning sunrise out

00:22:28.789 --> 00:22:31.509
the KROT window with blue skies and low morning clouds that

00:22:31.509 --> 00:22:32.789
should lift off before long.

00:22:32.789 --> 00:22:35.954
He presses a knob and the sound of lift off can be heard.

00:22:36.035 --> 00:22:36.355
<v Eric>Mhmm.

00:22:36.355 --> 00:22:40.195
<v Sara>And then as Norman, he says, awesome sight, those clouds lifting

00:22:40.195 --> 00:22:44.194
off like that. But he's you should be doing this. Not me.

00:22:44.515 --> 00:22:45.154
Nothing.

00:22:45.714 --> 00:22:48.914
<v Eric>He says Awesome sight, those clouds lifting off like that.

00:22:49.349 --> 00:22:51.029
That's perfect. See? That's why

00:22:51.029 --> 00:22:56.549
<v Sara>you that's why you do this job, and I don't. Oh, man.

00:22:56.549 --> 00:22:56.950
That's funny.

00:22:56.950 --> 00:22:59.750
So speaking of clouds, let's go to the West Nest with a look at

00:22:59.750 --> 00:23:02.069
early morning traffic, and he asked Doug how it looks up there.

00:23:02.565 --> 00:23:03.924
But the plane isn't in the air.

00:23:03.924 --> 00:23:06.004
It's on the ground in what looks to be a field.

00:23:06.325 --> 00:23:09.605
We hear the traffic report being given, but what is really

00:23:09.605 --> 00:23:11.444
happening is just a little ways away from the plane.

00:23:11.444 --> 00:23:13.924
A man is dragging a dead body out of a jeep and towards the

00:23:13.924 --> 00:23:17.365
plane. The dead man has the headphones that the pilot had.

00:23:17.365 --> 00:23:19.580
I don't know what to call those. Just headphones. Right?

00:23:19.580 --> 00:23:20.779
<v Speaker 2>Works for me. Sure.

00:23:22.700 --> 00:23:24.140
<v Eric>With the fake goggles.

00:23:24.140 --> 00:23:24.700
<v Speaker 3>Yeah.

00:23:24.619 --> 00:23:28.539
I don't know why a a pilot in a I guess, I think that's a Cessna.

00:23:28.539 --> 00:23:31.034
I don't know why he would be wearing goggles, but he's got

00:23:31.034 --> 00:23:32.234
goggles on his head.

00:23:32.315 --> 00:23:35.914
<v Eric>It makes it harder to see who it actually is. That's true.

00:23:35.914 --> 00:23:37.754
<v Speaker 3>No. No. Don't reveal the secrets.

00:23:39.674 --> 00:23:42.954
<v Sara>So with the fake weather report over, Bud says, thanks, Doug, and

00:23:42.954 --> 00:23:45.194
suggest they keep keep things moving with a little music.

00:23:45.194 --> 00:23:49.170
And this is 1 of the most we talked about this before, but in my

00:23:49.170 --> 00:23:53.490
mind, 1 of the most egregious switches in in the music because

00:23:53.730 --> 00:23:54.369
<v Eric>Mhmm.

00:23:54.850 --> 00:23:58.130
<v Sara>Laura's singing, and it's not the right song.

00:23:58.365 --> 00:24:00.204
<v Eric>It's very obvious what she's singing.

00:24:00.204 --> 00:24:02.525
And we talked about this in the in the episode about the music

00:24:02.525 --> 00:24:03.565
changes. Right?

00:24:03.565 --> 00:24:08.125
Why, you know, why is that not a copyright violation to average

00:24:08.125 --> 00:24:10.605
singing when it's obviously girls just wanna have fun?

00:24:10.845 --> 00:24:13.565
<v Speaker 3>Well, and see, that's the thing is my contention is they had to

00:24:13.565 --> 00:24:15.829
pay for it. Mhmm. It's it's there.

00:24:15.829 --> 00:24:18.789
It's clear as to what she's singing. They had to pay for it.

00:24:18.869 --> 00:24:21.669
And at the time that these DVDs are released, that song had been

00:24:21.669 --> 00:24:23.269
off the charts for years. Oh, yeah.

00:24:23.269 --> 00:24:27.990
Can't imagine that it would have cost them that much to license

00:24:27.990 --> 00:24:29.429
it and just leave it as is.

00:24:29.825 --> 00:24:32.625
<v Sara>The only thing I can think of and and and, again, I don't know

00:24:32.625 --> 00:24:36.704
the legalities of this, but if if they could argue that you

00:24:36.704 --> 00:24:39.424
couldn't really make it out, maybe they wouldn't have to pay I

00:24:39.424 --> 00:24:39.825
don't know.

00:24:39.825 --> 00:24:42.865
<v Eric>A real good lawyer maybe could make that case, but I don't think

00:24:42.865 --> 00:24:45.105
so. I mean, we all know what you're singing. Yeah.

00:24:45.105 --> 00:24:46.440
We can all tell what it is.

00:24:46.440 --> 00:24:48.919
<v Sara>Yeah. Do we know what song they actually put on in its place?

00:24:48.919 --> 00:24:51.239
Because I couldn't place that song.

00:24:51.319 --> 00:24:55.079
<v Eric>Some nondescript license free generic stuff. Yeah. Yeah.

00:24:54.919 --> 00:24:55.960
Couldn't place any of the

00:24:55.960 --> 00:24:59.159
<v Sara>songs in this, except for maybe the 1 at the end. Like

00:24:59.625 --> 00:25:00.025
<v Eric>Yeah.

00:25:00.025 --> 00:25:03.464
Even off I think everything in this episode is the way it is now

00:25:03.464 --> 00:25:06.744
is Yeah. Not really recognizable stuff.

00:25:06.825 --> 00:25:11.384
<v Sara>Which is unfortunate because I can totally see Laura bopping in

00:25:11.384 --> 00:25:13.144
her car to girls just wanna have fun.

00:25:13.144 --> 00:25:15.269
Like, that that tracks to me. You know?

00:25:15.269 --> 00:25:17.509
That she's a Sydney Lauper fan. Yeah. Makes sense.

00:25:17.509 --> 00:25:20.789
The fake song that they or not fake song, but the other song they

00:25:20.789 --> 00:25:24.470
put in its place, I I don't know what it is, but the voice sounds

00:25:24.470 --> 00:25:26.950
a little bit like Paula Abdul, but I can't imagine it would be

00:25:26.950 --> 00:25:30.524
Paula Abdul because they they'd have to pay for Paula Abdul.

00:25:30.524 --> 00:25:32.605
<v Eric>Or, I mean, Paula Abdul didn't break through until the late

00:25:32.605 --> 00:25:33.164
eighties.

00:25:33.164 --> 00:25:37.004
<v Speaker 3>So so that she could've done a studio recording for she could've

00:25:37.004 --> 00:25:37.644
just been you

00:25:37.644 --> 00:25:37.804
<v Eric>know?

00:25:37.804 --> 00:25:40.524
I think I think she was a Laker girl at in the mid eighties

00:25:40.524 --> 00:25:41.084
maybe.

00:25:41.325 --> 00:25:41.804
<v Speaker 3>Oh, I mean

00:25:41.884 --> 00:25:43.884
<v Sara>It just the voice sounded similar. But

00:25:44.284 --> 00:25:45.529
<v Speaker 3>Yeah. If they just hired and say, hey.

00:25:45.529 --> 00:25:47.210
We need somebody to come in and sing a song.

00:25:47.289 --> 00:25:48.490
Who we got on the list? Yeah.

00:25:48.490 --> 00:25:50.490
Let's let's get her we like her voice.

00:25:50.490 --> 00:25:50.730
<v Eric>Yep.

00:25:50.730 --> 00:25:53.690
You know, she was a a session session musician of some sort,

00:25:53.690 --> 00:25:54.009
probably.

00:25:54.009 --> 00:25:55.049
<v Sara>Yeah. Yeah. Yeah.

00:25:55.049 --> 00:25:58.464
It had a Paula Abdul sound to it, but who knows?

00:25:58.464 --> 00:25:58.704
<v Eric>To me,

00:25:58.704 --> 00:25:58.865
<v Speaker 2>it sounds

00:25:58.865 --> 00:26:02.464
<v Eric>like those eighties trios, like the CoverGirls and Seduction, and

00:26:02.464 --> 00:26:04.304
it sounded kinda like those groups to me.

00:26:04.625 --> 00:26:05.825
<v Sara>Or yeah. Exactly.

00:26:06.065 --> 00:26:09.664
So she's she's listening to Bud and Norm, or she thinks she is.

00:26:09.664 --> 00:26:12.224
She's just listening to Bud because Bud is saying that he was

00:26:12.224 --> 00:26:14.789
driving to work, and he was stuck struck by a frightening

00:26:14.789 --> 00:26:16.710
realization. And Norm says, I think we all know how

00:26:16.710 --> 00:26:17.589
<v Eric>much that can hurt.

00:26:17.589 --> 00:26:21.509
<v Speaker 3>That's AM radio at its best,

00:26:21.509 --> 00:26:21.910
<v Eric>by here.

00:26:21.910 --> 00:26:23.509
<v Sara>I know. Right? It's terrible.

00:26:23.829 --> 00:26:25.029
<v Speaker 3>That's not saying a lot.

00:26:25.029 --> 00:26:26.390
<v Eric>It's all

00:26:27.115 --> 00:26:31.194
<v Sara>It is all dad jokes all the time. That's that's what it is. Yep.

00:26:32.234 --> 00:26:34.554
Because then he says, did you know that if it hadn't been for the

00:26:34.554 --> 00:26:37.434
man who invented Venetian blinds, it would be curtains for all of

00:26:37.434 --> 00:26:40.714
us? Yeah. Oh, no.

00:26:41.034 --> 00:26:41.595
<v Speaker 3>Yep.

00:26:41.595 --> 00:26:45.100
<v Sara>And and on a personal note, I hate blinds. I hate them.

00:26:45.100 --> 00:26:48.700
I hate them. I hate I them. Hate them. I hate them.

00:26:48.700 --> 00:26:49.900
<v Eric>Do you like them or not?

00:26:49.980 --> 00:26:51.660
<v Sara>No. I think they're ugly.

00:26:51.980 --> 00:26:54.554
But not just that they're ugly, they're a pain in the like,

00:26:54.554 --> 00:26:56.474
getting them up and down, and then, like, sometimes they get

00:26:56.474 --> 00:26:58.234
caught and they get stuck and you have to, like

00:26:58.554 --> 00:27:00.075
<v Speaker 3>They're do blinds.

00:27:00.075 --> 00:27:02.554
<v Eric>Yeah. Yeah. The vertical blinds, I think, are better.

00:27:02.794 --> 00:27:03.034
<v Speaker 2>Yeah.

00:27:03.034 --> 00:27:04.154
<v Sara>Yeah. The vertical ones are fine.

00:27:04.154 --> 00:27:06.315
It's the the horizontal ones because I

00:27:06.315 --> 00:27:06.875
<v Speaker 3>have type.

00:27:06.900 --> 00:27:08.180
<v Sara>Yeah. The Venetian blinds.

00:27:08.180 --> 00:27:12.179
Because I've got those in my in my classroom, and they're, like,

00:27:12.180 --> 00:27:13.460
ones for, like, every window.

00:27:13.460 --> 00:27:16.259
So I'm all constantly having there's, like, 5 of them that I have

00:27:16.259 --> 00:27:17.059
to put up and down.

00:27:17.059 --> 00:27:19.940
And if I don't put them down all the way and I have to show a

00:27:19.940 --> 00:27:23.365
video of some kind, you can't see it because of all the sun that

00:27:23.365 --> 00:27:24.404
comes into the room.

00:27:25.125 --> 00:27:27.684
But then I have to, like, I have to pull it sideways in order to

00:27:27.684 --> 00:27:28.965
get them to come down all the way.

00:27:28.965 --> 00:27:30.565
Because if I pull it straight, it doesn't work.

00:27:30.565 --> 00:27:33.285
And it's like, I hate them. Why can't I have curtains?

00:27:34.809 --> 00:27:36.809
<v Eric>Would love curtains for all of us then.

00:27:36.809 --> 00:27:39.609
<v Sara>Exactly. I would love curtains for all of us anyway.

00:27:41.049 --> 00:27:42.090
Totally not the point.

00:27:42.090 --> 00:27:45.210
But Laura, of course, she rolls her eyes at least at the bad pun.

00:27:45.210 --> 00:27:45.769
<v Eric>Yeah.

00:27:45.769 --> 00:27:46.650
<v Sara>That's fair.

00:27:46.650 --> 00:27:46.890
<v Speaker 2>Yeah.

00:27:47.455 --> 00:27:49.695
<v Sara>And at first, I didn't know why she was driving through the

00:27:49.695 --> 00:27:52.575
canyons because this wouldn't make sense since she lives close to

00:27:52.575 --> 00:27:54.575
the office, but then I think Steele says it later.

00:27:54.575 --> 00:27:56.975
She had some sort of meeting she was supposed to go to with

00:27:56.975 --> 00:27:58.494
people or the guy from people.

00:27:58.494 --> 00:27:59.054
<v Eric>Yeah.

00:27:59.215 --> 00:28:02.015
<v Sara>She didn't make it there. So that's why she she is where she is.

00:28:02.309 --> 00:28:05.190
In the studio, Norm is saying, it's time to play pick a hit.

00:28:05.350 --> 00:28:07.750
The chance for people to decide if something will be a hit or a

00:28:07.750 --> 00:28:08.070
miss.

00:28:08.070 --> 00:28:12.150
Bud adds that they will take caller number 14 at 5550 And then

00:28:12.150 --> 00:28:14.549
Norm says, keep in mind that he will be the 1 to determine

00:28:14.549 --> 00:28:16.390
whether they are right. Bud says, why you?

00:28:16.390 --> 00:28:18.070
And Norm says he's the 1 with the trained ear.

00:28:19.805 --> 00:28:21.804
<v Eric>Here comes another fantastic ear.

00:28:23.805 --> 00:28:26.525
<v Sara>But heck, those trained ear? And then Norm says, yeah. Watch.

00:28:26.525 --> 00:28:27.804
I'll let you do it, Steve.

00:28:28.285 --> 00:28:31.164
<v Eric>I I that's even that's it's the skill level.

00:28:31.164 --> 00:28:32.205
<v Sara>I'm slow you. You're fired

00:28:32.205 --> 00:28:32.605
<v Speaker 2>for that.

00:28:32.605 --> 00:28:33.805
<v Eric>It's way above my pay grade.

00:28:34.090 --> 00:28:38.250
I will say, though, I do like how when Bud is doing both voices,

00:28:38.250 --> 00:28:40.009
he literally has to, like, shift over to the other

00:28:40.009 --> 00:28:40.650
<v Speaker 2>side of the mic.

00:28:40.650 --> 00:28:42.170
<v Eric>He can't just do the voices.

00:28:42.170 --> 00:28:45.210
He actually has to move his position to do 1 voice and then the

00:28:45.210 --> 00:28:45.450
other.

00:28:45.450 --> 00:28:47.049
<v Sara>I do enjoy that.

00:28:47.130 --> 00:28:50.775
<v Speaker 3>I I had a theory that there's 2 reasons for that.

00:28:50.775 --> 00:28:55.734
First of all, obviously, for the watching audience, that visually

00:28:56.214 --> 00:29:00.294
gives us I just lost my part of my display.

00:29:00.294 --> 00:29:05.690
That gives us the the distinction so that we can follow who is,

00:29:05.930 --> 00:29:08.410
you know, doing this, that, and the other thing.

00:29:08.650 --> 00:29:12.250
And then, of course, from a practical sense, you could almost say

00:29:12.250 --> 00:29:19.684
that he's doing it because he himself is trying to use it as a

00:29:19.684 --> 00:29:24.565
way for himself to help him remember, oh, this is what I'm doing.

00:29:24.565 --> 00:29:27.684
I'm doing this voice now. I'm doing that voice now. Yeah.

00:29:27.525 --> 00:29:27.765
<v Sara>But Makes

00:29:28.005 --> 00:29:30.884
<v Speaker 3>putting that physical movement into it, it it helps him sort that

00:29:30.884 --> 00:29:32.519
out. Mhmm. Yeah. I think it's

00:29:32.519 --> 00:29:34.840
<v Eric>totally plausible that people that somebody would do that.

00:29:34.840 --> 00:29:37.160
<v Sara>Yeah. It's entertaining to watch too.

00:29:37.320 --> 00:29:39.720
<v Speaker 3>It's kinda funny, though, because I

00:29:39.720 --> 00:29:44.039
<v Eric>think when when we hear Laura's clock radio, that is the other

00:29:44.039 --> 00:29:45.240
actor doing the voice there.

00:29:45.914 --> 00:29:46.235
<v Speaker 2>Yeah,

00:29:46.235 --> 00:29:47.035
<v Eric>I'm pretty sure.

00:29:47.035 --> 00:29:49.355
And then when they switch to the studio, the live shot,

00:29:49.355 --> 00:29:51.595
obviously, it's the 1 actor doing both voices.

00:29:51.994 --> 00:29:55.595
That's kind of where they didn't just dub the voice. Yeah.

00:29:55.595 --> 00:29:59.400
The guy actually, you know, lowering his voice and then changing

00:29:59.400 --> 00:29:59.640
it.

00:29:59.799 --> 00:30:00.359
<v Sara>Good at it, though.

00:30:00.359 --> 00:30:03.720
He's he's he's like, you know, unless you hear them talking next

00:30:03.720 --> 00:30:06.200
to each other, you wouldn't you might not be able to tell the

00:30:06.200 --> 00:30:06.920
difference. So

00:30:07.160 --> 00:30:07.400
<v Eric>Yeah.

00:30:07.400 --> 00:30:10.119
<v Sara>But then, yeah, as as we know, he whistles, hear, hear, hear,

00:30:09.960 --> 00:30:11.559
then he says, sit, Ben. Go sit.

00:30:14.464 --> 00:30:17.104
He makes panty noises, and that's good ear.

00:30:17.265 --> 00:30:18.784
<v Eric>Well trained ear.

00:30:18.865 --> 00:30:21.345
<v Sara>What kills me, though, was they were supposed to be playing pick

00:30:21.345 --> 00:30:24.304
a hit, and then they just skate on by that. Yeah.

00:30:24.625 --> 00:30:28.130
And and Bud says, it's 07:06, and they're gonna cut back to

00:30:28.130 --> 00:30:29.890
Douglas to see how the traffic's shaking.

00:30:29.890 --> 00:30:31.090
I'm like, where's pick a hit?

00:30:31.090 --> 00:30:32.609
<v Eric>What what happened to that?

00:30:32.690 --> 00:30:34.210
<v Speaker 2>I thought, we're gonna

00:30:34.609 --> 00:30:35.570
<v Eric>was so distracted.

00:30:35.570 --> 00:30:39.650
In trying to get the 2 voices and the 2 characters, he forgot

00:30:39.730 --> 00:30:40.850
they had to do the right bit.

00:30:41.305 --> 00:30:42.664
<v Sara>Did we just lose Eric?

00:30:42.825 --> 00:30:44.105
<v Eric>Yeah, I think we did.

00:30:44.184 --> 00:30:44.984
<v Speaker 2>Oh, he

00:30:45.785 --> 00:30:47.544
<v Eric>lost more than just his display.

00:30:48.184 --> 00:30:51.224
<v Sara>I'm going to message him and see if he if he can find his way

00:30:51.224 --> 00:30:51.865
back.

00:30:53.545 --> 00:30:55.625
<v Eric>Eric, we're doing a show. You can't just leave.

00:30:56.950 --> 00:30:59.509
<v Sara>We lost you. Wait. I think he's he's come back.

00:30:59.509 --> 00:31:02.230
<v Speaker 3>I am back. Do not know what happened.

00:31:02.230 --> 00:31:04.789
That was not a that was not a

00:31:04.950 --> 00:31:06.630
<v Eric>Not a scheduled station break.

00:31:06.630 --> 00:31:09.109
<v Speaker 3>Yeah. Was not a scheduled station break. That's for sure. Yeah.

00:31:09.109 --> 00:31:12.194
No. We got live to this. You know? No.

00:31:12.194 --> 00:31:15.474
I don't know what happened. That was So totally weird.

00:31:15.474 --> 00:31:16.674
<v Eric>We're glad you're here, though.

00:31:16.674 --> 00:31:19.634
<v Speaker 3>Yeah. Oh, thanks. I I appreciate being invited.

00:31:19.714 --> 00:31:20.994
What are we doing today?

00:31:20.994 --> 00:31:23.554
<v Sara>Well, we did we did just play Pick a Hit, but you missed it.

00:31:23.779 --> 00:31:25.700
<v Eric>Well, they didn't play it either.

00:31:25.700 --> 00:31:26.659
<v Sara>They didn't do it either.

00:31:26.659 --> 00:31:32.980
And if I were a caller waiting by my phone to be caller 14, I'd

00:31:32.980 --> 00:31:36.179
be pretty annoyed because I'd be like, you know, I I used to do

00:31:36.365 --> 00:31:38.924
you'd have the number preprogrammed in so you didn't have to dial

00:31:38.924 --> 00:31:39.325
it

00:31:39.325 --> 00:31:40.365
<v Eric>every time. And Yep.

00:31:40.445 --> 00:31:43.164
<v Sara>Somehow I still never managed to get through. So You

00:31:44.285 --> 00:31:50.684
<v Speaker 3>know, the I've I've I did kinda the same thing when I was was,

00:31:51.720 --> 00:31:55.799
you know, early teens trying to when this record or that,

00:31:55.799 --> 00:31:56.679
whatever the price

00:31:56.679 --> 00:31:57.240
<v Sara>was Yeah. Yeah.

00:31:57.240 --> 00:32:03.319
<v Speaker 3>You did almost like they tied the phone line up intentionally.

00:32:03.884 --> 00:32:05.884
<v Speaker 2>Yeah. That's never happened.

00:32:06.045 --> 00:32:07.484
<v Eric>That would never happen.

00:32:07.484 --> 00:32:09.964
<v Sara>We've got the guy on the inside. You can tell us.

00:32:10.285 --> 00:32:13.404
<v Eric>Why couldn't we never give him you that caller 14 was very rarely

00:32:13.404 --> 00:32:14.924
actually caller 14.

00:32:15.085 --> 00:32:17.005
<v Sara>Oh, interesting. Would caller

00:32:17.005 --> 00:32:18.525
<v Speaker 2>14 be? Like, give dirty

00:32:19.039 --> 00:32:20.640
<v Speaker 3>dirty story on how that works?

00:32:20.640 --> 00:32:22.880
<v Eric>Well, it it depended on what you're giving away.

00:32:22.880 --> 00:32:27.119
I mean, if it was, like, you know, a a 50¢ off of a fast food

00:32:27.119 --> 00:32:29.200
burger or something, you're not gonna get a whole lot of people

00:32:29.200 --> 00:32:32.399
calling for that. And so True. The first color would be color 1.

00:32:32.399 --> 00:32:34.079
The second color would be color 5.

00:32:34.595 --> 00:32:36.914
You'd And have because you could tell how frequently the things

00:32:36.914 --> 00:32:39.954
were coming in, how quickly you needed to kinda astroturf it, but

00:32:40.115 --> 00:32:40.434
yeah.

00:32:40.434 --> 00:32:41.954
<v Sara>So you lied to us.

00:32:41.954 --> 00:32:45.555
<v Speaker 3>I I I would use the auto redial function on my phone and still

00:32:45.875 --> 00:32:48.275
Still couldn't get through connect. And

00:32:49.059 --> 00:32:50.660
<v Eric>there were certainly some that were legit.

00:32:50.660 --> 00:32:52.900
I mean, if it was a big prize, yeah, you'd probably get something

00:32:52.900 --> 00:32:53.299
like that.

00:32:53.299 --> 00:32:56.420
But then sometimes the contest was already done and they were

00:32:56.420 --> 00:32:58.580
just you know, it wasn't even a live thing, and then they just

00:32:58.580 --> 00:33:00.019
make all the lines busy.

00:33:00.259 --> 00:33:02.900
So people who try to call in just constantly get a busy signal.

00:33:02.900 --> 00:33:03.944
<v Sara>Couldn't get through. Yeah.

00:33:03.944 --> 00:33:06.345
Well, the only time I ever got through to a radio station, and I

00:33:06.345 --> 00:33:10.025
don't know if I should tell this story, but we used to we used to

00:33:10.025 --> 00:33:13.865
play prank calls on 1 of these stations that was a it was an FM

00:33:13.865 --> 00:33:18.400
station, q 97.5, and they used to do, like, adult contemporary

00:33:18.400 --> 00:33:22.480
music. They're now now they're like super up, like modern pop.

00:33:22.480 --> 00:33:25.920
Like all the modern music is 97.5 now.

00:33:25.920 --> 00:33:29.119
Virgin Radio, I think is their their handle, but they used to be

00:33:30.240 --> 00:33:32.240
yeah. It used to be like your mom's station.

00:33:32.240 --> 00:33:35.815
And every every I think it was Friday night or something like

00:33:35.815 --> 00:33:38.535
that at like 07:00, they would have an hour where you could call

00:33:38.535 --> 00:33:40.855
in. It was called Love Songs on the Queue.

00:33:41.015 --> 00:33:44.535
And you could call in and dedicate a love song to somebody and

00:33:44.535 --> 00:33:48.039
like make up a story and then they would, the radio DJ would say,

00:33:48.039 --> 00:33:51.000
this is going out to Bob, you know, so and so sorry, and she

00:33:51.000 --> 00:33:53.159
wants you to hear this song or whatever. Right?

00:33:53.240 --> 00:33:56.119
So my friend and I would call and we'd we'd make up accents and

00:33:56.119 --> 00:33:59.985
we'd come up with increasingly bizarre stories. Okay?

00:33:59.985 --> 00:34:03.664
Like, you know, like, I would be like, this song is going out to

00:34:03.664 --> 00:34:06.945
Joe. Julie is really sorry she ran over your foot.

00:34:06.945 --> 00:34:12.570
And she was, you know, like, she was like, was the funniest

00:34:12.570 --> 00:34:12.970
thing.

00:34:12.970 --> 00:34:14.970
Because, like, sometimes we get through, I'd have a British

00:34:14.970 --> 00:34:18.170
accent or my friend would we'd try not to laugh because we'd we'd

00:34:18.170 --> 00:34:22.410
try to make it just weird enough that it was funny, but not too

00:34:22.410 --> 00:34:24.565
weird because then they'd know it wasn't Right?

00:34:25.125 --> 00:34:27.045
<v Eric>Yeah. You can walk that line. Yeah. That's great.

00:34:27.925 --> 00:34:30.965
<v Speaker 3>Know, and the thing I've always suspected, and Steve, you can

00:34:30.965 --> 00:34:35.445
confirm or deny this, is that when they had these call in shows

00:34:35.525 --> 00:34:40.539
for requests and dedications and such, they really didn't you

00:34:40.539 --> 00:34:42.780
know, I'd like to hear such and such a song.

00:34:43.260 --> 00:34:45.980
They didn't play that song because somebody requested it.

00:34:45.980 --> 00:34:48.780
They played that song because it was already scheduled to be

00:34:48.780 --> 00:34:49.179
played.

00:34:49.179 --> 00:34:52.380
And so if somebody called and requested that, they just saved the

00:34:52.380 --> 00:34:56.595
recording of that and played it before the song was scheduled.

00:34:56.755 --> 00:34:58.355
<v Eric>Yeah. I've done both.

00:34:58.355 --> 00:35:00.594
I've done I've done shows where you actually did play the

00:35:00.594 --> 00:35:01.315
requests.

00:35:01.635 --> 00:35:04.594
But, yeah, the especially in bigger markets, all that stuff is

00:35:04.594 --> 00:35:07.859
tested and researched, the playlists are pretty strict, and the

00:35:07.859 --> 00:35:11.139
DJs don't have much freedom to to deviate from that.

00:35:11.139 --> 00:35:13.699
So, yeah, you could request a song as long as it was coming up

00:35:13.699 --> 00:35:14.420
anyway.

00:35:14.579 --> 00:35:17.699
<v Sara>And and we would typically pick the songs that would be played on

00:35:17.699 --> 00:35:22.085
that station because it it wouldn't make sense to call and

00:35:22.085 --> 00:35:24.324
request something like, you know, ACDC for

00:35:24.724 --> 00:35:26.164
<v Eric>Yeah. Yeah. Mean, obviously, it would

00:35:26.164 --> 00:35:26.565
<v Speaker 3>have to be

00:35:26.565 --> 00:35:27.925
<v Eric>in the format.

00:35:28.244 --> 00:35:29.925
<v Speaker 2>Yeah. Exactly. Unless

00:35:30.324 --> 00:35:34.484
<v Speaker 3>you were calling WKRP and Johnny was on the air, he would play

00:35:34.484 --> 00:35:34.804
anything.

00:35:35.460 --> 00:35:36.099
<v Sara>That's fair.

00:35:36.099 --> 00:35:37.300
<v Speaker 3>Except disco.

00:35:37.619 --> 00:35:37.940
<v Eric>Yeah.

00:35:37.940 --> 00:35:40.099
So depending on the market, depending on the station, yeah,

00:35:40.099 --> 00:35:42.659
there's some of both. There was there's and there still is.

00:35:42.659 --> 00:35:44.739
There's we do a show on 1 of the stations here where it's a

00:35:44.739 --> 00:35:48.019
legitimate live call in show, and they take calls from across the

00:35:48.019 --> 00:35:48.420
country.

00:35:48.420 --> 00:35:51.554
And as long as it fits the format, which is a pretty broad

00:35:51.554 --> 00:35:54.275
definition for this show, it you your actual your request will

00:35:54.275 --> 00:35:55.075
get on the air.

00:35:55.875 --> 00:35:56.434
<v Speaker 3>Alright.

00:35:56.434 --> 00:35:59.555
So, anyway, where were we before I was so rudely interrupted?

00:36:00.515 --> 00:36:03.074
<v Eric>Well We're we're gonna play pick a hit, but then we Okay.

00:36:03.155 --> 00:36:03.954
We're not all about that.

00:36:04.320 --> 00:36:06.000
<v Sara>They but, yeah, they decided not

00:36:06.000 --> 00:36:10.079
<v Eric>to take out of Sara has kind of Oh, no. I'm here. I'm here.

00:36:10.480 --> 00:36:11.280
I'm here.

00:36:12.480 --> 00:36:13.520
<v Speaker 2>Yep. I'm here.

00:36:13.599 --> 00:36:15.039
<v Eric>She didn't completely go away.

00:36:15.039 --> 00:36:15.360
<v Speaker 3>No.

00:36:15.360 --> 00:36:19.440
She she's kind of doing, like, the the the the robot robot robot.

00:36:20.214 --> 00:36:21.894
<v Eric>She's getting beamed in and out.

00:36:22.775 --> 00:36:24.135
<v Sara>I swear I'm here.

00:36:25.094 --> 00:36:28.695
<v Speaker 3>Captain Lloyd, we need more power to the transporters.

00:36:29.175 --> 00:36:35.920
<v Sara>Oh, no. Don't do that. My husband's from Scotland.

00:36:35.920 --> 00:36:36.799
He will hurt you.

00:36:36.799 --> 00:36:42.319
Anyway, in the plane, we see the dead man sitting there when

00:36:42.559 --> 00:36:45.199
while again, while the traffic report plays, and we also see the

00:36:45.199 --> 00:36:46.880
killer doing something to the plane's engine.

00:36:47.454 --> 00:36:50.414
We then cut to Laura who is still driving as the traffic report

00:36:50.414 --> 00:36:52.255
says the plane is over Malibu Canyon.

00:36:52.255 --> 00:36:54.014
She looks up, but she doesn't see it.

00:36:54.175 --> 00:36:56.414
We then hear the report say that there's moderate to heavy

00:36:56.414 --> 00:36:57.855
traffic on the freeways, and Laura's

00:36:58.014 --> 00:36:58.574
<v Speaker 3>I got a question.

00:36:58.574 --> 00:36:59.614
<v Sara>Pretty much empty.

00:37:00.094 --> 00:37:01.214
<v Speaker 3>Functional question here.

00:37:01.809 --> 00:37:06.130
If the guy in the plane is dead, obviously, he's not doing the

00:37:06.130 --> 00:37:09.569
transmission. Where's that recording coming from?

00:37:09.569 --> 00:37:14.385
I'm I'm thinking that the guy in the car doesn't have a

00:37:14.385 --> 00:37:15.025
transmitter.

00:37:15.025 --> 00:37:15.425
<v Sara>No.

00:37:15.425 --> 00:37:18.385
Rick said he patched that it was his job to patch in the reports.

00:37:18.385 --> 00:37:18.865
<v Eric>Yeah.

00:37:19.025 --> 00:37:22.385
I mean, there's a little I mean, obviously, they don't have a

00:37:22.385 --> 00:37:25.344
producer for Tyler and Austin. They do everything themselves.

00:37:25.344 --> 00:37:28.349
And so he would have to be the 1 that actually switches that to

00:37:28.349 --> 00:37:29.230
that feed.

00:37:29.789 --> 00:37:34.030
And so somehow, you know, I think later on, like you said, he's

00:37:34.030 --> 00:37:37.789
patching in the tapes, but he would have to make it seem like it

00:37:37.789 --> 00:37:40.829
was still coming from that feed, which, you know, you gotta kinda

00:37:41.565 --> 00:37:42.364
<v Speaker 3>Well, technical they be able to

00:37:42.684 --> 00:37:43.565
<v Eric>stuff there.

00:37:43.724 --> 00:37:46.764
<v Speaker 3>Wouldn't they be able to tell in the studio that it's not coming

00:37:46.764 --> 00:37:50.765
from a remote transmitter, but coming from inside the studio?

00:37:50.844 --> 00:37:52.364
<v Eric>Depending on how they bring it in, yeah.

00:37:52.364 --> 00:37:55.484
I mean, typically they would go to In those days, it would have

00:37:55.484 --> 00:37:59.690
been an actual portable transmitter on the aircraft, and they

00:37:59.690 --> 00:38:02.409
would just have the receiver for that transmitter in the studio.

00:38:02.409 --> 00:38:06.329
And so unless somebody you know, you could put something else on

00:38:06.329 --> 00:38:10.074
that frequency and then, you know, hijack it, basically. Okay.

00:38:10.074 --> 00:38:13.195
So it's possible that that they could do it without him in the

00:38:13.195 --> 00:38:15.115
studio knowing that they had switched it.

00:38:15.275 --> 00:38:20.474
<v Speaker 3>Okay. Alright. I'll that. It's it's plausible. It's plausible.

00:38:20.474 --> 00:38:21.675
Okay. A b minus.

00:38:21.675 --> 00:38:24.074
<v Eric>If we're if we're gonna say that somebody is impersonating his

00:38:24.074 --> 00:38:27.679
voice because then that what they say is going on, because he

00:38:27.679 --> 00:38:29.760
didn't actually record those traffic updates.

00:38:29.679 --> 00:38:31.840
<v Sara>I assumed it was just old traffic reports that

00:38:31.840 --> 00:38:33.119
<v Speaker 3>he was That's what I think. To. Yeah.

00:38:33.119 --> 00:38:33.760
<v Speaker 2>It could be.

00:38:33.760 --> 00:38:34.719
<v Sara>Yeah. Yeah. That's why.

00:38:34.719 --> 00:38:37.679
Why when he says that the the freeways are busy and you see

00:38:37.679 --> 00:38:40.875
Laura's driving on a completely empty road.

00:38:41.594 --> 00:38:42.954
<v Eric>But then what happens next?

00:38:43.114 --> 00:38:47.275
<v Sara>Is it then? Well, that's true. Actually, that's true. Yeah.

00:38:47.275 --> 00:38:48.155
We don't yeah.

00:38:48.155 --> 00:38:51.114
He must have recorded himself pretending to fake the crash too

00:38:51.114 --> 00:38:51.434
then.

00:38:51.434 --> 00:38:53.755
<v Eric>We need it for our theater show

00:38:53.994 --> 00:38:54.715
<v Sara>that we're gonna

00:38:54.715 --> 00:38:55.755
<v Speaker 2>just do it.

00:38:55.800 --> 00:38:56.039
<v Sara>Trust

00:38:56.039 --> 00:38:58.679
<v Speaker 3>us. Nothing suspicious. Yeah. Pretend like

00:38:58.679 --> 00:39:00.119
<v Eric>you're dying in a crash.

00:39:00.599 --> 00:39:05.239
<v Sara>So then that because that that's where we hear the air the engine

00:39:05.239 --> 00:39:07.559
of the plane starts to splutter, and Bud is asking if

00:39:07.559 --> 00:39:08.360
everything's okay.

00:39:08.360 --> 00:39:10.519
Doug's voice says there's a little engine trouble, and he's

00:39:10.519 --> 00:39:11.079
trying to fix it.

00:39:11.424 --> 00:39:13.664
He says he's losing power and dropping altitude.

00:39:13.664 --> 00:39:15.105
Laura starts to look worried.

00:39:15.184 --> 00:39:17.744
He says Malibu Canyon is clearing and he's gonna try to bring it

00:39:17.744 --> 00:39:18.224
down.

00:39:18.385 --> 00:39:20.784
And meanwhile, we see the killer readying the plane with the dead

00:39:20.784 --> 00:39:21.505
man inside.

00:39:21.505 --> 00:39:24.625
He presses a button that starts a propeller, flicks a switch and

00:39:24.625 --> 00:39:27.025
makes a run for it as the plane begins to taxi away.

00:39:27.179 --> 00:39:29.019
He gets in the Jeep and drives away.

00:39:29.260 --> 00:39:31.900
And on the radio, Laura hears Doug say he's bringing it down but

00:39:31.900 --> 00:39:32.780
has no control.

00:39:32.780 --> 00:39:36.619
We hear an explosion and Bud's worried voice asking if Doug is

00:39:36.619 --> 00:39:39.579
there, and then we see the actual plane start to take off, go

00:39:39.579 --> 00:39:40.974
over a cliff. And then

00:39:41.135 --> 00:39:41.614
<v Eric>Okay.

00:39:42.574 --> 00:39:46.094
<v Speaker 3>Would we I don't think and, Steve, you might be able to address

00:39:46.094 --> 00:39:47.534
this a little bit better.

00:39:47.534 --> 00:39:50.014
I don't think we would hear the explosion come over the radio

00:39:50.014 --> 00:39:51.375
like we did. Highly unlikely.

00:39:51.454 --> 00:39:53.454
Would just immediately kill kill a transmitter.

00:39:54.014 --> 00:39:56.750
<v Eric>Feed. Yeah. Yeah. And this is another thing.

00:39:56.750 --> 00:39:59.309
If Bud was any good at his job, he would have already cut away by

00:39:59.309 --> 00:40:00.349
then because your doctor just

00:40:00.349 --> 00:40:01.389
<v Speaker 2>brought a broadcast from,

00:40:01.389 --> 00:40:03.469
<v Eric>like, passing a plane live on the air.

00:40:03.550 --> 00:40:05.550
You're gonna say, oh, he's having technical difficulties.

00:40:05.550 --> 00:40:08.109
We'll try to get back to him later, and you'd you'd move on to

00:40:08.109 --> 00:40:08.510
something else.

00:40:08.565 --> 00:40:10.565
<v Sara>I don't know. It might make people listen to AM radio

00:40:10.565 --> 00:40:12.405
<v Speaker 2>a little bit more. This is John

00:40:12.405 --> 00:40:14.164
<v Speaker 3>and Station Needs. Okay.

00:40:14.164 --> 00:40:14.565
<v Eric>Who's gonna

00:40:14.565 --> 00:40:18.964
<v Speaker 3>join next week? Exactly. That's what UFC is all about.

00:40:18.964 --> 00:40:20.405
How close can we

00:40:20.405 --> 00:40:21.764
<v Eric>get to killing somebody before

00:40:21.764 --> 00:40:22.885
<v Speaker 3>we actually do it? You know?

00:40:23.989 --> 00:40:27.269
<v Sara>But we have to have that for the purpose of Laura getting curious

00:40:27.269 --> 00:40:29.589
about it because, obviously, if she doesn't hear the explosion

00:40:29.589 --> 00:40:30.549
first and then see it

00:40:30.789 --> 00:40:32.869
<v Eric>Well, yeah, if he would have been a little better on his timing

00:40:32.869 --> 00:40:34.389
to get that plane started,

00:40:34.630 --> 00:40:35.030
<v Sara>it would

00:40:35.030 --> 00:40:39.030
<v Eric>have looked another 15 seconds earlier. It would have matched up.

00:40:39.465 --> 00:40:40.184
<v Sara>Yeah. Yeah.

00:40:40.184 --> 00:40:42.825
So she sees the explosion after hearing it on the radio, stops

00:40:42.825 --> 00:40:45.545
the rabbit, and runs up the cliff to look over, and she sees

00:40:45.545 --> 00:40:48.505
basically the ruins of the plane at the at the bottom, and it's

00:40:48.505 --> 00:40:51.785
on fire. So we go back to KROT studios.

00:40:52.110 --> 00:40:55.950
A song plays as a red car drives into the lot and parks in Norman

00:40:55.950 --> 00:40:59.950
Austin's space. Norman Austin gets out, rushes inside. He's late.

00:41:00.110 --> 00:41:03.950
He runs into, I guess, the main lobby, and he ducks when he sees

00:41:03.950 --> 00:41:05.954
the security guard, which I found kind of funny.

00:41:05.954 --> 00:41:08.595
The guard's not his boss. What does he care if he sees him?

00:41:08.595 --> 00:41:10.115
<v Eric>Yeah. That is a lot.

00:41:10.115 --> 00:41:12.675
I mean, obviously, he doesn't wanna be seen not doing the show

00:41:12.675 --> 00:41:14.595
when he was already doing the show, I guess.

00:41:14.914 --> 00:41:15.795
<v Sara>Yeah. I guess.

00:41:15.795 --> 00:41:18.675
But unless Frank Dix has all the security guards reporting to

00:41:18.675 --> 00:41:20.280
him, it's probably not a big deal.

00:41:20.280 --> 00:41:22.680
<v Eric>And being the kind of general manager he is, I wouldn't put that

00:41:22.680 --> 00:41:23.320
past him.

00:41:23.320 --> 00:41:23.800
<v Speaker 3>True.

00:41:23.800 --> 00:41:27.239
Can I throw out something here totally unrelated to this

00:41:27.239 --> 00:41:32.184
conversation? Sure. The colors for the radio station.

00:41:32.184 --> 00:41:32.905
<v Sara>Oh my god. Yeah.

00:41:32.905 --> 00:41:33.385
<v Eric>Geek and

00:41:33.385 --> 00:41:38.505
<v Speaker 3>teal. I mean, isn't that 19 eighties typical?

00:41:38.505 --> 00:41:41.464
I mean, the Miami Vice look. Yeah. It's just horrible.

00:41:41.464 --> 00:41:42.264
It's horrible.

00:41:42.425 --> 00:41:47.059
<v Sara>Maybe they're owned by Platinum Air. Maybe Platinum Air. Too.

00:41:48.420 --> 00:41:49.380
Oh, that's hideous.

00:41:49.380 --> 00:41:50.099
<v Speaker 3>Yeah. That lobby

00:41:50.099 --> 00:41:51.139
<v Eric>is something else.

00:41:51.139 --> 00:41:52.260
<v Speaker 3>Oh, it is.

00:41:52.340 --> 00:41:53.460
<v Sara>It's a thing.

00:41:53.699 --> 00:41:54.659
<v Speaker 2>And lots of cactus.

00:41:54.659 --> 00:41:56.820
<v Eric>Lots of lots of cacti everywhere. Cacti.

00:41:56.820 --> 00:42:00.179
<v Speaker 2>Yeah. Yeah, he over.

00:42:00.905 --> 00:42:03.704
<v Sara>The guard the guard goes over to the fountain to take a drink.

00:42:03.704 --> 00:42:06.664
Norman jumps up and he runs towards 1 of the doors.

00:42:06.984 --> 00:42:09.784
And then inside the studio, we see him come in just as the song

00:42:09.784 --> 00:42:12.744
is ending. Bud gives him a very disappointed look.

00:42:13.309 --> 00:42:16.190
And still in Norm's voice he says that there are still no details

00:42:16.190 --> 00:42:18.750
on the plane crash of KROT's own Doug West.

00:42:18.750 --> 00:42:21.949
He says they'll let them know what they have when they have it as

00:42:21.949 --> 00:42:25.070
Norm sits down next to him and puts a record on the turntable.

00:42:25.724 --> 00:42:28.684
So Bud adds that it's 08:05, and if they're supposed to be at

00:42:28.684 --> 00:42:33.244
work at 8, then they are late. Do you think that was a dig?

00:42:33.724 --> 00:42:34.365
<v Eric>Maybe.

00:42:34.605 --> 00:42:36.285
<v Speaker 2>At Norm? Yep.

00:42:37.164 --> 00:42:38.684
<v Sara>I think that was a dig at Norm.

00:42:38.684 --> 00:42:42.420
I think that was him going like, yeah, but you're late. Yeah.

00:42:42.420 --> 00:42:45.139
So with Norm ready, Bud asks him about the weather, and Norm says

00:42:45.139 --> 00:42:46.179
it's 70 degrees.

00:42:46.179 --> 00:42:49.139
The only station in LA is the only station guaranteed to improve

00:42:49.139 --> 00:42:49.859
their eyesight.

00:42:49.859 --> 00:42:52.980
<v Eric>They're using all their best lines in the first hour of the show.

00:42:52.980 --> 00:42:54.099
<v Sara>They really are. Yeah.

00:42:54.195 --> 00:42:56.835
And and I disagree about the whole carrots improving your

00:42:56.835 --> 00:43:00.914
eyesight thing because I ate what my when I was a baby, so the

00:43:00.914 --> 00:43:04.355
story goes, apparently, I would only eat carrots, like the stewed

00:43:04.355 --> 00:43:04.994
carrots that

00:43:04.994 --> 00:43:05.155
<v Speaker 2>you get

00:43:05.155 --> 00:43:07.795
<v Sara>in the little baby containers. That's all I would eat, I guess.

00:43:07.795 --> 00:43:10.989
And I ate so much of it that my skin literally turned orange,

00:43:10.989 --> 00:43:13.789
which can happen if you eat too much beta carotene. Yep.

00:43:13.789 --> 00:43:16.829
And as we can see, it did not improve my eyesight. So

00:43:17.150 --> 00:43:18.829
<v Eric>Yeah. I think that's urban legend.

00:43:18.989 --> 00:43:19.469
<v Speaker 3>Well I

00:43:19.469 --> 00:43:21.070
<v Sara>call bullcrap on that.

00:43:21.389 --> 00:43:21.630
<v Speaker 3>Mhmm.

00:43:21.630 --> 00:43:26.454
The other other thing I I was gonna say, and I decided not to say

00:43:26.454 --> 00:43:28.614
it, but now I'll go ahead and say it since you brought it up.

00:43:28.614 --> 00:43:32.215
You know, a lot of radio stations would do that with their call

00:43:32.215 --> 00:43:33.175
letters, K Rot. Mhmm.

00:43:33.175 --> 00:43:37.014
K N I K, which is was a station up here in in Anchorage, which

00:43:37.014 --> 00:43:39.574
was actually a reference to the Knick River.

00:43:39.989 --> 00:43:44.630
K I n k in Portland was kink. But K Rot is

00:43:44.869 --> 00:43:45.429
<v Sara>K Rot.

00:43:45.429 --> 00:43:47.989
<v Eric>They say carrot, but it looks K Rot

00:43:47.989 --> 00:43:50.230
<v Speaker 3>to me. And it reminds me Remi Hoon Steel doesn't.

00:43:50.230 --> 00:43:52.150
<v Eric>He's like, hey. Is Crot? What does he say?

00:43:52.150 --> 00:43:53.909
<v Speaker 2>Crot? Crot? Yeah.

00:43:54.414 --> 00:43:57.934
<v Speaker 3>It reminds me of Toyota, and I'll tell you why.

00:43:58.255 --> 00:44:02.414
Toyota, like a lot of major automobile companies, have a racing

00:44:02.414 --> 00:44:03.054
division.

00:44:03.694 --> 00:44:06.894
And like a lot of companies, they sell particular models of

00:44:06.894 --> 00:44:10.750
vehicles marked with the markings for their racing division to

00:44:10.750 --> 00:44:15.230
sell people with something that gives them a reason to pay extra

00:44:15.230 --> 00:44:17.789
money for this car that they could get for, you know, a third

00:44:17.789 --> 00:44:19.789
less if they didn't have that marking on it.

00:44:20.829 --> 00:44:22.589
Toyota racing division.

00:44:23.835 --> 00:44:27.675
Unfortunate set of letters because when they put it on the sides

00:44:27.675 --> 00:44:31.914
of their trucks, what does it spell? Turd. Turd.

00:44:31.914 --> 00:44:33.035
<v Sara>Yeah. Turd.

00:44:33.594 --> 00:44:34.315
<v Speaker 2>Love it.

00:44:34.315 --> 00:44:34.795
<v Eric>I love it.

00:44:35.750 --> 00:44:37.750
<v Speaker 3>Anyway, back into the episode.

00:44:38.630 --> 00:44:41.989
<v Sara>I I I mean, I think K rot would have been a you know, you could

00:44:41.989 --> 00:44:45.429
make a a bed rotting analogy there. You know? K Rot.

00:44:45.429 --> 00:44:46.630
The best place to bed rot.

00:44:46.630 --> 00:44:46.949
<v Eric>I don't know.

00:44:46.949 --> 00:44:48.789
Mean, anybody who listens to it, it rots your brain.

00:44:49.094 --> 00:44:52.295
<v Sara>Yeah. We're we're here to rot your brain every day. Yeah.

00:44:52.295 --> 00:44:52.855
Exactly.

00:44:52.855 --> 00:44:56.454
<v Eric>They they probably later on after all all this that format died,

00:44:56.454 --> 00:44:58.534
they went to, like, some kind of a grunge format and maybe

00:44:58.534 --> 00:44:58.934
embrace

00:44:58.934 --> 00:45:00.454
<v Speaker 2>that. There you go. Exactly.

00:45:02.199 --> 00:45:05.719
<v Sara>So then Bud tells him back to the music and begins the song.

00:45:05.719 --> 00:45:08.440
And once it's playing, he turns to Norm who asks him to spare him

00:45:08.440 --> 00:45:12.119
the sermon as he knows he's late. Bud says, today of all days.

00:45:12.119 --> 00:45:13.880
Norm promises this is the last time.

00:45:14.844 --> 00:45:16.765
At the office, we see Mildred at her

00:45:16.765 --> 00:45:20.125
<v Eric>desk, and she's got this little mini door in front of her.

00:45:20.765 --> 00:45:22.925
<v Sara>I gotta know where she got this. Like, where

00:45:22.925 --> 00:45:25.164
<v Eric>do you It's part of the burglar's training kit. Yeah.

00:45:25.164 --> 00:45:27.324
Like, can It comes out of your own lockpicks and

00:45:27.724 --> 00:45:30.605
<v Sara>actually, I on see Amazon. Like, where did it come from?

00:45:30.980 --> 00:45:32.900
<v Speaker 3>I've seen things like this, though.

00:45:33.219 --> 00:45:38.900
I think they're used by, like, retail stores or used to be retail

00:45:38.900 --> 00:45:42.179
stores so that they could display the lockset, what it looked

00:45:42.179 --> 00:45:44.819
like, and you could play with it and get a feel for it.

00:45:45.375 --> 00:45:48.255
And so I imagine that's what 1 of these is.

00:45:48.494 --> 00:45:51.135
But it does come in handy for learning how to block.

00:45:51.295 --> 00:45:54.414
<v Sara>She's trying anyway, but she's still having a lot of trouble.

00:45:54.494 --> 00:45:56.815
Still walks in. He says, good morning.

00:45:56.815 --> 00:45:59.650
And Mildred, she's trying to hide it, but not doing a very good

00:45:59.650 --> 00:46:00.289
job at it.

00:46:00.289 --> 00:46:03.809
He comments on how she's getting some practice in, and she says

00:46:03.809 --> 00:46:06.449
they always make it look so easy, and Steele tells her it's years

00:46:06.449 --> 00:46:09.250
of experience asking if Laura's back from Malibu yet.

00:46:09.489 --> 00:46:11.969
Mildred says not yet, and Steele does a fist pump saying it must

00:46:11.969 --> 00:46:13.090
be going better than expected.

00:46:13.824 --> 00:46:17.425
Mildred asks what he means, and he picks up the door and come on,

00:46:17.425 --> 00:46:18.625
Steele's kind of a jerk move.

00:46:18.625 --> 00:46:20.864
He sees she's struggling with it, and he's like, there.

00:46:22.144 --> 00:46:23.025
<v Eric>All in the risk.

00:46:23.025 --> 00:46:24.625
<v Sara>Could have shown her how to do it.

00:46:24.625 --> 00:46:28.820
But anyway, he her that sorry, he picks the lock and tells her

00:46:28.820 --> 00:46:30.260
that he will let her know in due course.

00:46:30.260 --> 00:46:32.660
He unlocks it, sets it down, and tells Mildred, like you said,

00:46:32.660 --> 00:46:34.739
it's all in the wrist. Poor Mildred. She goes

00:46:34.739 --> 00:46:37.460
<v Eric>back to back to what she's mean, he tries to unlock it.

00:46:37.460 --> 00:46:38.260
Well, it's already unlocked.

00:46:38.260 --> 00:46:40.340
He needs to lock it again and then start picking it.

00:46:40.545 --> 00:46:43.984
<v Sara>Exactly. We're back at the wreckage of the plane.

00:46:43.984 --> 00:46:46.385
The authorities are there examining the scene, and Laura is

00:46:46.385 --> 00:46:49.105
speaking to a cop asking why she didn't see the plane as it

00:46:49.105 --> 00:46:50.465
should have flown right over her.

00:46:50.704 --> 00:46:54.099
Police officer asks, weren't you in your car? And she says, yeah.

00:46:54.099 --> 00:46:55.140
But the top was down.

00:46:55.300 --> 00:46:57.460
He suggests the sun might have gotten in the way, but she says

00:46:57.460 --> 00:46:58.739
the sun was behind her.

00:46:58.980 --> 00:47:01.380
She asked what about the explosion, wanting to know why she heard

00:47:01.380 --> 00:47:03.780
it explode on the radio before she heard it here, and the cop

00:47:03.780 --> 00:47:07.034
says he doesn't know and walks off. And honestly, dude, you're

00:47:07.034 --> 00:47:08.474
<v Eric>not really toward your childhood. He's just

00:47:10.234 --> 00:47:11.994
<v Sara>like, I don't know. I don't really care.

00:47:11.994 --> 00:47:12.795
<v Speaker 3>Was Okay.

00:47:12.875 --> 00:47:18.554
His attitude sucks, but I've got to say he's not necessarily

00:47:18.714 --> 00:47:21.220
wrong. Because if you think about it alright.

00:47:21.220 --> 00:47:25.860
Radio waves, which we're talking about for the the sound of the

00:47:26.260 --> 00:47:28.500
crash that came over the radio, which wouldn't have happened,

00:47:28.579 --> 00:47:32.684
you're you're transmitting from presumably the airplane back to

00:47:32.684 --> 00:47:35.005
the main studio and then to Laura's radio.

00:47:35.085 --> 00:47:39.965
Well, those transmission waves are traveling a 186,000 miles per

00:47:39.965 --> 00:47:40.605
second.

00:47:41.405 --> 00:47:45.005
So even if the electronic systems that they're going through

00:47:45.005 --> 00:47:48.789
introduce a small delay, unless there's a deliberate delay.

00:47:48.789 --> 00:47:51.589
And, Steve, you you you know about these things where they like a

00:47:51.589 --> 00:47:52.949
5 second delay. Yeah.

00:47:52.949 --> 00:47:57.670
Unless that was in being intentionally inserted in this, it would

00:47:57.670 --> 00:48:01.989
appear to be almost instantaneous from the plane to Laura's car.

00:48:01.989 --> 00:48:07.864
Now the speed of sound is approximately 767 miles per hour in dry

00:48:07.864 --> 00:48:12.345
air at 68 degrees at sea level, and it changes depending on the

00:48:12.345 --> 00:48:13.625
medium and temperature.

00:48:14.265 --> 00:48:18.779
But a canyon could potentially distort the perception of the

00:48:18.779 --> 00:48:20.940
sound if there's no direct path

00:48:21.339 --> 00:48:21.659
<v Speaker 2>Mhmm.

00:48:21.739 --> 00:48:25.500
<v Speaker 3>From the source of the sound to the ear of the listener, which

00:48:25.500 --> 00:48:29.819
would cause the nearly direct sound to be diminished to the point

00:48:29.974 --> 00:48:34.215
of being imperceptible and the reflected sound more audible, but

00:48:34.215 --> 00:48:38.614
because it's reflected and could potentially take a longer time

00:48:38.614 --> 00:48:42.135
to reach the ear of the listener, it would affect their

00:48:42.135 --> 00:48:46.630
perception of the time of the origin of the sound. So it it would

00:48:46.710 --> 00:48:48.789
<v Sara>That's way too long for the cop to tell Laura,

00:48:48.789 --> 00:48:49.510
<v Speaker 2>so he's just gonna

00:48:49.750 --> 00:48:50.550
<v Eric>Yeah. He's good.

00:48:50.550 --> 00:48:53.510
He's like he's like, I I know the math behind this, but I I'm not

00:48:53.510 --> 00:48:55.349
I'm not gonna take the time to explain it to you.

00:48:55.590 --> 00:48:58.474
Echoing through the canyon. See you later. Yeah. He's just

00:48:58.474 --> 00:49:00.715
<v Speaker 3>like, Eric. His his explanation makes sense.

00:49:00.715 --> 00:49:04.235
His attitude, the way he said it kinda sucks, but yeah.

00:49:04.635 --> 00:49:06.474
Well, it's actually real days,

00:49:06.635 --> 00:49:09.035
<v Eric>there would have been there would have been unless they had a

00:49:09.035 --> 00:49:12.219
profanity delay or something like that in the audio chain, that

00:49:12.219 --> 00:49:14.219
analog stuff was basically real time.

00:49:14.219 --> 00:49:15.500
There was very little delay in it.

00:49:15.500 --> 00:49:17.660
There's more delay now because of all the digital encoding that

00:49:17.660 --> 00:49:18.940
goes on. Right. Yeah.

00:49:18.940 --> 00:49:20.780
Back then, it would've been basically instantaneous.

00:49:21.260 --> 00:49:21.740
<v Sara>Yeah.

00:49:21.660 --> 00:49:24.539
He not only just he kinda he just wanders away from her too.

00:49:24.539 --> 00:49:28.974
He just, like, walks off, it's just like, okay. Well, Loro

00:49:29.534 --> 00:49:30.735
<v Speaker 3>I mean, think about it, though.

00:49:30.735 --> 00:49:34.894
I mean, here here here, he's a law enforcement professional.

00:49:34.894 --> 00:49:37.295
<v Eric>And there's an annoying citizen talking to him about all

00:49:37.295 --> 00:49:39.855
<v Speaker 3>this stuff. As if they know something. Yeah. You know? Right.

00:49:39.855 --> 00:49:41.135
So, I mean, you can kinda understand.

00:49:42.250 --> 00:49:44.970
<v Eric>I'm still investigating. I don't have the answers for you.

00:49:45.130 --> 00:49:47.210
Man, I don't know. I don't know any more than you do.

00:49:47.369 --> 00:49:49.530
I can kinda see where he's getting annoyed with her.

00:49:49.610 --> 00:49:52.489
<v Speaker 3>I'm sure you have people come up all the time and tell you things

00:49:52.489 --> 00:49:57.065
about radio that you already know, And and worse, they're wrong.

00:49:57.144 --> 00:49:59.144
So you know?

00:49:59.144 --> 00:50:03.144
So so, I mean, you can kinda understand the the the attitude of,

00:50:03.144 --> 00:50:05.704
okay. Fine. Whatever. Just go away. You're bothering me.

00:50:05.784 --> 00:50:07.224
<v Speaker 2>Mhmm. Yeah.

00:50:07.304 --> 00:50:08.585
<v Speaker 3>Yeah. I understand where

00:50:08.585 --> 00:50:09.385
<v Sara>taking care of business.

00:50:09.659 --> 00:50:09.980
<v Eric>Yeah.

00:50:09.980 --> 00:50:11.980
He could have been a little nicer, but I know where he's coming

00:50:11.980 --> 00:50:12.699
from. Yeah.

00:50:13.500 --> 00:50:17.339
<v Sara>Well, either way, mean, like, it just it it it more came across

00:50:17.339 --> 00:50:20.940
that he didn't care. He was just like, meh. Something That's

00:50:20.940 --> 00:50:22.219
<v Eric>another plane crash lady. I don't

00:50:22.219 --> 00:50:23.019
<v Sara>really just

00:50:23.179 --> 00:50:23.980
<v Speaker 3>That's right.

00:50:24.525 --> 00:50:27.804
<v Sara>He wanders off, and Laura walks over to another man who's

00:50:27.804 --> 00:50:28.684
checking out the plane.

00:50:28.684 --> 00:50:31.565
His name tag says rMucho on it, which I got a

00:50:31.565 --> 00:50:32.605
<v Eric>kind of a kick out

00:50:32.605 --> 00:50:36.045
<v Sara>of because, like, they don't tell you his name at any point, but,

00:50:36.045 --> 00:50:37.484
yeah, it's rMucho.

00:50:37.565 --> 00:50:40.880
So, he he asked if she's the eyewitness, and she says yes.

00:50:41.039 --> 00:50:45.280
He tells her that near as he can figure, the magneto came loose.

00:50:45.280 --> 00:50:48.559
Is that an x men villain? I don't know what that means. Like

00:50:50.559 --> 00:50:52.320
<v Speaker 3>No. It's it's a part of the airplane.

00:50:52.485 --> 00:50:53.125
<v Eric>Yeah. K.

00:50:53.045 --> 00:50:55.925
Think it supply the supply the spark, I think, for the engine.

00:50:55.925 --> 00:50:57.285
Is that what the magneto does?

00:50:57.364 --> 00:50:57.765
<v Speaker 3>Yeah.

00:50:57.765 --> 00:51:02.805
I believe it's it's it's kinda like the the distributor in a car,

00:51:02.805 --> 00:51:03.204
I guess.

00:51:03.204 --> 00:51:03.605
<v Speaker 2>Yeah.

00:51:03.605 --> 00:51:03.925
<v Speaker 3>Yeah.

00:51:03.925 --> 00:51:08.500
It it it generates the the electrical impulses that that fire the

00:51:08.500 --> 00:51:09.300
engine. Yeah.

00:51:09.860 --> 00:51:11.940
<v Sara>Cool. But he yeah.

00:51:11.940 --> 00:51:13.780
He says there's no way they could maintain power.

00:51:13.780 --> 00:51:17.380
Laura looks above her and asks, what about the tracks above?

00:51:17.380 --> 00:51:19.699
Mucho says he probably tried to make a forced landing.

00:51:20.075 --> 00:51:22.635
Laura wonders why he didn't just stop the plane or jump out.

00:51:22.635 --> 00:51:25.434
Annoyed, he tells her no. At least he's like, hey, lady.

00:51:25.434 --> 00:51:26.875
We're still investigating.

00:51:27.275 --> 00:51:31.434
<v Speaker 3>Well, I mean and it's obvious that her comments are absurd.

00:51:31.434 --> 00:51:34.210
I mean, she's been watching too many movies. Yeah.

00:51:34.210 --> 00:51:35.570
<v Eric>Too much atomic, man.

00:51:36.690 --> 00:51:36.849
<v Speaker 3>Right.

00:51:36.849 --> 00:51:39.410
The tracks from above could be from where the plane first touched

00:51:39.410 --> 00:51:42.530
the ground because, I mean, it we saw that it touched the ground.

00:51:42.690 --> 00:51:44.769
And just because it touches the ground doesn't mean it's gonna

00:51:44.769 --> 00:51:45.170
stay there.

00:51:45.170 --> 00:51:47.410
I mean, you you can hit the ground and bounce back up.

00:51:47.885 --> 00:51:51.005
Planes don't stop on a dime. Even if cars change too.

00:51:51.005 --> 00:51:52.284
Stop on a dime. Yeah.

00:51:52.284 --> 00:51:55.164
But, I mean, they stop they'll stop a lot quicker than a plane

00:51:55.164 --> 00:51:59.565
plane will. And jump out I mean, you think about it.

00:51:59.565 --> 00:52:02.204
If you've ever been in an accident and I think, Sara, you've

00:52:02.204 --> 00:52:03.324
been in car accidents before.

00:52:03.449 --> 00:52:04.170
<v Sara>Just 1.

00:52:04.170 --> 00:52:07.449
<v Speaker 3>You see that car coming, you're not thinking, oh, I've got to

00:52:07.449 --> 00:52:09.289
reach down, unbuckle my seat belt.

00:52:09.289 --> 00:52:11.769
I'm going to open the door, and I'm gonna jump out of the car

00:52:11.769 --> 00:52:14.890
before he hits me. No. You're you're focused on trying to

00:52:15.210 --> 00:52:15.929
<v Sara>Avoid the

00:52:16.489 --> 00:52:18.954
<v Speaker 3>Well, when you're in a plane like this, you're focused on trying

00:52:18.954 --> 00:52:20.315
to get that plane on the ground.

00:52:20.315 --> 00:52:23.275
You're not thinking about unbuckling the the lap belt, opening

00:52:23.275 --> 00:52:24.715
the door, and jumping out. I mean, it's just I

00:52:24.715 --> 00:52:27.755
<v Eric>don't think there's ever been I can't think of a single private

00:52:27.755 --> 00:52:32.410
plane crash where the pilot has bailed out on the crash landing.

00:52:32.410 --> 00:52:33.849
I don't think that ever happens.

00:52:33.849 --> 00:52:36.570
<v Speaker 3>Yeah. Yeah. Because you're not that's not even in your mind.

00:52:36.570 --> 00:52:38.969
You're focused on trying to get that plane on the ground and

00:52:38.969 --> 00:52:41.610
stopped and having done the least amount of damage to yourself

00:52:41.610 --> 00:52:42.730
and the plane as possible.

00:52:42.730 --> 00:52:43.050
<v Eric>Mhmm.

00:52:43.050 --> 00:52:45.610
You're probably safer in the plane than going out at a 100 miles

00:52:45.610 --> 00:52:46.650
an hour on the ground anyway.

00:52:46.855 --> 00:52:47.894
<v Speaker 3>Very, very likely.

00:52:47.894 --> 00:52:48.375
<v Sara>Probably.

00:52:48.454 --> 00:52:53.894
But either way, Laura walks away, and then we see a man come up

00:52:53.894 --> 00:52:56.855
to her looking like a a Timu Ken doll.

00:52:59.015 --> 00:53:03.429
He's more he looks a little worried, and over by the grassy area,

00:53:03.429 --> 00:53:05.909
Laura finds out finds what looks to be oil.

00:53:06.069 --> 00:53:08.949
The blonde man walks up and introduces himself as Rick Batum, and

00:53:08.949 --> 00:53:11.510
adds that they couldn't help but tune into what she was saying.

00:53:11.510 --> 00:53:15.030
<v Eric>Oh. This guy, he's in character all the time.

00:53:15.244 --> 00:53:15.724
<v Speaker 2>Like, he

00:53:15.724 --> 00:53:19.085
<v Eric>is the radio personality 24 7.

00:53:19.644 --> 00:53:20.125
<v Speaker 3>He does not

00:53:20.125 --> 00:53:21.485
<v Eric>have heard it off. You need?

00:53:21.644 --> 00:53:24.925
<v Sara>Kinda sad, actually. You wonder, don't you have a

00:53:24.925 --> 00:53:26.684
<v Eric>life, man? Like, outside your

00:53:26.684 --> 00:53:28.765
<v Speaker 2>door? Because people yeah.

00:53:28.765 --> 00:53:30.364
<v Eric>With those personalities, kinda

00:53:31.179 --> 00:53:34.780
<v Speaker 3>Are there are there are there really people like that in well, I

00:53:34.780 --> 00:53:36.699
I guess there really are people like that in radio.

00:53:36.699 --> 00:53:37.820
But how common are they?

00:53:37.980 --> 00:53:39.500
<v Eric>Less common now than they used to be.

00:53:39.500 --> 00:53:42.140
I mean, back then, radio personalities actually made money.

00:53:45.014 --> 00:53:46.694
<v Speaker 3>What? You guys are doing it for charity

00:53:46.694 --> 00:53:48.054
<v Speaker 2>now? Yeah.

00:53:49.175 --> 00:53:49.815
<v Sara>Yeah.

00:53:50.454 --> 00:53:53.894
But, yeah, Laura recognizes his name because she says, Rick, the

00:53:53.894 --> 00:53:57.175
bad man, bad him? And he laughs and says, bingo.

00:53:57.175 --> 00:53:59.320
So, obviously, Laura's a fan.

00:53:59.320 --> 00:53:59.639
<v Eric>Gives you

00:53:59.639 --> 00:54:01.239
<v Speaker 3>the old bingo.

00:54:01.320 --> 00:54:05.800
<v Sara>I'm gonna guess that he does the afternoon show based on Yeah.

00:54:05.800 --> 00:54:08.440
I mean, I could be wrong, but, like, it seems because I I do know

00:54:08.440 --> 00:54:11.400
that or at least I I I'm assuming this is still the case that

00:54:11.605 --> 00:54:14.405
you'd have your most popular radio personalities on the drive to

00:54:14.405 --> 00:54:15.285
work. Mhmm.

00:54:15.285 --> 00:54:17.765
And then probably your second most popular on the drive home

00:54:17.765 --> 00:54:20.565
because those are the more, like, high volume Yeah.

00:54:20.565 --> 00:54:21.684
<v Eric>Those are the drive times.

00:54:21.684 --> 00:54:26.059
<v Sara>Right? Exactly. So I'm guessing Rick does the the the drive home.

00:54:26.140 --> 00:54:29.739
<v Eric>Yeah. Or maybe mid afternoons in between the 2 big slots.

00:54:30.140 --> 00:54:32.700
Could be. Sounds more like an overnight guy, but you never know.

00:54:32.780 --> 00:54:35.179
<v Sara>But Laura tells him that she listens to their station all the

00:54:35.179 --> 00:54:35.579
time.

00:54:35.579 --> 00:54:38.140
So I'm guessing, like because she obviously recognizes him, so

00:54:38.140 --> 00:54:38.380
she's

00:54:38.460 --> 00:54:38.619
<v Speaker 2>Yeah.

00:54:38.684 --> 00:54:41.965
<v Sara>That's why I assume she probably listens to him on the way home.

00:54:42.364 --> 00:54:42.765
<v Speaker 3>But That

00:54:42.765 --> 00:54:43.405
<v Eric>could be. Yeah.

00:54:43.405 --> 00:54:45.644
<v Sara>Yeah. Either way, she says she was listening when it happened.

00:54:45.644 --> 00:54:47.724
Rick says that he and Doug were pretty tight, and he can't

00:54:47.724 --> 00:54:50.204
believe that Doug augurs in after only 15 years.

00:54:50.364 --> 00:54:53.005
Laura admits she can't quite believe it either, sounding more

00:54:53.005 --> 00:54:55.679
skeptical, she adds, based on the evidence.

00:54:55.679 --> 00:54:57.920
And Rick sounds surprised saying, you mean everything isn't

00:54:57.920 --> 00:54:58.800
copacetic?

00:54:59.119 --> 00:55:01.840
And Laura tells him that she's a private investigator and that

00:55:01.840 --> 00:55:03.119
she's trained to look for clues.

00:55:03.119 --> 00:55:05.119
She points at the ground saying this is 1.

00:55:05.280 --> 00:55:07.599
She tells him it was parked sometime earlier and it looks to be

00:55:07.599 --> 00:55:08.400
an all terrain vehicle.

00:55:08.765 --> 00:55:11.164
She begins to walk adding that these marks make it look as if

00:55:11.164 --> 00:55:12.285
someone were dragging someone.

00:55:12.285 --> 00:55:14.364
Rick says, woah, what are you saying, Laura?

00:55:14.364 --> 00:55:15.805
She's not quite sure yet.

00:55:16.125 --> 00:55:18.285
The cop comes over to her and tells her that he thought she would

00:55:18.285 --> 00:55:20.765
be interested to know that the coroner's report came out and they

00:55:20.765 --> 00:55:22.605
took a 38 slug out of Doug West's skull.

00:55:22.700 --> 00:55:25.099
Would they just give that her information to her?

00:55:25.980 --> 00:55:29.099
<v Speaker 3>Like And because how how did the coroner how did the coroner get

00:55:29.099 --> 00:55:30.460
this information so quickly?

00:55:30.700 --> 00:55:31.820
<v Eric>Right? Well, that too.

00:55:31.820 --> 00:55:32.220
<v Sara>That too.

00:55:32.220 --> 00:55:35.260
Because, like, doesn't it usually take a while to get a body to a

00:55:35.260 --> 00:55:38.695
morgue and then get it actually, you know, autopsied and whatnot?

00:55:38.695 --> 00:55:39.494
<v Eric>You would think.

00:55:39.735 --> 00:55:40.695
<v Speaker 3>And so, unless I was just

00:55:40.695 --> 00:55:43.175
<v Eric>saying, like, were they hoping that the body would just get

00:55:43.175 --> 00:55:45.014
burned up and they wouldn't notice that? Or

00:55:45.815 --> 00:55:47.574
<v Sara>I guess, probably. Yeah.

00:55:47.574 --> 00:55:49.414
Because that's what I I I thought that too.

00:55:49.414 --> 00:55:51.255
I thought, well, eventually they're gonna find that.

00:55:51.255 --> 00:55:54.670
So wouldn't that cause some questions?

00:55:54.910 --> 00:55:57.309
<v Speaker 3>And maybe the reason the coroner was able to find it so quickly

00:55:57.309 --> 00:56:01.470
is he's got a a a mobile coroner's van, and he does the autopsies

00:56:01.470 --> 00:56:03.790
right there live and in person.

00:56:04.110 --> 00:56:06.974
<v Sara>That that's a show. Okay? That's a TV show.

00:56:06.974 --> 00:56:10.414
Guy driving around in a little mobile coroner's van. Totally.

00:56:10.734 --> 00:56:12.494
Yeah. I would watch that.

00:56:13.534 --> 00:56:16.094
So Laura does not look surprised because she's already

00:56:16.094 --> 00:56:17.855
questioning this whole situation.

00:56:18.335 --> 00:56:19.775
And then we go back to the the station.

00:56:20.150 --> 00:56:24.390
The funeral there's a funeral dirge playing as Norm eulogizes

00:56:24.390 --> 00:56:27.190
Doug West saying that he was a good pilot and a good friend.

00:56:27.269 --> 00:56:28.309
<v Speaker 2>But It's tacky.

00:56:28.469 --> 00:56:30.789
<v Eric>It is a lit it's a little tacky?

00:56:31.750 --> 00:56:32.230
<v Speaker 3>I mean,

00:56:32.230 --> 00:56:34.150
<v Eric>this is something like these guys would get fired if they did

00:56:34.150 --> 00:56:34.390
that.

00:56:34.390 --> 00:56:36.795
I mean, it's just the the investigation's still going on, and

00:56:36.795 --> 00:56:40.074
they're doing, like, a lighthearted funeral on the yeah.

00:56:40.074 --> 00:56:41.195
<v Sara>You would think you'd dedicate

00:56:41.275 --> 00:56:42.954
<v Eric>eulogy they give him, but still.

00:56:43.114 --> 00:56:45.994
<v Sara>You'd think you'd dedicate the rest of the broadcast to him and

00:56:45.994 --> 00:56:47.355
and sort of maybe Yeah.

00:56:47.434 --> 00:56:51.570
Take calls for people that that wanted to talk about listening to

00:56:51.570 --> 00:56:54.530
the traffic reports or play his favorite song or something.

00:56:54.530 --> 00:57:00.369
It would instead, they're just like, sorry to see you go, buddy.

00:57:01.010 --> 00:57:02.690
<v Eric>You're just flying a little higher now.

00:57:03.085 --> 00:57:04.365
<v Sara>Yeah. Exactly.

00:57:04.765 --> 00:57:07.965
Then Norm says, for all of them who are going to miss him, this

00:57:07.965 --> 00:57:10.125
one's for him. And he throws on a song.

00:57:10.364 --> 00:57:11.724
Norm throws his headphones

00:57:11.644 --> 00:57:14.684
<v Speaker 3>Dad, he's not the song that they announce.

00:57:15.309 --> 00:57:17.069
<v Sara>Yeah. No. It isn't.

00:57:17.069 --> 00:57:18.989
<v Eric>It was leaving on a jet plane originally.

00:57:19.150 --> 00:57:22.670
<v Speaker 3>Yep. But it's not that. No. That's about a

00:57:22.670 --> 00:57:24.109
<v Eric>horse making it to heaven or something

00:57:24.109 --> 00:57:24.829
<v Speaker 2>like that.

00:57:25.869 --> 00:57:28.670
<v Sara>I I actually leaving on a jet plane, I sang.

00:57:28.784 --> 00:57:32.144
I used to have a took vocal classes in high school, and for our

00:57:32.144 --> 00:57:34.784
vocal final, we would have to choose a song and sing it.

00:57:34.864 --> 00:57:37.505
And it could be any song, and they would queue up the track and

00:57:37.505 --> 00:57:38.545
we'd sing along to it.

00:57:38.545 --> 00:57:42.380
And I sang that song, but it wasn't that version.

00:57:42.380 --> 00:57:46.380
It was the Chantal Kravieczuk cover for the Conair soundtrack. So

00:57:46.539 --> 00:57:49.420
<v Speaker 2>Oh. Okay. Wow.

00:57:49.420 --> 00:57:51.099
<v Sara>So much different cover.

00:57:51.099 --> 00:57:51.579
<v Speaker 2>That was 1

00:57:51.579 --> 00:57:55.945
<v Sara>of my my vocal finals. Did pretty well on that. So Nice.

00:57:55.945 --> 00:57:57.704
But that's not the song, as we know. So

00:57:57.945 --> 00:57:58.264
<v Eric>No.

00:57:58.264 --> 00:58:01.065
It's some another generic replacement song that gets tossed in

00:58:01.065 --> 00:58:01.385
there.

00:58:01.385 --> 00:58:01.864
<v Sara>Yeah.

00:58:01.864 --> 00:58:04.505
And just then, we see a young woman outside the window to the

00:58:04.505 --> 00:58:05.945
studio arrive. She looks upset.

00:58:06.460 --> 00:58:09.820
Bud stands up trying not to look or looking not too happy as she

00:58:09.820 --> 00:58:12.140
goes over to and goes over to the window, sorry, as the woman

00:58:12.140 --> 00:58:17.420
bursts into tears and then throws herself at Norm. This is okay.

00:58:17.420 --> 00:58:22.934
You're cheating on your husband. Exactly. Your husband dies.

00:58:22.934 --> 00:58:27.414
So naturally, you go to your affair partner and cry on his

00:58:27.414 --> 00:58:28.214
shoulder.

00:58:28.214 --> 00:58:30.054
<v Eric>Right in front of somebody else too.

00:58:31.014 --> 00:58:33.174
<v Speaker 3>Well, the partner knows what's going on.

00:58:33.174 --> 00:58:34.949
So it's not like it's a secret from him.

00:58:34.949 --> 00:58:36.469
<v Sara>But No. But just But yeah.

00:58:36.469 --> 00:58:41.030
<v Speaker 3>I mean, if if you're doing the deed with somebody else, you're

00:58:41.030 --> 00:58:43.030
not really gonna be that broken up over the death of your

00:58:43.030 --> 00:58:43.429
husband.

00:58:43.429 --> 00:58:44.389
<v Eric>I I mean I mean, and even

00:58:44.389 --> 00:58:48.055
<v Sara>if you are, I I wouldn't go to the other guy and be like,

00:58:48.055 --> 00:58:49.655
<v Eric>oh, I'm so sad. I'm so glad

00:58:49.655 --> 00:58:51.735
<v Sara>I have you now. Like, what?

00:58:53.655 --> 00:58:57.255
<v Eric>But it adds suspicion. It adds to our suspicion of Norman.

00:58:57.414 --> 00:58:58.934
<v Speaker 3>True. Oh, yes. Yes. Yes.

00:58:59.369 --> 00:59:02.170
<v Sara>Yeah. Because Bud is not impressed. Right?

00:59:02.170 --> 00:59:05.130
He goes over to the window, right, and he's, like, closing the

00:59:05.130 --> 00:59:08.089
blinds, and he's urging Norm, Get her out of here.

00:59:08.489 --> 00:59:11.769
Norm reluctantly agrees, telling her, the woman who is named

00:59:11.769 --> 00:59:13.210
Marsha, that it doesn't look too good.

00:59:13.364 --> 00:59:16.244
She pleads with him unintelligibly, and he said he yeah.

00:59:16.244 --> 00:59:19.045
He understands. He feels the same. Sure he do.

00:59:20.405 --> 00:59:21.605
And he'll see her tonight.

00:59:21.925 --> 00:59:24.965
<v Speaker 3>Well, you left out the the the great line where Bud tells him,

00:59:24.965 --> 00:59:25.925
Norman, are you crazy?

00:59:26.230 --> 00:59:28.789
Her husband's still smoldering, and you're hugging and kissing

00:59:28.789 --> 00:59:29.990
the grieving widow.

00:59:30.150 --> 00:59:33.910
<v Eric>Yeah. Exactly. It's not not okay. Not okay.

00:59:35.349 --> 00:59:36.869
He says he feels the same,

00:59:36.869 --> 00:59:39.204
<v Sara>doubt it, but they that he'll see her tonight.

00:59:39.204 --> 00:59:43.364
So he ushers her out the door as she so continues the song.

00:59:44.164 --> 00:59:46.164
She leaves and butt asks, are you crazy?

00:59:46.164 --> 00:59:49.445
And then that's when that line, he says, you know, you're kissing

00:59:49.445 --> 00:59:51.605
the the grieving widow and he's smoking in the ground.

00:59:51.605 --> 00:59:54.690
And North tells him to relax saying that they can't think he

00:59:54.690 --> 00:59:58.530
killed him. He was on the air when it happened. Remember? Mhmm.

00:59:58.530 --> 01:00:00.369
He says, I've got you to thank for that.

01:00:00.369 --> 01:00:01.969
He grins and leaves the studio.

01:00:01.969 --> 01:00:06.335
And, of course, poor Bud now is thinking that he's covered for a

01:00:06.335 --> 01:00:06.894
murder.

01:00:06.894 --> 01:00:08.335
<v Speaker 3>Well, and so is the audience.

01:00:08.494 --> 01:00:08.734
<v Speaker 2>Yeah.

01:00:08.734 --> 01:00:10.174
<v Sara>Right? Well, that's true. Yeah.

01:00:10.174 --> 01:00:12.894
It does it does very much give us that impression.

01:00:12.894 --> 01:00:13.454
<v Eric>So Mhmm.

01:00:14.014 --> 01:00:15.214
<v Sara>We switch over to the office.

01:00:15.214 --> 01:00:16.494
Steel is on the phone with someone else.

01:00:16.494 --> 01:00:19.910
He's agreeing with everything they say. Absolutely intolerable.

01:00:19.910 --> 01:00:21.430
<v Eric>Inexcusable. Writing in that scene.

01:00:21.430 --> 01:00:23.910
His 1 word answers for everything.

01:00:24.070 --> 01:00:27.030
<v Sara>And it all starts with I. Intolerable. Inexcusable.

01:00:27.030 --> 01:00:27.990
<v Speaker 2>Yeah. You know?

01:00:29.670 --> 01:00:31.910
<v Sara>He hangs up and then darkly says, good day.

01:00:32.275 --> 01:00:35.155
Laura, who is now right behind him, comments, a man, a few words.

01:00:35.155 --> 01:00:37.315
Steele says the other gentleman had quite a few.

01:00:37.715 --> 01:00:44.994
He tells her that is Leon Toliver, the press agent, and her 08:00

01:00:44.994 --> 01:00:45.394
appointment.

01:00:46.309 --> 01:00:48.710
Laura's eyes grow wide as she realizes what she's done.

01:00:48.710 --> 01:00:51.349
She admits she forgot, and Steele is furious, telling her that

01:00:51.349 --> 01:00:53.909
he's been building her up for weeks and the man was dying to meet

01:00:53.909 --> 01:00:54.869
her 3 hours ago.

01:00:54.869 --> 01:00:57.110
And this is what I find really interesting about this because you

01:00:57.110 --> 01:00:59.190
would think that if they're trying to land a cover of People

01:00:59.190 --> 01:01:01.190
magazine, Steele would be the 1 meeting with him.

01:01:01.824 --> 01:01:02.465
<v Eric>Right?

01:01:03.025 --> 01:01:05.985
<v Sara>Yeah. Yeah. Because, like, Laura's always the unnamed woman.

01:01:06.144 --> 01:01:06.465
Mhmm.

01:01:06.465 --> 01:01:08.785
<v Eric>So why is it He didn't wanna talk to her anyway. Right?

01:01:08.785 --> 01:01:11.505
<v Sara>No. Like, why is he talking her up?

01:01:12.945 --> 01:01:15.025
<v Speaker 3>Leon is using her for background.

01:01:16.340 --> 01:01:23.619
He still wants this unbiased opinion from his trustworthy

01:01:23.619 --> 01:01:24.340
employee Sure.

01:01:24.980 --> 01:01:25.780
<v Sara>Yeah, okay.

01:01:25.619 --> 01:01:29.219
<v Speaker 3>Telling the world how wonderful Abbasi is, and so it's important

01:01:29.219 --> 01:01:32.984
that Leon talk to her and get it straight from her that he's the

01:01:32.984 --> 01:01:34.344
greatest detective in the world.

01:01:34.744 --> 01:01:35.385
<v Eric>I mean, it's

01:01:35.385 --> 01:01:35.784
<v Speaker 2>very

01:01:36.184 --> 01:01:36.824
<v Sara>possible.

01:01:37.545 --> 01:01:40.425
Again, this is another 1 of those, it has to be this way for the

01:01:40.425 --> 01:01:43.400
plot. Totally. Yep. Yep.

01:01:43.400 --> 01:01:45.960
He asked her what was so important, and Laura says something came

01:01:45.960 --> 01:01:48.039
up, and Steele says, What could be more important than meeting

01:01:48.039 --> 01:01:50.039
the man who's going to put them in People magazine?

01:01:50.280 --> 01:01:53.719
Laura tells her that she stumbled onto the most bizarre murder

01:01:53.719 --> 01:01:55.800
case in years, adding that it's totally baffling.

01:01:56.235 --> 01:01:58.954
Steele's intrigued. Bizarre? Baffling?

01:01:59.195 --> 01:02:02.635
He reaches for the phone and asks Mildred to get Leon Toliver on

01:02:02.635 --> 01:02:03.195
the phone.

01:02:03.515 --> 01:02:05.994
When he hangs up, he tells Laura that he can see the headlines

01:02:05.994 --> 01:02:08.875
now. He tells her excellent work and slaps her on the shoulder.

01:02:09.195 --> 01:02:10.954
<v Speaker 3>Never let a tragedy go to waste.

01:02:11.030 --> 01:02:12.550
<v Sara>Right. Right. I mean, hey.

01:02:12.550 --> 01:02:16.230
You got if you you want it, you might as well use it. Yep.

01:02:17.030 --> 01:02:18.389
So that's that's quite funny.

01:02:18.389 --> 01:02:20.869
And then we switch back over to the station.

01:02:21.269 --> 01:02:23.909
Laura and Steele are walking into the building, and we're in that

01:02:23.909 --> 01:02:25.589
same really tacky lobby.

01:02:26.545 --> 01:02:29.985
And I got a few things to say about this radio program, but they

01:02:29.985 --> 01:02:30.385
can hear

01:02:30.545 --> 01:02:32.465
<v Speaker 3>I'm surprised it got on the air.

01:02:32.545 --> 01:02:34.864
<v Eric>Especially in, like, middle of the day like that too.

01:02:34.864 --> 01:02:37.425
Like, that in the best case would be an overnight show. Right?

01:02:37.585 --> 01:02:40.440
<v Speaker 3>Yeah. I'm surprised it got on the TV. Yeah.

01:02:40.440 --> 01:02:41.400
<v Sara>Well, okay.

01:02:41.400 --> 01:02:44.519
So so just wait because I'm getting to that because yeah.

01:02:44.519 --> 01:02:46.920
Well, she's saying something about vegetables and steel

01:02:46.920 --> 01:02:48.760
questions. What?

01:02:49.480 --> 01:02:50.679
<v Eric>Isn't it a cooking show?

01:02:50.679 --> 01:02:51.000
<v Sara>Yeah.

01:02:51.000 --> 01:02:54.405
Well, at first, he he he looks at the k r o t, and he's like, 14

01:02:54.405 --> 01:02:58.485
krot, and that's when Loris explains the 14 karat.

01:02:58.965 --> 01:03:00.885
And then, yeah.

01:03:01.125 --> 01:03:03.525
There's a woman saying, it doesn't matter what vegetables they

01:03:03.525 --> 01:03:06.405
use, carrots, corn on the cob, zucchini, and and they're all

01:03:06.405 --> 01:03:06.885
terrific.

01:03:06.885 --> 01:03:10.260
And Laura laughs, and he asks whether the station has a radio

01:03:10.260 --> 01:03:12.180
cooking show and Laura explains that's Doctor.

01:03:12.180 --> 01:03:15.460
Pam, the sex therapist.

01:03:15.860 --> 01:03:19.220
And Steele says he must remember to get that recipe book.

01:03:19.460 --> 01:03:26.295
So I'm guessing that this was a play on the whole Doctor.

01:03:26.295 --> 01:03:28.135
Ruth, Sue Johansson

01:03:28.135 --> 01:03:28.454
<v Eric>Yeah.

01:03:28.454 --> 01:03:32.055
<v Sara>I think so. Situation. Right? Because you guys had Doctor. Ruth

01:03:32.295 --> 01:03:32.614
<v Eric>Mhmm.

01:03:32.614 --> 01:03:34.295
<v Sara>And we had Sue Johansson.

01:03:34.295 --> 01:03:37.190
And they were what's interesting about both of them is that they

01:03:37.190 --> 01:03:40.309
were contemporaries in the sense that they they well, let's see.

01:03:40.309 --> 01:03:43.269
I've got some stuff up about so for those of you who don't know,

01:03:43.510 --> 01:03:47.109
Karola Ruth Westheimer, I've got her bio up in front of me, known

01:03:47.109 --> 01:03:49.589
as Doctor Ruth, was a German and American sex therapist and talk

01:03:49.589 --> 01:03:50.069
show host.

01:03:50.069 --> 01:03:53.804
So she was born in Germany to a Jewish family and when the Nazis

01:03:53.804 --> 01:03:56.765
came to power her parents sent her to school in Switzerland and

01:03:56.765 --> 01:03:59.565
then eventually they went unfortunately they were killed in

01:03:59.565 --> 01:04:02.605
concentration camps and she emigrated to British controlled

01:04:02.605 --> 01:04:07.840
mandatory Palestine and eventually she ended up in The States in

01:04:07.840 --> 01:04:08.800
1956.

01:04:08.800 --> 01:04:11.199
And she worked as a maid to put herself through graduate school.

01:04:11.760 --> 01:04:15.920
You know, we go fast forward a little bit and she became a sex

01:04:15.920 --> 01:04:17.199
therapist. The Doctor.

01:04:17.199 --> 01:04:21.085
Ruth show, which by 1985, so this would have been right at the

01:04:21.085 --> 01:04:22.045
time that this was on.

01:04:22.045 --> 01:04:24.445
And in '83, it was the top rated radio show in the country's

01:04:24.445 --> 01:04:25.645
largest radio market.

01:04:25.724 --> 01:04:28.765
And she launched a television show in '85, The Doctor Ruth Show,

01:04:28.765 --> 01:04:30.605
which attracted 2,000,000 viewers a week.

01:04:30.605 --> 01:04:32.844
And she became known for giving serious advice while being

01:04:32.844 --> 01:04:35.085
candid, but also warm, cheerful, funny, and respectful.

01:04:35.530 --> 01:04:41.130
And for her tag fave phrase, get some. Yeah.

01:04:41.289 --> 01:04:44.329
And, the New York Times noted that she had risen from obscurity

01:04:44.329 --> 01:04:45.849
to almost instant stardom.

01:04:45.849 --> 01:04:49.204
She hosted several series on the Lifetime channel, cable networks

01:04:49.204 --> 01:04:52.244
from '84 to '93, became a household name and a major cultural

01:04:52.244 --> 01:04:52.805
figure.

01:04:53.045 --> 01:04:57.605
And it what's interesting is that she she she died in 2024.

01:04:57.605 --> 01:05:00.005
So she she died, like, last year. Mhmm.

01:05:00.405 --> 01:05:05.360
Conversely, here in Canada, we had Doctor. Sue Johansson.

01:05:05.680 --> 01:05:06.559
Now, Doctor.

01:05:06.559 --> 01:05:12.480
Ruth was born in 1928 and Sue Johansson was born in 1930.

01:05:12.480 --> 01:05:15.280
So again, very close in age.

01:05:16.105 --> 01:05:18.744
She was a Canadian registered nurse and sex educator.

01:05:18.744 --> 01:05:21.625
She operated a birth control clinic in Toronto and hosted a

01:05:21.625 --> 01:05:24.184
series of radio and television programs on birth control, safer

01:05:24.184 --> 01:05:25.385
sex, and sexual health.

01:05:25.545 --> 01:05:28.809
She also published several books, wrote a newspaper column, etc.

01:05:28.809 --> 01:05:33.609
She was born here in Ontario, but she ended up with, like I said,

01:05:33.609 --> 01:05:37.609
the birth control clinic in 1970, and then eventually during the

01:05:37.609 --> 01:05:41.929
80s, she got her own show on the rock radio station Q107, which

01:05:41.929 --> 01:05:42.969
was a Toronto station.

01:05:43.614 --> 01:05:47.535
The show entitled Sunday Night Sex Show transitioned into a TV

01:05:47.535 --> 01:05:50.575
talk show of the same name on the community television station

01:05:50.575 --> 01:05:52.735
Rogers TV in 1985.

01:05:52.815 --> 01:05:53.454
<v Eric>Wow.

01:05:53.454 --> 01:05:56.255
<v Sara>So you've got both of these shows on at the same time.

01:05:57.055 --> 01:06:01.670
These women were like, it was the same thing.

01:06:01.670 --> 01:06:04.949
Was candid, it was honest, it was like, you ask any questions,

01:06:04.949 --> 01:06:06.230
she'll answer it for you.

01:06:06.389 --> 01:06:09.909
And in 'ninety 6, which I think they said in 'ninety 5, something

01:06:09.909 --> 01:06:11.109
like that for Doctor.

01:06:11.109 --> 01:06:13.594
Ruth, it became a national show on the women's television

01:06:13.594 --> 01:06:18.715
network, which ended in 2005. Okay. She died in 2023.

01:06:19.114 --> 01:06:21.594
<v Eric>Wow. Very similar. Wow.

01:06:21.994 --> 01:06:25.800
<v Speaker 3>The radio shows were nighttime shows. Yeah. Yeah.

01:06:25.800 --> 01:06:27.800
I don't think they would have gotten away with something like

01:06:27.800 --> 01:06:28.760
this during the day.

01:06:28.760 --> 01:06:31.880
Would they even get away with that during the day now on on a

01:06:31.880 --> 01:06:32.840
public radio?

01:06:33.320 --> 01:06:34.680
<v Eric>Be pretty iffy.

01:06:34.680 --> 01:06:38.519
Mean, it'd have to be I mean, whenever there's a chance that kids

01:06:38.519 --> 01:06:42.155
are listening, you kinda wanna Mhmm. Play it safer, typically.

01:06:42.155 --> 01:06:43.195
<v Sara>I would think so.

01:06:43.195 --> 01:06:45.994
But it just it was really interesting to me when I looked into

01:06:45.994 --> 01:06:48.795
these 2 women because I was like, I've heard of Doctor.

01:06:48.795 --> 01:06:50.474
Ruth, but I'm more familiar with Doctor.

01:06:50.474 --> 01:06:53.219
Sue because I used to watch the Sunday night.

01:06:53.219 --> 01:06:55.539
We'd stay up at late at night and we'd watch the Sunday night sex

01:06:55.539 --> 01:06:57.300
show and we really shouldn't have been allowed to.

01:06:58.659 --> 01:06:59.940
<v Eric>But she would talk about all

01:06:59.940 --> 01:07:02.340
<v Sara>these things that we were not supposed to know about.

01:07:02.980 --> 01:07:04.900
At this point, she's this old lady, right?

01:07:04.900 --> 01:07:08.394
So you're watching this elderly lady hold up a banana and tell

01:07:08.394 --> 01:07:12.474
and tell you, like, it was just real interesting for, you know, a

01:07:12.474 --> 01:07:15.355
12 year old who wasn't really supposed to be learning about

01:07:15.355 --> 01:07:15.755
<v Speaker 2>this stuff.

01:07:15.755 --> 01:07:17.355
<v Eric>Obviously, it left an impression on you.

01:07:17.355 --> 01:07:17.675
<v Speaker 2>Mean It

01:07:17.675 --> 01:07:20.315
<v Sara>was like grandma telling you, well, how did you

01:07:20.315 --> 01:07:23.739
<v Eric>know that? You know? But, yeah. So both

01:07:23.739 --> 01:07:26.460
<v Sara>of these women but it just was so cool to read about how their

01:07:26.460 --> 01:07:31.179
lives were so parallel to each other, and how they they died,

01:07:31.179 --> 01:07:32.539
like, within a year of 1 another.

01:07:32.539 --> 01:07:34.300
They were born within 2 years of 1 another.

01:07:35.605 --> 01:07:39.125
There was a full length documentary about her released in 2022

01:07:39.125 --> 01:07:40.645
entitled Sex with Sue.

01:07:40.885 --> 01:07:43.045
So, yeah, I kind of want get my hands on that now because I'm

01:07:43.045 --> 01:07:44.085
curious. Yeah.

01:07:44.085 --> 01:07:47.684
But I'm guessing that this sex show therapist that they have at

01:07:47.684 --> 01:07:50.969
14 is meant to be a play on Doctor.

01:07:50.969 --> 01:07:53.530
Ruth because I don't think anyone in The US would have known who

01:07:53.530 --> 01:07:55.849
Doctor. Sue was either way. Probably not. Yeah.

01:07:55.849 --> 01:07:58.730
She's given her them advice. And it's bad advice. Okay?

01:07:58.730 --> 01:08:00.970
It's bad, bad, bad advice because

01:08:01.050 --> 01:08:01.289
<v Eric>you

01:08:01.289 --> 01:08:05.125
<v Sara>should never put those things in there. Okay?

01:08:05.445 --> 01:08:08.405
Because I'm guessing that's what she's telling people to do.

01:08:08.405 --> 01:08:11.684
<v Eric>I mean, it's not explicitly said, but, what else could she be

01:08:11.684 --> 01:08:12.485
talking about?

01:08:12.565 --> 01:08:15.045
<v Sara>Yeah. Like, don't do it. Don't do it.

01:08:15.045 --> 01:08:18.405
Because every time I see videos of, like, people who are ER

01:08:18.405 --> 01:08:22.149
doctors saying, like, what they see come into their ERs Mhmm.

01:08:22.229 --> 01:08:23.349
Most of the time

01:08:23.510 --> 01:08:25.429
<v Eric>What she's actually talking about, she's just talking about

01:08:25.429 --> 01:08:28.229
making a nice soup before your romantic evening.

01:08:28.229 --> 01:08:29.989
<v Speaker 2>Right. That's right. That's right.

01:08:30.869 --> 01:08:31.829
<v Speaker 3>You're reading That's right.

01:08:32.095 --> 01:08:33.935
<v Eric>Yeah. Yeah. Oh, yeah.

01:08:33.935 --> 01:08:35.774
<v Sara>I'm just I'm making this up. Sure.

01:08:35.774 --> 01:08:37.454
<v Eric>Yeah. Your mind is in the gutter.

01:08:38.335 --> 01:08:39.854
<v Speaker 3>No. That was last episode.

01:08:39.854 --> 01:08:41.534
<v Eric>Oh. Yeah. It was.

01:08:42.655 --> 01:08:43.295
<v Sara>But yeah.

01:08:43.295 --> 01:08:46.300
But it it's funny because, like, every time I see ER doctors talk

01:08:46.300 --> 01:08:49.739
about, like, these are the people that come into my yeah.

01:08:49.739 --> 01:08:52.699
It's people that have it's, you know, the Richard Gerrard Drobel

01:08:52.699 --> 01:08:53.340
story. Don't do it.

01:08:53.340 --> 01:08:56.860
<v Eric>A lot of foreign body stories that are told in those lines of

01:08:56.780 --> 01:08:59.820
<v Sara>Don't stick anything up there that's not supposed to go up there.

01:08:59.820 --> 01:09:02.375
Just everybody I'm not gonna say anymore,

01:09:02.375 --> 01:09:03.335
<v Eric>but you get what I mean.

01:09:03.335 --> 01:09:05.895
<v Sara>Okay? Like, just don't do it. But yeah.

01:09:05.895 --> 01:09:09.255
Anyway, so Steele makes a comment about getting the recipe book.

01:09:10.695 --> 01:09:11.335
They go over

01:09:11.335 --> 01:09:13.095
<v Speaker 3>to planning on doing a little shopping.

01:09:13.494 --> 01:09:15.255
<v Sara>Yeah. I hope it's just shopping.

01:09:16.770 --> 01:09:19.569
They go over to the desk to sign in, and as they do, Rick

01:09:19.569 --> 01:09:20.449
approaches them.

01:09:20.529 --> 01:09:23.250
Laura introduces them, and Rick suggests that they barge in on

01:09:23.250 --> 01:09:26.050
the boss. They walk over to the office and the door opens.

01:09:26.050 --> 01:09:27.969
Before they can say anything, though, there's a man already

01:09:27.969 --> 01:09:31.489
standing there who basically is like, Ah, I got to him first.

01:09:32.395 --> 01:09:36.234
And he asked, his boss, Frank and again, we have the same, again,

01:09:36.234 --> 01:09:40.234
another use of the name because we had Cheryl Dix in the L'Orange

01:09:40.234 --> 01:09:42.875
episode where she was the the food critic.

01:09:42.875 --> 01:09:47.470
And now we've got Frank Dix, who is the runner, you know, top

01:09:47.470 --> 01:09:49.070
grand Pooh ball, the radio station here.

01:09:49.070 --> 01:09:50.590
<v Eric>Yeah. The general manager, probably.

01:09:51.070 --> 01:09:53.310
<v Sara>Yeah. I like grand Pooh ball better. It sounds cooler.

01:09:53.949 --> 01:09:56.750
<v Eric>That that should have been the title, but it never stopped.

01:09:56.829 --> 01:09:57.390
Exactly.

01:09:57.390 --> 01:09:58.829
<v Speaker 3>Or or HMFIC.

01:09:59.734 --> 01:10:00.854
<v Speaker 2>Yeah. Exactly.

01:10:02.614 --> 01:10:05.335
<v Sara>But, yeah, he asked his boss Frank when he thinks about this and

01:10:05.335 --> 01:10:07.814
plays the worst jingle ever.

01:10:08.375 --> 01:10:10.694
<v Speaker 3>Is it with radio stations and their jingles? I mean

01:10:11.014 --> 01:10:11.574
<v Speaker 2>Remember them.

01:10:11.670 --> 01:10:12.869
<v Sara>Even if they're terrible,

01:10:13.029 --> 01:10:13.429
<v Eric>stick in

01:10:13.429 --> 01:10:13.750
<v Sara>your head.

01:10:13.750 --> 01:10:16.550
<v Eric>Because they play them over and over and over again. They just

01:10:16.550 --> 01:10:17.749
<v Speaker 2>get hammered into you.

01:10:17.750 --> 01:10:20.390
<v Eric>Well, what's funny is that the jingle he plays, it sounds like

01:10:20.390 --> 01:10:22.310
it's the exact same people that are doing the jingles they're

01:10:22.310 --> 01:10:23.109
using right now.

01:10:23.270 --> 01:10:23.989
<v Speaker 2>Oh, no.

01:10:23.989 --> 01:10:24.630
<v Sara>It does.

01:10:24.630 --> 01:10:25.350
<v Eric>Waking up LA.

01:10:25.350 --> 01:10:28.614
I mean, that's the the starting your day, the t and a way.

01:10:28.614 --> 01:10:31.814
That's the same and it sounds like what he's playing on the tape

01:10:31.814 --> 01:10:32.295
there.

01:10:32.534 --> 01:10:35.895
<v Sara>The t and a way was was, their sex therapist song, but then they

01:10:35.895 --> 01:10:36.694
switched over to

01:10:36.694 --> 01:10:37.574
<v Eric>Tyler and Oscar.

01:10:39.550 --> 01:10:39.949
<v Speaker 2>Yeah.

01:10:39.949 --> 01:10:43.469
<v Sara>But, yeah, it's it's it's cheesy electric guitars, and they all

01:10:43.469 --> 01:10:44.989
stand there awkwardly listening to him.

01:10:44.989 --> 01:10:47.469
Like, that that's the worst when somebody starts singing and

01:10:47.469 --> 01:10:47.630
they're

01:10:47.789 --> 01:10:51.789
<v Eric>and he's singing along with it too. Yeah. He's like, 14 carat.

01:10:51.795 --> 01:10:55.074
<v Sara>And he's like he's like bopping along, and he's really into it.

01:10:55.074 --> 01:10:57.715
And that's where my secondhand embarrassment kicks in because I'm

01:10:57.715 --> 01:10:59.234
just like, oh, no. Stop.

01:10:59.234 --> 01:11:02.114
<v Eric>Yeah. And goes on for it has a, like, a repeat of the chorus.

01:11:02.114 --> 01:11:05.074
Like, you think it's over, and then there's another chorus It's

01:11:05.074 --> 01:11:06.994
<v Sara>not over. It that's never over.

01:11:07.869 --> 01:11:11.310
So, yeah, they they when he tells when he finishes, Frank tells

01:11:11.310 --> 01:11:13.789
him that was the most idiotic thing he's ever heard.

01:11:14.430 --> 01:11:18.989
<v Speaker 3>Well, you know, it it it probably is, but some of the ones you

01:11:18.989 --> 01:11:22.845
hear, I think, are probably just as bad in real world. Sure.

01:11:22.845 --> 01:11:27.484
The ones I like the best are just the the, like, 14 carat.

01:11:27.725 --> 01:11:29.164
<v Sara>Yeah. Yeah. That's a short.

01:11:29.164 --> 01:11:29.324
<v Speaker 2>You're

01:11:29.324 --> 01:11:30.765
<v Eric>not musical stings. Yeah.

01:11:30.765 --> 01:11:32.765
Those are much better than the whole long jingle.

01:11:33.039 --> 01:11:35.520
Jingles aren't you know, I don't think they get used as much now

01:11:35.520 --> 01:11:36.800
as they did back then.

01:11:36.800 --> 01:11:37.679
<v Sara>I don't think so.

01:11:37.679 --> 01:11:40.399
<v Eric>They were always I think it was over the budget the station had.

01:11:40.399 --> 01:11:42.800
That's what you got. And so sometimes If

01:11:43.119 --> 01:11:45.679
<v Sara>you ask Frank Dix, the station doesn't have much of a budget

01:11:45.679 --> 01:11:46.079
because

01:11:46.079 --> 01:11:47.600
<v Speaker 2>he's he's willing to spend

01:11:47.345 --> 01:11:51.744
<v Eric>any money. Lobby. Really? Exactly. And where's

01:11:51.824 --> 01:11:54.385
<v Speaker 3>is Jennifer in here somewhere? Of course, Jennifer.

01:11:55.985 --> 01:11:58.064
I I I although, I was more of a Bailey person.

01:11:59.359 --> 01:11:59.840
<v Eric>Yeah.

01:11:59.840 --> 01:12:02.399
<v Sara>So, yeah, Frank Frank says it's the most idiotic thing he's ever

01:12:02.399 --> 01:12:04.959
heard. Lyman, does that mean no?

01:12:08.960 --> 01:12:11.039
<v Speaker 3>Rick tells He's so desperate to get something. Yeah.

01:12:11.439 --> 01:12:12.719
<v Eric>I mean, he's accosting him in the hallway.

01:12:12.719 --> 01:12:13.760
He's not even going to the office.

01:12:13.760 --> 01:12:16.554
He's right there in the doorway playing it for him. Yeah.

01:12:17.034 --> 01:12:19.514
<v Sara>And then Rick tells Frank, these are the 2 detectives he told him

01:12:19.514 --> 01:12:22.554
about. And Frank tells Rick he already said it was too expensive.

01:12:22.635 --> 01:12:23.514
He walks away.

01:12:23.514 --> 01:12:27.354
Rick follows the Jack Lyman introduces himself as Ryman Lyman,

01:12:27.354 --> 01:12:30.770
Jingles Incorporated. He asks if they need a snappy promo.

01:12:30.770 --> 01:12:31.889
Laura just, No.

01:12:32.689 --> 01:12:33.170
<v Speaker 2>She's like,

01:12:33.170 --> 01:12:34.369
<v Speaker 3>Well, I was thinking maybe

01:12:34.609 --> 01:12:36.130
<v Eric>you had something in mind.

01:12:36.369 --> 01:12:39.170
<v Sara>Yeah. But Laura's, No. No. We're not having this.

01:12:39.250 --> 01:12:41.970
Rick is pleading with Frank to think about Doug, but Frank says

01:12:41.970 --> 01:12:45.784
that Doug was an idiot who drove a plane and looked at traffic.

01:12:45.784 --> 01:12:46.744
Is that a job for

01:12:46.744 --> 01:12:50.505
<v Eric>a grown man? My god. Yeah.

01:12:50.664 --> 01:12:52.505
I think the GM needs to find a different line of work.

01:12:52.505 --> 01:12:54.344
He obviously doesn't understand radio.

01:12:54.425 --> 01:12:55.385
<v Sara>Or people or humans.

01:12:55.385 --> 01:12:59.609
<v Eric>I mean, everybody at radio is there's every single job in radio,

01:12:59.609 --> 01:13:01.609
could say, is that a job for a grown man?

01:13:01.689 --> 01:13:05.609
That's basically every job in the entire industry is not a job

01:13:05.609 --> 01:13:08.170
for a grown man. Also being on the air.

01:13:08.170 --> 01:13:10.649
<v Sara>1 of their employees just died, and he's like, yeah.

01:13:10.649 --> 01:13:12.649
<v Eric>He was an idiot. Like I ordered it.

01:13:12.649 --> 01:13:16.135
<v Speaker 3>Well, that that brings up a question I I neglected to ask

01:13:16.135 --> 01:13:16.694
earlier.

01:13:17.175 --> 01:13:21.255
When the traffic people are doing, you know, in the air or the

01:13:21.255 --> 01:13:24.854
helicopter, are they actually the pilot as well, or are they just

01:13:24.854 --> 01:13:25.815
the radio person?

01:13:25.815 --> 01:13:29.319
Because if they're the pilot as well, that's a skill.

01:13:29.960 --> 01:13:32.600
<v Eric>Yeah. That's that used to be a a more of a common thing.

01:13:32.600 --> 01:13:35.079
And, again, that same that that that tragedy I talked about that

01:13:35.079 --> 01:13:38.600
happened in Arizona, those guys were flying and doing the

01:13:38.600 --> 01:13:40.039
commentary at the same time,

01:13:40.119 --> 01:13:41.479
<v Speaker 3>so their attention was split.

01:13:41.479 --> 01:13:44.425
<v Eric>And part of the reason that that crash happened was they were

01:13:44.425 --> 01:13:46.744
focused on what was on the ground and not the other helicopters

01:13:46.744 --> 01:13:50.345
around them. So that kind of changed that that job a little bit.

01:13:50.345 --> 01:13:52.505
Yeah. Some of those guys were doing everything.

01:13:53.145 --> 01:13:54.505
<v Speaker 3>Yeah. So, I mean Yikes.

01:13:54.505 --> 01:13:56.824
You say, well, is that a job for a grown man?

01:13:56.824 --> 01:13:58.239
Well, being a pilot is.

01:13:58.239 --> 01:13:59.840
I mean, you're not gonna let a kid do that.

01:13:59.840 --> 01:14:00.079
<v Eric>Yeah.

01:14:00.079 --> 01:14:03.280
And just that on its own is but doing that and doing a, you know,

01:14:03.280 --> 01:14:06.000
an intelligent commentary on the radio at the same time. Yeah.

01:14:06.000 --> 01:14:07.920
<v Speaker 3>That's that's that's a skill.

01:14:07.920 --> 01:14:10.320
<v Sara>The man's not even cold in the ground, and his boss is like, he

01:14:10.320 --> 01:14:12.465
was an idiot. Yeah. Ouch.

01:14:12.465 --> 01:14:14.145
<v Eric>Yeah. Pretty pretty cold.

01:14:14.225 --> 01:14:16.625
<v Sara>I think he's a sociopath. You know?

01:14:17.104 --> 01:14:20.145
<v Eric>Well, he's a radio station general manager. So, yes, that goes So

01:14:23.664 --> 01:14:26.869
<v Speaker 3>so when do you start your new job, Steven? Right.

01:14:27.270 --> 01:14:29.349
<v Eric>I'm getting my resume in order right now.

01:14:29.429 --> 01:14:33.510
<v Sara>And that's when we got him fired. Yep. Yep.

01:14:33.510 --> 01:14:36.069
And all of a sudden, they hear a woman calling out to Frank.

01:14:36.069 --> 01:14:38.389
He looks up and says, uh-oh. Have sex. We'll travel.

01:14:40.765 --> 01:14:43.324
And still guesses it's the vegetable lady.

01:14:45.324 --> 01:14:48.604
She storms up to Frank telling him this is the last straw.

01:14:48.604 --> 01:14:51.564
She's done everything she can to promote this miserable station.

01:14:51.805 --> 01:14:55.085
She's now does she say she gave free advice at Folsom Prison?

01:14:55.770 --> 01:14:57.050
Yeah. Or am I just

01:14:58.649 --> 01:15:00.329
<v Eric>Some of the stuff I guess what she says. Yeah.

01:15:00.329 --> 01:15:00.969
I don't remember exactly.

01:15:01.210 --> 01:15:04.250
<v Sara>Ring with professional wrestlers, but she has to draw the line

01:15:04.250 --> 01:15:04.889
somewhere.

01:15:05.289 --> 01:15:07.849
Frank asked if she has a point, and she says she's a

01:15:07.849 --> 01:15:09.755
professional, an eminent psychologist.

01:15:09.755 --> 01:15:11.594
I do not do demolition derbies.

01:15:13.034 --> 01:15:15.274
<v Eric>I wanna know what promotion they had cooked up for her because

01:15:15.274 --> 01:15:18.395
that sounds kinda fun. I'd like to know why derby?

01:15:18.475 --> 01:15:22.074
<v Sara>Why they need a sex therapist at a demolition derby. But okay.

01:15:22.074 --> 01:15:26.460
<v Speaker 3>Well, demolition derby, you got 2 decrepit bodies of vehicles

01:15:26.460 --> 01:15:28.060
slamming into each other.

01:15:28.060 --> 01:15:30.300
I mean, the the visual analogy is there.

01:15:30.300 --> 01:15:31.739
<v Eric>Parallels are all there.

01:15:32.060 --> 01:15:34.060
<v Sara>Well, that's what that's what Frank says.

01:15:34.060 --> 01:15:38.300
He says, she deals with anger and frustration, and demolition

01:15:38.859 --> 01:15:40.864
derbies are all about anger and frustration.

01:15:42.065 --> 01:15:42.704
<v Eric>Yeah.

01:15:43.025 --> 01:15:45.585
<v Sara>But before she can answer, Lyman's got a jingle ready.

01:15:45.585 --> 01:15:48.305
Mama is a sicko. Daddy is 1 too.

01:15:48.305 --> 01:15:51.985
You've got a social problem, and you don't want to don't know

01:15:51.985 --> 01:15:52.465
what to do.

01:15:54.360 --> 01:15:57.079
Oh, and then he says, you turned to 14 karat when you're really

01:15:57.079 --> 01:16:00.279
in a jam. Well, it's wham, bam. Thank you, doctor Pam.

01:16:03.000 --> 01:16:05.000
<v Eric>You know, I think the writers had a great time coming up with

01:16:05.000 --> 01:16:06.199
those jingles, because those are pretty

01:16:06.199 --> 01:16:07.159
<v Speaker 3>those are pretty good.

01:16:07.445 --> 01:16:10.645
<v Sara>I actually like the I gotta say, I like the doctor Pam 1.

01:16:10.885 --> 01:16:13.445
<v Eric>I mean, they've got just that right amount of cheese to them.

01:16:13.445 --> 01:16:15.045
I mean, they really nailed it.

01:16:15.445 --> 01:16:18.645
<v Sara>Yeah. Well, not for well, it's not for Pam. She says, quit.

01:16:18.645 --> 01:16:19.605
I'm going to cable,

01:16:20.229 --> 01:16:22.710
<v Eric>which again, doctor Ruth, this yeah. Is

01:16:23.510 --> 01:16:25.909
<v Sara>So she storms off and Lyman Simon 16

01:16:25.909 --> 01:16:29.029
<v Eric>gets tough. What you said about that, it kinda makes

01:16:29.029 --> 01:16:32.389
<v Speaker 3>me Did they have somebody in house write those jingles?

01:16:32.389 --> 01:16:34.789
Or did they actually go to a company that writes jingles

01:16:34.789 --> 01:16:38.684
professionally and say, give us the worst thing you can do?

01:16:39.005 --> 01:16:41.564
<v Sara>Yeah. The rejects. We want the rejects.

01:16:41.564 --> 01:16:43.484
We want the ones you didn't. Yeah. I

01:16:43.804 --> 01:16:46.684
<v Eric>don't know because either way, that's it's good stuff. Yeah.

01:16:46.925 --> 01:16:47.404
<v Sara>It is.

01:16:47.645 --> 01:16:50.510
He he starts singing take this job and shove it, and then Frank

01:16:50.510 --> 01:16:53.069
tells her good riddance and take the vegetables with you.

01:16:53.069 --> 01:16:54.829
<v Eric>And they didn't need to replace that for copyright.

01:16:54.829 --> 01:16:57.149
They left that in there. Yeah. Well, because it was

01:16:57.149 --> 01:16:59.949
<v Speaker 3>a popular phrase that inspired the song. Yeah.

01:16:59.949 --> 01:17:02.750
<v Eric>And he he kinda sings it, but he doesn't really sing it. Yeah.

01:17:03.095 --> 01:17:04.055
<v Speaker 3>Yeah. Yeah.

01:17:04.935 --> 01:17:07.735
<v Sara>We've got Frank approaches Laura and Steele and says, I told you

01:17:07.735 --> 01:17:08.295
no.

01:17:08.614 --> 01:17:11.175
And then Laura says, as a devoted listener, mister Steele is

01:17:11.175 --> 01:17:13.654
willing to waive all fees unless they catch the killer.

01:17:13.655 --> 01:17:18.579
Now she's speaking his language. Oh, yeah. Cheap.

01:17:18.900 --> 01:17:19.940
He tells him Right.

01:17:19.940 --> 01:17:20.739
<v Eric>Right up there.

01:17:20.979 --> 01:17:24.500
<v Sara>True humanitarian, shaking their hands and says, good hunting.

01:17:24.659 --> 01:17:27.140
Steele comments the man really warms up when he gets something

01:17:27.140 --> 01:17:27.779
for nothing.

01:17:28.659 --> 01:17:31.220
Rick approaches them again asking if they wanna meet Tyler and

01:17:31.220 --> 01:17:31.619
Austin.

01:17:31.619 --> 01:17:34.204
Laura says they were the last ones to speak with Doug West.

01:17:34.364 --> 01:17:36.444
Rick tells them that they're right down here in Studio C.

01:17:36.444 --> 01:17:38.925
He wishes them luck and says he'll catch them on the b side.

01:17:38.925 --> 01:17:41.724
<v Eric>Yeah. Yeah. More of DJ lingo.

01:17:41.885 --> 01:17:42.765
<v Sara>Yeah. Because he's bad.

01:17:42.765 --> 01:17:45.085
<v Speaker 3>I always heard it. I'll catch you on the flip side.

01:17:45.085 --> 01:17:47.244
<v Speaker 2>Mhmm. Yep. Yep.

01:17:48.109 --> 01:17:50.430
<v Sara>Yeah, Rick rushes into the studio just as a woman named Melody

01:17:50.430 --> 01:17:53.949
finishes what sounds like an ad and puts it back to him.

01:17:53.949 --> 01:17:56.350
He introduces himself as Rick the bad man bad him.

01:17:56.350 --> 01:17:57.869
You know, I'm bad, that's good.

01:17:58.270 --> 01:18:01.505
He goes on then he goes on to announce that famed detective

01:18:01.505 --> 01:18:03.904
Remington Seal has just announced he has agreed to find the

01:18:03.904 --> 01:18:06.144
killer of KROT's own Doug West.

01:18:06.385 --> 01:18:09.184
Bad news for the bad guys, but good news for the rest of us.

01:18:10.145 --> 01:18:10.465
Yeah.

01:18:10.465 --> 01:18:13.104
He says, now let's get to some really bad sounds that he knows

01:18:13.104 --> 01:18:16.859
they're gonna love how many if you were to play the Rick Badum

01:18:16.859 --> 01:18:17.819
drinking game

01:18:18.140 --> 01:18:18.779
<v Eric>and take

01:18:18.779 --> 01:18:21.979
<v Sara>a drink every time that man says the word bad

01:18:22.859 --> 01:18:24.060
<v Eric>The second record, you'd be

01:18:24.060 --> 01:18:25.579
<v Speaker 2>under the table on it. Yeah.

01:18:27.579 --> 01:18:31.065
<v Sara>The amount of bad puns he makes, and I mean that both as they are

01:18:31.065 --> 01:18:35.704
bad and puns about the word bad, are Yeah. Quite numerous.

01:18:35.704 --> 01:18:36.744
<v Eric>Are are quite bad.

01:18:36.744 --> 01:18:40.744
<v Sara>Yes. He says, because the bad man knows what's good for you.

01:18:40.824 --> 01:18:43.145
<v Speaker 2>I'm bad. I'm bad. He

01:18:44.105 --> 01:18:45.625
<v Eric>was bad before bad was cool.

01:18:46.079 --> 01:18:47.760
<v Sara>Exactly. Yeah.

01:18:48.639 --> 01:18:50.960
We see Laura and Steele walking down the hall and they reach the

01:18:50.960 --> 01:18:53.760
studio and Laura says so much for all for their cover and Steele

01:18:53.760 --> 01:18:55.279
says that's the price of fame.

01:18:55.599 --> 01:18:57.279
They reach the door and he says, shall we?

01:18:57.279 --> 01:18:59.895
And he presses a button below a sign that says, please listen

01:18:59.895 --> 01:19:00.854
before entering studio.

01:19:00.854 --> 01:19:04.295
And I'm assuming it says that because if you hear stuff coming

01:19:04.295 --> 01:19:06.774
from said studio, you're not supposed to just walk in.

01:19:06.774 --> 01:19:07.334
<v Eric>Right.

01:19:07.574 --> 01:19:08.614
<v Sara>But they do.

01:19:08.614 --> 01:19:09.974
<v Eric>I've never seen a studio like that.

01:19:09.974 --> 01:19:11.770
They usually just have a big light that's on.

01:19:11.770 --> 01:19:14.170
See, this is on the air or recording.

01:19:14.409 --> 01:19:15.770
If the light's on, you don't come in.

01:19:15.770 --> 01:19:18.329
That's that's usually how it's done. Yeah.

01:19:18.329 --> 01:19:21.849
<v Sara>Yeah. But they they go in anyway. They just walk on in there.

01:19:21.850 --> 01:19:25.289
Sure. Obviously, it's it's it's obviously not live because No.

01:19:25.414 --> 01:19:27.255
They're able to just turn it off. And Rick

01:19:27.255 --> 01:19:29.414
<v Eric>is living recording something for later. Yeah.

01:19:29.414 --> 01:19:31.654
<v Sara>Yeah. Currently broadcasting. So yeah.

01:19:31.654 --> 01:19:35.015
So we hear a voice saying, I know who did it, but you'll never

01:19:35.015 --> 01:19:36.854
get out of me. And then she'll talk when

01:19:36.854 --> 01:19:39.255
<v Eric>I get through with her, help, help, help. And Steele

01:19:39.255 --> 01:19:41.015
<v Sara>and Laura enter to find butt on the table.

01:19:41.430 --> 01:19:43.270
<v Eric>He's a method actor. Yes.

01:19:43.270 --> 01:19:45.829
That's why he shifts positions when he's doing the 2 voices.

01:19:45.829 --> 01:19:48.309
He has to really feel the part.

01:19:48.550 --> 01:19:48.789
<v Sara>Yeah.

01:19:48.789 --> 01:19:51.189
He's he's into it because he's, like, pretending to strangle

01:19:51.189 --> 01:19:51.750
himself.

01:19:51.750 --> 01:19:53.270
<v Eric>Yeah. He's laying on his back.

01:19:53.885 --> 01:19:55.244
<v Sara>Yeah. Like, help. Help.

01:19:55.244 --> 01:19:57.885
And then Norm says, just when it looked like this, it was the end

01:19:57.885 --> 01:20:00.284
for Pauline, Rex righteous walked through the door.

01:20:00.685 --> 01:20:03.725
Pudd looks at Steele in confusion and says, Rex righteous?

01:20:03.725 --> 01:20:06.045
Coach Steele corrects. Remington Steele, actually.

01:20:08.439 --> 01:20:11.479
And Norm, having not seen them, tells Bud to stick to the script.

01:20:11.479 --> 01:20:14.279
But Laura interrupts saying, Adelpated Theater, 1 of my

01:20:14.279 --> 01:20:16.679
favorites. And Steele mutters, I won't tell anyone.

01:20:19.000 --> 01:20:21.639
<v Eric>So I'm guessing that's like a bit they do on the morning show.

01:20:21.639 --> 01:20:25.094
They, like, have a little segment, Oh, recorded

01:20:25.414 --> 01:20:26.375
<v Sara>Some sort of radio.

01:20:26.375 --> 01:20:28.454
<v Eric>Old radio theater kinda thing. Yeah.

01:20:28.454 --> 01:20:32.295
<v Sara>Continuing radio drama. That's where yeah. Yeah.

01:20:32.295 --> 01:20:35.094
Laura introduces Bud Tyler and Norman Austin to Steele.

01:20:35.255 --> 01:20:37.895
Norm asks who she is and she tells them her name.

01:20:37.895 --> 01:20:40.520
Laura tells them that she listens to them every morning and Norm

01:20:40.520 --> 01:20:42.600
jokingly says to get Frank and tell them they found their

01:20:42.600 --> 01:20:43.239
audience.

01:20:44.520 --> 01:20:45.720
<v Speaker 2>Yep. That's

01:20:45.720 --> 01:20:47.560
<v Sara>a good pun. I like that 1.

01:20:47.560 --> 01:20:48.439
<v Eric>Yeah. That's good.

01:20:49.159 --> 01:20:51.319
<v Sara>Bud asks what they can do for her and she tells them that they're

01:20:51.319 --> 01:20:53.800
private investigators hired by the station to investigate Doug

01:20:53.800 --> 01:20:54.279
West's killer.

01:20:54.804 --> 01:20:57.524
Norm says it was a terrible tragedy, and he never heard anyone

01:20:57.524 --> 01:21:01.444
say an unkind word about Doug. Really? Really, Norm?

01:21:01.444 --> 01:21:03.684
<v Eric>Except the GM who just moments ago

01:21:04.085 --> 01:21:07.840
<v Sara>Or yeah. Well, or the fact that, you know, he's banging his wife.

01:21:07.840 --> 01:21:08.640
I'm assuming that

01:21:08.800 --> 01:21:12.239
<v Speaker 3>Well, I mean, that's why he said he never heard anybody say an

01:21:12.239 --> 01:21:15.119
unkind word about him because he doesn't want the suspicion.

01:21:15.199 --> 01:21:16.000
You know? True.

01:21:16.159 --> 01:21:18.800
<v Eric>Yeah. Yeah. He is. He's really selling it too. Like, you know?

01:21:18.800 --> 01:21:19.199
Yeah.

01:21:19.279 --> 01:21:22.844
<v Sara>And Bud, who's terrible at this, he's like, he was a happily

01:21:22.844 --> 01:21:25.244
married man. He and Marsha never saw a happier couple.

01:21:25.244 --> 01:21:26.204
Blissful even.

01:21:26.204 --> 01:21:28.684
<v Eric>And he's overselling it. Wow.

01:21:28.684 --> 01:21:30.044
<v Sara>Good job there, Bud.

01:21:32.284 --> 01:21:34.779
Laura tells him that evidence suggests Doug was placed in the

01:21:34.779 --> 01:21:37.020
plane after he was killed and deliberately crashed.

01:21:37.020 --> 01:21:39.819
Norm, confused, says that Doug was on the radio this morning, and

01:21:39.819 --> 01:21:43.979
Steele says, you spoke with him? Norm stumbles but says, yeah.

01:21:43.979 --> 01:21:46.219
Laura wonders if it's possible that someone cut into the

01:21:46.219 --> 01:21:46.619
broadcast.

01:21:47.345 --> 01:21:50.064
Norm begins to say it's not possible, but Bud interrupts and

01:21:50.064 --> 01:21:52.545
says, it is, and that someone could patch in from another studio

01:21:52.545 --> 01:21:54.145
or set up a remote intercept.

01:21:54.704 --> 01:21:56.944
Norm says, sounds like science fiction to me.

01:21:57.744 --> 01:22:00.305
Steele asks, her or she suggesting that someone could have

01:22:00.305 --> 01:22:03.689
impersonated Doug West, Laura says, or put on tapes of Doug's

01:22:03.689 --> 01:22:04.010
voice.

01:22:04.010 --> 01:22:06.329
She thanks them for helping narrow down their search to someone

01:22:06.329 --> 01:22:07.449
familiar with the station.

01:22:08.250 --> 01:22:10.810
Bud nervously tells him he's glad to be in help.

01:22:11.289 --> 01:22:13.689
And the poor guy just looks terrified.

01:22:14.465 --> 01:22:16.864
So in the office, Steele is having second thoughts about the

01:22:16.864 --> 01:22:18.864
case. Bizarre and baffling as it may be.

01:22:19.184 --> 01:22:21.585
He asked if this is the right time to be tackling a case like

01:22:21.585 --> 01:22:24.385
this, and that if they flop, they flop in front of a very large

01:22:24.385 --> 01:22:24.864
audience.

01:22:24.864 --> 01:22:27.024
Laura tells him, think of the publicity if they crack it.

01:22:42.454 --> 01:22:43.734
It's a Buffy reference.

01:22:43.734 --> 01:22:44.935
<v Eric>Uncle Yano? Yeah. Is that what you

01:22:45.574 --> 01:22:47.574
<v Sara>He's Uncle Yano. Okay.

01:22:47.654 --> 01:22:50.295
<v Speaker 3>It's a Buffy reference. Never mind. It doesn't matter.

01:22:51.574 --> 01:22:52.614
<v Sara>You'll get there eventually.

01:22:52.614 --> 01:22:58.939
So this this guy, and I'm gonna butcher his name, so I apologize.

01:22:58.939 --> 01:23:02.779
If anybody knows how to actually pronounce it, please let us

01:23:02.779 --> 01:23:03.260
know.

01:23:03.659 --> 01:23:07.739
Vincent Schiavelli or I I don't know how to say his last name,

01:23:07.739 --> 01:23:10.380
but he's a character actor, and he appears in so many things.

01:23:10.380 --> 01:23:14.755
Like I said, he's on Buffy, but the the kinda cool Pierce Brosnan

01:23:14.755 --> 01:23:19.314
connection is that he plays doctor Kaufman, who's a a hitman

01:23:19.475 --> 01:23:21.074
Mhmm. In Tomorrow Never Dies.

01:23:21.155 --> 01:23:21.715
<v Speaker 3>Yeah.

01:23:21.715 --> 01:23:25.155
<v Sara>So Pierce Brosnan encountered him here and then, of course,

01:23:25.155 --> 01:23:28.510
worked with him again. Yeah. Years later.

01:23:28.909 --> 01:23:30.670
<v Eric>About about 10 years later, think. Yeah.

01:23:30.670 --> 01:23:31.229
<v Sara>Yeah. Yeah.

01:23:31.229 --> 01:23:33.550
I could shoot this from Stuttgart, and it would still have the

01:23:33.550 --> 01:23:36.750
effect. He's got, like, that crazy accent going on there.

01:23:36.750 --> 01:23:39.234
So, yeah. He's he's he's a neat guy.

01:23:39.234 --> 01:23:41.395
He was a a cool character actor. Mhmm.

01:23:41.395 --> 01:23:44.675
So, yeah, he he comes in followed by a frantic Mildred.

01:23:44.675 --> 01:23:47.314
Still leaps up and addresses this man. He's Leon.

01:23:47.715 --> 01:23:50.835
Leon tells him that announcing a major case on the radio gave him

01:23:50.835 --> 01:23:52.835
chills. Is my guy brilliant or what?

01:23:54.760 --> 01:23:57.640
He rhetorically says, why does this man need me? I ask you.

01:23:57.640 --> 01:23:59.719
And Laura sarcastically says, good question.

01:23:59.800 --> 01:24:04.199
<v Speaker 3>Yep. She's been asking herself that for a long time.

01:24:04.199 --> 01:24:05.239
<v Sara>Yeah. Yeah.

01:24:05.880 --> 01:24:08.375
Leon tells him he just got off the car phone with the West Coast

01:24:08.375 --> 01:24:11.335
Bureau Chief of People, and they flipped over this latest case.

01:24:11.335 --> 01:24:14.215
He says, I mean, a guy crashes an airplane with a bullet in his

01:24:14.215 --> 01:24:15.335
head. It's new.

01:24:15.335 --> 01:24:17.335
It's different, and it plays to their demographic.

01:24:17.815 --> 01:24:20.695
Still eagerly says they liked it, and Leon exclaims, what? Like?

01:24:20.695 --> 01:24:22.670
We're talking animal passion here.

01:24:23.390 --> 01:24:28.349
He accidentally spits at Steele when he's saying it, and and

01:24:28.350 --> 01:24:31.869
Pierce, like, wipes it away. Nice.

01:24:31.869 --> 01:24:32.909
<v Eric>I didn't notice that.

01:24:33.229 --> 01:24:34.725
<v Sara>Which is quite funny.

01:24:34.725 --> 01:24:37.284
I wish I like, I looked we didn't I didn't have a script for this

01:24:37.284 --> 01:24:40.085
1, but I would have loved to have seen whether this was just

01:24:40.085 --> 01:24:41.284
like, ugh. Okay. Gross.

01:24:41.284 --> 01:24:42.164
<v Eric>A little ad lib there?

01:24:42.164 --> 01:24:44.885
<v Sara>Yeah. Or if that was what he was supposed to do.

01:24:46.324 --> 01:24:48.324
But he says, solve the case and the cover's yours.

01:24:49.140 --> 01:24:51.779
He tells him he has to fly and ask them to try and solve it by

01:24:51.779 --> 01:24:54.500
Thursday to meet their deadline because, you know, that's totally

01:24:54.500 --> 01:24:55.939
something you can control.

01:24:55.939 --> 01:24:56.979
<v Eric>Right. Yeah.

01:24:57.380 --> 01:24:58.019
<v Sara>Yeah.

01:24:58.420 --> 01:25:00.899
He clicks his fingers at him and Steele does the winner turn as

01:25:00.899 --> 01:25:01.619
he walks out the door.

01:25:02.215 --> 01:25:05.494
Mildred is ecstatic, exclaiming, People Magazine?

01:25:05.655 --> 01:25:07.975
Steele assures her it's just to promote the agency.

01:25:07.975 --> 01:25:12.534
Mildred points out, she didn't hear her name mentioned. Right.

01:25:13.255 --> 01:25:16.215
Steele begins to make excuses and heads for the door when Mildred

01:25:16.215 --> 01:25:17.975
pulls him over and says she's been thinking.

01:25:18.109 --> 01:25:20.349
Culprit The has to be involved in the station, right?

01:25:20.590 --> 01:25:22.429
The steel echoes, Our culprit?

01:25:22.429 --> 01:25:24.349
Mildred points out she is in training.

01:25:24.429 --> 01:25:27.309
Lord says proceed, and Mildred says naturally they'll need

01:25:27.309 --> 01:25:30.670
someone to go undercover, someone crafty and able to blend in,

01:25:30.670 --> 01:25:33.335
and Laura interrupts and says, Scratch that, adding that they'd

01:25:33.335 --> 01:25:34.854
already been seen by everyone there.

01:25:34.854 --> 01:25:39.814
Mildred whistles, points to herself, and Steele puts an arm

01:25:39.814 --> 01:25:41.654
around her saying they've created a monster.

01:25:41.655 --> 01:25:44.135
And Laura's like, I give you full credit for that.

01:25:44.135 --> 01:25:48.840
So I gotta say, though, who doesn't love Mildred Krebs?

01:25:49.560 --> 01:25:50.439
<v Eric>Doctor Krebs?

01:25:50.439 --> 01:25:52.920
<v Sara>As a Doctor Krebs. Because, like, I'm sorry.

01:25:52.920 --> 01:25:54.439
I'd call into that radio show. I would

01:25:54.439 --> 01:25:55.800
<v Eric>listen to that radio show.

01:25:55.800 --> 01:25:57.640
<v Speaker 2>Yeah. A little bit of a

01:25:57.640 --> 01:25:59.320
<v Eric>little bit of realistic take on that.

01:25:59.320 --> 01:26:02.235
I mean, obviously, a radio station wouldn't just, oh, yeah, you

01:26:02.235 --> 01:26:05.994
can have this afternoon show for 3 days. They wouldn't do that.

01:26:05.994 --> 01:26:08.795
If they wanted to have her, you know, infiltrate the business,

01:26:08.795 --> 01:26:11.755
she'd be a new salesperson or something like that, you know,

01:26:11.755 --> 01:26:13.835
where they could come and go and it's not gonna affect what's on

01:26:13.835 --> 01:26:14.155
the air.

01:26:14.420 --> 01:26:17.060
But, yeah, that that the parts of her are are some of the best in

01:26:17.060 --> 01:26:17.779
that whole episode.

01:26:17.779 --> 01:26:18.420
<v Sara>Oh, they're great.

01:26:18.420 --> 01:26:21.619
And it reminded me of have you seen the movie, Straight Talk with

01:26:21.619 --> 01:26:23.859
Dolly Parton? No. Okay.

01:26:23.859 --> 01:26:25.939
I don't know if I wanna Google when it came out because I don't

01:26:25.939 --> 01:26:30.185
know if this was before this episode or if it was, like

01:26:30.185 --> 01:26:34.345
afterwards '19 oh yeah it was way after 1992 but so Straight Talk

01:26:34.345 --> 01:26:38.265
basically was a movie Dolly Parton's character is like this kind

01:26:38.265 --> 01:26:43.220
of like down on her luck woman who leaves her no good boyfriend

01:26:43.220 --> 01:26:45.780
at the beginning of the film and she basically just drives to, I

01:26:45.780 --> 01:26:49.940
think it's supposed to be LA, and she's applying for all these

01:26:49.940 --> 01:26:53.220
jobs trying to like, you know, break out on her own and be

01:26:53.220 --> 01:26:54.340
independent, etc.

01:26:54.739 --> 01:26:57.460
And she applies for a receptionist job at a radio station.

01:26:57.914 --> 01:27:01.594
And she goes in and she, gets a chance to try to they basically

01:27:01.594 --> 01:27:06.314
put her on the desk right away for some reason and she's screwing

01:27:06.314 --> 01:27:08.554
it up. She's dropping calls left, right, and center.

01:27:08.554 --> 01:27:13.649
Eventually she goes to get her lunch or a break or something like

01:27:13.649 --> 01:27:15.729
that, but she wanders into the wrong room.

01:27:15.729 --> 01:27:19.489
She wanders into a studio and the new therapist that was supposed

01:27:19.489 --> 01:27:23.954
to show up didn't show up. So they think that she's Doctor.

01:27:23.954 --> 01:27:28.034
Shirley, which her So name they basically just put her on.

01:27:28.594 --> 01:27:32.354
And, you know, Dolly Parton does her sort of winning, folksy

01:27:32.354 --> 01:27:38.034
Dolly Parton thing and gives people straight advice with little

01:27:37.649 --> 01:27:40.689
euphemisms and funny little sayings and anecdotes that she

01:27:40.689 --> 01:27:44.369
learned, you know, Southern Southern know, people love it.

01:27:44.449 --> 01:27:46.689
And it becomes like a massive hit.

01:27:47.090 --> 01:27:48.770
But the problem is she doesn't she's not a doctor.

01:27:48.770 --> 01:27:49.489
She doesn't have a degree.

01:27:50.215 --> 01:27:52.215
And they want her to call herself Doctor.

01:27:52.215 --> 01:27:55.895
Shirley and pretend that she is a licensed psychologist, and sort

01:27:55.895 --> 01:27:58.935
of that's the plot of the film where she's pretending to be this

01:27:58.935 --> 01:28:01.735
person that she isn't and giving this advice, then there's a

01:28:01.735 --> 01:28:05.329
reporter that's kind of determined to unmask her and whatever

01:28:05.329 --> 01:28:05.569
else.

01:28:05.569 --> 01:28:08.289
So this this really reminded me of it because Mildred is sort of

01:28:08.289 --> 01:28:11.569
doing the same thing in the in the in the way that she delivers

01:28:11.569 --> 01:28:12.609
her advice on the radio.

01:28:12.609 --> 01:28:12.930
<v Speaker 3>Yeah.

01:28:12.930 --> 01:28:19.095
Well, the thing about Mildred is that when she's doing this this

01:28:19.095 --> 01:28:26.375
character here, she's obviously like her shtick is put downs and

01:28:26.375 --> 01:28:28.534
tells the guy, Get rid of him.

01:28:28.534 --> 01:28:28.854
<v Speaker 2>He's a shtick.

01:28:30.390 --> 01:28:31.829
<v Speaker 3>And people would listen to that.

01:28:31.829 --> 01:28:33.590
<v Eric>They don't care about the advice.

01:28:33.590 --> 01:28:35.590
<v Speaker 3>They're not gonna listen to that for the advice. No.

01:28:35.590 --> 01:28:38.630
They're gonna listen for the put downs because it's so fucking

01:28:38.710 --> 01:28:40.390
<v Sara>Well, that's that's what it is. Right?

01:28:40.390 --> 01:28:41.510
Like, that's why you're listening.

01:28:41.510 --> 01:28:43.909
So and and that's what's happening. We see Mildred in the studio.

01:28:44.494 --> 01:28:47.055
She introduces herself as doctor Krebs and tells the caller

01:28:47.055 --> 01:28:49.215
they're on the air, and a woman says she thinks her husband's

01:28:49.215 --> 01:28:51.215
playing around. Mildred says, how long have been married?

01:28:51.215 --> 01:28:54.975
28 years. Any children? 3. He's a louse.

01:28:54.975 --> 01:28:56.574
We can soak him for everything he's got.

01:28:59.600 --> 01:29:02.399
<v Eric>Yeah. Doris Roberts is so good in that. Just love it.

01:29:02.399 --> 01:29:03.439
She likes go with

01:29:03.439 --> 01:29:05.840
<v Sara>that collar, and then doctor Krabs, you on the air.

01:29:05.840 --> 01:29:08.720
And another woman says her boyfriend likes to sing his college

01:29:08.720 --> 01:29:09.920
fight songs

01:29:10.079 --> 01:29:11.520
<v Eric>while they make love.

01:29:13.275 --> 01:29:17.275
<v Sara>And I agree with Mildred. He's sick. Dump them. Yep. Yep.

01:29:17.275 --> 01:29:21.274
She drops the call, Frank Dix comes by and gives her a thumbs up.

01:29:21.275 --> 01:29:21.914
Right?

01:29:23.435 --> 01:29:27.050
And then back in the office, they're listening to Mildred on the

01:29:27.050 --> 01:29:28.249
radio, which is funny.

01:29:29.369 --> 01:29:31.449
But they're trying to get information off the computer and still

01:29:31.449 --> 01:29:34.489
complains that they're in they're there while she plays Sigmund

01:29:34.489 --> 01:29:35.929
Freud PI on the radio.

01:29:37.655 --> 01:29:40.935
Laura reminds him that he told her to spread her wings, remember?

01:29:40.935 --> 01:29:43.574
And he says, yes, but not at the expense of the agency.

01:29:43.815 --> 01:29:47.015
Wonders what happened to Mildred. Sweet, adoring, servile.

01:29:50.409 --> 01:29:53.609
And Laura flat out says she found out her boss is a fraud.

01:29:53.609 --> 01:29:54.090
Remember?

01:29:54.170 --> 01:29:57.609
<v Speaker 2>Right. Yep. Ouch.

01:29:58.010 --> 01:29:59.689
<v Eric>Yep. And

01:29:59.929 --> 01:30:03.929
<v Speaker 3>his response, sometimes the truth can be so unnecessary. Yeah.

01:30:03.929 --> 01:30:04.170
Right.

01:30:07.414 --> 01:30:09.895
<v Sara>Well, Laura tells him that she doesn't mean to inconvenience him,

01:30:09.895 --> 01:30:12.774
but they can they focus their background check on Doug West and

01:30:12.774 --> 01:30:14.215
steal leans over her shoulder.

01:30:14.454 --> 01:30:17.734
Mildred, meanwhile, is saying, sounds like money grubbing bimbo

01:30:17.734 --> 01:30:20.454
to me. Dump her. We start talking prenuptial agreement.

01:30:24.670 --> 01:30:26.590
<v Speaker 3>Oh, and then the next 1. Yeah.

01:30:26.590 --> 01:30:29.070
This would never be allowed to happen in a radio station.

01:30:29.070 --> 01:30:31.630
I'm sure, Steve, you can attest to that.

01:30:33.564 --> 01:30:35.164
<v Sara>Doctor Krabs, you're on the air.

01:30:35.164 --> 01:30:38.204
Man's voice on the other end says he's 50 years old.

01:30:38.204 --> 01:30:41.484
He owns a prosperous line of clothing stores, that he was widowed

01:30:41.484 --> 01:30:44.685
last year, and unfortunately, the only women that has shown

01:30:44.685 --> 01:30:47.324
interest in him are young things, only after his money.

01:30:48.119 --> 01:30:51.079
He wonders where to go to meet a mature woman who will look past

01:30:51.079 --> 01:30:52.840
his wealth and social status.

01:30:53.399 --> 01:30:55.960
<v Speaker 2>Yep. Kinda pushes the

01:30:55.960 --> 01:30:59.159
<v Eric>mic to side. Yeah. He's the new button. Yeah.

01:30:59.159 --> 01:31:00.119
Give me your number.

01:31:00.354 --> 01:31:02.274
<v Sara>Yeah. She hurriedly writes it down.

01:31:03.395 --> 01:31:05.795
Then she looks over at the window and the woman who does the news

01:31:05.795 --> 01:31:07.474
breaks gestures for her to cut.

01:31:08.114 --> 01:31:10.755
Mildred says, it's time for news break and she'll be back in 5,

01:31:10.755 --> 01:31:13.554
adding that Doctor Krebs is always in for you. Mhmm.

01:31:14.199 --> 01:31:14.920
<v Eric>Great show.

01:31:14.920 --> 01:31:15.399
<v Speaker 2>I But

01:31:15.399 --> 01:31:16.280
<v Eric>the best show in Yeah. The whole

01:31:17.479 --> 01:31:21.639
<v Sara>I I wanna listen to that station every day.

01:31:21.640 --> 01:31:24.679
That that that show, I would tune in for Doctor Krebs.

01:31:25.720 --> 01:31:28.680
The news report starts by talking about a a mall that had to

01:31:28.680 --> 01:31:29.640
close following a murder.

01:31:30.095 --> 01:31:32.895
Mildred looks up and she sees Norman Austin walk by.

01:31:32.895 --> 01:31:35.454
So she gets up and follows him out the door and down the hallway.

01:31:36.015 --> 01:31:38.975
She opens the door that she thinks he went into and sees him

01:31:38.975 --> 01:31:43.710
making out with Doug's widow. Why at work, man?

01:31:43.710 --> 01:31:46.590
What is wrong with you? Yeah. Like, who does this?

01:31:46.670 --> 01:31:47.869
<v Eric>Love is blind.

01:31:48.829 --> 01:31:51.309
<v Sara>Apparently, you stupid too. Yeah.

01:31:52.750 --> 01:31:55.710
<v Eric>Like, who does this? It reminds me of of an

01:31:55.710 --> 01:31:58.965
<v Speaker 3>episode of The Office where everybody's talking about it all the

01:31:58.965 --> 01:32:01.844
times and the places in the office that they've done it.

01:32:01.844 --> 01:32:05.925
And Pat and Pat and Jim are looking at each other and like, we

01:32:05.925 --> 01:32:08.324
haven't. And so they they go out.

01:32:08.324 --> 01:32:11.369
They have a, like, a 17 martini lunch.

01:32:11.369 --> 01:32:13.690
Come back and decide, well, we're gonna join the

01:32:13.690 --> 01:32:17.289
<v Speaker 2>crowd and do it too. Yeah.

01:32:19.449 --> 01:32:22.570
<v Sara>So, yeah, really weird that they I mean, did he call her up and

01:32:22.570 --> 01:32:25.175
say, like, come come to work? We

01:32:26.215 --> 01:32:29.654
<v Eric>Hey. Do a quickie here. I I'm I'm between shows here. Yeah.

01:32:29.654 --> 01:32:32.774
There's no way anybody from any detective agency is in this

01:32:32.774 --> 01:32:34.774
building right now undercover.

01:32:34.774 --> 01:32:36.774
It's a perfect place for us to share a quick embrace.

01:32:36.829 --> 01:32:37.710
<v Speaker 3>That's right.

01:32:37.710 --> 01:32:38.989
<v Sara>And not lock the door.

01:32:38.989 --> 01:32:39.949
<v Speaker 2>The door was open.

01:32:39.949 --> 01:32:42.829
<v Sara>He just opened it right up. So yeah.

01:32:43.069 --> 01:32:45.949
Back at the office, Mildred strides in telling Lauren Steele that

01:32:45.949 --> 01:32:48.670
she thinks she's got this 1 locks up locked up, and she's like,

01:32:48.670 --> 01:32:52.204
let's huddle. Lawrence Still kind a

01:32:52.204 --> 01:32:53.804
<v Eric>character from the radio show.

01:32:53.885 --> 01:32:55.244
<v Sara>Yeah. They're baffled.

01:32:55.244 --> 01:32:59.085
They follow her into his office, where Mildred proudly says, I

01:32:59.085 --> 01:33:02.604
think we've got our motive, and she sits down at his desk. Yeah.

01:33:04.099 --> 01:33:05.939
Letting it go to her head just a tad.

01:33:05.939 --> 01:33:07.859
She calls it the typical love triangle.

01:33:07.859 --> 01:33:10.500
Boy meets girl, girl is married, boy kills girl's husband so they

01:33:10.500 --> 01:33:12.899
can live happily ever after. Yeah.

01:33:12.899 --> 01:33:13.859
<v Speaker 3>Kinda works.

01:33:14.819 --> 01:33:18.135
<v Sara>Laura asks if they can assign names to these boys and girls, and

01:33:18.135 --> 01:33:20.774
Mildred tells her Norman Austin and Mrs. Doug West.

01:33:21.094 --> 01:33:23.574
Laura is shocked, and Mildred says that she caught them in the

01:33:23.574 --> 01:33:25.014
middle of a very hot embrace.

01:33:25.014 --> 01:33:27.734
Steele says, Body heat, and Mildred says, It certainly was.

01:33:27.734 --> 01:33:30.949
Steele says, Kathleen Turner, William Hurt, Warner Brothers,

01:33:30.949 --> 01:33:31.510
1981.

01:33:31.510 --> 01:33:33.510
He adds that it's about a man and a woman who plot to kill her

01:33:33.510 --> 01:33:35.109
husband to make it look like an accident.

01:33:35.350 --> 01:33:38.469
Mildred asks what they dug up and Steele says that it seems Mrs.

01:33:38.469 --> 01:33:41.270
West is the beneficiary of a very large life insurance policy.

01:33:41.945 --> 01:33:44.905
Mildred adds it could be a very nice windfall for a fading disc

01:33:44.905 --> 01:33:46.664
jockey facing forced retirement.

01:33:46.985 --> 01:33:49.625
And she has it she found out that Tyler and Austin are losing

01:33:49.625 --> 01:33:50.425
their audience.

01:33:50.585 --> 01:33:52.824
Steele tells her good work, but Laura points out that they're

01:33:52.824 --> 01:33:53.864
overlooking his alibi.

01:33:53.864 --> 01:33:56.185
She says that Norman Austin was on the air when the plane blew

01:33:56.185 --> 01:34:01.039
up. She heard him. Miller and Steele look puzzled by this.

01:34:01.039 --> 01:34:02.479
Can't figure that 1 out.

01:34:02.560 --> 01:34:06.719
So outside, they're walking around the fountain.

01:34:06.880 --> 01:34:08.720
Laura says it can't be Norman Austin.

01:34:08.720 --> 01:34:10.954
She's listened to him forever, and the only thing he's guilty of

01:34:10.954 --> 01:34:11.755
is making bad

01:34:11.755 --> 01:34:15.274
<v Speaker 2>jokes. Yeah. Yep.

01:34:15.514 --> 01:34:18.154
<v Sara>Yeah. That 1 is that one's definite.

01:34:18.154 --> 01:34:20.714
But that's when Steele says, adulthated theater.

01:34:20.715 --> 01:34:23.434
Laura's not following. He adds, they do all those silly voices.

01:34:23.434 --> 01:34:25.514
It's Tyler and Austin. They did it together.

01:34:26.650 --> 01:34:29.930
Laura says People Magazine has turned your mind to mush.

01:34:29.930 --> 01:34:32.570
He insists that he has something, but before he can say anything

01:34:32.570 --> 01:34:34.570
else, a car comes screeching around the fountain.

01:34:34.570 --> 01:34:36.329
They need to stay away from this fountain.

01:34:36.409 --> 01:34:36.650
<v Speaker 3>Yeah.

01:34:36.650 --> 01:34:39.610
I was gonna say they they've been forced to jump into it once

01:34:39.610 --> 01:34:39.850
before.

01:34:40.204 --> 01:34:42.364
<v Sara>Yeah. This is the second time it's happened.

01:34:42.444 --> 01:34:43.885
<v Eric>Yeah. So they need to

01:34:43.885 --> 01:34:47.885
<v Sara>just avoid this fountain or, like, you know, walk along the the

01:34:47.885 --> 01:34:49.005
top of it or something.

01:34:49.484 --> 01:34:52.045
<v Speaker 3>Doctor, every time I walk past this fountain, I get forced to

01:34:52.045 --> 01:34:53.725
jump into it. Well, stop walking past fountain.

01:34:53.725 --> 01:34:54.845
<v Eric>Stop walking fountain.

01:34:56.029 --> 01:34:59.869
<v Sara>The the look on Steele's face when he's grinning afterwards, it's

01:34:59.869 --> 01:35:01.550
just really goofy.

01:35:01.550 --> 01:35:02.429
<v Eric>It is. Yeah.

01:35:02.510 --> 01:35:04.829
And I love the little bit of business from Pierce Brosnan taking

01:35:04.829 --> 01:35:06.109
out the wet handkerchief and wiping

01:35:06.109 --> 01:35:07.550
<v Speaker 3>his face with it.

01:35:08.350 --> 01:35:10.265
<v Eric>I'm sure that he just came up with that.

01:35:10.345 --> 01:35:11.625
<v Sara>It's peak comedy.

01:35:11.625 --> 01:35:11.945
<v Eric>This is what

01:35:11.945 --> 01:35:12.505
<v Sara>I'm saying.

01:35:12.505 --> 01:35:15.945
Like, it's it's I saw an interview with him, and I'm he said this

01:35:15.945 --> 01:35:19.385
a few times in various interviews about how he lost Bond at this

01:35:19.385 --> 01:35:21.945
time and how when he got it 10 years later, he was more ready for

01:35:21.945 --> 01:35:25.369
the role because doing Remington Steele, Remington Steele was

01:35:25.369 --> 01:35:30.010
television, he hadn't done a lot of film at that point, and he he

01:35:30.010 --> 01:35:31.850
was primarily a comedic actor.

01:35:31.850 --> 01:35:33.530
Like, that was the role that he was doing.

01:35:33.530 --> 01:35:36.329
And yes, there there are some sort of Bond ish moments in this

01:35:36.329 --> 01:35:39.534
show, but a lot of it's physical comedy and it's very, very

01:35:39.534 --> 01:35:40.094
funny.

01:35:40.574 --> 01:35:43.614
So I can totally see where he's coming from, where he's looking

01:35:43.614 --> 01:35:46.975
back in hindsight and going, might he he might have come across

01:35:46.975 --> 01:35:49.810
less Sean Connery and more Roger Moore. You know?

01:35:49.810 --> 01:35:51.010
<v Eric>Yeah. I think so. Yeah.

01:35:51.010 --> 01:35:54.050
I mean, you can tell if he he obviously, Cary Grant was 1 of his

01:35:54.050 --> 01:35:57.329
role models, and he definitely was more in that lighter that

01:35:57.329 --> 01:35:59.090
lighter spirit. Yeah. Right.

01:35:59.090 --> 01:36:02.050
<v Sara>For sure. So but he's good. He's really good. Yeah.

01:36:02.050 --> 01:36:03.905
<v Eric>I I love those moments in that show.

01:36:03.905 --> 01:36:06.945
<v Sara>Yeah. Because Laura, why why why are you why are you grinning?

01:36:06.945 --> 01:36:08.625
Someone just tried to kill us. Exactly.

01:36:08.625 --> 01:36:10.305
We must be on the right track.

01:36:10.385 --> 01:36:11.664
<v Speaker 3>Yeah. He he is

01:36:11.664 --> 01:36:16.305
<v Eric>really grinning too. Yeah. Yeah. He's really like and then

01:36:16.305 --> 01:36:19.840
<v Sara>at his house, we see Norman Austin get up and go get into his car

01:36:19.840 --> 01:36:20.640
to go to work.

01:36:20.720 --> 01:36:23.520
The camera pans down showing us a flat tire, which he notices as

01:36:23.520 --> 01:36:24.480
he tries to back out.

01:36:24.480 --> 01:36:27.199
In the bushes, we see Mildred, and she looks real proud of

01:36:27.199 --> 01:36:27.840
herself.

01:36:28.159 --> 01:36:29.760
<v Speaker 2>Yep. Yep.

01:36:29.840 --> 01:36:32.480
<v Sara>And I thought I sort of feel bad for Norm here because he's

01:36:32.480 --> 01:36:35.774
actually on time. You know, he's trying to turn over a new leaf.

01:36:35.854 --> 01:36:35.935
Yeah.

01:36:35.935 --> 01:36:38.654
<v Eric>He promised it would be the last time he was late, and now this.

01:36:38.734 --> 01:36:39.534
<v Sara>Yeah.

01:36:39.534 --> 01:36:43.375
So at the station, we've got Steele and Laura walk in as the

01:36:43.375 --> 01:36:45.534
intro to Tyler and Austin's morning show plays.

01:36:45.534 --> 01:36:48.369
And I don't know about you, but nice sweater.

01:36:48.770 --> 01:36:49.729
<v Speaker 3>Yeah. I was gonna

01:36:49.729 --> 01:36:50.929
<v Speaker 2>say that. Yeah.

01:36:51.010 --> 01:36:54.130
<v Sara>I was gonna say some some sweater porn for Eric here.

01:36:54.130 --> 01:36:54.929
<v Speaker 3>That's right.

01:36:54.930 --> 01:36:56.050
<v Sara>Big fan of sweaters.

01:36:56.050 --> 01:36:56.529
<v Speaker 3>Right.

01:36:56.850 --> 01:36:59.585
<v Sara>I do always find it weird to see her, though, wearing wearing a a

01:36:59.569 --> 01:37:01.425
sweater sweater with, with, like, like, a a a business skirt

01:37:01.425 --> 01:37:03.344
because it always feels like a weird

01:37:03.744 --> 01:37:03.985
<v Speaker 2>Mhmm.

01:37:04.385 --> 01:37:05.104
<v Sara>Combination.

01:37:05.104 --> 01:37:08.385
That sweater looks like it would be more at home with, like, a

01:37:08.385 --> 01:37:09.744
pair of jeans. You know?

01:37:09.744 --> 01:37:11.850
<v Speaker 3>Yeah. Or slats. Yeah. Mhmm.

01:37:11.850 --> 01:37:15.130
<v Sara>The skirt kind of looks a little too dressy, and the sweater

01:37:15.130 --> 01:37:16.090
looks a little too casual.

01:37:16.090 --> 01:37:19.210
But I like from the top from the the waist up, it's it's a nice

01:37:19.210 --> 01:37:19.770
sweater.

01:37:21.210 --> 01:37:22.890
<v Eric>So Gotta say something. I

01:37:22.890 --> 01:37:23.530
<v Speaker 2>want Okay.

01:37:23.530 --> 01:37:26.294
<v Sara>Yep. That's not what I meant, and you know it, sir.

01:37:27.814 --> 01:37:29.335
Speaking about fashion.

01:37:29.335 --> 01:37:30.934
<v Eric>Save it for doctor Krebs.

01:37:31.175 --> 01:37:36.295
<v Sara>Save it for your doctor Ruth or the Sunday night sex show with

01:37:36.295 --> 01:37:40.300
Sue Johansson, which you can still find clips of that on YouTube.

01:37:40.779 --> 01:37:41.739
<v Speaker 3>Oh, really? Okay.

01:37:41.739 --> 01:37:42.300
<v Sara>Yeah.

01:37:42.779 --> 01:37:45.739
So we hear Norman introduce himself along with Bud Tyler and his

01:37:45.739 --> 01:37:49.340
staggering statistic, quote unquote, Norm claims that there's a

01:37:49.340 --> 01:37:52.219
woman giving birth every 1 and a half seconds, and Bud replies,

01:37:52.219 --> 01:37:57.194
loose woman. No. Oh, that's terrible.

01:37:57.194 --> 01:38:00.154
<v Eric>Yeah. This station's desperate. They're doing whatever they can.

01:38:00.154 --> 01:38:01.194
<v Sara>They really are.

01:38:01.435 --> 01:38:03.755
Laura and Steele arrive at the door to the studio,

01:38:03.835 --> 01:38:05.114
<v Eric>and, again, they just walk in.

01:38:05.779 --> 01:38:06.180
<v Speaker 3>Yeah.

01:38:06.180 --> 01:38:07.779
<v Eric>Sure. Apparently apparently, you can do

01:38:07.779 --> 01:38:09.699
<v Sara>that when somebody's live on the air.

01:38:09.699 --> 01:38:10.739
<v Eric>Can they do that?

01:38:10.899 --> 01:38:14.260
Can you I mean, typically typically, you wouldn't even get that

01:38:14.260 --> 01:38:14.579
far.

01:38:14.579 --> 01:38:17.300
You wouldn't even get into the building without being buzzed in

01:38:17.300 --> 01:38:17.779
by somebody.

01:38:18.945 --> 01:38:23.425
<v Speaker 3>Well, when does the door to the studio itself, the actual I don't

01:38:23.425 --> 01:38:24.864
understand you. Wouldn't it be locked?

01:38:24.864 --> 01:38:27.265
<v Eric>No. Those usually aren't locked. Yeah. Okay. Yeah.

01:38:27.265 --> 01:38:29.664
Usually, the usually, the on air light is enough to keep people

01:38:29.664 --> 01:38:30.304
out of it.

01:38:30.465 --> 01:38:31.024
<v Speaker 3>Not them.

01:38:31.579 --> 01:38:32.539
<v Speaker 2>Not them.

01:38:32.539 --> 01:38:33.579
<v Sara>No. Yeah.

01:38:33.579 --> 01:38:38.460
Because we see Bud, obviously, just sitting there, and Bud is

01:38:38.460 --> 01:38:41.340
pretending to be both once again.

01:38:41.739 --> 01:38:43.500
He says he got some sushi last night.

01:38:43.574 --> 01:38:45.414
Then as Norm, he says, did you like it?

01:38:45.414 --> 01:38:48.215
Then as Bud, he says, he doesn't know, but he got it home and

01:38:48.215 --> 01:38:49.654
cooked it. It wasn't half bad.

01:38:50.375 --> 01:38:52.295
<v Speaker 3>I've always said that about sushi.

01:38:52.534 --> 01:38:53.895
<v Eric>Yeah. Well, I mean, it

01:38:54.775 --> 01:38:57.654
<v Sara>this is 1 of those common misconceptions. It's not always raw.

01:38:57.655 --> 01:38:58.534
Right. Yeah.

01:38:58.680 --> 01:39:01.400
There's a lot of like, California rolls are just vegetables.

01:39:01.400 --> 01:39:04.840
Mhmm. It's literally just the roll of stuff in

01:39:04.840 --> 01:39:07.960
<v Eric>rice. Something like that in there that's not technically raw.

01:39:07.960 --> 01:39:09.960
<v Sara>Sashimi. I think sashimi is always raw.

01:39:09.960 --> 01:39:12.784
I think that's the 1 that's, like and it's, like, on top of the

01:39:12.784 --> 01:39:16.144
rice. But, anyway, that's really not relevant.

01:39:17.264 --> 01:39:18.864
<v Eric>That's the other cooking show.

01:39:18.944 --> 01:39:20.944
<v Sara>Yeah. That's the real the real cooking show.

01:39:20.944 --> 01:39:23.024
Do not put that up anywhere either.

01:39:23.024 --> 01:39:25.024
Like, don't put don't do that.

01:39:25.024 --> 01:39:25.824
<v Speaker 3>I don't know.

01:39:25.824 --> 01:39:29.960
We're talking I was gonna say we're talking meat, but okay.

01:39:29.960 --> 01:39:31.479
<v Eric>You definitely no. You don't wanna no.

01:39:31.479 --> 01:39:34.520
This is you definitely go to the ER for that. Yeah.

01:39:36.600 --> 01:39:37.319
<v Sara>Oh, that's yeah.

01:39:37.319 --> 01:39:42.145
So Steele says, slick operation, and he looks that's where he

01:39:42.145 --> 01:39:43.904
looks up and he sees Steele, he's horrified.

01:39:43.904 --> 01:39:46.385
He asked how long he's been there, and Steele says, long enough.

01:39:46.784 --> 01:39:49.585
And Bud frantically throws it over to traffic, which if they

01:39:49.585 --> 01:39:52.944
weren't expecting to do a traffic report, what would they do?

01:39:53.104 --> 01:39:53.744
<v Eric>No. Yeah.

01:39:53.744 --> 01:39:55.904
There's there's quite a few moments in that scene that are not

01:39:56.149 --> 01:39:58.550
realistic. I mean, the the show would go on.

01:39:58.550 --> 01:40:01.829
He would ignore the guys in the studio probably and just keep

01:40:01.829 --> 01:40:02.709
doing the show.

01:40:03.109 --> 01:40:05.989
<v Sara>And I'm guessing if Seal is not anywhere near to Mike, probably

01:40:05.989 --> 01:40:08.550
wouldn't would would anybody hear it?

01:40:08.625 --> 01:40:08.864
<v Speaker 2>Or

01:40:09.024 --> 01:40:09.345
<v Eric>No.

01:40:09.345 --> 01:40:11.904
I mean, not I don't know back in those days how common mic

01:40:11.904 --> 01:40:14.784
processors were, but, yeah, today, you gotta be right on the mic.

01:40:14.784 --> 01:40:17.185
Anything that's anybody talking in the background, you're not

01:40:17.185 --> 01:40:18.145
gonna hear them at all.

01:40:18.465 --> 01:40:19.024
<v Sara>Yeah.

01:40:19.024 --> 01:40:22.145
So as he throws it over to traffic, Steele says, Norman didn't

01:40:22.145 --> 01:40:24.064
come in yesterday, did he? And Bud says, no.

01:40:24.569 --> 01:40:27.449
And Steele asks if he covered for him. Bud admits that he didn't.

01:40:27.449 --> 01:40:29.609
He goes back on the air telling people to stay off the freeways

01:40:29.609 --> 01:40:30.569
and stay in bed.

01:40:30.810 --> 01:40:33.289
And then he says, here come the hits, just as Norm walks in,

01:40:33.289 --> 01:40:35.689
which is kind of funny because, you know, they're kind of getting

01:40:35.689 --> 01:40:37.050
hit with, like Right.

01:40:38.810 --> 01:40:41.715
He turns to Norm telling him he's glad he's here and asking, what

01:40:41.715 --> 01:40:43.795
is he gonna do? Norm says, play the record, bud. Play the

01:40:43.795 --> 01:40:44.994
<v Speaker 3>record, bud. Yeah.

01:40:45.555 --> 01:40:48.675
<v Eric>I do like that 1. Yeah. That's a good 1. That's a good 1.

01:40:48.675 --> 01:40:50.675
He plays the There's another 1 where the music was changed.

01:40:50.675 --> 01:40:52.114
It was Help Me Rhonda originally.

01:40:52.890 --> 01:40:55.449
<v Sara>Which okay. I mean, I love the Beach Boys.

01:40:55.449 --> 01:40:58.810
It would have been nice to have kept that. Just saying. Yep.

01:40:59.210 --> 01:41:00.729
<v Speaker 3>That would have been expensive.

01:41:01.130 --> 01:41:02.489
<v Eric>True. Probably so.

01:41:02.489 --> 01:41:05.604
<v Sara>Yeah. Yeah. Because they were still putting out. I had Well, they

01:41:05.764 --> 01:41:07.764
<v Eric>Oh, they had them done completely. They're still doing it now.

01:41:07.844 --> 01:41:08.484
Still to come.

01:41:08.484 --> 01:41:09.764
<v Speaker 3>Yeah. They were doing

01:41:09.764 --> 01:41:12.164
<v Eric>that too, but that yeah. They were making music also.

01:41:12.404 --> 01:41:14.965
<v Speaker 3>Well, the beat it's the Beach Boys. You know?

01:41:14.965 --> 01:41:16.645
That's that's like the Beatles.

01:41:16.645 --> 01:41:21.310
You you don't it doesn't matter how old their hit was at this

01:41:21.310 --> 01:41:24.270
time, which would have been, like, 20 plus years.

01:41:24.270 --> 01:41:25.710
<v Eric>Yeah. They're still selling records.

01:41:25.949 --> 01:41:29.789
<v Speaker 3>It would have still cost a fortune because it's the Beach Boys.

01:41:29.789 --> 01:41:30.030
Mhmm.

01:41:30.465 --> 01:41:32.144
<v Sara>I love the Beach Boys.

01:41:32.625 --> 01:41:34.624
<v Eric>Yeah. Anyway, so

01:41:35.104 --> 01:41:39.425
<v Speaker 3>I the best best song they ever did was 1 where they had a guest

01:41:39.425 --> 01:41:41.984
lead vocalist, John Stamos, forever.

01:41:42.064 --> 01:41:42.944
<v Eric>Love that song.

01:41:43.739 --> 01:41:44.780
<v Sara>Love that song.

01:41:44.780 --> 01:41:47.500
<v Speaker 3>An album that the Beach Boys have disowned.

01:41:47.900 --> 01:41:48.140
<v Eric>Yeah.

01:41:48.140 --> 01:41:50.539
Because it was all just Mike Love by himself, basically, doing

01:41:50.539 --> 01:41:51.100
the thing.

01:41:51.100 --> 01:41:51.500
<v Speaker 2>I mean, it

01:41:51.500 --> 01:41:54.860
<v Eric>was it was his Kokomo 2, basically. Well, but this is the

01:41:54.860 --> 01:41:58.414
<v Sara>thing about Kokomo 2 is that that that album that they put Kokomo

01:41:58.414 --> 01:42:01.614
on, they didn't they've they've that's out of circulation as well

01:42:01.694 --> 01:42:05.055
because that song was for the movie Cocktail. Mhmm.

01:42:05.055 --> 01:42:07.854
And basically, the the record company said, okay, you gotta put

01:42:07.854 --> 01:42:09.135
out an album to go with it.

01:42:09.135 --> 01:42:12.520
And they had a bunch of songs that they had some older songs they

01:42:12.520 --> 01:42:13.479
threw on that record.

01:42:13.479 --> 01:42:16.199
They wrote a few new ones or just ones they had not used in

01:42:16.199 --> 01:42:18.520
previous albums, and they put out Still Cruisin', which is the

01:42:18.520 --> 01:42:21.800
first album I ever purchased. Yeah. Like, ever.

01:42:21.800 --> 01:42:22.199
<v Eric>Bought it.

01:42:22.199 --> 01:42:25.175
That was that was to capitalize on how how big of a hit Kokomo

01:42:25.175 --> 01:42:25.335
is.

01:42:25.335 --> 01:42:27.814
<v Sara>Yeah. Yeah. Kokomo was massive. So I bought that album.

01:42:27.814 --> 01:42:31.175
And to this day, my favorite Beach Boys song was the tie between

01:42:31.175 --> 01:42:34.694
Kokomo and 1 of the other songs on the album, which never became

01:42:34.694 --> 01:42:37.175
a hit in any measurable way, but it was called Somewhere Near

01:42:37.175 --> 01:42:40.039
Japan. And it's just an absolutely gorgeous song.

01:42:40.039 --> 01:42:41.719
You can still find if you look at, like, YouTube.

01:42:41.719 --> 01:42:44.359
Eric sent me a link of all the songs. It's a beautiful song.

01:42:45.000 --> 01:42:49.239
And I love the album, and I eventually managed to get a record

01:42:49.239 --> 01:42:52.244
copy of it. I have it on tape, but tapes don't last forever.

01:42:52.244 --> 01:42:53.364
<v Speaker 2>Right. Yeah. Yeah.

01:42:53.364 --> 01:42:57.204
<v Sara>Although, my Dolly Parton Christmas album that I had as a kid is

01:42:57.204 --> 01:42:57.925
still going strong.

01:42:57.925 --> 01:42:58.085
<v Speaker 2>So

01:42:58.164 --> 01:42:59.685
<v Eric>High quality cassette then. That's good.

01:42:59.685 --> 01:43:00.085
<v Sara>It is.

01:43:00.085 --> 01:43:02.645
Because we we we play it every year when we put up our Christmas

01:43:02.645 --> 01:43:05.239
tree, and and it still still sounds good. So You

01:43:05.239 --> 01:43:07.000
<v Eric>remember the album that you're talking about, Eric?

01:43:07.000 --> 01:43:08.920
What's the what was the name of the 1 that they don't like to

01:43:08.920 --> 01:43:09.239
admit?

01:43:09.239 --> 01:43:09.640
<v Speaker 3>Summer in

01:43:09.640 --> 01:43:11.239
<v Eric>paradise. Summer in paradise. That's right.

01:43:11.239 --> 01:43:13.479
<v Speaker 3>Which I have a copy of.

01:43:13.640 --> 01:43:17.079
<v Sara>Yeah. And Still Cruising is also out of print. So there's 2 they

01:43:17.319 --> 01:43:20.944
<v Speaker 3>There there's there's something you go to eBay for.

01:43:21.345 --> 01:43:23.185
<v Sara>Or, like, there's a a record store.

01:43:23.185 --> 01:43:25.905
Actually, in my case, they ordered it from, like, Australia or

01:43:25.905 --> 01:43:26.784
something, and I paid

01:43:26.944 --> 01:43:27.185
<v Speaker 2>Oh, yeah.

01:43:27.265 --> 01:43:31.024
<v Sara>$70 for, like, the vinyl copy of it because a vinyl record will

01:43:31.104 --> 01:43:33.905
if it's cared for, will last a lot longer than a tape cassette.

01:43:33.905 --> 01:43:38.439
So I now have it on tape and on vinyl, but yes.

01:43:38.440 --> 01:43:39.400
Love the beach blues.

01:43:39.400 --> 01:43:43.400
Anyways, so he he flicks the switch and music starts, then Laura

01:43:43.400 --> 01:43:46.840
says she didn't want to believe it. And Norm says, believe what?

01:43:46.840 --> 01:43:48.440
And Laura says, you and missus West.

01:43:48.765 --> 01:43:51.645
Norm asks if adultery is such a killer in this day and age.

01:43:51.645 --> 01:43:53.005
Bad choice of words,

01:43:53.005 --> 01:43:53.725
<v Speaker 2>my friend. Really?

01:43:55.324 --> 01:43:55.965
<v Eric>Yeah.

01:43:56.524 --> 01:43:58.765
<v Sara>Steele adds that they know about the life insurance, and he says

01:43:58.765 --> 01:44:01.085
it's very clever to have people hear him on the air while he's

01:44:01.085 --> 01:44:02.604
out there disposing of Doug West's body.

01:44:03.109 --> 01:44:05.750
Laura adds it, very fortunate that he has a talented partner who

01:44:05.750 --> 01:44:06.869
can imitate his voice.

01:44:06.869 --> 01:44:09.270
Norm realizes what they're getting at, and he says, now wait a

01:44:09.270 --> 01:44:10.949
minute. But Bud

01:44:12.469 --> 01:44:14.069
<v Speaker 3>Love this. I love this.

01:44:14.069 --> 01:44:14.469
<v Speaker 2>This is

01:44:14.469 --> 01:44:15.109
<v Eric>how you know he's

01:44:15.109 --> 01:44:16.309
<v Sara>not cut out to be in prison.

01:44:16.309 --> 01:44:19.135
<v Eric>I confess. I confess. He did it.

01:44:20.655 --> 01:44:21.695
<v Speaker 3>He just took a

01:44:21.614 --> 01:44:22.814
<v Eric>of cracks. Yeah.

01:44:22.895 --> 01:44:24.574
<v Speaker 3>Hopefully to throw him under the bus.

01:44:24.574 --> 01:44:26.095
<v Sara>Cracks like an egg.

01:44:26.095 --> 01:44:28.895
Norm is horrified, and but adds, he did all he could.

01:44:28.895 --> 01:44:30.975
She wasn't worth it. She wasn't worth it.

01:44:36.840 --> 01:44:40.119
Norman tells Buddy he's finally got crazy and still asks where he

01:44:40.119 --> 01:44:42.439
was yesterday morning. Norman admits he was with Marsha.

01:44:42.439 --> 01:44:44.199
And Laura asks if anyone else saw him.

01:44:44.199 --> 01:44:48.175
And he says, of course not. A woman's honor is at stake. I

01:44:49.375 --> 01:44:49.614
<v Eric>mean

01:44:49.935 --> 01:44:51.374
<v Speaker 3>Yeah. I suppose.

01:44:52.574 --> 01:44:56.494
<v Sara>What honor at this point? Your honor. Your honor.

01:44:56.494 --> 01:44:59.375
I was with the you know? That's what he's gonna be saying.

01:45:00.779 --> 01:45:03.500
But Steele, under his breath, asked Alora if 2 killers can help

01:45:03.500 --> 01:45:04.859
each other. Yeah.

01:45:06.779 --> 01:45:09.420
Norm puts his headphones back on and says, I did not kill Doug

01:45:09.420 --> 01:45:13.579
West. Bud is whimpering now. Norm tells him to stop blubbering.

01:45:14.564 --> 01:45:17.364
Steel asked if he's gonna deny trying to run them down last night

01:45:17.364 --> 01:45:19.845
with his car, and Norm tells him that last night he was at the

01:45:19.845 --> 01:45:21.284
lodge meeting, and they can check that out.

01:45:21.284 --> 01:45:23.444
I'm assuming he means the Masonic lodge.

01:45:23.444 --> 01:45:24.085
<v Eric>Tom says it.

01:45:24.085 --> 01:45:27.524
<v Speaker 3>Yeah. Yeah. Moose, elts, shriners.

01:45:27.979 --> 01:45:29.819
<v Eric>Water buffalo. Water buffalo.

01:45:29.819 --> 01:45:31.499
Was just gonna say, like, water buffalo.

01:45:31.659 --> 01:45:33.739
We mentioned the Grand Pooh bah earlier. So

01:45:35.500 --> 01:45:36.460
<v Sara>No, ma'am.

01:45:36.779 --> 01:45:39.899
National Organization of Men Against Amazonian Masterhood.

01:45:40.939 --> 01:45:43.534
Anyway, married with children fans, Look at that 1. But yeah.

01:45:45.135 --> 01:45:47.854
Yeah. So he was at the lodge, and he can check that 1 out.

01:45:47.854 --> 01:45:50.814
And Bud stands up. Again, I drove the car.

01:45:51.054 --> 01:45:53.054
<v Eric>Yeah. He stands up to say it too.

01:45:53.054 --> 01:45:55.534
<v Sara>They're not even questioning him. Like, he's terrible

01:45:55.534 --> 01:45:56.574
<v Eric>at this. Yeah.

01:45:59.059 --> 01:46:02.260
<v Sara>Norm is horrified, and he admits that he wanted to protect him by

01:46:02.260 --> 01:46:03.059
scaring them off.

01:46:03.059 --> 01:46:07.059
He tells Norm that he should have confided in him as he cares

01:46:07.059 --> 01:46:09.139
more about him than Marsha West ever could.

01:46:09.219 --> 01:46:13.314
Is is Butt in to Norm? Is is this an unrequited thing?

01:46:13.314 --> 01:46:13.474
<v Speaker 3>And I

01:46:13.474 --> 01:46:16.114
<v Sara>don't mean I don't mean that as a joke, but I'm I'm genuinely

01:46:16.114 --> 01:46:17.875
wondering, like, is this meant to be like a

01:46:18.034 --> 01:46:19.635
<v Speaker 3>I think it's a brother relationship.

01:46:19.635 --> 01:46:20.675
<v Eric>Yeah. They're partners.

01:46:20.675 --> 01:46:22.594
They've been doing this show for who knows how long.

01:46:22.594 --> 01:46:23.234
<v Sara>Okay.

01:46:23.314 --> 01:46:27.569
<v Speaker 3>They probably started back together working, like, comedy gigs

01:46:27.569 --> 01:46:29.489
before they even got the radio gig. You know?

01:46:29.489 --> 01:46:32.210
<v Eric>They probably made tapes in, like, their childhood basements and

01:46:32.449 --> 01:46:33.329
<v Sara>Yeah. Okay.

01:46:33.329 --> 01:46:35.489
<v Speaker 2>Very That's

01:46:35.489 --> 01:46:36.769
<v Eric>how I got into radio.

01:46:37.250 --> 01:46:40.354
<v Speaker 3>Yeah. They've they've been buddies since they were kids. Yeah.

01:46:40.435 --> 01:46:41.875
<v Sara>I I had to do I don't know.

01:46:41.875 --> 01:46:44.354
I probably mentioned this when when we did our other show, but

01:46:44.354 --> 01:46:48.034
for 1 a a course that I took in high school, we had to do an an a

01:46:48.034 --> 01:46:50.994
radio station, and we made ours as if we were in outer space and

01:46:50.994 --> 01:46:52.194
we were aliens and all of

01:46:52.194 --> 01:46:53.954
<v Eric>our Yeah. I think you did mention that. Yeah.

01:46:53.954 --> 01:46:56.210
I don't know if that was on the original 1 or the redo.

01:46:56.449 --> 01:46:58.050
<v Sara>It might have been the redo. I don't, yeah, I

01:46:58.050 --> 01:46:58.610
<v Speaker 3>don't know if which

01:46:58.610 --> 01:47:01.250
<v Speaker 2>1 it was on. But yeah. Happened in the first take. Yeah.

01:47:01.250 --> 01:47:02.050
The other 1.

01:47:02.289 --> 01:47:03.890
<v Sara>But I still have that tape somewhere.

01:47:03.890 --> 01:47:05.810
I still have it, and it still plays.

01:47:05.810 --> 01:47:07.570
So that's kinda funny when I listen to it.

01:47:07.570 --> 01:47:11.224
I'm like, this is really bad, but not as bad as the KROTDJs, I

01:47:11.224 --> 01:47:14.744
have to say. Still still better than Tylenol.

01:47:14.744 --> 01:47:17.385
<v Speaker 3>Yeah. You'd have to really work hard to be that bad.

01:47:18.264 --> 01:47:18.824
<v Speaker 2>Can see why

01:47:18.824 --> 01:47:19.625
<v Eric>they're losing audience.

01:47:19.625 --> 01:47:21.944
I mean, there's gotta be better stations in that market.

01:47:22.104 --> 01:47:22.505
<v Sara>Right?

01:47:23.680 --> 01:47:26.640
Norm tells him that his compassion's gonna get them both put

01:47:26.640 --> 01:47:27.199
away.

01:47:28.159 --> 01:47:31.039
Laura tells him not to say anything else until they're Laura is

01:47:31.039 --> 01:47:33.439
the 1 saying, guys, you're gonna wanna shut up here.

01:47:34.319 --> 01:47:36.079
<v Eric>The more you're talking, the worse this is.

01:47:36.079 --> 01:47:38.079
<v Sara>No. Like, until your lawyer gets here.

01:47:39.104 --> 01:47:42.224
And Bud, pleadingly, can we at least finish our show?

01:47:44.944 --> 01:47:49.984
Oh, poor guy. We switch Yeah. Over I know.

01:47:49.984 --> 01:47:52.864
We switch over to Steel's apartment, and we see Steel, Laura, and

01:47:52.864 --> 01:47:55.170
Mildred. They're all in fancy evening wear.

01:47:55.170 --> 01:47:56.610
We've got Steel in a tux.

01:47:56.610 --> 01:47:58.930
<v Speaker 3>Lots of photography equipment. You have Frozen.

01:47:58.930 --> 01:48:00.289
<v Eric>Oh, I'm still here.

01:48:00.289 --> 01:48:01.729
<v Speaker 3>You you it's Frozen.

01:48:02.130 --> 01:48:05.890
<v Eric>I'm still here. Frozen. Frozen. Frozen. Frozen.

01:48:05.970 --> 01:48:07.010
<v Speaker 3>Welcome back.

01:48:07.329 --> 01:48:10.324
<v Eric>Oh. 0. You are you're fading back into view.

01:48:10.324 --> 01:48:14.725
<v Sara>That is so weird because it oh, it's saying a recording error on

01:48:14.725 --> 01:48:15.925
my thing down here.

01:48:15.925 --> 01:48:17.925
<v Speaker 3>So Oh, that's not good.

01:48:18.164 --> 01:48:20.164
<v Eric>That is not good. Sound good. No.

01:48:20.164 --> 01:48:24.159
<v Sara>No. Yikes. Hopefully, that

01:48:24.159 --> 01:48:26.000
<v Eric>doesn't we've got your

01:48:26.880 --> 01:48:29.279
<v Speaker 3>we've got your Roadcaster, so hopefully that will

01:48:29.520 --> 01:48:34.000
<v Sara>and I've got the Windows 1 too. So Okay. Yeah. We're covered.

01:48:35.805 --> 01:48:37.645
Sorry. I didn't do it.

01:48:38.685 --> 01:48:40.925
<v Speaker 3>You're still free you're still doing the robot.

01:48:40.925 --> 01:48:41.805
The the bits of the the

01:48:41.805 --> 01:48:43.484
<v Eric>the the the the Totally with us.

01:48:43.645 --> 01:48:45.725
<v Speaker 3>Yeah. You're doing the shields in Yarnell.

01:48:46.364 --> 01:48:46.925
<v Eric>Oh, no.

01:48:47.340 --> 01:48:50.300
<v Sara>Oh, no. I'm I'm I'm trying to come back. Am I back yet?

01:48:50.380 --> 01:48:52.779
<v Eric>This is worse than the Tyler and Austin morning show.

01:48:52.779 --> 01:48:57.979
<v Speaker 3>You're back. You're back. You're absolutely back.

01:48:57.979 --> 01:48:59.260
<v Eric>I think you're here now. Yeah.

01:48:59.435 --> 01:48:59.994
<v Speaker 2>Okay.

01:48:59.994 --> 01:49:03.755
<v Sara>Okay. So we like I said, we're in Steel's apartment.

01:49:03.755 --> 01:49:04.875
They're all on their evening wear.

01:49:04.875 --> 01:49:07.274
There's photography equipment as well as Leon.

01:49:07.274 --> 01:49:10.234
He obviously this is the photoshoot for people.

01:49:10.234 --> 01:49:13.020
Steel is standing by the window, and Leon tells him the pose is

01:49:13.020 --> 01:49:14.699
perfect. He hands him a pipe.

01:49:14.699 --> 01:49:18.059
Laura and Mildred are on the couch, and they look real bored. Can

01:49:18.939 --> 01:49:26.274
<v Speaker 3>I say, I hate it when they glam her up? Her hair is horrible.

01:49:26.274 --> 01:49:27.795
That necklace is horrible.

01:49:27.795 --> 01:49:31.314
The only good thing there is the dress. I mean, it's just yeah.

01:49:31.875 --> 01:49:32.114
<v Speaker 2>Yeah. Yeah.

01:49:32.114 --> 01:49:33.074
<v Speaker 3>I'm sorry.

01:49:33.475 --> 01:49:36.515
<v Sara>There's a couple of scenes in this episode where her hair is is

01:49:36.515 --> 01:49:40.560
is too done up, and it's like in that really poofy teased

01:49:40.560 --> 01:49:43.840
eighties, like, they killed the ozone layer with hairspray type

01:49:43.840 --> 01:49:45.359
look. And I agree.

01:49:45.359 --> 01:49:48.159
It's it's when it's that big, it's it's not Laura.

01:49:48.159 --> 01:49:50.159
It doesn't really I can see why they

01:49:50.079 --> 01:49:51.840
<v Speaker 3>necklace and the earrings aren't aren't

01:49:51.760 --> 01:49:53.039
<v Eric>that that could be part of it.

01:49:53.039 --> 01:49:56.284
Like, like, she doesn't she obviously is not in the moment there,

01:49:56.284 --> 01:49:59.484
and maybe it's Well, we doll you up for the cover, baby.

01:49:59.484 --> 01:50:02.124
You know, that kind of thing, she's technically against it.

01:50:02.364 --> 01:50:03.005
<v Sara>Would make sense.

01:50:03.005 --> 01:50:05.965
It would make sense too for a photo cover to have her in.

01:50:05.965 --> 01:50:06.925
<v Eric>You're not trying the pipe.

01:50:06.925 --> 01:50:08.444
I mean, he's obviously kind of like, no.

01:50:09.039 --> 01:50:12.000
<v Speaker 3>Yeah. He has to. Now slide in here, Laura.

01:50:12.399 --> 01:50:15.119
<v Sara>And she doesn't even hear him. She's, like, in thought.

01:50:15.199 --> 01:50:17.119
He asks her again. She still doesn't respond.

01:50:17.119 --> 01:50:19.039
Mildred jumps up eagerly, so she's ready.

01:50:19.039 --> 01:50:21.039
But Leon, in a minute, sweetheart, in a minute.

01:50:21.564 --> 01:50:23.804
A blonde woman with a microphone approaches Lauren and tells her

01:50:23.804 --> 01:50:25.804
that their readers would like to know what it's like to work with

01:50:25.804 --> 01:50:29.005
such a brilliant, sexy man as Remington Steele. She looks at her

01:50:29.164 --> 01:50:31.404
<v Eric>That's what she was gonna do on the original interview, like Eric

01:50:31.404 --> 01:50:33.004
was saying. That's that was Yeah.

01:50:32.764 --> 01:50:34.125
Stuff they were trying to get originally.

01:50:34.470 --> 01:50:37.670
<v Sara>What's funny is that she looks over at Steele and he grins and

01:50:37.670 --> 01:50:40.550
she's, excuse me. She just goes into the bed.

01:50:40.550 --> 01:50:43.109
She doesn't even look at the woman. She's just like, gone.

01:50:43.590 --> 01:50:46.630
Leanne's like, she's obviously overcome.

01:50:46.869 --> 01:50:51.545
<v Speaker 3>It's almost as if this is the final straw that they've had some

01:50:51.545 --> 01:50:57.625
sort of a argument or there's been some issue before this, and

01:50:57.625 --> 01:51:00.505
she's already been in a bad mood and now she's having to deal

01:51:00.505 --> 01:51:02.744
with this. That's that's kind of the way it comes off.

01:51:02.905 --> 01:51:05.229
<v Sara>You kinda wonder if there was, like, a scene cut or something

01:51:05.229 --> 01:51:08.109
like that because I mean, I get that she's upset about Tyler and

01:51:08.109 --> 01:51:11.949
Austin, but it it seems to go from, like, 0 to a 100. Yeah.

01:51:11.949 --> 01:51:14.189
Because she she wanted this people cover too.

01:51:14.189 --> 01:51:16.430
This would be really good press Yeah. Yeah. For the

01:51:18.094 --> 01:51:20.015
<v Eric>Yeah. She's totally not into the moment there, though.

01:51:20.015 --> 01:51:22.255
She's she would rather be anywhere about where she is right

01:51:22.255 --> 01:51:23.614
there. Yes. So

01:51:23.614 --> 01:51:26.175
<v Sara>he she's she leaves, and the phone rings.

01:51:26.175 --> 01:51:28.734
Mildred answers by saying, Remington Steele soon to be on

01:51:28.734 --> 01:51:29.854
newsstands everywhere.

01:51:29.854 --> 01:51:30.335
<v Speaker 2>I know.

01:51:30.335 --> 01:51:30.975
<v Speaker 3>Like, she had to

01:51:30.975 --> 01:51:33.279
<v Eric>answer his phone that way. I know. Right?

01:51:33.279 --> 01:51:35.760
So Was that his idea or hers?

01:51:36.079 --> 01:51:36.640
<v Sara>I I

01:51:39.039 --> 01:51:40.800
<v Speaker 3>Probably hers, slightly sarcastic.

01:51:40.800 --> 01:51:42.559
<v Eric>Yeah. He

01:51:43.600 --> 01:51:45.039
<v Sara>gets up and he goes after Laura.

01:51:45.039 --> 01:51:46.854
She's in the bedroom looking upset.

01:51:46.854 --> 01:51:49.414
He tries to get her attention and she says sadly, I can't believe

01:51:49.414 --> 01:51:50.295
they did it.

01:51:50.854 --> 01:51:53.494
And Steele points out that as with the Atomic Man case, where

01:51:53.494 --> 01:51:55.975
celebrities are concerned, real life can be a cruel distortion of

01:51:55.975 --> 01:51:57.895
the truth. Except Atomic Man was innocent.

01:51:58.270 --> 01:51:58.989
<v Speaker 3>Mhmm. Yeah.

01:51:58.989 --> 01:52:02.429
<v Sara>So kind of, like, the right parallel, I guess.

01:52:02.590 --> 01:52:04.109
<v Eric>No. No.

01:52:04.109 --> 01:52:06.189
But I guess in that episode, it wasn't kinda like, you know, she

01:52:06.189 --> 01:52:08.750
kind of idolized him, and he was just like this ordinary kinda

01:52:08.750 --> 01:52:09.469
guy and

01:52:09.469 --> 01:52:10.109
<v Speaker 3>kinda yeah.

01:52:10.109 --> 01:52:10.670
<v Eric>Shattered that

01:52:10.670 --> 01:52:11.869
<v Speaker 3>in that sense. Yes.

01:52:12.395 --> 01:52:13.914
<v Sara>Laura, she even agrees.

01:52:13.914 --> 01:52:16.154
She says she thought they were bright and upbeat guys, but

01:52:16.154 --> 01:52:18.954
they're just a pair of over the hill disk chucking.

01:52:18.954 --> 01:52:21.594
<v Eric>They work in radio automatically. Ouch.

01:52:21.994 --> 01:52:23.914
Their standards are way too high already.

01:52:23.914 --> 01:52:25.435
They're ready to take me on TV.

01:52:25.989 --> 01:52:28.630
<v Sara>I thought they were really fun and and smart, but no.

01:52:28.630 --> 01:52:31.590
They're just a bunch of over the hill disjockeys.

01:52:32.070 --> 01:52:35.670
<v Speaker 3>That that's kinda like the the same thing about, you know,

01:52:35.670 --> 01:52:41.304
people. Oh, I'm a big fan of the moody blues or Rush or whatever.

01:52:41.304 --> 01:52:44.664
And then they go and see him, and it's like, did these guys come

01:52:44.664 --> 01:52:46.744
in in a wheelchair? What? You know?

01:52:46.744 --> 01:52:47.385
<v Speaker 2>It's They have

01:52:47.385 --> 01:52:49.064
<v Eric>the oxygen before they get on stage.

01:52:49.064 --> 01:52:49.704
<v Speaker 3>That's right.

01:52:49.704 --> 01:52:52.184
<v Eric>It's like a pee break halfway through the set.

01:52:52.344 --> 01:52:57.170
<v Sara>I'm I'm I'm gonna, like, Rush just announced an a tour. Okay?

01:52:57.170 --> 01:52:59.170
And they're gonna be in Toronto next year.

01:52:59.409 --> 01:53:02.530
$900 for tickets to see Rush.

01:53:02.530 --> 01:53:05.810
<v Eric>Will buy it because I think even without Neil Perd, I think

01:53:05.810 --> 01:53:07.295
they're they

01:53:07.295 --> 01:53:08.494
<v Speaker 2>have the cross built.

01:53:08.494 --> 01:53:11.215
<v Sara>Yeah. I would well, if I had I don't have $900.

01:53:12.175 --> 01:53:12.895
<v Speaker 3>You know? Would love

01:53:12.895 --> 01:53:15.135
<v Sara>to see Rush. Are you kidding me? Mhmm.

01:53:15.135 --> 01:53:18.895
<v Speaker 3>I I don't know how Rush does their live shows, but the few live

01:53:18.895 --> 01:53:23.149
shows I've seen, it's just like, okay, guys, you don't even need

01:53:23.149 --> 01:53:23.869
to be on stage.

01:53:23.869 --> 01:53:26.829
Just grab the CD, grab the record, and play it because that's all

01:53:26.829 --> 01:53:29.949
you're gonna do anyway is you're just gonna mimic the record.

01:53:30.029 --> 01:53:31.630
<v Eric>There are a lot of backing tracks.

01:53:31.630 --> 01:53:33.550
I don't think Rush is really that way, though.

01:53:33.550 --> 01:53:36.029
Rush does a lot of stuff for real on stage. I mean, they have.

01:53:36.045 --> 01:53:40.685
<v Speaker 3>Well, it's it's not just not that they're not doing a live

01:53:40.685 --> 01:53:41.244
performance.

01:53:41.244 --> 01:53:44.444
It's just that the live performance is is literally just a

01:53:44.444 --> 01:53:46.124
replication of the album.

01:53:46.524 --> 01:53:47.244
<v Sara>Well, depends.

01:53:47.244 --> 01:53:51.079
<v Speaker 3>There's no improvisation that that isn't part of it. You know?

01:53:51.079 --> 01:53:54.280
Grateful Dead, I was never into the Grateful Dead, but I I had to

01:53:54.280 --> 01:53:56.439
respect those guys because they would take a song that was 3

01:53:56.439 --> 01:53:59.800
minutes on an album and turn it into a 15 minute, you know,

01:54:00.439 --> 01:54:05.079
extravaganza on stage. Mhmm. That's musicianship.

01:54:05.534 --> 01:54:09.775
<v Sara>I have seen I've lost count because I had 1 of my students ask

01:54:09.775 --> 01:54:11.614
me, how many concerts have you seen?

01:54:11.614 --> 01:54:14.814
And I had to actually, like, sit down and make it a list, and

01:54:14.814 --> 01:54:17.215
it's well over 40 at this point.

01:54:17.295 --> 01:54:22.399
And sure, some, yes, but I've seen a lot of concerts where they

01:54:22.399 --> 01:54:26.720
definitely aren't just playing the song as it is on the album.

01:54:26.720 --> 01:54:32.079
Like Bon Jovi, they make, like, all of their tracks their own

01:54:31.215 --> 01:54:35.375
when they're live. It's it's very, the energy heart. Oh my god.

01:54:35.375 --> 01:54:38.014
Heart, they are so good. They are so good live.

01:54:38.014 --> 01:54:40.414
Like, I'm in love with Nancy Wilson.

01:54:40.494 --> 01:54:43.935
She's, you know, on the guitar. She's just amazing.

01:54:43.935 --> 01:54:44.574
And, like Mhmm.

01:54:44.574 --> 01:54:47.460
But some, like, we saw Avril Lavigne, and she was fine.

01:54:47.780 --> 01:54:48.820
<v Eric>Yeah. I think a lot Why

01:54:48.820 --> 01:54:53.220
<v Speaker 3>is that an insult? Yeah. She was fine. She There there a lot of

01:54:53.220 --> 01:54:55.860
<v Eric>the pop artists use backing tracks because a lot of the Yeah.

01:54:55.860 --> 01:54:57.940
They do a lot of dancing and choreography and all that stuff.

01:54:57.940 --> 01:54:59.460
You can't sing while you're doing that.

01:54:59.460 --> 01:55:00.980
<v Speaker 3>But No. The rock bands,

01:55:00.980 --> 01:55:03.524
<v Eric>I think, are more more legit. A lot

01:55:03.524 --> 01:55:06.085
<v Speaker 3>of them aren't even singing live.

01:55:06.085 --> 01:55:08.324
<v Sara>Oh, no. And so once And if I've yeah.

01:55:08.324 --> 01:55:11.524
<v Speaker 3>And in fact, the Eagles have been caught doing this.

01:55:11.604 --> 01:55:13.444
<v Sara>But you can tell. You can always tell.

01:55:13.444 --> 01:55:14.805
<v Eric>No. No. No. I can tell.

01:55:14.805 --> 01:55:16.890
<v Speaker 3>You can't. No. You can't.

01:55:16.890 --> 01:55:19.449
<v Eric>It happens a lot more than people realize. Yeah.

01:55:19.449 --> 01:55:20.090
<v Speaker 3>Yes.

01:55:20.170 --> 01:55:24.250
And and for anybody who doesn't think that this thing is is

01:55:24.250 --> 01:55:27.610
possible to do live and not be noticeable, go check out the Wings

01:55:27.610 --> 01:55:32.515
of Pegasus channel on YouTube because he gets and the Eagles was

01:55:32.515 --> 01:55:37.875
1 that he caught, and they changed their act a little bit.

01:55:37.875 --> 01:55:39.155
They're still doing the same thing.

01:55:39.155 --> 01:55:41.954
They're just doing it a little more a little more cleverly now.

01:55:42.960 --> 01:55:43.600
<v Eric>Well, there's a

01:55:43.600 --> 01:55:44.000
<v Speaker 3>lot of there's

01:55:44.000 --> 01:55:45.920
<v Eric>pitch correction. There's all kinds of stuff going on in

01:55:46.000 --> 01:55:50.400
<v Sara>When when Joe Elliott from from Def Leppard stops Rock of Ages

01:55:50.400 --> 01:55:53.840
mid song to say, f me, I forgot the words. Right.

01:55:53.840 --> 01:55:55.954
Pretty sure that he's singing that

01:55:55.954 --> 01:55:59.394
<v Eric>that song. You know? Yeah. There there are some bands

01:55:59.394 --> 01:56:00.034
<v Speaker 3>that that

01:56:00.034 --> 01:56:02.194
<v Eric>do that track slot, and there are others that are out there

01:56:02.194 --> 01:56:03.554
playing all of it.

01:56:03.715 --> 01:56:06.594
<v Sara>Okay. So I have to ask I know completely we've deviated here.

01:56:06.594 --> 01:56:08.434
<v Speaker 3>We're blowing up the episode. Steve,

01:56:09.234 --> 01:56:10.194
<v Sara>what was your first concert?

01:56:10.159 --> 01:56:11.920
Like, what was the first live concert you

01:56:11.920 --> 01:56:12.320
<v Speaker 2>ever saw?

01:56:12.320 --> 01:56:12.560
<v Sara>Well, that's

01:56:12.560 --> 01:56:15.840
<v Eric>a good question. It might have been Huey Lewis in the news.

01:56:15.840 --> 01:56:19.039
<v Sara>Oh, I've seen Huey Lewis. They were fun. Mhmm. They were fun.

01:56:19.039 --> 01:56:20.239
He's on my list.

01:56:20.320 --> 01:56:20.880
<v Eric>Yeah.

01:56:21.520 --> 01:56:22.000
<v Speaker 3>He's on

01:56:22.000 --> 01:56:22.479
<v Eric>my list.

01:56:22.479 --> 01:56:22.800
<v Sara>It was a

01:56:22.800 --> 01:56:25.104
<v Eric>good show. Those guys are legit too.

01:56:25.104 --> 01:56:26.305
That's kind of an underrated band.

01:56:26.305 --> 01:56:29.425
You know, people kinda brush them off as being like a pop poppy

01:56:29.425 --> 01:56:31.265
band, but those those guys are legit.

01:56:31.505 --> 01:56:32.465
<v Speaker 3>I saw him listen.

01:56:32.465 --> 01:56:34.704
Those are the guys who are back to the future who who you know,

01:56:34.704 --> 01:56:35.425
they're not real.

01:56:35.425 --> 01:56:37.425
<v Eric>The power of love with the synthesizers.

01:56:37.425 --> 01:56:38.369
<v Sara>It's a great song.

01:56:38.369 --> 01:56:40.130
<v Eric>There's actually some great guitar Yeah.

01:56:40.210 --> 01:56:42.369
Great guitar licks in those in those songs. Oh, yeah.

01:56:42.369 --> 01:56:42.609
<v Sara>Yeah.

01:56:42.609 --> 01:56:46.050
I saw him with Burton Cummings at a like, there's a festival that

01:56:46.050 --> 01:56:49.569
happens every year in London, Rock the Park, and that lineup was

01:56:49.569 --> 01:56:52.130
Huey Lewis and then Burton Cummings from the Guess Who, and it

01:56:52.130 --> 01:56:55.805
was, like, like Burton Cummings had so much energy Mhmm.

01:56:55.805 --> 01:56:59.725
That I'm I'm like, he's twice my age, and I can't do what he's

01:56:59.725 --> 01:57:01.484
doing. I'm tired just watching him.

01:57:01.484 --> 01:57:07.739
So but my first concert was Jan Arden at the Western Fair, and

01:57:07.739 --> 01:57:11.420
she is incredible. Hilarious woman. Really funny.

01:57:11.420 --> 01:57:14.939
Like, genuinely really funny. Eric, who was yours?

01:57:15.819 --> 01:57:23.185
<v Speaker 3>A musical artist? Yeah. Don't laugh. Glenn Miller Orchestra.

01:57:23.185 --> 01:57:23.984
<v Eric>Oh, wow.

01:57:23.984 --> 01:57:25.024
<v Sara>Oh, no. That's cool. I

01:57:25.024 --> 01:57:27.104
<v Eric>would love That is good. Glenn

01:57:29.024 --> 01:57:32.704
<v Speaker 3>Miller, I saw Les Brown live.

01:57:33.079 --> 01:57:37.479
I I and I think Les was still with the band at the time.

01:57:37.559 --> 01:57:40.439
He's he's deceased now, but, yeah, I think he was still with

01:57:40.439 --> 01:57:41.319
<v Eric>the band at the time.

01:57:41.719 --> 01:57:43.319
<v Speaker 3>I've seen Maynard Ferguson.

01:57:46.835 --> 01:57:49.795
John Clemmer played with our high school band.

01:57:50.034 --> 01:57:50.755
<v Eric>Cool.

01:57:50.914 --> 01:57:53.395
<v Speaker 3>And I've seen, like, newbies.

01:57:53.795 --> 01:57:55.074
<v Sara>I can't tell you my list.

01:57:55.074 --> 01:57:56.755
It would take too long, but I've seen a lot.

01:57:56.755 --> 01:57:58.114
<v Speaker 2>Yeah. Yeah.

01:57:58.914 --> 01:57:59.314
<v Eric>40 is

01:57:59.314 --> 01:57:59.635
<v Speaker 3>quite a

01:57:59.635 --> 01:58:01.859
<v Sara>bit. It's over 40 at this point.

01:58:01.859 --> 01:58:04.180
I've I've I'm forgetting some because, like, every now and then,

01:58:04.180 --> 01:58:05.619
I'll be like, oh, yeah. I've seen them live.

01:58:05.619 --> 01:58:07.939
I should put that in my list, and then I forget. Mhmm.

01:58:07.939 --> 01:58:12.260
<v Speaker 3>You know, talking about Huey Lewis, though, I I've seen videos of

01:58:12.260 --> 01:58:15.380
them doing acapella live.

01:58:15.380 --> 01:58:15.619
<v Eric>Mhmm.

01:58:16.155 --> 01:58:16.475
<v Sara>Yeah.

01:58:16.475 --> 01:58:20.954
<v Speaker 3>The fan shot videos. And those guys are good.

01:58:20.954 --> 01:58:21.675
<v Sara>Yeah. Yeah.

01:58:21.675 --> 01:58:22.395
<v Eric>They they were good.

01:58:22.395 --> 01:58:24.875
Bands I was in for a while, we we thought about doing a couple of

01:58:24.875 --> 01:58:26.074
their songs, and we we tried them.

01:58:26.074 --> 01:58:29.515
We're like, we can't do it justice. Those guys yeah.

01:58:29.515 --> 01:58:30.314
They're here for something.

01:58:30.710 --> 01:58:33.350
<v Sara>Yeah. I I saw a cover band for the tragically hip.

01:58:33.350 --> 01:58:35.429
They were called the practically hip, and they were pretty good.

01:58:36.469 --> 01:58:38.550
<v Speaker 3>Anyway And if they're a really bad 1, they would

01:58:38.550 --> 01:58:41.029
<v Eric>be the broken hip. Yeah. Oh.

01:58:42.310 --> 01:58:43.664
<v Sara>And on that Norman Austin

01:58:43.664 --> 01:58:44.704
<v Speaker 3>style That's

01:58:44.704 --> 01:58:46.304
<v Eric>a common Boston line right there.

01:58:46.385 --> 01:58:50.064
<v Sara>Yeah. Back to the the episode.

01:58:51.024 --> 01:58:55.104
Laura still Laura basically points out they're too worn down and

01:58:55.104 --> 01:58:57.984
too dumb to pull off an ingenious crime like the 1 they're

01:58:57.984 --> 01:59:01.320
dealing with. Kick them while they're down, Laura. Ouch.

01:59:01.320 --> 01:59:02.920
<v Eric>But but, I mean, can you imagine that

01:59:02.920 --> 01:59:05.720
<v Speaker 3>as as a defense? We're too dumb to have done this.

01:59:05.720 --> 01:59:05.960
<v Sara>Yeah.

01:59:05.960 --> 01:59:08.520
Well, I mean, Bud is definitely too dumb to have done this

01:59:08.520 --> 01:59:10.680
because he's just like, I did it. I did it. It's me.

01:59:10.680 --> 01:59:12.039
<v Speaker 3>Yeah. I confess. He did

01:59:12.039 --> 01:59:12.600
<v Speaker 2>it. Yeah.

01:59:14.145 --> 01:59:16.784
<v Sara>So there's a knock at the door, Mildred opens it telling them

01:59:16.784 --> 01:59:19.265
that Norman Austin's on the phone from jail wanting to make a

01:59:19.265 --> 01:59:21.505
full confession, and Steele looks thrilled.

01:59:21.905 --> 01:59:22.305
<v Speaker 2>Mhmm.

01:59:22.305 --> 01:59:24.545
<v Sara>At the courthouse, we see Laura and Steele.

01:59:24.625 --> 01:59:27.119
They enter a small room where Bud and Norm are sitting, And

01:59:27.119 --> 01:59:28.960
there's no police officer in this room.

01:59:28.960 --> 01:59:29.679
<v Eric>You would think they'd at

01:59:29.679 --> 01:59:32.239
<v Sara>least have an officer in there to listen to said confession

01:59:32.239 --> 01:59:35.760
because they're not law enforcement professionals.

01:59:35.760 --> 01:59:38.239
<v Speaker 3>Yeah. And and they're not the lawyer.

01:59:38.719 --> 01:59:40.880
<v Sara>No. Yeah. Like, they like, I get I get it.

01:59:40.880 --> 01:59:43.275
Like, if this was a condition of they're making the confession,

01:59:43.275 --> 01:59:45.914
we want these people in the room, then the cop would probably

01:59:45.914 --> 01:59:48.555
call them just to, you know, tick a box. But like,

01:59:48.795 --> 01:59:49.354
<v Speaker 3>It's maybe still reported they're

01:59:49.675 --> 01:59:50.795
<v Eric>or something, you would think.

01:59:50.954 --> 01:59:52.475
<v Sara>You would think.

01:59:53.275 --> 01:59:56.210
Because, yeah, butt ass if this is what 1 wears to a formal

01:59:56.210 --> 02:00:02.529
confession. Formal confession. Oh, bad joke.

02:00:03.409 --> 02:00:06.449
Norm tells him to shut up and says that they brought them in.

02:00:06.449 --> 02:00:07.729
They should be the ones to hear the story.

02:00:08.295 --> 02:00:09.574
Bud tells him, tell him.

02:00:09.574 --> 02:00:11.814
And Norm says, there's no reason to keep Bud there.

02:00:11.814 --> 02:00:15.175
He killed Doug West by himself. Laura's not buying it.

02:00:15.175 --> 02:00:18.695
She asks him how. Norm says, he shot him. Steele asked where.

02:00:18.695 --> 02:00:20.695
And it looks like Steele's kind of on board here with Laura

02:00:20.695 --> 02:00:25.269
because, like, he's questioning Norm just as sort of, like,

02:00:25.269 --> 02:00:26.389
rigorously as Laura is.

02:00:26.389 --> 02:00:26.630
<v Speaker 3>Yeah.

02:00:26.630 --> 02:00:30.550
He's he's he's somewhere along the line from the maybe the time

02:00:30.550 --> 02:00:32.629
they entered the room till till this point.

02:00:32.710 --> 02:00:35.784
He's gotten a feeling that something's not right.

02:00:35.864 --> 02:00:38.425
<v Eric>Exactly. The drive over, think they had a conversation.

02:00:38.425 --> 02:00:39.784
<v Speaker 3>Could very well be, yes.

02:00:39.784 --> 02:00:40.585
<v Sara>Could have been, yeah.

02:00:40.585 --> 02:00:43.385
So then adding that, it all happened so fast. And Laura asked

02:00:43.385 --> 02:00:44.744
<v Speaker 3>him, because when you're

02:00:44.905 --> 02:00:48.179
<v Eric>doesn't it kind of rub his forehead? Yeah.

02:00:48.659 --> 02:00:49.300
<v Speaker 2>I shot him

02:00:49.300 --> 02:00:50.979
<v Eric>in the head. Yeah. That's where it was.

02:00:51.539 --> 02:00:54.340
<v Sara>Laura asked when he boarded the plane the other day whether or

02:00:54.340 --> 02:00:56.659
not he gestured to the controller. Norm says yes.

02:00:56.659 --> 02:00:59.140
He saluted, but Laura corrects him saying, No, you gave a thumbs

02:00:59.140 --> 02:01:01.094
up. He hastily agrees. Yeah.

02:01:01.094 --> 02:01:03.814
He gave his his famous thumbs up gesture.

02:01:07.414 --> 02:01:10.375
Laura continues saying, then you flew flew to Malibu Canyon,

02:01:10.375 --> 02:01:12.454
which he agrees, and Steele asks, what what then?

02:01:12.454 --> 02:01:15.094
Norm says he bailed out. But Laura says, no. No. You landed.

02:01:15.630 --> 02:01:16.750
Norm claims, well, yeah.

02:01:16.750 --> 02:01:18.349
<v Speaker 2>Bottom of him now. At

02:01:19.869 --> 02:01:21.149
<v Sara>this point, Laura's had enough.

02:01:21.149 --> 02:01:23.069
She says, it's time to end this little charade.

02:01:23.069 --> 02:01:24.670
Neither of them killed Doug West.

02:01:24.670 --> 02:01:26.429
And Bud's like, does that mean we can go?

02:01:31.454 --> 02:01:35.694
<v Speaker 3>Laura. Wastes police time, false confession. Yeah. Just go ahead.

02:01:35.694 --> 02:01:36.255
Yeah.

02:01:37.295 --> 02:01:38.335
<v Speaker 2>Also, Laura wouldn't

02:01:38.335 --> 02:01:40.734
<v Sara>wouldn't have the authority to say that either way.

02:01:40.734 --> 02:01:43.135
Like, says, I'm afraid

02:01:43.215 --> 02:01:43.774
<v Speaker 3>not all there.

02:01:44.090 --> 02:01:45.289
<v Sara>No. He's not. No.

02:01:46.329 --> 02:01:49.210
She asked why he would try something so foolish as a false

02:01:49.210 --> 02:01:51.689
confession, and Norm says that he can take a bum rap, and this

02:01:51.689 --> 02:01:53.689
place isn't much worse than the station.

02:01:56.010 --> 02:02:01.954
<v Eric>Ouch. Better hours too. That's that's rough.

02:02:01.954 --> 02:02:03.875
I mean, there are some radio stations where that probably is

02:02:03.875 --> 02:02:04.195
true.

02:02:04.195 --> 02:02:07.395
I would think any station in Los Angeles probably a little better

02:02:07.395 --> 02:02:08.595
than some of the real run

02:02:08.595 --> 02:02:11.954
<v Sara>run Yeah. He points to Bud and tells him, look at him.

02:02:11.954 --> 02:02:12.914
<v Eric>He won't last a month.

02:02:14.619 --> 02:02:15.340
<v Sara>Poor Bud.

02:02:15.340 --> 02:02:16.619
<v Eric>That's very true. Yeah.

02:02:16.619 --> 02:02:18.300
<v Sara>He he makes no move to disagree.

02:02:18.300 --> 02:02:20.220
Like, Bud is just like, you know, I'm pathetic.

02:02:20.220 --> 02:02:21.739
I know I'm pathetic. It's fine.

02:02:22.140 --> 02:02:25.659
But Norm really sweetly says, he's my partner.

02:02:25.659 --> 02:02:28.324
He's been the butt of my jokes for 20 years and never complained.

02:02:28.324 --> 02:02:30.805
He's covered for me more times than I can remember.

02:02:30.885 --> 02:02:33.765
He says he wouldn't be in jail if he hadn't tried to protect him.

02:02:34.005 --> 02:02:35.364
He thought it was time to pay him back.

02:02:35.364 --> 02:02:38.485
And then Bud says, that was beautiful, Norm. Norm's like,

02:02:38.485 --> 02:02:39.525
<v Speaker 2>shut up. Shut up, Bud.

02:02:42.489 --> 02:02:43.850
<v Sara>I really like these 2.

02:02:43.850 --> 02:02:46.810
Like, their cheesiness aside, like, they're they're quite sweet,

02:02:46.810 --> 02:02:48.329
like, as as friends. Right?

02:02:48.329 --> 02:02:51.449
<v Eric>They lose their job doing the mornings on the on the station.

02:02:51.449 --> 02:02:53.210
They need to find another gig where they get to do something

02:02:53.210 --> 02:02:53.689
together.

02:02:53.689 --> 02:02:55.715
<v Sara>They're gonna be at their retirement home doing, like, the

02:02:55.715 --> 02:02:57.074
retirement homes, like Who's

02:02:57.074 --> 02:02:58.354
<v Eric>he stand up on the stage for all

02:02:58.354 --> 02:02:58.835
<v Speaker 2>the Yeah.

02:02:58.835 --> 02:02:59.795
<v Eric>Little wee people there.

02:02:59.875 --> 02:03:02.675
<v Sara>Like the 2 old guys and the Muppets, you know? Yes.

02:03:02.675 --> 02:03:04.434
<v Speaker 3>Yes. We're in Waldorf.

02:03:04.434 --> 02:03:06.034
<v Speaker 2>Yeah. Yeah. So

02:03:06.434 --> 02:03:08.034
<v Sara>we go back to Laura's loft.

02:03:08.034 --> 02:03:10.274
Steel is doing damage control on the phone with Leon.

02:03:10.319 --> 02:03:13.519
He reassures him there's no need to kill himself. Yeah.

02:03:14.319 --> 02:03:17.760
<v Eric>He's a little dramatic. Leon's a little dramatic. Just a tad.

02:03:17.760 --> 02:03:18.319
Yeah.

02:03:18.399 --> 02:03:20.479
<v Sara>And then they can still wrap this up by Thursday.

02:03:20.479 --> 02:03:22.159
Laura's pacing behind him when he hangs up.

02:03:22.159 --> 02:03:25.104
Steele asks Laura to get inspired, and she admits that this is

02:03:25.104 --> 02:03:26.945
the tightest frame up she's ever encountered.

02:03:26.945 --> 02:03:30.225
Whoever did this had to know that Norm visited Marsha every other

02:03:30.225 --> 02:03:30.784
morning.

02:03:30.784 --> 02:03:33.345
Steele sarcastically said now all they need to do is ferret

02:03:33.345 --> 02:03:33.905
someone out and

02:03:33.905 --> 02:03:36.680
<v Eric>pin it on them. Mean Sure.

02:03:36.680 --> 02:03:37.239
<v Speaker 3>So easy.

02:03:37.239 --> 02:03:39.399
<v Eric>That's ethics.

02:03:42.360 --> 02:03:45.399
<v Sara>So now the phone rings. Laura picks it up and says hello.

02:03:45.399 --> 02:03:47.239
It's Mildred on the other end, but she's at the station.

02:03:47.239 --> 02:03:50.039
Before she can speak, the door opens, and Ryman Lyman appears

02:03:50.039 --> 02:03:50.760
with his guitar.

02:03:53.224 --> 02:03:55.704
Mildred says she's got something for them, but Lyman says he's

02:03:55.704 --> 02:03:58.104
got something for her, and he begins playing his guitar singing,

02:03:58.104 --> 02:04:00.264
hey. Got a question? Got a question of dysfunction?

02:04:00.264 --> 02:04:01.544
Call up Krebs.

02:04:01.545 --> 02:04:02.264
<v Eric>Yep.

02:04:02.425 --> 02:04:04.344
And Laura's on the other end of the phone just listening to the

02:04:04.344 --> 02:04:07.369
whole thing, like, just waiting for Mildred to say something.

02:04:07.449 --> 02:04:09.609
<v Sara>She does. She tells him he needs help.

02:04:10.090 --> 02:04:10.810
<v Speaker 3>And then

02:04:13.130 --> 02:04:16.250
<v Sara>once he's gone, she tells Laura that Rick Batum has moved into

02:04:16.250 --> 02:04:19.465
Tyler and Austin's drive time slot, which this wouldn't really be

02:04:19.545 --> 02:04:22.585
I don't think this would be a clue because they'd have to replace

02:04:22.585 --> 02:04:23.864
it with something, would they not?

02:04:23.945 --> 02:04:24.265
<v Eric>Yeah.

02:04:24.265 --> 02:04:26.985
And moving up in the ranks would be the the logical thing to

02:04:26.985 --> 02:04:27.465
happen.

02:04:27.465 --> 02:04:27.704
<v Sara>Yeah.

02:04:27.704 --> 02:04:31.225
If he's like I like I sort of suspected, if he's the afternoon,

02:04:31.970 --> 02:04:33.090
putting him in the morning would

02:04:33.090 --> 02:04:36.050
<v Eric>be Unless the station was, like, dead set on having a a 2 person,

02:04:36.050 --> 02:04:39.729
you know, wacky back and forth type show, and they put this guy

02:04:39.729 --> 02:04:41.170
on by himself. That's a little odd.

02:04:41.250 --> 02:04:42.850
<v Sara>I doubt it. More people to pay.

02:04:43.250 --> 02:04:45.409
<v Speaker 3>But keep in mind yeah. Well, that's true too.

02:04:45.409 --> 02:04:51.395
Keep in mind, though, that Mildred, as a novice investigator, is

02:04:51.395 --> 02:04:55.154
like that person who has a hammer and sees everything as a nail.

02:04:55.395 --> 02:04:58.835
She thinks this is a massive clue. Yes. True.

02:04:58.835 --> 02:05:02.640
<v Sara>Fair enough. Yep. Fair enough. Yeah. Yep. I got it. Yep. Yeah.

02:05:02.720 --> 02:05:06.560
Outside the well, but to be fair, she did sort of, like, lead

02:05:06.560 --> 02:05:08.560
them kind of in the right direction with Mhmm.

02:05:08.560 --> 02:05:11.920
<v Speaker 3>Yes. But a stopped clock is still right twice a day.

02:05:13.920 --> 02:05:16.215
<v Sara>Fair. Alright. Fine. She's in a train.

02:05:16.215 --> 02:05:17.335
<v Eric>She's learning. Outside. Yeah.

02:05:17.335 --> 02:05:17.655
<v Speaker 3>That's right.

02:05:17.655 --> 02:05:19.975
<v Sara>Outside the building, Laura and Steele are waiting in the rabbit.

02:05:19.975 --> 02:05:22.534
Laura's still wearing that really nice color pink blouse.

02:05:22.534 --> 02:05:26.854
I like the blouse. I didn't like the shoulder pads. Mhmm. Yeah.

02:05:26.935 --> 02:05:28.774
But the like, she looks so good in pink.

02:05:29.090 --> 02:05:30.769
She she looks fantastic in pink.

02:05:30.769 --> 02:05:31.969
They should have her in pink all the time.

02:05:31.969 --> 02:05:35.649
<v Speaker 3>Just It'd be is that really a pink or is that to me, that's more

02:05:35.649 --> 02:05:36.929
like dusty rose.

02:05:36.929 --> 02:05:39.809
<v Sara>Yeah. But either way, like, it's it's it's pink adjacent.

02:05:42.914 --> 02:05:44.835
<v Speaker 2>Fine. You

02:05:44.994 --> 02:05:47.155
<v Sara>you're the guy that goes to the the store and gets all the

02:05:47.155 --> 02:05:48.274
swatches, aren't you?

02:05:48.435 --> 02:05:49.314
<v Speaker 3>No.

02:05:49.795 --> 02:05:54.274
Just dusty rose has been a color that my wife and I have have

02:05:54.274 --> 02:05:57.529
really liked for years and and have talked about if we ever owned

02:05:57.529 --> 02:06:00.969
our our own house of maybe painting our bedroom a dusty rose.

02:06:00.970 --> 02:06:07.210
But I also like I I like those kinda dusty earthy colors like a

02:06:07.210 --> 02:06:09.130
dusty fern or, you know, things like that.

02:06:09.305 --> 02:06:11.225
<v Sara>Yeah. She she looks good in that blouse.

02:06:11.225 --> 02:06:13.545
Anyway, she's got a fedora on too, which is like Yeah.

02:06:13.545 --> 02:06:14.905
<v Eric>That that's always a good Yep.

02:06:15.305 --> 02:06:16.505
<v Sara>Peak Laura. Yeah.

02:06:18.185 --> 02:06:20.505
Steel tells her they're clutching at straws, she asked them, do

02:06:20.505 --> 02:06:23.469
you want a magazine cover? I'm clutching. I'm clutching.

02:06:25.389 --> 02:06:27.630
Steel points out that Rick was the 1 who hired them, and Laura

02:06:27.630 --> 02:06:30.670
says, what a better way to do and they have been hired by the

02:06:30.670 --> 02:06:33.309
criminals in the past. This isn't the first time. Yes.

02:06:34.109 --> 02:06:34.670
<v Eric>Yep.

02:06:34.989 --> 02:06:37.095
<v Sara>So, like, this wouldn't yeah.

02:06:37.095 --> 02:06:40.215
I I at this point, if I were them, I would be suspecting all of

02:06:40.215 --> 02:06:41.814
the people that hire you. Like

02:06:42.055 --> 02:06:43.574
<v Eric>Right. Yep. Totally.

02:06:43.895 --> 02:06:46.774
<v Sara>Steel questions why if he wanted Tyler and Austin's slot, why not

02:06:46.774 --> 02:06:48.935
kill them outright instead of framing them for Doug West's

02:06:48.935 --> 02:06:49.175
murder?

02:06:49.350 --> 02:06:51.829
Laura admits that she doesn't know, but suggests they follow

02:06:51.829 --> 02:06:53.829
their only lead and see if they can find out.

02:06:54.070 --> 02:06:57.030
He tells her there's no need to get snippy as the car drives up.

02:06:57.030 --> 02:06:59.750
It's a Porsche, and the license plate says, bad man.

02:07:00.149 --> 02:07:05.514
So I had no idea what the salary range was for a DJ in the

02:07:05.514 --> 02:07:08.554
eighties in L, LA.

02:07:08.554 --> 02:07:08.875
<v Speaker 3>What?

02:07:08.875 --> 02:07:12.074
Are you thinking that he couldn't have afforded, custom license

02:07:12.074 --> 02:07:12.715
plates?

02:07:12.795 --> 02:07:14.635
<v Sara>Well, I I wasn't sure, but

02:07:14.875 --> 02:07:16.314
<v Speaker 2>Or a used Porsche.

02:07:16.635 --> 02:07:20.449
<v Sara>Well, I know you said it a minute ago that, like, it it used that

02:07:20.449 --> 02:07:21.649
they used to be paid more.

02:07:21.649 --> 02:07:22.130
<v Eric>Well, yeah.

02:07:22.130 --> 02:07:25.649
But still, even then, unless you're 1 of the big people in the

02:07:25.649 --> 02:07:29.090
big markets, like, of the top rated shows I mean, there there

02:07:29.090 --> 02:07:31.574
was, like, you know, there's Howard Stern and there was Rush

02:07:31.574 --> 02:07:34.694
Limbaugh and all those guys, and then there was everybody else.

02:07:35.014 --> 02:07:37.895
So the the handful of people at the top are making big money and

02:07:37.895 --> 02:07:39.654
everybody else is not.

02:07:39.974 --> 02:07:40.215
<v Sara>Yeah.

02:07:40.215 --> 02:07:43.560
So here's what I I googled it because I was like, I wanted to

02:07:43.560 --> 02:07:46.519
know. So this is this is what I found.

02:07:46.520 --> 02:07:51.319
Here are realistic ranges according to Google, based on industry

02:07:51.319 --> 02:07:53.399
reports and union data from the era.

02:07:53.479 --> 02:07:55.719
Typical LA radio DJ play in the eighties.

02:07:55.719 --> 02:08:00.305
Entry levels are small stations between 12,020 per year according

02:08:00.305 --> 02:08:00.864
to this.

02:08:01.104 --> 02:08:03.824
And I I don't it didn't say whether it was AM or FM, so this

02:08:03.824 --> 02:08:05.905
could maybe be completely off base Yeah.

02:08:05.985 --> 02:08:08.784
If they're only talking FM because I couldn't I couldn't seem to

02:08:08.784 --> 02:08:09.985
find that distinction.

02:08:09.985 --> 02:08:12.729
<v Eric>Well, like I said earlier, it's it would be pretty unusual for

02:08:12.729 --> 02:08:14.569
there to be a standalone AM in that market.

02:08:14.569 --> 02:08:17.289
So most of the AMs and FMs were part of the same company.

02:08:17.289 --> 02:08:21.770
<v Sara>So then it says mid level DJs, regular daily shifts, 25 to 45 per

02:08:21.770 --> 02:08:22.249
year.

02:08:22.489 --> 02:08:27.805
Established DJs at major LA stations like KROQ, KIIS or KISS FM,

02:08:27.805 --> 02:08:31.725
KMET or KLOS, 50 to 90000 plus per year.

02:08:31.965 --> 02:08:35.005
And then high profile personalities or morning drive stars

02:08:35.005 --> 02:08:40.630
between 100 and 250,000 plus per year. According to this, it

02:08:40.630 --> 02:08:42.469
<v Eric>said radio was making money.

02:08:42.470 --> 02:08:42.789
<v Sara>Yeah.

02:08:42.789 --> 02:08:45.909
It said top names like Rick D's, Kiss FM, and some KROQ

02:08:45.909 --> 02:08:48.789
personalities were known to earn into hundreds of thousands, even

02:08:48.789 --> 02:08:51.989
over $1,000,000 for the most famous ones by the late eighties.

02:08:52.470 --> 02:08:52.789
<v Eric>Let's go

02:08:52.789 --> 02:08:57.085
<v Speaker 3>back to the first level. You said 10,000 to $12,000

02:08:57.085 --> 02:09:00.525
<v Sara>was 12,000 to hold on. Yeah, dollars 12,000 to $20 per year.

02:09:00.525 --> 02:09:04.845
<v Speaker 3>Okay. What was the cost of living back then though?

02:09:04.845 --> 02:09:09.179
Because to us right now, 12 to 20, that sounds like, okay, you're

02:09:09.179 --> 02:09:11.739
living in a cardboard box on the street corner

02:09:11.899 --> 02:09:12.460
<v Speaker 2>back then.

02:09:12.460 --> 02:09:14.699
<v Sara>I don't know if you could afford the rent for the cardboard box,

02:09:14.699 --> 02:09:15.179
but okay.

02:09:15.179 --> 02:09:16.619
<v Speaker 3>Well, that's true. True. That might

02:09:16.619 --> 02:09:18.139
<v Eric>be the eighties dollars you're looking at too?

02:09:18.139 --> 02:09:19.179
Is eighties dollars?

02:09:19.179 --> 02:09:20.699
<v Sara>Yeah, it was eighties money.

02:09:20.895 --> 02:09:21.854
<v Speaker 3>Okay. So Yeah.

02:09:21.854 --> 02:09:24.814
So the you have to put that in some sort of a context, and I'm

02:09:24.814 --> 02:09:26.494
I'm sure that it didn't provide that.

02:09:26.494 --> 02:09:30.014
But, yeah, what was the income level back in the eighties?

02:09:30.414 --> 02:09:31.774
<v Eric>Yeah. Good question.

02:09:32.015 --> 02:09:36.175
<v Sara>Income It also said other income factors included things like

02:09:35.850 --> 02:09:37.289
advertising spots and endorsements.

02:09:37.289 --> 02:09:40.250
DJs in big markets could get extra money for live reads or promo

02:09:40.250 --> 02:09:40.969
appearances.

02:09:40.970 --> 02:09:44.729
Union rules, AFTRA, many DJs in LA were unionized, which set

02:09:44.729 --> 02:09:47.289
minimums, but most experienced personalities earned well above

02:09:47.289 --> 02:09:47.689
the minimum.

02:09:48.215 --> 02:09:51.734
Then ratings bonuses, big for morning shows and drive time hosts.

02:09:51.734 --> 02:09:52.135
According

02:09:53.654 --> 02:09:58.774
<v Speaker 3>to Google AI, in the 19 eighties, the median US family income was

02:09:58.774 --> 02:10:00.135
about $21,000.

02:10:00.239 --> 02:10:01.039
<v Speaker 2>Okay.

02:10:01.280 --> 02:10:04.399
<v Sara>Yeah. So The entry level 1

02:10:04.880 --> 02:10:06.079
<v Speaker 3>That would have been tight.

02:10:06.320 --> 02:10:06.560
<v Eric>Yeah.

02:10:06.560 --> 02:10:10.320
And I'm gonna go out on a limb here and say that that KROT is not

02:10:10.320 --> 02:10:11.600
1 of the top 5.

02:10:12.720 --> 02:10:13.199
<v Sara>No. I'm

02:10:13.199 --> 02:10:13.920
<v Speaker 3>not Are you gonna sure?

02:10:15.744 --> 02:10:16.944
<v Sara>So yeah. Maybe maybe

02:10:17.024 --> 02:10:20.144
<v Eric>LA is the second biggest market in The US. So yeah.

02:10:20.304 --> 02:10:21.264
Probably the average.

02:10:21.505 --> 02:10:25.344
<v Speaker 3>So you're saying that KROT would make WKRP look like top of the

02:10:25.344 --> 02:10:26.464
<v Speaker 2>line. Yeah.

02:10:26.784 --> 02:10:30.069
<v Eric>Well, I didn't see any salespeople at KROT, So I don't know where

02:10:30.069 --> 02:10:32.390
they're making their money, but well, maybe

02:10:32.390 --> 02:10:34.149
<v Speaker 3>don't ask.

02:10:34.310 --> 02:10:37.270
<v Sara>I'm gonna assume then that that Porsche is used because I don't

02:10:37.270 --> 02:10:40.869
think Rick the bad man, bad him, is making the, high profile

02:10:40.869 --> 02:10:41.670
personality.

02:10:41.750 --> 02:10:42.069
<v Speaker 3>It might

02:10:42.069 --> 02:10:43.109
<v Eric>be a rental. Like the.

02:10:43.734 --> 02:10:46.534
<v Sara>Yeah. Well, it does say it says bad man on the back, though.

02:10:46.534 --> 02:10:47.734
<v Eric>It does. Truly. But

02:10:48.055 --> 02:10:51.734
<v Speaker 3>Yeah. The license plate, you'd you'd still get a license plate.

02:10:51.975 --> 02:10:54.215
You can get custom plates on a on a rental.

02:10:54.215 --> 02:10:55.094
<v Eric>Yeah. That's true.

02:10:55.094 --> 02:10:59.090
<v Speaker 3>But but that Porsche, though, looking at it, I I can't tell

02:10:59.090 --> 02:11:01.569
because I'm not a Porsche expert, but I'm gonna say it's not that

02:11:01.569 --> 02:11:01.810
old.

02:11:01.810 --> 02:11:05.329
So if even if he got it used, he still paid a pretty penny for

02:11:05.329 --> 02:11:05.649
it.

02:11:05.649 --> 02:11:08.369
<v Eric>Yeah. And he is not a pretty good car. Yeah.

02:11:08.369 --> 02:11:08.529
<v Sara>Yeah.

02:11:08.529 --> 02:11:11.090
I guess we're supposed to assume that he's making good money

02:11:11.090 --> 02:11:11.649
somehow,

02:11:11.649 --> 02:11:11.810
<v Eric>but I

02:11:11.810 --> 02:11:12.210
<v Sara>I don't know.

02:11:12.210 --> 02:11:14.930
I just find that hard to believe given how cheap Frank Dix

02:11:14.744 --> 02:11:15.064
<v Eric>is.

02:11:15.064 --> 02:11:19.305
Well, now he could be the kind of personality that Rick is could

02:11:19.305 --> 02:11:20.904
be living in his parents' basement.

02:11:21.064 --> 02:11:21.305
<v Sara>Sure.

02:11:21.305 --> 02:11:23.704
<v Eric>And all of the money he made went to that car.

02:11:24.024 --> 02:11:25.784
He's told me kind of guy that would do that.

02:11:25.945 --> 02:11:28.310
<v Speaker 3>We find out later that he's involved piracy.

02:11:28.310 --> 02:11:30.230
So there's where a lot of his money is coming from.

02:11:30.230 --> 02:11:31.270
<v Eric>Money on the side. Yeah.

02:11:31.270 --> 02:11:31.590
<v Sara>That's true.

02:11:31.590 --> 02:11:31.909
<v Speaker 3>That's right.

02:11:31.909 --> 02:11:33.670
<v Sara>We're about to find that out, actually, because that's what Laura

02:11:33.670 --> 02:11:35.670
says. Okay, madam. Let's see how bad you really are.

02:11:35.670 --> 02:11:39.190
And they follow the Porsche, and we can see her bumper sticker.

02:11:39.190 --> 02:11:41.829
I I saw that. It's good. Beautiful.

02:11:42.305 --> 02:11:45.505
Now Laura has a bumper sticker that says 14KROT.

02:11:45.505 --> 02:11:46.145
<v Eric>I don't

02:11:47.104 --> 02:11:47.984
<v Speaker 3>Never had it before.

02:11:48.064 --> 02:11:50.385
<v Sara>I've I don't have bump yeah. She never

02:11:50.385 --> 02:11:52.944
<v Eric>had the bumper sticker. Consistently in this episode.

02:11:53.024 --> 02:11:54.545
<v Sara>No. I think I hear it once.

02:11:54.699 --> 02:11:55.579
<v Speaker 2>I think when they

02:11:55.579 --> 02:11:58.380
<v Eric>leave the warehouse and follow him, I don't think it's on the car

02:11:58.380 --> 02:11:59.100
at that moment.

02:11:59.100 --> 02:12:01.500
But then when they're following him on the road, it's back.

02:12:01.819 --> 02:12:02.060
<v Sara>Yeah.

02:12:02.060 --> 02:12:04.539
I've always wanted to be a bumper sticker person, but then I also

02:12:04.539 --> 02:12:06.539
also don't wanna, like, ruin the paint on my car.

02:12:06.539 --> 02:12:07.180
So I think it would

02:12:07.180 --> 02:12:09.100
<v Eric>have been a nice touch if they would have just left it on that

02:12:09.100 --> 02:12:09.819
car for the rest

02:12:09.819 --> 02:12:11.335
<v Speaker 2>of that season.

02:12:11.494 --> 02:12:12.375
<v Eric>Well, you know, back

02:12:12.375 --> 02:12:17.095
<v Speaker 3>eighties, bumper stickers were not as deadly to cars as they are

02:12:17.095 --> 02:12:19.494
now because you could put them literally on the bumper.

02:12:19.494 --> 02:12:21.734
<v Eric>Yeah. Which was usually a polished chrome bumper.

02:12:22.159 --> 02:12:22.560
<v Speaker 3>Yeah.

02:12:22.560 --> 02:12:25.520
It was it was a metal base with chrome over the top, and there

02:12:25.520 --> 02:12:28.640
were chemicals that you could get that would just basically melt

02:12:28.640 --> 02:12:29.760
those stickers off.

02:12:29.760 --> 02:12:30.479
<v Speaker 2>Mhmm.

02:12:30.800 --> 02:12:34.720
<v Speaker 3>Now you've got cars that are plastic. I mean, literally plastic.

02:12:34.720 --> 02:12:36.320
The bumpers are plastic.

02:12:36.655 --> 02:12:40.574
If you put a bumper sticker on that, it's it's there forever

02:12:40.574 --> 02:12:42.175
until you replace that bumper.

02:12:42.655 --> 02:12:48.335
<v Sara>Yeah. True. Totally. So we've got outside a building.

02:12:48.335 --> 02:12:50.895
We see Laura and Steel waiting. It's a warehouse.

02:12:51.055 --> 02:12:53.859
Rick exits and gets into what looks to be a delivery van.

02:12:53.859 --> 02:12:55.300
He drives away and they follow.

02:12:55.460 --> 02:12:57.699
Steele tells Laura not to get too close, and she asks him to

02:12:57.699 --> 02:12:59.460
relax as he's making her nervous.

02:12:59.699 --> 02:13:03.300
Behind her, we see a big truck accelerate and start blaring a

02:13:03.300 --> 02:13:04.020
novelty horn.

02:13:04.694 --> 02:13:07.494
Laura looks in her mirror and asks, do we know them?

02:13:08.454 --> 02:13:09.895
Steele says, I hope not.

02:13:09.895 --> 02:13:11.574
<v Speaker 3>Steele's horns are so obnoxious.

02:13:11.574 --> 02:13:14.294
<v Sara>Yeah. My dad used to have a horn like that on his truck.

02:13:15.094 --> 02:13:18.135
Good god. That was embarrassing. He he hit the horn.

02:13:20.090 --> 02:13:21.770
<v Eric>And we're just like, oh, no.

02:13:21.770 --> 02:13:25.929
<v Sara>It's like, I don't know this man. He is not my father.

02:13:27.289 --> 02:13:29.289
So, yeah, they they're they're hitting the horn.

02:13:29.289 --> 02:13:31.529
The horn continues to sound, and we hear someone say through a

02:13:31.529 --> 02:13:34.305
speaker on the top, the truck, please pull over.

02:13:34.305 --> 02:13:36.945
You've just won that k r o t sticker giveaway.

02:13:36.945 --> 02:13:38.545
And Steele leans back and yells,

02:13:38.545 --> 02:13:42.784
<v Eric>go away. We don't want any stickers. I like that.

02:13:42.784 --> 02:13:45.744
<v Sara>Yeah. But the man on the truck tells him, pull over.

02:13:46.250 --> 02:13:48.890
We see Rick look behind them and realize who's following him.

02:13:48.890 --> 02:13:51.050
He makes a a sharp left turn and so do they.

02:13:51.050 --> 02:13:53.449
The truck pulls up alongside them, the man yells, it's your

02:13:53.449 --> 02:13:56.810
bumper sticker. You win. And Laura says, we don't wanna win.

02:13:56.810 --> 02:13:59.449
But the man tells him, it's a trip for 2 to Hawaii and then

02:13:59.449 --> 02:13:59.929
steal.

02:14:02.145 --> 02:14:05.904
You see him start begging Laura to stop, which is quite funny.

02:14:06.944 --> 02:14:07.585
Oh, so they

02:14:07.585 --> 02:14:08.145
<v Speaker 2>pull ahead.

02:14:08.145 --> 02:14:10.385
<v Speaker 3>He's tried to get her to Catalina. He's tried to get her

02:14:10.385 --> 02:14:13.904
<v Eric>to all these other places and failed. So this is his chance.

02:14:13.984 --> 02:14:16.465
<v Sara>Yep. Tried Gerhardo. Yeah. Nope. It doesn't work.

02:14:17.960 --> 02:14:21.159
They pull ahead of the truck once more, we see, Batim in in

02:14:21.159 --> 02:14:23.639
desperate bid to get away, make another sharp turn, and he

02:14:23.639 --> 02:14:27.800
smashes into a bus or sorry smashes, sorry, the bus into another

02:14:27.800 --> 02:14:28.279
car.

02:14:29.000 --> 02:14:32.359
He jumps out and makes a run for it, and Steele and Laura nearly

02:14:32.359 --> 02:14:34.764
get hit by another truck.

02:14:34.764 --> 02:14:37.404
They jump out and they open the back door to the van.

02:14:37.965 --> 02:14:39.724
And they start pulling out records.

02:14:39.724 --> 02:14:42.045
Laura reads the 1 she's holding, cool fire.

02:14:42.045 --> 02:14:43.564
Steele says miserable group.

02:14:43.564 --> 02:14:48.489
Now, I looked into it because I was wondering, this a band that I

02:14:48.489 --> 02:14:51.369
just don't know about from the eighties? Like I missed out on?

02:14:51.689 --> 02:14:54.969
Technically, yes, there there are there is a real band.

02:14:54.969 --> 02:14:58.250
It actually refers to multiple acts, but 1 is a cover band that

02:14:58.250 --> 02:15:01.055
plays classic contemporary rock and blues, and another apparently

02:15:01.055 --> 02:15:04.655
is a popular wedding event band in Spain that performs genres

02:15:04.655 --> 02:15:06.335
like soul, motown, and disco.

02:15:06.574 --> 02:15:10.175
The cover band formed in 2016, and this band plays a mix of

02:15:10.175 --> 02:15:12.414
classic and contemporary rock and blues, and they are based out

02:15:12.414 --> 02:15:17.900
of Los Altos in California. So I I sent them a Facebook message.

02:15:17.900 --> 02:15:19.420
I I should have sent an email. You're right.

02:15:19.420 --> 02:15:20.380
It didn't occur to me.

02:15:20.380 --> 02:15:22.939
Then I didn't wanna look weird and, like, pushy,

02:15:22.939 --> 02:15:23.899
<v Speaker 2>so I didn't yeah.

02:15:24.460 --> 02:15:27.659
<v Sara>But I sent them a Facebook message just sort of like, how'd you

02:15:27.659 --> 02:15:29.739
get your name? Yeah. We wanna know.

02:15:30.284 --> 02:15:34.524
<v Speaker 3>Jumping back just a minute, the radio station van with the the

02:15:34.524 --> 02:15:37.164
funky horn and the light bar. Yep.

02:15:37.164 --> 02:15:40.604
I'm gonna guess they would get arrested for that.

02:15:40.844 --> 02:15:44.979
Not for the horn, for the light bar because that is very much

02:15:44.979 --> 02:15:47.699
reminiscent of a police light bar from the 1980.

02:15:47.699 --> 02:15:50.500
<v Eric>Yeah. What are the color? It it has blue on it, doesn't it?

02:15:50.500 --> 02:15:51.939
<v Speaker 3>It's it's red and blue.

02:15:51.939 --> 02:15:52.340
<v Eric>Yeah. Yeah.

02:15:52.340 --> 02:15:55.300
You can get away with it if it's, like, yellow or but red and

02:15:55.300 --> 02:15:59.564
blue are totally not legal for the civilian Yeah. Vehicles. Yep.

02:15:59.804 --> 02:16:00.125
<v Speaker 3>Yeah.

02:16:00.125 --> 02:16:03.724
So they they would, yeah, they would be in in deep doo doo for

02:16:03.724 --> 02:16:03.885
that.

02:16:03.885 --> 02:16:04.125
<v Eric>Yep.

02:16:04.125 --> 02:16:07.404
You would have to have yellow or some other nonofficial emergency

02:16:07.404 --> 02:16:08.124
color.

02:16:08.284 --> 02:16:09.739
<v Sara>Right. Yeah.

02:16:09.739 --> 02:16:12.300
So Cool Fire, if you're listening to this, please tell us how you

02:16:12.300 --> 02:16:13.100
got your name.

02:16:14.060 --> 02:16:17.180
<v Eric>Even if you didn't still say it was this, because why not?

02:16:17.180 --> 02:16:21.020
<v Speaker 3>Yeah. Well, there is a song. There is a song called Cool Fire.

02:16:21.020 --> 02:16:22.539
It was originally recorded.

02:16:22.539 --> 02:16:27.234
I'm trying to do this off the top of my head. Oh, who did it?

02:16:27.234 --> 02:16:29.234
Song let's see. Cool.

02:16:29.635 --> 02:16:32.114
<v Sara>According to Google, Beasts of Bourbon.

02:16:32.514 --> 02:16:33.555
<v Speaker 3>That's a good

02:16:33.555 --> 02:16:34.674
<v Eric>name for a group.

02:16:34.995 --> 02:16:39.238
<v Sara>But also, Shui, Coolfire official music video. There's a few.

02:16:39.238 --> 02:16:40.520
<v Speaker 3>It's not the 1 I'm thinking of.

02:16:40.520 --> 02:16:43.398
<v Eric>Well, these guys in this show, they did a song.

02:16:43.398 --> 02:16:45.959
I mean, the song they listened to, they're saying Cool Fire in

02:16:45.959 --> 02:16:47.479
the song. So it's Yeah.

02:16:47.479 --> 02:16:49.879
These guys did a song called Cool Fire as well.

02:16:50.199 --> 02:16:53.479
<v Speaker 3>Well, I know Sean Cassidy did the 1 that I'm thinking of, but it

02:16:53.479 --> 02:16:57.254
was written by Todd Rundgren. That's

02:16:57.575 --> 02:16:58.215
<v Sara>Oh, okay.

02:16:58.215 --> 02:16:59.655
<v Speaker 3>Yes. Todd Rundgren tune.

02:16:59.895 --> 02:17:03.575
Of course, Todd Rundgren produced Sean Cassidy's last album.

02:17:03.575 --> 02:17:06.693
So Right. There was a lot of influence there.

02:17:06.693 --> 02:17:06.934
<v Eric>Yeah.

02:17:08.000 --> 02:17:10.879
<v Sara>So the the truck pulls up, the guy jumps out and runs up to them

02:17:10.879 --> 02:17:12.719
with the microphone in his hand saying, what's your favorite

02:17:12.719 --> 02:17:13.680
radio station?

02:17:14.479 --> 02:17:14.799
<v Speaker 3>I gotta

02:17:14.799 --> 02:17:17.760
<v Eric>wonder You know, if if that were me driving that prize van, I'd

02:17:17.760 --> 02:17:20.318
just find another 1 because, obviously, you don't wanna win.

02:17:20.318 --> 02:17:25.295
<v Speaker 3>Go find another You know, I I've heard of at least 1 situation

02:17:25.295 --> 02:17:27.854
where somebody was asked what their favorite radio station was

02:17:27.854 --> 02:17:29.296
after having won a prize,

02:17:29.375 --> 02:17:31.135
<v Speaker 2>and they said something else. Yeah. They said

02:17:31.135 --> 02:17:32.415
<v Speaker 3>a totally different station.

02:17:32.575 --> 02:17:34.334
<v Eric>Ouch. Yeah. Those kind of things.

02:17:34.334 --> 02:17:35.854
You you kinda wanna lead them into it.

02:17:35.854 --> 02:17:38.879
You don't wanna just like, oh, I listen to Dan guys all the time.

02:17:39.360 --> 02:17:40.879
<v Speaker 3>That's that's why you don't

02:17:40.879 --> 02:17:43.520
<v Speaker 2>do those things live. Totally.

02:17:43.520 --> 02:17:46.720
<v Sara>Did Laura and Steele actually get the prize, though?

02:17:48.079 --> 02:17:49.440
<v Eric>It remains unanswered.

02:17:49.440 --> 02:17:51.120
<v Sara>We we I mean, they stopped.

02:17:51.120 --> 02:17:52.399
<v Speaker 3>That's a good question. Yes.

02:17:52.364 --> 02:17:54.924
<v Sara>I'm kinda curious. Write the fan fiction. Someone write it.

02:17:54.924 --> 02:17:55.806
Someone write it.

02:17:55.885 --> 02:17:57.726
<v Eric>Well, know that this guy was persistent.

02:17:57.726 --> 02:17:58.685
He was not gonna give that

02:17:58.685 --> 02:17:59.886
<v Speaker 3>right to anybody else.

02:18:00.045 --> 02:18:00.845
<v Speaker 2>So I think they

02:18:01.806 --> 02:18:02.765
<v Eric>did get it. Yeah.

02:18:02.924 --> 02:18:05.004
<v Sara>Maybe his shift didn't end until he found somebody.

02:18:05.360 --> 02:18:07.681
There was, like, nobody with a bumper sticker. Right.

02:18:07.681 --> 02:18:10.319
<v Eric>There were no bumper stickers all day long.

02:18:10.319 --> 02:18:11.840
This was the only 1 I saw.

02:18:11.840 --> 02:18:12.319
<v Speaker 2>So he's

02:18:12.319 --> 02:18:13.120
<v Sara>like, no. No. No.

02:18:13.120 --> 02:18:15.280
They're getting this prize whether they want it or not.

02:18:15.280 --> 02:18:16.081
It's happening.

02:18:16.399 --> 02:18:20.145
<v Eric>Yeah. Anybody that has enough enough balls to put 1

02:18:20.145 --> 02:18:23.905
<v Speaker 3>of our bumper stickers on their car deserves the prize. Exactly.

02:18:24.864 --> 02:18:26.305
<v Sara>So we go back to Laura's Loft.

02:18:26.305 --> 02:18:29.184
We can hear the album playing, and she stops it and says it's

02:18:29.184 --> 02:18:31.345
brilliant work. Still says it was awful.

02:18:31.424 --> 02:18:34.545
Laura says not the music, the copy. It's a total counterfeit.

02:18:34.545 --> 02:18:36.109
Here's my question. Mhmm.

02:18:36.109 --> 02:18:39.148
When she says counterfeit, does she mean that somebody like, it's

02:18:39.148 --> 02:18:41.389
a cover band, it's not the actual band?

02:18:41.389 --> 02:18:44.109
Or does she mean that it's like, it is the band, but they've made

02:18:44.109 --> 02:18:46.270
copies of it and they're selling the copies?

02:18:46.270 --> 02:18:49.148
<v Speaker 3>It's a counterfeit copy of a legitimate record.

02:18:49.148 --> 02:18:49.389
<v Eric>Yeah.

02:18:49.389 --> 02:18:52.165
They've taken the promotional record, handed out to the radio

02:18:52.165 --> 02:18:54.325
station, and they're making copies of it.

02:18:54.485 --> 02:18:57.604
<v Sara>Got it. So it's pirated. It's not really a counterfeit then.

02:18:57.604 --> 02:19:00.806
<v Speaker 3>Well, The counterfeit is the correct legal term, I think. Yeah.

02:19:01.284 --> 02:19:04.405
<v Sara>But wouldn't it counterfeit imply that it's fake, that it's not

02:19:03.690 --> 02:19:05.050
really, like, fanned?

02:19:05.050 --> 02:19:09.209
<v Speaker 3>It's not a legitimate copy of the original album.

02:19:09.209 --> 02:19:12.011
It's a counterfeit copy of the original album.

02:19:12.011 --> 02:19:12.490
<v Speaker 2>Mhmm.

02:19:12.810 --> 02:19:14.569
<v Speaker 3>Okay. I think counterfeit's probably correct. Yeah.

02:19:14.569 --> 02:19:14.810
<v Eric>I mean

02:19:14.890 --> 02:19:16.649
<v Sara>It just Pirate kinda confused me.

02:19:16.729 --> 02:19:18.489
<v Eric>Kind of be along the same lines, though.

02:19:18.489 --> 02:19:20.385
But, typically, you would think of a pirate like somebody just

02:19:20.385 --> 02:19:22.305
making a bootleg on a blank cassette or something.

02:19:22.305 --> 02:19:25.665
But this is an actual with the with the jacket and the pressing

02:19:25.665 --> 02:19:28.704
of the record, it it looks exactly like the original.

02:19:28.864 --> 02:19:31.905
<v Sara>So the only real difference between it and the album itself is

02:19:31.905 --> 02:19:34.380
who's making the money from it. Correct? Okay.

02:19:34.380 --> 02:19:35.739
<v Speaker 3>Much. Yeah. Got it. Alright.

02:19:35.739 --> 02:19:39.181
There's different levels of quality in these counterfeits.

02:19:39.181 --> 02:19:42.380
I mean, some of them, they literally took the original album that

02:19:42.380 --> 02:19:43.500
they bought from the store.

02:19:43.500 --> 02:19:47.979
They they played it onto a tape recording system to make a tape

02:19:47.979 --> 02:19:51.484
that they press their copies from so you've got all the surface

02:19:51.484 --> 02:19:55.004
noise, and then they would photograph the original cover and use

02:19:55.004 --> 02:19:58.204
that to make their I mean, it it was obviously bad, but there

02:19:58.204 --> 02:20:02.560
were others that were virtually indistinguishable.

02:20:02.719 --> 02:20:04.559
Now it got to be so bad.

02:20:04.559 --> 02:20:07.360
And, Steve, I think you can probably affirm this.

02:20:07.440 --> 02:20:10.319
It got to be so bad that at 1 period, and I think it may have

02:20:10.319 --> 02:20:14.485
been in the eighties or the nineties, that when record companies

02:20:14.485 --> 02:20:18.485
started sending out promo copies of albums, they would send out

02:20:18.726 --> 02:20:23.765
different versions to different stations because they knew that

02:20:23.765 --> 02:20:27.520
if they found a counterfeit copy that had this particular

02:20:27.520 --> 02:20:31.040
sequence of songs and it had this song on it that isn't actually

02:20:31.040 --> 02:20:33.760
on the original album that they're going to release, they would

02:20:33.760 --> 02:20:36.399
know where that counterfeit was sourced from.

02:20:36.719 --> 02:20:36.959
<v Eric>Yeah.

02:20:36.959 --> 02:20:40.239
They would in fact, would they even stopped selling or sending

02:20:40.239 --> 02:20:41.555
out albums entirely.

02:20:41.555 --> 02:20:44.273
They would send promotional singles, and it would be it would be

02:20:44.273 --> 02:20:46.594
completely different packaging. Yeah.

02:20:46.594 --> 02:20:49.475
Totally different production for the radio stations. Yeah.

02:20:49.475 --> 02:20:52.033
That they did eventually they would, you know, they would drill

02:20:52.033 --> 02:20:54.989
through the the CD cases and stuff like that to try to mark them

02:20:54.989 --> 02:20:57.229
sometimes if they did actually send the actual album out.

02:20:57.229 --> 02:20:59.469
But, yeah, they would the radio stations started to get

02:20:59.469 --> 02:21:01.390
completely different copies.

02:21:01.709 --> 02:21:04.510
<v Sara>See, I had no idea that that was a thing because, like, when I

02:21:04.510 --> 02:21:06.844
was thinking when they said it was counterfeit, what I was

02:21:06.844 --> 02:21:10.524
thinking of was, you know, how like you used to buy, you go into

02:21:10.524 --> 02:21:11.165
a record store

02:21:11.165 --> 02:21:11.325
<v Speaker 2>or a

02:21:11.325 --> 02:21:14.284
<v Sara>music store and you buy like, it's like all the hits and it's

02:21:14.284 --> 02:21:15.084
like a mix, right?

02:21:15.084 --> 02:21:17.004
And then you think you're getting the actual songs, but you're

02:21:17.004 --> 02:21:19.325
not, you're getting somebody else having recorded the songs that

02:21:19.325 --> 02:21:20.524
they didn't want to license.

02:21:20.524 --> 02:21:21.840
So they're like, you know what I mean?

02:21:21.840 --> 02:21:23.601
So you're not getting getting Madonna.

02:21:23.601 --> 02:21:26.239
You're getting somebody singing a Madonna song, but hey, you know

02:21:26.479 --> 02:21:28.720
<v Speaker 3>That kind of sounded like it was a Madonna.

02:21:28.799 --> 02:21:30.159
<v Sara>Oh, it's always such a tease.

02:21:30.159 --> 02:21:32.799
You'd put it in there and you'd be like, oh, This it's like crazy

02:21:32.799 --> 02:21:35.280
eighties, know, crazy eighties, all of the eighties hits.

02:21:35.280 --> 02:21:36.645
And you're like, this sucks.

02:21:36.645 --> 02:21:39.284
This isn't this is not what I bought.

02:21:39.284 --> 02:21:41.924
<v Eric>It's like going to karaoke night somewhere and you're gonna be

02:21:43.924 --> 02:21:45.443
<v Sara>Okay. So it is the album.

02:21:45.443 --> 02:21:47.523
They've just copied it, and they're selling the copies and making

02:21:47.523 --> 02:21:49.620
money from it? Yes. Yep. Got it. Okay.

02:21:49.940 --> 02:21:52.819
<v Speaker 3>And this, by the way, this is where we get all these fantasy

02:21:52.819 --> 02:21:55.860
numbers from record companies now saying that digital downloads

02:21:55.860 --> 02:22:00.659
have cost us $10,000,000 per year. No. You no.

02:22:00.659 --> 02:22:05.296
You're just making numbers up, and that's just, you know Yeah.

02:22:08.095 --> 02:22:08.895
<v Sara>Then yeah.

02:22:08.895 --> 02:22:12.015
Mildred says she she checked, and that album is not due out for

02:22:12.015 --> 02:22:13.614
yet another for another month.

02:22:13.854 --> 02:22:17.056
Laura adds that only a handful of DJs were given copies, and

02:22:17.056 --> 02:22:18.895
Mildred swiped the real 1 from the station.

02:22:19.370 --> 02:22:21.049
She says it's the perfect setup.

02:22:21.049 --> 02:22:23.290
Rick copies the albums he gets at the station.

02:22:23.290 --> 02:22:25.690
Meldrin adds that when the real album comes out, he's ready to

02:22:25.690 --> 02:22:27.290
flood the market with counterfeits.

02:22:27.530 --> 02:22:30.010
Still comments on how it's a wonderfully ingenious scheme.

02:22:30.010 --> 02:22:32.954
You can tell he's really, like, you know Impressed.

02:22:33.034 --> 02:22:36.314
Low overhead, high return, useful market with continuous income,

02:22:36.314 --> 02:22:37.915
looking for a sound that's easy to dance to.

02:22:37.915 --> 02:22:42.556
A man can make millions. And Laura just the look on Laura's face.

02:22:42.795 --> 02:22:45.049
And it's always 1 of those moments where he's just, like,

02:22:45.049 --> 02:22:47.369
admiring the craft, and she's just like Yeah.

02:22:47.369 --> 02:22:48.648
What is wrong with you?

02:22:48.648 --> 02:22:49.209
<v Eric>Yeah.

02:22:51.770 --> 02:22:53.450
<v Sara>It's great.

02:22:53.209 --> 02:22:56.568
<v Speaker 3>Know, you can admire somebody's craftiness and their skill

02:22:56.809 --> 02:22:57.209
<v Speaker 2>Right.

02:22:57.289 --> 02:23:01.114
<v Speaker 3>And their ingenuity without admiring the crime.

02:23:01.515 --> 02:23:03.915
<v Sara>Exactly. Like, that seems like what he's doing.

02:23:03.915 --> 02:23:05.354
He's just like, hey. It's a good con.

02:23:05.354 --> 02:23:06.155
<v Eric>I think, yeah, you

02:23:06.155 --> 02:23:07.114
<v Sara>can make some money off that.

02:23:07.114 --> 02:23:09.674
<v Eric>He has a different he has a different lens he's looking through

02:23:09.674 --> 02:23:10.395
for those things.

02:23:10.395 --> 02:23:11.674
<v Sara>That's right. Yeah.

02:23:11.915 --> 02:23:15.011
It's funny because that song that they're that the cool fly fire

02:23:15.011 --> 02:23:18.450
album is playing reminded me a little bit of another band.

02:23:18.450 --> 02:23:22.129
It's an eighties pop band, but their career didn't go anywhere.

02:23:22.129 --> 02:23:25.409
So I I will totally understand if neither of you have ever heard

02:23:25.409 --> 02:23:30.370
of these guys, but, they had a song out back in the eighties that

02:23:29.524 --> 02:23:32.084
and this is when I was so young that I didn't understand that you

02:23:32.084 --> 02:23:35.045
couldn't just get your song.

02:23:35.045 --> 02:23:37.924
Like, when I was a kid, like, used to say to my dad, can you put

02:23:37.924 --> 02:23:38.565
on this song?

02:23:38.565 --> 02:23:40.245
And he's like, no, no, it doesn't work that way, honey.

02:23:40.245 --> 02:23:42.340
You have to wait see if they play it.

02:23:42.340 --> 02:23:45.139
Because I'd always ask for Kokomo, I would ask for this other

02:23:45.139 --> 02:23:47.700
song, and he he had to try to explain the radio to me.

02:23:47.700 --> 02:23:49.459
Like, that's that's not how it works.

02:23:49.620 --> 02:23:52.979
This song was called Kiss You When It's Dangerous, and it was by

02:23:52.979 --> 02:23:55.379
a band called 8 Seconds, which is about how long their career

02:23:55.379 --> 02:23:57.985
lasted. That 1 would

02:23:57.985 --> 02:23:59.584
<v Eric>would never get on my radar.

02:23:59.584 --> 02:24:02.706
<v Sara>Yeah. You can find it. There there is a music video on YouTube.

02:24:03.104 --> 02:24:06.226
It's it's grainy, and it looks like it's been copied right off

02:24:06.226 --> 02:24:09.905
MuchMusic's, you know, channel. Something copied off it.

02:24:09.905 --> 02:24:10.944
<v Eric>Probably what it was. Yeah.

02:24:11.200 --> 02:24:13.920
<v Sara>Sounded a little bit like this band here, so it made me think of

02:24:13.920 --> 02:24:16.879
them. But yeah. Anyway, so

02:24:17.360 --> 02:24:20.079
<v Speaker 3>I wonder I just had a thought.

02:24:20.079 --> 02:24:25.680
I wonder if they I wonder if the studio replaced the original

02:24:25.680 --> 02:24:28.934
Coolfire music, which was probably just Yeah.

02:24:28.934 --> 02:24:33.094
You know, license free, royalty free library music.

02:24:33.094 --> 02:24:35.415
I wonder if they can replace that with something else.

02:24:35.654 --> 02:24:36.454
<v Sara>That'd be funny.

02:24:36.454 --> 02:24:39.415
<v Eric>Yeah. As far as I know, the Coolfire music did not get changed.

02:24:39.530 --> 02:24:43.931
My my copy from A and E, I think, is identical to the DVD.

02:24:43.931 --> 02:24:46.011
<v Sara>Okay. Is the pity.

02:24:46.250 --> 02:24:48.170
<v Eric>More is the band that did the cool fire.

02:24:48.170 --> 02:24:50.890
Did they do all the other replacement music?

02:24:50.969 --> 02:24:55.534
<v Speaker 3>Hey, baby. Yeah. That could be the case.

02:24:56.015 --> 02:24:56.415
<v Sara>Yeah.

02:24:56.415 --> 02:24:59.614
But Laura looks at Steele when she's appalled, he changes the

02:24:59.614 --> 02:25:00.895
topic. You're absolutely right.

02:25:00.895 --> 02:25:02.575
<v Eric>What does it got to do with Doug West?

02:25:03.694 --> 02:25:06.174
<v Sara>Laura says that's what they're gonna find out at the warehouse

02:25:06.174 --> 02:25:08.094
where Rick Baddam picked up these albums.

02:25:08.219 --> 02:25:13.020
So we get a scene change, they're opening a window in the

02:25:13.020 --> 02:25:15.020
warehouse breaking in on their crime clothes.

02:25:15.180 --> 02:25:18.059
They climb through it, they split out, Laura goes into an office,

02:25:18.059 --> 02:25:20.859
she begins to poke around at a desk, where Steele looks he's in

02:25:20.859 --> 02:25:22.459
the other room and has got a bunch of equipment.

02:25:23.265 --> 02:25:26.306
In a drawer, Laura finds a ledger with Doug West's name on it.

02:25:26.306 --> 02:25:29.104
She runs her finger down the page and sees 3, like, a bunch of

02:25:29.104 --> 02:25:33.265
entries, obviously air ports that he flew in and out of.

02:25:33.265 --> 02:25:34.864
<v Eric>Yeah. It's like a pilot's logbook.

02:25:34.864 --> 02:25:37.505
<v Sara>Yeah. She tells Steele that she thinks he has something.

02:25:37.505 --> 02:25:39.940
He comes over and Laura points to the ledger saying that from the

02:25:39.940 --> 02:25:42.579
looks of it, Doug West was flying more than traffic reports.

02:25:42.579 --> 02:25:44.819
Steele says that the plane would increase the distribution and

02:25:44.819 --> 02:25:47.140
make it impossible to trace anything back to the plan.

02:25:47.540 --> 02:25:51.444
Wouldn't it? Though, like, if you he's logged it.

02:25:51.444 --> 02:25:52.885
Like, you log your flights.

02:25:52.885 --> 02:25:56.325
So I would think that would make it really easy to track.

02:25:56.325 --> 02:26:00.965
<v Speaker 3>Well, I would also think that if he's using the station's plane,

02:26:02.165 --> 02:26:06.565
that he's also using the station's account at the airport for

02:26:06.059 --> 02:26:07.100
fuel. Mhmm.

02:26:07.100 --> 02:26:10.779
And I would think the general manager of a radio station who's

02:26:10.779 --> 02:26:12.139
such a tightwad

02:26:12.139 --> 02:26:13.420
<v Sara>would be asking a question.

02:26:13.420 --> 02:26:17.020
<v Speaker 3>Why are our fuel expenses so high on this traffic airplane?

02:26:17.020 --> 02:26:21.084
<v Sara>Yeah. Exactly. Yeah. Yeah. But, hey. Wavy. Wavy, wavy, wavy.

02:26:23.165 --> 02:26:25.725
Laura pulls out another ledger and looks through it deducing that

02:26:25.725 --> 02:26:28.443
if that all of it was being split 3 ways.

02:26:28.443 --> 02:26:31.645
They know Doug and Rick. Now all they need is the third man.

02:26:31.645 --> 02:26:34.283
Steele says, well, if it wasn't Orson Welles, he can't be of any

02:26:34.283 --> 02:26:34.924
immediate help.

02:26:36.950 --> 02:26:39.670
She looks at him, and he's like, third man, just gotten she's

02:26:39.670 --> 02:26:41.350
like, yeah. I got it the first time.

02:26:41.350 --> 02:26:42.309
<v Speaker 2>Is they've

02:26:42.309 --> 02:26:44.950
<v Sara>entered old married territory. Yeah.

02:26:44.950 --> 02:26:47.829
You know, where he's she's she's heard all of his jokes, and

02:26:47.829 --> 02:26:50.655
she's not impressed anymore. Yep. She's yeah. I got it. Yeah.

02:26:50.655 --> 02:26:52.415
Third man. Very funny.

02:26:53.055 --> 02:26:54.895
<v Eric>I do like that, though, because it's not like it's not like they

02:26:54.895 --> 02:26:55.854
don't know where he's coming from.

02:26:55.854 --> 02:26:57.614
Now she's like, I totally know what you were saying.

02:26:57.614 --> 02:26:58.735
You don't have to explain it.

02:26:58.735 --> 02:27:00.334
She's like, you don't have to explain it.

02:27:00.895 --> 02:27:03.854
<v Sara>They hear a noise, and this is, like, weird, like this these are

02:27:03.854 --> 02:27:05.590
some weird sound effects.

02:27:05.590 --> 02:27:07.350
<v Eric>Yeah. Some grunting and yeah.

02:27:07.350 --> 02:27:07.909
<v Sara>Yeah.

02:27:07.909 --> 02:27:10.229
And then they run out of the office, and it sounds like

02:27:10.229 --> 02:27:13.670
something's rolling, and then they follow the noise, and they see

02:27:13.670 --> 02:27:14.709
a door close.

02:27:15.109 --> 02:27:17.909
Steele chases after it, but Laura stops to bend down while he

02:27:17.909 --> 02:27:21.284
goes on ahead, and she's bending down to examine Rick on the

02:27:21.284 --> 02:27:24.485
ground. Steele gets outside in time to see a car drive away.

02:27:24.485 --> 02:27:27.444
He comes back in. Rick is still alive, but barely.

02:27:27.444 --> 02:27:30.645
He's weak, and he tells him bad news for the bad man.

02:27:30.645 --> 02:27:32.726
Come on, man. Have some self respect.

02:27:32.726 --> 02:27:34.806
<v Eric>He was in character to the end.

02:27:35.309 --> 02:27:36.270
<v Speaker 3>Right. That's Oh my god.

02:27:36.270 --> 02:27:37.950
<v Eric>Saying 1 of my catchphrases.

02:27:38.029 --> 02:27:40.670
<v Sara>Yeah. Like, come on. Have some self respect, my dude.

02:27:40.670 --> 02:27:44.590
Like, this is these are your last words. Oh, gross.

02:27:44.908 --> 02:27:46.109
<v Speaker 2>Doodle loo. Yeah.

02:27:48.295 --> 02:27:49.575
<v Speaker 3>80 looms. I

02:27:50.055 --> 02:27:51.094
<v Eric>gotta think of, like,

02:27:51.094 --> 02:27:54.295
<v Sara>you know what? Here's here's a homework assignment for all of us.

02:27:54.295 --> 02:27:56.614
We should we need to think of some good last words so we don't

02:27:56.614 --> 02:27:58.935
end up saying something like that. Well,

02:27:59.575 --> 02:28:01.654
<v Eric>the Castle Of Argh is already taken. So.

02:28:02.209 --> 02:28:08.209
<v Sara>Yeah. That's true. So, anyway, he's yeah.

02:28:08.209 --> 02:28:10.370
He's bad news for the bad man.

02:28:12.290 --> 02:28:14.689
Steele asked him why he killed Doug West.

02:28:14.864 --> 02:28:18.065
Rick says no, he was in the studio. He patched in the tapes.

02:28:18.226 --> 02:28:20.625
He says that Doug got greedy and threatened to go to the police.

02:28:20.625 --> 02:28:22.704
Laura asks, who then? Who killed Doug West?

02:28:22.704 --> 02:28:25.265
Instead, Steele adds, who did this to you?

02:28:25.745 --> 02:28:45.145
But Rick can't answer because he's dead. Which okay.

02:28:45.625 --> 02:28:47.466
The camera pans down, and it's Bud.

02:28:47.466 --> 02:28:49.466
He's doing the same trick to cover for Rick.

02:28:49.625 --> 02:28:51.306
<v Eric>What I love about this Trick Rick.

02:28:51.306 --> 02:28:52.425
<v Speaker 2>He's wearing a wig.

02:28:52.505 --> 02:28:54.905
<v Eric>Yeah. Sound he sounds nothing like Rick

02:28:54.905 --> 02:28:56.584
<v Speaker 3>Batten. No. He's nothing like him.

02:28:56.584 --> 02:28:59.851
<v Eric>No. But he's got the wig on, which on radio really sells it.

02:28:59.851 --> 02:29:00.329
Oh, yeah.

02:29:00.329 --> 02:29:01.050
<v Speaker 3>That's right.

02:29:01.129 --> 02:29:02.251
<v Eric>Well, I think it's

02:29:02.569 --> 02:29:03.851
<v Sara>I think it's so that whoever is

02:29:04.011 --> 02:29:05.050
<v Eric>He's wearing his jacket. Yeah.

02:29:05.690 --> 02:29:07.770
<v Sara>I think it's probably for whoever's trying to kill him if they

02:29:07.770 --> 02:29:10.011
look in and see the the blonde. But, see, it's kind of fun.

02:29:10.011 --> 02:29:10.970
It's funny that he's wearing

02:29:10.970 --> 02:29:11.290
<v Speaker 2>the wig.

02:29:11.290 --> 02:29:12.251
<v Eric>Well, you you know,

02:29:12.649 --> 02:29:16.875
<v Speaker 3>I I saw something by somebody who did impersonations.

02:29:16.875 --> 02:29:20.075
I can't remember who it was now, but a a famous person who who

02:29:20.075 --> 02:29:21.194
did impersonations.

02:29:21.594 --> 02:29:27.114
And they were explaining that a lot of times they did not really

02:29:27.114 --> 02:29:29.950
sound that much like the person that they were doing the

02:29:29.950 --> 02:29:30.989
impersonation of.

02:29:31.068 --> 02:29:36.350
And it was more about the appearance, the motions, the gestures,

02:29:36.350 --> 02:29:41.709
the, you know, everything else about it and less about the voice.

02:29:41.875 --> 02:29:42.354
Mhmm.

02:29:42.354 --> 02:29:43.314
<v Eric>So Yeah.

02:29:43.314 --> 02:29:46.034
If you get, like, the mannerism right, it doesn't really matter

02:29:46.034 --> 02:29:48.434
if you technically sound right. Mhmm.

02:29:48.434 --> 02:29:51.155
But on the radio, his his It is Rick Bannum.

02:29:51.475 --> 02:29:52.274
<v Speaker 3>His sound.

02:29:52.674 --> 02:29:55.555
<v Eric>His Rick Bannum is not convincing to me because it's it sounds

02:29:55.555 --> 02:29:56.754
like it's Norm Austin.

02:29:57.310 --> 02:29:58.750
<v Sara>Yeah. It does. And that's what I thought.

02:29:58.750 --> 02:30:01.229
I thought he sounds exactly like that's his Norm voice.

02:30:01.149 --> 02:30:04.190
He's now he's doing it for for Rick. But Well,

02:30:04.430 --> 02:30:06.591
<v Speaker 3>maybe Riven Lyman is tone deaf.

02:30:06.829 --> 02:30:08.670
<v Eric>Maybe. The jingle writer.

02:30:08.670 --> 02:30:11.229
<v Sara>I was gonna say we've heard his we've heard his music, so I would

02:30:11.229 --> 02:30:11.790
agree with that.

02:30:12.965 --> 02:30:14.325
<v Speaker 3>And he's not even writing it.

02:30:14.325 --> 02:30:19.604
Maybe he's just pirated the the jingles. Yeah. That could be.

02:30:19.604 --> 02:30:21.443
<v Eric>This could go deeper than we thought.

02:30:21.443 --> 02:30:23.523
<v Sara>Oh my gosh. We've cracked it, everybody.

02:30:23.523 --> 02:30:26.885
<v Speaker 3>It's a syndicate for pirated radio station jingles.

02:30:27.159 --> 02:30:30.920
That's why they all suck. That's right.

02:30:31.559 --> 02:30:33.800
<v Sara>You heard it here first. We broke it.

02:30:33.879 --> 02:30:37.399
The conspiracy is is is figured out. We've we've Well,

02:30:37.399 --> 02:30:40.200
<v Speaker 3>I had to have 1 conspiracy. Steve ruined my last 1.

02:30:40.200 --> 02:30:40.840
<v Sara>Yeah. That's yeah.

02:30:40.840 --> 02:30:43.495
<v Eric>We were Did I ruin that 1? I I Oh, yeah. Yeah.

02:30:43.495 --> 02:30:44.534
You oh, you weren't yeah.

02:30:44.534 --> 02:30:46.614
<v Speaker 3>You didn't listen when we recorded it, but you'll hear it when it

02:30:46.614 --> 02:30:48.773
comes out. Yeah. You ruined it. Totally ruined it.

02:30:48.773 --> 02:30:51.655
<v Speaker 2>I'm sorry about that. You could be wrong, though.

02:30:53.094 --> 02:30:55.814
<v Sara>So, yeah, he's wearing this terrible blonde wig, and he tells his

02:30:55.814 --> 02:30:58.250
listeners that he got clunked on the head pretty badly last

02:30:58.250 --> 02:30:59.530
night, but he's okay now.

02:30:59.530 --> 02:31:00.969
<v Eric>Maybe that's what

02:31:00.969 --> 02:31:02.091
<v Speaker 3>affected his voice.

02:31:02.250 --> 02:31:03.770
<v Eric>That's totally yeah.

02:31:05.450 --> 02:31:08.010
<v Sara>He could he should have said, like, he had a cold or something.

02:31:08.010 --> 02:31:09.610
That might sound a little better,

02:31:09.610 --> 02:31:13.165
<v Eric>would think. But a very convincing impersonation.

02:31:13.165 --> 02:31:13.965
<v Sara>No. No.

02:31:14.524 --> 02:31:17.805
He goes on to say, he has a good story for later, but now back to

02:31:17.805 --> 02:31:19.965
the music. Outside, Laura and Steele are waiting.

02:31:19.965 --> 02:31:21.886
I love her blouse. I don't like her hair.

02:31:23.165 --> 02:31:25.405
Like I said, I think she I think she looks good in in dark

02:31:25.405 --> 02:31:28.220
colors, but her hair is just, like, up there.

02:31:28.299 --> 02:31:31.420
The bright colors, the reds, the pinks, I like it.

02:31:31.420 --> 02:31:33.979
I'm not loving the hair. It looks too severe.

02:31:34.140 --> 02:31:36.299
Like, with the dark red of that blouse

02:31:36.459 --> 02:31:36.620
<v Speaker 3>Yeah.

02:31:36.700 --> 02:31:39.979
<v Sara>The whole thing looks really severe. I love blouse.

02:31:40.745 --> 02:31:42.984
See, I think the buzz would have looked really nice if her hair

02:31:42.984 --> 02:31:45.784
was just natural and the makeup natural, but she's got, like, the

02:31:45.784 --> 02:31:46.584
bright red lipstick.

02:31:46.584 --> 02:31:49.625
<v Eric>Yeah. The whole combination together is is much. Yeah. Yeah.

02:31:49.625 --> 02:31:50.184
I agree with you

02:31:50.184 --> 02:31:50.424
<v Speaker 2>there.

02:31:50.424 --> 02:31:53.180
<v Sara>It just looks really, really severe, and it's like, it's not

02:31:53.180 --> 02:31:58.139
really her. But anyway, Steel is dismantling the speaker.

02:31:58.139 --> 02:31:58.780
He's like,

02:32:00.299 --> 02:32:02.220
<v Eric>this this impersonation is horrible.

02:32:02.620 --> 02:32:06.060
<v Sara>That's it's you know, it's bad when he's at the station, and he's

02:32:06.060 --> 02:32:08.060
like, well, there's no reason we have to listen.

02:32:08.379 --> 02:32:10.534
<v Speaker 3>That's right. Yeah. Ouch.

02:32:12.694 --> 02:32:15.254
<v Sara>Laura says she hopes this works, and Steele assures her that when

02:32:15.254 --> 02:32:17.415
the killer hears Rick on the radio, he'll come back to finish

02:32:17.415 --> 02:32:20.935
what he started. Not necessarily a work, though. You yeah.

02:32:20.935 --> 02:32:23.159
Like, if I were to kill her

02:32:23.239 --> 02:32:24.280
<v Eric>right then and there.

02:32:24.360 --> 02:32:25.879
<v Speaker 3>Yeah. But I know the

02:32:25.879 --> 02:32:28.040
<v Eric>way he's talking, though, he might spill all the beans on the

02:32:28.040 --> 02:32:28.280
show.

02:32:28.280 --> 02:32:28.680
<v Sara>That's true.

02:32:28.680 --> 02:32:30.120
<v Speaker 2>So maybe you gotta get him out there

02:32:30.120 --> 02:32:31.560
<v Eric>before he says something he shouldn't.

02:32:31.799 --> 02:32:34.840
<v Sara>I'm not very good at being a killer, but I would be like, oh,

02:32:34.840 --> 02:32:36.934
I'll wait till his shift's over, and I'll get him in the parking

02:32:36.934 --> 02:32:37.254
lot.

02:32:37.254 --> 02:32:37.575
<v Eric>Know? Yeah.

02:32:37.575 --> 02:32:40.854
Maybe do it with an open mic so the entire listening area can

02:32:40.854 --> 02:32:43.415
hear the crime taking place.

02:32:43.654 --> 02:32:45.895
<v Sara>My gosh. It's so and so with a gun.

02:32:46.055 --> 02:32:46.935
<v Eric>Yeah. Well,

02:32:49.415 --> 02:32:55.159
<v Speaker 3>you know, that well, I was gonna say totally unrelated, but kind

02:32:55.159 --> 02:33:00.681
of related into something happening on live that involves

02:33:00.681 --> 02:33:01.720
shooting somebody.

02:33:01.800 --> 02:33:05.636
I just happened to run across something the other day and I did a

02:33:05.636 --> 02:33:09.476
little research on it, and there was actually back in the

02:33:09.954 --> 02:33:13.556
eighties, I believe it was, there was actually a murder done on

02:33:13.556 --> 02:33:14.595
live TV.

02:33:14.754 --> 02:33:16.194
<v Sara>Mhmm. Holy crap.

02:33:16.194 --> 02:33:21.290
<v Speaker 3>A guy had had his 11 year old son had been kidnapped and sexually

02:33:21.290 --> 02:33:25.050
assaulted for over a week by the perpetrator.

02:33:25.770 --> 02:33:29.209
And they were bringing the perpetrator back and they'd extradited

02:33:29.209 --> 02:33:32.729
him and he'd confessed, said, yeah, he'd he'd done it all.

02:33:33.209 --> 02:33:36.645
And the the dad was at the airport waiting for him.

02:33:36.645 --> 02:33:38.405
The cops were walking in with him.

02:33:38.405 --> 02:33:39.845
<v Eric>He was pretending to use a payphone.

02:33:40.004 --> 02:33:42.645
<v Speaker 3>Yep. And had live TV cameras there.

02:33:42.886 --> 02:33:44.726
And yeah, he was at the payphone.

02:33:44.726 --> 02:33:47.685
And as the guy gets ready to walk by, he turns around and just

02:33:47.685 --> 02:33:48.645
pops him right in the head.

02:33:48.645 --> 02:33:49.604
<v Sara>Holy cow.

02:33:49.604 --> 02:33:54.220
<v Speaker 3>On live TV. So, yeah, stuff like that happens.

02:33:54.299 --> 02:33:58.939
<v Sara>Well, mean, my my parents saw Kennedy get shot, and I saw, you

02:33:58.939 --> 02:34:01.979
know, like, we had I mean, you get things like 09:11 and whatnot.

02:34:01.979 --> 02:34:04.939
But so, yeah, we we sometimes you sometimes get more out of a

02:34:04.939 --> 02:34:06.379
broadcast than you bargained for.

02:34:06.459 --> 02:34:06.620
<v Speaker 3>Right?

02:34:07.174 --> 02:34:10.694
<v Sara>Nowadays, that kind of stuff that pops up on YouTube. Right?

02:34:10.773 --> 02:34:13.814
Something happens and somebody's filmed it and there it is.

02:34:13.814 --> 02:34:16.613
And and which is kind of scary when you when you're like, we

02:34:16.613 --> 02:34:20.375
don't let my daughter look at YouTube without us there because,

02:34:20.375 --> 02:34:23.049
like, you can come across anything on YouTube.

02:34:23.290 --> 02:34:26.809
<v Speaker 3>Scarier part is that there have been instances of the

02:34:26.809 --> 02:34:29.770
perpetrators live streaming it through YouTube.

02:34:29.930 --> 02:34:31.290
<v Sara>Yeah. Yeah. Yeah. Like, that's

02:34:31.290 --> 02:34:31.610
<v Eric>what I mean.

02:34:31.930 --> 02:34:33.770
And those platforms are pretty good about taking that kind of

02:34:33.770 --> 02:34:36.684
stuff down. But if you're live streaming it, that yeah. Yeah.

02:34:36.684 --> 02:34:39.004
There's nothing they can do in in that moment.

02:34:39.165 --> 02:34:42.844
<v Sara>Yeah. So they anyway, they they start to walk away.

02:34:42.844 --> 02:34:44.045
Steele starts to walk away. Sorry.

02:34:44.045 --> 02:34:45.725
But Laura grabs him and tells him to be careful.

02:34:45.725 --> 02:34:49.165
This is the closest thing we've seen to any intimacy between him

02:34:49.165 --> 02:34:51.709
in this entire case. It's a sweet little moment.

02:34:51.709 --> 02:34:54.510
And, like, not every episode has to have, like, a romantic

02:34:54.510 --> 02:34:56.270
subplot between the 2 of them.

02:34:56.510 --> 02:35:00.510
This 1, they don't seem like they're fighting.

02:35:00.510 --> 02:35:03.870
It just seems like this is more of a a plot focused episode,

02:35:03.870 --> 02:35:06.029
which is fine. It's it's it's not like it's bad.

02:35:06.534 --> 02:35:09.254
But it this is nice, the fact that she tells him to be careful,

02:35:09.254 --> 02:35:12.055
which is sweet. They both go and take their places.

02:35:12.055 --> 02:35:14.934
And meanwhile, Bud says that for all the Tyler and Austin fans,

02:35:14.934 --> 02:35:17.334
he has it on good authority. They were released last night.

02:35:18.135 --> 02:35:18.934
<v Eric>Just telling it up.

02:35:18.934 --> 02:35:20.854
That's why they needed to take care of him because he's just

02:35:20.854 --> 02:35:23.250
telling the whole story in between the records.

02:35:23.329 --> 02:35:23.729
<v Speaker 2>He's, like,

02:35:23.729 --> 02:35:26.450
<v Eric>playing a record, tells a bit of the story, plays another record.

02:35:26.450 --> 02:35:27.489
He's not announcing anything.

02:35:27.489 --> 02:35:28.851
He's just telling bits of the story.

02:35:29.010 --> 02:35:32.209
<v Speaker 3>Yep. Well, it's great radio. I mean, you you you hook them.

02:35:32.290 --> 02:35:35.329
You keep feeding them just a little bit of it, just a little bit

02:35:35.329 --> 02:35:36.129
more. Yep.

02:35:37.235 --> 02:35:39.395
<v Eric>Play Yep. Another song and come back with more afterwards.

02:35:39.395 --> 02:35:40.194
<v Speaker 3>That's right.

02:35:40.274 --> 02:35:41.636
<v Sara>Yeah. Steele walks by.

02:35:41.636 --> 02:35:44.835
He taps on the window to the studio and throws on some music.

02:35:45.075 --> 02:35:46.835
Steele looks out the door. Nothing.

02:35:47.075 --> 02:35:49.715
Meanwhile, Laura's kinda crouched down hiding, and this is when

02:35:49.715 --> 02:35:50.674
Marsha comes in.

02:35:50.674 --> 02:35:52.979
She jumps up shocked saying, You couldn't have killed your

02:35:52.979 --> 02:35:54.420
husband. You were with Norman.

02:35:54.658 --> 02:35:57.859
And Marsha, panic, tells her, Get out to get out of her way.

02:35:57.859 --> 02:35:58.979
She needs to see Rick.

02:35:58.979 --> 02:36:01.859
She pulls out a gun and tells Laura that he got Doug killed and

02:36:01.859 --> 02:36:03.299
framed Norman for it.

02:36:03.299 --> 02:36:05.539
You got to wonder, which is she really more upset about?

02:36:07.245 --> 02:36:09.085
<v Speaker 3>Right? Yes. Well,

02:36:09.405 --> 02:36:11.726
<v Eric>from the very beginning, we've kind of wondered what she has.

02:36:11.726 --> 02:36:12.284
<v Sara>Yeah.

02:36:13.325 --> 02:36:15.965
Are you sad that your husband's dead, or are you sad that your

02:36:15.965 --> 02:36:18.444
lover is being framed for you know?

02:36:18.444 --> 02:36:23.219
<v Speaker 3>Well, actually, if she had both of them, she could have been

02:36:23.299 --> 02:36:26.739
sorry for both of them because that's that's 2 incomes she's

02:36:26.739 --> 02:36:27.299
lost.

02:36:27.620 --> 02:36:29.620
<v Sara>Yeah. Well, there's a life insurance policy.

02:36:29.620 --> 02:36:30.659
<v Eric>Insurance. Yeah.

02:36:30.659 --> 02:36:32.819
<v Speaker 3>Yeah. Well, that's true. But, I mean, that's just a 1 time thing.

02:36:33.075 --> 02:36:34.675
The income is ongoing.

02:36:35.155 --> 02:36:36.835
<v Sara>That's true. Yeah. Yeah. Yeah.

02:36:37.476 --> 02:36:38.594
<v Eric>I don't know how much you would have made.

02:36:38.594 --> 02:36:41.954
I mean, a pilot doing traffic reports. Yeah. Probably not a lot.

02:36:42.114 --> 02:36:43.954
More than the guy on the air, probably. But

02:36:44.194 --> 02:36:47.770
<v Sara>So then Laura tries to talk her down, telling her, get for the

02:36:47.770 --> 02:36:50.010
gun. She's not gonna shoot anyone, but she's wrong.

02:36:50.010 --> 02:36:54.091
She gets off shot and misses. Laura dives behind a desk.

02:36:54.329 --> 02:36:55.690
No one's going to stop me.

02:36:55.690 --> 02:36:58.284
Steele runs out in time to see her and says, missus West, but you

02:36:58.284 --> 02:37:00.524
couldn't have killed your husband. You were with Norman.

02:37:01.165 --> 02:37:03.165
She doesn't care. She shoots at him as well.

02:37:03.165 --> 02:37:06.364
He dies behind the couch. Laura's head pops this is funny.

02:37:06.364 --> 02:37:08.444
This is like whack a mole with gunshots.

02:37:08.523 --> 02:37:11.885
Hilarious because, like, every time, you know, Laura's head pops

02:37:11.885 --> 02:37:14.170
up, she says she tells her to put the gun down.

02:37:14.170 --> 02:37:16.328
She points it at her, then Steele says, I thought she was with

02:37:16.328 --> 02:37:19.850
Norman. She points it at him and shoots. Laura replies, she was.

02:37:19.850 --> 02:37:21.930
Shoots at Laura. Steele pops up.

02:37:21.930 --> 02:37:24.889
Why is she shooting at us right before she hits a cactus?

02:37:24.889 --> 02:37:27.886
And Laura says, she's distraught as she hits a jar of

02:37:27.806 --> 02:37:29.325
<v Speaker 3>Well, that explains everything.

02:37:31.165 --> 02:37:32.925
<v Sara>And then Steel says, how many is that?

02:37:32.925 --> 02:37:37.085
Laura says, I've been too busy ducking to count. Mhmm.

02:37:38.364 --> 02:37:41.459
Which fair fair? I would I would not be counting either.

02:37:41.459 --> 02:37:43.540
<v Eric>I I was watching it, and I didn't keep track.

02:37:43.620 --> 02:37:43.940
<v Sara>Yeah.

02:37:43.940 --> 02:37:47.139
I I I did as I was watching it, but only because I knew that line

02:37:47.139 --> 02:37:48.899
was coming up. But still yeah.

02:37:48.899 --> 02:37:50.819
<v Speaker 3>But you still lost count, didn't you?

02:37:51.459 --> 02:37:52.976
<v Sara>No. I was I was yeah.

02:37:52.976 --> 02:37:55.534
But she turns to shoot it again, but the gun is empty.

02:37:55.694 --> 02:37:57.854
Before anything can happen, another gunshot is heard.

02:37:57.854 --> 02:38:00.655
Laura jumps up, leaps onto Marsha, getting the gun while Steele

02:38:00.655 --> 02:38:02.335
runs in the direction of the gunshot.

02:38:02.495 --> 02:38:05.935
Inside the studio, poor Bud, he's fending off the attacker who's

02:38:05.935 --> 02:38:08.254
shooting at him, having mistaken him for Rick, throwing album

02:38:08.254 --> 02:38:11.639
after album as he hides behind the desk. Yeah.

02:38:11.639 --> 02:38:15.000
And this reminds me, have either of you seen Shaun of the Dead?

02:38:15.479 --> 02:38:19.959
No. It's a a zombie horror comedy, so it's it's

02:38:20.119 --> 02:38:22.359
<v Eric>I've been told to see it, but I have not seen it.

02:38:22.680 --> 02:38:23.078
<v Sara>It's funny.

02:38:23.204 --> 02:38:26.805
There's a there's a moment where there's the zombies are coming

02:38:26.805 --> 02:38:30.165
after them in their in the backyard, and they've grabbed Simon

02:38:30.165 --> 02:38:31.925
Pegg's character's record collection.

02:38:32.084 --> 02:38:34.004
And they're going through the albums to throw out the zombies,

02:38:34.004 --> 02:38:36.979
and they're deciding and he's like, you know, Madonna.

02:38:36.979 --> 02:38:40.340
They're no. No. No. Not that 1. So it's this 1? Yeah. Throw it.

02:38:40.340 --> 02:38:42.260
<v Eric>And they're like, they're only throwing albums

02:38:42.260 --> 02:38:45.139
<v Sara>that they don't care about. This made me think of that.

02:38:45.139 --> 02:38:50.064
Like except Bud's not being nearly as picky about what he's

02:38:50.064 --> 02:38:52.145
<v Eric>just playing whatever he's got.

02:38:52.145 --> 02:38:55.023
<v Speaker 3>Well, it's it's only an AM station, so the albums that they've

02:38:55.023 --> 02:38:57.344
got are probably not worth saving.

02:38:57.344 --> 02:38:59.985
If it was an FM station, we might have to talk.

02:39:00.064 --> 02:39:02.784
<v Eric>Well, originally, they had the Beach Boys and and, you know,

02:39:02.784 --> 02:39:05.104
whoever did leave it on a jet plane or within that version.

02:39:05.399 --> 02:39:06.280
<v Sara>That's true.

02:39:06.280 --> 02:39:09.399
<v Eric>In this version, they've just got some generic stuff and cool

02:39:09.399 --> 02:39:11.720
fire. Terrible. Killing away. So,

02:39:13.159 --> 02:39:15.959
<v Sara>yeah, he, still runs up and tackles the man to the ground,

02:39:15.959 --> 02:39:16.921
punches him out.

02:39:17.079 --> 02:39:19.720
Laura and Marsha run up behind them, and Laura is shocked to see

02:39:19.720 --> 02:39:24.395
Ryman Lyman is on the on the floor. Mhmm. Marsha calls and okay.

02:39:24.395 --> 02:39:25.754
I'm confused about this.

02:39:25.995 --> 02:39:28.635
Marsha pokes her head in and says Bud, and then Bud whimpers

02:39:28.635 --> 02:39:31.995
Norman. Is is he calling for Norman? Is he I'm

02:39:31.995 --> 02:39:33.114
<v Eric>not sure what he's yeah.

02:39:33.114 --> 02:39:36.318
And why is Ryman Lyman shooting at I mean, he obviously, by now

02:39:36.318 --> 02:39:38.639
knows that's not actually Rick Bannum in there.

02:39:38.639 --> 02:39:41.120
<v Sara>You would think unless he needed his eyes checked too.

02:39:41.120 --> 02:39:42.239
<v Speaker 2>Like, you know?

02:39:42.239 --> 02:39:44.079
<v Eric>And the wig is all, like, sideways.

02:39:45.680 --> 02:39:48.318
<v Sara>But, yeah, I don't know why he whimpers Norman's name.

02:39:48.318 --> 02:39:50.056
Like, that confused me.

02:39:50.216 --> 02:39:51.575
<v Eric>He just missed his buddy.

02:39:51.895 --> 02:39:54.136
He wished he was doing a show with his buddy.

02:39:54.375 --> 02:39:55.976
<v Sara>I guess. Wished he was we're

02:39:55.976 --> 02:39:56.614
<v Speaker 2>gonna get shot.

02:39:56.614 --> 02:39:58.694
<v Sara>I wanna get shot with my buddy. Mhmm.

02:39:58.774 --> 02:40:03.960
<v Speaker 3>It's kinda like kinda like a a kid that's lost and and they're

02:40:03.960 --> 02:40:07.081
calling for their mom. Yeah. Would type of thing.

02:40:07.560 --> 02:40:09.001
It's like it's security.

02:40:09.079 --> 02:40:13.880
<v Eric>Yeah. Mean, Bud's got nobody. Norman's his only guy. So poor Bud.

02:40:13.880 --> 02:40:15.000
<v Sara>I just wanna hug him now.

02:40:16.475 --> 02:40:18.953
In the studio, Mildred is giving her last broadcast.

02:40:18.953 --> 02:40:22.074
She's thanking the people at KROT for giving her the chance to

02:40:22.074 --> 02:40:24.875
talk to all the fine and perverted folks out there.

02:40:25.113 --> 02:40:27.193
<v Eric>How long did your show last? Was it 3 days?

02:40:27.193 --> 02:40:27.834
Was it you know, it was

02:40:27.834 --> 02:40:28.074
<v Speaker 2>3 days?

02:40:28.074 --> 02:40:29.674
<v Sara>It wasn't very long at all. No.

02:40:29.674 --> 02:40:31.139
<v Speaker 3>It and it wasn't fine in pervert.

02:40:31.139 --> 02:40:32.739
It was troubled in perverted souls.

02:40:32.739 --> 02:40:33.939
<v Sara>Oh, that's it. Yeah. That's it.

02:40:33.939 --> 02:40:34.420
<v Eric>It was troubled

02:40:34.420 --> 02:40:36.260
<v Speaker 3>in perverted souls. Great line.

02:40:36.819 --> 02:40:39.700
<v Sara>Oh, she says, although I'm leaving the air, don't despair.

02:40:39.700 --> 02:40:43.140
She's working I'm working on my own advice book, Candid Krebs.

02:40:43.379 --> 02:40:44.659
I wanna read that

02:40:44.659 --> 02:40:45.219
<v Eric>book. Awesome.

02:40:45.665 --> 02:40:50.625
<v Sara>Mildred's advice? Yes, please. Mhmm. Yeah.

02:40:50.625 --> 02:40:51.825
I would I would buy that.

02:40:51.825 --> 02:40:54.306
She says so long, and Bud thanks her for stopping by.

02:40:54.545 --> 02:40:56.864
Bud sits down and tells the listeners that they are listening to

02:40:56.864 --> 02:40:57.584
Tyler and Austin.

02:40:57.690 --> 02:41:00.011
Norm says we're still on the air, and Bud tells them that they're

02:41:00.011 --> 02:41:02.091
grateful for all the listeners who wrote to them in while they

02:41:02.091 --> 02:41:02.890
were in prison.

02:41:03.450 --> 02:41:06.171
Norm says he didn't see those letters, and Bud lists 1 piece of

02:41:06.171 --> 02:41:08.171
paper saying, sorry. I got it right here.

02:41:08.569 --> 02:41:09.450
<v Speaker 2>That's it.

02:41:10.250 --> 02:41:11.290
<v Eric>You heard from our fan.

02:41:11.726 --> 02:41:16.765
<v Sara>Yeah. That's funny. I'll give him that. That one's cute. Yeah.

02:41:16.765 --> 02:41:19.084
He says, speaking of thanks, this next 1 goes out to 2 very

02:41:19.084 --> 02:41:21.084
special people, Remington Steele and Laura Holt.

02:41:21.084 --> 02:41:23.726
And I'm guessing this 1 is another switch because the song that

02:41:23.726 --> 02:41:25.645
plays, I'm a witness to another crime?

02:41:25.829 --> 02:41:27.989
<v Eric>It was thank you for being a friend originally.

02:41:28.149 --> 02:41:29.270
<v Sara>Yes. I remembered that.

02:41:29.270 --> 02:41:33.270
And that makes more sense, but, of course, we can't have can't

02:41:33.270 --> 02:41:34.950
have that can't have it making sense.

02:41:34.950 --> 02:41:36.069
That would just be terrible.

02:41:36.549 --> 02:41:37.590
<v Eric>Nope. Stop making sense.

02:41:38.245 --> 02:41:39.844
<v Sara>Yeah. Laura Steele

02:41:39.844 --> 02:41:41.604
<v Speaker 3>is that the recorded that album.

02:41:41.604 --> 02:41:42.564
<v Eric>Talking heads.

02:41:42.564 --> 02:41:46.565
<v Sara>Yeah. Thank you. So they they give him a thumbs up.

02:41:46.885 --> 02:41:48.725
Frank Dix, the station manager, is there too.

02:41:48.725 --> 02:41:50.325
He's surprised that Lyman was behind it all.

02:41:50.430 --> 02:41:52.909
Laura says that he was the mastermind behind the counterfeiting

02:41:52.909 --> 02:41:54.829
operation, but he couldn't hold it together.

02:41:55.068 --> 02:41:57.870
She adds that Doug got greedy, so he killed him, and Steele says

02:41:57.870 --> 02:42:00.350
that he forced Rick to help cover it up, but then got scared that

02:42:00.350 --> 02:42:02.909
Rick might talk, which is what they were fighting about when Rick

02:42:02.909 --> 02:42:03.709
got killed.

02:42:04.109 --> 02:42:10.523
Again, Frank, the most compassionate employer on the planet says

02:42:10.523 --> 02:42:13.725
too bad about Rick. He wasn't much of a DJ, but he worked cheap.

02:42:13.725 --> 02:42:19.601
Oh, well, shit goes on. Jesus, man. Like, what is wrong with you?

02:42:19.601 --> 02:42:21.200
<v Eric>I can see why this station is struggling

02:42:21.200 --> 02:42:22.560
<v Speaker 3>because they don't have to be

02:42:23.760 --> 02:42:27.280
<v Eric>like, I gotta tell be just as low as it could possibly be.

02:42:27.280 --> 02:42:29.520
That's why these guys are making bootlegs and all this stuff.

02:42:29.601 --> 02:42:32.704
<v Sara>Well and at this point, their DJs and employees seem to have the

02:42:32.704 --> 02:42:34.704
life expectancy of a spinal tap drummer.

02:42:34.704 --> 02:42:37.184
<v Eric>They're just popping off like 1 at a time.

02:42:37.184 --> 02:42:38.784
Like, this is just and then

02:42:38.784 --> 02:42:41.985
<v Sara>their station manager's like, well, you know, he kinda sucked,

02:42:41.985 --> 02:42:42.864
but he was cheap.

02:42:42.864 --> 02:42:44.864
<v Eric>He didn't have he didn't have a grown man's job anyway.

02:42:44.930 --> 02:42:46.449
<v Speaker 2>Yeah. And that's we talked

02:42:46.449 --> 02:42:47.010
<v Eric>on it earlier.

02:42:47.010 --> 02:42:49.010
We're like, this this that could be the gimmick to make this

02:42:49.010 --> 02:42:52.530
station turn around is you just have people die on the air, and

02:42:52.689 --> 02:42:53.010
that's

02:42:53.010 --> 02:42:55.649
<v Speaker 3>every week wondering who's gonna get it next. Yeah.

02:42:56.049 --> 02:42:58.449
<v Eric>And then the GM comes on and says something flippant about him,

02:42:58.449 --> 02:43:00.049
and you bring in doctor Krebs.

02:43:00.395 --> 02:43:04.875
<v Sara>Yeah. Well, yeah. She's counseling all the bereaved. Get over it.

02:43:04.875 --> 02:43:05.515
Next.

02:43:08.075 --> 02:43:10.635
Well, he looks at Mildred then says, you don't think you could

02:43:10.635 --> 02:43:12.155
lend me Doctor. Krebs for a bit.

02:43:12.235 --> 02:43:14.479
And then Mildred says, What kind of bucks are we talking?

02:43:14.479 --> 02:43:16.960
Never mind. Sex therapists are a dime or a dozen.

02:43:17.280 --> 02:43:19.440
<v Speaker 2>Are they? I'm

02:43:21.040 --> 02:43:23.360
<v Sara>going go out on a limb and think, Probably not.

02:43:24.479 --> 02:43:25.440
<v Speaker 2>That's a pretty

02:43:25.681 --> 02:43:28.886
<v Eric>that's a niche that's a niche of the field there. Exactly.

02:43:29.444 --> 02:43:32.886
<v Speaker 2>But that Mildred wait. I'm easy.

02:43:33.524 --> 02:43:36.485
<v Speaker 3>That's I'm sorry. That's that's just the wrong line to say.

02:43:36.485 --> 02:43:40.239
<v Sara>Very wrong line, which is so funny because, wait. I'm easy.

02:43:40.879 --> 02:43:42.719
<v Speaker 2>Know? Could have

02:43:44.879 --> 02:43:47.040
<v Sara>a couple hours on the side as a side gig.

02:43:47.040 --> 02:43:49.680
I could see that being a fun hustle for Mildred, you know?

02:43:49.680 --> 02:43:52.238
<v Speaker 2>She's great at it. She she

02:43:52.398 --> 02:43:54.704
<v Sara>I mean, she terrible therapist, but, like

02:43:54.864 --> 02:43:55.104
<v Eric>Oh, yeah.

02:43:55.185 --> 02:43:58.145
<v Sara>You know, great at Great comedy. At your Fantastic radio show.

02:43:58.145 --> 02:43:58.546
Yeah.

02:43:58.864 --> 02:43:59.665
<v Speaker 3>That's right.

02:44:00.065 --> 02:44:04.065
<v Sara>We then see Leon come in, Steele greets him, but storm clouds,

02:44:04.065 --> 02:44:05.825
baby. The cover is off.

02:44:06.319 --> 02:44:09.040
And Steele asks why, and Leon says New York liked it better when

02:44:09.040 --> 02:44:12.159
the 2 old DJs did it. Steele says, but this version's stronger.

02:44:12.159 --> 02:44:14.959
It's more convoluted. Too convoluted. Who can follow it?

02:44:14.959 --> 02:44:19.360
Like Yeah. Laura asked, what about the counterfeit record angle?

02:44:19.514 --> 02:44:21.915
Oh, they did that story months ago. Old news.

02:44:22.074 --> 02:44:25.434
<v Speaker 3>Yep. Oh, were so close, baby.

02:44:26.154 --> 02:44:29.114
<v Sara>You approached greatness, then you veered left.

02:44:31.354 --> 02:44:35.113
Laura, she's she sort of coldly says the truth happened to get in

02:44:35.113 --> 02:44:36.931
the way. Leon says, well, I hope this has

02:44:36.931 --> 02:44:38.049
<v Eric>been a lesson to you.

02:44:38.049 --> 02:44:39.890
<v Speaker 2>Me too. What

02:44:42.129 --> 02:44:43.409
<v Eric>was it? That's funny.

02:44:43.890 --> 02:44:49.084
<v Speaker 3>What was it Garik from Star Trek Deep Space 9 would say, Why tell

02:44:49.084 --> 02:44:50.685
the truth when a lie will do?

02:44:51.004 --> 02:44:54.125
<v Sara>Yes. Oh, I loved his character. I loved his character.

02:44:54.125 --> 02:44:57.165
Like, I'm not a spy. I'm just a tailor. Yeah. Okay.

02:44:58.924 --> 02:45:03.004
So, yeah, Laura Laura tries to comfort Steele, he says, well,

02:45:03.004 --> 02:45:04.750
it's a few million adoring fans,

02:45:04.750 --> 02:45:06.350
<v Eric>more or less. More or less.

02:45:06.350 --> 02:45:09.629
<v Sara>Laura asked if he would settle for just 1, which is also very

02:45:09.629 --> 02:45:10.029
sweet.

02:45:10.029 --> 02:45:11.469
<v Eric>That is nice. Yeah.

02:45:11.709 --> 02:45:12.510
<v Sara>I apologize.

02:45:12.510 --> 02:45:15.790
My my cat just pushed her way into the room, so if if meowing

02:45:15.790 --> 02:45:19.934
starts happening any second now, it's because she got in. Yeah.

02:45:19.934 --> 02:45:23.135
So Laura asked if he would settle for just 1, and he tells her in

02:45:23.135 --> 02:45:25.694
the modern parlance, let's blow this pop stand.

02:45:25.773 --> 02:45:29.055
She says she thought he would never ask, and they leave, and we

02:45:29.055 --> 02:45:30.975
face. Isn't it popsicle stand?

02:45:30.975 --> 02:45:31.774
<v Speaker 3>I I don't know.

02:45:32.140 --> 02:45:33.341
<v Eric>Thought I've yeah. That's what I

02:45:33.341 --> 02:45:36.780
<v Sara>was looking It is popsicle stand, but I guess this is still

02:45:36.780 --> 02:45:40.700
trying to be like the young hip kids, like Steve Buscemi with his

02:45:40.700 --> 02:45:43.020
state skateboard. Hello, fellow children.

02:45:43.101 --> 02:45:44.540
<v Eric>You should have spent more time with Rick Banham.

02:45:44.540 --> 02:45:47.216
He would have picked up a few better closing lines.

02:45:48.976 --> 02:45:50.095
<v Sara>Better closing he

02:45:50.095 --> 02:45:50.495
<v Eric>would have picked

02:45:50.495 --> 02:45:51.375
<v Sara>up some closing lines.

02:45:51.375 --> 02:45:51.774
<v Eric>But Yeah.

02:45:51.774 --> 02:45:52.335
<v Speaker 3>I mean

02:45:52.735 --> 02:45:54.335
<v Sara>Yeah. Better fight. Better.

02:45:55.454 --> 02:45:57.375
<v Speaker 3>Well, he would have had a wider variety.

02:45:57.375 --> 02:46:01.299
And sometimes it's not the quality, it's just the quantity you

02:46:01.299 --> 02:46:02.898
can bury them under. Right.

02:46:02.898 --> 02:46:04.979
<v Eric>You don't just keep going back to that same 1 every time.

02:46:04.979 --> 02:46:05.379
That's true.

02:46:05.379 --> 02:46:06.100
<v Speaker 3>That's right.

02:46:06.180 --> 02:46:08.738
<v Sara>No. He did. And and that was yeah. Sorry.

02:46:08.738 --> 02:46:12.340
That was just me showing mechanics. My husband opened the door.

02:46:12.340 --> 02:46:16.954
<v Eric>Something about the radio station TV shows is you always as from

02:46:16.954 --> 02:46:20.795
my perspective, look and see how accurate they got the stuff.

02:46:20.795 --> 02:46:25.114
Mhmm. And usually, the sets are not accurate for obvious reasons.

02:46:25.114 --> 02:46:28.190
You wanna be able to have actors stage scenes around the Yeah.

02:46:28.190 --> 02:46:30.989
So a radio studio, a real radio studio is not really built for

02:46:30.989 --> 02:46:31.390
that.

02:46:31.870 --> 02:46:34.909
But but this 1, this particular studio, it's 1 of those things.

02:46:34.909 --> 02:46:37.790
Anybody who's worked in radio for a significant amount of time,

02:46:37.790 --> 02:46:42.284
especially doing a show, has a recurring dream that the record's

02:46:42.284 --> 02:46:46.125
playing, it's about to run out, and you can't find anything to

02:46:46.125 --> 02:46:47.165
put on next.

02:46:47.645 --> 02:46:49.886
About to have head error, and you're trying to figure out, you

02:46:49.886 --> 02:46:51.245
know, what am I gonna do next?

02:46:51.565 --> 02:46:54.444
This console that they're using would be in that dream because

02:46:54.444 --> 02:46:57.109
it'd be 1 of those things where even if you did know what to put

02:46:57.109 --> 02:46:59.828
on next, you couldn't figure out how to do it because there's

02:46:59.828 --> 02:47:03.189
like a random bunch of knobs on 1 side, sliders over here in the

02:47:03.189 --> 02:47:03.670
middle.

02:47:03.750 --> 02:47:06.790
The layout, you've got these 2 guys like elbow to elbow, almost

02:47:06.869 --> 02:47:09.189
facing away from each other. The whole thing is really odd.

02:47:09.189 --> 02:47:11.555
And I don't even know where that equipment came from.

02:47:11.555 --> 02:47:14.995
It looks kind of radio like, but I've never seen anything like

02:47:14.995 --> 02:47:15.235
that.

02:47:15.235 --> 02:47:18.674
And you push the slider up to play the sound effect sometimes,

02:47:18.674 --> 02:47:19.555
and it's yeah.

02:47:19.555 --> 02:47:21.954
It be what it would be the console in that dream where it's like,

02:47:22.200 --> 02:47:25.239
I I couldn't even turn the mic on if I knew what what to say.

02:47:25.640 --> 02:47:26.440
<v Sara>But you know what?

02:47:26.440 --> 02:47:28.840
It worked because I've never been in a radio station, and I was

02:47:28.840 --> 02:47:30.120
like, yeah. That's totally what they look like.

02:47:30.120 --> 02:47:30.520
<v Speaker 2>It it

02:47:30.520 --> 02:47:32.840
<v Eric>it had buttons, knobs, and lights, and that's how

02:47:32.840 --> 02:47:33.879
<v Speaker 3>you like, a real real

02:47:33.879 --> 02:47:35.959
<v Eric>tape machine that's never running even when they're recording

02:47:35.959 --> 02:47:36.920
their their theater.

02:47:36.920 --> 02:47:40.635
It's got 1 cart machine in there, which would never be enough.

02:47:41.034 --> 02:47:44.715
It got the job done. Yeah. It looks convincing enough

02:47:44.875 --> 02:47:46.476
<v Speaker 3>as long as it looks real.

02:47:46.715 --> 02:47:47.194
<v Speaker 2>Convinced to

02:47:47.194 --> 02:47:48.875
<v Speaker 3>me. To people who don't know.

02:47:49.354 --> 02:47:53.114
<v Eric>And WKRP was another 1 where console and that's a little weird

02:47:53.114 --> 02:47:55.729
too. Better than this 1. But Mhmm.

02:47:55.729 --> 02:48:00.210
WKRP got the atmosphere and the personalities totally right.

02:48:00.530 --> 02:48:02.770
News Radio did a pretty good job on on the stuff.

02:48:02.770 --> 02:48:05.810
I think the most accurate TV set was Frasier.

02:48:05.810 --> 02:48:07.729
I think that 1 looks like an actual radio station.

02:48:08.114 --> 02:48:09.876
I love that show. Yeah.

02:48:10.515 --> 02:48:14.034
But this 1 this 1 here, as far as realistic goes, yeah, I've

02:48:14.034 --> 02:48:14.354
never.

02:48:14.354 --> 02:48:18.995
But having sliding faders in the 1980s for radio stations,

02:48:18.995 --> 02:48:21.476
especially a standalone AM, they spent some money on that because

02:48:21.476 --> 02:48:24.489
most of those stations were still using the rotary pot consoles

02:48:24.489 --> 02:48:25.930
back from the sixties.

02:48:25.930 --> 02:48:28.569
So they had some pretty good gear there, at least.

02:48:28.729 --> 02:48:31.290
<v Sara>Maybe that was before Frank Dix's time as stage manager.

02:48:31.290 --> 02:48:35.129
<v Eric>That might have been. Yeah. It's like updating. Yep.

02:48:35.129 --> 02:48:37.851
I don't think Frank paid for that neon sign in the lobby either.

02:48:37.851 --> 02:48:40.295
No. That would have been expensive. And

02:48:41.174 --> 02:48:43.574
<v Sara>when the bulbs start going, he's just like, whatever. Yeah.

02:48:43.574 --> 02:48:44.215
<v Speaker 3>It's just gonna be

02:48:44.773 --> 02:48:47.094
<v Eric>it'll be just 1 rot after a while.

02:48:51.810 --> 02:48:52.610
<v Sara>That's a metaphor

02:48:52.530 --> 02:48:55.409
<v Speaker 3>Until for the the artist just stop working, then it's caught.

02:48:59.489 --> 02:49:03.170
<v Sara>Well, thought thoughts on the overall episode because that's

02:49:03.170 --> 02:49:05.125
that's that's the episode.

02:49:06.725 --> 02:49:08.564
<v Speaker 3>I I mean, it's fun. Yeah.

02:49:08.564 --> 02:49:08.885
<v Eric>A lot

02:49:08.885 --> 02:49:13.284
<v Speaker 3>lot of lot of holes, a lot of inaccuracies, but, like, you know,

02:49:13.443 --> 02:49:16.885
ignoring all the hand waving, it's a fun episode.

02:49:16.885 --> 02:49:19.799
<v Sara>You can hand wave enough to fly your own plane for the seventh

02:49:19.799 --> 02:49:20.280
episode.

02:49:20.280 --> 02:49:23.399
<v Speaker 3>You can hand wave enough to be your own plane. Mhmm.

02:49:23.560 --> 02:49:23.959
<v Eric>Yeah.

02:49:23.959 --> 02:49:26.440
I think I'm trying to remember the very first time I watched it.

02:49:26.440 --> 02:49:28.200
I don't think I had figured out who did it.

02:49:28.200 --> 02:49:29.239
I think the very first time I

02:49:29.239 --> 02:49:31.239
<v Sara>saw it. No. It was a surprise to me too.

02:49:31.905 --> 02:49:33.905
<v Speaker 3>That part of it was pretty well hidden,

02:49:33.905 --> 02:49:34.864
<v Eric>I think. Mhmm.

02:49:34.864 --> 02:49:36.065
<v Sara>So, yeah, I I liked it.

02:49:36.065 --> 02:49:38.225
I I thought I mean, again, it's it's plot heavy.

02:49:38.225 --> 02:49:41.344
So I know we've talked before about how some people watch the

02:49:41.344 --> 02:49:43.504
show for the comedy, and some people watch it for the romance,

02:49:43.504 --> 02:49:44.225
and some people watch it.

02:49:44.540 --> 02:49:46.860
There are some mystery buffs out there who just watch it for the

02:49:46.860 --> 02:49:49.579
mystery plot. So this one's very plot heavy.

02:49:49.579 --> 02:49:50.940
There's some comedy, obviously.

02:49:51.180 --> 02:49:51.420
<v Speaker 3>Yeah.

02:49:51.420 --> 02:49:54.299
It's I was gonna say, yeah, but it's got a lot of good good

02:49:54.299 --> 02:49:56.299
humor. It it's mostly 1 liners.

02:49:56.954 --> 02:49:57.434
<v Sara>Yeah.

02:49:57.434 --> 02:50:02.155
<v Speaker 3>But, yeah, I mean, it's it's some good and it's really bad, corny

02:50:02.155 --> 02:50:05.594
1 liners that are because they're so bad.

02:50:05.594 --> 02:50:06.314
<v Sara>Oh, yeah.

02:50:06.314 --> 02:50:09.354
And and, I mean, you've got Vincent, last name, I can't

02:50:09.354 --> 02:50:13.011
pronounce, who always yeah.

02:50:13.890 --> 02:50:17.011
Who always makes a presence for himself no matter what he's on,

02:50:17.011 --> 02:50:18.050
even the smallest part.

02:50:18.050 --> 02:50:21.329
And you know it's him because he's just not only so unique

02:50:21.329 --> 02:50:23.569
looking, but just such a wacky actor.

02:50:23.649 --> 02:50:23.890
<v Eric>Yeah.

02:50:24.806 --> 02:50:25.364
<v Sara>He's great.

02:50:25.364 --> 02:50:27.364
<v Eric>Love him. Storm clouds,

02:50:27.364 --> 02:50:29.685
<v Sara>baby. The cover's up. Like, he just yeah.

02:50:29.685 --> 02:50:32.966
He chews chews the scenery with great relish, and I love it.

02:50:33.284 --> 02:50:33.524
Yeah.

02:50:33.524 --> 02:50:36.325
<v Eric>I think season 4 was kind of a mixed, you know, as far as, like,

02:50:36.325 --> 02:50:37.125
good and bad stuff.

02:50:37.125 --> 02:50:39.685
And I'd I'd say this is in the top half of season 4 for me.

02:50:40.360 --> 02:50:43.640
<v Sara>Yeah. I mean, for me, season 4 is my favorite season.

02:50:43.640 --> 02:50:48.120
So I even the the plunkers are well, except for 1.

02:50:48.440 --> 02:50:49.959
We'll get there when we get there. But

02:50:52.120 --> 02:50:54.760
<v Speaker 3>Which 1? I I don't know what you're talking about.

02:50:55.295 --> 02:50:56.814
<v Sara>Say it when we get there.

02:50:56.814 --> 02:50:57.135
<v Speaker 2>You have to

02:50:57.135 --> 02:50:58.415
<v Eric>keep watching to find out.

02:50:58.415 --> 02:51:01.454
<v Sara>I have teased the listeners that there is only 1 episode of this

02:51:01.454 --> 02:51:04.014
show that I would actively skip, and we can't because we're going

02:51:04.014 --> 02:51:07.694
to be doing a podcast on it, so I will have to watch and make

02:51:07.694 --> 02:51:08.254
notes. But,

02:51:08.389 --> 02:51:10.069
<v Speaker 2>yeah. Alright.

02:51:10.549 --> 02:51:13.670
<v Speaker 3>I will laugh if you have to be the lead on that 1.

02:51:13.988 --> 02:51:16.949
<v Sara>I I already checked, and I am. Nice.

02:51:20.405 --> 02:51:23.444
I already like, I looked ahead and counted, and I'm like, ah,

02:51:23.444 --> 02:51:29.444
crap. Yeah. That one's mine. So yay. Alright.

02:51:31.284 --> 02:51:32.245
<v Speaker 2>So we're gonna

02:51:32.500 --> 02:51:36.898
<v Sara>go for the, the website, www.steelwatching.com, where you'll find

02:51:36.898 --> 02:51:40.898
show notes and links to Amazon US and Amazon Canada, as well as

02:51:40.898 --> 02:51:43.060
social media resources and links such as?

02:51:43.540 --> 02:51:46.898
<v Speaker 3>Well, you can find links where you can support the show

02:51:46.898 --> 02:51:47.540
financially.

02:51:48.185 --> 02:51:51.704
And we don't say it often enough, but yes, we do very much

02:51:51.704 --> 02:51:52.665
appreciate the folks who

02:51:52.905 --> 02:51:53.385
<v Sara>Thank you.

02:51:53.465 --> 02:51:56.905
<v Speaker 3>Have chosen to step up and and help us cover the costs on this.

02:51:57.226 --> 02:52:01.864
It's an ongoing cost, and and those contributions definitely

02:52:01.864 --> 02:52:02.185
help.

02:52:02.620 --> 02:52:05.739
But in addition to that, you'll find links to the official steel

02:52:05.739 --> 02:52:09.659
watching Facebook page, the official Twitter and Instagram pages,

02:52:09.659 --> 02:52:14.059
as well as the link to the ever popular, totally unofficial, but

02:52:14.059 --> 02:52:17.420
always enjoyable steel watchers fan group on Facebook.

02:52:17.806 --> 02:52:20.765
<v Sara>Yep. Where all kinds of weird and wacky stuff happens. Yes.

02:52:20.765 --> 02:52:21.806
And and I think And bring

02:52:21.806 --> 02:52:22.845
<v Speaker 3>your own vegetables.

02:52:22.845 --> 02:52:26.604
<v Sara>Don't don't bring your own do not listen to this, man.

02:52:26.604 --> 02:52:27.806
That is terrible advice.

02:52:30.219 --> 02:52:31.500
<v Eric>I don't know. I got I got

02:52:31.500 --> 02:52:31.819
<v Speaker 2>it from

02:52:31.819 --> 02:52:34.219
<v Speaker 3>from the the the the doctor Pam.

02:52:34.219 --> 02:52:35.579
<v Sara>Don't listen to doctor Pam.

02:52:35.579 --> 02:52:38.620
Listen to to doctor Ruth or or Sujo Hansen, but do not listen to

02:52:38.620 --> 02:52:39.420
doctor Pam.

02:52:39.500 --> 02:52:41.659
<v Eric>Everything I learned, I learned from Memmington Steel.

02:52:42.135 --> 02:52:42.773
<v Sara>Yeah.

02:52:43.014 --> 02:52:45.895
Including don't put vegetables where vegetables are not supposed

02:52:45.895 --> 02:52:52.055
to go. And, our next episode will be a return of our our favorite

02:52:53.574 --> 02:52:54.135
<v Speaker 3>that's Con man.

02:52:54.135 --> 02:52:54.614
<v Sara>You know,

02:52:55.014 --> 02:52:55.975
<v Speaker 3>businessman. Man.

02:52:56.120 --> 02:52:58.360
<v Eric>It's kind of con man. Yeah.

02:52:58.840 --> 02:53:00.680
<v Sara>George Edward Maltz in Steel Inc.

02:53:00.680 --> 02:53:02.920
And I wanna like, our we have our special guest.

02:53:03.159 --> 02:53:07.800
Can you think of a cool radio way to sign off, like, to

02:53:08.040 --> 02:53:09.079
<v Eric>finish this episode?

02:53:09.135 --> 02:53:10.334
<v Speaker 2>No. That's always the toughest

02:53:10.334 --> 02:53:12.174
<v Eric>thing is trying to come up with catchphrase.

02:53:12.174 --> 02:53:15.614
I I've I've never had a good 1 in any of those I've ever done. So

02:53:15.934 --> 02:53:17.055
<v Sara>Well, you suck.

02:53:17.375 --> 02:53:20.094
<v Eric>Well, I I I'm very honored that you asked me to be the third

02:53:20.094 --> 02:53:22.081
wheel for this episode. It was lot of fun.

02:53:22.399 --> 02:53:22.720
<v Sara>No.

02:53:22.720 --> 02:53:26.800
It was great to kinda get, like, the inside info about all of the

02:53:26.800 --> 02:53:29.681
episode because, yeah, I had a lot of questions and and no

02:53:29.681 --> 02:53:30.800
answers. Yes.

02:53:30.800 --> 02:53:33.280
<v Eric>Hopefully hopefully, I was able to answer most of them for you.

02:53:33.614 --> 02:53:34.254
<v Sara>Yeah.

02:53:34.254 --> 02:53:37.375
Well, so well, I guess that's I'm just gonna say goodbye then.

02:53:37.375 --> 02:53:39.694
I'm gonna be boring. Bye bye.

02:53:39.694 --> 02:53:44.575
<v Speaker 3>Bye bye, everybody. Hey, everybody. Eric and Sara here.

02:53:44.575 --> 02:53:48.279
Just a quick announcement to let you know that, yes, we do

02:53:48.279 --> 02:53:51.879
appreciate everyone who listens, participates, and supports the

02:53:51.879 --> 02:53:54.440
podcast in whatever way you do.

02:53:54.840 --> 02:53:59.398
But we wanted to give an extra thank you to those who are so

02:53:59.398 --> 02:54:03.685
graciously giving to be monthly financial supporters.

02:54:04.485 --> 02:54:08.245
<v Sara>We are making live streams of our recording sessions available to

02:54:08.245 --> 02:54:10.645
anyone who is a monthly financial supporter.

02:54:10.886 --> 02:54:14.084
So not only can you watch us live as we record our podcast

02:54:13.829 --> 02:54:17.190
episodes, you will be getting access to the raw behind the scenes

02:54:17.190 --> 02:54:20.390
unedited version of episodes before they get officially released.

02:54:20.549 --> 02:54:23.110
<v Speaker 3>And Sara, does that include our mistakes and screw ups and our

02:54:23.110 --> 02:54:23.670
humiliating Every

02:54:26.149 --> 02:54:27.030
<v Sara>single 1 of them.

02:54:27.030 --> 02:54:28.310
<v Speaker 3>Every single 1 of them. Yes.

02:54:28.524 --> 02:54:31.965
So, again, this is just an extra thank you to those who are going

02:54:31.965 --> 02:54:33.085
above and beyond.

02:54:33.726 --> 02:54:36.924
But whether you choose to become a monthly financial supporter or

02:54:36.924 --> 02:54:38.444
not, we still love you.

02:54:38.444 --> 02:54:41.405
We wanna say we thank you for your support, your encouragement,

02:54:41.405 --> 02:54:42.045
and your feedback.

02:54:42.437 --> 02:54:45.236
<v Sara>If you wanna become a monthly financial supporter, please visit

02:54:45.236 --> 02:54:49.316
our website at www.steelwatching.com to sign up.