0099 | November 25, 2019
Comedy: Maria Bamford, How to Maintain Mental Health
The cliché goes that “laughter is the best medicine,” but the idea’s been around for thousands of years, so it’s probably best to call it “wisdom.” How can comedy help us cope with trauma?
| C.T. WEBB: 00:19 | [music] Good afternoon, good morning, or good evening, and welcome to The American Age podcast. This is C. Travis Webb, editor of The American Age, and I am speaking to you from Southern California. |
| S. FULLWOOD: 00:28 | Hi, this is Steven G. Fullwood, and I am the co-founder of the Nomadic Archivist Project, and I am coming to you from a chilly but, because I love autumn, lovely Harlem right now. |
| S. RODNEY: 00:41 | And I am Seph Rodney, I am a senior editor at Hyperallergic, writing about art and related issues, and the recent author of The Personalization of the Museum Visit, and I am coming to you from the South Bronx. |
| C.T. WEBB: 00:55 | And this is to remind our listeners that we practice a form of intellectual intimacy, which is giving each other the space and time to figure out things out loud and together. And this is episode 99, so next episode– |
| S. FULLWOOD: 01:07 | Wow. |
| C.T. WEBB: 01:07 | –is 100, and we’re going to do something slightly different for that. But we’re continuing our discussion of comedy, and today, Steven Fullwood is up– |
| S. FULLWOOD: 01:18 | Hi, I’m Steven Fullwood. |
| C.T. WEBB: 01:19 | –founder of the Nomadic Archivist Project. |
| S. FULLWOOD: 01:20 | Oh, yes. |
| C.T. WEBB: 01:20 | And, Steven, do you want to introduce us to your comedian? Or we used to say comedienne when we were gendering everything. |
| S. FULLWOOD: 01:28 | Oh, yes we were. Yeah. Phyllis Diller. Comedienne. |
| S. RODNEY: 01:31 | Back in the dark ages. |
| S. FULLWOOD: 01:33 | Very, very Phyllis Diller. And so, initially when we began talking about the humor episodes that we were exploring, I love humor, and I love different kinds of humor. And it was a struggle to go, to figure out who I would really hone in on and share with the audience today. Initially I wanted to do Kristen Wiig, because I think Kristen Wiig is kind of like amazing, like a genius. But she’s not a stand up comedian. So I said, let me just go to the stand up comedian that way I can just kind of direct people to certain clips. So I chose Maria Bamford. Maria Bamford is from Minnesota, she is the comedian’s comedian. I think most people may have saw her first on the comedians of comedy tour. And the way that these comedians came up with this comedy, the name of the tour, this is Zach Galifianakis, and I forget the other two authors, I mean, two other guys’ names. But they got the name of it because, let’s see, Bernie Mack, and, I forget, some other black comedians, I have no memory today, were touring under the Kings of Comedy. So and initially they were going to tall themselves the Martin Luther Kings of Comedy [laughter]. They were just, you know, Zach Galifianakis is nuts, right? So they come up with Comedians of Comedy. And so, she was younger then, and they toured the community, and there’s actually a documentary about them, as well as with other people who joined them on the tour. |
| S. FULLWOOD: 03:03 | I ran into her work, I was in DC with, then my fiancé, and we were at a hotel room, and we turned on the television to Comedy Central, and this clip that I’m about to tell you about is called Anxiety. And it’s something that she’s done over, now we’ve got the internet, so people have recorded this particular routine a lot, but it’s called Anxieties. And one of the things I love about Maria Bamford is that she is so hyper aware of the ways in which things are supposed to be normal. And it gives her a lot of space not only to make fun of it, but like really kind of sometimes genuinely skewer the process of, say therapy. So she begins very briefly with a– I’m just going to play it right now for you, and then we can come back. |
| M. BAMFORD: 03:51 | I was going to see this therapist, the-rape-ist– I can’t say it properly because I don’t take it seriously. I was seeing a therapist. And my therapist told me, “Maria, you’ve got a lot of anxieties. She said, Maria, why don’t we call those little anxieties Gremlins? Let’s take the power away from those anxieties. Sing your anxieties aloud. Why don’t we call those anxieties Gremlins?” Why don’t we just call them anxieties? “Would you feel more comfortable with Goblins [laughter]?” Yes [laughter]. Well, this is my anxiety song and I’ll leave you at this. If I keep the ice cube trays filled, no one will die, as long as I clench my fist at odd intervals than the darkness within me won’t force me to do anything inappropriately violent or sexual at dinner parties. As long as I keep humming a tune, I won’t turn gay. Hm. It can’t get you if you’re singing a song, yeah. |
| S. FULLWOOD: 04:54 | So yeah, so that’s the clip. And I think what’s great about it is that she takes something that we’re all aware of, if we’re all aware of what therapy, in some regard, is, that we’re supposed to arrest our anxieties and arrest those things, so maybe make a song or write in the journal. And so I love it that she took that particular kind of therapeutic process, and just turns it on it’s head. It’s dark, it’s funny. I love it when she goes, if I don’t– |
| C.T. WEBB: 05:29 | The-rapist. |
| S. FULLWOOD: 05:30 | Yeah. She starts out going I went to the therapist, the-rapist, and it’s the same word, I love it, and she goes, because I don’t take it seriously. And so she can rip through several different voices in one routine at rapid speed. Why don’t we call those anxieties Gremlins? Why don’t we just call them anxieties [laughter]? Would goblins be okay? I’m not winning here. Okay. And then she sings that song, and Larry and I, at the time, former fiancé, good friend of mine now, we were listening, and going, oh, my god, this is amazing. So I think this is 2006 or 2007, and I just became a fan of hers after that, and just followed her. What she does with mental illness in her work is so profoundly– we talked about Louis CK being sort of brave in his work. I think that she’s exceptional brave in her work. And I’m sure she had conversations with her family, because she brings her family into it as well. How did you guys receive the Maria Bamford experience? |
| C.T. WEBB: 06:38 | So, well one I have something to say when we get to the other clip that you, I mean, something that I thought about, but it applies to this clip, too. One of the things, so in you drawing the parallel with Louis CK, her comedy’s really smart, as in, in it’s sensitivity of the comedy of both personae, I guess, in the bit, right? So the person under analysis is funny and being made fun of, as is the therapist. As is the therapeutic process. So there’s sort of this triple masking, or unmasking, or whatever you want to call it, that’s happening in the routine, that just, you could– in the last podcast, we had talked about, comedy that for me didn’t age quite as well. But I feel like, and I actually think that might be true of Jim Jeffries, too. I think there’s the possibility that we won’t age quite as well, because once we pass this political moment. But Bamford’s comedy, it works in a self-contained way that is immediately familiar and clever and intimate. So anyway, I thought it was great. I thought it was great. |
| S. FULLWOOD: 07:55 | I agree with that, yeah. |
| S. RODNEY: 07:56 | I’m impressed by how quickly she gets to– there’s a kind of concision that you only get from really practiced comics. |
| C.T. WEBB: 08:03 | That’s a good observation. |
| S. RODNEY: 08:05 | So I mean, most of the stuff that we’ve already listened to is several minutes long. And the stuff that I’m going to have on my section of this podcast run is also several minutes long. But here, she just gets to it in like a minute and nine seconds. Like she just cuts through to the quick. And it’s kind of astonishing that she has such a clear grasp of all those things that you just mentioned, Travis, that are working together, right? The [inaudible], and the analyst, and the whole therapeutic process. Yeah. |
| S. FULLWOOD: 08:45 | Yes. And so I love that, and I think that quickness, I mean, it has something to do with– she’s relying on you to know and to be aware of certain things. Like all comedians, right? Because you’re the one that’s making the joke work. You know, you’re bringing in your sensibilities. So when I watch her, there are things that I find– I think she’s a great storyteller. Even though I’m not playing the clip, the this is not happening clip– |
| S. RODNEY: 09:11 | The psych ward. |
| S. FULLWOOD: 09:11 | –with her in a psych ward, yeah. It streams together a lot of the clips that I’ve seen before, but it goes even darker in some places. And the opening sort of, I guess the preview of that clip, she’s talking about, there’s a woman that knows her, and she goes, “Hey, I know you.” She’s in the psych ward, and she goes, “Hey, but I would never tell anybody.” Like, I’m in county slippers, that are not my own. You could tell whoever the fuck you want. Because all is lost [laughter]. And so there’s this moment that, it really hadn’t landed the way I wanted it to, but it’s this idea that, be ashamed, or I’ll keep your confidence. No worries, or whatever. She’s like, I don’t care. I’m in a fucking county ward. I’ve had a breakdown. |
| S. RODNEY: 10:02 | Right. Right. Least of my worries right now is you telling people on me [laughter]. |
| S. FULLWOOD: 10:04 | Tell who the fuck you want. |
| S. RODNEY: 10:09 | So you know what– sorry, I just, I was thinking about that bit where she says, talking about keeping the darkness that’s within herself down, by doing these ridiculous sort of OCD actions, so that she doesn’t act inappropriately violent or sexual at dinner, sexually at dinner parties [laughter], and she made the hand gestures, I loved that, too. |
| S. FULLWOOD: 10:35 | The gestures [laughter]. |
| C.T. WEBB: 10:35 | The hand gestures are very funny, yes. |
| S. RODNEY: 10:37 | Yeah. But you know, it made me think of that incident which I think y’all probably know about, which is, for a while, people were speculating, trying to figure out who it was that had bit Beyonce in the face at some public event. Someone bit her. |
| C.T. WEBB: 10:58 | I didn’t, okay, so someone, I didn’t actually know this. So someone bit Beyonce. |
| S. RODNEY: 11:00 | Yeah, yeah, someone bit her, and I think it was in the face at some public event, and then for a while, people were speculating, who could it be? I don’t know why there weren’t cameras there, because I figure cameras are on Beyonce 24/7. But apparently, it was Sanaa Lathan. |
| C.T. WEBB: 11:17 | Correct. |
| S. RODNEY: 11:17 | Who was a woman who, an actress. Maybe I should say actor. An actor who was quite big in the 90s, did several films, and then kind of faded out. And she apparently was high on something. Who knows what? I don’t know what. But that’s that darkness, right? LIke something was in her thinking, I don’t know what she was thinking, but something in her– |
| C.T. WEBB: 11:43 | I need to eat this bitch is what she’s thinking [laughter]. |
| S. FULLWOOD: 11:48 | I’m going to take a chunk out of Beyonce [laughter]. |
| C.T. WEBB: 11:50 | Yeah, that’s, like, okay. |
| S. RODNEY: 11:52 | But that’s the darkness that you, the inappropriate part she wanted to keep stuffed way, way, way, way down. Yeah. |
| C.T. WEBB: 11:59 | Yeah. I need a snack is what she was thinking [laughter]. |
| S. RODNEY: 12:02 | I’m going to snack on Beyonce. |
| S. FULLWOOD: 12:03 | She needs a fucking snack. And when you hear about those things, like Martin Lawrence running out into traffic, you know, in his underwear. These breaks, people, I think that’s why people look at celebrities, or look at people with a name in the street, and wait, kind of for those moments. Are kind of excited. They circulate quicker than any good news about anybody. Did you see that such and such passed– blah, blah, blah. |
| C.T. WEBB: 12:28 | Yeah. Yeah, I would like to encourage the listeners, we’re not going to listen to the clip, but to check out the psych, the Maria Bamford psych ward clip. I love the intro, actually, too, where you see this skinny guy getting ready to mud wrestle this little petite blonde woman, and then a very similar looking hulking blonde woman jumps in front of her, and then just brutalizes– and I thought, it’s also a very smart little skit, because it’s not like she substituted in a giant man to beat this guy up. It’s another very similar looking woman. So you think, so this is Bamford, what I read is, is giving you a read on herself. Like you think, oh here’s this very high voiced very sweet, petite woman that you’re speaking to. |
| S. FULLWOOD: 13:19 | Oh, yeah. |
| S. RODNEY: 13:20 | Blonde woman. |
| C.T. WEBB: 13:22 | But in reality– |
| S. RODNEY: 13:23 | She’s a monster. |
| C.T. WEBB: 13:24 | There inside– that’s right, inside is the Hulk. And she’s going to destroy you. |
| S. FULLWOOD: 13:29 | She, you know, that’s a great read, because I just find her intellect, her level of envisioning a skit and how, what would be funny about it, what would be cringy funny, and then what would be dark. Like, my voice is sort of like this, but hi. Then she does all these other voices. And I’m like, oh, she’s in the room. She’s 360. She’s everywhere here. And I love that about a comedian. Love it about a comedian. So second– |
| S. RODNEY: 13:55 | Yeah, that is, so can we– No, go ahead, Steven, you were going to say, the second–? |
| S. FULLWOOD: 13:58 | Oh, so I wanted to introduce the second clip that we have, it’s called Cults. And in it, there’s no video, there’s just, Maria Bamford doing this still from a skit where she’s talking about how wild it is– it’s never wild to be in an office when you’re a temp. And they go, oh, it’s kind of crazy around here. And she goes, it’s not really crazy. And she goes, because she does something she would really like [laughter]. She says, “Hi, I’m such and such, I’m the rabbit, and if you could get back before the Quickening,” and no, no, no, they’re just scrabbling around for theirs or whatever. So she’s very like, this isn’t really happening the way people think it’s happening. It’s not a crazy office. So that’s the image, but then, without further ado, here’s Cults. |
| M. BAMFORD: 14:41 | Sometimes I get kind of a bad attitude at work. Stop being a team player [laughter]. I remember one day, one day I was sitting in the employee kitchen drinking non-dairy creamer straight from the carton. And a girlfriend, she came up to me, and she said, “Hey, Maria, I’ve been taking this class that’s really changed my life. Would you like to come tonight? It’s at 7:30pm at the DoubleTree Santa Monica. There’s no obligation. And it’s free.” Sure, I’ll join your cult [laughter]. Always wanted to be in one, you know. Get to wear a uniform, you have any major life questions, check the manual. There is a god, there is a plan, and the spaceship is coming. So I went and they sat me down with the guru. She said, “Maria what’s something you want to make manifest in your life?” Like a new car? “What do you really want?” A new, new car? “What do you really want?” Toyota 4Runnuer SR5 Limited leather interior that runs on dreams and starlight. She got mad at me, because I didn’t have the cash for the brainwash weekend. “Maria, let’s think of all the ways we can get $495 tonight. Do you have a charge card?” No. “Do you have something you could sell?” I bet my soul might be worth something. “Is there anyone you could borrow it from?” Oh, man, if you could spot me. Oh, and, ” Maria, what are you afraid of?” Bears. “What are you afraid of?” The North American Grizzly. “What are you afraid of?” God it’s weird, because I’m most afraid of being sucked into a crazy, creepy cult. Why, why am I so afraid? |
| S. FULLWOOD: 17:13 | So very succinct, very to the point, and she does several things that I love here, because I love cults. I love reading about cults, I just go down a rabbit hole for– why would someone go to a cult and hear the [defectors?] and all that. And so with her, when the woman approaches her, and says, “There’s no obligation. It’s just the DoubleTree hotel [laughter].” There’s this nice pause– |
| C.T. WEBB: 17:37 | And it’s free. |
| S. FULLWOOD: 17:38 | –this lovely pause, and it’s free, no obligation. Sure I’ll join your cult. That’s, everything else after that is just gold. It’s like, thank you. Because you’re skipping over the indoctrination process. You’re like sure, I’ll join your cult, let me– there’s more agency in that joke. And by the time she gets to, what do you really want? A car. You’re supposed to be saying something sort of deep, and, I want peace, and I want love, and it’s all– she’s good, we could check the manual for how you’re supposed to look. Everything’s answered already. And I just love it the way that she’s exploding that out. And how many ways can we get money? Such and such, and she’s like, I bet my soul– |
| C.T. WEBB: 18:24 | Get money tonight, yeah. Let’s find the ways you could get some money tonight? |
| S. FULLWOOD: 18:25 | Right. Well, I bet my soul would cost something. I’m just like, yes. Yes. |
| S. RODNEY: 18:31 | I just like her specificity. Because what she does is she gives you a trail of breadcrumbs, right? She says, the DoubleTree hotel. So she’s super specific, right? And then she says, $495 tonight [laughter]. That’s super specific. |
| C.T. WEBB: 18:50 | Yeah, that is very specific. |
| S. RODNEY: 18:50 | So she’s giving you little bits and pieces that make you think, it’s not just a fantasy that she’s weaving out of the ether. Like this is some shit that actually happens to people, has happened to her, maybe. That works for me. |
| C.T. WEBB: 19:08 | Yeah, I was, I had remarked earlier when we were doing the earlier clip that, so in that guru part, she’s again, making fun of things at so many levels, right? So there’s obviously the level on which she’s making fun of the cult itself, but clearly she’s also making fun of her attendance at the cult, and her desire to be there. And how, of course, she’s also looking for answers, like everyone else, and is totally lost and fucked up, and doesn’t know what to do. And I mean, it’s operating on multiple levels at the same time. Which I think, Seph’s description of concision is exactly right. I mean, she’s just a very, a guided missile. |
| S. FULLWOOD: 19:53 | She’s a guided missile, with compassion. A lot of her– |
| C.T. WEBB: 19:56 | Yeah, clearly, yeah, for sure. |
| S. FULLWOOD: 19:56 | Lots of compassion for people, and once you see, even the sort of the trajectory of her career from the mid 2000s to now, there’s even more of a commitment to the kinds of things that make her comedy work, that multi-layer– the joke is there, but there are all these jokes along the way to that joke. But she’s, compassion has always been a larger part of what she’s doing, but also kind of, I’m vulnerable here. And that vulnerability to talk about her diagnosis, and just declare a few things. And so one of her comedy routines, she actually just films it in her house to her parents. That’s it. It’s called the Special Special Special Special Special. And that’s all her parents are in the crowd. And she goes, I see there’s a loving couple in the audience tonight. And they’re the only people in the audience tonight [laughter]. Very funny sort of tropes that you get from, it’s just like, the only people I really want to please anyway are my parents. So let me just– and she says it’s free to perform in your own house. I don’t know if you guys know that. And so I highly recommend her. She gets me going a lot, and she helps me think through why it is that non-mean comedy– like, mean comedy, it’s mean after a while, and sometimes that’s it’s only objective, is to be mean. And I think that she’s like, oh, no, no, there’s so many ways to talk about people and things where you’re still holding them. And so I really kind of like that. And so, she, I go to her a lot for her work. |
| S. RODNEY: 21:33 | That’s a really fascinating aspect of her work that I would not have grokked if you hadn’t just said it, Steven. I didn’t think about her not being a mean comedian. Because I do think, I think because so much of the comedy that I laugh at does tend to be mean. I think it’s mean 360, so I don’t think that it’s– It’s just as often mean about my own life. I mean, like the anecdote I gave a couple of episodes back about being in Toronto and saying that thing to the First Nations person who was on the sidewalk, drunk. Well, I didn’t say it to him, I said it to my girlfriend at the time. But making, what you said about making a space to hold people so that you are not just, basically, what you’re also saying is, hold them, not denigrate them. I hadn’t really thought about that. |
| S. FULLWOOD: 22:26 | Yeah. And I like that about people. People in general that can tell really super funny jokes that aren’t, we’re the right ones. I have a hard time with anyone who’s right [laughter]. I just like, for perspective, maybe you do have some things that are right, but always right? Or that position just, eh. |
| C.T. WEBB: 22:52 | But you did like, we were talking about, you do like the roast, right? Of Ann Coulter. There’s probably a way in which– there’s probably not a lot of holding of Ann Coulter in that. |
| S. FULLWOOD: 23:03 | No, I completely– and so I was going to say to Seph earlier, I like some mean comedians, too, and I like to see people get their comeupence, absolutely. But my most, my gesture and my interest is largely in the holding. Personally and in the work. |
| C.T. WEBB: 23:22 | Yeah, I appreciate that commitment, I mean, and that, it’s funny, or it’s not funny. That’s the wrong word. It’s compelling to me that you go to comedy for that kind of experience. I haven’t really thought about– I’ve certainly thought about why I think certain things are funny. But I haven’t really thought about how I might use or engage with stand up comedy. I don’t really think of it as a tool in my toolbox. I think of it more as just, I want to see something. And so I actually appreciate that you have some intention behind why you engage with the comedians you engage with, and what you get out of that. That makes a lot of sense to me. Because it’s such a potent activity, right? Laughter is revealing, right? And not just about the community but obviously ourselves. |
| S. FULLWOOD: 24:17 | And it goes in faster, I think, than when you’re trying to make a point, sometimes. I think it has a easier way to get in, and it might be in your house before you know it, and then you have to think about something, maybe in a way that you didn’t have to if someone just directly said Trump is horrible. Right? No nuance. But I think of Zach Galifianakis. He’s a trickster. In the movies, definitely in Between Two Ferns. But everybody’s in on the jokes, so you know that he’s not insulting these people. But it’s still that moment. LIke he’s good to me. He’s also very good. |
| S. RODNEY: 24:51 | So I think this is why, and here what’s coming to mind is something that Travis said a few weeks back, about why, I think, Travis you said you dislike Bill Maher. I think you’ve hit it on the head, Steven, in that the problem with Bill Maher is that he’s always– whether he’s punching up or down, he’s always punching. He’s always, Bill Maher, definitely he does. |
| C.T. WEBB: 25:14 | Always. |
| S. RODNEY: 25:16 | He’s a pugilist. He just punches people. |
| C.T. WEBB: 25:19 | Well said. |
| S. RODNEY: 25:19 | And there’s very little in his humor that is generous or self aware, or does the kind of things that Maria Bamford does, where he’s looking to take apart some sort of institution or some sort of process or practice, and look at it. Where she really is dissembling things to look at them. So yeah, so now that makes sense. I always– well, not always wandered, because I don’t really think about Bill Maher much, but I have, at times, thought, why is it that I dislike him so much? And now I know. |
| C.T. WEBB: 25:50 | Yeah, I mean, not to gum up the works with Bill Maher, but I had watched– again, what draws me back to the show is the variety of guests that he has, and I want to give him props for that. But he was doing his after show, and he was making a point about anti-vaxxers. Not beating up on them, but being open to the fact that the scientific community doesn’t have all the answers, etc, which is, of course, true, but the way he was going about it, I had a problem with. But anyway, he made a point, and the audience did not respond. The applause was scattered. And he looks at the audience he’s like, or for all the rest of you sheep that didn’t think that was funny. Okay, pause. Just because the audience did not give you the response that you were looking for did not mean that was the audience’s fault, asshole. |
| S. RODNEY: 26:50 | Exactly. |
| S. FULLWOOD: 26:50 | Right. Exactly. |
| C.T. WEBB: 26:52 | Just I mean, really, he’s pretty, he’s a dislikable person on his show. I don’t know, and maybe in person, he might be different. Don’t know. But yeah, hard to like him. |
| S. RODNEY: 27:06 | It’s hard to like him because, again, he’s not vulnerable. He’s right. |
| C.T. WEBB: 27:12 | Yeah. Yeah, yeah, that’s right. Are there, so do you remember the routine when you first heard Maria Bamford? Was it the Anxiety routine that you first heard? |
| S. FULLWOOD: 27:24 | It was Anxiety, that was the first. |
| C.T. WEBB: 27:25 | It was the first time. Okay. |
| S. FULLWOOD: 27:26 | Around 2005 or 2006. |
| C.T. WEBB: 27:27 | That’s a great intro. |
| S. FULLWOOD: 27:28 | Yeah, it was something that I carried around for me for a while before I was able to find it again to start sending it to people, because I said, here, this is what I like. And why I like it. And then I discovered more of her work, I bought a few of her movies, and then she also appeared on Arrested Development, in the– |
| C.T. WEBB: 27:50 | Oh, who was she– the reboot or the original? |
| S. FULLWOOD: 27:53 | So there are two reboots, it’s really weird. So and then a remix. |
| C.T. WEBB: 27:55 | Oh, yeah, first or second reboot? I know, actually. |
| S. FULLWOOD: 27:57 | So the first reboot, she actually plays a woman who is an actress, but addicted to drugs. And she’s trying to get off drugs, and she and David Cross have hilarious interactions. She’s pretty good at that. But she also had a TV, I just looked on the internet before this podcast, and she also had the super deluxe series, where she plays everyone in her family. And the premise of the show is, it’s called the Maria Bamford Show. The premise is, she has a breakdown, moves back to Minnesota, Duluth Minnesota, and then she plays her family trying to help her, or– and it’s odd, she plays her mom, her dad, her sister, and various characters in an office. Recommend it highly. she’s just so good at it. Very good at it. And so, yeah. She’s awesomesauce. |
| C.T. WEBB: 28:45 | Alright. Well I feel like we’re winding down. Seph, do you have anything you want to– we can talk about what you’re going to do next, but– |
| S. RODNEY: 28:55 | No, actually, I mean, we can just talk about my favorite clip, when we get to it, but I want to say that I, too, want a Toyota 4Runner that runs on dreams and starlight [laughter]. |
| C.T. WEBB: 29:07 | And starlight. |
| S. FULLWOOD: 29:08 | Me, too. |
| C.T. WEBB: 29:09 | Who doesn’t? Run on dreams and starlight. |
| S. FULLWOOD: 29:14 | What do you really want Seph? Yes, what do you really want? Yeah, it’s awesomesauce. So thanks. |
| C.T. WEBB: 29:22 | Alright, my friends, as always, a great conversation, and talk to you soon. |
| S. FULLWOOD: 29:27 | Sounds good. |
| S. RODNEY: 29:27 | Okay, take care. [music] |
References
First referenced at 05:19
Maria Bbamford
“Maria Elizabeth Sheldon Bamford is an American stand-up comedian, actress, and voice actress. She is best known for her portrayal of her dysfunctional family and self-deprecating comedy involving jokes about depression and anxiety.” Wikipedia