"Pixies"

(upbeat music) - Oh, Jay, did you comb your hair this morning? - No, it's still uncommon. I haven't combed my hair since working a little house in the prairie. - '82, '81, but I think '81, I think it was. - Wow, and I'm wearing a hat because you told me that my hair was bad and I got a haircut and I didn't want to show you what it wasn't yet. - I didn't say it was bad, I said it was under-product. - Oh, oh, very good. - Well, do you know it's not bad? - What? - Next episode of Smart, let's get our cubs. (upbeat music) - How are you feeling better today, Jason? - Look at him. - Not really. - Dr. Figard, you know, since I had COVID. - Sure. - So the immunity system, whatever you call. - You're still seeing Dr. Figard? - Yeah. (laughs) - She figured that my system's all run down and so that's why I got the head cold from maple right afterward and why I can't lick it. - She must have gone, it sounds like she went to hell of a med school to put that together, you know? - Yeah, man. - Yes, she can't give me anything to fix it. - What about, wow, but maybe it's because you finally calmed down for a sec. You were so busy and now it's like, right. - It could be it and I do like to do nothing so. - Yeah, it suits you. - Yeah, I feel better tomorrow. You feel a little better today, yeah? - You sound like shit. - Yeah, I don't know, yeah, how do I, I shouldn't be doing this anymore. - And you look great, right? - You always look great. - Yeah, yeah. - Thank God you had all that surgery, right? All that surgery covers up. You did a lot of face work. - Yeah, this is a great time. - It's really settled. - Healing, yeah. - Your face is really settled, dude. I wanted to say that the other day. - I do, I still look surprised. I think I had them stitch the eyebrows up too high. - What do you take, Jade? What do you take when you feel like that? You actually took a thorough flu. I used to take that all the time and then they discontinued it. - No, I got a black market. - I do, I take one of those pseudo feds with all that reason. Well, this got all the heavy-duty shit. I'm like, yeah, what the fucking thing that gets me all? - Yeah, yeah, you have to ask for it behind that. - Yeah, how do you think, right? - They got a fucking unlock it. Are you sure you want it? I'm like, I'm not making math in my bathtub, man. I'm just trying to get through today. - But does it knock you out and make you all sleep? I guess it's not. - No, it gets you all jazzed up and then you crash and you feel like shit. - I don't know, man. - Well, you kind of get through the day. - But it's like, yeah, it's like a shot of prednisone or something. - What'd you guys do last night? - Well, last night we went to, we went and put the lights up on a tree at our friend's house with the various random tree. - I just do random, I go around the neighborhoods and-- - You know what I said to Maple the other day, she's like, you know what? You hear all these Christmas stuff 'cause I always have the Christmas music on in the car from Thanksgiving to forward. It's all in the day. - I love that, I love that. - And she's like, what about, where do they do Christmas caroling in the world? And I said, well, just in everyone's neighborhood, I said, you should do that with your friends. You should just like, just start walking around some neighborhood and you just stop on the sidewalk and front of someone's house and you just start singing and the people inside kind of hear it and then come to the door of the window and they look and they're charmed and they're warmed and it's that spirit. And she's like, oh, I'm gonna do that. So I think she's gonna do that next year. It's too late now to learn the songs and everything. - What does it mean when we learn the songs? - We're gonna read them off the boat and begin to sing. - Oh, yeah. She knows we wish you a Merry Christmas all that. - Remember showing you used to do that at your house. You used to sit behind the piano like-- - Fucking JB, I would love to see your face when a bunch of people came singing out your door. You'd be like, yeah, hell, I was-- - What the fuck? - I get up my BB gun. - Yeah. - I don't want Jen Sacky right now. - Yeah. (laughs) - You're interrupting Rachel Maddow. (laughs) - Shit. - I paused MSNBC for this bullshit. What's going on? - I tell you you can sing-- - Oh. - Oh. - This is the look of the segment. - I tell you you can make a lot of music that people would give anything to see outside their door, including me. I would give almost anything these. - Did they make beautiful music? - Our guests today are two musicians who helped. They really changed the direction of music in my view and I'm not alone in that. One is a songwriter whose work showed that songs could be everything from melodic to abrasive to emotionally direct and the other is a guitarist whose approaches can be only described as textured and full of tension and restraints. - Never had you say textured. - I know, I'm so excited. I'm like, I'm like, I'm a little buzzing a little bit. - Yeah, I'm just, together, these guys, they created a band whose influence could be heard across decades of music, shaping and influencing artists from Nirvana to Radiohead, Jason Jesuit. Every sort of, I think, everybody who came after them had to be influenced by them. Certainly, their music has just been, their legend has grown since the moment they started making music. Please welcome Charles Thompson, also known as Black Frances and Joey Santiago. They are Pixies. - Oh, wow. Jesus Christ. - I like that. - What have you done? - You guys. - Good morning, Ben. - Wow. - This is me. - Oh, Willie. - Guys. - Willie. - Willie, you're pants even on? - This is it. - I hope that's okay. They weren't supposed to know, man. - I think we'll sit non-plastic. (laughing) - This will, oh, this is-- - Gentlemen, Joey, I heard you sipping your coffee or tea or whatever you've got. Oh, both of you. Charles, you got one going too. - It's fresh. - Where are we, first of all, where are we finding you guys today? Where, let's just start there, where we are now. - I'm in Los Angeles. - Beautiful. - Hey, Joe. To get home okay? - Oh. - Oh, no. - Tell us what happened. - I mean, 'cause I'm not in Los Angeles. I'm in North Hampton. I'm in Massachusetts. But we just, I don't know, I feel like I just got home like last night. But really, I guess we ended a couple of weeks ago, but it took me a couple of weeks to get home and you walked. So, now Joey, I just haven't talked to him since the last time we were-- - Well, you guys haven't talked since you were like, what, doing a show or something? Where you guys are? - Exactly, like we were in Honolulu. We were like, all right, see you later, all right. - Honolulu. - Well, and so I was like, oh, hey, Joe, where are you? Did you go home? I went home. - You two weeks to get here. Anyway, I'm sorry. - No, I like this. - I like this here. It's having an offshoot conversation already here, sorry. - No, Charles, you have to know that you heard us catching up. This is where we catch up with each other too. - Yeah, exactly. Do your house keeping right now? - Yeah. - Let's get into some Admin, Joe. How did you, did you got home okay? - Yeah, thank God, yeah. I mean, non-stop, if we were, I would have stopped, it would have been in the Pacific Ocean. - Yeah, exactly. - Yeah. - What about, it's 11 hour flight over there to Massachusetts though, right? That's a big trip. - With a bunch of other big trips though that were right behind it. So it was sort of, I did binge watch. I'm getting very cranky with the media available. I like it when I have, I have to download a bunch of YouTube videos to get me through those like 12 hour flights and stuff. And I feel terrible. I wish I had more patience for the films or television programs. But I get all, I don't want to watch this. So then I change it, I don't want to watch this. So then I, - Yeah. - Would you miss one? Would you get two? - I have so many options. You know, like I remember, do you remember people's express airlines? - Sure. - Yeah. - You could, I think it was like $149. - And you paid, didn't you pay like when you got on the plane? - Yeah. - I keep paid like some guy who came down the aisle. And I remember paying in cash. - Yeah. - For snacks. - To fly to L.A. - Oh wow. - And you brought you, you could bring on one. You brought everyone brought back the lunch. - It was, it was, it was an economical way to fly. I remember, because I grew up in Toronto and these two, you could go to New York, so you, we'd take a bus to Buffalo Airport. And then you could pay and it was like a hundred bucks to fly to New York from Buffalo. - There's an airline out there that's proposing you could stand up. - And apparently on this airline, you can roll the windows down too. (laughing) - Roll the windows. - You can, that's what they said. They fly at a real low altitude. Roll the windows down, relax. You know what I was amazed by? I just learned like a year ago, like you know, when you look at the stats, when you're flying, that it's like 70 below zero up there. - Wow. - Outside, I didn't know it was that cold outside. - Sure, it's really cold when you get up there. Have you ever seen videos of people climbing mountains before? - Yeah, but that's 70 below. - I mean, they're not in Hawaiian shirts most of the time. - I don't know if you noticed that. They're not in speedos when they're going up Everest, dude. - This would have been a good question for us to ask. What was that scientist we had on that I marveled? I really impressed him with my skills, my questions and stuff. - Neil DeGrasse. - Yeah, this would have been a good question for him since we're closer to the sun. - Listen, listen, we got pixies on. We're wasting time. We're taking a nap. - Guys, this is really cool. - Gentlemen, this is really, really cool. So you guys, I love when people, when great things start from basically chance encounters, if you will. You guys were lived next door to each other, is that true? - There's this world, there's what's the name of that dormitory, Joe, that's. Sylvan. Sylvan, at UMass Amherst, there's like three buildings called Sylvan, or whatever, so I guess they're all Sylvan. Anyway, what do they call those, Joe, they're sweets. You have like seven roommates, you know, it's like a sweet, you know, and you share, it's kind of like a little, they're like, it's like a center block building. It's literally like a, I should say it's like a prison because I've never been to prison, but it's like kind of like a prison, you know, like without bars, but it's like, you know, really, you know, rudimentary kind of, there was like a living room, and then there's like a, there's like three or four bedrooms, and then there's a bathroom shower area. And it's about seven of us in a suite, you know, and so we were in the same suite at our, at our freshman year. You just freaked out, Jason now, because he's thinking about the communal shower already. So his arms go up, Jason, I mean, yeah, you're out. You're just, I'm just not going to shower until junior year. I want to have my own apartment, so this is that you, this is that UMass Amherst, and this is what yours is like 84. Am I going to say, or is it earlier something like that? Yeah, 83, 83, 84, you guys are sharing this center block suite as Charles, you made it sound so beautiful. And, and so you guys are in there. And, and what happens? Who goes, hey, do you want to start a band? Like, I just love this. Charles was playing. You had your acoustic guitar already. You were playing. I had some annoying songs that I would kind of lay around the dormitory on a regular basis. And Joey was kind enough to kind of sit in and kind of plunk along. He got his guitar out. And, you know, neither one of us were like what you call, you know, guitar weenies or whatever, you know, where we're like hanging out, playing the guitar all the time. We weren't that, we, we appreciate the art form, but we weren't like, you know, we weren't, we hold into it or anything. Were you looking for people to listen? Did you care? I don't know. We like, we were, I think we were pretty like, we didn't know what we wanted. I think that like, I remember, I worked at the university campus store and, you know, they had the, the radio on, you know, win tickets tonight, you know. And remember it was James Taylor, I think it was. And nothing against James Taylor. But, you know, at that time, that wasn't necessarily at the top of my list, but call now, I called from the, from the, from the back room. And I, they gave me a pair of tickets. Joe, do you want to go see James Taylor tonight? Okay. You know, it was all kind of like nothing to do. It was like, okay, let's do that. And like, even when we started being a band dealing with like record company types, they would make a suggestion. And we would say like, okay, you know, because we were just, we didn't know how anything worked. And so it was all good. It was like, it was action. It was something that was going to happen, you know. So anyway, I kind of lost my point there. No, no, no, you're right on point. And I was going to say, so, so you guys, you're there. You're kind of, you're playing for lack of a better term jamming as, as dumb as that. But, but you are. And thank you, Jason. And so you guys, you're, you're, you're making stuff. And then you guys, I'm going to kind of jump a little bit. You make what's known as the purple tapes, right? It was sort of like, it was kind of like a demo, but not really. If I'm kind of right, it was like the first time you recorded my question is, what was the first time that you guys said, all right, we're kind of making the, let's write a song. Or did you kind of just by mistake write a song? Or did, or did you go out to write the, to make these songs? Like, how did, how did that happen? I love the idea of like, we're kind of aligned. And I got separated a little bit because he was, he was back in the, in, in Nammers. And then I went to, to San Juan, Puerto Rico for, I was supposed to go for the year, but about halfway through I hadn't even gone to a class. And I wrote him a letter. Like, do you remember like, we used to write letters? Like, I, I forgot that we used to write letters, but I wrote, I think I wrote Joe a letter saying, let's meet in Boston and we'll start the band finally. And he wrote back and said, okay, we'll see you in January. By the way, I found the letter. Wait, Joe, what happened? I found the letter. No way. Yeah, my, my, my, my wife wanted to go, all my girlfriend at that, but, but it's nearly married. But she wanted to go over my trunk at my, at the house that I grew up in. I mean, there's nothing in there. And I went, went in and it's like, fuck, we, the letter is in here. That's fucking right. So, so, so Joe, you get this letter from Charles. And you're like, and you're like, what? It kind of gets, you're like, okay, cool. Like, you start thinking about this. It was, it was, it was going to me to drop out. Yeah. What, what were you guys studying in school? Like, was there, was there was there a path that you guys had to kind of derail to, to pursue the band? I was undeclared until the last moment. Yeah. There was this, a spoof on April 1st that the people that undeclared were going to go to some war in Grenada or something. And I go, I remember, yeah, I got to find a fucking major or you're going to have to serve in Grenada. Yeah. So I just picked economics just to get out of the war. But it was all, it was a spoof, you know. What about you, Charles? I was trying to remember what happened when they did that spoof. That's the same thing. The cause is to think about the big, quite, bigger questions because they, it was the college newspaper there, right? And you may ask called the Colleagues of whenever the fuck was called Colleagues. But it was, and it was at April Fools and then it was like, yeah, it's going to be a draft. You know, you believe, you believe. I remember like, I love that the paper here, how dumb and pliable the student body was. Yeah. Yeah. But yeah, I was like thinking about Canada and stuff and, you know, we would have welcomed you. Just right. I mean, care about like having the quit school. I think we were both like looking for like reasons to drop out of school because school was like, it was okay. But I don't know, it didn't kind of ring the bell. But clearly, you guys weren't novices at playing music, right? At this point, you guys were, you kind of knew what you were doing. No, no, no, no, a little bit. You knew some chords. How about that? Yeah, like, I mean, in the best, I mean, then the best possible way. I don't mean that it was bad that we didn't know we were doing, but it wasn't like we were like, shit, we've been like slaming away in the, you know, down in the, we're in the basement, you know, for, for so many months now or so many years or no, it was none of that. It was just like a little rinky thing thing once in a while. Then let's drop out of school, start a band, see what that happens. I mean, Jim Boston, and we met there, and, and he had an apartment on one side of the park where it was you were over there by Berkeley School of Music show. Remember, you had that brown apartment, you had that underneath where everything was brown in your life. You know, I look at you, I'm back to the brown. Why am I so depressed and you go in my fucking places all brown? It's like, this could be the reason right here. Everything's brown. So you guys, so you guys come back to, and then, and then, and then, and I feel guilty because Joey, like today, sometimes he'll dawn the brown and he'll look nice. You know what I mean? And I'll say, shit, you know, Joey looks nice and he's wearing brown, and I gave him shit about everything being brown. And there was, I was frowning on the brown, but there was nothing wrong with it. It was like, he had it together. Brown does get a very bad, a bad rap. I don't think it's fair. But when he lived in this brown apartment, and I lived in some other apartment like across the park, and we used to, we used to go to the, it was kind of naive, you know, we used to go to the club called the, the ratskeller in Kenmore Square, which is no longer there, but it's an old venue because I believe my parents used to hang out there when they were teenagers. And anyway, we used to time the, how long the sets were for the bands because we had to figure out, well, how do we do that? You know, how do we get from just having a couple of, yeah, rinky dink tunes on our guitars here to have in a full-fledged band where we're doing what those kids are doing. Yeah. And so, yeah, we used to hang out in clubs in time. Oh, we need 25 minutes or whatever. And we need to, who do we got to talk to in the end? You know, you take a while to figure out, oh, you got to, you got to send a, send a letter to that person. You got to send the beds to the sound man's girlfriend. Maria, she's the one you have to get the tape to. No, there's the tape. You know, this is process. We get the tape to the right fucking person. And then finally getting the Monday night and then the Tuesday night. And I suppose it's the same thing with with comedy or anything, you know, was there a particular, was there a particular night that you had at the club that that that that that really caught on you? You could feel the audience was like, oh, these guys are rad. I'm gonna, I'm gonna sign up, just come see them wherever they play next. Did you know that you have never fouling? Yeah, yeah, following was kind of developing. Yeah, I'll tell you, I'll tell you. when I knew we had something going. - Yeah, yeah. - Remember we were practicing at your apartment there in Fenway, and we heard a door knocking. The door knocked, and it goes shit, we're too loud. You know, it was the maintenance guy. And we answered the door and he goes, "I just want to tell you guys, you guys are sounding good." - Yeah. (laughing) - That's a fucking rat. - That's great. - Yeah. - And this is a place right near Fenway? - Yeah, yeah. You live in the Fenway, I did that. - In the Fenway, yeah. - Yeah. - And that's where we had our first real, well, our first real rehearsal space was somewhere else, but we eventually ended up with like a place with a sewer cabinet. And it was down in the basement, and there was a bunch of bands down there, but it was very expensive even then. You know, it was like $500 a month for like a little, windulous room with a sewer cabinet. And then when it rained, there were all these like bugs suddenly, like flying in the space and it smelled like shit. And it was just a god awful place, but that's like the best that we could get. - Those are two opportunities, Regation would have equipped the band with a shower and then the sewer space and the rehearsal space. - And the habit of Purdue, so I'll see you guys in the next studio. - But wait a second, were you guys, but we got the Hollywood Bowl? - Yeah. - Yeah, when did you guys become pixies? What was the kind of the moment you guys became? How did the name come up and what was the moment like? Okay, now we're pixies. - Well, I suppose it would have been our second show, officially, 'cause the first show, we were listed as the Puxies. And so officially, we were the Puxies in our first engagement. And then the second, they got the spelling right. - Type over. - The pixies. And, but I suppose Joey picked the name of the band. I don't, he was saddled at responsibility or took it upon himself. And you were like, we had a dictionary, right? Joe, I'm using the dictionary right now to hold up my computer. But I believe you were in the peas and there were a lot of teenagers. - Did you just throw a dart? - It just looked good. You know, I had an axe in the metal. - Yeah. - And that's funny. - That's really funny. - Also the, what's the definition of mischievous little elf? - I love that. - So that's good, that's a good one. - Let's start calling you, Willie. - Thanks, man. - Yeah, you're my little pixie. Get over here. And we will be right back. And now back to the show. - So you guys are playing, you're practicing and you, and you were open. When you guys started to go back to purple tapes, but that was kind of your first recording. You guys were, were you opening for other bands? Were you guys opening? Where did I read a long time? Were you opening for throwing muses or something? Is that right? Do I have any of that right? - Yeah, we did. - Sure, yeah, we used to open up for them. - Great. - 'Cause they were a little further along than we were with all of the showbiz, you know. So I think they had a record out and they had a manager and stuff. But that's how we got hooked up with them and some of their people, you know, some of their crew and some of their manager. We had the same manager for a while. But the same producer for a little while. But I suppose that was, if there was any camaraderie, that would be the one band that was the, if we had any camaraderie, there wasn't a lot of camaraderie and really in Boston for us. I think, I think, I don't mean in a negative wave and I just mean that we didn't bother with that. It just, it seemed very clear and apparent to us that we had to get out of dodge in order for it to mean anything significant. You know, we had to, 'cause, you know, those bands that come through that are from other places, you know, you see them come through. There was these Australian band, what are they called? Celibar rifles. I remember the Celibar rifles used to come through when they would have draw 50 people or whatever time they played at the rat's killer. But it was like, wow, I don't know. They figured out how to get all the way here from Sydney or wherever they're from and they're playing a show. And I don't know, it seems pretty fun to me. Like, so how do we, how do we get on that thing that they're doing, you know? And of course, you know, it's not that glamorous, but doesn't have to be glamorous when you're, you know, 20 years old. It's like, you want to travel or meet people or whatever, you know. I think that there's also that thing of like, maybe you're from where you're from the place and you want to kind of be, there's something mysterious about a band that's coming from somewhere else. Like, you want to be from somewhere else. I don't know if that's, if that figures it into it either, like to just sort of like add to the mistake. Is that part of it, or am I reading that wrong? Well, I suppose, but Joey and I both probably have this, we're the same exact age and we both have the same ease, ease from the originally from the Philippines. And I'm originally from Massachusetts, but we both have the same kind of level of beetle knowledge and sort of beetle sort of brainwashing or whatever. And other stuff from the '60s and '70s, but just for the sake of conversation, putting beetles at the front of that pack. You know, so by the time we met up, when we were 17 or 18, it was like, oh, you like the beetles, I like the beetles. Yeah, you know, it's kind of like, we have that, if you love the beetles, then you have some affection for that, for that lore, right? For the, for the Liverpool thing and the little club. And when they went and played the strip clubs in Hamburg and blah, blah, blah, blah, the star club and all of the history and all of that. You know, even if you've never been there, you have a lot of romantic feelings about those histories, you know, and so when you finally get to go on tour, and then you're there and you're playing in those clubs in those same cities, you're kind of like going, ah, this is what it was like. And this is what it's like to record at the BBC radio studios or whatever, whatever the experience is. Sometimes that matches right up with your heroes. It'll be the same building, you know, to mean the same stage or whatever. And so that's satisfying, you know, to be out on the map somewhere far from where you're from. And be like, yep, but I'm doing the same thing that, you know, that the fab for it did, you know, it's as corny as that, you know, but that's the way it is. - Was there a band that was really doing it when you guys got started that you kind of had your eye on and said, boy, if we could kind of go in that direction, we'd have something, that's where we want to go. - Well, they were doing it and sort of tonally that you liked that you were like, oh, this is kind of, was there any of that sort of influence wise? - At that time. - I don't know, Joe, dude, what did you think? I can try and think, do we talk about that kind of stuff? - I like the Zoolos, I remember the Zoolos. - I don't know that. - They had something, you know, just wild guitar, wild vocalist, yeah. - I kind of want to jump to, so you guys, doing this stuff, you're, and you put this stuff together and you do, the purple taste becomes basically like, come on, Pilgrim, is that sort of right? - Yeah. - But then your first real full-length record is Cirfor Rosa, that's 1988, and that's kind of your introduction on a bigger scale to you guys, the world, and it's meant with a ton of critical acclaim, like this puts you guys front and center and what's going on. I'll tell you something, man, knowing that you guys are coming on, I have three sons, my 15-year-old son is really into music, and we've been listening to you guys a lot the last couple of days, like in the car and stuff, and I keep going, man, we're gonna have these guys on the podcast, and I was playing some of your songs, and I'm like, yeah, this record came out in 1988, my son's like, no fucking way, because it seems so relevant musically, it seems so press, everything about it, just seems so, for lack of a better word, modern or current or whatever, and you realize kind of how ahead of the curve you guys were in terms of just sonically, I think. - Yeah. - And I know that, and I'm sort of jumping all over the place, I know that since you guys, you put out five records in a really short period of time, and then you took a break for a number of years, and it was almost like after you guys, the first time you broke up, people went like, oh, we missed that. We didn't realize at the time how great these dudes were, what these guys were doing, fuck you. - Yeah. (laughing) - Was there a sense of fuck you? Okay, fuck, let's hear it. (laughing) Was there ever fuck you? Like, are we told you so, man? We were making, and when other bands started coming, 'cause I know everybody, I mentioned in the intro, like Kurt Cobain, the guys in Radiohead, they've all talked about how much you guys influence them, and where you're kind of like, is there a little bit of like, yeah, we're trying to tell you that, man. No. - Yeah, I don't know. I don't know if we take it all that seriously, you know, it's, I mean, we take it seriously the sense that we thoroughly enjoy it. You know what I'm saying? - Yeah. - We really enjoy the whole routine, the whole, whatever it is you gotta do. You know what I mean, play a show or, you know, I don't really like doing TV shows, But, you know, like, you got to do that sometimes. You know, we go record a record, and kind of, you know, you're in a friendly way competing with some other people maybe that are, I guess, contemporaries or whatever, you know, plus competing with your heroes and everything, you know, so it's all really fun, but, you know, you can't take it too seriously, I don't know. I don't know, especially 'cause I don't know if I, it's not like I feel like I went to, we went to music school for 20 years and slaved away for, you know, trying to just absorb all this stuff and work so hard at it. I mean, we just love it, and we like doing it. And we're not, I don't know, so if other people like it, it's like, oh good, you know, I like you too. - But Charles, you talk about, you talk about, like doing TV shows and stuff, and then I want to get in this, and this is all in no particular order, 'cause I'm just kind of vomiting my obsession with you guys. I was thinking about how much, you know, the influence you guys have had. Well, first of all, I was thinking, like, in-media, like, if you think about, where is my mind? Where you guys felt about, where is my mind being the last song? I'm, comes up a lot, I'm sure, so I'm sorry, forgive me. On, you know, it plays over the very end of Fight Club, when, and then the kind of the world is falling apart. And, and that was, I think, for a lot of like a new generation, like an introduction to you guys, everybody was like, holy shit. And when you see a song that you wrote, and I don't know, I'd like to know where your mind was. When you wrote that, compared to what it's been applied to, because now it's sort of represented in a different way, sort of the end of the world and stuff to you. What is that sort of that gap between where it was when it started, and when you wrote it, and what it ended up sort of symbolizing later, because of its use in the movie? I don't really know, I don't have a lot of memory of putting it together, or feeling that it was important, so donable or anything like that. But my, my girlfriend was, usually I played in the bathroom, you know, because it was the one private space in a little apartment, right? So, but she was in there doing makeup and said, and I saw I was at the bedroom with my guitar, playing those chords and kind of working out maybe an arrangement of the song. And the, she stopped what she was doing and said, finish that song, she said, that's a good one. And I went, oh, okay, and, but that's the only memory I have of it, really. It just, I guess when I go back and I analyze it, it just sounds like a silly little folk song or something, you know, that I would have learned how to do stuff like that when I was at the, when I was in about third or fourth grade, I used to hang out with a lot of hippie kind of folk music types and Newton Massachusetts. And they schooled us in a lot of sing along the things that were kind of cool, actually, in retrospect, including Woody Guthrie and all that stuff, you know, but, so to me, where is my mind kind of just fits in with that, you know, here we go, in third verse, same as the first verse. Here we go, everybody, you know, it's not even a sensical song or anything. It's just like some delightful words to trip over, you know, while you're, while you're kind of skipping through a melody. And, you know, it's, I know, well, that's, that's nice, but I, which is, and this is, that's interesting because we all have, I mean, I've, I have had so many experiences listening that song myself in sort of deep moments and that sort of haunting that Joey that guitar. Me, me, me, me, me, you know, that whole, like, it's just, and it's had another life, as you probably know, like on social media and TikTok, like my, my kids see it all the time that it's used in all these different ways. And it's, again, Charles, I mean, I know it's so funny to hear you that like, yeah, you're just kind of coming up with it in a moment. And then it goes on to have this other application. It must be kind of trippy. Like, Joey, when you hear that guitar riffs, it must come up sometimes you hear it. And do you remember recording it when you guys recorded it? Do you remember that day or, or thinking like this is cool? I do remember it. I remember, you showed us a song at your apartment. We had some Vietnamese food. And then that was the, that part came right away and it was like, I'm done. That's what I said, basically, I'm done. 'Cause I want to do that little Chuck Berry thing, but I didn't do the double note that did it, did it, did it, did it? So I just want to fit that in and go, ah, yeah, it's good. - Well, is it, does it matter more or less for a song to have a long life of, like would you rather a song be super duper memorable because of its tune, because of its melody or because of the words that it says, like Charles, you were saying, it's like, you know, it's just like a couple of chords here and some words that you might, you know, like what is more important to you of the staying power of a song, the melody or the words that what you're trying to say, you know, does it matter? - I mean, both work, right? I mean, you know, because you have people that feel very warm or poignant or whatever about a particular lyric or whatever or the meaning of a song, but then a lot of times, it's just sounds and combinations of sounds and chords and things that give you the chills or the goosebumps and, you know, and, you know, I don't know, I mean, I don't think any of our, I mean, half of our audience is like, doesn't speak English. So they speak rock English, you know, I mean, so I suppose they can connect to it a little bit, but you know, there's a lot of other stuff mixed in with it, I suppose, when you, so I don't want to put too much, it's nice when words can be good, but, and we didn't, when someone can declare, oh, this is indeed a fine libretto, you know, but at the end of the day, it's a rock music context, so it's like, there's a lot of, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah. You know, I mean, there's a lot of other kind of elements that are kind of coming to the party also, you know what I mean? Where's the most surprising place you have found a dedicated fan base? Where, what corner of the world are surprised you're like, wow, like, you like show up at Lisbon in office and you're like, wow, we got a lot of fans, like, we found that in Iran, we're we have a big audience. Yeah, really, we were like, what? What? We're lucky enough to have a pretty far-flung audience, but I don't know that, like, I have, I don't know if we've discovered that on-clave of like, you know, whatever, some place and somewhere way off of the beaten path, like, I don't know, like, in India or somewhere like that, you know, where they've somehow discovered our music or whatever, but we do play a lot of places. So I'm trying to think of someplace we've played. I mean, talking about, like, Portugal, like, we do really well down in Portugal. So, yeah. What did you guys think about Charles and in Joey? What do you guys think about? What was the way that people used to talk about these to try to, like, 'cause I hate when people get categorized, but when they try to, like, call it, like, the soft quiet loud or whatever, what was the term that they used? Do you remember that these to try to describe you guys? Loud quiet loud. Loud quiet loud. Yeah, loud quiet loud. Yeah. And when you heard that, where you're like, "Oh, okay, well, that's just us," like, whatever. We certainly didn't invent it, you know? I mean, Chakowski's 1812 Woolberture had fucking cannons, you know? Sean? That's very true, yeah. (laughing) Yeah. I mean, you go, go ahead, Sean. I was just gonna say something about touring. When you guys, so you guys still tour, it sounds like a lot. And when you do, do you see each other before a show, or do you see, is the first time you see each other when you're on stage? Like, do you hang out backstage before the show? Yeah. We hang out about an hour before the show. We can do the theme. And there's an espresso machine in our tour manager's office that we all go there and get an espresso. And then we sit down on the dressing room. And then we have, like, some acoustic guitars there. Well, this is one acoustic guitar. And then, I think Dave, you should just find something to tap on. And then we sing for about a half an hour or 45 minutes and kind of go, oh yeah, that's how we play. And then we go on tour. And then, but yeah, we don't really, we don't live in the same city anymore. So I think we have, I don't know, I don't want to call it that we're lazy, but we've just been doing it for so long that we don't really, it's okay. We're lazy. Go over it, over and over and over. Do you guys, so you guys, so I mentioned before, I kind of want to jump back. So you do five records in a short amount of time, ending with Tramplemon, which, again, is another one of those records that years later, everybody's like, oh man, this record is amazing. And we should have recognized it at the time. And you take a long break. You guys are basically broken up for, I don't know, 10 years, 12 years, 12 years. And in that time, you all go off and do different things. Frank, you do, you do, so I call you Frank, 'cause in that time, you were known as Frank Black, you put a. a bunch of records out as Frank Black, of course, teenager of the year. I didn't know this. Teenager of the year, by the way, I just wanna say sort of Pixie's side note if I can, Charles, I didn't know that you would actually been named teenager of the year in high school that I read that somewhere that that's, is that true that you're named teenager of the year? - What's that mean? - It's a award that was given at the high school that I graduated from. I don't know why it's given, but I think it's like for the good kid that did do that much, but like he stayed out of trouble and he seemed nice. So we gotta give him something and it's like a little, hey, you're the teenager of the year and that's good. - How was the class ghost? - Wait, wait, is that true? Is that true? Who jumped? - The class ghost. - No pictures of me one year on the yearbook. I refused to have my picture taken and anything. So I wasn't even, I didn't even exist. - Oh, Joe, what a perfect pairing. You're the class ghost and the teenager of the year together. Like it's almost like meant to be, man. It's like written in the fucking stars. And so then you guys have this 12 year hiatus from Pixies and you get that. - Is that what it was? Was it just a hiatus to do other stuff or was there acrimony and you guys were like, no, fuck this. - Oh no, we broke up. The band was broken up and we had to go pay our dues, I suppose, 'cause we didn't really pay our dues the first time around. I mean, I'm not saying that it was all super easy, but whatever it was like, every band's got five years, as they say, and you do it all in five years and it all kind of implodes. And then we imploded it and then, so we were just whatever, treading water for 12 years. And I mean, not treading water, 'cause I came actually had some pretty big success with her, with her band, the breeders. And she had a big hit and everything. So, I mean, I shouldn't, it sounds like a complaining, but I'm not. But it's not like I was, or we were doing all these amazing projects that were so successful, whatever, you just kind of hovering around and kind of staying in it as best as you can for a whole, and plenty of humbling experiences, I suppose, to go along with it. - Well, you inspired in that time, little do you know? I will tell you one more sidebar, Charles, which is years ago, what is it, 2025? So like 14 years ago, I was trying to come up with, I had this idea for this show that became a very little watch show on Netflix called Flake that I wrote. And I was flying over to the UK. And I was just outlining this dumb idea and I was like, what is this thing? What is this thing? And I was gonna meet my partner, Chappie, who's a great friend of Jason's. And the best. - Do you have the greatest name in the world? - And Mark Chapp, a great writer who wrote, we were in a bunch of stuff together. He wrote, is this thing on with me, with Bradley, our new movie. So anyway, so I'm going over there and I was listening to Teenager of the Year. And I was listening to Freedom Rock, that track, Freedom Rock. And it goes for you guys who don't know, it goes, my name is Chip and I'm different. And I just wrote that down, that lyric down in the thing while I was writing this enough, so with no idea. And later, a couple days later, Mark and I were writing and I looked back at my notes and I said, this guy's name, and it really helped me kind of get into this guy, into this character that ended up becoming this character, Chip, in my show. And it was based on listening to Freedom Rock. So just so you know, when you thought you were doing nothing, you ended up years later really inspiring me. So thank you. - That's cool. - I'm glad that worked out. I think it's just, if you have any kind of love of language and it doesn't even have to be academic or whatever, it's just the way that the way you play around with words, words that you like. You know, sometimes you find a word or a name or something and somehow you incorporate it into your thing. - Yeah, we'll be right back. And back to the show. - Anyway, so you guys go do that. And then what happens? What is the moment, 12 years after you break up? Who calls whom? Who goes? 'Cause you guys all get back, right? Joe and you, Charles and Kim. You guys, what's the moment? Who makes the first call? Who has the idea like, "Fuck, let's get the band." - Yeah, was it just a text that said you up? (laughing) - No, 'cause it was still kind of believe it or not. I suppose people sent texts, but I think that we even in 2003 or whenever this was, you know, people weren't quite glued to their phones. - Was it facts? - Of course the way they are now. But I did an interview on a radio show in London and it was an early morning show. You know, a lot of joking around and kind of. And, you know, they're like a bunch of brits and they're talking circles around me, you know, and they're kind of being all nuance that everything I'm only getting half of what's going on. But anyway, I start kind of trying to joke around with them, they're saying, "Do you see the other band members?" I'm like, "Yeah, we jam all the time." And I'm just kind of being sarcastic, you know, and kidding around a little bit. And then they knew I was being sarcastic, but they decided to pretend sort of that they, that I wasn't, 'cause I always got you, you said it. You said you guys are back together and you're jamming, but I was being obviously, like I said, not serious. But they, after I left the radio station, they kept, that was their little thing they talked about, I guess the rest of the show or whatever. 'Cause by the time that I got home to my hotel or whatever, like I don't remember barely, but there was a world, remember there was a, where we suddenly CNN was 24 hours. And so everyone was kind of aware of like the ticker. - Yes. - You know, that kind of the idea of a ticker, of a news ticker, you know? And for most, I suppose Joe Blow people, common people that weren't like following stocks or whatever, it would have been the CNN, would have been the ticker that they would have been aware of. And somehow our reunion made it onto the ticker. - Made it onto the ticker. And so like people started, so I don't know, Joey might have called me, I think, and said like, what the fuck is going on, you know? (laughing) 'Cause I'm watching CNN here, and we're like packing. - Joe, so you read in the ticker and you're like, what the fuck, man, are we getting back together? Like, what's going on? - I was pissed I didn't buy Apple. (laughing) - No, no, no. - Get in my, get in my, man. (laughing) - Yeah, I suppose, yeah, I kind of remember a little differently, but yeah, yeah, yeah. (laughing) - I love this. - I do remember Charles calling me. I guess I didn't have CNN, you know? - Yeah, I try not to, I still try not to watch the news, you know, I guess it's always been bad, but especially now, I just can't fucking watch it. But anyway, yeah, he called, and then that was it. - Wait, wait, that's it, the rumor, the rumor. - I think I, I think Joey would agree to call Kim. I said, can you, would you call Kim and see if she's up for it? All my friends started saying, you guys are getting back together. And it's like, what? And I didn't know, you know, until I got the call from Charles, and then it's like, oh, it is true, you know? 'Cause every five years, people would tell me, when are you guys gonna get back together? There's always this rumor that we're gonna be going to Coachella or something. There's always this thing. - But Joe, you must have known, like, you guys had to have known because you're so, you guys were so beloved and so missed that, like, what happened? Like, the touring company or manager, whoever calls and goes, like, hey guys, this is great. Like, we're stoked. - Yeah, but I'm sure that there's still that other element, which is much more sort of delicate and nuanced, which is, I don't wanna be the one to say, hey guys, should we do this? Because the other person on the other end of the line might be like, yeah, no fuck that. What are you talking about? I'm not getting back together with you. Like, someone's got to pull their pants down first. I would imagine that's a real delicate part of any sort of reunion with any band, with any group. - Yeah, I'm just pulling the pants down. It's certainly a delicate, you know, is there a belt? Is it zippers? - Yeah, sure. - It's like, you know, like, it's, it's, it's complicated. - Well, Charles, you were busy, so, you know, Kim, Dave and I got together and to practice the songs. - Well. - Together, 'cause you were somewhere else. And then we made a deal, no pun intended, that, if this thing's gonna sound like crap with the three of us, we're gonna shake hands and move on. - Oh wow. - But I didn't know about this deal. - But, yeah, yeah, but, whoa, whoa, whoa. - Well, it's true though. If it wasn't for you, it's reasonable enough. - Very reasonable, but the first three songs that we went over, we just smiled and go, oh my God, we still. it's still fucking sounds the same because my Marshalls, my Marshall has Sharpie marks on it. So all I had to do was like dial it in and that was, that was that sound and but more importantly, the quantizing of the groove. I mean, we had it, you know, so that had to be such a rush to hear that the first time when you. It was almost, it was almost comical. Yeah, yeah. Yeah. What did you say the quantizing of the groove? What does that mean? You know, the way the way the way the the bass and the rhythm, the way it pushes and pulls. You mean, you mean the actual combination of your sounds individually together to create one singular? Yeah, just like the, just like the nuances of the push and pulls. Yeah. Yeah. We had it. You know, that's great. It's, you know, it's just a and you had settings on your amplifier that that were specific to that pixie sound that you had to get back to. Yeah. Yeah. It was just, it was sharpied on there. So I just like, that's wild. That's, that's cool. That's really cool. Yeah. That's awesome. So by the way, so Charles, you go and you get, you get with these guys, you don't realize that they've, until today that they made this deal that they're like, hey, if it doesn't work out, we're not going to do it. No, but, but, you know, I didn't, you know, I suppose I had other concerns or whatever. Okay. So let me just ask you this, because I want, we got a lot to get in, and I got to let you guys go in a minute. What, you know, I outlined again at risk of embarrassing you, which I talk about influence on other musicians and artists throughout the years. Did you ever, is there a moment for each of you that kind of sticks out like a cool moment that somebody came and said, somebody that you like or somebody that whose music you really respond to, who said, hey, man, I really like what you guys do. Is there a moment like that? Because I've had moments like that in my, in my career, I think we all have or somebody who we respect comes and says, like, hey, you, you, you done good. The biggest, the biggest damn one, Charles, come on. Who's that? We were playing at the all freedom at the time. And then our tour manager says, hey, someone wants to come by and after our show and say, hello, and he goes, Oh, like, like, who the fuck is this? He goes, Oh, it's David Bowie. It's like, oh, wow. Yeah. That's cool. David Bowie came by, and this is the club, and then said, they like us. How do you, I mean, that's really cool. That'll give you some fuel for a few years. That was it. Yeah. Yeah. Charles doesn't remember. Charles doesn't know. No, no, no, definitely. He definitely, he looms the largest, I suppose. If you, if you, in those kinds of terms, you know, in terms of like, you know, musical royalty or whatever, yeah, for sure. Yeah. Where there are other ones for you, like other sort of, like bands who you like to, were like more, I mean, Bowie is like an iconic, it's doesn't get bit. Well, I remember the first TV show we did was in New York with you remember, there was a late night program hosted by David Sandborn. Oh, yeah. Yeah. And I forget what the name of it was, but he would have on like four or five different people. And they'd all come on and do a song. And they did this jam at the end, which was a little awkward, I never call, but he had on the Sunra Orchestra, you know. And so they were these like, you know, old jazz musicians, you know, I mean, who had really kind of been around for a long time and kind of seen it all. And they were, so anyway, we did this ridiculous number called tame, which is the epitome of the loud, quiet, loud dynamic and then we had the and the, the, the, the quiet part in the loud part, right? Anyway, it does get quite loud. And, you know, I guess I have a loud voice, whatever. And it's very minimalist in terms of its orchestration and our musical idea. It's very minimalist, but it does do get loud and it does get quiet. Anyway, but one of the gentlemen from the Sunra Orchestra, you know, I don't know if he was complimenting me, but he just said, he said, boy, he said, you sure can holler like that after the show. And I was just like, yeah, so all right, one of those guys thought I was cool, you know, you're basically saying, you know, good holler, you know, like good utilization of your loud chops or whatever, you know. And he didn't quite get it necessarily musically, but he got what we were trying to do. And so I liked that validation a lot, you know, from a, from a cat, so to speak, from a jazz cat, felt really great, you know. Yeah, yeah. From somebody who doesn't, who's not like, who doesn't play the kind of music or that you guys do to sort of acknowledge that way, it's got to be. Someone who's truly paid their dues, shall we say, you know, yeah, yeah, you know, to get validation from them or whatever, I felt like, okay, all right. So maybe we're on to like something, it's real or something, it's got some sort of, you know, mojo or whatever, we have some sort of magical thing going on. It's, it is, we are special, you know, we have something. Yeah. So good. Wait, so now, but now you paid your, you got to admit, now you paid your fucking dues, you guys are 40 years in, basically, you're doing a 40 year reunion, not reunion, well, I shouldn't say that. You guys at all, you guys were doing a 40's kind of almost like an anniversary tour, if you will, this year with it with your, is it your ninth studio album? Is that right? Night or 10th? Something like that, right? The night the zombies came. I'm not sure about this 40th anniversary angle. I feel like that's me. That's how I'm saying that if it was like 50th, maybe we like, all right, we got it on and we're like really old and we've been doing it for 50 years and whatever, but 40 feels a little bit like, I don't mind you bringing it up. I'm just, I'm realizing, because we don't necessarily choose the hook, you know, that maybe a publicist or somebody is employing to promote your next little run of shows. And recently I learned it was like, 40th anniversary, like 40th anniversary. Yeah, listen, this is a good note for your publicist right now, your publicity team will let them know to drop that from all materials going forward, but you guys aren't going to do it. Yeah, I mean, it makes sense. I get it. It's a good hook. I mean, you know, but whatever, I guess I'm a little, you know, what's the word? I guess some vein is what it is. Is that what it is? Yeah, we are too, man. Yeah, I mean, it's hard to imagine the Jason's vein by looking at it, but he is very vain. And so do you guys, do you guys, do you guys, when you go out on this tour this year? Yeah, I mean, you just finished, it sounds like a couple weeks ago, a show, but when you go out on tour, how much, because you guys are so prolific, like as I mentioned, your ninth or 10th studio album, how much do you mix up new stuff with, I mean, you've got to have people going, like, please play, yeah, here comes your man, which is just like, you know, or whatever, like you must have, do you, do you, do you play some of the songs from across your camera? Sure, yeah. We, yeah, we, we, you rehearse up like 50 songs, and then we just call them out, you know, when we play a show. And then, you know, we kind of know which of the top 10, and we know which are the ones that we like to play that sound good, I think. I mean, I don't know if everyone gets to scratch their rich with the set list that's chosen, but, you know, there's a lot of songs that, you know, kind of like, they fall flat or whatever, you know, you think, oh, that one, they're really going to go crazy for, but then when you do it every time, it's like, it's okay, you know, so, I think it, it always kind of gravitates towards, we, we just learn a batch, our brains can handle about 50 numbers. But that's a lot. All right, let's just fucking go on towards. By the way, Charles, Charles, that's a lot 50 is a lot. Joey, Joey, do you have a song that you have always love to play like when you just start to play it? Do you have, do you have one? I mean, I'm sure it's hard to narrow it down, but do you have one that you kind of get into that, um, into a thing with it, and you just love it? It depends on the, it depends on the night. I, I do, I do like to play, uh, tame because I feel like a wise ass on it, you know, um, I think the song has three chords the whole time, Charles. Yeah. And, and, and, and I, and I do one. What, what, what, what, what? So, Charles, it must feel good though, after all, I mentioned here comes your man. I mean, that was a song that you, you wrote, uh, that was an early song of yours and it still got this, they talk about a song again that's just got this kind of staying power that, that still feels just as relevant today as the, the moment you dreamed it up, does that, that must be kind of gratifying? I have grown to like the song eventually. I think that when we played it in our early repertoire, it was one of the ones that were kind of maybe a bit poppy that we didn't know if it was too poppy or too kind of nice sounding, but, uh, the producer, that we did a couple or three records with four records with. He really liked that one. So it got resurrected from the early repertoire finally to the record that it showed up on, which was due little, our third record. And I believe that the record company that was distributing our record in the USA was, what were they called, Joe? Electra. Electra records. And they had like all kinds of connections to showbiz. And I remember that was the only time we did some sort of real artsy-farty screw you all. We don't care. Move was they wanted us to play that song on what showed, Joe, was it our city all. And that felt like too weird to us to like that silly, like we don't, we that's a that's our silly song or that's our song that's too sweet. And and maybe it's all, we don't understand like it's all going too fast. Like they want to play in our city hall. And we have to do that song. There's no other song we can do. And that's the thing that's going to represent us. We just, I think now we'd be like, oh awesome TV. Yeah, you know, but at the time we, I think there was a little bit of a concern of being, there was a little bit of a two. I didn't have a big, we didn't have a big two cool for school attitude, but you know, a little bit once in a while. Yeah. Yeah. We don't do that, you know. Yeah. We've all been there. I feel badly because it wasn't anything against any particular program or whatever. It's just the idea that that feels too mainstream. And that's too late. Our sinews mad at you too late. Listen man, I want to say what I love about that particular song. I will say that feels like it could have been written any year from sort of 1950 on. There's something about it to me that just kind of cuts across everything. There's something I don't know timeless. I will. So I love that song in particular. That's just my, that's just me. We play it every show. I enjoy playing it now and I've tried to gradually appreciate whatever it is that people are responding to him it. And yeah, yeah, it's a nice little dude. It's bouncy. Everyone's supposed to be in a pretty good mood when we play it. And we, I don't know, my mood seems to pick up a little bit when we play it. There you go. That's, that's the most important thing that's a good sign. That's good, Joe. Listen guys, we, we've dominated your time. I'm just, it's such a thrill. Both Charles and Joe to have you guys here today. Very nice to you guys. I mean, you guys, you're nine through ten studio and the night the zombies came. It's just an absolute testament to your staying power. You guys are on tour this year. Charles, I won't say you 40th reunion tour or anniversary tour at all. I've taken that out. We're just calling it a victory tour. 20, you're 27. But by the way, Charles, I think next year, if you don't mind being paid by rubies instead of, there you go, currency. Yeah, there you go. 40th anniversary is the ruby. It's the ruby. Is that bothering? Like what? No one is just waiting at a university. Like, diamond ruby. So it's ruby. Okay. It's like stones. Yeah, we got a guy in Antwerp who's going to be muleing some rubies to you, Charles. So what a thrill. You guys, unbelievable continued success. You brought so much joy and so much just amazing music to people over the years. And I'm such a fan and I just thank you for your time. Honestly, thank you. Thank you. All the kind words and thank you for having us on. Thanks for being here. Awesome. All right. Pixies. Thank you, everybody. Thank you, guys. Thank you. Bye. Bye. Guys. That was pretty amazing. Yeah. That's what a thrill for me to have. Yeah. I love. Yeah. I remember in college, you know, I think they started in mid 80s. And in college, you were on that. You were here when we were talking to them, right? But I mean, specifically was like 85 or 86 or something. Yeah. Yeah. Yeah. Yeah. And I went to college in 88. And they, yeah, they were big on on campus. I mean, I, I, I, I, I, I, I heard some of their songs. I know a couple of their songs, but I didn't know, you know, anything about them till today. So it's really cool. I think I wore a t-shirt of theirs. Yeah. And something a lot of people had their t-shirts for some reason. I remember seeing the back and said audio. So was that a sonic youth shirt? And when it was at the end. Cool. I always like, you know, you'd see somebody wearing like a Pixie's t-shirt back. All right. This person knows what's up. Yeah. This one's cool. Unless it was JB, of course. Yeah. Right. I'm just playing a character that's good. Yeah. Yeah. Right. Right. All right. I would love you to play a cool character once. That would be fun. Did you wear a pit? Didn't you wear a Pixie's t-shirt and black, black rabbit? Yeah. That's, that's what I'm talking about. Yeah. And I took it. I took it. I was like, Hey, can I have this when we finished? Because I want to be cool at home. I want to be cool dad. You have a Pixie's shirt at home. Oh, yeah. Couple of them. Let me come over and bring you some soup. Would you please? Yeah. I'm sick man. It's not to steal your Pixie's shirt. Okay. It's not too. Come on up. We can just try on a bunch of stuff, you know. No, we're not doing like a fine. Put some stuff on. You just dress you up a little bit. I was doing, we're going to spare some lipstick on me. I love to touch you on a bunch of my clothes. Would that be fun if I just come over and I just put you in a bunch of my clothes. Oh my god. That sounds so creepy. Silence of the lambs. I see you in this. That reminds me of Sandra Bernhardt and King of Comedy. She starts knitting him a sweater when she's got them all tied up. I'd love to see him. They say, they think these are too short. Anyway, I haven't seen that in a long time. So I remember that. Oh, here we go. You remember that song. He's got his he's got his hands on one. I can see. Yeah, it's what they mentioned. Well, they mentioned Modern Love by David Bowie and I was thinking about those lyrics of Modern Love. Yeah, I'm standing in the wind. But I never wave. Bye, bye. Smartless is 100% organic and artisanally handcrafted by Michael Grant Terry, Rob Armjarv, and Bennett Barberco. Smartless.