Special Elections & Singing The Songbook
Fritz and Weezy serve up hand picked selections, recommended for your viewing, reading and listening pleasure, including McCartney 3,2,1, Barry Gibb’s new album Greenfields, Willie Nelson’s autobiography It’s a Long Story, The Lost Leonardo documentary, and Our Own Worst Enemy - The Assault From Within on Modern Democracy by Tom Nichols which invites a conversation about the state of things in America… That path travels through vaccines, voting rights, The Holocaust, Black Lives Matter and California’s special election. Vote NO on the recall!
Louise Palanker (00:00):
Welcome to Media Path. I am Louise Palanker.
Fritz Coleman (00:08):
And I'm Fritz Coleman.
Louise Palanker (00:09):
Imagine, if you will, that you are on vacation. It may happen again if we all get vaccinated. <laugh>, you are in your lovely hotel room, wondering how to best explore your destination, and you go downstairs to visit your concierge. Well, since you're home. And your screen is your destination. We are that concierge and we are at our desk. We've got sites to suggest to you, a restaurant you'll enjoy called Your Kitchen. And we're gonna kick it off <laugh> with whatever Fritz husband. Or should we, should I go first because I have three?
Fritz Coleman (00:42):
I think you g you go first. All
Louise Palanker (00:44):
Right. This will be a good rhythm. It'll be, it'll go back forth. Back forth back. Okay. Okay, <laugh>. So first up for me to recommend is on Hulu. It's called McCartney 3 21 with producer Rick Rubin. Paul McCartney sits down for an in-depth one-on-one with music producer Rick Rubin to discuss McCartney's 60 plus years of generating a legendary body of work. The room is black and white. It contains a piano and a mixing board on which Rubin and McCartney isolate tracks while joyfully dissecting and reconstructing the songs that have so happily filled our rooms and our hearts. Many words have long described Paul McCartney, talented, brilliant, cute. Let's add the word enthusiastic. He just loves and lives music, knowledge and appreciation pour out of him, and it is so much fun to watch. Check out McCartney 3, 2, 1. On Hulu.
Fritz Coleman (01:37):
There's a childlike quality about him. Yes. Now he's our age, but he acts like a teenager. He's
Louise Palanker (01:42):
Just so delighted. Mm-hmm.
Fritz Coleman (01:43):
<affirmative>, all my friends have seen this. I'm the only person in my circle that hasn't, and I can't wait to see it. And I hear it's just spectacular. I hope
Louise Palanker (01:50):
They've adequately shamed you.
Fritz Coleman (01:52):
They have. Good. And now that you've made it public, I'm gonna go home tonight, I think. Where are there four episodes or,
Louise Palanker (02:00):
I'm not, I'm not finished. There might be five or six. We can look that. What does it say,
Fritz Coleman (02:05):
Louise Palanker (02:05):
I really wanna see how many episodes.
Fritz Coleman (02:07):
Six. Six episodes. Yeah. Six. That's great. Yeah. You know, it's kind of what they did on the, uh, that album thing. The classic album thing. Mm-hmm. <affirmative> where they did that same type of a thing with Steely Dan, where the two guys sat there at a mixing board and said, okay, here's the bass track. And they pull everything out except the bass track. And you hear that and it's kind of cool. Yeah. And it's, uh, it's really fun. If you're a fan of that particular album, it's, it's really going, going down the rabbit hole. It's,
Louise Palanker (02:35):
Well, it's interesting to me that there's always something new to be said about the Beatles.
Fritz Coleman (02:39):
Yeah. Yeah. Well, that's a good one. We, I'm, I'm going to, uh, put up a documentary here. It's called The Lost Leonardo. It's not streaming, it's not Video on Demand. It's only playing right now at Landmark And Lemley Theaters is that Lost <laugh> <laugh>. This is a documentary that down the rabbit hole of the dark and Self-absorbed Art world. It's the story of a painting called The Salvador Muni. Years ago, a couple of guys bought this painting from an auction house in New Orleans for $1,100. Then they had an art restore do of work on it. And the Art Restore discovered some brush strokes that strongly suggested that this just might be the work of Leonardo da Vinci. After that revelation, the painting worked its way through the art world, through restorers and art conservators and journalists and Leonardo experts from seven different countries, banks that specialize in the purchase of expensive art. They all got in there all the way up to the richest people in the world who buy and sell art, stash it away in what are called free ports. Have you ever heard of these before?
Louise Palanker (03:53):
I have not. I thought it was some sort of like tropical destination.
Fritz Coleman (03:56):
Well, th this is, this made me mad. Okay. If free ports are like holding tanks, and they're built within a couple of miles of airports throughout Europe and all they are are like storage lockers for expensive art. So nobody gets to look at them. They just store this art in these free ports and they allow them to increase their value. And then the art investors sell these for a profit. So nobody gets to appreciate the art, which is what it's designed for. It really is, uh, hugely disappointing. Anyway, the painting ends up being acquired by one of the richest and most notorious figures in the world. I'm not gonna say who it is, but he purchased the painting for 450 million, the most ever paid for a work of art. So from $1,100 to 450 million. And no one is still a hundred percent convinced that it is in fact a work by Leonardo Vinci.
Louise Palanker (04:57):
So with art, you're purchasing perception.
Fritz Coleman (05:00):
Louise Palanker (05:00):
You're purchasing a concept.
Fritz Coleman (05:03):
Louise Palanker (05:03):
You really enjoy looking at it that much. That like, if you say, walking by this painting is worth a thousand dollars a day, then yes, it's money well spent.
Fritz Coleman (05:13):
Or if it's a painting that goes with your couch <laugh>. But if they're not even, uh, uh, allowing it to be viewed by the general public, it seems so immoral. Well,
Louise Palanker (05:22):
They're creating a demand. They're creating a scarcity.
Fritz Coleman (05:23):
Yeah. It's just awful.
Louise Palanker (05:24):
So it's really just about, you know, having a lot of artists, just having something possessing something that other people do not possess. Yeah. It's like an ownership game. Yeah. But like, they haven't even definitively proven that this is a Da Vinci. Correct?
Fritz Coleman (05:38):
No, no. There were no forensics involved. Now there were art restorers and art conservators who could tell by the texture of the paint in the background, and that there were earlier sketches done that he did over again. And they knew that that was sort of a style of Leonardo. So it was their opinion, but there was no forensics. Like this paint couldn't have come from the 16 hundreds. Uh, this, uh, plywood couldn't have come from the 16 hundreds. So it's interesting, but I, you know, it's not the first movie I've done that. It just makes me laugh at the whole artwork. Oh yeah. Cause I just don't know how they get their value. It's fascinating. It's really is.
Louise Palanker (06:11):
I think that's why Mona Lisa was smiling. She presciently foresaw us. Kind of like,
Fritz Coleman (06:17):
Now let me tell you something. Yes. <laugh>, the Mona Lisa smile. Mm-hmm. <affirmative> is a pivotal clue Okay. In them assessing this thing. And it's really interesting because there's a smile on this Salvador Muni that's very similar to hers, and they said it was a, it was a style of Leonardo. So, so was
Louise Palanker (06:32):
That it's goods a clue. That's a clue. Yeah. And you went and sat in a movie theater. Yes. Did you have popcorn?
Fritz Coleman (06:39):
I did. That was the only reason I really wanted to go.
Louise Palanker (06:41):
Don't you think that someone could make a lot of money right now with just an app called Movie Popcorn? Yes. And you, cuz they have in the theaters tho those popcorn machines that are not being utilized. Right? Mm-hmm. <affirmative> and they make popcorn better than my microwave.
Fritz Coleman (06:55):
They're the best.
Louise Palanker (06:56):
So if there was an app or a website called Movie Popcorn and you were gonna just sit down with a family and enjoy some movies and have real popcorn come over, I'd give you $27.
Fritz Coleman (07:08):
Absolutely think do that.
Louise Palanker (07:10):
Yeah. Oh really? Yeah.
Fritz Coleman (07:11):
I think I saw and I could, I could have a full on Thanksgiving meal with a distended belly <laugh> and then go to the movies afterwards and have to have buttered movie theater popcorn. Cuz I can't get past that smell and not have
Louise Palanker (07:27):
Something. No, it's mostly air. So it's good for you. Yeah. <laugh>. Yeah. <laugh>. It's good. All right. So my next, uh, pick is an album and it's Barry Gibb Greenfield. I am a Bee Gee's fan, as you'll see with my lunchbox collection. Makes that evident. Um, but I've always been a Bee's fan. And so this is Barry Gibb's new album. It's called Green Ves, the Gibb Brothers Songbook Volume One Hinting It More To Come. Yay. Here. Classic Gibb Brothers songs are performed by Barry and Country Music greats handpicked by Barry. I believe. So. My favorites include, I've gotta get a Mrs. You with Keith Urban Love Me some Keith Urban Words, which is just one of the greatest songs ever written that he does with Dolly Parton. And then he does Rest Your Love on Me with Olivia Newton John. And was that an Andy Gibs song? I have to look that up. Okay. When I was a kid digging through record stores, the Beatles and the Beaches were record bin neighbors. Right. So I think, and I say it's time for Barry Gibb and Paul McCartney to collaborate and call themselves the bg tos <laugh>. We can work on the title, but don't you think those two guys, they're both sirs. Yeah. We could call the album Sirs Sir Barry Gibb and Sir Paul McCartney.
Fritz Coleman (08:35):
I wonder if they know, and it's a mutual admiration society. They probably appreciate one another's
Louise Palanker (08:39):
Word. Well, they, they were, you know, they were stigwood prods together. Right? Oh, right, right. So they probably hate each other cuz he was in love with all these guys and he had his favorites and Barry was one of 'em. That's okay. So Paul's probably still thinking, how dare he I'm his favorite. Anyway, I would love to see Barry Gibbon, Paul McCartney. They're both collaborative people and they've kind of, you know, they've come to that point in their lives where they're looking around and it's just you and me, buddy. Let's make some music.
Fritz Coleman (09:07):
Come on. He did Ebony and Ivory. This is, this would be even a better
Louise Palanker (09:10):
That's right. And if they can sit together on a piano keyboard, oh Lord, why can't Berry Gibbon. Palmer
Fritz Coleman (09:15):
<laugh>. Right. I have a book here. Yeah. It's called Our Own Worst Enemy, the Assault From Within Modern Democracy. This is written by a guy by the name of Tom Nichols. He's a professor at the US Naval War College. He's an academic specialist in international affairs. He's a fellow at the Carnegie Center, and he's a fellow at the John F. Kennedy School in Harvard. Even though I disagree with this guy and a lot of stuff, he leans a little bit. Right. This book really resonated with me because it supported my own opinion about why we're so at odds with one another in this country and around the world right now. Why we're feeling illiberal. That's the new word, and less democratic. He talks about democracy in the age of rage and resentment. Why are we in such a disgruntled period? And nickel says it's because we're more narcissistic and spoiled than we've ever been.
Even though there are comparatively small trouble spots in the world like Afghanistan. We've been in a 50 year period of global peace, and Nichols calls it the perils of peace. And plenty other than covid. We haven't had a scary global adversary to focus our attention on. This breeds narcissism along with higher and higher voter expectation. Nichols also says social media is not healthy because this hyperconnectedness is dangerous to democracy. He offers some solutions at the end, which may or may not have, uh, help us to have the will to do it. Uh, the book just resonated with me in light of the pandemic with Annie Maskers and Annie Vaxxers. And we're gonna talk about that later, uh, uh, about people only thinking about themselves and not the greater good. And for that reason, I, I recommend it.
Louise Palanker (11:03):
So I I have a question for you, Fritz. All right. How does the concept of freedom manifest itself in selfishness? And by that I mean, you know, we've got people walking around who are still screaming about freedom, personal freedom, and not getting vaccinated and not understanding the concept. How no matter how many times they're being told that you are not just you. If you're not vaccinated,
Fritz Coleman (11:29):
You're answering your own question. I, I agree a hundred percent.
Louise Palanker (11:32):
You are a vector and you do not know who you have already killed. And how do you walk around with that knowledge? You may have had a slight case of covid given it to somebody. This is how my dad caught polio. My dad was playing golf with a guy who felt a little unwell and he gave my dad polio. It's prec, it's not the dude's fault. Right. But we've had a year to know that you need to protect other people. It, and freedom doesn't mean you can drive your car on the sidewalk. It doesn't mean you can throw your cat out the window. Right. There are certain things you can't do because freedom comes with responsibility. So how is it that so many people are go literally going to their grave screaming freedom?
Fritz Coleman (12:20):
Well, first of all, Fauci Best Press conference ever was about exactly what you're talking about. He said, imagine if we treated the polio epidemic in the fifties, like we did this. It would've killed three quarters of the world if people had the same attitude. And he was so right about it. My mom's best friend. Certainly not comparing it to your situation, having your dad suffer from it. But my mom's best friend had it. And she went through that whole period. My mom was so deathly afraid of polio. She made me take a nap every afternoon. She said, no, you have to take a nap from two to three o'clock. And, you know, we couldn't go in ponds and all that stuff. But, uh, what, and what you're saying is absolutely true. Free it, it's the misinterpretation of the word freedom. And, and you know, the first amendment and personal freedom doesn't mean throwing out your civic responsibility. And that's what people are doing. That's what this whole book is about. It's the narcissism of this age that we're in right now. Everybody's concerned about themselves.
Louise Palanker (13:20):
Right. And because my dad contracted polio before he married my mom, I had a father who did not have the ability to walk. I never saw my father walk. And it's an interesting position to be in as a child cuz the father is the ward cleaver. He is supposed to be upright and the strongest person in the household. I, I respected and loved my father the way all kids did, but I longed, I missed that. He wasn't upright, I missed that. And when the polio vaccine became available, our pediatrician, Dr. Jude Judson, called my mom and said, I'm putting your kids at the top of the list. Vaccines were valued. They were appreciated. They were a gift because the, the fear of polio was so terrifying that there wasn't any resistance to making sure that not only were you safe, but that you weren't going to make anybody else ill. And I just do not understand how this is still something that people are clinging to. Like, uh, like it means whether or not we still have a country. The f the, the fact that you have the right to not be vaccinated equals America.
Fritz Coleman (14:29):
It's all a, a part of this malignant attitude. No offense started by the previous administration, uh, where people, people who have spent the history of the United States feeling not empowered because they feel like the elites are in charge. This is me empowering myself and Trump gave me the chance to do this. It's all a part of that. And it, it's, it, it, it, I don't know what the end game is. You know, I really feel that, um, this is the first flirtation the United States has had with authoritarianism and pre fascism. Everybody in Europe has been through it a couple of times. Those guys have already had leaders like that. But this is our first taste and we fell for it hook, line, and sinker. And I hope we can recover from it. I hope we can men mend our ways and go forward with a, a democratic republic. Cuz it's just so horrible for all the reasons you mentioned.
Louise Palanker (15:36):
Yes. And I, I think that nature and science have a way of owning all of us. You know, if you're worried about being owned by the libs or trying to own the libs or whatever, nature and science have a way of owning all of us. If you travel up the California coast and you go towards the edge and look out at the sea, there's a sign all along the way that says, do not turn your back on the ocean with a stick guy falling, <laugh> being by puts poor stick guy. He's getting, he's getting the ass. His ass kicked. But it's a funny sign. Right? But basically what it's saying is, do not underestimate the power of nature. It, it will take you down. Don't turn your back on the ocean. Don't turn your back on viruses. Don't think that your ideology is more powerful than basic science. You're not gonna win that war.
Fritz Coleman (16:29):
There are, people don't believe in masks cause they don't believe in science, don't believe in shots. Cause they don't believe in science. Don't believe in climate change. Cuz they don't believe in science. They just don't believe in science. Well, you can't believe. And why are you a dumb ass? You're a dumb ass for science. It is a <laugh>, it is a genetic predisposition to be a dumb ass. Science is what made you who you are. So believe in it,
Louise Palanker (16:50):
In the na in the words of my nephew, Jake Lanker, science doesn't care whether you believe in it or not.
Fritz Coleman (16:56):
Louise Palanker (16:57):
Jake. And and if you don't believe in science, then you don't believe in the power of your own mind, which was also created by God and science. And the y You, you are a creation of God and nature and science. And you believe in your own thoughts. Why don't you believe in the thoughts of somebody who maybe was blessed to have a little bit more education? And why don't you kind of write on his coattails and take what he's offering to all of us. The people that know more than I do are a gift to me because I can learn from them instead of seeing them as a threat. See them as a gift. Listen to everybody around you and take in what, what makes sense to you. And if you see people in your community that are getting sick and getting covid, then just go right now to c v s and get a shot in your arm. All this science has been done for you. You have something to offer the world that we all need and we all love. Your kids need you. Your grandkids need you. Your parents love you. We want you here. So you're valuable. So take advantage of somebody who had the talent and the, and the brains to create a vaccine. And then you contribute what you were put here on earth to contribute. Let them contribute what they were put here on earth to contribute. And let's collaborate.
Fritz Coleman (18:09):
I think there are positive signs. We talked about it before the 75 doctors that did the walkout in the Southern hospital. Mm-hmm. <affirmative> refusing to treat people who had not been vaccinated cuz it was too much of a threat to their own wellbeing. You have, uh, state Supreme Courts and Texas and Florida and some of these other places that are countermanding what the governors are trying to do. Uh, which is, we're we're saying it's okay to have a mask mandate in a school district. It's constitutionally sound to do that. And, uh, we, we, uh, we we we just see little bits of light. And, and you see for instance, that female governor of Alabama that came out and said, no, you gotta get your shots. There are little cracks in this wall. Yeah.
Louise Palanker (18:51):
Even Trump said it. Yeah. The FDA has approved it as
Fritz Coleman (18:54):
Dean Chen. Yeah. The most disingenuous. Uh,
Louise Palanker (18:56):
There are people that wanna, you know, the guy that went somewhere to blow something up a couple days ago. You know, there was this list of his complaints and it was like, I was thinking if it weren't these complaints, it would be in a different list of complaints because this guy just wants to be pissed off. Like that's his fuel. Mm-hmm. <affirmative>, that's what he lives on. He lives on rage and Fox News has been just stoking rage for a living for the past 20 or 30 years. And so you've got a bunch of people that are all amped up with rage and it's like a drug. And they don't know how to let that down. And just take a deep breath and look around and say, Hey, you know, maybe there's some great people that I have more in common with than I have differences with.
And we could all work together. I could do what I'm good at, let them do what they're good at. Not, it doesn't have to be a zero sum game where if someone gets some applause, that means it's taking something away from you. I mean, we've created this concept of like, either or, and that's just not the way life is. It's like, yes, there's, there are certain competitive aspects to life, but most of life is entirely collaborative. It's a collaboration. It's like, you know, I'm looking at an iPad right now that somebody lots of people invented and I I'm enjoying it. And I'm not mad at them because they went to grad school and I didn't <laugh>. You know, it's like, thank you for my iPad. I really love it. You know, I'm not mad at Willie Nelson.
Fritz Coleman (20:20):
It's all science too. It's all science. I'm
Louise Palanker (20:22):
Not will mad at Willie Nelson that he is no more, he knows more about music than I do. Like how dare he Freedom.
Fritz Coleman (20:29):
How do you, uh, magically get your qan on announcements on your phone? It's science. Yeah, that's right. So wake up.
Louise Palanker (20:36):
It's a conundrum, isn't it? Yeah. <laugh>. Uh, when you peel back the layers, it just becomes untenable. So, yeah. And, uh, speaking of Willie Nelson, which I just was, are you ready for me to talk about Willie Nelson? Mm-hmm. <affirmative> and Willie Nelson wrote a book a few years back called, it's a long Story because, you know, he's old. So <laugh>. But, but, and I don't know how old Willie Nelson is, but like, he's just, to me, he's, he's perennial. Like there's
Fritz Coleman (21:06):
Just old, he's 89 I
Louise Palanker (21:07):
Think. Is he 89? Okay. So there's always been Willie Nelson. There will always be Willie Nelson. So in this book, Willie Nelson shares his life story in this heartfelt bestselling memoir. Willie has long been an idol of mine, and I knew very little about him. Everything I did not know has been harnessed and funneled into this book. It is awesome. In willie's own words, he says, unvarnished, funny, leaving no stone unturned. So say the publishers about this book I've written, what I say is that this is a story of my life told as clear as a Texas guy and in the same rhythm that I lived. It is a story of restlessness in the purity of the moment in living right of my childhood in Abbott, Texas to the Pacific Northwest from Nashville to Hawaii, and all the way back again of selling vacuum cleaners and encyclopedias while hosting radio shows and writing song after song hoping to strike gold. It's a story of true love, wild times best friends, and barrooms with a musical soundtrack, ripping right through it. My life gets lived on the road at home and on the road again. Tried and true. And I've written it all down from my heart to yours, signed Willie Nelson. Willie lives a truthful and honest life. He's just a bold, brave, confident, gifted person. He knows exactly who he is. And that's just what you admire so much in the book as mu as much as music. Willie loves people and I loved this book.
Fritz Coleman (22:31):
Yeah. And I read the, the one, you know, his letters, uh, uh, from America, which was awesome. And he, you know, he quotes the founding fathers in there. Uh, I, I think the irony of Willie is that he's this outlaw cowboy, and probably the majority of his fans are outlaw cowboys, red state cowboys. Yet he is a far left progressive thinking liberal human being.
Louise Palanker (22:56):
But he's like, Willie's a good person for us to be discussing today in this conversation because he does, he, Willie and Dolly really straddle both sides of that political divide. And you'll see that represented at their shows. And Willie, although, you know, he was really gonna be comfortable making it in Nashville, it just wasn't working for him. When he went to
Fritz Coleman (23:18):
Texas, Nashville rejected him at first
Louise Palanker (23:20):
Sort of, I mean, they bought up a lot of his songs, you know, he was making a living. But in terms of his own personal recordings, they were putting a lot of strings behind everything and making it sound really lush. And he was like, all right, I just wanna hit, because there is a commercial aspect to Willie Nelson. He wants to be successful. But when he met Waylan and some other people that were in Texas and the Austin area, and you realized that he could, you know, perform more on his own terms, then he, at the beginning he'd argue with labels and say, I'm gonna do this. I'm gonna do the American songbook. I'm gonna do some of this. I'm gonna do some of that. And the labels would be like, you can't do that. And he'd just do it. And it would either work or it wouldn't, but more often it would work.
And he just came to realize that he could be himself and be confident in that and the fans would follow. So like a lot, a lot of the seventies and the eighties are like his people from Abbott, Texas or like the smaller towns and stuff being like, what are you doing? You know, why are there all these hippies at your shows? And then the hippies being just like, Hey, this is cool. You know, like they discovered him and he let them come in without losing any of the authentic Nashville country music fans that he had already cultivated. He's just by being himself and embracing everyone, he's just been able to beautifully do that. Mm-hmm.
Fritz Coleman (24:35):
Louise Palanker (24:36):
And he's a true American. He's a great American.
Fritz Coleman (24:38):
I agree. He just did a show for voting rights on the Capitol steps in Austin like two weeks ago.
Louise Palanker (24:44):
Yeah. And there's a bunch of news that we should be talking about this week, Fritz. There's a lot going on in the world. Mm-hmm. <affirmative> vaccinations, Afghanistan, voting rights.
Fritz Coleman (24:56):
When you think about
Louise Palanker (24:57):
Fritz Coleman (24:58):
Who are we blaming for the, uh, failed exit from Afghanistan?
Louise Palanker (25:04):
I'm not blaming anybody.
Fritz Coleman (25:05):
Good. Well, some people are, lots of people are blaming
Louise Palanker (25:08):
Lots of people. I I found it, I find it interesting that reporters think they know more about Pentagon and armed forces issues than do the people who are heading the operation. Uh, it, a lot of this is none of our business because it would be dangerous if we knew. Yeah. And there's only so many ways they can answer the same question. Mm-hmm. <affirmative>,
Fritz Coleman (25:32):
And they worked off a deal that was cut by Trump and the Taliban reneged on that deal. Big surprise. And, uh, the, the, the people that we tried to stand up to defend their own country for 20 years didn't stand up. They bailed. And so all this is just a, a, a complete collapse of the program, but there's so much vitriol. But I think that's just another indicator of where we are. The Republicans couldn't wait to have an opportunity to throw darts at, at, at Biden, cuz he was just doing a little bit too. Well, he's gonna pass this infrastructure program. Uh, I I I think it's very sad. I feel very bad. But I think they've, oh, they, they did 24,000 people in one day yesterday, which was really spectacular. I hope they continue that.
Louise Palanker (26:15):
You know, we don't know what we don't know. Right. And the Taliban had more control over that country than we realized mm-hmm. <affirmative>. And there's a lot of corruption. There was a lot of deals up front. I think walking into Kabul and just taking it was prearranged. And maybe we did, or maybe we didn't know how quickly that was gonna fall, but we knew that staying in there an extra year or an extra 10 years wasn't gonna make any difference. You know, either they, they were gonna be able to forge a government or the Taliban was gonna immediately take control of the country. But yeah, they,
Fritz Coleman (26:51):
They, they, they, uh, MSNBC said some interesting stuff earlier today on somebody showing that is we're worried that, um, the Taliban's gonna take over and completely wipe out women's rights. All the things that they've worked so hard for. He said, but you have to remember, this is not the same Taliban that was there 20 years ago. And, uh, this is not the body politic that was there 20 years ago. The people are different too. So even though it won't be perfect, and it won't be a democracy, it might not be this blood bath that we're all expecting, or it might not be as harsh and, uh, monopolistic, uh, uh, uh, government as we think it's gonna be. We just have to let it flesh out. And also the Taliban, if they're gonna run this country now, they need to open themselves up to the world community and they're gonna need support from other countries, Arab and otherwise. And if they don't get on some of the programs, uh, that, that, you know, the UN would insist on, they're not gonna get help. They're not gonna get support from other countries. So maybe it's not gonna be as horrible as we're anticipating it to be. I'm not supporting the Taliban. I'm just saying, we, we just don't know what's gonna happen.
Louise Palanker (28:06):
It kind of feels like the Taliban were these young rebels with all of the energy and angst of young men who <laugh> have a cause and wanna fight for it. And now, you know, they're 40 <laugh> and their daughter went to school for a few years mm-hmm. <affirmative>. And it's like, you know, I I just hope that, you know, the 20 years that we were there gave the people of Afghanistan a chance to see what they're capable of doing mm-hmm. <affirmative>. And that they won't stand for a, a government of oppression and denial of female rights. And the whole concept really, I just wanna talk about for a moment of, of women not having rights is really, it's based in
Fritz Coleman (28:52):
It's 17th century, but
Louise Palanker (28:54):
It's, it's this, some sort of religious dictate that the only way to get into heaven is to not have an unclean thought about a woman who isn't your wife. And that's why they cover women in the extreme versions of all religions. It's certainly not just the Muslim religion, it's Judaism, it's in all kinds of, it's in the hand handmade tale. Right. So, uh, they cover women so that men don't have impure thoughts instead of teaching young, young men that thoughts are things, but they're
Fritz Coleman (29:23):
Not, they cover men's heads so they don't look
Louise Palanker (29:24):
Yeah. Thoughts are things, but they're not actions. You can't control your thoughts. You're going to have sexual thoughts. You're a human being, but you can't, so that in these kind of oppressive societies, they go from either like completely covering women or raping them. Like there's no, like how about a conversation? Could we try that? No. Because then I might have a sexual thought that isn't, you know, it, it just, it's so confusing. I think probably for young people growing into their sexuality to not have any idea what to do with any of these thoughts and feelings. It's just so unhealthy.
Fritz Coleman (29:56):
And women have made such advances in Afghanistan. Yes. Right Now that maybe women will use the power of their sex as women did in the early 20th century in this country. Like strike. You know what I mean? Uh, they could, they, you know, the Taliban could kill women they have already, but if enough of them got together and became this force, maybe, maybe, maybe they can save themselves that way.
Louise Palanker (30:24):
Well, yeah, they know now they know what's possible. Mm-hmm. <affirmative>. And I don't think they wanna go back. They don't wanna go backwards. And yes, Taliban have guns and women in burkas do not have guns. And I it's, but knowledge is power and the number numbers are power. And they just have to know their own strength. And I think, you know, this wasn't gonna happen for them until we were gone. We were holding back this tide and now they have to hold back their own tide. Or they have to figure out how to ride those waves. And we have to give them the credit to be, we can't manage the whole world. We can't micromanage democracies. I'm glad
Fritz Coleman (30:58):
We're out. I'm glad we're out. It's time to get out. I mean, and I think God bless everybody that lost their lives in that war, but we, it's time to be out. It was, it it, the proof of the fact that it was not worth it, it was how quickly it flipped as soon as we started leaving.
Louise Palanker (31:10):
Right. And, and President Biden has made that point, but I also wanna say about President Biden, he's, he's, he's a man who's not afraid to do the hard thing. And the heart and the right thing is often the hard thing. And this is something that he just felt needed to be done. He knew he was going to get a lot of flack and a lot of pushback. And he's got his spokespeople out there answering the same question, phrased differently by reporters over and over and over again with complete dignity and respect. Because they know that any sound bite can be pulled out and just played in those 20 seconds. And so they have to treat every reporter with respect, even though they just keep asking the same question.
Fritz Coleman (31:47):
And Jen Saki does a good job at that too. She's a master at the bouncing 'em back.
Louise Palanker (31:51):
She's wonderful. Yeah.
Fritz Coleman (31:52):
Yeah. I I i i I, I think that over the last 24 hours, they've shown the possibility that they can get a lot of people out before August 31st. Cuz I guess his press conference today said that he's not gonna extend that deadline because
Louise Palanker (32:06):
Well, we don't know what he's privately saying to the Taliban. Yeah. And he's talking to them and he's, there's conversations that are happening that we're not privy to because it wouldn't be safe for us to be privy to all of them. But they can't even stand up there and say, there's stuff we can't tell you guys. Wink, they can't even say that cuz then it'll be like, what do you mean? Uh, so there's only so much that we're supposed to know because this is international affairs. You know, let the experts, it's like with science, like let the experts at international affairs handle it. Let's talk about the recall, because I wanna encourage people in California, if you're listening to this from California, you got a ballot in the mail
Fritz Coleman (32:43):
And the most embarrassing ballot in the history of voting.
Louise Palanker (32:47):
It's really embarrassing. I mean, I don't even know if they spelled Angeline correctly. <laugh>, you know, cuz I had to Google it. So we, they're, the Republicans are trying to call back our governor as if we didn't mean it when we voted for him. And they, it, it, it's just kind of like a weird loophole, I guess in the California constitution where you can get enough signatures that say, you know, let's recall him because I guess he op he didn't open a restaurant or he opened a restaurant and then he ate somewhere and didn't eat somewhere else. I don't know what people were pissed off about. But there has to be something in the California constitution that says, when we elect a governor, unless he's murdered a guy, he's gonna serve out his term. This is, we're all paying for this stupid recall. And not a lot of people know what's going on because they don't follow the news because they're busy living their lives.
You got a ballot in the mail, it's not complicated. You simply open it. And the top question is, do you wanna recall the Governor circle? No. Sign the envelope, put the ballot back in, take it down to your mailbox. The postage is paid. If we get right, right up to the deadline, you may have to take it to a dropoff box. When's the election day? Franny? September 14th. So yeah, if we get super close to election day, you may have to drop it off, but right now, if you're listening to this and it's not close to the 14th, just cir just fill in with a black pen next, the circle next to the word No, you don't have to pick a name because you're voting against the recall. The names are,
Fritz Coleman (34:17):
See there's the disinformation that I gave you when I came in here. That's what lots of my friends were saying, that even if you vote no, that you don't want 'em recalled, you have to pick somebody else. Because if not, then maybe the darkest force in that list of several thousand people there are, are going to, uh, rise to the top and get a percentage. Cuz I think Arnold won with 38% of the vote. It can be a minor vote as long as it's the greatest number among the right. Also Rands, we just,
Louise Palanker (34:46):
If you read the ballot, I think it says that once you vote no, your vote for a person doesn't count.
Fritz Coleman (34:53):
Louise Palanker (34:53):
So I don't know if we can, we're supposed to be speaking as authorities on our podcast, but I think does it say, Randy, if you, if you should vote for, does your mic work?
media path team (35:04):
Yeah. It says if 50 or more vote No, the governor will, governor would remain in office if 50, if more than 50 vote Yes. The governor would be removed from office and the person with the most votes would replace them. But yeah, that's, I can see how it's kind of, you could go either way. Like it's not
Louise Palanker (35:19):
Clear are you? But are you supposed to pick a name even if you vote? No. That's what, well, you can research that while we discuss. So I, I walked precincts this weekend and they never told us to tell anybody anything other than
Fritz Coleman (35:32):
Vote. I would believe you.
Louise Palanker (35:34):
Yeah, because it's, there's so many names on the list. I mean, they're, they're good for entertainment value to read through them because they include names like Mary Carey, who's a porn star. You've already had a porn star's First Lady, we don't need a porn star as Governor Angeline is on the list. And also
Fritz Coleman (35:52):
Larry Elder Kate,
Louise Palanker (35:53):
Caitlin Jenner mm-hmm. <affirmative>, you know, who's eminently qualified to run a decathlon mm-hmm. <affirmative>. But governor is a different job altogether. Uh, so yeah, it's, it has to do with some sort of loophole in our constitution that allows the Republicans to do this. But it seems like the Republicans are trying something in every state. They're trying some end run or some kind of shenanigans in every state.
Fritz Coleman (36:19):
Yeah. You're doing it with voting rights
Louise Palanker (36:20):
And, and, and it becomes minority rule. Mm-hmm. <affirmative> because there are more democratic voters in America.
Fritz Coleman (36:27):
And the moral outrage, because Gavin Newsom went to a restaurant during the pandemic he wasn't supposed to go to. Where's the moral outrage of this felon that just left the White House? Where was your moral outrage
Louise Palanker (36:38):
There? The worst thing Gavin Newsom has ever done is apparently he was once married to Kimberly Gilfoyle. Oh lord Heaven. So that was a lapse in judgment. But yes, here comes producer Dina with the skinny.
So K pbs, and this is, um, an interview that they did. This is from K pbs.org. Kim Alexander, president of the nonpartisan California Voter Foundation. And according to Kim, you can choose a candidate on the California recall ballot, even if you voted no. Okay. On the recall itself in question one. And
Louise Palanker (37:16):
Who are they recommending that Democrats would choose?
Fritz Coleman (37:20):
But that, that we're, I
Fritz Coleman (37:21):
Don't go too fast over that. That's what we were talking about. No,
Louise Palanker (37:24):
No, that's what I'm
Asking. Let me just read the, the rest, or a, a couple of lines that follow that. Why would you wanna choose a potential replacement for Newsom if you don't want 'em to be recalled? If Newsom is recalled, your choice of candidate will still count towards who replaces him as governor. All
Louise Palanker (37:41):
Right. But are they recommending anyone who's not awful?
Fritz Coleman (37:44):
There's a guy named Brad something. I liked him. He was a surgeon slash gardener or something
Like that. <laugh>. So, so this is just my own knowledge from the research that I've done. Um, apparently there's been, so Gavin Newsom's part of the California Democratic establishment mm-hmm. <affirmative>, I think that's a, a known fact. And his team as well as the kind of California Democratic Party, um, in general have been kind of discouraging people from running against him in the election because they just don't, they don't want someone to present a good option, a good enough option that, um, California Democrats in general want to replace Newsom with that person. And so it's sort of a bad decision for someone's political, potential political
Louise Palanker (38:41):
Career to try to run on the recall ballot to try
Fritz Coleman (38:43):
To run against, it boils down to turnout. The, the Democrats will not turn out in person. They will in mail-in ballots. But the Republicans are really, uh, activated by this vote. And so the problem is that they may win purely by their party enthusiasm.
That's what we have. Right. Because Republicans know that basically the only way that they'll elect a Republican governor in California is on a recall ballot. Right. Rather than a regular
Louise Palanker (39:09):
Election. Right. So this is where Democrats, if you voted for Gavin in the first place, you need to fill out your ballot. You can either pick someone from that list or not. The most important thing is that you circle the word no or you fill in the circle next to the word no. And that you vote against the recall. That's the most important thing. If you do nothing else this week, do that. Because life under a Republican in the middle of this pandemic will be extremely dangerous for you, for your kids and for your grandkids.
Fritz Coleman (39:41):
Yeah. Especially Larry Elder who believes that the minimum wage should be zero. He doesn't believe there should be a minimum wage.
Louise Palanker (39:51):
So he, it's like gonna become an intern state.
Fritz Coleman (39:53):
Louise Palanker (39:54):
Everyone, everyone's getting college credit. <laugh>
Fritz Coleman (39:57):
Louise Palanker (39:59):
To go to work. All right. That doesn't sound, uh, reasonable to me. So that's what I wanted to talk about Fritz. I wanted to talk about the stuff that matters and the stuff that people can do to make their lives better. And there's stuff sometimes, you know, when you feel like, oh my gosh, this is just so overwhelming. I don't even wanna look at the news. And I, I've, I dunno about your friends Fritz, but I've talked to a lot of people lately that just don't even wanna look at the news. And even I've been turning over to Turner Classic movies a lot because it's like, you know, there's just only so much that you can,
Fritz Coleman (40:30):
That's all I watched during the pandemic. And I realized I watched too much when I went through two cycles of Citizen. There you go. They came all the way around again. But
Louise Palanker (40:38):
So many lessons in that movie, right? Mm-hmm. <affirmative>. Mm-hmm. <affirmative>. Yeah. Well, I, I enjoyed it was, it was Gene Kelly Day and I I enjoyed that very much. If you have a moment, check out Summer Stock Gene Kelly and, and Judy Garland. Absolutely delightful. And then it was Spencer Tracy and Catherine Hepburn Day over the weekend.
Fritz Coleman (40:57):
I love that channel cuz they stick at all the trivia about films. It's really
Louise Palanker (41:00):
Interesting. Oh, yeah, yeah. No, I, I love it. And it's a great alternative to the news. It you can just turn to pretty much any movie and learned something about the way people thought about things. And I was watching some of the interstitial stuff between the movies. I found this really interesting. You know, there's a team of people that work there, like your friend Josh's brother, Ben mm-hmm. <affirmative> banquets, and they were talking about how they address movies that have stuff in there that's really no longer Okay. <laugh>, you know, and I was watching a Western and the way that they
Fritz Coleman (41:35):
Racial stuff, the
Louise Palanker (41:36):
Way they treat Native Americans Yeah. Is just appalling <laugh> mm-hmm. <affirmative>. And, you know, and of course, you know, the black people and most of the movies were servants and mm-hmm. <affirmative>, it's just outrageous. And the stuff they say it, it, it's no longer, uh, remotely. Okay. But they still, it's the way that they're choosing to handle it is that this movie was made in this period of time when they made this movie. And we, we can address it, but we're not gonna s we're not gonna cancel the movie. We're gonna play the
Fritz Coleman (42:07):
Movies on Sunday night. Uh, I don't know if you've ever watched it on Sunday night. They have the African American professor from a university in Chicago that does the silent movie night. Hmm. Including, um, the, uh, blackface presentations. Right. Who were 50%. And she discusses it and they say there are people who are offended by this, but this is the history of movies and the history of the entertainment business going back to the jazz singer and pre that mm-hmm. <affirmative>. And so it has to be discussed because it's honest. You know, it goes to that argument going on now where, uh, you know, what do we teach kids about race relations in school? And the right wants to water it all down so white kids don't feel bad about themselves. And it's all about no, whatever's the truth should be broadcast,
Louise Palanker (42:57):
You know, in, in terms of thinking that kids would be ashamed of America if they were taught the truth about slavery. All kids really need to know is that they're okay and that their parents are okay. Yeah. They don't care what their ancestors do. Yeah.
Fritz Coleman (43:12):
It's not like we're teaching 'em that they're responsible for
Louise Palanker (43:14):
Slavery. Exactly. We, they just wanna know what happened and what led to where we are. And you know, I was talking to a psych, a psychologist about, about somebody who had had a, a traumatic childhood and that his wife didn't want the kids to know what a traumatic childhood that he had had. And that my psychologist friend said, all the kids need to know is that dad's okay now, they can handle whatever you tell them about your childhood. They just need to know that you're okay now. And it's the same with America. Like, are we okay now? We're not going to be, unless we continue to look introspectively at what we did and acknowledge the wounds we created and be willing to repair them. You have to be accountable.
Fritz Coleman (44:02):
I, I ran into a, the family of a Holocaust survivor, and, um, he survived the Holocaust cost. He was in Poland and worked at a couple of Oscar Schindler's factories. Most of his family was killed during the Holocaust. And he came back to the United States and he went to college and he became a teacher, an industrial arts teacher. And he did 40 years at Huntington Park High School or something. And until he, um, retired from Huntington Park High School, was a 40 year teacher, his children did not know his history with the Holocaust. And his, his kids really resented that. Then they got over it. But his argument is what you say, he, he didn't want to lower this burden onto his children. I'm fine now. I'm pressing forward. And I didn't want to, you know, whether it's guilt or whatever emotion children have or being overprotective of their father are thinking differently about their father, he didn't want them to have that. And I thought that's really interesting.
Louise Palanker (45:21):
So there, there's a lot of really interesting subject matter in studying the children of Holocaust survivors. Mm-hmm. <affirmative>. Because if you, if you think about wounds, there's no greater wound than a, than a Holocaust. It's, it's worse than the Titanic. It's worse than someone who was abused. It's the wor it's the worst kind of horror being visited upon you and upon upon those around you that you're seeing constantly for as long as these atrocities last. It's just, it's just the worst. I can't think of anything worse than systemic cruelty and murder that goes on for years. So the Holocaust survivors tended to not tell their children anything because they did not want their children to know that such inhumanity was capable and that, or possible. They just didn't want their children to know that this could exist. They wanted their children to live in a world where the unimaginable was not imaginable, and
Fritz Coleman (46:22):
They wanted to layer over the memory in their own mind and
Louise Palanker (46:25):
Get passed. Sure. And they wanted to suppress it and be strong enough to raise children, which requires all of our energy, as parents will tell you. So what happens is the kids experience this weird parenting that doesn't make any sense to them because they're not capable of being healthy parents. They're too damaged and they'll do stuff like, you are never allowed to close your door. They have to know where you are at every second. They don't let you go and do things. They don't let you have friends. They don't let you get phone calls.
Fritz Coleman (46:55):
They, you mean, without telling them the reason for all this. They
Louise Palanker (46:57):
Don't tell them why. Okay. They're, I, they're just odd parents frightened and sad and overly controlling. And my husband looked up Angeline because he was curious as to, you know, okay, I get that she's on billboards, but why does she wanna be governor Anyway, he learned that she is a Jewish girl with two parents who survived the Holocaust. So this is how, from the valley. From the valley. So this is how she's chosen to get attention, you know, by painting her face and fake boo boo whatever. She's the first person who's famous for being famous. She's ahead of Paris Hilton, ahead of the Kardashians. She just took out billboards. But she had this need to be seen. And I don't know exactly in what ways her childhood informed those decisions where she seems to have lived a pretty empty life about nothing but the way she looks.
But it's in, it's interesting to learn that she had two parents who were Holocaust survivors. You know what that does to children. When I interviewed 30 Holocaust survivors, and most of them told me that they never told their kids what had happened to them. And their kids would see them send presents at Christmas time to Europe. What the people who saved them, who, you know, who helped them live, but the kids never knew why or who, who's that? Oh, you know, the kids knew something was up. They know something's up. They, they know the age of their parents. They've learned about the Holocaust. They know something's up, but they know not to ask because as a little kid, when they do ask, it's just shut down. So it would probably be healthier if there was a way to tell them. But at what age do you tell people that such a thing happened and that such a thing is possible? It's, it really is a tricky question because you, we
Fritz Coleman (48:51):
Want, well, this guy's children found out by accident. People mentioned it during his retirement ceremony. Whoa. And then he had to explain himself.
Louise Palanker (48:59):
And how old were his kids at that point? They
Fritz Coleman (49:01):
Were 40, 45. I mean, they, he had grandchildren, I think maybe even
Louise Palanker (49:05):
Great-grandchildren. Did it make a lot, make sense for them once they heard the truth?
Fritz Coleman (49:08):
I, I didn't discuss it that intimately with him. I just, I heard this kind of third hand described to me mm-hmm. <affirmative> and it was, uh, it was, um, uh, I just thought what a, what a what an awful place for both parties to be in.
Louise Palanker (49:24):
Well, my dad fought in World War ii and he,
Fritz Coleman (49:29):
I was like, your dad had the interesting story about the Holocaust and tell that story. A Jewish soldier Right. Who was part of the liberation of one of the camps.
Louise Palanker (49:39):
Right. But the camp that his company walked into, everyone was basically starved to death and had been shot in the head a half hour before the American troops arrived. My father took pictures with a brownie camera. He was a 19 year old soldier. And I think that he and my mother must have had conversations about what to tell us and when to tell us. My dad would tell us war stories, but they were interesting, you know, stories that you could tell about how a, you know, a farmhouse family fed him and his buddies about how, you know, he had to duck and the shrapnel rained down and he had 10 holes in his parka, but no holes in him. The types of stories that you can tell little children. And then he always told us that when we got older, he would show us the photographs. He never showed them to us. I had, I found them after he died.
But he, they did tell us about the Holocaust. We did learn about the Holocaust at school. But I, I'm sure that he and my mother discussed what to tell us. And when, like, what is too much information too soon, you know, when you talk about Black Lives Matter and you talk about when do you tell a small black child that you know he's not as safe in America, when do you dash that hopeful joy, uh, uh, that are in six year old children? It's a, it's difficult to know what you want your children to know and when they're old enough to know it about anything that's unpleasant, but keeping it from them forever is not the answer.
Fritz Coleman (51:21):
You know, it's dishonest. I think you gotta teach kids the truth. You don't have to use, you know, graphic pictures of, you know, lynchings and all that stuff all the time. But I think you have to describe the truth to them. Mm-hmm. <affirmative>, because if not, it's dishonest.
Louise Palanker (51:36):
Now did your kids ask questions that you thought they weren't ready for the, the full truth and you told them a version of the truth?
Fritz Coleman (51:42):
No. No. I, I mean, we never, you mean about race?
Louise Palanker (51:47):
Anything, anything difficult? No.
Fritz Coleman (51:49):
Well, I, I'll tell you, uh, uh, I, I had to wait till they were old enough to understand the, the, the nuances of my divorce from their mother. Okay. So I waited till they were 15 and 17 years old. But it was one of the greatest conversations I ever had with them because I found out they suspected and knew more than I gave them credit for. And I started to do my Maya culpa and say, you know, it wasn't your mom's fault. I was the one that let them. And they stopped me and said, dad, we, we, we know this. We, we, we sense this. And you don't have to feel bad about it. You don't have to describe anymore, make yourself feel uncomfortable. We totally get it. And it was one of the most freeing experiences I've ever had. Kids are so much more perceptive than we give them credit for. Mm-hmm. <affirmative>. That's why you have to be truthful with them at the start. Cuz uh, I, I I, I compare it kind of to, uh, what's her name from, um, desperate Housewives who was caught up in the college admissions scandal. Lori Loughlin? Uh, yeah, no, she's,
Louise Palanker (52:49):
Yeah. Felicity Huffman.
Fritz Coleman (52:50):
Felicity Huffman. And uh, what I felt sad about in that one was her children. Because it wasn't like the kids got together and they freed a way to get 'em into college. She did this behind their back. The whole thing was very dishonest. And I thought, okay, you did your time and yours was only $40,000 worth of whatever. But you have irreparably harmed your relationship with your child. Cuz that is about as dishonest as you could possibly get.
Louise Palanker (53:18):
Yeah. It's a betrayal. Yeah. And it probably makes them question everything else. Yeah.
Fritz Coleman (53:24):
Yeah. That's, and and it also says to them, we don't trust that you can accomplish this on the own, so Mommy's gonna take care of everything.
Louise Palanker (53:30):
Or that if you went to a different school, you wouldn't be okay. You know? Yeah. Or is this more about like some sort of brand?
Fritz Coleman (53:38):
Did you watch that documentary Operation in Varsity Blues?
Louise Palanker (53:41):
Yes, I did. It
Fritz Coleman (53:42):
Was so disturbing. Right. Oh my God.
Louise Palanker (53:45):
And it just, it felt to me like some sort of brand that the parent has to wear. Yeah. Where it, you know, I can buy a Kate Spate bag, but I can't buy this USC bumper sticker unless my kid goes there. So,
Fritz Coleman (53:58):
And every single case, it was not the, uh, desire of the child to accomplish this. It was always the parents with this manic desire to fulfill some unfulfilled dream in their own lives to get their kid to go to usc. So it will increase my status. Yeah. And, uh, anyway, that was a different subject
Louise Palanker (54:19):
Altogether. Yeah. We've gone off on some tangents here. That's
Fritz Coleman (54:21):
Louise Palanker (54:22):
Is there anything else we should mention before
Fritz Coleman (54:23):
The world is safer now that you and I have vented our, I
Louise Palanker (54:25):
Really feel a lot better. Is there anything else that we should touch upon before we close?
Fritz Coleman (54:30):
Well, right now, uh, the House of Representatives is voting on the John Lewis Act. Yes. I think we have to do something because these states that are corrupting the voting rights of people like Texas and 40 other states, I think it's awful.
Louise Palanker (54:44):
I think we need the carve out for Yeah. For this, uh, for this bill. Yeah. And you, um, our friend Bowser, John Bowman explained that to us. Yeah. That you don't have to just like abolish the filibuster. You can have a carve out for one very, very vote. Very important vote. Yeah. Bill, which they, the Republicans did to push through all those sub in unqualified judges.
Fritz Coleman (55:06):
Louise Palanker (55:07):
God. So for, for Democracy. Let's do the carve out. Yeah.
Fritz Coleman (55:11):
Oh yeah. Well we lost Charlie Watts from the Rolling Stones today. And I You weren't a huge Stones fan. You were the Beatles fan. I was. Well, it's like the Israelis and the Palestinians, if you like the Beatles or the Rolling Stones. I know.
Louise Palanker (55:23):
Rolling. I talked about earlier in the show, Fritz, is that we can all get along
Fritz Coleman (55:27):
<laugh>, but I, I like The Stones cuz they were more blues based. As a matter of fact, they, many of their songs were taken from Muddy Waters and some of the early blues masters. How And Wolf, I always liked them. My they cuz they see more Bad Boy to me. And they were living something. I didn't have the guts to live, which was being edgy <laugh>,
Louise Palanker (55:46):
You know, Hey, the Stones are legend. Yeah. And Charlie was a great
Fritz Coleman (55:50):
Guy and since that one member of the Stones drowned a pool back in the beginning of the Stones, this has been the first one.
Louise Palanker (55:57):
It's been a good run. It's been a good run for Charlie and, and the guys. And they're, they're certainly like brilliant musicians and they're,
Fritz Coleman (56:05):
Yeah, he had taken himself off this tour. They're in a world tour now cuz he wasn't feeling well or he was gonna get a heart procedure. Oh. And so, uh, Steve Jordan, that was the drummer on the David Letterman show, uh, sat in for No,
Louise Palanker (56:17):
That was, maybe he was
Fritz Coleman (56:19):
Steve Jordan played in the David Letterman band
Louise Palanker (56:21):
Though maybe for only one year. Yeah. Oh, I'm thinking of Anton Fig. It was mostly Anton. Maybe the first year it was Steve.
Fritz Coleman (56:26):
Well, Steve Jordan played on the David Letterman band cuz they were promoting him taking over Charlie Walter. And, uh, so, I mean, I, I think they have a workaround there, but it's just sad. It's, it's the passage of time and it does what everything does. Now. Just reminds me of how old I am. He
Louise Palanker (56:43):
Lasted a lot longer than the Spinal Tap drummers.
Fritz Coleman (56:46):
So. Alright, you want me to do this? If you enjoyed this episode of Media Path, it would help us to be more discoverable by potential new listeners. If you leave us a quick review on Apple Podcast and if you're new here and this is your first time with us, please check out our back catalog. You may even find us binge worthy. I mean, we've had guests on recently you and believe that Bill Medley, the great Mark Summers, who's on every other show on Nickelodeon and now Home and Garden. Mm-hmm. <affirmative> Richard Sturman from the Oak Ridge Boys, the Livingston Brothers from my three sons, Diane Warren, bill Moey, I mean, tons of great product here. Gary Puckett, the Cow Sills. Going back to the very beginning. Well, you'll hear Henry Winkler and Keith Morrison. Thank you for spending an hour with us and we would be overjoyed if you took a moment to share your thoughts with us or recommend us to a friend. We
Louise Palanker (57:38):
Thank you so much for reviewing our show. We really do appreciate it. We would love for you to join us online on Instagram and on Twitter where we are at Media Path Pod and on Facebook where we are. Media Path Podcast. You can find full episodes with all kinds of bonus visual content on our YouTube channel Media Path podcast. We would love to know what media you've been enjoying. You can contact us at our social media or email us at media path podcast gmail.com. Our team includes Dina Friedman, Francesco Demond, John Madox, Sharon Beo, bill Filip, Thomas Hubble, and you. Our theme music is the coffee song. Wait, no, I'll take it. I don't remember the name of the song. I was gonna say the name of the song this week. I think it's Journals. Our theme music is Journals and it's by me and John Madox. I'm Louise Lanker here with Fritz Coleman and we will see you along the media path.