Eric Idle Returns

24:19You could be very dismissive of any kind of pain in your life. I'm fine. Oh, this poor other person. But how much of that is English? How much of that is you? And you're going to be charged for therapy when this is open. I don't know. I mean, I think you learn empathy. I mean, you start by being a negotistical shit by going into show business. Look at me. I'm in show business. And then you can behave very badly. And I learned from lots of very good people, like Robin Williams taught me how to be nice to fans. I would just tell them to fuck off and they would laugh and go away, you know, but that was good enough for them.

25:00So he told me to fuck off. I just was told to fuck off by Eric Idle. And that became a thing. And then I thought, and then I watched Robin and his empathy. and remembering that this is somebody's moment in their life, and it's a big moment in their life because they've waited. They love you. They want this moment. So if you are a shit or dismissive, it's a nasty memory. So what I always do is I always say, oh, I'm Eric, and I get their name. Yes. And then you're on a one-to-one human basis with them, and you're not some kind of god, and they're not some object fan. So I try and, and I think that works in all sorts of situations where you remind people that they're people.

25:46Yeah. And we're just here at this moment.

25:57It's funny you mentioned Robin because I didn't realize how close you guys were. You guys were very close. And I was lucky enough to have some great interactions with Robin Williams before he passed. One of the most memorable examples to me of his kindness is when I went through my whole Tonight Show debacle. And finally, the show is done and I don't know if I have a career anymore. What am I going to do next? You remember this part very well, Sona, because Sona was with me during all that. And I'm lying on the floor in the living room of my house and my phone rings and I pick it up. And it's Robin Williams.

26:34I don't even know how he got my phone number. I'll never forget. He goes like, how you holding up, chief? And I said, oh, Robin, thanks so much for calling. And he said, listen, you're going to be fine. You're going to be great. I know you like to ride bikes because he was really into bicycling. And he said, I know you like riding bikes. Go down to the bike shop down in Santa Monica. I want you to go down there and I've set up a bike for you. And I said, what? And he said, no, no, no, just head on down there. And ride around. you'll feel better. And I went down and it was a Colgana, which is a very nice bike.

27:14And he said, I told him to paint it in all these crazy Irish colors. And I get down there and it's the most, it's the ugliest. I mean, it was just, you know, greens and shamrocks and everything. And I couldn't believe. And he was like, oh, you're going to like that bike, chief. Don't worry about it. And I just thought I,

27:36thanked him many, many times. I just couldn't believe that he was thinking about me. You know how we are in life. You think about someone, oh, that's too bad what happened to him. Oh, whatever. Anyway, I'm going to go get a sandwich. No, no. He reached out. He thought what might please you. He went and got to a shop and chose I mean, he would put a lot of effort into making you feel better, which I thought that's very, very robin that's fantastically typical robin and that generosity and kindness is a is something with combined with the wit on the man which is is not an a common combination yeah you know i don't think dr johnson was busy sending people maybe i don't know but uh i think he had boswell do it he had boswell send that fucker a bike um there's so much in the book that i want to make sure i weave in because you hit on so many themes I love as you're approaching the premiere.

28:35Of course, now we all know how the story turns out, but when you're reading through the book, it is very much what you say. You're reading these texts, these messages, these diary entries day by day. You don't know what's going to happen. And you can feel the anxiety. You can feel the self-loathing. You can feel the gloom. And at one point you say, I think the English, there's an English tendency to prefer failure. And I thought that is so fantastic. because in a strange way, I understand how failure can feel more comfortable. And a big hit, it's the tall poppy syndrome, which is very Irish. It's very United Kingdom.

29:11It's what do you do with a big hit? And everywhere you went, people were congratulating you. And you're uneasy with it. I wasn't used to it. But also, I didn't quite expect it. And it takes a while to know what to do with that. Right. Because you're still trying to understand, have we fixed it? Did it really work? And Mike would always keep on making it better and better. He'd cut little bits and keep improving it. But I think there is a thing in England that failure is a noble and a wonderful thing. And if you look at Dunkirk and some of their great victories, the English ran away quite a lot.

29:54Which is often a wise choice. Maybe a good choice. If the English don't run away in 1940, they are not there to fight Hitler in 1942. So, yeah. No, I mean, I think there are many reasons for it. But also, I think the tall poppy, which is what the Australians also call it, is also that when you're on a small island, people are envious of people's success. And so people try and either play it down a bit or, oh, yeah, I did happen to climb Everest last week. but I'm also working on some Latin thesis, you know. I mean, people, they tend to try and diminish. Yes. It's not a... America's great because let's all try and be successful.

30:37Yeah. That's the starting point. Right. And it's fine. You know, in England, if you've been successful and you've got a car, people will scrape the car with their knife, you know, as they go by, you little bastard. Whereas in America, the reaction would be, one day I'll have one of those. and I think it's a completely different attitude. This is something Bono said. Bono said that, you know, in America, if you see a house on a hill and you walk by and you see a mansion on a hill, you think someday I'm going to have that mansion. He said, in Ireland, if you see a big mansion on a hill, you think I'm going to burn that fucker down.

31:16Yeah, I understand that. I don't want it for myself. I just don't want that asshole to have it. it's funny because this leads into my next question, which is that you bring up, that you had this realization at one point that the Holy Grail, which is spam a lot, that it's really about Python and the members of Python. And this resonated with me right now because all you do, you just said it right now, is there's this tendency to want to run away all throughout Holy Grail. One of the reasons Sir Robin is able to, his only strategy is to run away. Run away, run away. And I've always. King Arthur says run away.

32:01It's a command. It's a command. Yes, yes. Robin doesn't. You're quite happy. Robin denies he's running away. He's pissing off and buggering off. No, no, no. You know. Brave Sir Robin. Yeah, yeah. But you talk about, and you go through, and you talk about the different members of Python and how they kind of fit their role in the Holy Grail, whether it was intentional or not. Because I had to bring, I mean, there were 98 characters in the Holy Grail. Yeah. So I put that on stage. So what I did was I collapsed as many as I could of the characters played by Michael Palin into one character, aspects of that character.

32:39And the same with me and the same with Lancelot, John Cleese, you know. So that then when you do that, you do find more of Michael, who's always like, you know, he really wants a bit of temptation, but he better hadn't. No, no, I got to go. I got to go. No. Yeah. One of my.

33:02Being rescued from all the. From all the girlies. All the girls who are horny. Oh. Oh. And you could tell he's. Yeah. He made two films about that, too, of his own. That's basically the same theme. Perhaps not. No, not now. I think it's very significant about Michael. It's so funny because I relate to both your character. I relate to running away and, you know, no, there's some temptation. Oh, well, I should probably go watch my cholesterol. I'll just be over here, but I'm going to think about it a lot, and I'm going to hate myself a little bit. But, yeah, you go through. It's very convincing that whether it was intentional or not.

33:51I think that often writing reveals yourself. I mean, I think good writing is definitely all about yourself in some really bizarre way. and uh and if when you're adapting something a piece of work it's very nice to come across themes that are just in there there's one scene when michael is being led away from castle anthrax you know and cleese is getting him out come on let's go he said no couldn't i have a bit of temptation no no no no temptation at all and just as they leave frame you hear michael say oh i bet you're gay and we use that for a whole scene yeah where lancelot's whole rage and anger is explained by the fact he's repressed you know he really is repressing something he's repressing it all and out he comes and he dances the song king his name is lancelot he likes to dance a lot there's a huge peter allen number and i i find that that's really the most exciting thing about adapting work is finding little things in there which will make it work on stage because because mike and uh casey there there was a whole scene we we kept trying to write the spanking song and you know because the girls say oh spanking spanking tonight and we keep writing a spanking spanking there's going to be and they said no no and they would not have it so the way out was this just this hint in the script which I improvised and it was just it was fabulous to find because it makes Lancelot's character very much more he's not just angry he's angry because he had an angry father and he stands up for Herbert saying this man is your son and he comes up with the most wonderful like it could be Arthur Miller and he comes up and stands up for him and it's a very nice dramatic twist in act two, which I don't like.

35:49You said in Python, there were disagreements. I know in my comedy career, I just became, with all my different collaborators and creative partners, arguments and fights. And you'd come down to, if someone else was listening to it, they'd think you were insane. You talked about how you'd all argue in Python about, is this the right chair? No, this isn't the right chair. No, the dead parrot should look like this. It shouldn't look like that because that's not funny, but this is. And I remembered Robert Smeigl, you know, one of the just genius people I've been fortunate to work with over the years.

36:23I remembered once us going back and forth, arguing about something forever. And this is maybe 30 years ago. And I said, no, but it got a big laugh. And he went, yes, but that's not the kind of laugh we want at that point. And I was thinking, it's a goddamn laugh. What do you mean? It's not the laugh we want at that point. But I also understand what he's saying, you know? And so, but anyone else listening outside the door would think these two idiots, what is their problem? But I think that is the common thread just in this process. If I think if you're trying to do it right, which is. I think it's a fascinating process.

37:01And I, I, I, I was had some very good mentors. We used to write for jokes for David Frost. And I had, you know, Barry Cry and Dick Voss were people who taught me how to be you know what to do and how the ropes and then you become you find your own compart you know companions who who then become argumentative it's really was very argumentative i mean sometimes rows huge blazing rows would break out um but that again i think that's because if you if you don't care it's not important yeah and and and and i think i only was not be good at standing up because i was a solo writer in that group and i remember and then that's why i think i got on with george he was a solo between two big forces of lennon and mccartney right and i was between you know mike and terry and mike and terry wrote and john and graham wrote and i remember when george came out to the filming of uh the life of brian he paid for he said how's it going i said well it's all right i'm it's hard to get on screen you know with Michael Payne and John Cleese.

38:07He said, imagine how I was trying to get into the studio with Lennon and McCartney. Mic drop. Okay, you got it. I got it. You think you have problems. Yeah, exactly. Cry me a river. This is, and we don't have to talk about this, but it's something that as a lifelong, someone who's been so influenced and odd by Python, I think of it as sort of Santa Claus. Like a child, I just want to believe that everyone's getting along. And you and Cleese famously lately have had your disagreements and that have come out in public. And I know I'll think, oh, I don't want mommy and daddy to fight, but that's childlike of me because you're human beings that disagree and you've known each other a long time.

38:57Disagree about comedy. This is only about money. This is only about business. And there's no reason. I mean, a fool and his money are easy parted. You know, six of us, you know, much more quickly. I think there's no right or wrong way to deal with business. And if somebody has one view of it and somebody doesn't and somebody has another, those can lead to very bad arguments. And unfortunately, we don't see each other enough. I haven't seen them in 10 years. It's been 10 years since you saw John? Nine since John, ten since Mike. If you don't sit across the table and know that person and what decade they're in, I think there's a lot of room for disagreement.

39:41And, you know, we're just old. And it's like we never disagreed on the very important things on what was funny, really. But that was a while ago. You know, there's also, there's a misconception that anyone could have, which is, wait a minute, Monty Python, the most, in my opinion, influential show of all time. And then that led to these movies, which are, in my opinion, flawless and beautiful and fantastic. And that you've all gone on to these things. And then, of course, Spamalot, a huge hit. And you talk about how there's this perception that, well, everyone in Python must be driving around in Bentleys with cash, you know, in convertibles with cash just flying out.

40:31And that you say, you know, we're all touring to, you know, at this age to keep it going. And that's a misconception that people can have. I think so, because, you know, it still depends what sort of deals you have. And nowadays, residuals are becoming, I think, of the past. You know, they've got rid of all the music residuals. You know, you've got Spotify and YouTube. Everything takes everything. You know, I mean, I think it's very difficult. I don't mind it because I quite like doing what I do. I quite like going out there and making people laugh, see if I can still make them laugh. Because I think that's a sort of little joy that we get.

41:11I think it's a secret little joy. We're all comedy junkies, laugh junkies. And so I'm about to go and do a tour of Australia and New Zealand, and I've got some really wonderful surprises. I like surprising people. I like making my shows about something. So there's like a through line. I was with Professor Brian Cox last week, and he said he's doing a show. And I said, what's yours about? And I said, mine's about the meaning of life. And he said, well, so is mine. I said, yeah, but mine will be deep.

41:47you uh you introduced me you introduced me to him at a at a part i mean again this is one of the gifts of getting to go to eric idol's home is you said oh here's brian cox and we chatted and he's this brilliant mind and the next thing you know he's i become somewhat you know friendly with him and i think this is you have salons you have it's nice what you do you get really smart it's not just funny people it's it it's music people it's people from science it's people from astrology it's people who are historians and i can just see that you have this endless joy for trying to figure it all out i like putting people together i like conversation but i love love at the end of the evening is a ding dong we have a play and so i love musicians and so i've always got musicians um anybody i like brian cox if he's going to tell you about quantum and that's very nice over dinner you know yeah uh but and he also plays the piano so we we have gigs his son george plays guitar and i've been playing with this group who have been playing with the monkeys and they're really great and we just sit around and play hit after hit it's just that's my happy that's when i'm happiest after dinner outcome the guitars we'll just sing it's funny you say this because like what is it about i've love playing guitar um i could never make a dime off of it uh but it's it's it just it's my hobby and i really love doing it and i got to do the um newport folk festival a month or two ago and there's there's footage of it and i'm up there playing with all these amazing people and jack white came but the comment that shows up every time i'm up there is conan seems this is the most joyous i've ever seen conan he seems so much happier doing this than comedy.

43:38I thought, I love comedy, but they're not wrong. No. I love that. Me too. And just playing and gigging with people and having fun and listening. Because it's a different part of your brain. You're not thinking. You're not obsessive. And where's the next laugh? You know, you're just feeling the next chord. I love that. And I'm doing a show now, which is really a one-man musical. Yeah. And I do a couple of songs. So one's a tribute to George Harrison, I wrote, which I really like because I miss him a lot. And one's for Robin, which I wrote for his memorial. And it's a very sweet song. And I put up pictures of them.

44:18And it's kind of a nice way of recognizing that people have moved on and gone and say, well, it isn't all like, you know, it isn't all maudlin. I mean, there's a lot of good jokes. Well, you've written, first of all, it's the most requested song at funerals. I think certainly in the UK, maybe in the world. And what's the second?

44:45That's a really good question. Actually, it was My Way replaced. Which is really a terrible song for when you're dying, isn't it? I did it. My way. I smoked. I smoked and smoked. They said I shouldn't, but I did. I ate fatty foods. They said I shouldn't, but I did. You wrote Always Look on the Bright Side of Life. And it's such a great song. It's an amazing scene in Life of Brian. And at the time, I remember it extremely controversial because, you know, people are being, they're dying, they're on a crucifix and singing, always looking on the bright side of life. And I think it's everything. It is the perspective that I completely 100 % agree with, which is this is terrible and ridiculous and silly at the same time.

45:45That is sometimes the only way we can go, we can move on. And it's just, and it's got my, one of my life's got a funny plot. You're here and then you're not. Like it's, that's all there is to it. I think. Yes. I mean, what's really funny about always looking on the bright side of life is you are being crucified. There's very little to look forward to at that point. Let's face it. If there's any point in life. I think, Eric, Eric, I think you're being overly negative. Yeah, you're giving it a bad breath. You're getting a good stretch in the low back. Oh, God. Well, you are. Oh, man. Between the L4 and L5, gravity is giving you a little pull.

46:26But it is an ironic song, and I think it's a war song, and I think it comes from my father. Their generation, their songs were always like, oh, always look on the bright, the blue skies will open, bluebirds over the bright. They were always about future optimism because they're in a war. So I think that's what that song is. It's like a war song. And it was played in the Falklands when HMS Sheffield was hit by an exoset and they had to wait for rescue for three hours. They sang that for three hours. And so I think there is something recognizing that it is a ridiculous thing. And teams, you know, seeing it when they're losing at football.

47:08I mean, they move on the bright side. You know, there's nothing to look forward to at that point. Right, right. We're down. It's over. There's not enough time left. I have to ask you this because I know that you've talked about playing guitar with these iconic musicians. You played for hours and probably thousands of hours with George Harrison. You also stayed up all night once in Rome playing with Keith Richards. And I'm just curious how you can, don't you leave your body at some point and say, that's Keith Richards I'm playing guitar with or that's George Harrison I'm playing guitar with? How do you get over that?

47:44Oh, I think pretty quickly because you're playing along. So you're in the moment if you're playing with somebody. And luckily, I had a pretty good jazz guitar background. So I knew better chords than they did often. But with Keith, you know, I mean, Keith is like the most extraordinary. He's like an old coward. You know, he behaves, oh, dear boy, do come up and have a, well, can I get you? I mean, he's like wearing, you know, dressing gowns and very calm. Where's the lunatic, you know? That's hilarious. Oh, come in. Please do come in. And he's wearing a caftan. Not a caftan. Dressing gown. Dressing gown.

48:23And a little, you know, smooch. A fancy biscuit. Oh, dear boy, can I get you a glass of brandy? What would you like? What can you take? You know, I mean, quite a different world than you'd expect. And we did sing all night that night. And, you know, it was in Rome. And when in Rome. When in Rome. So then the next I turn up at the set and Chevy, I hadn't got any words left. It was my last scene. And then Chevy comes up to me and says, I've written this big new scene for us. Oh, is this for European vacation? Yeah. And I went, I've got... And he said, oh, fuck. So you had to lose a scene in European vacation because you were up all night playing and singing with Keith Richards.

49:05I'm sorry, yes. Well, that's probably as good an excuse as anybody. Worth it. Yeah. I think it's worth it. Yeah. I'm going to miss the next podcast. I'm sorry. I was singing all night with Keith Richards. No, no, no. He's in London. What are you talking about? You're in the Pacific Palisades. You were with Richard Keats. Yeah.

49:27We got on this very dark topic of death and everything. You have one of the funniest ideas ever I've heard for an inscription on your tombstone, which I really like. I'll tell you what it is because you've clearly forgotten. Eric Idle, see Google.

49:43I'm glad to know that still stands up. It's good. Why? Why not? I mean, why are we getting into here? Exactly. The rest is nonsense. Yeah. Well, I want to thank you. It's a great day for me when I get to spend any time with you. You're one of my all-time heroes, and you've changed my life in so many ways with your work when I was a young lad. And you guys completely, I think, reordered the universe and showed us all what could be done. And I still think you're far ahead of everyone else. My love to your family, Tanya, and of course, Lily, who I adore. The book is The Spamalot Diaries, and it is a joyous read.

50:35It's a little harrowing at times, but it's great. And it's a great book for anyone to read who's in the process of trying to make something happen. It could be a Broadway play. It could be anything you're trying to do. It's very inspirational. Yes. And so you've given people a real gift here. Oh, that's very kind. I like that. I'm glad that that's so because I do think it's a process, not a miracle. Yeah. And let's end with just explaining our shirts. Indeed. You want to explain these? Well, these shirts are to raise money for a statue for Terry Jones. And they're going to build a statue for him on the promenade in Wales, where he comes from, Colwyn Bay.

51:19And they're raising money on a go-for-fund-me basis. And so we're here promoting. I think there should be a statue to Terry Jones. I think this is a lovely idea. and... We're hoping it will be the nude organist, but we're not sure.

51:36And you said it was a GoFundMe, is that correct? It's a GoFundMe. It's a GoFundMe. Yes, it is. So people can just, well, they can see Google. Yeah.

51:47Very nicely done, sir. Eric Idle, go forth and do good works. Thank you. It's been always a joy to talk to you.

52:05on an episode not too long ago we talked about your grandma maud maud right yeah maud yes this would be my mother's mother ruth reardon and yet uh for reasons we didn't know when we were kids everyone we all called her maud and then i asked her once why do we call you maud and she said that there was a cartoon strip back, maybe even before the turn of the century or at the turn of the century. I believe she was born in 1890 and she was on a playground and some kids were harassing her, you know, teasing her. And so she kicked at them and they started calling her Maudie Maudie because there was a well-known cartoon at the time about a, I don't know if it's a mule or a horse that kicked people.

52:53Oh my God. Here it is. And this is, the mule or the horse kicking someone right there and her name was mod and her name was what this is it oh my god i'm trying to see what the date is on this that would be cool to know i can't see i can't make out the date i thought some i thought it said 1904 somewhere but that'd be too late no i don't think so you can still kick people when you're 14 uh this is really cool this is her classmates sound like dicks. Well, don't they? I mean, kids don't change. I know, but they were bugging her so much that she needed to kick them and then they started calling her a kicking mule.

53:33Well, yeah, but it's not like the name stuck and her grandchildren ended up using it. Oh, no, this is so cool. This is a good there's a guy who gets kicked by a mule. He's angry. So he takes the mule. He says, I'll fix this pesky critter. He ties the mule up. the mule kicks some more people. It's kicking automobiles. It's kicking everybody. And then the people realize that the owner's the one that caused all this problem. So they go and they kick him. And the mule then gets to laugh at the owner who just got kicked. Hee-haw. Oh, and by the way, you can see this. Just go to at Team Coco Podcasts on Instagram.

54:11My question is, did they do the same bit every week? I don't know. How many of these cartoon strips did they do? At least this is a cartoon strip that's acceptable today. If you look at a lot of cartoon strips from the turn of the century, they would not pass muster anymore. They're incredibly despicable. Wait till you find out that mule's politics.

54:36Wow. This is an America first mule. This is a closed border mule. This is so cool to see this to think that my grandmother would have seen this. It does say to be continued next Sunday. Yep. So I bet there's a whole story. Yeah, I think this, my guess is this mule just keeps on kicking people. I have a little info about it. And her name was Maude is the name of the strip. It's a comic strip by Frederick Burr Oper. It first appeared in the Hearst newspapers on July 24th, 1904. That's it. The rest of the stuff is... Wait, you... Can I just say, Adam, you approached the mic like, I've just got some news.

55:17The Hindenburg has exploded at Lakehurst, New Jersey. All souls have been lost. Even you seem surprised by your own lack of information. This is less interesting than I thought it was. Her name is Maude in 1904. Newspapers. Although, Hearst papers, though, it probably does have some politics. Yeah. Well, this is, I love that kind of connection to just, I mean, first of all, this is, as I've spoken about before, I loved my grandmother. and after my grandfather passed, she lived with us for a while and she, yeah, she was this amazing link to the late 19th, early 20th century and I remembered her telling me, it was once New Year's Day and she told me she had a very clear memory of New York City because she was staying with relatives in New York City in 1900 on New Year's Day and she was describing it.

56:06She was describing the carriages going by, how cold it was, the snow. She said, I can see it right now, like perfectly. And I thought, I'm always fascinated by time travel, that concept that you can have a human connection to somebody. I don't know if you had this with, because I know, Sona, you lived with your grandparents. Yeah, my Yaya and Dede both lived into their 90s. Into their 90s. And they came from? They came from Istanbul. Yep. And I mean, my grandpa started, he was a butcher when he was 12. Like, they just put him to work really early. Right. So it's like the idea that you are trusting a 12 year old with slaughtering animals is just feels like a completely different world.

56:48But also just the fact that then they come to this country and they're living with you and it's you're going out to in and out to grab a burger and whatever else you're up to. It's just this amazing clash of cultures. I find that stuff fascinating. Well, my great grandma also lived with us and she was old as shit. She was really old. You don't say old as shit. She was really, really old. And I remember she was this old wrinkly lady. And I was really young. I was maybe like 10. And my mom's like, she's going to sleep in your room. And from then on, I was terrified of the dark because I thought she was like an old witch lady.

57:25And she was just like. Wait, when you say she was, what did you say? Old as shit? Yeah. How old is old as shit? She was, I mean, when I was 10, she was like 95. Because there are young comedians out there that now see me and go, you're old as shit. So it's all relative That's right, I was 10 and she was 60 No, no, seriously, how old do you think she was? She was 95, yeah But she was like an old wrinkly lady And I was young and I was like Why is this old person in my room? And I got terrified of the dark You sound like an awful grandchild I was really bad I love this, like, old and wrinkled? Why is that in my room?

58:00I have, we did something else I don't want to, I shouldn't Well, we got her now This is really bad so she had a son who passed away that no one told her passed away and then my uncle who was still in istanbul and we'd hold up two fingers and be like menzi you know touch one of them and we would she would touch him and be like oh that's you know bejo died i who was my um uncle and she just instantly start crying and we thought it was so funny what was happening here because we kept reminding her of these people she hadn't seen in a long time and we'd instantly make her cry and And Danny and I were like, let's go make Menzi cry.

58:35Oh, my God. You're a monster. You're a sociopath. How is that? We were just fascinated with her instant, like, sadness. Yeah, you were the true sociopath. But it's you. No, it really was messed up. No, no, no. To be fair, I did it to my grandmother, Maddie, too. I used to go, remember that? That loved one that perished? It was fun. We used to call it. It was the old fun. We called it the parish game. Hey, let's go play Perish. And we go into Monty's room. Remember the one you loved who perished?

59:10Look at them waterworks. You're an awful, awful person. No joke, that was really bad. Yeah, you're a bad person. It was bad. We would make her laugh just for fun. All right, well, listen, let's have some good come from this. You don't need to clarify no joke. We know that it's bad. We would make her cry just for fun. Yeah, yeah, yeah. Because we were terrible people. Let's have some good come out of this. If you're listening right now and you're tempted to go mock a very, very old relative by reminding them of someone they lost long ago, think twice. Yeah. That's a little word from Conan O 'Brien.

59:41Needs a friend. Conan O 'Brien needs a friend with Conan O 'Brien, Sonam of Sessian and Matt Gorley. Produced by me, Matt Gorley. Executive produced by Adam Sachs, Jeff Ross and Nick Leow. Theme song by The White Stripes Incidental music by Jimmy Vivino Take it away, Jimmy

1:00:05Our supervising producer is Aaron Blair And our associate talent producer is Jennifer Samples Engineering and mixing by Eduardo Perez and Brendan Burns Additional production support by Mars Melnick Talent booking by Paula Davis, Gina Batista, and Britt Kahn You can rate and review this show on Apple Podcasts And you might find your review read on a future episode Got a question for Conan? Call the Team Coco hotline at 669-587-2847 and leave a message. It too could be featured on a future episode. You can also get three free months of SiriusXM when you sign up at SiriusXM.com slash Conan. And if you haven't already, please subscribe to Conan O 'Brien Needs a Friend wherever fine podcasts are downloaded.