Prepare yourself for zombies, a brief discussion of modern pulp, Steve Martin, character theme songs, Cary Grant and sex addicts
The Skinner Co. Network
FC01 - The First
(upbeat music) - Hello and welcome to Flashcast episode one. Tonight is it British. Prepare yourself for zombies, a brief discussion of modern pulp, Steve Martin, character theme songs, Carrie Grant, and Sex Addicts. (upbeat music) Tonight we have myself, Opopid Axe, head narrator and artistic director, Jessica May. - Hello. - Sound engineer and keel balancer. And J.R.D. - Hello. - Plot jump. So what's the deal with Flashcast? - Guys. - Well, I figured it'd be fun for our fans, like our fan base, to be able to see the behind the scenes of our stories. It's very impersonal for your stories, you know? Like, people don't really get to know us. So I thought that would be handy. - It's sweet of you to act as if there's thrones of people listening. - Well, it's like-- - I remember fans. - Yeah, okay. - It's nice. - Actually, that does actually lead me into a pretty direct question. When we release this, we have to make a decision about are we just going to release it into the main Flashpulp stream of iTunes downloads, which is really where the majority of our users are. Or do we have a separate feed where people separately subscribe? - I'd like to see it as this pans out first before we're, you know, setting up some big, you know, hype about it, having its own section, you know? - Yeah, fair enough. - I guess people aren't going to care that much. I just don't want to admit-- - Why do you keep making this seem so uncool? That's not very nice. - I would say that. - I mean, without the main, this is obviously a direct companion to the main show. - Indeed, yeah. - So it doesn't make sense to necessarily. People aren't going to be like, ooh, I've never heard of this Flashpulp, but maybe I will endeavor to peruse the Flashcast. Well, maybe they will, actually. Hopefully it'll go both ways, but you know what I mean. - Yeah. - Okay. - So that being decided. One of the people who does listen to the show regularly, good friend of ours, Mr. Ray, zombie number 56, I believe, will soon be putting out a little work of his own that I'm quite excited about. So I just wanted to plug that and sort of, I realize I'm not giving very many details, but I really just want to put him on the spot so that it feels like he has to get it done, 'cause I think that he could have it done. - You could have it done. - Is it evil? I mean, like, is it horror, or is it what is it? - I don't want to give away too much on him, but I can tell you, I think safely, that it is zombie related. - Wow. - Fantastic. - Ray, the zombie king. - Yeah. Yeah, I don't, yeah. Anyway, and that, although obviously not part directly of the Flashpulp family, or whatever we're calling this at this point, you know, he's definitely a friend of, but it gets me to a larger point that the show is supposed to be pulp in the modern age, and sometimes I get a little bit of guff from people asking me how some of the more varied topics, like I think that the most recent run definitely falls under the banner of pulp, but there's an argument to be made against some of our other genres being a pulpy. But I think that zombies, I think zombies are a perfect example of modern pulp. I think that they have a lot of the sort of over-the-top potential that, really for me, defines pulp, like a lot of fisticuffs and action-y, but you can get a lot out of it in a sort of a social sense, too. - Mm-hmm. - So that you get a lot of problems. - Yeah, like I can buy yours. It doesn't seem like, you know, crazy shenanigans that no one would ever get into. Like I can always buy it. - But I think modern pulp, it's kind of like an umbrella so that you can get away with extra shenanigans. That's what I love about it. I think a lot of the new, oh well, a good example would be a lot of the new sci-fi movies or Siffy or Siflis, or whatever they're calling their station now. Mega shark versus giant octopus. I think that's right up Pulp's alley. Like that is, you know, dudes wrestling gorillas, but in the modern age, like, well, you can't just get by, you know, wrestling a crocodile anymore. We gotta have flying sharks taking down jetliners. - I heard the air coal was in it. I read that today, tonight, in fact. And I hadn't noticed that before. Is that true? - The air coal, like from family matters? - Yeah, well, I'm assuming. So that's how they refer to him. - Yeah. - I don't remember seeing him. Yeah, Lorenzo Llamas, definitely. Debbie Gibson, for sure. - You'd think that we would remember the shark. - The air coal, though. - What is this thing? - What if it was a guest appearance? Like, what if that's, you know, where his career is now? How sad would it be to be a guesting on? - Maybe a shark versus a octopus. - A character. - Hey, a giant octopus, yes. - Yeah, yeah. - He's keeping his hands. - Small part giant octopus, yeah. - Yeah. Okay, now, generally we'll get down to plot items and stuff later on, but we also do wanna mention sort of recent goings-on with the episodes of late. And I do have a question not to put you on the spot, folks. There's a bit of a discrepancy in the character voice between the last-- - Listen. - The last episode and the first of the home character run. - So, I think that, although we do a great job on both cases, I believe that we sort of feel there's a bit of Carrie Grant in the character, maybe. - Yes, maybe. - And maybe the last episode, there's a more. - A little bit British, yeah. Well, you know, it's only my second time. - Yeah, I understand, I understand. - Yeah, they're work in progress, you know. Actually, that's one of my topics, getting comfortable with a new character. - Okay, so I'm assuming that at this point we are listening to the audacity of Hope theme song. - What, audacity, we're gonna have separate theme songs for each part. - Yeah, that's what I was trying to tell you. - Oh. - Or some little like, boom, boom, boom, boom, boom, boom. - Okay, so. - We'll just do that. - Well, okay. - I'll intro the bit and then we'll cut to you. - So much more work. - I'm sorry. - No, I think we're okay to keep this clear now and then next time I'll put it in. - Yeah. - This is good. - It will only get better. But I'm not gonna put in three theme songs before we put this out. Number two, baby, number two. - So the audacity of Hope, the section is basically for Jessica May to discuss the sort of process of production and sound engineering on our little. - My end of the pulp. - Duggin, Duggin pony? - Duggin pony shell. - Duggin pony shell. - That's right. - Yeah. - Well, I just had a couple of notes. I wanted to go over a general overview of my junk before we got into too many specifics, I don't know. Getting the songs into theme songs, that was the first thing I ever had to sort out and it's something, you know, honestly, when we first did it, there were so many that we had to do. There's so many new characters, but since then you've just been building on the characters that you've had, except for recently with Harmer or whatever. But there has been some potential, like there is issues with getting theme songs and sometimes I don't even notice that I have this problem until like, you know, we've already picked it and it's solidified and I'm halfway through editing it, but like, potentially, or most often with Black Hall, his music is so repetitive and so fast and there's no real natural end to the song or even like portions of the song that it's like incredibly hard to cut the end of it. - So, do you find, are there other characters? Like, who's the hardest character to edit, I guess? - The hardest character is Black Hall because he's so quick. Like, even if I slow it down and figure out where I want to do it, like, it just, it naturally sounds terrible. Like, it just sounds like there's a abrupt ending. There's no diminuendo, there's no like, slow and, you know, it's just, it's, so it's basically because it is the hardest, there's the least amount of like, fancy stuff I do, like, coming in and out with volume, like, there's no easy, cutable parts, so it's just a matter of like, me coming in quietly with his spastic, crazy music, and then, a popant actress, like, comes in and starts talking. So, the harder it is to cut, like, the least fan-theative. - So, where do you find the music that you use? - Well, what's generally been happening is, J-R-D finds what he wants, and then, I make the magic happen. - I usually use archive.org. We were lucky enough to get a public domain, United States Air Force Band song for the latest theme song, so it sounds a lot crisper, 'cause I find a lot of, well, I like the scratchiness of the older songs that we use for things, but I do also like occasionally having a nice, clean, you know, orchestra playing. So, the United States Air Force Band was a nice find. So, do you have any time savers? - Yeah, man. Before, I didn't even know where the magnifying, like, where to magnify things. - Mm-hmm, doing. - So, like, finding where I was on the track, I would just, you know, constantly be pressing, like, the over button. The over button, the over button, the over button. But if I, like, make the time much smaller, then I can get to each end. Or if there's something I need to cut with those quick notes, then I can, like, focus in on really close and then, like, make a cleaner cut. Bait it in and out at the end, you know, make it all smooth and jazz. - Mm-hmm. - But, yeah, I think there was something else here. I can't remember offhand which one it is specifically, which theme song for the character. But it has really high travel and it's really scratchy, so I have to turn it down really low, so it doesn't, like, yell up really loud, so you can't hear what she's saying, you know, 'cause obviously you want to know what she's saying. So, I end up turning it way down, but then you can only hear these high popping notes, and then you can't hear, like, the depth of the song. - I find that, and this may be the one you're talking about, the mother grand theme song, it's got, it's a-- - Oh, yeah, pretty poorly. - It's a folk tale about a murder, and the guy, like, it's really good, but the guy does a lot of singing, and I think that you have to turn it down, 'cause the two voices sort of muddy over each other. - Yeah, it's not so bad when I first come in and it's at full volume, and you're just listening to the song, it's awesome. But the moment I have to turn it down to have Popena have to talk, it's, it's, you have to turn it down really low, and then you can't hear any of the lyrics or anything. - I ruin it. - No, not at all, not at all, we need to have the story, we need to understand what's coming along here. - It's a nice song, though. - Thank you. Well, I didn't even pick it, see, that's the thing. He picks the songs. - Which means that I didn't necessarily pick a song that was best suited for your audio needs, I picked a song that I like the sound of, which is maybe an intro. - Which, and the thing, too, 'cause you told me how to pick up the music for all this, which means I wanna need three songs for our little intro bits, and so far I've just cocked out and just getting a different version of "Glimmy Sunday" for the intro to the show, but-- - You can always use a little bit of "Glimmy Sunday" just for the, anyway. Is there anything else you wanna note before we move on? - Like, what kind of song represents what a "Popenex" does? - Clown music now. - Oh. - I think you should have veto power over his songs, 'cause you're the sound engineer. - And now, the art of transition. (laughing) - With a "Popenex." - With a "Popenex." - In which a "Popenex" discusses art and/or narration. - 'Cause she does both of them for the show, if you don't know. I narrate a discussion about art. - Yeah, you know, I-- - Did you guys hear about that Steve Martin thing, so you're not interested? - No, what? - It was entirely timely news. - Yes, okay. - He was at a live stage sort of presentation discussing his most recent book, and he's also, I don't know if you know this, he's an art collector. He's spent a lot of his time in recent years collecting art, and he was having, well, I guess some would regard as a boring discussion, but apparently people on the web started complaining, and somebody for the studio actually went up and handed a note up, saying that he should be funnier, and stopped talking so much about art stuff. - Oh my gosh, had an art show? - Yeah. - Oh, poor Steve Martin. That would be so sad, because you're like, you know, I've-- - Make us laugh, funny man. - He humiliated all this knowledge, and thinking, you know, I am an entertaining guy, and I have so much to teach you, and I'm not just that guy, I'm not just that funny voice or whatever, and really, they're like, we just want the funny guy, bring the funny guy. - Yeah, well, the same thing kind of happened to Vincent Price, right? Like, he was super, he was on Broadway, and he went over to London and did theater, and then he came back here, and after a while, he was just like, "Shlocky, horror guy." And then when he tried to move on-- - 'Cause of one role, wasn't it? - Yeah, well, at first it was the tingler, right? Like, that was his first, like, bag guy role, and then he got kind of typecast. And then-- - Like, why can't you be, like, typecast as, you know, the Broadway guy? Like, the super brilliant, multi-talented, multi-fat, the hardest, that would be lovely with me? - Well, what does Steve Martin do now? Does he keep, like, his options in career-wise are either to keep making pink panther movies, which just disgusting. Like, he's a funny guy, he's a smart guy, he cannot be enjoying making those films. - Yeah. - Elora, you know, making things like "Shop Girl" and stuff which don't necessarily make a huge amount of money, and I'm sure he gets a lot of like, yeah, it was okay, but, you know, kind of artsy farty, and you should get back to putting an arrow in your head. - Wasn't he also in a band? - Well, he plays-- - Like a banjo? - Yeah, no, he's super famous for playing banjo. - Yes, he? - He's one of the best foggy mountain boys songs that I know he's playing a co-banjo on. He won a Grammy for it, I believe. Anyway. - Episode one is Steve Cast. - Steve Cast. - Steve Cast. - Steve Cast. - In other Steve Martin news. No, the art of narration, yes, that's me. I actually wanted to call it the art of noise, but then I thought the band might sue me. - Yeah, they did Peter Gunn, right? - They actually, they sang with, oh, what's that guy's name? He's British and everybody loves him. Tom Jones. Tom Jones. - Tom Jones, okay, you know what? - Art of noise and Tom Jones. - But I did not realize that Tom Jones was even British. - Isn't he? No. Oh, maybe I'm just crazy. The British love him. - What? (laughing) - Middle-aged ladies love him. - I don't know that the-- - Middle-aged British ladies? - I don't know that, anybody. - I don't think so. - I don't know. - I think he's American. - I think I have to look at him. - Oh, but speaking of the British, speaking of the British. - That's right. - So what's your process for getting comfortable with a new character voice? - Actually, well, I have to read the story first, right? And then I just listen to whatever voice it is that I'm hearing. Oh, this sounds bad. Whatever voice it is that I hear in my head when I read it. And this-- - And it can change, you know? - Oh, yes. - It can change. - The voice has changed. No, I guess-- - So do you feel like I changed tones in the second story and that's why you're-- 'Cause I know that we had a discussion beforehand that the second part of, we should figure it, episode 101, "Harms Return Part Two of Three." - Yes. - We discussed before we recorded that, that you felt it wasn't as conversational. The first episode was more-- - Yeah, it seemed more, a little more narrated to me. So, I don't know, it just didn't have the same-- - It got a little stodgy, you're saying it was stodgy. - No, I'm not saying it's stodgy. - No, it didn't-- - But it didn't-- - I wouldn't be offended. I understand it's, I'm walking sort of a fine line with that character. And the truth is, a lot of, if you think of that story as me sort of writing something in a little bit of a Hitchcock-y in vain, if you will, then, I mean, Hitchcock was British and there's definitely a certain, the cool, unaffected sort of carry-grant character that I think we're both kind of aiming for with harm is very much of that British mold, although he is an American, you know what I mean? He's very much of that cool James Bondi, well, not James Bondi, but of that-- - Like second generation, kind of. - Yeah. - Yes, well, I believe carry-grant himself was British and then he moved to America's. And he-- - To be with him. - Everybody is potentially British tonight. (laughing) - And he married Tom Jones. - No, I think he was, he was on my hand. And that's how Tom Jones got his citizenship. No, I believe he moved from Britain to, can you say move from Britain or would it be moved from England, a British man moved from England? I don't know. Anyway, he moved from England to America and was in Vaudeville. And he kind of got rid of his accent, I guess. - Oh, I believe I remember seeing a little-- - Yeah, we saw biography of him. I love carry-grant, so it's actually breaking my heart a little bit that I'm not sure about this and I may be making complete fool of myself. - Okay, so-- - I think, I think it probably would've been really handy of me to play the previous episode for you 'cause it was such a new character. - Yeah, I hadn't even heard it yet. I went to bed right after I recorded it. - Yeah, well you seemed pretty ready to go. (laughing) - Yeah, so, I mean, I had an idea, you know, I hear carry-grant when Tom speaks to me. - And we had pretty much completed it, but there were so many mess ups or people coming through or whatever. - Dogs. - That when you're like, should I just do it over again? I was thinking, you know, maybe she'll be more relaxed and a little less, you know. - Yep, you know. - Stiff up a lip, chump. - Whatever, you know, that's why I don't do the voices. - But it just, it, I'll get a feel for a character after a while, but I mean, this is the, this is only the second time I've read for him. So, I, yeah, I think I'll get it, get it down a little bit more. - Who's your favorite voice to do then? - My favorite voice, Molly and Smith is my favorite character and his voice is my favorite to do as well because it's just so natural. It's so easy, I mean, it has to be a little bit lower 'cause I'm not a dude, but it's just speaking. - Yeah, do you feel uncomfortable with the fact that except for Ruby, basically all of the characters that you do are male? - No, not so much. The hardest one to do though, is definitely Black Hall because of his weird forms of speech. No, I don't hate on it, but he has weird forms of speech sometimes. - It's funny 'cause he's one of my favorites to write, but I think it's because he's such a pain in the butt. Anyway, okay, so if you're, we sort of covered the, the voice section, but how do you, what's your process for getting a new picture going? - That's actually just changed recently with this last picture I've had to do. Normally, what I would do is J.R.D. would bring me the first script, well, he would let me know a couple of days ahead of time that he has a new project coming up and he'd bring me the script and then I would read it and sort of get an idea of what pictures I would have in my head and do some doodles or we would sit down and talk about the subject matter and I would give him an idea, oh, how about this? And he, oh, more like this and we'd just fine-tune it a bit and then I'd come back with some pencil drawings and what I would do originally is I would get that on the computer and ink it all and do a little bit of color in Photoshop, but with this last one because I don't have Photoshop on my new machine, I actually had to do that with real inking pens, which I haven't done in years, so that was kind of fun to do and then J.R.D. took it into the office and colored it and got it all computerized for me. - I thought it came out well? - Yes, it did. - I thought he had actually a lot more to do with this process than he had before. Like I thought he was a lot more specific. - A lot more of a jerk about it. - In this one, you can actually see some pictures that he has put online, but he gave me a general idea which I came at first with an image of a knife too and he thought that was a little too Hitchcock, but he said, "Go Saul Bass, go Hitchcock." And so we came up with the idea of some kind of murder weapon. I suggested a candlestick, but he told me we weren't playing clues, so (laughs) but he kept telling me to go back to the drawing board until he liked what I showed him. And then we ran with that. - I think you were even specific with the curvature of the lines where you're not. - Juke. - No, not so much. - I had some general ideas, but I think most of the hard, all of the hard work was done by her. I just kind of gave, I just wanted it to be sort of Saul Bassie and not be too much. The knife was just too psycho. And I mean, if I'm openly admitting that I'm sort of emulating the Hitchcock deal, you don't want to be like, anyway. So that actually leads us nicely into my own section, Backroom Plots, which may or may not have a theme song. - Not this episode, baby. - Which I discuss what's going on with the plots in general, without giving. I'm going to try to keep this relatively spoiler free, but if you see this episode later in the feed, then the new episodes, there may be some items that I drop, I'm sorry. Maybe a couple little plot hints that I unintentionally drop. Anyway. - I'll discuss them on the discussion board. - Oh, yeah. A large concern I had with writing the murder plague, the newest sort of entry to the family, was that I was doing another apocalypse. And now you know that I already do, like there's Ruby departed, which is a zombie apocalypse, fine. And then there's the occasional car wick, which is really a one part apocalypse. They all end the same way. And I was afraid that between Ruby, especially, and this new apocalypse that I was going to be writing, 'cause really the murder plague is eventually going to lead to a much larger scale than we're dealing with at the moment. I was afraid there wasn't going to be enough material. But I find more and more, I was depending on Ruby as a crutch to put out an episode instead of necessarily feeling like I was doing it out of having the idea. - Because it was so popular. It wasn't even like you were doing so many of them. It was like you found out they were popular, like maybe I don't want to do Ruby's, I don't know. Or like, oh man, why are those more popular? Or like-- - No, I don't-- - And then until you almost decided to completely forget Ruby entirely, you're like, hey, guess what I wrote? I'm like, hey what? And you're like a Ruby three-parter. I'm like, what the hell is up with that? I feel like you were going to put her away for a while. - Yeah, I was definitely thinking of shelving her until I got through more to the murder plague and felt like there was whatever. I think the truth is there's zombie stories to be told. I just need to be very concise and which ones I decide to tell. 'Cause it's a genre for me that I've been kind of mentally mucking around in since high school. So it's very easy to be like, okay, zombies! And I can kick something out in half an hour, an hour, or whatever it's going to be in. But I don't necessarily feel the satisfaction that laboring over, well, I mean, it's not like I spend days over black hole, but it takes a while. - Mm-hmm, yeah. It doesn't come out as smoothly as others maybe. Like, the most recent black hole, there were things there that you left out that you wish you could have elaborated on. - Yeah, well, see, yeah, that's a larger topic too, right? 'Cause six parties are strange. I try to keep, by the time I'm writing part five, part one is a week or two previous, but I still have to do something that's going to be going live in a couple of days. So I felt like I did a better job in the last black holes. I feel like the first half of that story is sort of not a murder mystery, per se, although the third part does kind of get into that a little bit, but sort of leading up to one section, like it halves nicely. But the truth is that I got, well, I mean, I was two or three parts into that, and I was already thinking that it was going to be a nine-parter. - Yeah. - So in truth, there's definitely going to be a three-parter coming up, maybe next week, maybe the week afterwards, involving the presters who are people I've discussed sort of sideways in a lot of the Elle Cara stories. - Yeah. - So we'll get to know those guys. - It is kind of interesting, like two or three parts into a story. You're not sure if it's going to be a nine-parter yet. Like, I don't know, it feels kind of like a nine-parter. - Yeah, well, I have a general idea of, you see, arguably the first story is really, even though I called it the Elle Cara, and it's got a lot to do with the death of Princess Ida and everything, the truth is that story is more about the lamea than anything, like that's the arc that kind of starts and ends the story. And I'm going to do another three-parter, but it's going to be dealing with the Elle Cara, it's going to be dealing with the presters, it's even going to be dealing with some of the other character traits that I laid near the end of that series, but it's not going to deal at all with the lamea, like it's going to be post that. So, I mean, the problem is that I want to write one long continuous story, and sometimes it flows into each other a little more. It's not as easy to segment into separate little sections. - Going back to what you said about zombies and that you've been practically writing zombies stories since high school, is Ruby like your oldest character, going that you've been messing around with the most, or is it black hole, because it has your, it reminds me of your roots, your Northern upbringing. - Yeah, my, my bush, your frontiersman living. - Yeah, yeah, right. Actually, although I've been kind of a big fan of the zombie genre and writing what I would call, like, I mean, I wrote a few little one-off zombie stories when the ideas came to me, but it wasn't really like a header character that was going through that. In truth, I've never really written character-based stories until we did Flashpop, but I think if you wanted to say, like, who had the oldest roots, it would definitely actually be Karwick, because I've long had this sort of, not obsession, but this, it tickles me the idea that we're going down one alley and then all of a sudden, there's a nuclear bomb at the end and everything's done. And, you know, it really leads into, I like writing little vignettes, little just sections of something going on with people, but I don't necessarily want to carry it through, through a huge story. I just want it to be like, you know, here's these two jerks arguing. It was inspired by whatever. - Just like a moment in time or whatever. - Yeah. - And that's, yeah, it's kind of pulpy too, to just be like, you know, and guess what? - I am. - Yeah. - I am spider good. - Yeah, and you can do that in a world of pulp. - Indeed. - Which one is your favorite cereal? Would it be Karwick 'cause he's the oldest or? - No, I mean, Karwick is definitely-- - And 'cause the tickles you? - Yeah. - As much as he tickles me, he's the one with all his eight legs. - Yeah, he's almost the hardest to write for though, 'cause I can sit down for a mulligan. And if I spend half an hour just kind of mulling over all of the little fodder bits that I leave lighting around, either my delicious feed or my notebooks or whatever, I can come up with a mulligan story or a black haul tale. But coming up with a Karwick story is very tough. Like it's something almost that the story has to come first. I don't know if you remember the two farmer's story that I wrote? - Yep, that was first one. - Yeah, the whole idea for that story came to me first and then I was going, well, what do you do for an end? 'Cause you just have them like, shoot each other? Well, it seems just too like, on the nose. - Oh, it's thrown at apocalypse. - You know what I mean? Like it seemed like what should happen. It needed to be something just monumental and you've been wasting your life. Here's something totally out of left field. - Yeah, and you really have to set the scene. Like you really have to make Karwick the last thing on your mind. - Yeah, it's a sort of a bait and switch a little bit. - Yeah, it stands on its own, you know? You're not just waiting for something. It's not just a flashlight. - Yeah, I try to make it like that. - It's bringing you an entirely different direction. - Well, you do, fantastic. - Up against us. - Oh, thank you. My favorite though, I can't really pick my favorite child, you know what I mean? - Yeah. - They're all sort of, I love them all for different reasons. Really, they're all mood based. Like if I'm feeling more. - Oh, I think that's bull crap. 'Cause a lot of the times you'll be like, "Yeah, I'm gonna sit down and write this." Then you'll be like, "Hey, guess what I did." So I'm gonna tell it different. - Yeah. - I think part of that there's a freedom in that, whatever. - Yeah, well, yeah. But there's, it's also about the ideas. Like if I have a good idea that fits into a Mulligan story or a good idea that fits into a mother grand story. - I don't know how you get so many freaking ideas. I guess it's like practicing making ideas and writing them down. But I do not have that many ideas in a day. - It sounds kind of cliche for anybody who does like kind of listening to webcomics weekly or any sort of creative podcast-y kind of things. But the truth is every time you have an idea, you gotta write it down. And you may not use it right then, but you'll find that you accumulate ideas really quickly. And when you start kind of training your brain to-- - Do you think that way? - Yeah. - And to connect them. - Exactly. - Yeah. - Then you really start finding like-- - So I gotta think more is what you're saying. Oh. - Oh, that's not what I'm implying. - I was a joke. It was a joke. Hey, guess what? Mail time! (bell ringing) - So we have a voicemail. We'll give the number away in a moment. But first, I think we're going to play our first voicemail, our first phone call. - Yeah. We alluded to it on Facebook. I don't know if you saw that, but we haven't given up the number yet. So obviously, this message is not actually meant for us. But it's like, if I could pick the message that I first got, it would be this message. It's awesome. So we're gonna play it. - So we're gonna play it. - And you can check it out. - Yes, I was calling about the meeting that I see at Baptist Church on Monday and Thursday evenings at 7pm. And I'm just wanting some more information. Knowing whether that's for the sex addict, and if there is anything for the spouse of a sex addict. So if someone could please call me back, my name is (phone ringing) and my phone number is 774. (bell ringing) Thank you. Bye-bye. - There it is. Did you like my editing job? - Yeah, very nice, very nice. - I like that. - And that's why you're not getting three separate intros for our own portions. - Yes. - 'Cause that took a while. - Sex addict took you. - Sound effects, yeah, yeah. It was great. It really honestly doesn't get old. I think we'll be keeping that after a while. - Yeah, I do wonder if it's some sort of like phishing spam, like where they want you to call back their crazy number and be like... - No way. - You don't think so? - She sounded like a sex addict. - She sounded like a sex addict. - Oh, tedious. I just feel bad for a lady who's gonna go to church to get rid of her sex addiction. Or does she even have a sex addiction? - Is she the sex addict or is it? 'Cause she says end her spouse. - No. - Does she say? - No, in the spouse. They don't say... - I thought you said in the south. - No, it's spouse, I'm sure it's spouse. - So, are they having too much sex together? - Well, at least that's something. - There's so many questions now. But yeah, our first message. I remember the evening you were on the lazy boy. You were like, "Ah, yeah, we got a mess on terror." - And then I went over and to listen with you, I was just epic, epic. - Yeah, I think it's hilarious. - Well, I hope you found help, lady. Whose number I blocked out for you. - I don't. Do you hope she's having less sex? I mean, I really-- - I hope she feels better about the sex she's having. - I assume that somebody's cheating on somebody, honestly. I think that's, if it's not spam, then there's some infidelity maybe going on, and-- - Well, if that's the case-- - Wasn't that David DeKevany's cover when he was-- - All I'm saying is I hope she has good sex. That is the end of it. However, that needs to happen, get rid of her. If there is sex interfering with her life, we hope that's resolved, lady. (upbeat music) - A few of comments, questions or suggestions, you can find us at skinner.fm, color voicemail line at 206-338-2792, or email us, text or mp3s to skinner@skinner.fm. Jessica May's vocal talents and musical talents can be found at maytunes.com. Hopoponax is artistic work in general updates can be located at opoponaxfeathers.wordpress.com. The entire run of Flashpulp can be found at skinner.fm or via the search bar in iTunes. Flashdas is released under the Canadian Creative Commons attribution down commercial 2.5 lessons. The problem with poems, economy and context, I will murder you. - Nice. ♪ One day to be my hour ♪ ♪ That's number there ♪ ♪ Here is the shadow that is with our number there ♪ ♪ The little white flowers will never awake when you worry ♪ ♪ Not where the black holes of sorrow has taken you ♪ ♪ Angels have no thought of ever returning you ♪ ♪ To a day behind me ♪ ♪ If I am of joining you ♪ ♪ Move in on the day ♪ (upbeat music) (upbeat music) (upbeat music) (upbeat music) (gentle music) [BLANK_AUDIO]