Emma Kelly and Gareth Watkins - POPCAANZ presentation
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[00:00:00] This program is brought to you by pride nz.com. [00:00:05] So my work, con Gareth work began last year when I presented at University of Oregon for the Cultural Studies Association of Australasia conference there. And I was talking about a particular exhibition of his called 30. That was on it the New Zealand Film Archive, which has now now toner sound division. So it's changed its name since last year, when I started to think about this, this particular sort of performance of the ideas I've been thinking about with Gareth Gareth, because we're in Wellington, and this is where he is, I thought, why doesn't he come along? And then I thought, well, why doesn't he just speak? Because it's, you know, wouldn't it be interesting, so what we're doing is trying to stage a discussion with the curator in the sort of theorist about the kind of work they're doing. So feel free to get involved in. [00:00:57] So the title of sushi, it [00:01:01] signals the death of the first person from an AIDS related illness in New Zealand 30 years ago. So that's how the name of this exhibition came about. At the time. Gareth was the curator at large at the New Zealand Film Archives, so he could take anything from existing collections of the archive and turn it into any kind of exhibition he wanted. And I believe you did kits, tricks and treats, and 30. And there was one more [00:01:28] in the last one was farewell. So looking at feline fruits. Yeah, [00:01:31] I would say it's [00:01:33] around First World War and Zika. Right. Yeah. [00:01:36] So the exhibition was in wondering if the archive so this is walking into the cafe area of the archive, and then the next is walking in towards the beginning of the exhibition. And then the next slide is within the exhibition space. So the exhibition was in one room, the archive had a range of audio visual materials from the 80s and 90s period. news report some HIV AIDS stories of individuals such as earphones refers to as a young girl from Australia moved to New Zealand videos of dance performances, that particular point, all the screens would fade to blue, and a nod to Derek Germans 1993 film blue. And a poem would be heard spoken by its author will be who had contributed one of the AIDS quotes, which was displayed in the exhibition in used in the marketing of it. So that first image you saw in this presentation was well this. The day before I left for the conference, I was to present it in Australia. I was invited to the Auckland New Zealand film is brought to the New Zealand Film Archive to talk to Paul Booker host, the curator of the and she had taken 50 exhibition in she'd shifted and changed it for the Oakland audience. So this is one of the banners that she had in her version of the exhibition. Was this one in your vision as well. It was a new school. [00:02:57] Yeah. [00:02:59] So we Watkins followed the remit of the curator at large by only using existing materials and the collection book ahead at a new material previously unavailable in the archive, chiefly from positive women, a nonprofit group who support women with HIV AIDS book I was passionate about these changes, and she told me about having someone close to her died died of AIDS related complications. And it was very recent at the time when she was talking to me about it. She recounted to me how this person was hit sexual, heterosexual woman and despite a year of experiencing problems with her immune system and Oakland, medical fraternity had not thought to tease to HIV. It was only when she was a new acute unit of the hospital in the last week of her life that the correct diagnosis was made. By the end she had full blown aids and she died. So this is like a really powerful story of something that happened to this curator and so she had chosen to change the exhibition and response to it. So I got on the plane with Australia to present my exhibition on my piece on on getting it's work, but I rewrote it was thinking about what Booker was doing in this week curation of this exhibition. So I'll have you done my paper A few days later, that it was the addition of the narratives of these live largely heterosexual women that made the exhibitions booty a queer one. And there's a big stuff and following Annamarie Jones's definition of the term, because of the moved away from what had been largely, though not exclusively, a gay male narrative, because that was the material that was in the archive. However, I was looking for the feeling of so what after that presentation, I'd made a theoretical point. It was kind of clever, but the paper did literally. So what was interesting to me was the idea there is such a variation of people that the exhibition was trying to represent, and that the two versions of the work had different emphases. There are some intriguing questions that can be asked about changing an exhibition which had been developed carefully by one key racer by another one, and the personal motivations behind this. But at the same conference, I presented it, the keynote, one of the keynote speakers was Susan striker. And she talked about the tyranny of minorities within the minorities, and the complexities of transgender identity formation. When in her experience growing up in the US, a transgender person was disappeared into the new identity in the head, gender reassignment surgery. She explored the complexities of this dilemma were in order to become oneself. One was expected at least where she was from to issue family, friends location and deny one's identity as a transgender person. So I think that's the next side. striker has previously authored a piece claiming that transgender studies is queer theories evil twin. She's recently established the first transgender Studies Department in the in the world at University of Arizona. strikers work on the politics of identity and marginalization within already marginalized groups chimed with some voices from Oakland, which have recently been raised as challenges to mainstream games, these being identity formation. And ask myself, Gareth Watkins, was curating materials from the Film Archive and 30 years time about the contemporary situation, what would that exhibition look like? What some of the discourse same as an artistic and some of the material he showed and not and 30 from the 1980s. And just to say, I'm bi transgender, when I use the term I'm following j process notion of the figure who shapes queer theories constructionist account of gender, the subject to crosses gender boundaries in some way. And this is another quote from Joe Prosser in relation to the national transition transactions. Watkins and I have both been following the stories of a PC and vindictive collector from Oakland. But then trust the largely undergraduate students at University of Auckland and interested in discussions of gender queer trains, particularly in a colonial context, which makes it quite interesting. Under the no pride and presence banner, this group some of whom identify his training challenge the Oakland pride pride 2015 inclusion of correctional facility and police staff. Given this terrible human rights record for trans people and Museum presents, Emirati a self identified trans woman and fuck away he knew becoming woman is a term that she uses for herself. MRT term she's a mighty woman in a lesbian was injured during an altercation with security guards and her arm broken during this protest at the Pride Parade. The social media and mainstream guy media and I think I've got some slides. The next one, I think, [00:07:34] express particularly connected swift retribution on rackety, specifically in the PC and vindictive collective in general saying they were French they were bullies, Rafferty received rape and d3, its admonishments for making a hippie braid and other accusations so she ended up in hospital. And then the gay teams as they call them, so the ANC have had decorated the ATMs for pride. One of them had paint thrown on it, everyone assumed that was a man he was like an in hospital, you know, but without I'm broken. But she was definitely a target for some of the stuff that was really interesting, because she was the mighty woman, she was the trans woman, she was the lesbian woman and she was sort of targeted is that she was the Flashpoint for what was going on. So for those involved in the in the protest, private parties in the so called pushing debates, these issues of identity and inclusion of minorities, and minorities within minorities that have come up in my thinking about security and curator ship. They're literally an issue of life and death, poverty and homelessness and suicide are huge issues within transgender communities, for example. And as North American scholar Brian Conrad has recently argued in relation to a discussion he's been having in the US and Canada, [00:08:48] and an online org archive he calls against the quality and I think I've gotten the next one is Yeah, thanks. [00:08:57] The research, the research of equality and inclusion can be problematic if it leaves many people silenced by its overly celebrates free and critical time. They'll say I guess there are conservative, conservative and capitalist reasons to include gays and lesbians and for example, the Defence Force and the institution of marriage and various latest legislative changes which support a neoliberal agenda, the suggestion that we've all made, we've all made it to the same place that we all want to achieve the same things, Lynn leaves many people feeling disenfranchised, invisible or marginalized. So Watkins has recorded Ryan Conrad, who I've just mentioned, when he did a Willington talk here and also in mediocrities interview on these mentors for pride in z calm, which has has online, we're going to call it platform because we're not going to call an archive and we'll talk about There seemed to me that Watkins curatorial practices both in the physical space the archive and theater yet toner, and privacy, and the virtual space of the internet was where the filler investigation. So it's not a discussion of 30. But since we've got Watkins here, Gareth here, why don't we have a discussion with him? So I think this actually ties in really nicely Giles, with notions of labeling, and naming and ranking of peoples and how do you do that? Yeah, absolutely, absolutely. And we're going to talk about the grain of the voice, the importance of actually hearing someone speak for themselves. And in the work that that Gareth does, so we're both interested in these discussions. So first, we're going to play a little bit of audio from LA, which is on which Gareth recorded for pride in seed. [00:10:38] Something that needs to be talked about is the power dynamics that exist within the queer community, because the sign that doesn't get for about a lot, trans woman, extremely unsafe, like we're usually subjected to violence, or I can't attempted suicide, right? It's like 40 to 50%. That's like people living trans womanhood tried to kill ourselves. Obviously, if it's a minute, and if you're dead already, you can't contribute to the physics of attempted suicide. So it will be much higher than that. [00:11:12] And its violence, because [00:11:16] when you when something reaches those proportions within a population, you can't explain it is just an individual decision or an individual circumstance, because it's a, it's a whole population, being subjected to conditions, which are, in my opinion, incompatible with us survival, and that's why we die. And it needs to be talked about in all kinds of spaces in modern spaces and create spaces and, and spaces for people of color. And that's kind of what glitch, who he has been this weekend. And so it's been really, really good to be able to talk about the stuff with the community here. And I hope that the community at broad this country, we can take these discussions away from this space, and into those widest spaces and talk about the violence, which, as we as a culture, we're uniquely subjected to That moron, our white friends and our white family and the other paga members of that community maybe won't have direct experience, because it's something that they probably aren't familiar with. And they're not they don't experience. [00:12:30] I should also say that the interviewer, and that was he so it wasn't, I didn't have anything to do with the recording apart from commissioning the recording. And that was one thing that that that we were going to talk about was that peer interviewing thing where I think it's really important to get people from whatever community to talk to each other. I think I could never have got this information. I don't think I could have the immediate had a long standing relationship. And was one of those things that it seems to me it's not a it's a one to one conversation. It's not a it's not out there in the larger kind of group. [00:13:13] So let's launch right into a question related to that. [00:13:19] Someone does an interview with one other person, and then it's put on the internet? How do you let people know the implications of where that recording might end up with pride NZ, for example. [00:13:34] I try with all the interviewers. So I also do want to be open as well, we have a release form, and we say right at the start that this is going to be a public document. And if there's anything that they don't want the public don't know, just don't say it. It's not like an oral history where it's going to be in an archive for 15 years, it's going to be out there in the public, you know, like a week after it's been recorded. So that's one of the basic ideas behind Friday and Zika. Is that the visibility, so that actually it's accessible to anyone anywhere? And the idea that, you know, it's these stories that aren't necessarily in mainstream that should be kind of kind of out there. So yeah, I think it's in terms of the sitting up the interview, it's kind of trying to say, Well, look, you know, go on here, look at the website, see the the type of material, that's the I think people are a lot more savvy nowadays. I mean, I come from a public radio broadcasting background. And yeah, certainly in the broadcasting background, I mean, people understand that what's going on the radio. Nowadays, I think people are a lot more aware of media a lot more aware of, you know, sharing on the internet. Although there have been occasions where somebody said something, they've signed the document, the release form, and then come back a month later saying, I didn't, I didn't realize that was going to be healthier. [00:15:10] Yeah, [00:15:11] yeah. I mean, there is interesting. And I mean, how we try and structure the interview. So we do the stop recording and say, you know, you realize this is being recorded? It's going to be an open document, are you okay with it, do the interview? And then at the end say is, is there anything that you want? removed from it? Is there anything you're not comfortable with? The things you haven't been asked that you want to be asked those kind of questions. So it's basically just getting confirmation again, I've been saying that they're happy with it at all to be out there. I think most people are happy. I mean, once they've made the commitment of actually being recorded, I think they're happy to kind of talk about whatever. They have been instances with my knee, the youth recordings, we're, we've got a youth interview, say 1819, talking to somebody that's never been recorded before. And some of the stuff that comes out, you, as an executive producer are going oh, my goodness, you know, actually, we don't really want that out there. It's like, actually, the whole idea with pride in zero is not to not to make an environment where it actually hurts the participants. It's basically, you're basically wanting to put your story out there, but you're not wanting to to endanger them. [00:16:28] So I just didn't like going up gay and any vertical and just feel so ostracized from the rest of the world, because Danny Vic is an hour away from Palmerston North and an hour and a half away from Hastings. And so you were pretty much in the middle of it. So would you like to give a Tell us about your experience with flying or a relationship that you've had one fulfilling [00:16:54] relationship? [00:16:56] Okay, earlier on this year, I got really sick. Before I got really sick. I thought this fellow from fielding. And he was very, very nice. But he was also very, he wasn't, he was like, Hello, he was 25. And so I didn't care cuz he was attractive. And he was just like, Hey, I'm gonna hook up. Sure. And so I snuck out the first time in my life. difficult position. I'm like, right next to my parents bedroom, that stabled way around them. And so they happen. And then we pretty much knocked out on this car. And we're pretty much just drive to the reserve and made six in the sky every once in a while. But what happened was, like, after the first night, I made him, I got really sick, not bad. The first night, the first night we met and stuff and then he said, Oh, it's been a relationship was like, okay, it's all happy. And I got really sick, and I was sick for weeks. And was really bad. I gonna go to school. And what happened was after, after I got better, because during the entire time, I was sick. I was the like, I couldn't move my arm. I couldn't move this half my body very much at all. But I still snuck out and you know, had sex with them. Because what do you do? And I didn't, he really got mad. And by the time I actually got better and was able to go visit him and his family, then he wanted me to what happened was What happened? That's right. He told me that he broke up with me because as I was sick, I had gained too much weight. And it wasn't just me anymore. And I hit the roof. I just I thought Thank you. Thank you that does not go away. Go, go, go, go, go go. And then I just like slid him to the side. That's the end of that story. [00:18:52] So um, what is your definition of virginity? [00:18:55] Okay, right even so no, virginity is [00:19:00] not the first person he had sex with because even I got even though gotta go pregnant. That didn't constitute that is my virginity because I wasn't bisexual straight. [00:19:10] I constitute my virginity. It was the first time I had anal sex with a man. That wasn't right. [00:19:18] Yeah, so that's what's kind of going on there. So I act as the executive producer. So. So we had been who went and recorded these interviews, and there's about 70 of them around the North Island, then he would give the audio to me and I would just go through and just make sure that the wind, like if the full names, I would take out the full name and put just, you know, first name or no name. Or if there was stuff that really heard that the interviewee in trouble, I would kind of remove that as well. But you but then you'd want to kind of keep for, you know, the honesty. I mean, that's the best thing about those those kind of recordings. [00:20:01] And you sit there, when you heard that you're thinking there are other questions to unpack. So one of them's about the fact that he was really sick. [00:20:08] I mean, there was the power dynamic, you know, being pressured until six. And then it was last comment about, you know, right, not being, you know, the version. [00:20:19] Yeah. And so is that the same recording as on the website? Or do yeah, with a little bit content? Which is right. [00:20:28] Yeah, I mean, the thing I have done for these examples is I've actually made the move just a wee bit more concise. And so I mean, there's a, there's a wee bit more material around you. [00:20:39] And this one's from the beyond rainbows. [00:20:42] Now, this is from Q 12, which was a series of 70 interviews around the North Island. And we did a similar thing with the South Island, but only got around about about 30 interviews. So it was 2012. And we were kind of using the word queer at the time, but we've moved away from using the word queer because it seems to be less inclusive in rainbow. What so we're using rainbow now as a more inclusive, inclusive term. But it's very hard, because there's so many different tunes around sexuality in jeans, and to actually work out, you know, if you just want to talk, you know, and an overall cnet's, it's very hard to find a particular word or acronym. So rainbow seems to be kind of nouns in this problem is like, yeah, we find that Queer as quite as more politically charged, I think. Yeah. [00:21:38] So that brings us to the issue of labeling and naming on pride in ZU tag. Can you tell us about how you choose tags? So the names that you use and the words that Yeah, [00:21:52] well, one of the the issues with audio online is that it's, it's really unsearchable in terms of like Google. So at the moment, there's a very brief description about each audio interview might be one or two sentences. But the thing is, is I kind of post producing material, just tagging. You know, whether it's about you know, the, basically the tags of thinking in line of as a user, how would you, you know, is this of interest to a particular user group. So like, I mean, even if somebody didn't kind of identify themselves as gay, I would take it as gay because it might be of interest to gay people. And that's quite interesting, because it's from the users point of view. And it's also from Google's point of view, you basically want to make the information searchable. So the next best thing to a transcript was was tags, I guess. Yeah. [00:22:49] So how you decide to focus, you've got this very wide umbrella rainbow communities, and you've got terms like beyond rainbows. Can you tell us a bit about beyond your? [00:23:01] So yeah, the beyond rainbows was a project. One of the contract interview was, was very interested in looking at minorities within the minorities. So minorities, could be religion, it could be mental health, it could be alcohol use, always, you know, a whole variety of things. And just how do people fit in to a minority if they are feeling a bit different? So, and then, those stories are really told that often. And so I grew started doing a couple of years ago, and it's kind of expanded. So I think we've got about 30 different stories now and a whole range of different kind of aspects of minority. And I just love it, it comes back to that fear interviewing, where, as a swipe mail, I couldn't get that material, but actually kissing interviewers within those communities to interview each other. It's actually really, it's really good. Just because I people ask different questions, you know that they have different points of view on it? That's like, Well, actually, you know, I don't I don't want to hear my point of view or my questions all the time. [00:24:18] So how do you decide to focus? We talked a little bit about funding. [00:24:24] Yeah, so focus, like with with pride and seed it is. It's basically trying to capture a really diverse range of voices and experiences. But often, if you go for grants, so at the moment, a lot of it's just Christmas, personally funded, it's not three grants or through an organization. If it is a grant, you generally have to align your project with whatever that funding so like, I mean, and beyond Rainbows, we did more youth interviewing, because actually, that's where the money is. But actually, I would suggest that there's probably, you know, so many stories in the middle aged to older age group of rainbow communities that, but but that's not very attractive in terms of funding. So it's really hard. It's so hard. And I mean, they should be funding for youth projects. But then there's also also also be funding for middle aged and older projects. I don't think people stop having issues once they hit 25. [00:25:32] Should we play either Donna or rose now? I think [00:25:35] Donna would be great. Donna. Donna was a contemporary of common. [00:25:41] If you're different, you don't go near replacement, because they got onto themselves. You know, there's one here that you saw recently, nearly every night of the week, you know, take me to the sales and make me dress Andres, for every person that were there. And in the making these business, I'd fall asleep to wait till the next lot came on. And he might wake me up and make me do it all over again. And there was nothing I could do about it, no matter how I practice that there was nothing I could do about it. He was God. You couldn't if you like he'd say, Get in the car. And that's what I've done nothing wrong. It's I get in the car, I've done nothing wrong. You don't get in the car Have you at for for him bring a placement and his line of duty. So get in the car, and he'd make his drivers because he always had underlings with them. And they'd be the ones that he'd make a race me not him. And he'd make the guy speed off. And of course, we're talking 60s, you know, 63 456 and there was no seat belts and he tear make him tear around 80 miles an hour around the streets. And I hated spit in he knew your Achilles heels as they knew it to speed unless I'm in charge of it modeling controller. And he'd be abusing me corner me a shirt lifter, which I didn't even know what it means I poor Porsche and calling me names and Does your mother know you're a fuckin freak. And, you know, in fact, some nights I do that sort of thing, you know, all of us used to really upset me. And then he make him pull into an alleyway and turn on the lights, of course, it's dark, and the light turned on the inside light. And you can see yourself in the, in the window of the car. And he pushed my face and and push it and push it and push it into the window until I sit back off or because I think I gotcha. And the risk, it's a risk or risk, but you know, that's what they call it. Risk the thing? She's pretty [00:27:35] amazing. I yeah. I mean, there's nothing like that kind of first hand narrative, you know, the, like you're talking about, you know, those, those those narratives, those voices that stories are that that aren't told. [00:27:49] You mentioned she was a contemporary of common but not common. [00:27:53] Okay, so common was a transgender proportion of a bar and a nightclub and a brothel in Wellington, and was a real and really amazing kind of businesswoman and was very staunch on human rights and was a real advocate for a lot of kind of minority groups who passed away about four or five years ago. Yeah. [00:28:26] So common, sort of nearly like the glamorous public side of some of these stories, and it's really [00:28:34] common, told stories like this about [00:28:38] Well, it's interesting because I did a documentary for public radio on Carmen featuring Donner and Carmen's interviews, and the archive, were all very, kind of like she was saying, even though she went to prison, she had a great time, because, you know, the superintendent, made him make coffee and, you know, take care of everything. And it was always It was a naval Winton's bet kind of darkness that don't it goes into, it was really nice to put down an extra Carmen in the in the documentary, so that you could actually hear well, actually, there was a hell of a lot of darkness on there. And, you know, I think Don expresses as well. [00:29:13] So we'll start to wrap up. [00:29:17] The final question I want to ask before we play a little bit of response is, is Pattinson, calm and archive. [00:29:27] I think as soon as you say, archive, then it sets up all these expectations that it's going to be there forever. And as a, something that's personally funded, that's just not, that's not the case. You know, like, I mean, when I go, it will kind of go in its form. It's more, it's something before and archive. So it works in alongside something like the lesbian and gay icons of New Zealand. So it's more a creator of content that captures stories, and it puts them out there. And the whole idea of visibility is really important. So basically, it's a capturing devices a platform, and then then we'll move those into an archive at some point, an archive is here to basically keep them there forever. So not it's not it's not an archival, although, I mean, it's, it's like nowadays, in some ways, because I mean, people can go and search on your exit excusable one. Yeah. [00:30:21] And you've talked about to me about high quality mp3, audio, and your home, really, is that people can download it, take it away, do other things with it. And is that right? Or you hope they won't do other things? What are the risks of this? [00:30:38] I mean, I think the reason for having the high quality mp3 is available online is knowing that they will be archived somewhere. So it's not kind of putting all your eggs in one basket saying, Hey, here's an archive in New Zealand that will hold on to this material. It's saying, Well, at the moment, the materials are publicly accessible. If somebody was to download those mp3 raisins, store them in Germany or California, I wouldn't have an issue with it. I know that in 100 years time, they will exist somewhere might be dispersed around the world, somewhere better, actually, they will exist. Hopefully, that they won't just be these are often fine or something. They'll have some context around them, hopefully. But um, yeah, [00:31:18] you have a framework in terms of Creative Commons, or some other kind of, you know, copyright or licensing kind of framework that you've [00:31:26] entered into. Not yet. And it's interesting. I mean, there's, I mean, I would be, I would hope that if somebody wants to use the material, they would come back to me and say, can we use this material, because all the all the recordings, I mean, it's set up as a nonprofit. So that actually people record knowing that they're basically putting it out there in public, nobody's going to make any money from it. And it's going to be via for, you know, the greater good. Nobody at the stage has come to me and said, I want to use this material on a book, or in another way. I think that was the case, I would then go back to the interviewees. So you know, is that is that cool? But because it was established in 2009. So it's still very early. And I think those kind of conversations will happen in the next few years. [00:32:14] And finally, that nationally recently, the right to be forgotten might might arise in a digital archive. So someone had a young, really quite young, they happy to have this. But at some future point, I think you've had someone come to you and say, actually want to take it down. [00:32:31] Yeah, or even just being removed, because that there was a young trans person that was happy to talk three years ago, has transitioned now and actually is passing, they want to not be associated with that recording. [00:32:47] And I find that really interesting in terms of digital media, digital archiving, being different from other and and particularly young users putting themselves out there online and not really thinking perhaps that at some point, I might want better. Remember, I want to be forgotten. What are the implications of it? So we'll play one short final piece of audio, we're hoping you might respond to it. So have a real listen to it. Because it's, it's quite something. And now I was thinking when I was listening to this about Siobhan McHugh who's a radio scholar from Australia, and she talks about the greatness of voice and how important hearing the voices and that's that's from batteries, and he uses a slightly different context to shut down but libellous Close your eyes, and Hey, listen. [00:33:32] I have a content that I found that we didn't know how to live through the war, right? I mean, everybody got separated and things. And he was with him at Auschwitz as a teenager, and he didn't you notice they weren't rounded up till June 44. And so if you were lucky, and you know, then you could, people and it was only a year more. And he did. And [00:34:06] he had been there and [00:34:10] I couldn't believe it. I just except for one phone lead with him, it was all by the net. And it would be at work, I didn't have a home computer then. And I would be awash with feelings and stamp on next. But he said he told the story about the cuz I don't know anything about my paternal grandmother. And he is known her he was a teenager. So I used to questions. You know, what would they have sort of a lesbian granddaughter, but do you think you know, like, [00:34:51] carries them by her mitochondrial genes. You know, I had no idea. [00:34:59] Anything about her, but he didn't know. And he said to me, firstly, I found it so moving. These Jewish men, they spoke English and they came on to the train cover when they go to Auschwitz. And they said to them, which was my family, give the children to the old women. And it was of course because they were going to kill the children they were going to kill the old women. So the only chance that the young mothers had was to give the children to the old women I mean, it's obvious they were helping them [00:35:43] get [00:35:48] the times I've wanted to pick up a new movie See? [00:35:53] Anyway, he said the last time me so my grandmother, she was surrounded. [00:36:03] I was already alive in the forums. I am on a branch [00:36:10] to meet dentist door [00:36:14] neighbor nobody's there yet. You know Monday. [00:36:19] Rich, they were wrong. They never went to school. [00:36:27] And they certainly didn't serve summary executions. I became a lawyer [00:36:36] Chester's
This page features computer generated text of the source audio - it is not a transcript. The Artificial Intelligence Text is provided to help users when searching for keywords or phrases. The text has not been manually checked for accuracy against the original audio and will contain many errors.