The Taccones Live at SXSW

Summary

Podcast Summary: The Lonely Island and Seth Meyers – "The Taccones Live at SXSW"

Date: March 18, 2026
Participants:

• Jorma Taccone (The Lonely Island)
• Asa Taccone (Electric Guest, Jorma’s brother)
• Tony Taccone (Jorma and Asa’s father, theatre director)
• Seth Meyers (Host, in intro only)

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Episode Overview

In this special live podcast recorded at SXSW, Jorma Taccone and Asa Taccone, along with their father Tony, sit down for a wide-ranging, unscripted, and humorous family conversation before a festival audience. The episode highlights the creative origins and family influences behind The Lonely Island’s SNL Digital Shorts, the brothers’ musical journey from the Bay Area to SNL, and memorable stories of their personal and professional lives. Throughout the panel, they play clips from classic SNL shorts, share behind-the-scenes insights, and reflect on sibling dynamics, parental expectations, and the true meaning of DIY comedy and music.

Tone: Warm, irreverent, nostalgic, and candid—punctuated by laughter, light roasting, and an affectionate family dynamic.

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Key Discussion Points & Insights

1. SXSW Premiere and Immediate Context

[00:58-01:56]

• Jorma celebrates the successful premiere of his new film "Over Your Dead Body" at SXSW, comparing the audience energy to the beloved "MacGruber" SXSW screening.
• Jorma openly admits he’s plugging his movie:

  “I'm saying this all up at the top because we might use this for a podcast later. And I'm just trying to hype my own movie, you guys. That's the reason.” (C, 00:58)

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2. Bay Area Roots, Family, and Musical Influences

[03:19-05:53]

• Jorma and Asa discuss their upbringing in the Bay Area and how the political, left-leaning, culturally diverse, and musically rich setting influenced The Lonely Island’s comedy and sound.
• The brothers were immersed in hip hop, dancehall, and Bay Area “Trustafarian” reggae culture—which seeps into their work (e.g. parodying “white dreads” in skits).
• Both started making music as teens, using early digital audio software (Cubase, Reason, Logic):

  “All the stuff I was making was hip hop stuff. A lot of loop bass based samples...And I would make beats on this BR8, which is like a digital eight track thing.” (C, 05:27)

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3. The Early SNL Digital Shorts Era

[06:13-07:19]

• The transition to HD at SNL in The Lonely Island’s first year contrasted with their intentionally low-fi, gritty aesthetic, which ended up making their shorts—like "Lazy Sunday"—distinctive and authentic.
• Notably, “Lazy Sunday” was just the third SNL Digital Short and became a cultural phenomenon and an early YouTube viral hit.

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4. Collaborations and Mentorship

[08:07-09:23]

• Asa shares how his friendship and mentorship with Brian “Danger Mouse” Burton started in the same LA house where many early Lonely Island projects incubated.

  “He became my mentor in music and still is today, and produced my first album with me...He's my first phone call in life, often for kind of anything but for music.” (B, 08:44)

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5. Behind the Scenes: Creating Classic SNL Shorts

a. Natalie’s Rap

[09:41-13:04]

• Origin: Natalie Portman’s love for "Lazy Sunday" inspired her request to do a rap short—which the team agreed would have to be “filthy.”
• Asa tells how he provided the beat, originally submitted for an east coast rapper, which ended up being used for Portman’s viral performance:

  “I just sent it to you guys...Then it was like a month later, Natalie Portman was rapping on it.” (B, 12:18)

b. Dick in a Box

[18:07-24:25]

• The musical was co-written with Justin Timberlake, with heavy guidance from SNL music supervisor, Catrice Barnes.
• Jorma reflects on Timberlake’s supreme musical confidence:

  “The minute we were done with it, he was like, that's a hit.” (C, 22:03)

• The show's DIY nature meant budgets and licensing were constantly improvised; payment anecdotes feature, incl. Asa only being compensated $60 for the beat (see Notable Quotes below).

c. Other Shorts: Boombox & Motherlover

[24:27-31:12]

• “Boombox” featured collaboration with Drew Campbell; story recalls how LL found use for music that “nobody wanted.”
• “Motherlover” is discussed as a source of familial embarrassment, with their mom’s disappointed reaction. Jorma notes, “My mother hates this song. Like, absolutely hates this song. Was, like, so disappointed.” (C, 27:34)
• Ongoing conversation about how their upbringing and creative circle produced a distinct, irreverent voice.

d. Recent Works & Musical Episodes

[31:12-35:59]

• Jorma and Asa highlight their teamwork on the "Knuckles" musical episode (spin-off from Sonic the Hedgehog), drawing a connection back to family "roast" songs for their dad’s retirement.

  “There was this big kind of like farewell party. And we did this song, like, roasting him, that was kind of a rock opera.” (B, 35:02)

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6. Family Dynamics: Parental Influence, Rivalry, and Surreal Career Arcs

[40:41-45:59]

• Tony Taccone, their dad, joins the panel, laying bare the honest parental skepticism he once held:

  “Like, oh, I thought this was going nowhere.” (C/E, 41:18)

• Stories of family misadventures: grade negotiations, the police posting “house surveilled” notices due to Asa’s antics, Jorma peeing in his baby brother’s bassinet (“…like a rooster gone mad.” (E, 44:28))
• Tony frames the family philosophy: "Art is the highest aspiration of humankind."
• The roots of The Lonely Island’s formation: Tony cosigns a computer needed for their first projects, requiring a business plan from the boys.

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7. Audience Q&A and Quick Hits

[46:37-53:31]

• Favorite Lonely Island song? ("Iran So Far"—which caused major sample clearance headaches!)
• How did the SNL experience shape their later work?

  “All those 10,000 hours…there’s a dedication that I got from those guys.” (C, 47:42)

• Sibling fighting, working with other stars (Michael Bolton, Kendrick Lamar, Lady Gaga), and funniest Lonely Island lines (“My dad’s not a phone. Duh.” (C, 53:30))
• Reflections on production detail: Akiva Schaffer’s obsessive frame-by-frame editing notes.

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Notable Quotes & Memorable Moments

• On Early Digital Shorts DIY Style:

  “The early stuff, ‘Dick in a Box,’ even that—it doesn’t sound very good. But I think it’s why some of it’s kind of charming. It was just like truly DIY.” (B, 05:53)

• On Getting Paid:

  “We had no idea it was going to blow up that much…I never got paid for Lazy Sunday…This man at Christmas time, took me into another room, and he’s like, hey, man, I know you didn’t get paid for this, so check this out. One $20 bill, two $20 bills, three $20 bills. My man paid me $60 for that. I was like, I’m gonna go buy a nice shirt at the mall…” (B, 22:47-23:51)

• On DIY/Lo-fi Digital Shorts Aesthetic:

  “There was something about the graininess and, like, honestly, the beat being, like, pretty…it’s pretty gross, grimy, honestly. And I was actually, like, taking drums and, like, crunching them to like, make them even more shitty sounding. But, like. Yeah, like, I weirdly made it feel more special.” (C, 07:11)

• Family Rivalries:

  “We get out of the car [after Ace was born]…Jorma is pissing in Asa’s bassinet. Like, pissing in, like…like, this is like a rooster gone mad.” (E, 44:28)

• On Being an Artist:

  “Of all the members in our family who have pursued a creative life, I think this guy is the only guy who had to be an artist. I think the way his brain is structured…” (E, 45:35)

• On SNL’s Influence:

  “All that [SNL Digital Short] goes into like…There’s a dedication that I got from those guys...You’re always trying to stay one step ahead of…with Lonely Island stuff, the dumber the joke, the faster you tell it…” (C, 47:42)

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Key Timestamps

• 00:58 — Jorma welcomes audience, plugs new film, reminisces about SXSW premieres.
• 03:19 — Bay Area influences and family background.
• 05:53 — Early years and the sound/making of SNL shorts.
• 09:41 — Origin story and creative details of “Natalie’s Rap.”
• 18:07 — “Dick in a Box”: writing, music, production challenges and fallout.
• 24:27 — “Boombox”/“Motherlover” process/stories and family reactions.
• 31:12 — Recent musical collabs and “Knuckles” musical episode.
• 40:41 — Tony Taccone on raising creative kids, family anecdotes.
• 46:37 — Audience Q&A, favorite songs, working with stars, anecdotes.
• 53:30 — Funniest lines and favorite recent projects.

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Episode Takeaways

• The Lonely Island’s comedy—and particularly their SNL Digital Shorts—are deeply rooted not just in pop culture parody, but in a unique blend of DIY music, family support, Bay Area influences, and scrappy invention.
• The Taccone brothers’ path highlights the unpredictability and wild humor of creative partnerships, with family friction and love serving as both inspiration and comedic fodder.
• The group’s open, honest, and often self-deprecating storytelling demystifies their “overnight” fame, highlighting the years of hard work, collaboration, and sometimes just plain luck (and family resources) required.

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Transcript

[A]

Hey, everybody, it is Seth, and I'm here to tell you it was one of those weeks where everybody involved with this podcast was very busy and we did not have time to get together and record. But a very cool thing happened, which is Jorma was at the premiere of his new movie at south by Southwest, and he did a panel with his brother Asa and his dad. It was called Jorma and Asa A talk about life, sibling rivalry, and the lonely island. It was a free flowing, rollicking conversation, as you can imagine, when three Taconis get together. So that is going to be this week's episode. We really hope you enjoy it, and we look forward to getting back together and doing a regular episode when you next hear from us. Enjoy.

[B]

Hello.

[C]

Hello. We saw Andy Cohen backstage, and I was like, why did we schedule this the same time as Andy Cohen? I want to be over there. Don't leave, okay? Don't leave. Guys, first of all, here for over your dead body. If you can go see it tomorrow, please do. I'm so proud of how that movie came out and being at South By. I'm. I'm saying this all up at the top because we might use this for a podcast later. And I'm just trying to hide my own movie, you guys. That's the reason. That's the reason. Yeah. But it was an amazing response that we had last night. I've never had the experience of anything pop off the way that McGruber did when we did a screening here at South By. I will always have crazy love for this festival because of that. And last night was comparable to that. It was crazy. So it was really, really fun. Thank you. Thank you. All of this is being recorded, guys. Yes. Thank you. Oh, yes.

[B]

I just gotta say, Jorm's movies are extreme. And I remember at the premiere of MacGruber, I had to sit next to my 85 year old grandmother, and there's literally scenes where, like, people are on a tombstone and, like, just repeatedly. And it was. It was horrifying, for sure.

[C]

Oh, she. Our grandmother was so proud. And the two of us worked on a wonderful short called Dick in a box together, for which. For which we both won an Emmy. Thank you very much. I didn't even know that they could put the word Dick on an Emmy, but they did. I'm sorry, Mike, children are here. Hi. Hi, Zadie. Hi. Hi, Wiley. But she had a picture of us winning the Emmy, and she would talk to people and be like, look, they won an Emmy. And then people were like, what for? And she'd be like, I did. Wouldn't say it ever. This does not, obviously, you probably tell already. This does not have a structure. Me and Asa have been brothers for a very long time, but, like. But we sort of wanted to just talk about, like, our backstory of like, growing up in the Bay. What influences us, because it is very, very much what influences Lonely island musically in particular. And we've worked together on so many different things throughout the years of SNL digital shorts. Asa most recently was working on. What was it, Sushi, Glory Hole stuff that you were doing or. No, what were you doing?

[B]

I did the Charli XCX song.

[C]

Oh, the Charlie xxxt.

[B]

Here I go. Here I. Here we go.

[C]

Yeah, yeah. So like, so he's still working actually, like, we'll get to that. So I. I'll try not to jump the gun here. But growing up in the Bay Area, I just want to like, very quickly sort of go through like, our. Our influences. And with Annie and KE in particular, we all grew up listening to a lot of hip hop and dance hall reggae. Our years of loving stuff, like it was like 88 to like 96 hip hop. And so that influenced us greatly. In addition to like, all the things that the Bay brings, which is. It's political, it's pretty left leaning. I would say our parents were like, card carrying or my dad can explain this later. But like, but, you know, communists and. And which is super popular in America and. But, you know, like dance. All reggae, hip hop. All of that stuff is ingrained in a lot of the shorts that we have done over the years and has influenced both of us. And I sort of wanted to just talk about, like, how we got into making music. I obviously sort of fell off on making stuff, but we started at the

[B]

same time just like record digging for samples and whatever. Just fucking around in our rooms.

[C]

I had like, sounded at 16. I was messing around with Cubase. What were the first programs that you were starting?

[B]

I was a little later than you. I had like, reason and logic, just these early kind of programs, messing around, making terrible beats as well. But yeah, growing up in the Bay, there was a lot of reggae stuff which made it into the kind of Trustafarian Ross Trant vibes. Actually, that's my favorite. I think that might be my favorite Lonely island line, which is me toil part time at Jack Coldstone Creamery is so crazy.

[C]

We also had somebody recently write into our podcast. We have a podcast which is called the Seth Meyers Lonely Island Podcast. We've done over a Hundred episodes, if you guys haven't heard it. But we had somebody write in recently who from England. I think it was from England who said we toil full time at John Cold Stone Creamery. And we really appreciate it.

[B]

But that's kind of a real thing. Like from the Bay, there was like. There was just a lot of white kids that were like ultra into dancehall and reggae, but were also like kind of wealthy and you know. But they were white dreads.

[C]

Oh yeah. And for sure a lot of those

[B]

things kind of made it made its way to. To your guys skits.

[C]

I mean like, like. But like the early beats that you were making too, like all the stuff I was making was hip hop stuff. A lot of loop bass based samples. Matt Benelli open, who is one half of Radio Silence. We all lived together for early Lonely island. And I would make beats on this BR8, which is like a digital eight track thing. And we actually talked about this recently on the podcast. But like we were using all of this early program stuff to like makes. And a lot of your early stuff was hip hop.

[B]

Yeah. And actually in the early days, even when you guys got on snl, we were all still super broke. And it didn't sound that good. The early stuff, Dick in a Box, even that it doesn't sound very good. Don't even know why you hired me for a lot of the stuff. I was terrible at music back then. But I think it's why some of it's kind of charming. It was just like truly diy.

[C]

These well ladies like, like that being one of the first things that we made on snl. What I really liked and didn't even realize was such an advantage that we had was the first year that we got on SNL was the first year that they went full HD quality. And I remember actually being like annoyed with that. I was like, it doesn't feel as organic and really like they shouldn't go hd but. But because our stuff was shot on these crappier cameras, it actually felt. Felt more special. Like when Lazy Sunday hit, which is a rap video about going to see the Chronicles of Narnia. And this was like, it's 2005.

[B]

Was that the first digital short that you guys did?

[C]

No, it was the third. We made two. One had aired and like. But we were just us like messing around like outside of Annie and Keith's apartment. But like Lazy Sunday was. It was also the first time I'd ever heard of YouTube and so we kind of got intrinsically tied. But there was something about the graininess and, like, honestly, the beat being, like, pretty. It's pretty gross, grimy, honestly.

[B]

Yeah.

[C]

And I was actually, like, taking drums and, like, crunching them to like, make them even more shitty sounding. But, like. Yeah, like, I weirdly made it feel more special. Yeah, totally.

[B]

Totally.

[C]

Okay, so what was the very first thing? Because I will say this before we get into, like, actually some of the things that we've done on the show together. It's a true joy to me that my wife has this with her brother who does all the music for her films. That's Marielle Heller right there. She's a much more talented filmmaker than me. Like, inarguably more talented. But to be able to share something creatively with somebody that you're related to is, like. It really has been, like, one love you, boy. Yeah. Thank you, guys. That's what we're going for. You're that reaction. I do want to say this. Asa is in a band called Electric Guest and Early Days of the Lonely Island. I met a guy named Brian and a guy named Ben. Ben Lovett and Brian Burton. Brian turned out to be Danger Mouse, and he made the Gray album. Like, while we were all living together and making stuff, I met those guys through my friend Anna, who was doing an interview with them. She was like, you gotta meet these guys. And I met Brian and Ben, and they had a house, and we didn't have a house. And we were like, we're gonna shoot at your house immediately, because we were making all these shorts and everything. And so I became friends with Brian. And then at one point, Asa was making beats. Were you in the crazy.

[B]

I was in college, and I used to call you and play my terrible little music over the phone, and you were just like, oh, let me. I'm gonna put my friend on the phone. Put Brian on the phone. It was kind of before he did the Gorillaz and all you two and all that stuff. And he was kind of.

[C]

I think it was before the Grail, or was it right?

[B]

It was right before he did the Gray album. But you just put him on the phone and he was like, that's cool. And within five minutes, we immediately got into this kind of mentor mentee dynamic. And I ended up moving into the house that he lived in in la when he kind of blew up and left. And there was a studio in the house, and I got to work with all these artists, all these MF Doom and all these incredible underground artists that he was working with that I just kind of in from living there. But he became my mentor in music and still is today, and produced my first album with me. And just always. He's my first phone call in life, often for kind of anything but for me or.

[C]

Yeah, it is. It is for me. Yes. Well, I mean, you're welcome.

[B]

No, kind of. I mean, you know, you put me on majorly, majorly well.

[C]

So I think the very first short that we did together.

[B]

Natalie's Rap.

[C]

Natalie's Rap, Right.

[A]

Yeah.

[C]

So after we made Lazy's Sunday, just the backstory of Natalie's rap was that Natalie Portman came to SNL and loved Lazy Sunday and was like, we gotta make one of those. And we were like, I don't know, like. And then we were like, it's gotta be filthy if you're gonna do this. And then she started spitting, like, memorized full verses of Lil Kim lyrics that were so foul. And you were like, oh, she's down. She's like, she. She totally gets what this is.

[B]

But as. As I remember it, our pop is a theater director, and he had done a show on Broadway called Bridge and Tunne. She was at the premiere before you guys even got on your first episode of.

[C]

We knew her.

[B]

Yeah, before you guys got on snl. And she was at the after party, and we ended up hanging with her, and she was super cool, and I think that kind of like, broke the ice. Andy said, like, by the time that when she actually was a host or. Yeah, when she was hosting it months later, you guys kind of had this rapport, and it lent itself. She's like, okay, I'll turn up and do this super raunch.

[C]

I mean, talk about turnt up. Okay, do you want to talk about the beat before we play this? Or, like. Or you want to hear it? And then we're gonna play. My son's here. My son's. And he hasn't seen a lot of the stuff that we've done, so apologize in advance. This is very foul, Wiley. Okay, so, Chris, can we play the first. And we'll probably just go through the first chorus, which is. This is a nightmare.

[D]

We're sitting here today with film star Natalie Portman. Hello.

[C]

So, Natalie, what's a day in the life of Natalie Portman?

[B]

Like, do you really want to know?

[D]

Please tell us. I don't sleep mother off that yak and that turbin doing 120 getting while I'm swerving Damn, Natalie, you a crazy chick. You shut the off and suck my. I'm busting dudes mouths like gush's Mother roll up on NBC Inspector now. Jess. Sucker. What, you want Natalie to drink and fight? What you mean, Natalie? Just all night don't text me when I'm crazy on that airplane crew Put my foot down your throat till your

[C]

in my shoe Leave you screaming Pay for my Dr.

[D]

Cleaning man it's my name that he's

[C]

screaming okay, that's good. That's good, Chris. Thank you. So glad that's censored. So we don't. We don't get. We don't get super deep on, like, we've talked about this on the podcast before, but we don't get super deep on, like, how music is actually made. And there's a reference, like, the format of that song is very much based on an Ice Cube song where he's being inter. Oh, no, it's easy. I'm sorry. I'm so sorry. And it's called no More Questions by Eazy. But tell me about the actual beat making process.

[B]

Yeah, I mean, it was early days of me just messing around on my computer. So, again, I was super broke. I was part of this thing. I think I was at that time paying for this service called Dynamic Producer, which was like, we'll put you with real rappers in the game, and each month you can submit a beat. And I had done that beat for, like, some east coast rapper, probably some underground dude. And they didn't choose it or whatever. And so I just sent it to you guys, like, oh, maybe you'll like this. And of course, then it was like a month later, Natalie Portman was rapping on it. And I ended up actually going to Dynamic Producer, had one of these. This kind of, like, symposium, and all the producers came and everyone was like, bro, I can't believe that beat, like, really went. So it was just. It was super random. I was just kind of, like, sending you guys whatever I was doing at that point, and you were taking a chance on me.

[C]

I mean, the wild thing about SNL was that you'd make these things and then you'd see them. You know, you're watching it air for the first time, like, and the feeling that you would get as it's going out. And I loved being connected to you in that way. Like, I'm just being like, holy shit. This is like, the thing that is happening on a Thursday is now airing.

[B]

And I was in L. A. Just, like, sending you stuff. You're in New York. You guys would stay up all night. Sometimes you'd call me at, like, sometimes you guys would call me at 2 in the morning I was like, oh, it's 5am New York time and you're. I'm on speakerphone with Justin Timberlake and it's just like, it's wild. And I was just some kid, but that put me on. It's just like that was the beginnings for me.

[A]

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[A]

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[C]

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[A]

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[C]

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[C]

Speaking of Justin Timberlake, so let's go to the next thing we worked on together.

[B]

Yeah, this was the second time I think we did.

[C]

This is such a. That's my daughter. She's five. Okay, play the second one there, Chris.

[D]

Hey, girl, I got something real important to give you so just sit down and listen, girl, you know we've been together such a long, long time Such a long time and now I'm ready to lay it on the line wow. You know it's Christmas and my heart is open wide Open wide Gonna give you something so you know what's on my mind? A gift real special so take off the towel take a look inside is my In a box it's in a box not gonna get you a diamond that sort of gift don't mean anything not gonna get you a fancy car Girl, you gotta know you're my shining star not gonna get you a house in the hills A girl like you need something real Wanna get you something from the heart Something special Girl, it's my in a box, in a box room. It's my in a box, baby.

[C]

Okay, I think that's good, Chris. Yeah. Thank you. Thank you. We won an Emmy for that, me and this guy. It's printed on the Emmy, but shout out to Catrice Barnes, who is very sadly no longer with us, but she was an amazing, amazing music supervisor over at snl, and she made a lot of that beat.

[B]

So, yeah, she sent me those, like, initial. Just the chords. Yeah.

[C]

Oh, yeah. So, like.

[B]

Yeah, she just sent me this kind of skeletal thing, and I think it was kind of. It was actually. Was she the resident composer there at snl?

[C]

Yeah, so. So the way it would work is that snl, if you had any kind of. It was amazing because for people that, like, didn't write lyrics normally to. To any kind of song or whatever, there's tons of music that's being used for SNL and original music and things like that. So writers would be able to, like, just write lyrics of what they thought it should be and, you know, try to make it rhyme, obviously, and make it feel like a song, but they wouldn't have to, like, figure out how it's going to f or on a melody of the song. And then they would take it to Catrice, and, like, she was there on Tuesday nights when people were writing, and she would literally just bang out. They'd be like, I want this, you know, in the tempo of, like, this or, like, this style of music. And she was so well versed in everything that like, you know, like, we were basically like, we want this color me bad. You know, like, like r b. Like 90s. She. She banged out the chords. And then obviously I was always promoting you, always, you know, and, and not just obviously for hip hop, because you were getting more and more proficient with, like, other types of music, you know, constructing songs and like, and. And you t. Piano. I mean, I, I, you know.

[B]

Yeah, but you hear, that's about the extent of my skills at that point. Those horn. I mean, it's pretty bad, like, if you actually, you know, perk your ear

[C]

to it, but way more judgmental, like, oh, this is kind of fire.

[B]

But yeah, she sent me those kind of rudimentary chords, and then I kind of just built all the drums and all the horns around it and the bridge section and all that. And you guys were just like, man, make it sexy. You know, we want it to be real boys to men, Jodeci type, like, white boy sexed up songs. I was like, I got you.

[C]

You know, I. Guys are just so wildly stupid, just even seeing, like, the, the dance moves that they had. And honestly, like, like, it was so fun to do with Justin because, like, he comes from that, like, era of loving, because we loved all that. Josie H Town.

[B]

There's a lot of, like, did he write the melodies? How did you guys come up with the actual melodies for that? I wasn't there for that.

[C]

Yeah, I mean that. You're going to be surprised to hear this, but Justin Timberlake is super good at writing music. And I've also never met. Had anyone more confident in my life. Like, like, like, like the minute we were done with it, he was like, that's a hit. And we're like, I'm sorry. I'm sorry. What? That's a hit. He was like. And he was like. The, the whole time was like, oh, yeah. Straight to stop. I was like, yeah, it was wild.

[B]

You know what's crazy about that song is that I never got paid for that. Like, no, I'm not joking.

[E]

And, and that. And it.

[B]

We had no idea it was going to blow up that much. And it was around Christmas time. It was like, I didn't even initially get the joke. I was like, okay, yeah, dick in a box. But like, three and a half minutes of a whole song, like, how you gonna make this work?

[C]

Whatever.

[B]

And of course then I saw it. They're so visual. A lot of the times they'll tell you an idea of a joke and you'll be like, all right, okay. And then you see it visually. And you're like, oh, my God, this works so well. But I remember when it aired, it was, like, just popped off. And it was really early days of YouTube. And actually Justin Bieber's song Baby was the number one viewed song on YouTube. And this song was. When it went online, it went out like three days, and it was tied for the number one song on YouTube. And then NBC, because they're like, wait a second, I think we need to monetize this. They pulled it for about a year, and then it went back on iTunes for like, a 99 cent download a year later. But anyways, this man, at Christmas time, we had. We were at Mari's house, and he, like, took me into another room, and he's like, hey, man, I know you didn't get paid for this, so check this out. I'm not joking. One $20 bill, two $20 bills, three $20 bills. My man paid me me $60 for that. I was like, I'm gonna go buy a nice shirt at the mall, you know? But somebody made millions off that. It wasn't us.

[C]

Oh, Jeff Zucker made money.

[E]

Yeah.

[C]

No, I mean, I never got paid for Lazy Sunday. No, I don't. Like, I had to join a union because I was like, oh, wait a minute, I think I need to be protected.

[B]

I think at the time, I was like, pumped on the $60.

[C]

Like, yes, let's go.

[B]

Like, I'm gonna hit.

[C]

By the way, when you texted that, like, that was the story. I was like, I gotta go to the bank and give him some more money. I was gonna give it to him here. I'm like, I'm not gonna. I'm not gonna give him any more money.

[B]

That leads into the next one, right? It leads into. Oh, yeah.

[C]

What are we at? Are we. Well, I think we might be a boombox. Just play it. We'll play the next one and we'll see what it is, because I'm not sure what that was.

[A]

Yeah.

[C]

What is the next?

[D]

Imagine in your mind a posh country club. The stuffy old money where the poor get snubbed. The spread is bland sauerkraut and boiled goose. There's no way these people will ever cut loose. But then I walk in the room, hold my boombox high, and what happened next will blow your mind. Everything got out of control. The music. Music was so entrancing. Everyone got out on the floor. It was a bunch of old white people dancing. The Big Apple where people never dance. Spirits go down while profits expand. The cops or the dealers who's got the juice? The street vendors peddling their boiled goose so many types of people they'll never get along Till I bust out my boot box and play this song the music washed away all the hate and society started advancing. Every demographic was represented. It was a rainbow coalition of dancing. Everyone was wearing fingers. This.

[C]

Okay, that's great, Chris. Thank you. Thank you. I just love. It's so. It's so specific to have a line like, I saw a Spanish guy doing the Bartman. It's like, that's really indicative of our growing up in the Bay. You tell us about that one.

[B]

I mean, that was, again, like, all this stuff. I think the cool thing about especially those early years was it was so small. It was just like. I did that with this kid, my good friend Drew Campbell, who was just like, this drum and bass kid, and he was doing a lot of trance music. And we had this, like, this album, which was, like, kind of like a mix between big rap beats and trance stuff that we tried to give it to a million people. What is this music? And actually, Neal Brennan, I remember from Chappelle's show, when he heard this, he

[C]

was like, bro, why did you give them that beat?

[B]

And I was like, nobody wanted this. But Andy really liked it. And, yeah, that was just an early mashup of that.

[C]

So.

[B]

So was. Was a Mother Lover was from that same.

[C]

And shout out to Drew Campbell, because he also did almost, I think, all of the music for Bash Brothers. We've worked with him forever.

[B]

He's going to throw it on the ground, too.

[C]

Yeah, he's like, yeah, like, he's. He's been in the camp for a very long time. Yeah, he's the guy. Yes. We go straight into mother lover, then.

[B]

Yeah, yeah, yeah.

[C]

Oh, these are. These are a bummer for my kids. I genuinely think you should close their ears, honey.

[B]

Okay.

[C]

Yeah, let's. Oh, my God. By the way, just wait, wait. Pause. Thank you. Thank you. My mother hates this song. Like, absolutely hates this song. Was, like, so disappointed. There's been a lot of disappointment in my family, but, like. But this is. Anyway, let's. Our mother. Our mother. Yeah, that's right.

[D]

Oh, dang. What is a dog? I forgot it's Mother's Day. Didn't get a gift for her Other plans got in the way she'll be so disappointed. Damn, I forgot it, too. This could have been avoided what the hell are we gonna do? My mom's been so forlorn Ever since my daddy left no one to hold it Tight life is put her to the test. I know just what you mean. My mom's been so sad and great. My dad can't satisfy her in the bedroom ever since he passed away. Hold up.

[A]

Up.

[D]

You thinking what I'm thinking? I'm thinking. I'm thinking too.

[C]

Slow up.

[D]

What time is it though? It's time for a switcheroo. We both love our moms. Women with grown women needs. I say we break them off, show them how much they really mean.

[C]

Cuz I'm a mother lover, you're a mother lover.

[D]

We each other's mothers, each other's mothers. I push in that baby where you came out as a baby ain't no captain. It's crazy. Each other's. Every mother's day needs a mother's night.

[C]

Okay, great, great. Thank you, thank you. Another hit.

[B]

You know, to add on to what you were saying. Our mother was horrified. And actually my distinct memory of this was we like a month later were in a hotel in Miami because you guys were shooting I'm on a Boat. And we received as I remember, a letter, an actual written letter from our mother. And like my brother was saying our parents came from this hyper political leftist thing. And it was just this scolding and she was just like, you guys, Obama is gonna be elected and it's time to step up these, you know, immature jokes. Penis. And I was like, I'll just do the music. This, this man is the one with the. Whatever.

[C]

Amazing. How many things just asked what sex means. Oh, great, great. We'll talk about it later. Say, just listen to the podcast. Oh my God. Okay, this continues after this. Yes. What were we just talking about?

[B]

Just our mother.

[C]

Oh, yes. Yeah, yeah. No, it's actually really funny because like there's. There's been so many things she's been like, she so wants, she wants the best for us for sure. And when I like made a children's book, she was like, that's what you should be doing. Why do you have to like MacGruber? Why? Why is that? And, but you know, to bring it back to this movie that I just made that the over your dead body. I have not seen someone laugh at like ultra violence. Like, oh, does she like it? She loved it. It was shocking. And my mother in law as well, like, like horrifying stuff.

[B]

Yeah, she doesn't hold her tongue for sure.

[C]

Anyway. Hypocrite. Okay, well, so, so there's been so many other things we, we've worked on, but I did want to play this before because I'M paying attention to the clock here. We have a little timer here. But the thing that actually made me want to get back into like feature film stuff because I'd been doing television for a number of years and I did a spin off of a Sonic the Hedgehog show called Knuckles. I did a very weird episode of that show, which is eight minutes of it is like a musical. I do want to play a little bit of that because Asa made all the music for that and it was a really fun thing. And this really prompted me to want to get back into making a feature because it was a bigger episode. I had more money on this episode than I did for the feature that I just did for like an eight day shoot. And it was just really fun. And we'll play that and hopefully that's entertaining to you guys. Let's see. Wait. I'm not in the show, am I?

[D]

Prepare yourself, Wade.

[C]

Because if you want to learn where

[D]

Knuckles true strength lies, you must see this quest through his eyes. You must become him. This is going to be awesome. Wait, I'm Knuckles. I mean, I'm Knuckles. Hey, Wade, don't make this weirder than it already is. Got it. Good.

[C]

Now

[D]

on a glorious quest. Hello, Wade. Jack for glory. What? With his hands of stone and bees that never buckle Come and witness the tale of the warrior Knuckles. Yeah.

[C]

Uh, what is Jackson Claire doing here?

[D]

Clearly you two have unfinished business.

[B]

Ah, yeah, no.

[C]

Fair point.

[D]

He does have me locked up in

[C]

a giant cage right now. A proceed.

[D]

And now we begin our quest. When a hero was only a lad he was trained by the greatest his dad had the technique and also the guts he prepared to kick multiple butts but the giant owls, they did come. They had one mission to kill everyone. Knuckles and dad didn't know what to do. Yes, they were doomed. The owls, they clawed and they kicked they hooted and flew into fits they set fire to the town and burned it to the ground I'm so freaking upset. I can't sing about it. Father, you can't leave me.

[C]

I won't, son. I never. No. Let's stop it there. Let's stop it there. I would love to play that entire thing because it builds so crazily. It gets so weird. Michael Bolton's in the end of it. It's like it's so buck wild and it was so fun to do. And then Asa also sings the voice of this demon later. But I want to be able to get to questions and things like that. So we're not gonna do that. But if you want to talk about, like. Like, this also relates to over your dead body pop star MacGruber. But Ace's other half in Electric Guest is Matthew Cornbread Compton.

[D]

I don't know.

[C]

Why is his name Cornbread?

[B]

I have no idea. He's. He doesn't have an interesting story for it either. It's just like, he's a Southern kid, so, like, okay, you know, all right,

[C]

he liked Cornbread, I guess, but he

[B]

composes a lot of stuff and he's. He's done some.

[C]

He did. He did Palm Springs as well. He helped on that, like, but he's worked with us forever, so he composes with you oftentimes. And. And you guys have done a lot of other, like, TV stuff and. Right, like, like, yeah.

[B]

And I remember when you came to us with this, you're like, oh, we're gonna do this like rock opera. And we had actually some years before our pop had not retired, but he had left his job. And there was this big kind of like farewell party. And we did this song, like, Roasting him, that was kind of a rock opera. It was just all about how he was a tyrant to work under.

[C]

That's really.

[B]

And that was so special moment for us. But it was basically the same thing. It was like a very similar beat. So that was kind of my, like, inspiration for this.

[C]

That's funny. That's funny. When we made this, we didn't know how this was going to be aired with. With this roasting of my dad. And it was the who's who of San Francisco elite. Like, like, it was like an auction with, like, really, like, well to do. And then we were like, like, we made this video roasting our dad. I remember actually playing it for Andy, and I was like, I don't feel like it's mean enough. And he was like, it's pretty mean.

[B]

I was like, yeah, no, we destroyed him for sure.

[C]

It was really, really funny.

[A]

Support comes from Shopify. When we started this podcast, it seemed like we had to figure it out on our own. Scripts, setups, filming locations, logos, schedule, everybody's schedule. The fact that we could maybe do it the same time every week. But no, that was a non starter. It was all super overwhelming. And every day seemed to introduce a new decision that needed an answer. You know, when you're starting off with something new, it seems like your to do list keeps growing every day with new tasks. And that list can easily begin to overrun your life. Shopify, though, Shopify is a tool that answers all those questions, simplifies everything. It's a game changer. It's a commerce platform behind millions of businesses around the world and 10% of all all e commerce in the US from household names like Aviator Nation, Untuck it to brands that are just getting started are thriving. With Shopify, you can get started with your own design studio. With hundreds of ready to use templates, Shopify helps you build a beautiful online store that matches your brand's style. Start your business today with the industry's best business partner, Shopify and start hearing Sign up for your $1 per month trial today at shopify.com lonelyisland go to shopify.com lonelyisland that's shopify.com lonelyisland support comes from Vuori I just got the stratotech hoodie. It's so soft it wicks moisture and Yoram doesn't have it. He's soaked. The Sunday performance jogger is still one of my favorites. Great for working out, lounging in post workout recovery and for exercise I wear my favorite core short, the one short every sport. They're all stylish, comfortable enough to wear all day. We should get the we like sports guys to do a one short every sport sport ad but gonna be a premium, not gonna just be a normal ad read to get the just two guys. They're soft, lightweight, four way performance stretch with a breathable boxer brief liner look. The great thing about a Vori it's comfortable. You can wear it all day long, you can work out in it, you can hang out at home, you can wear it at work and you know, people don't give you a hard time. Although it's hard to tell, you know, because I am, you know, where I work. It's I think I could look pretty bad without people saying anything on account of it being my show. But I could tell you that if somebody wore Vuori into my office, I'd have no problem with it because I think it's a wonderful thing to wear. Vuori is an investment in your happiness for our listeners. They're offering 20% off your first purchase. Get yourself some of the most comfortable and versatile clothing on the planet. Vuori.com island that's V-U-O-R-I.com island exclusions apply. Not only will you receive 20% off your first purchase, but enjoy free shipping on any US orders over $75 in free returns. Go to Vuori.com island and discover the versatility of Iori clothing exclusion supply. Visit the website for full terms and condition. Support comes from Grow Therapy therapy in this economy? Yes, it's possible. Just ask the million plus people who have already found care with Grow Therapy. It's therapy that's insurance friendly and designed to fit real life with no subscriptions. Whether you're carrying family conflicts, self doubt, sadness that won't quite lift, or the fact that you're the only one this week who was willing to do ad reads of you and your three co host, Grow Therapy is built for that. With thousands of therapists and 90 plus specialties, help is closer than you think. Whether it's your first time in therapy or your 50th, grow makes it easier to find a therapist who fits you, not the other way around. They connect you with thousands of independent licensed therapists across the US offering both virtual and in person sessions, nights and weekends. I can tell you as someone who has benefited from therapy over the years, there's nothing quite like being with a professional and talking through how how you are feeling in times of need. Whatever challenges you're facing, Grow Therapy is here to help. Grow accepts over 100 insurance plans. Sessions average about $21 with insurance and some pay as little as zero depending on their plan. Visit growththerapy.com island today to get started. That's growththerapy.com island growththerapy.com island availability and coverage vary by state and insurance plan.

[D]

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[A]

Terms apply.

[D]

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[C]

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[D]

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[B]

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[D]

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[B]

Ends March 24th.

[D]

After three months, Plan Auto renews at 12.99amonth.

[C]

Terms apply. I do want to get our father up here real quick. We As a special guest, we're going to have. Have Tony Tacony come on up. It's a family affair. Daddy, can we get him a mic? So tell us about how great we are. I apologize. I do want to ask a specific question, which is we've talked about this on the pod, and I know you maybe listen occasionally. I don't know. Okay, the question is, is that when we got snl, at one point you were like, oh, thank God. And I was like, what? And you were like, like, oh, I thought this was going nowhere.

[E]

Like, like, I never said.

[C]

That is not true. We differing.

[E]

I never said that.

[C]

Oh, yeah, okay. What was your opinion?

[E]

I mean, you know, you have kids and they're playing with Legos one day and you think, what is this kid going to end up doing? And in my case, these were not children who were particularly.

[C]

Oh, no.

[E]

Exceptional.

[C]

He bagged on us so hard for a school. Okay, so.

[E]

So I went into Jorma's bedroom one time. He's like a sophomore in high school. And I was like, dude, your grades could be so much better.

[B]

You're.

[E]

You're smart. You know, you have the capacity to be really an excellent student. And he said, dad, have you seen the kids who get straight A's? No way. Okay. And that was the end of that. And then, I mean, with Ace's high school experience, the single biggest memory I have was the police coming to our house and pasting a poster, gluing a poster onto the front door which said, this house is being surveilled. Like, seriously. And like, that was like, okay, what are they gonna be doing for jobs and a profession? But, I mean, of course, looking back on it, I mean, they were raised in an artistic environment. My grandfather was an artist, my dad was an artist. And in our family, we were sort of schooled with the idea that art is the highest aspiration of humankind. And that was an incredible gift, an incredible long term gift. And these guys were exposed to that. You never want your kids to grow up into this field, but they kind of ended up having no choice because they were surrounded by it all the time. And they're also both, fortunately, both brilliant guys. So it worked out.

[C]

There's a drawing that I made in third grade that is Superman flying into a toilet. And it says, I want to become an actor because my dad is a director. And I'm sure at the time he was like, this is hilarious. My kid's going down the toilet. But, like, the fact that you framed it, it's in our house.

[E]

Right now.

[C]

Yeah. And this is where we're at. Speak on this kid too, dad. Like, like.

[E]

Well, I mean, I think. Well, just it's worth sharing one story about sibling rivalry. So both of these guys were born at home. And there's a picture actually of Jorma when Ace is literally coming out of the chute and Jorma is there going, Macaulay Culkin. And so, you know, oh, my God, you have a baby brother. It's so amazing. It's beautiful. And, you know, love him more than anybody else in the whole world. And then a week later, we go to the hospital to get the check up and, you know, they're having this wonderful bonding experience in our minds. And we get out of the car when we get home, and y runs into the house, like, ahead of us. We're like, oh, he's excited to be home. We're carrying Asa. We come in the house, and Jorma is pissing in Asa's bassinet. Like, pissing in, like. Like, this is like a rooster gone mad.

[C]

This my shit.

[D]

It was like, okay, so they're maybe

[E]

not not have some trouble as the years go on.

[C]

So that's why he got $60.

[E]

I remember also when the lonely Allen was first, these guys were unique because they went to junior high together and they had this pack that they were going to get together after college and work together. We were like, yeah, like that'll ever happen. Who does that? They did. And they came to me and they said, said, listen, we don't have a computer. Can you front us on this? So I said, well, what's your business plan? And they sat there and they kind of explained to me what they're going to do, and I said, okay. And then when I remember us going up to Berkeley Reps prop department and robbing the prop department of stuff for awesome Town, actually, we ended up doing that.

[D]

Oh, wow.

[E]

Yeah, we ended up robbing the prop department. You guys were picking out wigs and all that stuff.

[C]

We got $70,000 to make awesome Town, and it was supposed to be seven minutes long, and I think it's like 18 minutes long. But, like, that' did that. It was all just beg, borrow, steal, right? Yeah, that's right. Oh, my God.

[E]

And that. But with this guy, I would say this is going to sound odd, but of all the members in our family who have pursued a creative life, I think this guy is the only guy who had to be an artist. I think the way his brain is structured.

[B]

Okay, let that soak in.

[C]

Because I could have Been a lawyer.

[B]

No, no, but I'm the real.

[C]

No, no, no, no boy to do it.

[E]

No. Well, I had no other choice. No. I just feel that he had a particular. Just predisposition for it that felt like it was sort of in it at a preconscious age.

[B]

Bombing out of school, getting you evicted, which I did.

[E]

That did happen.

[B]

Lent themselves to the only path I had.

[C]

Also the party that you got him evicted for, Nate Heller, was at my brother in law. So it's all pretty full circle barrier.

[E]

It sounds a lot more traumatic than it was.

[C]

Anyway, it was a great party, though. It was a great part.

[E]

You want to take some questions from your.

[C]

Oh, yeah, yeah. Let's stay up here though. Okay. Oh, they're already up here. Okay. What's your favorite Lonely island song? Oh, I know what it is. It's Iran so far. And when we talked about. Oh, look, it. It goes off when you. When you. You answer it. Also, just talking about samples and beating samples that we. We talked about this before, but I've sampled Apex Twin for that, and I didn't tell NBC that it was a sample. And then they had to pay $160,000 for that sample. And then they kept every. Every beat that I made after that. They were like, is there a sample? I was like, jesus, I learned my lesson. All right. What's the process of working with Andy Samberg look like? Kind of moody sometimes, but he's worth it. He's worth it. Let's see.

[B]

Wait, I got a question. I have a question for you that I actually wanted to know because I don't know who in the audience saw this man's movie last night, but I. Yeah, yeah. That was the first time everyone in my family seen it, like four times, and all the edits, and I had never seen it. And I was genuinely like, oh, damn. I was. I was blown away. And I was wondering, was there anything in the early, like, Lonely island days that technically that you learned that. That, you know, made its way to.

[C]

Yes. You know, when that book came out with like the whole 10,000 hours of like, all early Lonely island stuff that we did at the. Like, I learned editing from Akiva, the computer that my dad helped us purchase. I Learned Final Cut 3, and then it went up to 7 before Final Cut imploded. But, like, I learned editing from Akiva. And then we edited every single one of the shorts that we did at snl, often together in different rooms. And then we would join file. But, like, we put in thousands of hours and we got our 10,000 hours doing that often at, like, 5 in the morning. Like, I say this a lot, but, like, I had a moment at SNL where I'm editing something at. I don't know if it was a McGregor or whatever it was, but I'm editing at 5 o' clock in the morning, and I literally. My body starts shaking because I'm so tired, and I fell on the floor and went to sleep, and I was like, okay. But all of that goes into, like. There's a dedication that I got from those guys. So, yes, all those 10,000 hours of, like, going into. Especially, like, in that movie, there's so much that goes into, like, jump scares and horror and, like, that is so similar to comedy and how comedy is, like, you're always trying to stay one step ahead of. I always say with, like, lonely eye and stuff. The dumber the joke, the faster you tell it, because you just want to be quicker than the audience or, like, surprising and fun, you know? So, like, all of that went into. To the movie. I would say your man Asa. As siblings, what are some ways you irritate each other? And also, what are your ways of getting over a fight? We've had some fights.

[B]

Yeah, we've had some fights. Remember when we got a fight at that restaurant in front of everybody? That was crazy.

[E]

I was there. You left me there there to actually negotiate with it.

[B]

That's right. Yeah. That's because we tried living together. That was the problem.

[C]

Well, I. Okay. I have a different perception of just

[B]

get out of town.

[C]

Different perception. Wait, what was yours? This was. Was this the one, though, that. Because we had one at Smokehouse that was. Oh, yeah, yeah. That was pretty dropped in. I don't think we are over it. Is the short answer. Yeah, exactly. Next question.

[A]

Okay.

[C]

Audience have listened to and loved your work with the legendary Michael Bolton in past songs and creation. Who is another musician that you would love to work with? Who would you love to work with?

[B]

Oh, my God, there's too many Biebs.

[C]

Bieber. I mean, it's so crazy to even say that because I'm like, oh, we worked with him. Yeah, you guys have worked everybody.

[B]

I was gonna say Kendrick, but you guys worked with Kendrick. In my room, you know?

[C]

Yeah, yeah, yeah. A song called yolo, which was, by the way, before we showed all of those videos, that was the one song I could play for my. Because it doesn't have cursing in it. This is Kendrick Lamar. Do you have anybody else that you like it would actually like to work with?

[B]

I Mean, you know, we occupy kind of different lanes. I think because of my association with you guys and that I was lucky enough to do all that early stuff. People still hit me up for comedy stuff like, yo, do you want to make my comedy album? And I'm like, I am not. That was just a random slew of years where I was involved.

[C]

He says that, but he's a very, very, very funny person. Oh, well, thank you. Like, like, here, do your. Do your impression of Michael Jackson for a second.

[B]

Oh my God.

[C]

Do it real quick.

[D]

I could.

[B]

I couldn't.

[C]

Okay.

[D]

Well,

[B]

No, but people still. I like, I mean, I, I think I got, I was lucky enough to. I got a lot of like, gigs like for American Dad. I do all their kind of like, musical stuff. And there's been a bunch of shows. I did like, you know, Portlandia.

[C]

We did the. The Simpsons. The Simpsons hit me up to make a beat. I was like, ah, like, like Lady Gaga, do it. Yeah.

[B]

And I got.

[C]

I had just performed naked in front of Lady Gaga too, at the show. You can look up your dances. I, I so like. So then I was like, oh no, you should work with my brother. And then I remember going in and seeing like it was Matt Groening and you and Gaga. And I was like, hi, nice to see you again. Anyway, that's too complicated to explain, but it's crazy. Like you've worked with Gaga. You've worked with like he's worked with the weekend like you. Yeah, I did.

[B]

Yeah, I did like the music for his HBO show, the Idol. And I've gotten a lot of things kind of through you guys, but quote unquote serious music or non jokey stuff occupies like a different lane. So. And I produce a lot of bands and different acts in that stuff To Portugal the man and yeah, exited a

[C]

song called Feel it still, which was quite popular.

[B]

But no, I've been lucky. But I don't have like you. I feel like you guys, especially because of the SNL years, you guys just so many people came through that building that it was just like the who's who of. Of anybody for kind of the.

[C]

Oh, like we didn't even talk about Julian Casablanca. Like we were, we were so into the Strokes and like to have that dude come in and like be deferential was like so weird.

[B]

Oh yeah, I remember. I remember when you guys did boombox. Like you guys rented this house in Encino and I just showed up there one day and he was like playing tennis with Danger Mouse and when he got off the court all sweaty. He was like, oh, you did boombox.

[C]

Like, what's up?

[B]

And I was like, oh, my.

[C]

You're in the strokes. Like, this is crazy. Jorma, you've said that Akiva taught you how to edit. What's the biggest editing lesson you've learned from him? Let me just say one thing about Akiva, and I've said this on the. On the podcast before, but there was a moment where he was so up in arms about a lip flap being off on a music video thing. He was so mad about it. He was like, it's way off. It's way off, dude. It made me go back and forth, back. It's like a five minute back and forth, back and forth. And he's like, now it's good. And I was like, that's one frame. It's one frame out of, like, 24 in a second. But I will say that's what I learned from him is, like, a level of dedication and never, ever letting it out of your sight of, like, trying to make it better. Trying to make it better. Trying to make it better. But having said that, psycho. Let's see. Jorma, to this day, what's your favorite line that you wrote?

[D]

God.

[C]

Favorite line. Oh, I do. Like in throw it on the ground. My dad's not a phone. Duh. Yeah, I like that. Okay, what's the funniest short scene or moment you produced or written? I. I think I'm always in the camp of, like, the latest thing is the thing I'm the most into. This is Z. Wy, do you want to come up, too? It's a family affair. Okay. This is Zadie. She's in her own short. I've been talking about this on the podcast, but she. She and Wy are in a. A home movie that we've been doing is an epic adventure Joseph Campbell tale called the Sparkly Crown Crown. Zadie named it as well, and these guys come up with great ideas for it. Will Joe Montana ever come back? Hands down, the best part of Bash Brothers. Thank you.

[E]

I.

[C]

Yes. Yeah, sure. Let's have him have his own spin off. Oh, we have 56 seconds. I think we'll probably just have to wrap it up. You guys. This is my whole family. My. My wife is over there. Thank you guys so much for coming. Over your dead body. April 24th. I keep saying it. Thank you. Really give it up because it'll make it sound better. Yeah. Thank you. Thank you. All right. Love you guys. Thank you.