Friday, January 12, 2007
Mitch Hedberg was heading places. Specifically, the piney hills of northern Louisiana, where fans of the comedian were waiting at Louisiana Tech. Driving east out of Texas, with his wife and fellow comic Lynn Shawcroft at his side, Mitch was a happy man.
It was Oct. 5, 2004, and Mitch was playing to adoring crowds during his tour with comic singer Stephen Lynch. That night’s gig in Louisiana was a solo one. He’d hook up with Lynch a few days later and miles down the road, in Atlanta, to resume their tour.
But this afternoon it was just Mitch and Lynn, the road stretching in front of them as Mitch piloted the RV that had become the couple’s home after more fans discovered Mitch’s comedy and demanded his appearance, keeping him on the road. After releasing his first CD, “Strategic Grill Locations,” on his own, Comedy Central Records had re-released it on a large scale, along with a follow-up recording, “All Together.”
The cover Lynn drew for “Strategic Grill Locations” showed the comic as his audiences saw him, with his eyes closed and his long brown hair hanging in front of his face. Never totally at ease on the stage, Mitch wore tinted glasses or kept his eyes shut tight when he talked to the audience, tossing off clever line after clever line in his unique delivery, a slow, halting speech some would mistake for the cadence of a stoner.
“I don’t wear a watch because I want my arms to weigh the same.”
“This shirt is dry clean only. Which means … It’s dirty.”
“My apartment is infested with koala bears. It’s the cutest infestation ever. Way better than cockroaches. When I turn on the light, a bunch of koala bears scatter, but I don’t want them to. I’m like, ‘Hey, hold on fellows. Let me hold one of you, and feed you a leaf.’”
Piloting his RV, cellphone earpiece affixed, Mitch submits to a lengthy series of questions about his career, his comedy and his future.
Unfortunately, his future would be cut short. Less than six months later, Hedberg would be dead at 37, felled by a drug overdose. His fans refuse to let him slip away, making bootlegs of Mitch’s performances available, clamoring for the release of his 1999 movie “Los Enchiladas” and collecting everything written about him. In the interest of adding to the record of Mitch’s life, here is a transcript of that conversation.
What’s it like touring with Stephen Lynch?
It’s good, man. It’s real good. It’s two completely different acts. He’s a pro, man. He puts on a good show. It’s a good thing. He travels light and he’s not all about entoragues and shit, so it’s great. I’m enjoying it.
You toured with Lewis Black and Dave Attel about a year ago. How did that go?
That was heaven, man. That was like two of the comics I most admire throughout my career and I was on tour with them. I’ve always been a huge attel fan and I knew of Lewis pretty well. That tour was great . I went on first every night. They sold out everywhere they went, or we did, I guess I could say. It was almost like a rock and roll tour. As close as I could get. I don’t think I could top that tour, really. I wish that tour would have went on forever.
Why are you guys being paired together, first you and Lewis Black and Dave Attel and now you and Stephen Lynch. Who’s putting this together?
Some crazy dude in San Francisco named Geof Wills. Geof Wills is a mastermind. Me and Attel and Lewis Black is an obvious match but me and Lynch is a less obvious match, I think, but I think he was right, man. I think he did a good job. It’s hard to find other comics that can sell tickets. I’m not saying I can, but sometimes I can. There’s not that many comics in this bracket. It’s hard to find people to tour theaters with, you know what I mean? Not a lot of options.
Which do you prefer, solo or tours with other comics?
Well, it depends on what I’m doing. If I’m doing this big thing there’s room. So far touring with other comics is good for me because I don’t have to feel the pressure if the show doesn’t sell out. I mean, I don’t have to feel half the pressure. As far as touring clubs, I do enjoy myself. But I like to bring another comic on the road with me, let them go on before me. It’s good to have other comics around. I’m not looking to have the total spotlight, but I think next year I’ll go on a solo theater tour and see how it goes.
What did you learn from Attel and Lewis Black?
I learned that signing stuff for your fans is a good thing because those guys would go out every show and sign every autograph that was wanted whereas I’ve always been the type toget upset when someone wanted my autograph or take a picture. I’d say why? But I learned that was a good thing. I also learned that you shouldn’t ride in a van with Lewis Black for nine hours because he gets a bit cranky. I also learned that having a TV show or being on TV on a regular basis certainly helps your recognition factor. Attel, especially, I learned what true fame was. I thought being recognized once a week was cool, but he gets recognized 10 times a day. It’s pretty amazing. I felt I kind of wanted to go into that tour as an equal and it turned out I was sort of opening for them in the end. I think that was cool. I think to a degree it was right. I’ve got my fans and they can be kind of hardcore but they’ve certainly got as many or more fans than that. It was a learning experience; I felt like I was learning and I can apply some of that knowledge on this tour so it’s good.
Would you put yourself on an equal footing with Lewis Black and Dave Attel?
I think on standup yeah, but on popularity and other things no. But I think in standup we can all do an hour of equally different and yet I don’t want to say good shit, but yeah I think I’m equal on a standup basis with those guys. They are further along. Black did an HBO special and Attel has a TV show and all that. I don’t know, man. They’ve been around a little longer. So I guess I’ve got one foot equal and the other foot’s a little bit lower.
Lewis Black’s HBO special was a long time coming. When are we going to see yours?
I know, man. It was great to hear that he had one. I don’t want to be 55 when I get my first one. I would take it, but hopefully it comes a little sooner. HBO is real slow at giving out specials. It’s depressing cause it’s so cool and I really want to do one. I’m gunning for it, man, but I guess I have to wait my turn. So far it’s not like someone’s getting one that I felt I deserved before. Once that happens then I’ll … There’s no pecking order, I guess. I don’t think David Brenner needed one before I did but that’s David Brenner’s business and good for him, right. George Carlin’s going to get another one before I am too.
What would an HBO special do for your career?
I don’t know. I would have to scientifically test it. Even though I don’t know how many people have HBO, it just gives you a cachet that pretty much you can’t top anywhere else. I’ve been on Letterman. I’ve been on Conan. I’ve been on what’s that guy? The tall guy?
Mitch: Kilborne. Yet it can’t beat an HBO special. Maybe it would do nothing as far as popularity. I assume it would. And also Lewis had an ad in Rolling Stone. How cool is that?
Lynn: Carson Daly.
Mitch: I’ve been on Carson Daly, too. That’s right. And Jimmy Kimmel. But they all don’t compare to an HBO special. But it’s all great. I did a half-hour special on Comedy Central and it did really well for me, so I assume an hour on HBO would just help me even more. I think it would make me on the scene. I’d be an official full-on I’m here man. Maybe I could fill theaters by myself and just tour them. I love touring theaters. That was a long answer, eh?
What made you decide to do a CD?
Well, I was actually going to film this show and try to make a movie, kind of like my own HBO special, but it turns out that night as I was about to do that I got the Comedy Central special so I said, "Well, what am I doing now with this night in Houston?" Someone said, "Why don’t you just record it on CD?" So I did. It was real off the cuff but it was a good idea. Because I wasn’t selling anything at that point and selling CDs can be quite lucrative. It helps out a lot. A lot of people have that CD whether it was from buying it from me, I think people got it from Napster and other sources. It spread around and helped to get the word around. In the end it worked out great. I didn’t realize what real sales were until I get a deal with comedy central records and they put my CD out; I think I’m almost to like, close to 100,000. That’s not band numbers, but that’s good numbers for a comic. That’s crazy. I thought I was selling a lot on my Web site. I think my mom packaged 4,000 and she thought she was a champion. So thank God she didn’t have to package 100,000 because her mouth would be dry. (laughs)
You joke on your second CD that this one’s going to be in stores, instead of sneaking it in. Sound like a big difference between the two, although both are on the Comedy Central label.
That’s right. They re-released that first one. There’s a big difference in that I talk faster on the second one and a little louder. I read the reviews for it at first but then I started hearing some people saying they didn’t like it as much and that kind of depressed me. But it is what it is and I’ve had some people say they like it. I got a voice over job from this sandwich company called Jimmy John’s. It’s kind a Subway thing. They said we want you to do what you do on your CDs so I assumed it was the first one. But it turns out they liked the second one. Stylistically, I think what I’m after is a mixture between the first and the second. I think the first one a lot of the stoners grabbed onto it and they liked it, then they got mad when I talked louder and faster. They think I’m a big stoner. The stoners got mad. They think I’m a big stoner and I’m not. I think the first one I sound stoned and I think that’s what they like about it. What can you do, right?
You can’t please everybody.
That’s right. That’s what you’ve got to remember.
The CD is not carefully edited. It’s strictly here is a show.
Yeah. That’s what I wanted to do. I wanted to present the show with all its lulls and its mistakes. I think that was cool. I’m glad I didn’t do it for the second one. I think the re-release of the first one is nice. It tightens it up a little bit. That also came from a laziness of not wanting to go in and edit it, to be honest with you. That was part of the factor. I didn’t edit the second one. Maybe that’s a mistake, I don’t know. But to listen to myself over and over and figure out what was good would suck. I only taped one show, too. That’s all I had. I had one show. It was either edit out the bullshit or just keep it in. I said keep it in. It was too long. I put too much material on my first CD. I could have saved some of it.
The second one came with a DVD.
Yeah, they put the DVD in and lately I’ve been having weird reactions to that because there’s a DVD of my comedy central special and then there’s the unedited version. The unedited version is the actual show and the actual show wasn’t quite as good as the edited version. Some people like it. Some people don’t. It’s cool, though. They’re making more money off me. I get a buck thirty-three for every sale. It’s a buzzkill. What can I say, man? It’s weird, you know.
What did they change with the different versions?
When I did the show, when I did the special, the next day I was like, "Oh, my God, that was horrible, we can't have that get on TV." So I called my manager. I said, "That was horrible. We’ve got to bury that." He goes, "Don’t worry, don’t worry. You can go see them edit it." I went in there and they showed me what they were doing and I said, "Oh, that sounds great." It looked good. I was like all right. The actual show was a little bit rough. People laughed but it was an LA crowd like when they bring a bus down to the promenande in Santa Monica and just pick people up and say want to go to a comedy show? So It wasn’t people who were diehard comedy fans. It was just people whowere diehard see a show for free fans. Maybe get their face on TV. I even think they told them they were going to see Chris Rock, and Chris Rock was nowhere to be found.
Did that piss off the audience?
Maybe. They weren’t horrible. I wish they would tape those things in a town that was like comedy hungry, like Houston or Minneapolis. There’s beter places to tape a comedy special than LA, that’s for sure. If I get a special of my own, if I get a choice of a city, it definitely wouldn’t be LA, I’ll tell you that. That thing kind of got my name out there so up to that point not many people knew who I was. I didn’t get anyone who actually knew who I was come to my shows until after that came out. It was my first break.
Who would show up at your shows before the Comedy Central special?
That’s a good question. Who would show up? I had a cult following. I had a minor, minor cult following but it was pretty much people who are going to the comedy clubs. It’s hit or miss sometimes, man. It’s weird. It’s almost like people need to know you or your jokes before they’ll laugh at them. It’s kind of bizarre. It’s like, "Oh, now I understand that joke. I can go and laugh at it live." It’s like what you need to see shit twice to think it’s funny.
Any plans for more CDs?
Oh, yeah. I can’t wait to do another one, man. I asked them when I could do another one, they said you’ve got to wait a year. Hopefully, I can do one in January or something.
How does recording your act change it? Like you said, they hear it and can laugh at it. Do you lose the surprise of the joke? What does that do for your act when It’s recorded already?
I like to write new jokes. I can’t write so some guy who knows my act sees a whole new show but I’m pretty good at writing new jokes, knock on wood. I get this weird reaction from some crowds where they yell out jokes they want to hear. I just decided to do it. If they ask for a joke I’ll do it. The ones that they ask for they don’t laugh as hard as the ones that they’ve never heard of. So I think they like hearing the ones that they’ve heard already but the initial surprise is gone so the laugh isn’t as loud. But I’ll do it. If they get exicted, that’s kind of cool. It’s cool to be able to do old jokes because somebody requested it as opposed to I’m just doing it because I ain’t got no other shit. Like: "Hey, I wouldn’t be doing this joke but you requested it."
What are they yelling? "Koala"?
Yeah. "Koala." Or "Dufrane." I’ve got about six jokes that they yell out. "Smacky the frog." It’s wild. I can control it. So if I don’t want it to happen, I can just kind of keep pushing. But if I start pausing and trying to think, they’ll yell shit out. Once I do one, they yell shit out more. They get a little crazy sometimes. I’m happy about it, though.
Who do you think is funny?
Who do I think is funny? My latest answer has been Triumph the Insult Comic Dog. I saw him in Montreal and man, I love that dog. And the guy who holds him, Robet Smigel. I’ve always loved Dave Attel. I think my wife Lynn Shawcross is really, really funny. Ali G, there’s a good one. I like Ali G. I like all that hip comedy shit like Mr. Show and David Cross, but I also like Andrew Dice Clay. I just saw him. I think he was hilarious, man. I think my dad’s funny. Barry Sobel’s hilarious. And Bill Murray, of course.
What got you into comedy originally?
I was trying to do something. I wanted to be in a band because I thought long hair and playing an instrument was cool and that didn’t work out. I wanted to be in show business. I had no problem making people laugh. I just went down and did it. It didn’t go well but I liked it. This is something I can control. I wasn’t going to be a cook at Chilli’s my whole life. That wasn’t going to happen. I found something that I could work on and slowly but surely I could make it a career. Even if I stay here where I am right now and never get any more bigger it would be a lot better than what I was doing.
You got your start in Florida?
Yeah. Fort Lauderdale initially, up and down the lower east coast down there. I did some shows in Miami and all that. I moved to Seattle and then started going on the road. It was all open mics in Florida and when I got to Seattle I started actually working. I got four gigs in a row and I quit my day job and I haven’t looked back.
What was your day job in Seattle?
Another cooking job, at the B-liner Diner. It was a pretty popular place up there. Kind of a hip diner where you stood in front of the customers and made waffles for them and stuff. I always felt kind of grubby in kitchens and I like the closed kitchens better but my last cooking job was an open kitchen where you had to make the food right in front of the customers. It was kind of tough at times. But it was fun, though.
Where did you learn to cook?
I was a busboy at a restaurant in Minnesota. I was just jealous watching the cooks. I used to watch them lay out an omelet on the grill. This looked so fun to me, something as ridiculous as that. I learned to cook in my home growing up. I just liked cooking. I thought cooking was fun. It just turned me on. I did it for a long time. I did it for as long as I could. Now I just cook for myself. I cooked for some people; now I cook for myself.
What was the first joke you wrote? Do you remember?
Yeah, The first joke I wrote was probably "Why do people go to mattress stores and lay on the mattress?" Of course, that wasn’t funny. The first joke that actually worked? I had long hair and I was standing on the stage backwards with my thumb out and I’d say "This is how I hitchhike." I’d start walking towards the wall. I’d say, "The lazy way, actually walking down the highway instead of walkings backwards. I get a lot of guys pick me up, but they were horny men with bad eyesight," I wrote. It works for me, man. I don’t have it my act no more, but it was my first joke that I could do night after night and get a laugh. It’d be like on spot in my whole 10 minutes on stage that would be a laugh and that would be it. It would be was so memorable because that was the only joke I had for two months. Then I started writing ones that worked and got better at it.
Did you always close your eyes on stage?
No, I started doing that and I can’t stop. It’s horrible. It’s a horrible habit. It’s really comfortable to me. I know it’s annoying for some people in the crowd but I just do it. I think eventually I’ll open them again.
What comfort does that give you?
I don’t like to look at the faces because even though it sounds like everyone’s laughing, if you look around you’ll notice a lot of people ain’t. And that can throw you off. I’m just not good at eye contact, never have been. I don’t want to put people on the spot. The easiest way to make someone laugh is to look at them while you’re telling the joke. I think I’m vulnerable on stage. Well the people in the crowd are feeling way more vulnerable. They’re probably scared shitless of the comic talking to them. If you’re looking at one person in particular, they’ll always laugh at it. I really should open them again and check that out because it’s not as bad as I think.
When I first saw your special, I thought you were blind.
I’ve heard that. I’ve heard that a couple of times. It’s a weird habit. I never wanted it to become a hook but I can’t get out of it, man. I open them and it feels so weird. I don’t know. As long as no one gets mad, I guess I’ll keep doing it. Eventually I’ll open them. I think within three years they’ll be open. I’m giving it three years.
How has your act evolved?
I slowed down. I got a little more confident. Lot of stage fright early on. My arms would fly around. I used to shake the microphone a lot and I calmed down on that. When you first start comedy you don’t know if you should tell stories, tell jokes. I’ve always been a better storyteller. Over the years I’ve realized that the less words I say in a joke, the better the joke works. My jokes have gotten shorter. I’ve just become better at doing radio and stuff over the years. Like, radio is an important thing in standup. When you first start doing it you’re like "I don’t want to tell my jokes on the radio; I just want to talk." But then you realize you go on the radio and tell jokes it works so much better. I’ve gotten good at radio. Sometimes. Sometimes it doesn’t go good. But pretty much most of the time it goes good. I’ve just gotten more professional, too. It’s a good thing.
What advice would you give other comics starting out?
I would definitely tell other comics never listen to club owners because club owners love to fuck with young comics. I would say never be afraid to piss off a club owner and never be afraid to relocate if necessary to get what you want because you’re eventually going to have to travel in this business anyway, so get out there and get your name known. You’ve got to do it. You can’t let some local club owner push you around because that’s what happens, man. They push young guys around and they say well I don’t like this. I don’t care what they like. You’ve got to develop your own act and stick true to what you like.
Is that what happened to you?
I think so. I think what creates an act that sounds like another act is the fact that they tend to listen to someone else. I think everyone has a game plan at the beginning that they want to do what they want to do and I think some people go off that plan. It doesn’t help. You’ve got to tough it out a little. I listen to younger guys who tell me that they’ve been fired at clubs. That inspires me. I’m like, "Good, man." You’ve got to get fired somewhere cause if you’re going around the country as a comic who’s just starting out and you’re pleasing everybody, there’s something wrong. I was happy to hear that this guy got fired. I think you’ve got to get fired. I think you’ve got to piss a couple of people off. Hopefully not everyone, but a couple. So that’s what I think.
Did you get fired from some clubs?
Oh, yeah, I got fired a couple of times. I think every young comic must remember that there’s always another gig. You can do bad and keep on traveling and find another gig. You’ll get good before you piss everybody off.
Why did you get fired?
I got fired because they thought I was just bad. They didn’t like it.
How did the club owners mess with you?
They would tell you how to dress. I came from Florida and I wore shorts on stage. I never thought comedy was about clothes, unless you want to make the clothes part of your act or something. But I saw a hyprocrisy in that. If I wore shorts on stage and talked about it, then they would be OK. This one guy who used to say shit to me isn’t even in the busines anymore. You just know that about these people so it’s like why worry? I mean, some club owners are just comics that gave up on the road and gave up on trying to become famous so they’re a little bitter. They’re nice for the most part. I tell you, they turn around as soon as you go on Letterman or become a draw to a degree, some guys, I can tell, book me that in the past wouldn’t have booked me. It’s weird. You don’t grudge out on it. You just deal with it.
What’s the appeal of being a road comic?
Well, the appeal is I don’t want to be just a road comic, but being out here you got to go out and do the country. That’s what’s it all about. It’s not just LA and TV. I think any good comic should take his act on the road. I think it’s a great place to be and the audiences deserve it. They deserve guys to tour.
What’s the next progression in your career?
Man, I don’t know anymore, man. That’s a question I’ve been having a problem answering more and more as time goes on. I don’t know what to say anymore. I just don’t know where it’s progressing.
In the past it’s been standup comedy equals sitcom.
Yeah, but that didn’t work out for me. I have to say, I’ll probably get a show on cable, man. Like a Comedy Central show that’s based on me and we’ll go from there.
You’ve done some acting. You were in "Almost Famous" and you made your own movie. Would you like to keep doing that?
Yeah, I would actually. The reaction to that [my movie] at Sundance kind of burned me a bit but I was seriously into it and I would seriously like to get back into it, so that’s a good idea there. I would like to write and direct again, and I think I will. I’ve got to come up with a good idea for a movie and take it from there. Write the script. I could probably even finance it myself if I wanted to. That’s probably something that’s in the near future.
Are you looking for ideas now?
Exactly. It ain’t easy, man. I’m real great at writing jokes but I’m not great at writing scripts, man. I had a period where I was doing pretty well, but you’ve got to stay on things to get good at it. You let it go, it gets rusty fast.
What’s your writing process like when you’re writing jokes?
It’s as simple as writing down ideas, man. Taking what I remember. I used to sit down with the point of writing. Now it’s more thinking of something and maknig sure you write it down. Very simple. Very, very simple.
How much ad-libbing do you do when you’re on stage?
I try to do a lot. I try to do a lot. I’ve always wanted to be semi-spontaneous on stage. I just don’t want to be a repeater. I try to do a lot of ad-libbing. Soon as it backfires, I’ve got the jokes. Sometimes I feel like doing it more often than others.
Do you get tired of some of the same jokes?
Sure, but they’ve got me to where I am, so I try not to be that way. I try not to get upset about having to do them. You just kind of naturally lose the passion in telling it. You’ve got to rethink that sometimes. It’s almost a challenge, a joke that’s old to tell it good. I kind of look at it that way; if I can tell this joke good, I’ve done something. But I try to write new stuff a lot, so I don’t have to do too much old stuff.
Some of the jokes on your CD you laugh a litttle before the punchline. Does this strike you as funny even though you know how it’s going to come out?
I don’t know, man. Sometimes I get goofy on stage with the laughing and stuff. Some people find that appealing. Some people hate comics that laugh at their own jokes. The laugh is more about feeling ridiculous on stage.
Yeah. Yeah. If I’ve heard my joke 100 times, I don’t think it’s funny anymore. that’s for sure. Sometimes the place makes you laugh.
How do you know when you’re writing a joke that it’s going to work? Do you try it out on someone first?
No. No. If you try it out, chances are that person won’t laugh and you’ll be scared to do it. You’ve got to try it on stage. Sometimes you write something you know right away it’s going to be good. That’s rare but it happens and it’s great. Most of the time you’ve got to work on something a little bit. You go on stage and you saw it and you’ve got to t weak it. I’ve always thought that comedians always think funny. I mean, you’re a comic, how can you possibly think an unfunny thought? Or how could you pssibly take an unfunny thought to the stage? If it’s funny to you, it’s probably good. If they don’t laugh at it, you’ve got to work on it a little bit. That’s the way I feel.
How do you decide what order you’re going to do the jokes in?
It’s come to the point of whatever I think of next. It’s definitely come to that. I used to have it in order. I have enough jokes that I can pull them out of my head. I like that. It’s a lot better than having an order. Sometimes you’ll think hey, this joke will work perfect here and I can do that now. Whereas with an order you’re stuck to that. I just like it better, man.
Obviously you’ve been compared over the years to Steven Wright. Do you get tired of that?
No. He’s great. I never emulated anybody in the beginning, so any kind of comparision is purely coincendtal. If you put a tape of him on and a tape of me on, I don’t think the similarities are strong enough to call it plagiarism or copyright infringment. I think it’s a cool compliment.
Both of you tell very short jokes.
And you speak on the slower side.
Exactly. That’s exactly it. But he’s a little more surreal. He talks about stuff that could never happen. Most of my stuff has happened to me or has a degree of truth to it, and that’s a difference too.
Liike the koala infestation?
Ah, hah. You busted me. I said most of it though, not all. That’s what the thing is, man. A lot of people think my jokes are purely made up. The bit about the frozen banana probably came from a moment when someone asked if I wanted a frozen banana. I think it can go off into a fake territory, but the koala infestation never did happen, you’re right about that.
Talking to you, your voice is a bit smoother it is when you’re on stage. You have more pauses when you’re performing.
You know what it is? It’s because I’m driving this big RV. It makes you talk slower. I don’t know. I just got more to say on stage now. Sometimes I still pause, but if I pause now people yell jokes out. So I try not to pause sometimes. I’ve got a lot to say, so I just have to get it out there. I do so many shows, my CDs are just one show each. Shows can be so different from one another. I do eight shows a week sometimes. Lot of times they’re different. They change up a lot.
What’s the bad part about touring?
The bad part is the food is bad because you don’t eat good on the road. You tend not to go to the dentist and stuff like that. I guess hygiene issues and health issues. You’ve got to stay healthy, man, and the road can make that hard. You’ve got to work a little harder to make sure that doesn’t happen.
Do you travel with your famly?
Just my wife. We don’t have kids or anything. We travel together. She’s a comedian. I’m a comedian. We work together.
How does that work out?
You don’t get sick of each other?
No. Not yet. I know my wife enjoys having time for herself. That’s for sure. It’s a good marriage for me, I’ll tell you that. Because I can just tell. I’m glad she’s a comic.
How did you guys meet?
We met hanging out at the festival up in Montreal. And I liked her comedy.
Will she do a CD?
Oh, yeah. We’re going to get her a CD soon. Read more!