Paris Humphrey On Producing & Putting In The Work

Josh: The Daily Talk Show. It's The Daily Talk Show, episode 615.

Tommy: What's going on, guys? What's happening?

Josh: Paris Humphrey in the building.

Tommy: Welcome. Oh, and we've also— we've got Cam on the couch. Hello, Cam Couch. We got the full PJ, uh, Jason PJ team in the building.

Josh: Just about. Almost just here for, um, emotional support.

Unknown: Yeah, just here for moral support.

Josh: No, I get that.

Paris: Yeah, I needed him like at work a few days ago when I knew that I was going to come in. I was like, oh, you went there the other day, like 'Will you come with me?' And he was happy to do it.

Unknown: Yeah, she wanted me to wait outside as well before.

Josh: Oh really?

Unknown: Because just to make sure she got the right place.

Josh: Well, because yeah, you're waiting outside and then Tommy's like, 'I think Cam's coming as well.' I'm like, 'Why do you say that?' It's like, he's downstairs.

Tommy: I saw him from the balcony. I was out on the blower and I was like looking down, I was like, 'That guy in the red hat, I know him.

Josh: That's Cam.' Well, you can either have one of two choices. You can pretend like if you're in a cafe, pretend like you didn't see the person that you know or like lean in and go up and say, hello, I've seen you.

Paris: You know, I usually don't lean in, but I always really like people who lean in. Those people who always say hello, I'm always like, oh, they're the best. And then when it comes to me doing it, I'm like, well, no, I haven't seen you, don't know you.

Tommy: So does it make you feel nice when someone acknowledges you there?

Paris: Oh yeah, definitely.

Tommy: Yeah, okay. No, I think it is.

Josh: I did it the other day. We had a meeting.

Tommy: Oh, let me guess.

Josh: It was at Jack Post's. Wife Bianca. She was sitting right— I just, I felt like such a boss because I just normally I would just be sweating, being like, I've seen someone, this is a nightmare, what do I do? I'm in another meeting. And I was just like, hang on a sec. Hi Bianca. She's like, oh hey Josh. I'm just going back to my meeting. It was a nice moment.

Paris: Do you get that panic that even though you really know someone's name, you're like, I don't know their name, even though you know it, you don't want to say it?

Josh: Yeah, well, I've definitely felt that of late, where it's especially like doing the live shows, because, or even when we, um, when we came into your office, there is a sense of we know everyone. Do I call Cam Cam, or do I call him Franco? Do it like, you got— everyone's got two fucking names. It's a nightmare. I nearly called you, really called you, uh, uh, Little Pete. I think I actually did in the podcast.

Tommy: What is that?

Josh: Well, because Little Pete Lil Peep is her nickname. Okay. And I called her Lil Peep.

Tommy: So you spent some time on doing the regional radio thing?

Paris: Yeah, I did. I did that for like, oh, like 2 years. And now I'm here in Melbourne.

Tommy: 2 years. And if you don't make it after that, you're out. Well, that was my experience.

Paris: Well, that was what I was thinking. So that's why I got out of there because I was like, obviously this is not the path for me, I guess. Yeah. But yeah, no, I did like, I only did about 6 months in Tamworth and I did it with Super Radio Network. So that was, that's like the Bill Correales Network. And then I went from there to Toowoomba where I worked for SCA HIT.

Josh: And Tamworth, they have a big guitar.

Paris: Yeah, it was, the station was right across the road. You could see it.

Tommy: That's where Kel worked. My mate Kel, he's Kel and Wally. They had a show in Tamworth, but they got the music festival. It's meant to be sick. That place has like, what's the population? And then on the weekend of the music festival, it like triples.

Paris: Yeah, I think it goes from like 20,000 to like $160,000 for the one weekend. It's like that week is sick. It's the rest of the year that's like not so sick.

Tommy: Yeah, ghost town.

Josh: Yeah. But so is it like there's the other, like in the US you go to, where did Taylor Swift go to that sort of country? Like what's it called?

Paris: Texas, Tennessee, Tennessee, Nashville, Nashville, Nashville.

Josh: Yeah. It's like Tamworth is like the Nashville of Australia.

Paris: Yeah, that's what everybody says there as well. They say Australia is Nashville.

Tommy: But it's still in Australia and real bargain. There's something about this sort of American version of it that maybe it's just for Australians.

Josh: The novelty factor.

Tommy: Yeah. Yeah. When you go over there, it's like a bit of like, oh, from the movies, you know, the accents and that. But then in Australia it's like, you know, mate, you want to do music? You can.

Josh: Yeah. I mean, I'm guessing you've got a bunch of followers that you accumulated while being in Tamworth.

Paris: Oh, Tamworth was a really really strange experience because basically when I went there, they just launched a new station. The station was 92.9, then they changed it to One FM and it was supposed to be like Tamworth's taste, like take on modern music. And it was supposed to be this whole new thing, but then it only existed for the 6 months that I was there and then they rebranded back to the old thing as I left. And so no one really listened to the station in that time. It was just a new thing. I mean, I made like 2 or 3 friends there and I'm— but I'm not really sure if anyone was listening.

Josh: It was called One FM.

Paris: Yeah, it was One FM at the time, but then and it changed back to 92.9.

Tommy: It's the old rebrand reversal. You just, you doubled down on it, then you're like, fuck, this didn't work. 6 months is not long to give something a try, is it?

Paris: Well, the boss got fired as well. It was a whole, the whole time I was there, it was a really big, basically I got there the week that everything started to go downhill and there was like big investigations and it was just the craziest experience I've ever had in my life as far as radio goes. The storey was already on Radio Today.

Josh: That's why I feel like I can share it because they've already spoken about it.

Paris: About it, but it was just an insane time. And then this new CD sort of came in and he was great, but I only had him for a week because I was already on my way out. I'd already known that I was going to Tamworth. No, not Tamworth, Toowoomba. Yeah, now I'm getting them mixed up, but everybody else in my life does.

Tommy: The double T's. Tanya Hennessy was in Toowoomba, I think.

Paris: Yeah.

Tommy: Ryan John was in Toowoomba. Yep. Is it? I mean, we just, we've had the whole Toowoomba, we've had the whole Toowoomba on our show.

Josh: Yeah.

Paris: Yeah. Matty Acton was in Toowoomba as well.

Tommy: Gotta get him on the show.

Paris: But yeah, Tanya and Ryan both had the same co-host that I had when I was there. So a guy called Hamish, he has been the host of the Hit Network, I guess, up there, the Hit brand for 20 years. So forever. And he sort of had every person who's gone through there has shared. He actually just resigned this week.

Josh: What's he doing now?

Paris: He's going to go and work for the turf club there.

Tommy: What's a turf club?

Josh: What is a turf club?

Unknown: What is that?

Paris: It's like the club with the horses. Yeah, it's a big thing. Toowoomba is very like, it's got the most millionaires per capita or something for Australia. It's very like upper class regional, I guess. So things like the turf club are taken quite seriously there. Like golf club.

Josh: Is the guitar solid or is it, is there anything in the guitar?

Paris: In Tamworth, it is plastic because I gave it a knock.

Tommy: That's where 1FM was.

Paris: Yeah, it's like papier-mâché.

Tommy: Really?

Paris: It's like, well, it's hard papier-mâché.

Josh: It's Fat Fridays today. It is. And so we were actually, we, I called Jase and he didn't answer and then he called me back and said, what the fuck do you want? Stop calling me. Yeah. And I said, what should we have for Fat Fridays with Paris? And he mentioned that you have a thing for McDonald's cheeseburgers.

Tommy: But there's one small caveat.

Paris: Yeah. No meat.

Josh: Yeah. No meat.

Paris: No meat.

Josh: Are you a vego?

Paris: Yeah, I am a vego. I'm a dirty vego.

Josh: A dirty, there's nothing dirty about a vego.

Tommy: Unless you don't wear deodorant as well.

Paris: I also wear deodorant.

Tommy: Or you just have dirt on you and you're vegetarian.

Josh: Dirty veggie. I could imagine a lot of— there's probably correlation between veggos and the people that use the crystals as deodorant. Have you ever used crystals?

Paris: No, I've not used crystals. I did try the natural thing for a while. It does not work. No, the natural deodorant, like, it's sort of like— it's more like a lip balm.

Josh: I like Mr. Pitts. Are you using that still, Seb?

Mason: Yeah, but I'm getting irritation.

Paris: That's actually—

Mason: I actually found another one near Well, actually, my mate Andre found it, but I'm going to move to that next.

Josh: What is it called?

Mason: Can't remember. It's got a purple label on the top of it. Smells like lavender.

Josh: It's probably made of lavender.

Tommy: Yeah, it's probably natural.

Josh: And so anyway, for Fat Fridays, let's do Macca's.

Tommy: Yeah. So, I mean, you still pay full price for a cheeseburger?

Paris: You get a discount.

Tommy: Do you?

Paris: Yeah. I don't know exactly how much it is, but you do get money off. I think it's like a dollar or something.

Tommy: And so have you sort of been in a scenario where you're with friends and they're getting Macca's and and they're like, okay, Paris, what do you want? And you're like a cheeseburger without the meat. And they're like, what? Sorry, what?

Paris: Yeah, I guess, but I don't fear their judgment.

Tommy: Okay, no, no, great.

Josh: How long have you been a vego? Are you a Game Changers vego?

Paris: Well, so I was like a vegan like 5 years ago and I did that for 2 years. And then I moved up to the snow and I did a season. There was a chef there and basically they were like, we only cater to vegos and meat eaters, not vegans. So then I went vego around then and I've just been that way ever since.

Tommy: That's still good.

Josh: When you're in the snow, were you working? Were you doing radio?

Paris: Yeah. No, I was a lifty.

Tommy: Oh, cool.

Paris: Yeah, I was fully into it. I'd never done radio at that point, so that was like right out of high school. It was like 6 months, went to the snow, and then I came back and I started working in a surf shop and doing community radio and stuff like that.

Tommy: You know, a lifty once threw a snowball at my face.

Mason: Really?

Tommy: I don't know if he meant to do it to my face, but he meant to get me. And it made my nose bleed and it was just pouring into the snow. It was almost like it was good because it's like, you know, look what you've done, you idiot. Just bleeding just all over.

Josh: I can imagine you really—

Tommy: I was very annoyed. Anyway, I want to try this, um, cheeseburger no meat. I haven't eaten meat from Macca's. I've eaten chicken, I think, a nugget or something, but I haven't eaten the beef in over a year. I've tried it, like, if you just eliminate the beef, you don't end up usually eating from McDonald's.

Josh: Yeah, you end up opting for something, but you put the fries in it as a replacement. Yeah, because Jase was also saying that Hungry Jack's have a new burger, but that's got bacon. It doesn't have the meat, but it's got chips and bacon.

Paris: Yeah, it's got cheesy sauce and bacon in it with chips and just the bun. And then recently in New Zealand, like this week, they launched just chips in a bun and that's it.

Tommy: Nothing on it.

Josh: Wow.

Tommy: Sebbs, can you go down to the garage and get one of the boxes of the one of our clients that we're working with? I want to show Paris this product.

Josh: Also, can you give Cam my debit card? Cam, you are the king of going out and getting food.

Unknown: Yeah.

Josh: Is that fair to say?

Unknown: Yeah, I can do that.

Tommy: Do you know where Maccas is from here? Because we're literally 40, probably 50 metres just down the road. It sounds like he's been there before.

Josh: So what do we want?

Tommy: So I'm not going, I'm doing what Paris is doing.

Unknown: Am I taking orders or are we just getting whatever you—

Josh: I think you don't have to get orders, but just, I think, get Get 3 of the, uh, the cheeseburgers without the, uh, the meat.

Paris: No meat.

Unknown: 3 cheeseburgers with no meat.

Josh: Then can you just bring, uh, 2 large chips?

Unknown: Yep.

Josh: And then, uh, 1 cheeseburger with meat for me, please. And if you want anything, get and ask 97. Do you want anything else?

Paris: No, I'm fine.

Josh: Thank you.

Paris: Is this water for me?

Josh: Yeah, this is for you.

Tommy: Yeah, yeah, yeah.

Josh: So did you get that order?

Tommy: Please repeat the order, I need to feel safe.

Unknown: The, the order is 4 cheeseburgers, 3 of them with no meat. And 2 large fries. Great.

Josh: And then are you going to get anything?

Unknown: I might grab a cheeseburger as well.

Tommy: Yeah, can you bring the receipt back? Tax write-off. Yeah, of course.

Josh: Thanks, mate. Thank you.

Paris: Do you keep all your own receipts throughout the year?

Tommy: Well, so we have a process. If you want to know, I can tell you. Yeah, go on.

Unknown: It's pretty boring otherwise.

Paris: Thank you, because I don't. I don't keep my receipts.

Tommy: The trick is—

Josh: to the company stuff.

Tommy: The trick is just take a photo of it and upload it onto a Google Drive or something. Like, if that's the bare minimum, right?

Paris: Yeah.

Tommy: And then throw the receipt out. Then you just have a digital copy. If worse comes to worse and they audit you, you can upload all of these images into a programme that will scan the text and you could type in McDonald's and it would pop up the receipts that have McDonald's listed in them. So that's just if you needed to go that far.

Josh: It's called OCR.

Tommy: OCR.

Unknown: Yeah.

Tommy: So cheque this out. This is Delishu plant-based chicken.

Paris: Really?

Josh: Have you ever—

Paris: Have you tried it?

Josh: Yes.

Paris: Do you like it? What do you think?

Josh: Well, it's not— It doesn't have soy. Even though I've seen Game Changers, soy I just don't, it scares me a little bit.

Tommy: 100% vegan, GMO-free, soy-free. So the thing is you get like the patties from the supermarket. They've got shit in them because they're already like, they're wet. They're ready to be eaten. This is like a dry product. Look at it. Oh, almost looks like noodles.

Paris: Oh my God. It looks like nutritional yeast.

Tommy: Yeah. Well, what's in it? It's like mung bean and wheat and protein. Anyway, you add some water and some oil. You can have this.

Josh: Yeah, you can have it.

Tommy: Because I think you would appreciate it.

Paris: So I'll fry them up and tell you what I think.

Unknown: Yes.

Tommy: One thing I want to ask you though, is why are vegetarians always seeking out products that are meat? Or like they're—

Josh: You don't have to hold it.

Tommy: No, you need to hold it though. She's really, oh my God, she's going under the— No.

Paris: All right, I'll tell you exactly why actually, because I love meat. Like it tastes so good. It's nice. It's in everything, but I don't wanna eat other animals. So it's like when you turn veggie, heaps of people are like this. They still love, like they still love meat. It's just the animals that they're like, oh, I don't wanna eat you anymore. So you can stay alive and I'll just get something similar. It's getting really good now as well.

Tommy: Well, yeah, that is the thing. It's like it's getting to a point where it's if you have the option in the moment of a patty that isn't meat, you may as well go the thing that's not meat. Like it, we know the benefits for the world.

Paris: Have you had the Beyond Burger?

Tommy: In the States we did.

Josh: Is that the Beyond the US one? What's the Australian one called?

Paris: They call it, I think, just the Beyond Meat Burger.

Tommy: Oh no, sorry.

Paris: Grilled and stuff like that.

Tommy: Yeah. So Beyond Meat. Australia, impossible in America.

Paris: Yeah, yeah, but you've tried it. What did you think?

Josh: Yeah, I thought it was great. Yeah, I mean, the thing was I farted a lot, so I went veggie for a month, very gassy. I was eating a lot of like black beans and stuff.

Paris: That's normal though. When I went vegan, everyone told me like after everything I eat, I'm gonna be bloated, like pregnant, and I did, like after every single meal for probably the first 3 months. Yeah, and then I sort of got used to it.

Josh: But yeah, so what do you eat in it? What's the day on the plate for Paris?

Paris: This week my day on a plate has been like, I made this amazing pasta bake, like the best thing you've ever seen in your life from scratch. And I've been eating it like every day for lunch and dinner, which is sort of a shame because I shouldn't be having that many carbs.

Josh: But that's fine.

Paris: Usually just like, oh, I have like toast or a cheese toastie every day at work just because it's free and it's there.

Josh: What do you mean it's free and it's there?

Tommy: So it's a radio station. It's an absolute trap, those joints.

Josh: It's almost like a Virgin Lounge. Is it like a setup for toasties?

Paris: It's a treasure trove of cereals and toast and toast condiments. What do you call that? Like Nutella?

Josh: Carb station.

Paris: Yeah, basically. So I have that every morning.

Josh: Why are carbs always free? How often is it cheap? You never see like boiled eggs for free. You eat eggs?

Paris: Yeah. Yeah. Some people just want to see the world burn, I guess.

Josh: Are you a big cheese eater?

Paris: Yeah, I like cheese. I'm like a cheese girl. But I'm not much of a milk person. Like, I don't buy milk. I'm a soy milk type of gal, even though soy scares you.

Josh: Almond milk?

Paris: Yeah, almond I don't mind. Chocolate soy milk though, it's on a different level. That's actually on my day on a plate. I have a glass of chocolate milk every night before I go to bed. Really?

Tommy: Indulgent but lovely. Yeah, I used to have— I used to get that, but for some— but I think there's a part of me that thought it was healthy. Like, I thought it was like, oh, it's the healthy chocolate milk.

Paris: That's what I tell myself.

Tommy: There's still sugar in it.

Josh: Is there?

Tommy: Can you find out how much sugar is in chocolate soy milk?

Josh: Is there, um, have you had the new Magnums?

Paris: Yes, they're so good. They taste normal.

Josh: So Good is also the soy brand. Slightly confusing.

Paris: Yes, but they're not, the Magnums aren't so, so, can't even talk, but they're good.

Josh: They're good.

Paris: You can trust me on that.

Josh: And, um, so you have the big pasta thing. So you're eating pasta, then pasta, and then I love some raspberries.

Paris: I eat raspberries every day or blueberries because someone told me once that it'd be good for my brain cells and I was like, I trust you. So I've done it every day since. And that's about it. I think with the brekkie schedule, you don't eat as much, but when you do eat, it's like normally quite carby.

Tommy: Yeah. What time do you get into the office?

Paris: Recently we've been doing a later start, like 4:45, but I'd say like the average is probably about 4:30.

Tommy: I mean, it's still very early. Yeah. How far do you have to come to go to work?

Paris: 6 minutes. I like literally just have to rip up the road to get to the station here. Like, so that's no worries because when I was an announcer in regionals, we got there at 3:30. So it was—

Tommy: whoa, geez, what were you doing?

Paris: Well, my co-host just had a way of doing it. He'd done it for 20 years and he was like, 3:30, that's arrival time. That's when we do our pre-show stuff.

Josh: Doesn't take that long to look through news.com.au, does it?

Tommy: No, read the regional paper.

Paris: And so, yeah, well, What would you do? Does— well, just all the show prep because you still have the same amount of breaks. And I guess the standard is still quite high in regionals. I think there's this sort of misconception like, oh, you can just go out and do whatever you like. And that's what everyone talks about, why it's so fun doing regionals. But it's really not the case because your content director's only got one or two shows to take care of and that's yours. So you're out there and then, you know, they're still on you about it, even if you're not necessarily being surveyed. But also you want to get out of there too. So you're always thinking like, you never know when someone's listening or who, like what show you're going to get air checked on. So I think you still have to worry about your content and try and do something different each day.

Tommy: We were pushing it at the end to 5, 5:30 or like 5:20.

Josh: Trying to get that Carl Sanderlands schedule of just rocking in and a gown. Just quarter past or something.

Paris: I used to sleep in all the time though in regional. Here I never do, but I would always just sleep through my alarms. Not through the show, but I would always get there like I'd say once every 3 weeks there'd be a morning where it would be 5 to 6 and I'd just get in at the last second and be like, I'm so sorry.

Tommy: I mean, it's right, working in radio is a job that produces quite a bit of cortisol. It's like the stress hormone, like waking, like worried about not waking up so that it's, it's the early morning, right? Because when you're there, it's all fun. Like a lot of it's fun and you've got a great team that you work with, so it's even more fun. Um, but there is a stress about just having a life where you are getting up within the 4 AM, 4 AM hour.

Mason: It's bullshit.

Paris: Yucky.

Josh: What time were you, uh, going to bed?

Paris: Oh, back then or now?

Tommy: Both.

Josh: I want to hear.

Paris: So back then I was probably basically the same as now. So I'm like a daytime napper and I'll have like 3 hours during the day. So that's sleep, not really a nap. I'll have a sleep and then I'll wake back up.

Unknown: What time?

Josh: Have you napped already today?

Paris: No, I haven't. But usually it is from about like 2:30 to 5:30 around.

Josh: So you should be in sleep right now.

Paris: Yeah, I could go to sleep right now on that lounge right there. I could just snuggle up. But no, around then I have like a 3-hour nap, sometimes shorter, sometimes longer. It just depends. And then I'll wake back up, have my dinner, like chat to people, ring mum and dad because they still live back in Adelaide and have a chat with the family and then go back to sleep really. And obviously I'll do a bit of work in there as well in that like little pocket of time that I'm up. So yeah, I wake up about 5:30 and then I end up fully asleep by 10:30.

Josh: What about going from being on air to going behind the scenes? There's sort of the cliché around everyone who works behind the scenes is yearning to be behind the mic. What was the—

Tommy: Well, that's just what we got told.

Josh: That's what we were told. We were the classic. That was us. What's the recalibration in thinking about content when it's for someone else?

Paris: Oh, it's— it was definitely the right thing for me to do because just— it's hard to explain, but I guess being behind the mic was awesome. But I think that it sort of crushed my soul a little bit. I like, I'm too young for it. I don't have the stories. I'm not— I just wasn't meant to be there and I knew it. I've got the skills of I can actually talk into a mic and have a bit of a chat. But I knew from 6 months in that I was not meant to be behind the mic. And all I was thinking about is I've got sort of good ideas for myself, but I've got way better ideas for other people. Like when I look at other people's shows, I think, oh, this would fit well there. And I get to know their show really well. And I could just tell that I didn't have that same passion for my own show. And it's probably because I was craving a team. And that's what you get in a capital city. And obviously I wasn't about to wake up and be on like Metro Breakfast, but I could work my way into producing and being behind the scenes and getting that team that I was craving and making content in that way.

Tommy: Yeah.

Paris: Yeah. Just when it was for myself and I was doing on-air stuff, I just, I had nothing. I was running out.

Josh: Cam has spent $21.90 at Maccas.

Paris: I'm excited actually.

Tommy: Yeah. I need to get that.

Josh: You don't get a notification.

Tommy: No, I don't get the notification of what I've spent through Commbank for the business account.

Josh: Yeah, I do every time.

Tommy: Oh, it's interesting. Anyway, you know what it is though? I didn't have that mindset coming out of radio and going into a producer, online content producer, and I probably don't think you did either. Yeah, no, you probably thought like me, these ideas would be much better if I fucking did them.

Josh: Yeah, yeah, yeah. The only thing missing here is me.

Paris: That's my favourite part, is that I can come up with the idea and then Jason PJ and the rest of the team can go, yep, we love that, let's run with it. And then once I've done all the prep work, it's theirs to make something of. And if it doesn't go well, it could be my fault because it was prepped badly.

Tommy: Nah, nah, nah, it's Jase's.

Paris: I mean, chances are it's probably going to be because maybe they haven't taken it the way they wanted to. And so I love that I can be like, here's a good idea, do as you please with it, rather than being like, here's a good idea, well, now it's up to me to do it.

Josh: What was your favourite break ever? When you were on air and what was the biggest bomb you ever had?

Paris: My favourite break ever was probably— it was in Toowoomba and I did like a bit of a prank on my co-host. So basically he did a cover of a Dean Lewis song and it was disgusting. Like, it was so bad. And so I was building this up for weeks as well. I was planting the seeds. I was like, I've got a really big interview coming up, but you can't be in on it. It's just going to be a one-on-one and then we'll play it back on the show the next day. And he was like, not happy about it at all. He's like, 'Oh, you're leaving me out of this big thing.' And I was like, 'Trust me, it's got to be just me.' So was that on air that you were talking like this? Yeah, I was just dropping little seeds, but also off air so that he actually believed it. And then it got to this interview and I just had someone who was actually friends with Dean Lewis do a really good impression of him. I played him the song and I had him get really upset about it, that someone had tarnished his emotional ballad and he really had to speak to management. So they had to cut off the interview. And then I played that.

Josh: Who's Dean Lewis's mate that's just doing a bit of impersonation stuff on the side?

Paris: Do you know Chris Ile?

Tommy: Oh yeah, yeah, yeah. He's in Shepherd. He's in the recce show that I was on.

Paris: Yeah. So he did it for me and yeah, I just played it back to him on air, but in the context of I asked the boss if I should play this and he did say yes. So I'm a little bit nervous because I know you're going to be mad, but I'm going to play it anyway because it's just, it's rough and it'll be funny if I play it. And then and he like, it was the only thing I really did that he really fully believed. And I could just tell that he was so horrified that it had happened. And yeah, I loved it. That's probably my number one break.

Tommy: Do you think people loved it too? Or is this getting it your co-host?

Paris: No, other people loved it 'cause it was where we got the most feedback for something we did without asking for it. Like from the audience, they loved it. But also they surprised me with Bindi Owen at my old work as well. So that was, yeah, that was good. We interviewed her and then I was like, I wanna be your best friend. And they took me to Australia Zoo and she was like, hey, I'm here, it's Bindi Irwin. And she like hung out with me and it was the best thing ever.

Tommy: The one regret I have is one of my co-hosts, a friend of mine, had some relations with one night.

Josh: What do you mean? But you had sex with your co-host?

Tommy: No, one of my friends.

Josh: Oh, your friend.

Tommy: I said the word one of my friends.

Josh: Did you get what he was saying?

Mason: No, I misinterpreted that.

Tommy: One of my friends. One of my co-hosts. One of my friends. Had some sexual relations with one night. And does that not make sense?

Josh: No. One of my friends—

Tommy: a mate of mine, Bogan, my co-host. Is that better? Yeah, exactly. Okay, fuck, I had to put it in Bogan speak. I was trying to be sensitive. But I told a friend of mine who's a radio producer, and he's like, oh dude, you have to record not with it not going out, but you have to record the conversation where you ask her about it, where you just sort of, hey, so, uh, I heard, but you know, I never did it because I was like, oh, this is, it's, for one, she would have fucking blown up, I reckon, like if she thought it was going out, which probably would have been the content as well. Yeah, so I'm annoyed that I didn't do that. That's what my one regret, I think.

Josh: No, I'm happy you didn't. I mean, you would have been cancelled.

Tommy: The thing is, it's like the situations you put yourself in on radio, like doing something like that It is like you're trying to sort of increase emotions. Like there's a chance that guy, your co-host, the, you know, actually gets pissed.

Unknown: Yeah.

Tommy: And really annoyed at you. But then that's the gold too.

Paris: Oh yeah. Well, that was the gold in the break because he went on air to me, just looked at me with this disappointed look and said, well, what did we learn from that, Paris? And I knew that his next line was going to be, you shouldn't do interviews yourself. And I just said that that wasn't really Dean Lewis. And that was when he was like, oh, but His face, I've never seen anything like it. Not even from my parents. He was just— well, he was livid, but he was also older than my parents, so it makes sense. So that's why I felt that like parent vibe. It's very stern, like he was going to tell me off.

Tommy: Out of the two of I, who sort of puts off the dad vibe?

Josh: Out of you two?

Tommy: Yeah, out of those two of us. I'm using my hands to gesture to Josh.

Paris: The thing is, I know you're a dad, but I think that you've got a dad vibe.

Josh: I get that. What is it?

Paris: You've got just a like— like a kind, caring energy about you, but like in a dad way.

Josh: Oh, good. That's good.

Paris: Like, I trust you to hold my child if I had one.

Tommy: Oh, you actually shouldn't. That's the fucked up bit about it. He's made my son cry so many times.

Josh: I enter into create sort of a creative mode.

Tommy: Yeah.

Josh: So I like to go with their emotions. I like to work out how can we, how can we work on this. So I was— he was roaring like a lion, and then I roared like a lion, but apparently I roared too loud, and so he was in tears from that.

Tommy: Roared way too loud, buddy.

Josh: But then he was also— he wanted to watch Catboy.

Tommy: What did Josh do to you?

Paris: That's a scared cry as well. It's not just like, oh, I'm crying for fun.

Josh: Yeah, well, I think it's—

Tommy: poor buddy.

Josh: Yeah, these— I love learning experiences. That's something that's like really important to me, and so I think that I'm constantly like, the other day when he was in, he was talking about, um, he wants to watch Catboy now. And we said, no, you can watch Catboy tomorrow. He said, no, I don't want tomorrow. I said, okay, would you prefer never or tomorrow? And he didn't know we've got Cam coming in. Well done, Cam.

Tommy: Cam's back in the building. Thanks, buddy.

Josh: I hope you did the Insta storeys of you walking, like, doing that.

Tommy: You did Did you?

Josh: Okay, so we got— go back to the mic so you can talk so we can get you on.

Tommy: Oh, these chips are hot. If— wow, they're like severely hot.

Paris: Oh, oh, this is great.

Josh: They're toasty. Uh, how was that? How was— any, uh, any people out and about at the Maccas?

Unknown: Um, yep, yep, people out and about as always, but no one really interested.

Josh: You're okay?

Tommy: Any flinch when you said cheeseburger?

Unknown: No, mate, I use the touchscreen. I didn't actually—

Josh: oh, you are an absolute coward.

Tommy: Is it because you were ashamed of my favourite order?

Josh: Any opportunity not to talk to people.

Tommy: That feels very sort of pathetic.

Paris: Yeah, well, usually they put a little thing on there if there's no meat. Okay, now that's no meat though.

Tommy: It's because there's something that feels pathetic as well. Yeah. Did you want to—

Paris: it's just in its infant stages.

Tommy: You mean it's an unfinished burger?

Paris: No, never.

Josh: So in the US, In-N-Out have a vegetarian burger that feels like a killer. But the— which one should I try first?

Unknown: I should try this one. Yeah.

Tommy: So does anyone want a cheesy?

Josh: Oh yeah, that was Cam's. Yeah, there we go. Oh, that's going to be okay.

Tommy: No, it stayed together.

Josh: Thank you.

Paris: Now the thing that makes these good usually is you need to have enough tomato sauce. Like, it needs to be a little wet in there.

Josh: Should we have said—

Paris: No, you can't say extra though because they don't know what they're doing.

Josh: It's so good. Yeah, they can't just— Oh, they'll go over.

Paris: When you ask for extra, it's too much. Okay. I worked at Maccas for 2 and a half years, so—

Tommy: Which one?

Josh: Stop bragging.

Paris: Mack is Mount Barker in South Australia.

Tommy: Is that like a good Mack country town? Like, is that out of the city?

Paris: I don't know. Out of the city, but it's like a rural city, I guess. There's enough people there. It's where I went to high school as well. So, you know, I'd be in the drive-through and the hot year 11s would come through the drive-through.

Josh: How do we feel about the black bits?

Paris: Yeah, black bits are okay. Do you want to break them off?

Josh: I'm just— I've heard that they— can you look up?

Mason: It's probably skin.

Josh: No, no, don't. Black bits are potatoes' cores.

Tommy: Cause what, mate? You eat sugar every day. What are you worried about?

Josh: Take the risk, live a little. I have lollies once and this is the shit that happens. Like one week.

Tommy: Okay, uh, and I was a part of buying this, so yeah. All right, wow. So I'm putting chips into— is this what I'm meant to do?

Paris: Yeah, that's perfect. Okay, I'm worried about your quantity there, but if that's where you feel comfortable—

Josh: too many or not too many?

Paris: Too many.

Josh: Look at— okay, see, look at mine.

Paris: Yeah, okay, I've just gone for one layer.

Tommy: Okay, yeah, no, that's normal.

Josh: Piled them on.

Tommy: Okay, so what we're eating right now is potato bread and cheese and some sauce and pickle.

Paris: There's pickle veggies.

Josh: No, it is really good. All right, cheers. Okay, cheers, buddy.

Mason: Cheers.

Paris: We're gonna eat into the mic like this, am I?

Tommy: I mean, it's sugar bread, isn't it?

Mason: Those black spots, they're actually pockets of sugar. I knew I shouldn't have had pockets of excess sugar.

Unknown: Really?

Tommy: Yeah, on a potato from—

Mason: Yeah, so when the potato is fried, they darken quicker than the rest of the potato.

Tommy: Yeah, sugar burns like sugar.

Mason: Yeah, yeah, yeah.

Tommy: Oh, far out.

Josh: I like it.

Tommy: I mean, you're not getting a great deal more with the meat in it, like, really, the flavour there is still like the ketchup and the pickle and the sweetness of the bun is doing all of the work. Like, it's getting you— it's getting your stimulated senses.

Josh: Anyway, you missed out.

Tommy: Did you get a normal one, Cam?

Unknown: Yeah, I got a normal one.

Josh: How is it?

Unknown: It's as good as always.

Paris: Do you feel regretful that you haven't taken a leap of faith?

Unknown: I have actually tried— well, been telling myself that I want to try to eat less meat, so yes, I do wish I got that.

Paris: I've heard that from you before, I think.

Tommy: Dude, you can still take it out. Mason, put the gun down. He doesn't have to eat it.

Josh: I can make mine a double.

Tommy: The, um, so for you, for being a vegetarian, is it about the animals? Like, are you worrying?

Paris: Yeah, it's about the animals, but also, like, at the beginning I was like— I haven't even seen Game Changers. I know that everybody else has, but I was into all of the other documentaries that were out back then and watching all the videos of YouTubers because that was really popular when I stopped eating meat like 5 years ago. It was like the thing to be a vegan online.

Tommy: And, um, just online, not in real life.

Paris: Yeah, well, it was a bit shame in real life, but, you know, it's like all the influencers were doing it. And so I felt really strongly and passionately about animals and about the environment. But now I've done it so long that I've sort of lost that part of it. I still care about it, but I'm not as passionate, and I just don't do it because I can't imagine going back.

Josh: Do you reckon there's more vegos in Adelaide?

Paris: Mm. Well, I don't know.

Josh: I mean, it is Melbourne, so it's like Durian Rider guy or the banana chick.

Paris: Yeah. Yeah. So they are—

Tommy: they're Adelaideans.

Paris: Yeah. And they love bike riding and parkruns as well. My mum has done some parkruns with them, but yeah. Yes and no.

Josh: Did you get into cycling?

Paris: No, no, I wasn't.

Josh: Did you ever eat more than 5 bananas in a day?

Paris: Yes.

Josh: How many bananas have you eaten in a day?

Paris: I could never do the extreme high carb, low fat, which is what that's from, but I've done like 10.

Josh: And then, but then you'd also eat butter.

Paris: Well, at the time I wasn't eating butter, but I mean, now I totally would.

Josh: 10 bananas in a day, is that in a smoothie or—

Paris: Yeah, smoothie for me. But I like the high carb, low fat thing. It's just that you can eat, apparently, as they say, as many fruits as you like. So, and they say to do it in abundance.

Josh: So have you done that before?

Paris: No, no, no. I just like, I was never into that side of it. I was just having like a lot of avo on toast, banana smoothies, and like, oh, I'm really carby, but garlic bread as well because a lot of garlic breads are vegan, and like vegan pasta. And yeah, yeah, it wasn't great for me.

Josh: Do you get big into the YouTube scene? Do you watch YouTubers?

Paris: Yeah, I love it.

Josh: Who are you watching at the moment?

Paris: At the moment I'm watching like David Dobrik because everybody does, and I'm watching a lot of like professional tattoo artists react. But I used to be really into the creators themselves, and I could have listed off like 30 people off the top of my head that I was watching.

Josh: List 5, like who did you used to like?

Paris: Well, like before I got here, I was watching Shane Dawson. I love him. There's like a chick called Mia Saurus at the moment. She's good. She's like my age and makes some like funny type of content. Who else? I can't even off the top of my head name the ones I'm watching at the moment.

Josh: I'm watching Lucy Moon.

Tommy: She's been watching it for years.

Josh: Yeah, yeah. And Lucy Fink. Lucy Fink is the one you're thinking of.

Paris: I'm into YouTube drama as well.

Josh: What, are you just like rap battles and shit?

Tommy: Oh, as in the culture, the drama within the culture, like the YouTube.

Paris: As in like the— so there's a YouTuber called Onision from years ago and he's just got a lot of drama around him and I've never really consumed his content, but I love all the other videos that other people have made about how terrible he is. I know that's the worst.

Tommy: What's his problem? What's he done?

Paris: Oh, he's a bit of a criminal. He's done some like dirty crim action and just like not gotten in trouble for it. And he's been a bit of a creep online, I guess. And so, yeah, there's a lot of like exposing Onision videos and I watch those.

Josh: Have you seen that girl who like lied about her age? Apparently she's like, she was 12 but she was saying she was 13.

Paris: Danielle Cohn. She started on Musical.ly. Yes, I have seen her.

Josh: I went down a horrendous rabbit hole the other weekend.

Paris: Did you feel dirty after?

Josh: Yeah, that's how I felt, because it's just like this young girl who's overly sexualized, but then—

Tommy: hang on, what, she was lying that she was a nae, one year older than she was?

Josh: Yeah.

Tommy: So what's the, what's the real big deal about that?

Josh: Well, I guess like when you're 12, you're not even a teen, you're a preteen versus 13. Who's complaining about it though? Older guys are fucking— this is disgusting.

Tommy: She's—

Josh: well, I think so.

Tommy: I thought she was 13.

Josh: I think that's what I think. What's her name?

Paris: Danielle Cohn.

Tommy: I spent half my early life saying I was older than I was, you know, like it's one of the things you want to be older when you're younger, but then you're old and then you're like, I want to be young.

Josh: She's got like really long fake nails and she, um— but the weird thing is US radio I think that they've hit this point, like, I don't know whether it's always been this way, but Australian radio is way cooler than US. Like, American radio, you've got these like music jocks and they're like trying to be like— you can see this weird status shift where this musically person comes into the studio and they're like, they're thinking that this is going to be their big break, that they're talking. It's like the weirdest thing.

Paris: Yeah, I like— yeah, the whole Danielle Cohn thing and that part of the internet, it doesn't entertain me, but it fascinates me. And if I do, I regularly fall down YouTube holes.

Tommy: And so for your job being a producer, what do you— do you think this helps? Like looking at being abreast of YouTube drama? Is this— Josh is on to his second.

Paris: I would say that it works at a disadvantage to me, but in the moment I like to tell myself I'm getting educated on pop culture. If anybody asks me about any of this, I'll know not to tell them right away, but I know that's not the case. It's probably too fringe. Yeah, it's way too fringe, not at all relevant to the audience of Jason PJ, who I work for now. But also it's just taking up my brain space that could be filled with things that are appropriate for the show that I'm choosing not to consume at that time.

Tommy: I mean, you gotta have what you like, you gotta do what you like. I mean, you gravitate, you can only do so much consuming of shit that that isn't actually your interest.

Josh: And so what's some weird shit that you've picked up this week from just being in the radio zeitgeist?

Paris: Oh, from just like this, obviously a lot of Holden facts you'd learn. Oh yeah, a tonne of Holden facts. What else have we really talked about this week that's been like big and I've learned about?

Josh: I mean, I was trying to get a fly then. Is that what you— it does look weird. You can't see it on the camera, so it's like there's not even a fly, just looking weird. And what else have you— what have you guys been talking about and learning.

Tommy: He's looking over show notes.

Paris: I've got this thing where I'll pull up the run sheet and I'll let you know after this, after the show. It's like that show's disposed of in my mind. And even if I've done all this research and made like 10 info sheets on something and explained it 20 different times, as soon as that show's over, it's out of my mind unless it's some like carry-on, like storey arc type of stuff.

Unknown: Yeah, I'm very much the same. Yeah.

Paris: And it's, it's because as well in the environment that Cam and I are in, it just is moving so fast. One show's over and Jase and PJ are ready to move on to the next thing as well. And so it's just you have to dispose of that because you've got to be thinking of a replacement for it immediately.

Tommy: New day, new news, new things are happening.

Paris: So yeah, yeah.

Tommy: So unless it's a big thing like the Holden closing down, which is—

Paris: they're doing a Holden thing. They've done a Holden thing this whole week and Holden Hot Lap today.

Josh: I actually, I had a website called Melbourne Geek It was a blog.

Tommy: It was a thirst trap website.

Josh: Yeah, no, it was just me talking about tech. Babe, you would have got hot. And it was, um, no, 2012 I started it and, um, it sort of fizzled out and I stopped posting on it in like from probably 2014. Anyway, in 2016 I got an email from Holden and they said, hey Josh, like, I would love you to do something for Melbourne Geek. On your blog for Holden. How would you feel about us giving you a car and we'll organise a bunch of things for you to do? And I wrote back and said, hey guys, like no one's looked at Melbourne Geek in 3 years. And the marketing person's like, oh, that doesn't matter. Like you can just post it to your socials or whatever. My socials had probably 1,000 followers. I was like, okay, maybe this is why they were closing down.

Paris: Their marketing girls sleeping on the job.

Josh: And so I ended up— they organised for us, for my girlfriend and I. Bri took off work and we went to the Yarra Valley, but they'd organised a wine tour. And so we're driving, we're driving, and then we get like— we weren't drinkers, we wouldn't really drink, but we're like, oh, let's, let's give it a, give it a go, lean into it. It was fucked because like we'd gotten the car to a vineyard and then we had something to drink and we were fucking tipsy and we couldn't move. We couldn't leave the—

Paris: Did you sleep in the car?

Josh: No, we ended up sleeping sleeping in the vineyard. We actually started walking and I said to Bree, I'm like, I don't think we can, we can drive for a bit. And so then we just took a nap on the vineyard, like just randomly amongst sort of the grapes. It was very strange, right? But then that was also the trip where I crashed a drone, which was absolutely—

Tommy: that was expensive.

Paris: I would probably sleep in a vineyard if I just crashed a drone as well.

Josh: And so, and they got the dumbest— like, did you remember that video? Did you ever see it?

Mason: I think you showed me.

Tommy: Yeah, it's a great video.

Josh: But it made no sense for Holden because they didn't— they never explained what the features were of the Astra. Like, I was meant to be Melbourne geek, but they didn't tell me they had lane assist and shit. And so the whole time, like, why the fuck is the light blinking anyway? We don't know. It was actually like assisting me when I was driving. Had no idea. But I think that could be why Holden's fucked.

Paris: I also think that could be why, because if it happened to you.

Mason: Yeah.

Paris: I mean, how many—

Josh: how many influencers? I mean, what happens to all the— because a lot of influencers have Holdens.

Tommy: I guess it could be through dealerships, right? And so dealerships are actually— there's a— does that mean there's no Holden dealerships? You'd know about this.

Paris: Yeah. So what's going on? The way that things are working is you can buy a Holden for the next year and a half or so. I think it's till the end of 2021. And so the dealerships are staying as is for most of that time. And from what we've spoken, because they've said that people who work there can't actually do any media, but the people that we've spoken to have said that that's happening. But there's people who are going to be working for Holden for the next 10 years because there's warranties on cars that last that long that they've still got to fulfill. So in the factories and stuff like that, although they won't be making new cars, there's still going to be space for people who are following through on those warranties and fixing them and doing all that fun stuff.

Tommy: I was talking to someone today about cars, Mercedes, and how Mercedes and a bunch of other brands do this. They use other brands' engines in their car. And so there's a bunch of Mercedes that have like a Renault engine in it.

Paris: That's like the Mercedes ute. I think it's like 59,990 or something. I saw it on a billboard drive away and I was like, that's cheap. But it's because they're using like a Nissan or something motor inside of it. Yeah.

Tommy: Yeah.

Josh: Oh yeah. Yeah. I would never do that.

Tommy: No, but the point is, it's— you're paying for a German car and getting an Asian engine.

Josh: Do you guys really fucking care? Do you actually get the point of you care, Paris?

Paris: Well, it's like you— it's sort of like a poser car, isn't it? Because it's not the car, it's just a little shell.

Tommy: It's a German shell with an Asian engine. Yeah, both reliable German engines and Asian engines. No.

Josh: Well, I remember as a kid getting it. I wanted to get this big camera in the news gathering. It's called ENG, electronic news gathering. It's the big shot of the cameras. And what they'd— what Panasonic had done—

Tommy: your back would have gone very early days.

Josh: But they actually took an ENG body of a camera and just put a shit camcorder in it.

Tommy: Oh no.

Josh: And so I nearly bought that. Like it had like, yeah, anyway, it's a shit story.

Tommy: Yeah, you're paying, you expect it's, it's, it's dishonest, to be honest.

Josh: Yeah, no, I think. But it's interesting around the car.

Tommy: It's a bit like getting a cheeseburger with no engine in it.

Paris: A little bit.

Josh: Yeah, it's dishonest. The, the one thing about radio, I guess, is you have to talk about shit you don't necessarily care about. Do you have a way of making it tolerable to yourself?

Paris: Well, see, when I was an announcer, the worst part and the best part is that you don't have a producer. So you're sort of picking what you're talking about anyway, as you guys would know. Like, you can sort of just only pick the storeys that you do somewhat care about. But I mean, we have those discussions pre-show as well. It's like, this is really relevant to our audience, but maybe Jason, PJ don't necessarily feel passionate about it. So how can we find a way to make that a place that they want to speak from and how can they find a way to make this entertaining. But I guess it just— it's, it's different for every single story. But for me, when I was an announcer, if I couldn't offer something new to the story, then I just wouldn't talk about it. Like it just wasn't worth it. Even if, say, this Holden thing, that's likely something that unless my co-host at my previous work was like, I really want to talk about Holden, I'd just say, nah, stuff it. I'm not going to talk about 10 songs in a row.

Tommy: I just let you let the news do the work.

Paris: Well, I just, yeah, just put something else in, you know, like I talk about it and share just good banter about the Mercedes ute, how much bullshit. Yeah, but it just, if like in radio school, my radio school teacher guy, Sean Craig Murphy, was like, if you can't offer something new to a storey or a unique perspective, then you really have to think about why you're talking about it. And I guess I guess if I thought that it was going to be really shit because I didn't know anything about it, then I just, I wouldn't go for it. But then it's different when you're in the metros and you have to be providing more of a service to your listeners as well.

Tommy: I think people sniff it out, right? It's like the bullshit filter of like, but you can do it in a way. I think Jase does it really well if there's like talking about stuff.

Josh: Even the Holden stuff, doing the angle of the eBay side of things. So it's like, oh, well, we don't, yeah, we don't understand this culture. But we can look at it from this perspective rather than trying to be in like pretending like you care.

Tommy: And then you still have fun. So it's just then about how do we approach it? You can almost talk about anything with, with the right angle and you find the angle that relates to you.

Josh: Yeah.

Paris: Yeah. And like the team, like the Jason PJ team is so good at doing that because like the Holden story, they brought it in, they're like, where can we go with this? And then we'll sit around with like 6 of us around a table pre-show and they always find a way to have that unique thing. So like, yeah, the merch thing was one idea, but the others were like, oh, can we go to a Holden factory? Can we talk to this person? Can we talk to someone who's raced for them? And it just— yeah, they always find something that fits the story. But it is just like throwing out like 20 ideas and finding that one that you're like, yeah, that suits the show, that works.

Josh: What do you think the future of radio is?

Paris: Grim. I don't know. I love radio for sure, but this is another reason why I was keen to sort of step away from from announcing, because I looked at like how radio is right now in the landscape and I thought, all right, I'm 21 years old, it's going to take me probably another 6 to 8 years to get to a capital city station in the scheme of like the timeline of most announcers. That's sort of how things go. They move around and climb their way up and you sort of have to be around a certain age as well. I just thought, where do I fit into the radio landscape in in that amount of time? And my answer was really nowhere. I don't know what's gonna happen to radio in like 4 years. Right now it's awesome, but I just think that with the way that digital media is going and podcasting and how listeners can have a curated experience that suits them, I wonder what radio will do. But it's always gonna have a place. Jason PJ is a great example because their show is awesome. They're awesome on the radio, their digital side, the podcast is just as successful. It's got a tonne of listeners. And I think that you need to be strong there to be strong over here in radio, whereas before just radio was enough. And I think that the future is just going to obviously get more and more networked. As soon as places have the opportunity to not be local, they'll, they'll drop it. Networks will, no matter what they say, they're like, oh, we've got to stay local. But if they got that phone call that was like, from today you don't need to have a local breakfast show to meet compliance, compliance, I would be very interested to see if there would be any brekkie radio shows that are localized. I don't believe there would be because you could make so much money compared to what they're making and cut a lot of costs if that compliance was taken away. And the day will come as well for that, I think. But who knows, really? I don't know what I'm talking about.

Tommy: What, um, sounds like you do. Yeah, it does.

Josh: It actually really does. You said compliance.

Tommy: Yeah, you had me at compliance.

Josh: The compliance— what is the compliance bit in regards to—

Tommy: I don't ask details.

Josh: He could, they've got a certain amount of local content.

Paris: Yeah, to maintain a radio license, they need to provide 3 hours, I think, of localised content. So to have that frequency and have your FM license, you need to be providing local content. So that's why you'll see every SCA regional market has a breakfast show with a certain amount of local content. And if it doesn't, but they're holding a, holding a frequency in a market, they'll have a workday person who'll make make content for that area. So for example, my previous show, it was South Queensland, so we were across I think like 5 different markets, but our breakfast show was for all of them and our workdays were split across the different markets to stay compliant. And they would make, yeah, specific localised content to those smaller markets within.

Tommy: And then there's music, how much Aussie music's being played.

Paris: Yeah.

Tommy: On the station.

Paris: Yeah, that's like your app sort of stuff. So my, weirdly enough, my first radio job, I was an announcer but also a music programmer. So I had to do all of that stuff as well.

Tommy: Multitasking.

Paris: I was terrible at it.

Tommy: As a producer, what, what is the task? So like, I think people might have an idea of what a radio producer does. And then there's some producers that have a lot more admin. It's admin heavy. Yeah. You know, what do you actually do?

Paris: I think it just depends on the show. I'm lucky in my case that we share the admin side of producing across all three of us. So there's myself, I'm the producer, and then there's Jane, who's also a producer, and then Alex, who's our EP. And we all sort of do a little tiny bit of admin. But a normal day in producing, it's basically if I'm going from before a show, we're getting in there at 4:45 and by then we should already have 2 or 3 solid ideas that could make the show. We should be rocking up to work with that from the night before.

Josh: How do you curate those?

Paris: Um, for you personally, just the news basically, but also Jason PJ are awesome at sending over personals and stuff the night before. And so, and a good idea might just be they've sent over a personal but one of us has an extension on that, or a way that we can stitch up the other co-host and incorporate that maybe even into a benchmark. So if they send over those personals as well, it's a mix of the news and personals. And with the nature of our show, maybe even something that's happened in my life that could be relevant to on air. And then so I'm going in with those ideas. 4:45 to like 5:30 is like I'm setting up the studio, but also like just getting today's news and seeing what can we— like, who can we get on from the news this morning and overnight and what's happening globally, I suppose.

Josh: What's setting up the studio? Is that like wiping down the— like, is it as simple as cleaning shit or what is it?

Paris: I just do like I set up all of the mic packs and like put the studio to air.

Josh: Because you guys have the tell mics and stuff, right?

Paris: Yeah.

Josh: So that's very unique. I don't know if there's many other shows who's doing that.

Paris: Yeah, I think— I don't— is that for the videos?

Unknown: It is, yeah. It's for like, the guys run around a lot, so if they're out in the producer's area or something and they're not on mic, then at least we can grab the audio of something funny.

Josh: And so they— is that recording into—

Unknown: it goes into a logger somewhere on our network. So I'll probably only use it once a week, but I can grab anything from any time on those, on those lapels.

Paris: Yeah, so I set those up, which is like simple. You're just chucking batteries in and putting it on the desk, but then putting the studio to air and like logging everything in and just getting everything completely ready so that when the guys walk in, I can even put a little like highlighter and pen on the desk, make it perfect so that as soon as they walk in, they're just ready to go.

Tommy: Let's get some quirks out about Jase or PJ. I know Kyle Sanderlands doesn't like his, um, he doesn't like the staple being stapled on an angle.

Paris: I think it is already straight, has to have it straight. Yeah, Jase is just, he's, he likes his a highlighter and a pen every single day. And on the studio setup list, there's a dot point that says one square of Blu Tack on the top right corner of the left-hand monitor. And it's so that he can like slap pieces of paper onto it.

Tommy: That's good. Handy, handy, Jay.

Josh: So you have a checklist?

Paris: Yeah, well, I did when I started. Now it's a 5-minute job, so I just go in there and do it and I don't have to think about it. But when I first started, I would always miss something without fail, even if I thought that I'd checked it over 30 times, we'd sit down ready for the show, and then I just hear from Jase, hey, darl, you've just— you've not done this one thing. But, you know, I'm getting a bit better now. I've been there for a while.

Josh: Um, how many emails are you sending a day?

Paris: Um, I'm so lucky. So my producing role, I work more on the in-show content. And now I can hear that I was like a bit off mic before. Was that okay? Okay, cool. Um, like my My part of producing is I work on storey arcs and I work with our VIPs and like creative content within the show. Jane's side of stuff, she does creative content as well, but she sends the emails. So she's like sending the emails to the celeb guests and she's in touch with managers and stuff like that. What I'm doing though every night is about, well, like I'd say probably 30 text messages and maybe 7 phone calls because I have to prep our like VIP listeners for what's coming up that week and if we want their help with anything. Like, we won't even necessarily get them on, but just keeping that relationship with them because we've got about 200. And that's like a big part of my job is being like, tomorrow we're talking about this, can you ever think if you've got any stories? And then, um, you know, I can send out— there's been times like 50 text messages and I'll get 3 responses, and then I have to prep those 3 people. But then other times, 20 text messages and 10 responses. So that's like a big part of my my day as well is just getting in touch with them and making sure that they're all ready to go.

Tommy: There's an element of removing emotion from being a producer. I feel like I remember having to, like, when you're doing your own show, there's no producer. You're literally calling some gronk and be like, mate, it's fucking 6:30 AM. You're like, mate, can you help me?

Paris: Yeah.

Tommy: And I just, I think about that now and feel it makes me feel gross thinking of disturbing someone in the early hours.

Paris: I still feel really bad about that. So that's why I don't do it in the mornings. I get it it all prepped the night before. And if they do last minute, they're like, hey, can you get a VIP for this? Or can you see if someone can talk about this? It always is that heart drop moment where I'm like, I feel so bad. But I have just had to get used to getting rid of that third-person guilt and just removing myself from it. Because like when people call in and they sound loud in the background, we're like, hey, can you pull over? And if you pull over, we can get you through on air. And usually they're on a highway or on their way to work and they go, yeah, I'll pull over. But like 2 in 3 times they don't get to air and I have to shamefully be like, hey, I'm so sorry that you didn't make it through, but I'll send you a random prize, which is usually like a sticker or something. But I do always feel really bad.

Josh: Yeah, I mean, it's just random, random prize. I think lead with the sticker because if I heard that I was getting a random prize and got a sticker, I'd be—

Paris: sometimes it's pretty random there though.

Josh: Like, I reckon say a sticker and then if anything else comes, it's It's a bonus. You always, what is it? Under-promise, over-deliver.

Paris: Well, sometimes there's like tickets for stuff.

Josh: What's the best prize you've ever given someone?

Paris: Oh, like ever of all time or just like random pricing? Because random pricing, I don't know. I just press a button and then like it comes out of like an actual basically.

Josh: Is that all data?

Paris: Yeah.

Josh: Oh, great. It is all data.

Tommy: But that actually is the true essence of a random prize.

Josh: Yeah.

Paris: You just.

Josh: And it's definitely not AllData's fault. Like, giving shit prizes is not AllData's fault.

Tommy: It's randomising it.

Paris: I do love AllData. It keeps it easy.

Tommy: Package it up, send it to kids.

Josh: There's a credit card on the back.

Paris: You don't have to get people's details. You only have to get their mobile number. Yeah, no names, nothing. Just does it all itself.

Josh: When Keeg saw that we were on Jason PJ, he was like, do you guys do any filming as well? Um, what are you excited about for for the rest of 2020?

Paris: For the rest of this year, I guess, because I've only been with Jason PJ for like 4 months or so since I left announcing and stuff like that. I'm just excited to actually get good at my job. I feel like I'm okay at it, but I just want to be better and really cement myself in that team. It's the best team, but I think you, you do have to really place yourself in there and make yourself seem like someone who, if like they ever decided drop of a hat, which I can't imagine this at all, they've just resigned for the next 2 years, so they will be there for the next 3. But if they were like, we're going to New Zealand, in my head I want them to think of me as someone who they take with them. And so I guess that's what I'm looking forward to for the next year is just making myself that person and not being on air, to be honest.

Josh: So how do you do that?

Paris: How do I— well, just a big thing about the team is just availability 24/7. So just being reliable. And just if you say yes to doing something, actually doing it and not being scared to say no, it's not going to work out because you think things, you know how sometimes people ask you to do things and you hope it just goes away. It doesn't go away. So you've got to be like reliable in that way. But and just make content that makes the board as well in the morning and not just bringing shit stuff up every morning.

Josh: In some ways it feels like these old school qualities that are getting lost. Do you think it's overstated? Younger generation, the younger generation aren't willing to put in the work and things like that?

Paris: Yeah, I do. I guess like when I first started out, I was going in to Hit 107 Brekkie for free every morning for 6 months, and they didn't invite me to come back in. I went in once and I like got to know Amos on that team really well, and he helped me sort of keep going in there. But I just insisted, I need to be in there every day. And what I was doing was I was I was doing the breakfast show, I was sitting in and producing. Producing, I was like, you know, trying to help out. And then I was working a full day, and then back at nighttime I was doing like my comedy stuff. And at one point I was sleeping in my car to make it back early enough in the morning because I lived an hour and a half away. So I'd be up so late working on like comedy and normal work that I had to get in. So when I— people message me and they're like, hey, like, I really want to do that, like your job, or do announcing, because that's just what happens in radio. Everyone to like get a bit of advice from somebody who does what they want to do. And I say, oh, you probably have to work for free, or you probably have to move 17 hours away from your family to Tamworth. That's not what people want to hear. And sometimes the response from people my age is like, oh, nah, well, I've got a friend who works at Hit Gold Coast and they know the boss at Sydney, and so I'm going to get help that way instead. And then you never hear from them again. So yeah, I think that it doesn't mean that's all young people or that's all people in radio who are my age by any means. But I, I do find that when people ask me for help and my answer is, well, I sort of like was a shit kicker for like a good year and for— yeah, I was doing nothing really. I was just showing up and begging for a job. I think that people go, but I don't want to do that part of it. I just want to skip to that next part that you got to go to.

Tommy: But not everyone's willing to move to a random state or No, country town.

Paris: And honestly, it's like really hard, but there's those people it works out for as well. Like, I wouldn't say it didn't work out for me because I've landed exactly where I want to be. But there's people who, you know, they go out there and— Jess Faccioni, for example, you go out to Shepparton and then you end up on the Newcastle brekkie show and you've got it made. And you just have to take that risk that it might not work, but it might also work really well for you.

Josh: Do you switch off?

Tommy: Yeah, I guess 3 hours a day, mate. It's a full 3 hours a day.

Josh: Chucky milk as well.

Paris: So I, my disadvantage probably is, is that I've heard a million times from a million awesome radio people, I never switch off. The content brain is always on, but I'm, I have to make a conscious effort to switch my content brain on. It's, I'm not on 24/7.

Tommy: As she said, as she has a t-shirt that says no days off.

Paris: Yeah, well, I still rock up. It doesn't mean that the tick is on.

Mason: Yeah. Okay.

Paris: But yeah, for me, I am not naturally a hard worker at all. Every single day is a conscious effort to be like, to work hard and be part of the show. And that's like not a bad thing, but I am conscious of that. I keep in my head like, well, like, don't let yourself slip, because once I start, it's very easy for me to start sleeping 7 hours a day after work and just showing up like, sorry, didn't do any prep last night.

Josh: So, Sebbs, that's why you need a car. And so you can sleep.

Tommy: No, mate, we've got a mattress downstairs. Happy for you to just have long work days. You're not allowed to legally sleep here, but yeah, long work days are good. All right, there's a big one.

Josh: You can sleep outside.

Paris: Do you live far away?

Mason: Nah, like half an hour on the bus.

Josh: That's a long time.

Paris: Are you busing every day?

Mason: Yeah, yeah.

Paris: Yikes.

Tommy: Any, any, any tips to Mr. Ninety Sevs from one producer to another?

Paris: Um, find a good show to work on first.

Josh: Yeah, yeah, yeah. Good luck.

Paris: No, no, no, no.

Josh: Yeah, leave now, see what happens.

Tommy: Come on.

Paris: Yeah, yeah. I'd say my number one tip is like, you know, when you're in a producer position and you know that you've done something or like you've said an idea and then 20 minutes later somebody else on the team says it, just be okay with keeping your mouth shut and letting it slide instead of being like, oh yeah, that was mine.

Josh: He's trying to steal all my ideas all the time.

Paris: Or like when they're like, oh, you should have done this you know you did it earlier, I just go, okay, I should have done it earlier.

Josh: Be the punching bag.

Paris: Yeah, basically just be okay with it and just let things slide.

Josh: How's it working with Cam? How do you guys go?

Paris: Franco and I get along really well because we go to gigs together. We're buddies. How do you find it working with me, Cam?

Tommy: Yeah, yeah, great.

Unknown: I, I don't really need to work as closely with anyone on the team as some of like obviously all the producers work really tight together, so sounds like you're doing no admin.

Tommy: No admin.

Unknown: I'm just kind of there for the banter, and I go off and do my own videos. Love it.

Tommy: Then go home.

Paris: Yeah, but you sit in the airlock with us, so—

Unknown: but you can— exactly, I'll talk shit with you guys.

Paris: He's got fancy headphones, noise cancelling, very, very fancy ones. What are they?

Unknown: They're the Bose 700s. They're new.

Josh: Oh yeah, they're really fancy. I rock the Q35s. Do you notice a little bit of, um, Are you wired? Like, are you connected with a cable?

Unknown: No, I'm Bluetooth.

Josh: Is the Bluetooth a bit annoying in regards to the latency?

Unknown: I used to edit with AirPods, so I'm used to it.

Josh: You're like '97.

Paris: Yeah, yeah, yeah.

Josh: Just trying to cut to a beat.

Tommy: There's latency?

Josh: Yeah. So if you—

Mason: On AirPods?

Josh: Yeah, AirPods. If you play, you'll see that like the mouths are slightly out of sync.

Unknown: I think like the programmes I edit with, I use Adobe and it kind of makes up for it. Like I'll hit space to play and it'll wait a second just so it can catch up before it actually starts playing.

Tommy: Oh, that's good.

Josh: Yeah, yeah, great. Yeah, it seems like you guys have a great team.

Paris: Oh yeah, it's really good. Like, you couldn't ask for a better team. And that's why, like, everybody was stoked when we knew that the guys had signed on for another 2 years, because it just means another 2 years to get— like, literally when they told the team in the studio, everyone started chanting like, "3 more years!" Because it was, it was about the team, but like about the show, but also just that the team gets to hang out more Did you get nervous?

Josh: Because when I heard it in the podcast, I was like, I reckon PJ must be fucking— she's gonna ice the end from New Zealand.

Paris: I thought that she was going to the farm to live with BJ, her boyfriend. I was like, that's it. She's always been earthly. I was like, in those 10 seconds, I was saying in my head, she's always been connected with nature. It makes sense, you know, she belongs back there. I was trying to justify it.

Josh: And then, well, Jay set it up as well because he said, you know, it affects, you know, it's big news for PJ.

Paris: Yeah, but yeah, I thought her crystals had run out of battery. Oh, it like, we obviously all had a feeling that an announcement either way was coming, whether they were going to stay or not, you know, what was going to happen, because the future was always going to be uncertain. That's just radio. If something's not signed, you don't know what's happening. But, you know, I'm really relieved that they signed on and also working on their shows. Thinking the other day, I don't know how I'd go producing another show, and like, I don't, I can't imagine it because it's so different. The The way we do it's so different. The team's so different. Like, I don't know what I'd do.

Tommy: I mean, just what is it? What does that spot over there look like?

Josh: Looking back, I mean, say '97 is like on the actual seat or next to complete replacement.

Tommy: Who's, who's 97? Do you speak about us like this?

Paris: How?

Josh: He doesn't speak to anyone.

Mason: Yeah. To who?

Josh: Yeah. He spent all of his time, I guess side hustles are nonexistent. I remember being in when I was in radio I tried to get shit off the ground and I was just fucking exhausted. Every— like, is side hustles really annoying when you hear that?

Paris: Well, yeah. And I used to start a podcast. I hear that all the time. All I used to do, stand-up comedy. And for a while I was like making these videos and they were going really well. But like, you just run out of steam, I guess. And for some people it's like their creative brain is this bottomless pit of beautiful ideas. But I feel like I've almost got a limit of like 15 a day, like 15 ideas, and I want all 15 of those to go to the show. Imagine if one morning I came in and I was like, oh, I've got no ideas, I've had a really bad prep night. But then they log on to my Facebook and I've uploaded a video on there and I've got a new podcast step out. I mean, that's shocking.

Josh: That happened, that happened to me at SEA when I was— I remember, um, I got pulled aside because I was posting the best content to my personal social accounts on Instagram. They're like, you know how like, uh, Byron got smashed in the face with a cake and Jules is laughing. It's like, that would have been great for the FIFA and Jules Instagram.

Tommy: Oh, that's outrageous.

Josh: I'd put it on mine.

Tommy: That's outrageous.

Josh: Did you know?

Tommy: Like, you think about everything.

Josh: When the social media person came to me and I was like, they've lost the plot. I don't fucking get it. It's just, yeah, but I was obviously a little bit delusional.

Unknown: Yeah.

Tommy: I mean, you're getting paid to do the job. They need your focus. It makes total sense. Yeah. But I think the point is is there isn't much time when you work on a show at a market like Melbourne. You gotta—

Paris: Like, I do 2, like, classes a week. They go for an hour, and then maybe on the weekend I've got 2 hours where I'm not free. But we talk so often on the show that I've got to say, hey, you're not going to hear from me for the next 2 hours, because I know that if I don't say anything by the end of it, people will start to worry.

Josh: Like, who facilitates those convos? Is it from Jason, PJ? Is it from Alex?

Paris: We've got like so many group chats, but it's— we've got one group chat with the producer team, so it's like Alex, myself, Jane, Jase, and PJ. And that's like, we'll all facilitate those convos. It could be me, Jane, whoever. If we've got an idea, we'll send it at any time. And then we've got a separate one with just PJ, a separate one with just Jase. And so that— yeah, they're pretty much 24/7 convos. Some days they'll be more quiet, but But definitely over the weekends and at nighttime before, say, every day. Yeah, you've got to be ready, ready to go. It's just, yeah, it's just the nature of it. But you like, you wouldn't do the job if you didn't want to do it, really, would you? You wouldn't be like, oh, I'm going to go produce on a Melbourne brekkie show, but don't contact me after 5 PM and I'm not going to be around on the weekends.

Tommy: I mean, what about Sevs?

Josh: I mean, Sevs is always messaging me on the weekend. I feel like you could get right into a group message with just like constantly Yeah, but you don't like group messages. Oh yeah, I do, correct. So it would probably just have to be personal. You don't like them? Well, I don't like them just when it's especially organising shit. It pisses me off. What? Well, just especially like we're trying to organise some night club, like going night clubbing.

Tommy: Let's not go there again.

Josh: Yeah, it was annoying.

Tommy: You offended Gemma too much.

Josh: But one thing we want to start to do with having comedians on is we want to do you know, like Rove back in the day, like they would do like a stand-up bit or like the late night show.

Paris: They do a bit of like a monologue.

Josh: Yeah, but not even the monologue when they have the comedian, like you have a comedian on who will do a bit. Yeah, yeah.

Paris: Like a bit of a—

Tommy: Pretty sure that's a monologue.

Josh: Well, it is a monologue, but you know how like the late night— there's the late night monologue where it's like Jay Leno and they've got a big card. Yeah. What about the media? Could we want to— I'd love to be able to test out a comedian doing a bit. How would you feel now that I know that you've done some stand-up? Would you be able to do like a little bit so we can see how it feels in the show?

Paris: One of my bits? I've done stand-up since I like started announcing, really.

Josh: But perfect, here we go.

Paris: So it's been a while, but it's— no, it's awkward.

Josh: That's—

Paris: it would be awkward. I can do I can't do it. I can't do it. I don't know about you. This is the worst part about ever doing comedy is that people say, can you do a joke? It's like, obviously not.

Josh: I'm not saying a joke. I'm not saying a joke. I want you to do a bit. It's different to say like, like a bit of a bit.

Tommy: What was it like? Seinfeld, "Ever caught the train?" Like, what is, what did you, what was your comedy about? Like, what did you, personal storeys or?

Paris: Yeah, personal stories. Was like just about being my sort of brand was just like, I'm a young teen girl because I was like 18 and 17 at the time. Have you ever seen Becky Lucas do comedy? Do you know who she is?

Tommy: Oh, Becky Lucas. Yes.

Paris: Yeah. She's a really cool Aussie comic. I was very inspired by her style of comedy.

Tommy: She did the Gala recently.

Josh: Cam's giving a reaction because of his temperament. Cam, do you think it's a bad idea? I can't tell.

Tommy: It's a bad idea for a person that doesn't identify identify as a comedian anymore.

Paris: And the thing is, I'm not that funny. That's why I've gone behind the camera.

Unknown: Stand-up is a lot about context. Like, we're not in a dark room with an audience, and it's very hard to kind of tune into— like, I'm not a comedian either. I hear a lot about, like, comedians saying you can't just, like, ask them to tell you a joke on the spot.

Tommy: Yeah, I mean, it's a real dad move. Should we bring it up?

Josh: I was gonna zoom out and get to stand up for it. We don't have to do that.

Unknown: Should we all sit on the couch?

Josh: Yeah, we'll do it. So we think it's a bad idea.

Paris: The only thing that I can recommend is that maybe you go to the shows of these comics that you love and secretly record some of it and play it back.

Josh: So you don't think that we could do a comedy bit?

Tommy: No, I think it has to— it's context.

Josh: It's—

Tommy: we finished the show. There's a bit, there's a corner and they stand up. It's a different shot. It's then quiet and you walk in. It's not Hey, let's have a conversation about how, you know, your role as a producer. Now do a bit.

Paris: Maybe you need a vessel for their comedy. So it's not as simple as just being like, hey, get up in the corner and do a bit of comedy. Maybe you need a thing that'll—

Josh: like improv. Are you— we could do some improv.

Paris: I'm not an improv guy.

Tommy: I'm saying the real comedians, not me. I can't read the room.

Josh: Cam's face, I don't know what he's saying.

Tommy: No, I'm pretty sure he's read the room.

Unknown: I'm also just really—

Paris: my body language has changed.

Unknown: I'm curious about what her comedy is like. I've never seen it.

Tommy: Yeah. Have you got video of it?

Paris: Is it a vid?

Josh: We're not playing the vid.

Tommy: No, but I want to see the vid.

Josh: Can we do like a tiny— we'll put it— can we put at the end of the show?

Tommy: Yeah, that'd be cool.

Paris: Yeah.

Tommy: Have you got it on your phone? Like, is it on YouTube or—

Paris: it's in my Instagram archive.

Josh: Isn't that like— you're saying you don't want people like you don't feel comfortable doing a bit. I feel like the pressure of playing comedy out from your phone whilst you watch people respond, isn't that worse?

Paris: No, because the people there laughed. I don't need to laugh.

Tommy: It was just nonsense. It made sense.

Josh: You're wrong. But no improv. We don't want to do improv either. No.

Paris: Well, I mean, like, no.

Josh: What about if Cam was involved in the improv?

Paris: No, you don't want to do improv. I'll try it. My no's are coming from a place of this will not be good. But I'm not saying no.

Josh: This show, I mean, look, listen to it. I think we can do it.

Paris: Is it going to be a team improv?

Josh: So Seb, you set the scene, you give us all characters, and then we'll go.

Paris: Oh my God, this is good.

Tommy: All right, I think, I think make sure, uh, no, don't try and micromanage.

Josh: Who's Phoebe?

Paris: My character.

Tommy: Yeah, yeah, make sure Phoebe the character has to carry the bulk of it. Okay, because then it gives you a platform to shine.

Josh: Phoebe? No, who have we been talking to that's Phoebe?

Tommy: Phoebe from PJ.

Josh: Oh, that's right.

Mason: Yeah, okay, great.

Josh: So location?

Mason: Location, sort of like a comedy club, comedy store.

Paris: Oh, okay.

Josh: He's just gonna keep—

Paris: I better not be the comedian.

Josh: We're the audience. This is a stitch-up.

Paris: Don't do that.

Josh: Okay, who's Cam?

Unknown: Oh, hang on.

Josh: Yeah, you're in it.

Mason: I'll go through it. Paris, you're the ticket salesperson.

Paris: Okay.

Mason: Okay, Josh, you're the comedian. Tommy, you're a die-hard fan of Josh's.

Tommy: And Cam, absolutely stitch up, and Cam, you hate Josh's comedy.

Unknown: Okay, why am I here?

Mason: And so no one has rocked up. So Paris, you have to explain to Josh why no one has rocked up to his gig. And Tommy, you're trying to support Josh. And then Cam, you just don't do the whole dialogue.

Paris: This is too much.

Mason: But that's setting the scene.

Josh: So I think it's more than the scene. You've written the script.

Paris: Comedian, mega fan. Not mega fan. Ticket sales.

Mason: Yeah, yeah, yeah.

Paris: Got it.

Josh: Okay. Hey, Phoebe, how have we gone?

Paris: We've sold a few tickets, but my concern is the weather. It's raining a lot.

Josh: It's indoors.

Paris: Yeah, but you know the walk from the tram stop to here?

Josh: Yeah, yeah. Hello?

Paris: Why are they knocking on the door? We're at a venue and the door's open. Come right in.

Tommy: I didn't want to interrupt. Josh, mate, good to see you.

Josh: Hello. James, isn't it?

Tommy: How do you know that?

Josh: Oh, I think you, uh, you're at the last 6 gigs, mate. Uh, Phoebe, I love that.

Paris: Sorry, I'm just selling tickets and I've noticed you've come here with your partner who doesn't seem very keen to be here.

Unknown: Who's playing tonight?

Tommy: Cam, I told you it was Josh. Oh, did I forget to tell you, mate? Sorry. Yeah, it's Josh.

Unknown: That Josh, right?

Tommy: He's right here.

Josh: Cam, how are you?

Tommy: Hey, good, good to see you.

Paris: If you don't know who's— I know I'm just a ticket girl and I'm probably overstepping, but if you don't know the act, why are you here?

Unknown: I'm just here with my mate. I didn't realise we were coming to a Comedy Store.

Josh: Adam, was it? Was it Adam?

Tommy: I can't remember what he called me.

Josh: She called him James.

Mason: James?

Josh: No, it was James. And so sorry, I'm just speaking to Phoebe. We've got some issues with the trams. Are the trams running?

Paris: Yeah, no, no, they're not running.

Tommy: They're not running.

Paris: And so the walk from the stop that the tram would have come from is far too long. And so the tram full of your fans could not make it here. However, I have heard that comedy is best enjoyed in an intimate experience. And so this is actually a good thing for you.

Unknown: Listen, darling, I think there should probably be a few more people here.

Paris: I've sold a lot of tickets in my life. I've sold a lot of tickets. I've seen a lot of shows.

Josh: I don't think this makes sense for Andy to be here at the moment while I'm talking.

Tommy: Hey, called me Andy.

Josh: Um, my name's James.

Tommy: It's James.

Josh: Hey, darl, let me tell you a few things about comedy. I've been doing comedy for over 25 years.

Tommy: All right, Dad, it's not funny. You don't like that, Josh?

Josh: Well, uh, and why have you called me up? 4 minutes before the show to tell me that there's no tram, it's raining, and there's only 3 fucking people coming.

Tommy: There's actually only 2, mate. Sorry, it's just me and Cam.

Unknown: Well, I actually might go, guys.

Tommy: Mason, you can't call it—

Paris: this is scene. But if you're wondering why I didn't call you you earlier. Yes, because the trams were only just cancelled, and it's actually really not nice that you've— sorry.

Tommy: Oh my, Cam, I think I'm saying what you're saying.

Paris: Really not nice that you've yelled at me when all I'm trying to do is my job.

Josh: I think you need to find a new business to work in because ticket sales aren't for you.

Paris: My dad owns this comedy club, and I'm just here trying to help him out, and you've yelled at me.

Josh: I'll speak to fucking John about it. I'll speak to John because I'm not a fan of him anymore.

Tommy: Yeah, I don't like the way he speaks to women, to be honest.

Josh: Cam, Andy, go fuck yourselves. I want your dads.

Paris: You're a woman hater.

Tommy: You're not allowed here. Cancelled.

Josh: This is a feminist platform.

Paris: The show is cancelled.

Josh: Cancelled.

Paris: You may leave, Cam.

Tommy: And that scene was called Cancelled.

Josh: Yeah, John. Yeah, it's your fucking daughter. Yeah. End scene. End scene. There we go.

Tommy: Cancelled.

Josh: So what do we think? Was that worth the time?

Tommy: Can't get it back, that's for sure. That's the one thing we know.

Paris: Any feedback?

Tommy: Um, I mean, I think it was— you gave Josh a starring role. Like, you gave him the role of this.

Josh: Like, did I fuck it?

Paris: Sorry, I got a crying scene in that. I thought that I was the key role.

Josh: That was great. But sometimes it's about being silent, you know, and allowing the stars to—

Tommy: but in saying that, Josh seemed like the star because he got the role of the comedian, which is the star.

Josh: Did I talk to him?

Tommy: But he could have, he could have, he could have elevated you your star made it a bit harder.

Paris: You think that the woman hater was the star of the scene?

Tommy: No, the comedian being, you know, the celeb or the person up on stage. Two people are there to see him, not you.

Josh: So the water, that's a very low status move. I think I got it.

Paris: I do this quite often actually, believe it or not.

Mason: It would have been great if Cam, you sort of, you know, jumped on.

Unknown: I was a bit more involved.

Josh: Yeah, yeah, yeah.

Tommy: Flying.

Paris: Your comedic timing was great though.

Mason: Yeah, it was.

Unknown: Oh, thank you very much.

Paris: And let's all do improv together.

Josh: Yeah, I think that like I would love to do improv.

Paris: Seriously. Me too. But only because I've got like an illusion that if I did improv, I'd be really good at it. And then I'd go to New York and I'd go to UCB Comedy and Amy Poehler would be like, write me a show. And then I get to write her a show. And then Pete Davidson would be like, I'm moving on from SNL. And they'd be like, come right on. Like, that's why I want to do improv.

Josh: But if that didn't happen for me, well, do you think the Jason PJ team would all do improv? Oh, like, I feel like it'd be great.

Paris: We basically do improv. Yeah, like the riffs that go on.

Josh: Tony should be great. Tony is great.

Paris: Yeah, yeah. Tony wants to do improv with me and go into a course together.

Josh: Well, my favorite, my favourite bit that she's ever done was in the podcast. I was talking to you about this the other day, Cam. What was she kept asking the question? Oh, was he the manager?

Unknown: It was the bad boy story, remember?

Josh: But was it about the baker?

Tommy: Baker?

Josh: And she said, who was the manager? It was the manager and it was so obnoxious but perfect. It's exactly what I love.

Unknown: She's not letting me back down. She was very confident with it.

Josh: Yeah.

Paris: She, you know, what's funny is that she gets nervous before she does that stuff, but then goes in and just rips it better than anyone else. And she's always gone to other people. You should do it. I can't do it. You should do it. Like we had this big stunt set up to do with Roger Federer and Adam Scott, and they ended up like they could obviously detect that we were about to do a stunt. They didn't come to us for our question, even though it was pre-planned, and they just were like, right, see you later. But she was so nervous before, but every time she does something like that, she's so good at it. And oh, I just feel like a loser when we're on the podcast together because she's so funny. You should probably have her here right now.

Josh: I think it'd be fun.

Paris: She's so funny.

Josh: I think, yeah, I would love to. Like, I just want to be part of your team. I asked Jase to start a bad piss off. Well, like, we could all be— why don't we all do something? Oh, that's my phone. Do something together. But I asked Jase, I wanted to start some sort of regular gym thing, like going to the gym together?

Paris: Why not?

Josh: Well, he said no.

Paris: Veggie Boy and I go to the same dance school. It's casual dance classes.

Josh: Where is it?

Paris: Um, The Space, just off of Chapel Street next to Prahran Markets. So it's a while away, but it's a group thing.

Josh: Yeah, I'm not really—

Paris: it's not really cool if I can control the group.

Josh: If we can have the group organized. Oh, sorry, Cam, or were you past your time? Yeah, no, no, I'm just What time is it?

Tommy: Just looking at his watch like another obnoxious Apple Watch wearer.

Unknown: It is a new Apple Watch, still getting used to.

Josh: Is that a different brand?

Tommy: Still getting used to being obnoxious.

Josh: Yeah. Who's, um, who's writing to you?

Unknown: That's my girlfriend.

Josh: Hey, what does she want?

Unknown: She is asking me about a shortcut in Premiere Pro.

Josh: Oh really? She knows how?

Tommy: She knows the way to a man's heart. Yeah, great bit of dirty talk for a couple of dirty little shortcuts.

Josh: Shift+A is a good one to turn into editing. I like it. It's a cut. Yeah, my preferred cut. What was the shortcut she was asking about?

Unknown: She was asking about how to— the shortcut to scale an image. So it's scale and effect controls.

Josh: Oh, that's good. So we'll just go scale to frame.

Tommy: Yeah.

Unknown: No, no, it's just to bring up the controls. She's got it set up differently to me.

Tommy: Yeah.

Paris: Okay, cool media couple. That is.

Josh: How long have you been together?

Unknown: Uh, 4 years.

Tommy: Where does she work?

Unknown: She's a freelancer.

Josh: Oh, cool.

Unknown: Yeah, she's graphic design and editing.

Josh: Oh, great. We're looking at getting some graphic design stuff done. Great.

Unknown: I'll get you guys in touch.

Josh: Yeah, that'd be good. You're in a new relationship?

Paris: Yeah, I am. It's fresh. I've got a fresh boyfriend, but he was my best friend for like 5 years.

Josh: Oh, that's cute.

Paris: Before, actually, it was 5 years since we met was the day that we started dating.

Josh: Oh, that's really— I asked my girlfriend out 3 times. We were best friends. I asked her out 3 times. She said no every time.

Unknown: So did Ben. Yeah.

Paris: I just named him. He'd hate that. He won't listen. He doesn't listen to this stuff. But no, he like, yeah, he sort of— we approached it a few times like, oh, maybe we'll try. And every time I freaked out besides this time. So it was like when we very first met in high school, we like tried to date a little bit. Nothing worked out. A few years later, tried to date for a little bit again. I was like, you like me too much, get away from me. And I was also like, we're too young. Like, we're best friends. No, no. And then actually last year he started talking to somebody else. I was— we're logged into each other's Instagrams.

Tommy: Oh geez.

Paris: We have been since year 12. It was a bet, like, I bet that you'll change your password first. And so it's not like it's not recent, but last year we were logged in. He was getting all these messages from this other girl he was seeing, and I just woke up one morning and I thought, I'm jealous, but it's too late. He's going to get together with this girl. They'll be together forever. Anyway, they didn't end up working out, and I didn't say anything at the time, but then I went home for holidays, Christmas holidays last year, and I thought, I'm a woman on a mission, I'm gonna get a smooch, see how it goes. And it went well.

Josh: And so that was in Adelaide?

Paris: Yeah.

Josh: So long distance?

Paris: Yeah, but it's just not even really long distance because it's, it's an hour flight, and so we just do it every week and it's so cheap.

Josh: So every week? Well, that's good.

Paris: I'd say like 2 or 3 weekends out of a month. We've seen each other the last 3 weeks and I'm gonna see him this weekend.

Tommy: You could drive halfway and meet each other, 4 hours. It's only $8.

Paris: It's $50 a flight sometimes.

Josh: And also you don't eat meat. So you're like, you're doing that good bit for the climate. You surely can use a bit of—

Paris: Oh yeah, I pay the extra $3. I'm not sure what it does, but I do pay it.

Tommy: For the carbon offset. Yeah. I wonder if you're a better human than I am.

Josh: No, I think that's a good thing to do.

Tommy: I've never actually done it. Better human than I am. I haven't ever paid that.

Josh: I'm going to start doing it. We should as a business.

Tommy: Okay. That's on the company.

Josh: If it's only $3, I guess for Adelaide.

Paris: No, it doesn't matter where you're going. It's about about $3.

Josh: Really? $3 to fly? Yeah. Flat fee?

Paris: Yeah.

Unknown: Flat fee.

Paris: Yeah. It's not the distance you go. I think they just charge everyone the same.

Josh: It would make sense for the distance. Like if you're going to Los Angeles, you should pay way more. Like there's a lot more trees you have to plant.

Paris: I haven't recently flown to LA.

Josh: Okay. You should, mate. Yeah.

Paris: I know.

Josh: Service is definitely looking into it. What is, what's the cost? I don't know about this $3. I reckon it's more like $12.

Paris: I've been paying $3.

Tommy: Yeah, it was only— I thought it was 2, just like an add-on.

Unknown: Like, yeah, like $1.50 or something to at least go to Sydney or Adelaide, somewhere close.

Tommy: It's because they just want to add a little bit on.

Josh: Did you not hear, Cam? Paris said it doesn't matter how far it is.

Paris: I see.

Josh: Well, you disagree?

Paris: When I used to fly from Brisbane to Adelaide, that's a 4-hour flight. It was the same price as the 1-hour flight.

Josh: Maybe they do domestic.

Paris: Yeah.

Josh: Is this a hard one for you, Sebbs?

Mason: Yeah, I'm trying to find the actual cost.

Tommy: Don't know. Yeah, I mean, I think it might be—

Unknown: you can buy it with your points.

Josh: You can buy it with your— I'm not using my points for that. No, sorry.

Paris: Um, do you get into point hacks?

Josh: Yeah, well, um, yeah, we're talking about it the other day.

Paris: Yeah.

Josh: Um, you know, yeah, I've flown, uh, first class on an A380.

Paris: Really?

Josh: Um, to London. That was great. That was in Singapore Airlines. It was like legit, but I used all my points for that. I haven't done anything cool since. You were sick. Yeah, it was great. And so we had to take two flights because go Melbourne Melbourne to Singapore, Singapore to London, and Bri had food poisoning the night before, during the night, and then the first flight. But first class is the best place to have food poisoning because they're like giving you medication and checking. It was almost like you were fucking in quarantine or something.

Tommy: Jeez.

Josh: Anyway, thanks for coming on the show.

Tommy: Yeah, thank you.

Josh: We should do this.

Paris: Thank you. Hope I wasn't too boring.

Josh: No, that was so much fun.

Tommy: You did well.

Josh: Thanks, Cam, for being the support worker.

Unknown: Anytime. Thanks for the cheeseburger.

Paris: How do you feel about the cheeseburgers actually? Final verdict out of 10.

Tommy: I feel less sick than I think I would eating the meat in it.

Paris: Yeah.

Tommy: You don't have that meaty taste.

Josh: After eating the meat one, I was like, the meat one didn't actually give me much. I think it was, I should have eaten the meat one first because the meat obviously has a lower amount of time that it's all good. Sebs, any word? Are you still working it out?

Mason: No, I have to enter all my details.

Tommy: Really? He has to book a flight first.

Mason: I'm checking out.

Josh: We had Dr. Nikki Goldstein on the show who's a sexologist.

Paris: Yeah.

Josh: He had to look up porn stuff and he had it up within 10 seconds. And now you're trying to find some—

Mason: I found one on Jetstar. A return flight from Sydney to Melbourne can be offset for less than $2.

Josh: Okay.

Paris: Side note, I think my next job is going to be a sexologist.

Josh: Really?

Paris: That's what I tell everyone.

Unknown: Really?

Tommy: That once my—

Paris: if my radio life doesn't work out, and yeah, I'm going to start studying just while I'm doing radio, just in case, because you know, everyone's got a side hustle, like side job, not side hustle, don't say that word. Um, but yeah, like, um, that's going to be my next thing if I don't have a long, lovely career in radio, which is never guaranteed.

Josh: What do you think it is about sexology that you like?

Paris: Um, I, I don't know, I guess I'm obviously passionate about sexual education and stuff like that. But, um, why is that obvious?

Josh: What's the— did you say that?

Paris: I'm just— I don't know, I just feel like I seem like the type who would be— I would care about that stuff. I don't know, so maybe it's not obvious. But the first podcast I ever listened to— I'm allowed to swear, hey? Yeah, yeah, it was a podcast called Guys We Fucked, and it was a podcast where they spoke to different people about their first sexual experiences and how they learned about sex and relationships and stuff like that. And I got really into it and I still am really into it. But I guess years and years of listening to that and having my mind opened up to the different experiences of people in the world has made me think it's something that matters. But, you know, that's just a pipe dream. Maybe 10 years, I'll worry about that.

Josh: That's great.

Tommy: Surely you could do some online courses while you're—

Paris: The course really is psychology. Then you get a master's in like human sexuality. So it's like, you know, it's an 8-year side project that you sort of have to work away at. And I definitely don't have the time for it now.

Josh: Yeah, it's interesting. It's The Daily Talk Show. Hi@thedailytalkshow.com is the email address. If you enjoy the show, feel free to screen grab it and like share it on social media. And then we know and we can be like, oh, thanks, that means a lot. Otherwise, see you tomorrow, guys.

Unknown: See ya.