Josh Piterman & Brad Blanks - 24 Hour Live Stream

Brad: The Daily Talk Show.

Tommy: It's The Daily Talk Show, episode 725, and this is a two-parter. We've got Josh Pitterman and then we've got returning guest Brad Blanks after a full night's sleep. This will also be the last episode of our 24-hour livestream series. It's been so great to be with you all week releasing these one by one. I hope you've enjoyed listening to them. I think the 24-hour livestream idea was a huge success. And we're so grateful for everyone who came on. It's going to be great to go back and listen to these in the future. So I hope you enjoy this final episode. It is a two-parter with Josh Pitterman and Brad Blanks.

Josh: Josh Pitterman!

Tommy: I'm so pissed off.

Brad: He—

Tommy: his hair is so much better than mine. And, you know, I gotta— I gotta take my hat off.

Josh: Mate, I haven't been— I'm not 19 hours into a, uh, into a podcast, podcast, live, or whatever you want to call it. You guys, I've slept.

Brad: You look fresh.

Josh: Is that a blow-dry job? Does that require— does that just quickly, does that require some level of hot heat coming out of a hair dryer?

Josh: No, no, no, the technique is a simple technique. Shower, chuck the beanie on, when you get the beanie off, you get it back.

Josh: Oh mate, if I did that, could you imagine if I had done that, TJ, when I had hair, what my hair would look like?

Tommy: No, Josh, that is so good. I'm so glad I know this because I did the exact same thing and I would do it after, and I reckon it's got something to do with like the heat, but then sort of like an oil buildup in my hair that just holds it back. Anyway, mate, enough about this strong oil buildup.

Brad: Yeah, hi lads.

Tommy: Um, how are you, dude? Because fuck, we— I feel like you just sort of up and left and had this role on The Phantom of the Opera on the West End and we didn't even know about it. We saw you only a month or so before you left. I feel like you're keeping stuff from us.

Josh: I was keeping stuff. It was strong level of keep happening. Um, yeah, I, I was sworn to secrecy, so So, yeah, I'd known about it for maybe 2 months before I left. Yeah. So, it was— and that was— when was that? July— June, July last year I found it. No, May, June last year I found out. Yeah, yeah. So, and then I was over to the UK in July and I've been here ever since. And as you all know, it's pretty mad here at the moment.

Josh: And so, what did it look like for the first few months? Of experiencing the whole thing?

Josh: Ah, I fear of the COVID thing?

Josh: No, no, no, of the Phantom thing. Like before all the COVID shit hit, like what was it like?

Josh: Living the dream. It was, it's awesome. I mean, like, you know, Phantom of the Opera is like one of the most iconic, if not the most iconic musical of all time. The Phantom therefore is like the most iconic role of all time. Mask life is epic. It's like for me and being a sort of sort of classical style music theatre singer and a pretty eccentric dude, pretty deep dude at times. It's like the perfect role to play and I've dreamed about it for, I don't know, since I started this thing and this career a million whatever years ago and listening and watching Anthony Warlow and all of that. So it was like, it was literally living the dream and rehearsals were amazing and And it's been incredible. I mean, it is literally the role that keeps on giving. It's bloody hard. It's a taxing role. But it's, yeah, 8 shows a week, but it's just so good to do. Like, I don't know if the listeners know, like, or viewers know what that score is. It's the best. Like, Music of the Night, there is no better song to sing. Yeah, so anyway, it's been awesome. And then March 16th, shit changed a bit.

Tommy: Oh mate, I just want to sort of bask in that sort of, um, amazing time that you had. Whitey in the, in the YouTube comments says, said that, um, Phantom of the Opera is his— it's his favorite. I remember seeing, like, I haven't even seen it, right? But I remember walk— running around the house saying that line, the Phantom of the Opera is here. And my mum would tell me— and so my mum lived in London and She— I think she's seen it. And I mean, when was your first time seeing that? When was the first time you saw that show or sort of got introduced to that as a performer?

Josh: Uh, I was 17 when I got introduced to it. Um, so that was like 2002, and by that time it had already been running on the West End for 16 years without a break. Like this show, like it— where it's a 34 years now, this is the first time it's had any sort of break. Like, that's crazy. And so, I was listening to an Anthony Warlow CD at my mate's house. It was his parents' collection of obs. And yeah, I just fell in love with that song, with music. I hadn't heard the Titilia track. Is that how we say the title? To Tiller Track. Anyway, I just want to say, and it's only 5:15 PM.

Josh: Like, what's your excuse? It's 2:15 here.

Josh: No excuse. Appreciate it. And so, yeah, I was listening to it and I just said, this is what I want to do. It's when I first got into musicals and ambition began. And I said, this is the role I want to do. This is the song I want to sing. And so, yeah, sort of crazy that 17 years later I've got to do it.

Josh: What's the lifestyle like? Obviously, like pre-COVID, is it like cafe culture? Like, what's the actual, like, what's the day to day in your life?

Josh: I wish it was spectacular and sort of glamorous, mate, but it's like, it's such a big thing and such a big act. It's sort of easier to go from when I get into the theater, which is at about 5 o'clock for a 7:30 show. I do about an hour of warm-up, sort of mental, physical, vocal, or so, and have something to eat. And then I get into the makeup chair at about 6:30. Takes just over, well, just around an hour or so to do the makeup, all the prosthetics and everything, because under the mask is quite the deformity. And we've got to get this thing looking ugly. And then from there I do another little warm-up and then I go on stage about 20 minutes into the show. And then after the show's done, I chat to some people at stage door and I don't talk from about 10:30 that night till midday the next day. I'll do a bit of movement, some yoga or something, eat when I wake up. Generally pretty late, 9:30, 10. As I said, don't talk till midday. And it's all really about recovery and getting ready to do it all again. So in those 5 hours between sort of 12 and 5, I'm slowly warming up my voice a little bit. As I said, gentle movement, go for a walk, do some yoga and eat and chat to my fam or chat to Lottie, my girlfriend, and then go in and do it all again. On the matinee days, so Thursdays and Saturdays, all of that just gets pushed forward earlier and I'm in the theatre from about midday and don't get out of makeup until 10:30.

Josh: So yeah, I feel like I was asking about cafe culture then because it seems like there's not only is there no cafes, there's no talking. Like, it's that, that's fucking intense.

Tommy: J— um, JP, we caught up in Sydney when you were doing the show up in Sydney. It was the final run. What was, what was that one?

Josh: Um, beautiful.

Tommy: Carol King's Cafe. Yes, yes, yes. Um, yeah, were you still doing that show? Because there was cafe culture. We, we did have a nice sort of kombucha together and you were very relaxed.

Josh: Oh yeah, that was, that was genuine cafe culture. I mean, occasionally if I'm— if there's a cafe thing, this will happen at about 4 o'clock before I get into the theater, I'll meet a mate.

Josh: I'm not obsessed with the cafe thing, I just, I just had this sort of like vision of some sort of— I can't remember what happens in The Notebook, but I just have these— sorry, not Notebook, what is it? Um, what's the movie that you watched the other day, Sev? The one— Notting Hill. Um, you know, that sort of, um, that sort of vibe where it's just like, oh, you're accidentally bumping into people, but like maybe there's some avocado in it nowadays with a bit of feta or something.

Josh: Anyway, okay, it's sort of not the case that— but when I was doing that show in Sydney, Tommy, um, Yeah, because the, the role I was playing, Jerry, didn't really sing very much. And so I could— I did all the cafes, all the meats, all the brunches, all the everything. So, um, so that, uh, that one was easier to, um, spend my money on avo and feta. This one, it's at-home avo.

Tommy: Yeah, well, the, um, what would— run us through the first few shows, because I could imagine your heart is thumping. You're a seasoned performer though.

Josh: Doesn't matter, mate, you always get nervous. Uh, well, the beautiful thing about the first show— so that was September 9th. My family, my parents flew over from Oz, um, and they were there for the first week, so they saw opening night and maybe my first matinee performance. Um, I had my cousins who live in London, my auntie all there, my partner Lottie and her family from Scotland all came. I had a couple other mates. I probably had a posse of about 20 there. And they were going, "Chicken Oriental." Like, everyone was just going absolutely nuts. Chickpea and lentil, if any, if you're a vegan. And it was just amazing. And honestly, it's been one of those shows that, yeah, you have nerves and all that, but it's just so fulfilling. Like, I just feel like my heart is so the cup is so full as a creative and as a singer and as an actor, I just get sort of lost in it. And yes, there's pressures and whatever, but there's always pressures to sort of do it 8 times a week. The other thing that's great about doing it here is that it's a system and it's been going for so long, they know how to guide you through and they know how to build you up to how to sing it 8 times a week.

Tommy: I just feel like it's, um, it's perfect for you. Like, I've— meeting you, like, hearing you sort of talk about it, um, your, your energy in person is, you know, you said you kind of— not— yeah, I don't think you would use the word intense, but like you feel— you're a feeler. And I feel like you'd just be loving this whole, whole thing. Like, it is so you at the moment. When it came March and the disruption, what is that doing to you?

Josh: Well, you know, I'm a feeler. You also know I'm like a pretty, I guess, like spiritual dude. And like my sort of sayings are always, this too shall pass, and control what, you know, the controllables. And I mean, It's a virus. It's awful. It's hideous. You know, way too many people are ill with it and way too many people have died. The financial disruptions, the economic disruptions. I mean, we know all of that. But, you know, not being able to put on a mask and do Phantom of the Opera, I guess, bears into some sort of insignificance when you compare it to, you know, the vast nature of what's actually happening. Around the world. I mean, everyone's affected. So my suffering is no more sort of valuable than anyone else's suffering. In fact, it's far less than most. So, you know, it's over for the time being. It's on pause for the time being. And when things get up and running again, whenever that is, and the people can go into theatres and they can do it safely, I'll just be back in the mask doing it again. Sick and all the toons.

Josh: Were there certain stages? So like, I guess, like, it's been a bit of time now since we've been in isolation doing all that sort of thing. Has your opinion and thoughts changed over the time?

Josh: I think there's an acceptance that I reached at about week 2 or week 3.

Josh: What does not accepting it look like? So before you get to week 2, what is that? What's that?

Josh: It's like trying to control everything, trying to like get on top of it. How am I going to make an income? How am I going to keep, you know, my voice up? When are we going back? You know, trying to get all the information all the time, you know, and be on top of life and then sort of surrendering to the fact that, you know, this will pass when it passes, is— it was, was the lesson that I had to sort of reteach myself pretty quickly. And I'm glad I've done that sort of work in the past. And I guess meditation and, and being a spiritual woo-woo dude has sort of helped me with that. And, and, and now, I mean, yes, we all want to control certain things, but I, I think it's probably more beneficial to control what's happening, I guess, between one's ears at the moment than— and, you know, doing all things to avoid the virus— than it is to sort of, you know, spend each day fretting about your bank account. I don't, you know, just don't think it's a constructive mode of operation.

Josh: Did you panic buy anything?

Josh: Because it's sort of governed by fear. Panic buying? Yeah. Panic bought new linen. Panic bought, although it's in the other room because the missus is using it, a ring light and with the tripod to put the phone for like all the Insta Live singing I was doing. Panic bought, what are they called? Like... Pull-up bar? Lottie's just come in the room. No, no, like bands. Bands? Yeah, you can come in, come in. It's your home. I'd like to. Well, Lottie can come in through. Say hi to Josh, Tommy, and Mason. I missed them last night.

Tommy: Hi, Lottie.

Josh: They're 19 hours into a 24-hour live thing. Wow. These tired faces. That's very impressive. Josh told me about that last night. Are you sleeping?

Josh: Yeah, no, absolutely not.

Tommy: 2:30 AM right now and we're pushing through till 7 AM.

Josh: Amazing, mate, is a laugh. He hasn't actually said anything yet. He's so tired. Yeah, look at—

Josh: yeah, Seb doesn't normally look like that. It's a— you look terrible.

Josh: I'm so drained.

Brad: Yeah, not from the convo, Josh.

Josh: What was that? So having coffee?

Josh: Chocolate?

Josh: Well, we're just talking about caffeine. We— it's 2:25 AM here, and so we think that McDonald's might still do coffee, so we could get that. But, um, we're, we're too delirious to make a decision.

Josh: Get some— a few little groceries. A few little groceries.

Tommy: Oh, grab us a coffee if you can. Thank you.

Josh: Thank you. Anyway, that's sort of in short how I've been sort of coping with it. And I got really— I did get quite busy and do this like really nutcase Insta Live isolation world tour because I love singing songs in different languages from different parts of the world. So it was like a 12-stop world tour and every few days I was somewhere else in the world and It was a bit of a laugh. And we ended up in Scotland, and this one and I did—

Brad: Scotland!

Josh: —Brooklyn, it was brilliant. And I mean, it was absolutely nuts. But it meant that I got to sing and bring a lot of other artists into it, which is awesome. So heaps of Aussie artists did it, and I had a mate in New York join me and lots of different people. So that was really fun. And then this week, I've just gone, I just really want to watch Netflix a lot. So that's really all I've done.

Tommy: What was, um, what are you watching? What was the first thing that you binged?

Josh: There's an Israeli series called Fauda. It's about the Mossad and all of this sort of Hamas stuff. It's so interesting. That was my, that was my strong Israeli accent. Um, it was really, that was, it was him. Really strong. Yeah. And then I'll watch a bit of The Last Dance, the Michael Jordan thing. I feel like— Good. I'll be into that. And then there's a BBC series called Normal People about Sally Rooney's book, Normal People, which is— Yeah, very good. So, a little bit of a lot of things.

Josh: Guys, you are so tired. Yeah, we are.

Tommy: You know what we need? We need the vocal cords of JP to get us up and about. What's a song that you could just give us a little bit? I know you—

Josh: we had, um, we had Pete Murray earlier in the day who sung Opportunity live on the show acoustically, which was ridiculous.

Josh: And what, and what did he sing?

Josh: Ah, so come here, Opportunity. Oh yeah, yeah, yeah, yeah, yeah, I think so. Was that how you did it? Oh no, I think I did better days than I Opportunity.

Josh: That's okay.

Josh: What was that?

Josh: Sorry, how many hits did he have?

Josh: Uh, there was a few. There was, um, yeah, there was Better Days. What's, what's the other one? There's a bunch. I have it all on my Spotify. What was that? So Beautiful. Yeah, So Beautiful is a big one. That was great. But no, we don't want you to do a Pete Murray song if that's what you're thinking.

Josh: I'll give you a bit of Phantom because, I mean, I threw it out for John Foreman on his show, um, so I can give you a tiny bit. Um, can you hear that? Yeah, got it. Nighttime shop. Heightens each sensation. Darkness serves and wakes imagination. Silently the senses abandon their defenses. This kind of music is going to make you go to sleep, guys. This is good.

Tommy: No, I love it, I love it.

Josh: There you go, that's all you're getting because that was great. We've got to get—

Josh: ah, there you go, that's amazing. That's the problem.

Josh: Yeah, it's all right. Do you want to—

Brad: do you have any nightclub?

Josh: What else is new?

Josh: What else is news? Um, well, we talked Trump.

Josh: Oh, you can talk Trump. I didn't mean news news. What about— what was it? How about this?

Tommy: What about Boris? Let's talk, let's talk Boris.

Josh: Well, he just had a baby, Boris. Um, yeah, so I'm glad that he, uh, he survived it. Because it actually sounded for a second like it was not going to go so well for Boris.

Josh: Like, just so weird, like a leader of a country dying from a virus is really hectic, isn't it? Yeah.

Josh: And his speech afterwards, just, um, he was so emotional. And Boris doesn't he gets passionate and takes a lot of pauses between things. So, that's sort of his emotion, but actually almost in tears. It was, yeah, I think he was in a bit of a shit way for a while there. So, I'm glad he's on the other end of it and he's got a baby coming. They're sort of talking about maybe at the end of the week they'll have a plan to deliver to us, but I think we're miles from being where you guys are. I mean, we've still got like, yeah, 1,000 cases a day, and you guys are like, what is it, like 20 cases a day? Not even 10 cases a day.

Tommy: Yeah, not even. I mean, what's— what is the, um— you see how these things, like how ScoMo in Australia is handling it, comes from the bushfires disaster for him and his, his, uh, his following, or, you know, his influence. And then you see it kind of shifted at the moment. Like, I think there's people saying, come on, he's doing the best with what he's got, it's in a good place. For what are people— I know Boris is not liked by— he's a bit of a— not as— not as— not, not a Trump, but he is a polarising sort of conservative over there. Are people starting to warm to him?

Josh: Than Trump. I think, I mean, Trump is bereft of any sort of genuine human ability to feel another person. So he only feels himself, and I'm not entirely sure he's doing that very well. But so Boris is human, and look, I think he's handled it well since he decided to lock things down. The problem with what happened over here is they took too long to do it. And they had sort of, I think, maybe false information about the possibility of herd immunity and keep it going. And then, yeah, I think they just did everything a few weeks too late. And we know with this virus is that a few days is a lot. So, especially that start when it just goes, "Hew." So, a few weeks. Yeah, I think when they saw what was going on in Italy, that being close enough to the UK, they probably should have acted a bit faster. But, and yeah, lives are lost and all sorts of shit has hit the fan because of it. But since lockdown, he's been okay. And I think people are pretty okay with him generally. Like, that's the consensus. And, you know, working in the arts, not generally a conservative following within the arts, but most people have been like, "Hey, he's dealt with it pretty good." And Rishi, the Chancellor Treasurer, I think people are really happy with him. I actually had a phone call with Josh Frydenberg a few weeks back. Oh really? I sent him an email because I was dumbfounded by, and really just appalled with, the fact that artists don't have access to JobKeeper. Even though they go job to job to job, and even though they were in jobs that now they can't be in because of virus. And so he responded to my email, he was just like, "Can I give you a call?" And so he gave me a call, and I respect the fact that he called. I thought it was very good of him to call. It's not every day that you just get a call from the government treasurer. What did he say?

Josh: He— how does he answer? Like, how does it all sort of connect up? First of all, do you— is it sort of a bit of, ah, Josh, same name banter, like a bit of that gear, you know, just connecting over that?

Josh: Yeah, how are you? Like, how are you actually dealing with them at an emotional level? Um, and then beyond that, he wanted to make— I think— I'm not entirely sure he knew that I was actually up with what was going on and that I have a political and social conscience. And he would sort of explain to me, you know, the difference between JobSeeker and JobKeeper and all that kind of stuff. And I was like, I know what that is. The fact is that in your government, you lugged the arts, you got rid of the name 'the arts' from any sort of form of government. He loved it with transport and regional communications and whatnot. And so the bloke who has to look after the arts needs to look after the budgets of regional transport and communication, all sorts of stuff. He's not thinking about artists particularly, he's thinking about it as a whole bubble. And so you sort of devalued the arts there. And then when you said that artists can't get the JobKeeper, you devalued the arts again. And therefore artists feel like they're not cared for, they're not understood, they're not valued. And he said, 'Well, you are valued, you are valued.' And I said, 'Well, that needs to occur in legislation as well.' And nothing shifted. I mean, artists still can't get JobKeeper unless you're in a job that's been running for over 12 months. And as we know, that's pretty rare for for artists, they go gig to gig to gig, contract to contract. I think if you're in Harry Potter and have been from the start, that musical, that play, and then you've been going for longer than 12 months and so you can get it. But I think it's absolutely, when we look around the world at how other governments have dealt with the arts, they understand that the arts is what people go to at these times. You know, people need entertainment, people need help, people need hope and a spirit. And they need to be entertained. And so, you know, that was shown in the bushfires, the Firefighter Concert. The artists were the first people to come out and say, "Let's raise money for it." And then it's a bit of a slap in the face when you go, "All right, well, when we need you, please come, but when it's time to, you know, dip into our pockets for you," I don't think it's been met the way it should. And I offered up another alternative. What they've done here is pretty simple. Said, if you're self-employed, you're an artist, show us your last 3 tax returns or an average of your last 3 tax returns, and, um, and we'll pay you X amount based on that. And I mean, every artist that's self-employed in Australia should be able to do the same thing. I think it's madness they can't.

Tommy: And, um, have you heard of a bloke named Captain Tom over in the UK who's raised cash?

Josh: Yeah, he's— yeah, I raised over £30 million and at 100 years old he's got a number 1 single.

Josh: I don't know this story. What's the deal?

Josh: So Lottie, am I right? Lottie hasn't left yet. In saying that he's been doing laps of his garden. 100 laps of his garden at 99 years old and then he turned 100 on Thursday. He's doing laps of the garden and people are donating. As a result of that. And then Michael Ball, who's a big music theatre star over here, and him and a big ensemble of people have done a version of "You'll Never Walk Alone," which is a classic from Carousel the musical. Josh, get that? But it's also a Liverpool anthem. And yeah, it's gone to number 1. So at 100 years old, he got his first, he got a number 1 single. I mean, he barely sees it. Incredible.

Josh: I mean, talking about viral stuff, I could imagine you getting into TikTok. Are you on TikTok?

Josh: I try. Okay, Joshua, what is it about me that you go, oh, I can imagine that you'd get into TikTok?

Josh: Like, you feel like there was a— You've got a cute face. You could be— you've got sort of the face of a sort of a 16-year-old boy that I think would appeal to the TikTokers.

Tommy: To be honest, JP, you'd be playing a 16-year-old as a 30— how old are you now? 34 or something? 32? I could imagine you're timeless. You got that timeless piece on.

Josh: And so you've got like, you've got the, you know, you can sing, you can do all that. So like, why wouldn't you, um, you know, it's TikTok.

Josh: Yeah, it's just so much fucking social media and I just, it's just too much for me. I can't do it. Lottie wants to get into it. She put our version of, if you go onto our Instagram on the world tour, we, you know, a lot of it was singing some like beautiful, you know, Italian arias and Spanish ballads and all sorts of stuff. When we got to Scotland, like, name me one band you know from Scotland. Give me one.

Josh: Sorry.

Josh: The book I use is all about TikTok. So we sang 500 Miles, it was— we dressed up, we did crazy choreography, and that went to— Lottie put that onto TikTok, her TikTok account that says Josh and Lottie's TikTok account. So apparently I am on TikTok, but I can't bring myself to do a single video for it. I think it's all just— it's too much.

Josh: I feel like this is like stages, you know, like the— you're gonna get to the acceptance bit, and before you know it, you're getting right into it. I was— I had a lot of pushback too, and then it's sort of like, yeah, so the Daily Talk Show has an account and we do duets with some of the gronks. So we do sort of get amongst it, but it's good tunes. Like, if you want to know what's up and coming, what the kids are listening to, um, they, they dance to the songs. Because I went on to Spotify and I went on to the charts and I realized, I'm like, I know all these songs and it was because I've danced to them on TikTok.

Josh: But don't you, aren't you guys also, Mason, maybe not yourself because, you know, you couldn't be older than about 25, but, um, 20, 20. Yeah, he's 20. Where you go, I can't listen to the radio anymore unless there's like, you know, unless I'm listening to someone's smooth FM.

Josh: Yeah, well, yeah.

Tommy: No, exactly. I'm listening to 774. I actually, I'm familiar with Josh Frydenberg only because of Talkback. That's it.

Josh: I'm at that. I know one pop tune unless it's by an artist who is like sort of giving me a massive old heart-wrenching ballad like a Lewis Capaldi or Adele or Sam Smith or someone or Ed Sheeran. I don't know anything that's out there. Oh, so I couldn't dance to it.

Josh: What do you— what music do you listen? Like, how do you find music? Are you on Spotify or what do you do?

Josh: Yeah, I, I listen to a lot of old stuff. I did my workout today to, um, to Hall and Oates. Yeah, nice. You can't go— you can't go past a bit of me.

Tommy: Are you, are you listening for the art of the music? Because I don't think I listen for the art of the music. I'm just listening to rap and doof. I feel like that's not you.

Josh: Well, if it's rap, I don't think I go past— I think like Dre 2000 is my cut-off album.

Tommy: One of the best ever.

Josh: Yeah. Oh, you know, some Eminem, you know, that— yeah, like, yeah, yeah, yeah, that's a lot of bangers.

Josh: Brilliant. Eminem, like, you can put on any Eminem song and sort of get into it, you know.

Josh: Yeah, yeah. And a lot of tragedy. We like that. I think at the time when you're like really dissing out your mum, I'm sort of like, I push back at that. But like, I like happy rap. Like, whatever happened to just like Jurassic 5? Just talking about the, you know, take it back to the concrete streets. Original beats. Happy rap like Will Smith, like Will Smith clip on Family Guy.

Josh: Yeah, TJ, do you have any questions? No, I love that.

Tommy: I mean, I still think the most annoying thing about you pushing back on the TikTok is that you're talented. We can't sing, Josh. Yeah, we can't dance like you, but you can, and you have an opportunity. But you're just not taking it.

Josh: I'm just gonna leave you some sort of like, like, like deprivation that I'm, I'm giving to the private society.

Josh: Yeah, you're the face of privilege. Like, you got this skill and you're not using it on TikTok. You should be using it. Like, I've got— I'm trying my hardest with no, no abilities, just having a crack, and here you are being above TikTok.

Josh: But people who are good at sort of probably frowned upon because it's like, stop fucking showing off.

Tommy: Yeah, no, you know, nah, dude, dancers— no, dancers are killing it. Like, that is— if you can move, there is some people that are gymnasts. Like, it is— it's all happening, mate. Just spend a bit more time there. I mean, we don't really care that much.

Josh: We're just doing TikTok loop right now between the, the Gram and the Twitter for the news, and then Facebook for whatever Facebook's for. To add a whole nother thing, like, I also gotta like eat and like sleep and, and like, you know, be active, maybe read a book. Like this thing—

Josh: oh, what are you reading? Are you reading books? Yeah. What do you got?

Josh: What you got? What you got? Well, I'm the sort of normal people We know that.

Josh: Yeah, I'm pretty sure Bray's reading that.

Josh: Um, oh no, the last thing I read was The Way of the Peaceful Warrior, which is a classic book. But, um, I tend to read either spiritual things or sort of like just everyday life, people and their stuff. And the thing about Eleanor, a lot of them I can't— it's sort of like when I go to Waterloo Station or Bakerloo Station, I can't sing this without a tune in my head. So anytime I go to Waterloo Station, Waterloo, and Bakerloo, I always have Baker Street. Great job. I always have Eleanor Rigby, like every single time I open this book. So I have that stuff in my head, and so I try and read it through the song in my head. And that's why 2 weeks in, I'm only 46 pages in. So, you're a slow reader? No, I'm generally a medium-paced reader. I wouldn't say I'm fast. Lottie's very fast. But I'm just, I just have the song in my head and I can't get past it. But it's a bloody good book. So, that's my— It feels like a very book club book.

Josh: I feel like I've seen the COVID everywhere. Yeah. It's definitely got that vibe, you know.

Josh: Well, it's winner of the British Book of the Year, 2 million copies sold. Yeah. Well done, Gail Honeyman. It's a good effort. Well, yeah, I mean, if you had 2 million copies— Would you ever write a book, do you think? Pardon?

Josh: Would you ever write a book, do you think?

Josh: What would I write about, Josh?

Josh: Let's be honest. You just, I don't know. I get like, I just romanticize, you know, this existence. But then you do talk about, you know, not talking until midday and then just like a light exercise. And then, yeah, maybe there isn't sort of, you know, the romantic side.

Josh: Well, there isn't. There isn't. I mean, my biggest joy comes from, you know, being out on stage, you know, and sometimes it takes 21 hours of, you know, going inward so that I can spend 3 hours going outwards, you know. So, um, it's pretty epic.

Josh: Like, it's all— it's like an athlete. You're an athlete, really, like, at that point. Like, being able to, um, have that amount of discipline. Do you crave discipline?

Josh: Uh, yeah, yeah, I'm a stickler for that. And like I mean, I haven't shut up about it since we got on air, but Lottie will attest to the fact that I do my scales every day. And even in lockdown, I'm going back, having singing lessons with my coach and working on things. And it is a discipline. I think if you're an artist who gigs once a month or every few months or whatever, you might not do do it all the time and you can whip it out and come to it and leave it and there's a bit more sort of simplicity in it. But if you're doing it 8 times a week, there's no way you can do it without having like intense structure and discipline and that sort of athlete's mentality. But the difference is that for athletes, I think that sort of Maybe I'm wrong, but like they— that push, that push, push, push sort of tunnel vision focus can really work. I think as an artist, it can only work so far. At some point, you actually have to give into your heart and your soul and a really sort of deep emotional place to deliver a performance that enables people to feel. Like, you need to go to a place where you feel deeply in order for 1,500 or 15,000 or 150,000 people to feel as well. Um, so that's where it's sort of different. It requires, I think, both disciplines. Um, so yeah, it's so impressive.

Tommy: I just think like, um, it's so good seeing— yeah, seeing it all unfold from— remember when we're in New York City and we're in Washington Square Park?

Josh: I know, I remember you guys were like— you had slept, you were, you were, you were— you had an energy about you, you had a sort of We're in New York, baby. Now, prana, New York was moving. Now, just like, as Mason does a little bit of a, uh, um, I, I just cannot believe you guys are doing this. I'm so impressed, but I'm also baffled about the madness of it. Like, what inspired you guys to go 24 hours?

Josh: I think it just came from because we, we, um, it's just a nice round number. And being in, being in ISO as well, I guess it's just like, it's like, why not? You know, like, why do we do— some people, uh, walk marathons. Like, um, we're gonna chat to, um, our mate Tom in Vienna who's just walked a marathon while we're doing the show. People do dumb shit, you know. Tom's wasted his whole day, we've wasted our whole day, you've wasted an hour. Like, we all do, you know, but we appreciate it.

Josh: We have fun. Did you do the 40-hour famine when you were growing up?

Josh: No, like, it was definitely— the thing with the 40-hour famine is it like— because we've spoken about me being a fat kid and stuff. No, no, but I, um, I, I remember they were very cool.

Josh: Beautiful man. Great job.

Josh: I appreciate it. But no, I think I pushed back on it a little bit because I was worried that I would get very obsessed with the whole thing. But did you ever do it?

Josh: No, but in a time in my life where I cared more about my abs than my vocal cords, I definitely did a lot of fasting, like a lot of intermittent fasting and all that stuff. And it was an experience. It worked. I wasn't necessarily happy, but it worked. So yeah, I don't know. Yeah, if it's for you, it's for you. But I like food, like eating. I wouldn't, you know. Yeah. Yeah. I mean, the 40 Hour Famine is for a great cause. I'd do it for something like that, but not for some There you go, Tripp. On 24. Yeah, she's— this is the time we spoke about her favourite series of all time. Lottie, series 24. Who's the man? Jack Bauer. Oh yeah, I've never seen it. Bauer, love of my life. I'm fucking chopped liver here, boys.

Tommy: Oh, um, it's so— Jules Lum was telling me that Back in the day, TV series weren't popular for actors to do. It was sort of frowned upon. You were cinema, not TV. You— and then Jack Bauer on 24 became the person that sort of was like, oh my God, you can have a successful acting career as a TV star now in these big series. And it sort of— look at it now, like, how big are some of these actors just from TV series?

Josh: So cool. Well, I want to put it out there that Alan Fletcher, Dr. Karl, was way before Jack Bauer. Dr. Karl's been doing it on Neighbours for 25+ years, so he was way before Jack Bauer and still there going strong. So props to Alan Fletcher. But that sort of idea of like the series, I think 24 was like one of the first before, like, Prison Break and all those other awesome ones. Um, I think that was—

Josh: was it an HBO?

Josh: Oh, but it was certainly one that everyone, like, watched. And what a great concept. It's like a day in the life of, and, and in absolute real time, you know, 24 hours.

Josh: Simple concept.

Josh: To stop the bomb, to do something like that. Yeah, it was always stopping the bomb.

Josh: Yeah. Josh, we've got to go because we've currently got Tom who's got 10% battery and we need to get him on the call because he's just literally walked a half— sorry, a marathon in Vienna. 42K. 42K. Thank you so much, mate. Sending you lots of love and— Love you, buddy. Thanks, mate. Have a good one, mate. Brad Blanks is in the building. Oh, here he is, Brad Blanks.

Brad: Hey, fellas! Geez, you're looking fresh. You look good. Look fantastic. He's gonna pump us up now.

Josh: We're having some— we're having some macca's breakfast. We've got macca's.

Brad: That's good. Hey, Tommy, I've hit my lethargic zone too. This is usually when I'm having my lockdown nap. 2 PM, so I've got to fire myself up. I've had a cup of tea. Um, but well done! What a, what a performance you guys have put on! What a show! Um, the Gronks are happy out there in the world. You know, the social media is abuzz of this, uh, crazy group of, um, people that have created this, and that's you guys. So well done.

Josh: Uh, what have you done today, Brad? What have you done?

Tommy: What's your last 20? Yeah. Yeah, that's a—

Brad: yeah, 24 hours. Good, good, that's good. Uh, you know, nice dinner with the family. I decided to drink last night, so had a few beers. Kids, uh, Mrs. went to bed early and I stayed up watching TV. Actually, my 10-year-old son, I watched Moneyball with him. I love that movie with Brad Pitt and Jonah Hill, based on the great book Moneyball. So I try to teach my kid the value of, uh, of life.

Josh: The book, I couldn't tell. Whether you're joking or not, it was a book. No, it's serious.

Brad: Yeah, great book. Phenomenal book. Yeah, yeah. And it gave me my love for baseball. So yeah, it's great. Really good. Uh, Michael Lewis wrote it. Actually, you know, The Big Short. Um, good book. You should all—

Tommy: Josh, you would like that. I actually think you'd like the, the film itself. Um, and then The Big Short. The Big Short's awesome.

Brad: Awesome. Yeah, it's, it's interesting, like, uh Moneyball, I had not watched it for 9 years and then watched it last night and it doesn't really end. Like, there's no real ending. It's just nice. It just sort of finishes gently, you know, Brad Pitt walking around and it's good, good film.

Tommy: Yeah, Josh, I mean, that's what you can do when you got Brad Pitt in a film, just have him walking around just looking like Brad Pitt and then just finish the film.

Brad: Everyone's like, that's a great film.

Josh: Yeah, that's great. On the base— on the baseball thing, Brad, like, have you always been a Yankees fan?

Brad: Uh, look, Yankees— being a Yankees fan, you become a front runner, right? Uh, so look, I live in New York and I have love for the Yankees, but I always want to see the Mets do well. I have a lot of friends that are Mets fans. I'm a Western Bulldogs fan in Melbourne, so I'm probably a bit more— a bit more Mets fan base. Yeah. Um, that I'm a part of.

Josh: So that Yankees hat then, that's like slightly controversial then?

Brad: Fashion, controversial. No, look, I love the— when you go to Yankee Stadium, you watch the Yankees, you know you're watching something that's pristine, a great product they put out there. And it's, I mean, it's legendary to be out there. So I— but I'm a little bit, you know, a little toe in the Mets camp, you know, support Jerry Seinfeld, you know, he loves the Mets. Yeah, yeah, they actually asked him, uh, TMZ asked Jerry Seinfeld a few— about a month ago, before— before— probably 2 months ago now, before lockdown. They said, Jerry, why don't you buy the Mets? We need someone like you running the Mets, a lifelong fan. And Jerry came out with this great, great quote. Why would you buy a baseball team? Because really, the pinnacle of owning a baseball team, the pinnacle of a feeling, not necessarily owning it, is to sit in a seat, have a beer, eat a hot dog, and watch baseball. Nothing can be better than that. And, and it was a beautiful Seinfeldian line. He's so true. There's nothing more pure than just sitting there. Why would you want to own it and have the pressures of selling hot dogs and selling beers and getting attendance and that when you just sit there, relax, drink a beer, and eat a hot dog and watch America's pastime?

Josh: And definitely, yeah, it is so true.

Tommy: Hey, um, just one thing before my mind, um, gets the better of me. Just after you were on, Brad, um, 20-something hours ago, uh, Cobram Revan Song, we have someone who, um, works with your dad, I think. Is this your dad's business? He knows about it?

Brad: Yes. Yeah, Peter Ennis, Caravans.

Tommy: Can you sing the song? Because that's what he requested.

Brad: Yes. All right, yeah, this is what I used to sing at parties in the, uh, the Murray Goulburn Valley region of Northern Victoria, um, and people thought I was the actual person that sang it on the radio. So this commercial would go through all country Victoria and southern New South Wales on all the radio stations, and I'll kick off. All right. Well, Peter Reynolds, he's your man. He's from Cobram Caravans. He'll do it right for you. Brand new, secondhand, he'll do the best deal that he can. It's Peter Reynolds, Cobram Caravans.

Tommy: Oh yes indeed, dude. There you go. That was, that was running when I was in Shepparton. That ad was running in—

Brad: yes, yes, 20—

Tommy: 2014, '15. No shit. As soon as you start that, that caravan— oh man. That brought back memories. The memories.

Brad: That was, that was, um, that was from, um, Tim.

Tommy: His dad works for Peter. So, all right. And Peter's your dad? Peter's your dad, Brad?

Brad: Yeah, Peter's my dad. Yeah, he's, uh, he's clicking on now. He's about 76 years of age, still going strong. Uh, the, the whole coronavirus has missed him because he can't— because he's had such a wonderful business where people have always walked in. People always want to see a caravan. Caravans are interesting to people that are into them, and people that are tickling into the caravan business love going there. And there's a lot of gadgets in a caravan, you know, a lot of, you know, space maximization. So cup holders, yeah, your cup holders. Um, it was a revelation when microwaves got inserted into them. Oh, that's cool. Back in the late '80s. Yeah. But, uh, uh, Dad just couldn't believe that no one was walking into his business. I'm like, Dad, we're on a global lockdown. He goes, yeah, but 'People still need caravans.' I'm like, 'Dad, no, this is bad. This is lockdown.' And then a week later he went, 'Oh yeah, I think I've figured it out now, son. Yes, you're right. This is pretty serious.' I said, 'Dad, just eat some noodles, eat noodle soup, ring your accountant, make sure everything's fine, because when this gets lifted, your business is going to be the Bubba Gump of travel and leisure. Get ready.

Josh: Hold on to your hat.' Um, the, um, the McMuffin, uh, that I'm just about to eat got me thinking, what is your favourite fast food in the US? Just while I—

Brad: uh, look, look, I've tried to watch what I eat lately, you know, over the last few years, but I'm— so that means I can tackle the Chipotle, the Chipotle burrito. That's probably the fastest food and that you think is healthy. Look, I'm a Macca's guy born and bred. I'd smash that Shepparton McDonald's. I lived in Cobram, which is 45-minute drive north of Shepparton, so I grew up there. And we'd always pull into the Shepp McDonald's that Tommy would know. Um, and sorry, when I was—

Tommy: yeah, they opened when I was living—

Brad: what? Yeah, the, the— it was outside one, the one—

Tommy: it was— okay. Yep, yep. Josh, you've been to that one. But at one point there was, I think, 4 in Shepparton. I didn't know that, right, mate? There was one, one at the Plaza, one North End. Oh yeah, there was four. One at the Plaza, one North End, one South End, and then one in the mall, mate. They've got a couple of— they've got fucking 40,000 people there. They don't need 4 Maccas. No, no, no.

Brad: It was such a revelation in like 1982 or '83 to get a McDonald's in Shepparton, and it was just unbelievable. And I'd get 5 cheeseburgers at a time. And just smash them. So I love my Macca's, and I've even been— and I essentially had 3 years off McDonald's to try and, you know, cut my weight. And I'm gonna make a comeback after this. COVID will get me back on the McDonald's bandwagon because I, I deserve it.

Josh: There's so many options though, isn't there? Like, I feel like there's, um, in regards to fast food in the US, um, what do you think about Wendy's?

Brad: Put out a good product.

Josh: Wendy's is good. Larry Legit in the YouTube comments actually mentions Wendy's. Yeah. Yeah, they look healthier.

Brad: Their lettuce looks healthier, and they do a nice salad and that sort of stuff. And their shops are— if you get a good shop, they're quite nice. They have flowers on the table in sort of the more suburban ones. And what else we got? We'll go to the McDonald's, which I love.

Josh: Chick-fil-A. Are there any Chick-fil-A's? Chick-fil-A is huge.

Brad: Oh yes, yes, it's on the corner of 6th Avenue and 39th Street. And when it opened, lines went around the corner. They've opened a couple more in the Midtown area. Huge. Just, yeah, massive. And they took a long time to come to New York. They were more of a Southern fast food. And the chicken is so good. And you get chicken and pita and chicken buns. And my goodness, you know, fantastic. And you'll get lost in there, the Chick-fil-A place. But that's good.

Josh: Do you like nan bread?

Tommy: I keep thinking you're frozen, Josh, with the way you're holding that.

Josh: Oh, because I'm moving? Yeah, I know. Nando's. Do you like Nando's?

Brad: Yeah, Nando's. I hit— when I lived in London, I hit Nando's, the one in Earl's Court. That's, you know, that's about '97, '98, '99. Um, and I don't think I partook when I went back to Australia and that. What did I eat? I ate that, a lot of that, and someone will help online. When I moved back from London to North Bondi and I hit the chicken place in Um, what's it called?

Tommy: No, no, no, it's not, it's not the one you're thinking of, Josh. It was, it's gone now. It was in North Bondi. Oh really? It's Charlie's. It was like, what was it called?

Josh: Fuck, isn't the one that I think about this because in turn Pete's got the deal with, or no, it's not.

Josh: No, no, no, no.

Josh: And Fordham, what's that?

Tommy: This is, it was North Bondi. They used to do burgers. Nah, it wasn't Char-Grilled. It's, it was a little chicken shop up in North Bondi. Yeah. It's gone. It was very sad. Oh yeah, it was so funny.

Brad: I'd always be in there and, and Will Anderson would be in there at the same time ordering his chicken dishes when I was in there. That's, that's 2000 when I moved back and lived, lived there. Smash that chicken joint. Oh, it's delicious.

Josh: Now I've never had a pub as John Bondi.

Tommy: I go on to teach you the big, the big 6-foot-7 Aussie bloke just Did you own it? Were you training down there?

Brad: No, no, no, it was a trendy area. I reckon I got there at a pretty good period. It was in that flux stage where it was just about the boom. And I'm going off— I left there in April 2001, and a lot of friends stayed, you know, were still in there for '01, and they just said it just zoomed off, you know, '01, '02, '03. So I was in there in the Sydney Olympics that era. And, uh, it was good. I could feel I was pulling this. Yeah, we'd go to the Beach Road Hotel every Wednesday night and, you know, smash chicken schnitzels out the back there and then into the bar, then upstairs. It was kind of like, um, and I'd come from London and come from Europe and the backpacker scene, so it was like just stepping straight back into that scene. It was, it was because you're out there, you know, everyone's Swedish, English, South African. It was just It was going off and I'm like, I'm like, I was like a foreigner in my own country. It was, it was pretty good fun.

Josh: How are you as a host? Like, we, we got to see your hospitality when we're in New York for the short, short period. For those longer trips, if you have family coming over to the States, where do you— and you had to have a few days, what do you do?

Brad: Uh, well, first, what would happen in— so I got to America in, uh, October '01, and I slept on friends' couches and whatever. And eventually I got my own place in May 2002, and I got a hotel room. It was a trade deal through the radio station. I think I've told you guys about that, the Hotel Pennsylvania across, across the road from Madison Square Garden. And I lived in there for 6 and a half years. And, and so I had my bed made every day, which was exceptional. But in that time of living there, and I had a suite, I had this I had like my own little room with a door that would open up on this massive suite that would overlook Macy's. And in that suite, I got like 4 rollout beds and I'd put them in there. And I had about 150 people come through and stay with me in that time. Now, the reason I had people stay with me, even I'd get it like, let's just say, you know, Josh and Tommy, you'd go to me, oh Brad, you know, we're not coming over on this trip, but Mr. 97's coming over. Would you like to? Catch up with him for a beer. And Mr. 97 would come over, we'd get on the beers in the first night, nothing crazy. And he'd go, yeah, I'm sleeping in this hostel down the street. And I'd be like, come on, you're staying with me now, buddy. Here you go. So he'd come in and move into the, the spare room on the fold-out bed. And that is how I sort of collected people staying with me. Now, one of the reasons I did it is that, um, I'd love to have mates with Mr. 97, but I didn't need to have to have repetitive meetups with people I didn't really know. I could just see them over a quick coffee after my morning radio show. I was so busy in the O's. I was working, yeah, pretty much 24/7. You know how these jobs are, yeah, radio jobs. You're always on the hunt and you're always out there having a crack. And I couldn't really just have social 3-hour sessions on a Tuesday night, but I still wanted the social aspect of people and seeing people. So they'd just stay in my spare room. And yeah, 150 people came through. I actually had a, um, I had a, you know, Apex, the, the under-40s club, the Australian— it's a global club and they do working bees. You know, my dad was in Apex, you know, when I was growing up. And, um, they had an ex-reunion in 8 guys and 8, and they were all like 65-year-olds and they all came and stayed in my fold-out beds because it was my dad, my uncle He's their friend. And yeah, and geez, they drank a lot. They drank till about bloody 4 AM every night. And I was getting up at 4:30 going to the radio station. These guys were wild. But I enjoyed that hospitality side of it. But it was a little bit selfish. It's just, Josh, I couldn't give too much time socially because I still had the girlfriend, had to keep her.

Josh: So does that habit die then when you have a family? You're not having gongs day at your joint now, are you?

Brad: No, no, no. That's— yes, the habit's gone. And I'm a big— now, like, people hit me up, when you come to New York, I'd love to have a beer, um, but I'm a massive 5 PM to 7 PM beer guy. That— I, I just do the happy hours and then, you know, no one, no one gets hurt, you know. Yeah, um, that's good. Tom, how many beers from 5 till 7?

Tommy: What do you get in?

Brad: Oh yeah, I stick to the light beer, but that doesn't mean light in alcohol. You've had a discussion before. It's about 4.5%. I'm probably 6 beers, and I reckon you can corner life's big issues when you meet someone in that time, you know, when there's not a— when it's not a transactional meeting, when it's just a pure meetup with a stranger. You can get to the root of things pretty quickly. It's a good chat, actually.

Tommy: I mean, that's almost at the— that's 2 beers. You need to have 2 beers, sort of almost do a double round for yourself when you're going up, or for you, and like, it's almost getting 4 beers in a round. Yeah, that's right.

Brad: Yo, um, did you guys go to McSawley's? Did that ring up? Does that ring a bell? No. Look, I think it's '97. You're hot on the internet there. Yeah, McSorley's. Yeah, look that up. We'll have to do that next time. And you only spooked me then because of the 4— when you buy a beer there, you can only order light or dark. And when you order one, I have one beer, and the gruff Irish waiter will say, light or dark? And you go, light. And then you'll get 2. And then you'll go to the waiter, hold on, I only ordered one. He goes, we serve 2 per round, per person, per order here. And it's awesome. And it's very much like the Soup Nazi of beer Irish waiters. The guy is very— but I've had many great times in there. We'll go there and we come back, sawdust on the floor. They say it's, you know, the second oldest. I feel like you told us about this.

Josh: I think you wanted to take us there, but we didn't have time. The sawdust on the floor definitely rings a bell.

Brad: Yeah. I've got— now, on your trip again, yeah, because you put out such great content and people should be able to— can they fuck— can they Google on your site or search on your site for New York interviews? Because, yeah, I saw you interviewed Eddie Buckingham, you know, a good friend of mine of Chinese Tuxedo fame. Uh, you know, it was fantastic. And you ran into Chase Jarvis on a street corner. Is that— yeah, how did that happen?

Josh: It was the day after— it was the day of interviewing Seth, Seth Godin, and we were walking along near the Flatiron Building and there was a guy with noise-canceling headphones. And I said to TJ, I'm like, that's Chase Jarvis. And I sort of kept walking. I'm like, oh, should we stop? TJ's like, oh yeah, I'll ask him. And so TJ like bravely because he was wearing Bose noise-canceling headphones on a call and just sort of, um, tapped him and said, oh, hey Chase. Yeah, was he off the call? He must have like— he, he was about to go on a call.

Tommy: He was making calls on a corner and he just finished one and I got him as he got off. And I was like, mate, Chase, mate, big fan, a couple of blokes from Aussie, we're about to do a podcast. I just, I just sold it to him. He's a creative dude though. He gets it. He's like, sweet, let me just make this call and I'll jump in. I said, jump in when you can doing it. And then he just came over.

Brad: It was really interesting because I— you're just telling that story. I wouldn't have known how he would be off. He's really good on camera when he's on, but you kind of got him in an awkward moment and he was very— and I could sense that he enjoyed it when I listened to that interview. He enjoyed coming on with you guys.

Josh: And, uh, I think it's the thrill of being in New York. I could imagine, like, he's not from New York. I think he's from Seattle or something like that. It's like being in New York, having two random gronks from Australia come up. And I think that that was part of it, which I'm sure that, um, you do within it. It's like you want to try and slip in the fact that you know who they are, like you're trying to give them those little hints that they're like, um, that you follow them and all that sort of thing.

Brad: So yeah, it was, um, how did it work? So you went You got the call up to interview Seth Godin, and he's up in Tarrytown. Is that—

Josh: he's in Hastings-on-Hudson. On Hastings-on-Hudson.

Tommy: Can you talk me through how—

Brad: so you guys are on the train. I mean, this is, this is a huge get, right? Obviously, you know, to interview him. Are you nervous on that train journey as you're going up? Uh, you know, how are you feeling? Have you— are you prepping, or what's your mindset?

Josh: How'd you feel? It was weird.

Tommy: It was— we got up at 4:30. We got up like some ridiculous hour because we're like, we can't miss this. We were in, uh, where were we? Soho? No, Soho. Little Italy. Or, um, what's the, uh, the Lombardi's Pizza? Or just like across the road from there. That's where we're staying. And then we jumped on the subway and went to Grand Central Station. So it's completely dark still. And so then we got on that train that takes you out of Manhattan and it was dark. And so, wow, we didn't really get to experience this sort of, you know, the, the view that we got on the way back was, you know, seeing school buses, like a whole like yellow field of those school buses and the beautiful Hudson River. We didn't experience that on the way there, so it was very like— I think we were pretty quiet. It was like the first time, first night in New York. Second night in New York, or first night.

Josh: And, um, and so, I mean, we've done all that planning. Yeah, yeah, we're definitely nervy though. But the, um, the train was really nice. It was almost like the equivalent of like a V/Line train or something you'd have in Victoria. I was nervous.

Brad: I was nervous for you, Josh. But you get there, but you see, is it darkness when you get to Easttown? And then no, the light was coming.

Josh: Wait, now that the light was coming up, and so we, um We ended up going to a diner and there was a really lovely lady from Yonkers. It's Yonkers, yeah? Misty?

Tommy: What was her name? Misty, I think it was.

Josh: Misty from Yonkers. And she was, you know, been working there for 20 years or whatever. And we were probably 200 metres away from Seth Godin's office.. And so we were like, oh, we are like, she's like, oh, what are you doing? She thought it was so cool that there was a couple of Aussies, um, at the diner. And, uh, she said, you know, what are you doing? He said, oh, we're, we're, um, interviewing Seth Godin. And she's like, oh no, I don't, don't know who that is. I'm like, what? And then so we show a photo. I'm like, surely you've seen him around. She's like, oh, he sort of looks familiar. But you get the sense that Seth, I mean, he's, he's, um, he's veggie or vegan. He's like, I don't know if it was a pretty like classic diner experience. And I feel like, I don't know if I could imagine Seth potentially going to that diner.

Brad: So, all right, so when it, when your time comes, are you 10 minutes early and you go up to his office, or how does that—

Josh: I think we must have been, what, 40 minutes or something, or at least an hour probably.

Tommy: Oh, you know, yeah, we were like an hour and a half early to Hudson on Hastings, but then we spent time in the diner Drank way too much coffee, needed to piss too much, and then we went to the supermarket. Then we were classic— like, imagine if he came down, we were untangling XLR cords at the bottom of his office, like downstairs, just out the front.

Josh: And if he rocked up, it was like, uh, do you know what, actually it reminds me— walking in reminded me of, um, the Willy Wonka scene where Charlie, uh, goes into his office at the end. And, um, I think he's like— he does that whole scene where he's angry, whatever, but it's just quiet and he's sort of like walking through the office. And it's because we walked in and, um, what's his son's name? Is it Mo? He's, um, Mo. Yeah, such a nice guy. Um, Seth's son, who's a like a web developer or whatever. And he was— he, he, um introduced himself. Like, we sort of knocked on the door, it was sort of half open, and, um, we, uh, yeah, we walked in and we introduced ourselves or whatever. He said, 'Ah, Dad's just on a, uh, a call with, um, Dropbox,' or like he was on a call or whatever. When, um, Seth came out, he said, 'Ah, Dropbox, I'm having like— I'm having troubles with my Dropbox. I'm like— I'm speaking to the product manager of Dropbox. I'm trying to get them to fix my Dropbox.' He was like um, not happy about the Dropbox. It's great. Yeah, do you want a cup of tea?

Tommy: Do you want something? Yeah, you want a drink? So we asked you, you always do the— you do the polite thing and decline. You're like, ah, fussy. I'm like, mate, I'll have a tea. But then he got into it.

Josh: Yeah, he had, um, he had— he has all prime numbers or whatever, like mugs with prime numbers. Um, he had a rubber duck just sort of sitting there and just like, just shit everywhere. Like, he's not a minimalist. He's got so much stuff, just like stocks, like so much, so many books that he's obviously like hasn't gotten rid of all the stock. And it's just like piles of paper. And I gave him the handheld mic. He's like, oh, my shoulder, I can't hold the microphone. I've got a bad shoulder. And so he took— a mic stand that was designed for like a desk mic and put like a vocal mic in it. And I was just like, I said something like, um, I need to get, uh, I will taking photos or whatever. I'm like, I'll avoid that, uh, the mic, that mic setup. And I remember he gave pushback because he's like, if it works, it works. Like, he's the type of guy that he, he had his bathroom that he'd converted into a voiceover booth. So you think of the most, uh, echoey, you know, the worst room for reverb would be a bathroom. And then he's taken his shower and padded the whole thing, but it's just like janky, like cables everywhere, just like, you know, a thousand USB, like you would have every sort of cable.

Brad: It's, it's almost like a mad scientist, and yet he's so clean-cut and how he talks and how he presents. It's totally opposite of what you'd think Seth Godin would— that's, yeah, that's good insight. Good, good job. That's great.

Tommy: He's a man, he's a man of the mind, right? Like, it's his, it's his, it's his mind that is his superpower, right?

Brad: Yeah. And, and when you open up, turn the mics on and go, is he— do you feel that he wants to help you in, in your questions? Was he kind and generous, or did you have to be, oh, Did you feel you had to be on point?

Josh: Oh no, he was so generous. Oh good. So generous.

Tommy: I mean, I think the, the most amazing people to interview, and I'm sure you know, are the ones when you ask a dumb question, they give you the best fucking answer. And he's that guy. You could ask him anything. Yeah. And he will just find the nugget. And it's like, I didn't even ask a good question. You've just answered something profound. You know, but he's just— I think he does that work, and that's, that's his generosity, right? That's where it lies, right?

Brad: What was your pitch to him though, to get the interview? How about I read it?

Josh: I could read it to you if you want.

Tommy: Oh, that's a great idea.

Brad: Yeah, but it's, but it's, it's fascinating, right? Because, you know, he's beloved by, you know, marketers and people, and, you know, and people, ambitious people, people wanting to get ahead, and, and also very successful people idolise him. So he's this interesting guy, and you guys got on a train, set it up, went up there, and, and got on a plane first, interview, got on the plane.

Tommy: But we don't really—

Brad: good. Yeah, no, really impressive. Yeah, that you got that interview.

Josh: Yeah, so that would have been what? So that was November 2018? Sorry, was it— I was— October? No, it wasn't September, was it? Maybe it was.

Tommy: Yeah, I flew out on— I flew out on grand final day, September. How do you remember that? Yeah, no, mate, Brad's weird on dates. You are—

Josh: you reference like an autism type of thing, like he really like that.

Brad: Maybe, maybe, maybe. Seriously? Yeah, like, I don't know, I don't know. I love dates. I, I like dates.

Josh: So if I said the 14th of September 1990, the 14th of September 1990, Would you remember my birthday? Uh, was it your birthday then?

Brad: You were born then.

Josh: That was your birthday, was it? 14th of September, 1990. Right. I'll remember that now.

Brad: Yeah, yeah, I'll remember it now. Um, I used to be able to, you know, 20 years ago I could tell you what I was that day, but, but now there's been so much gone through. I know where I'm meant to be every single— this moment I'm meant to be for the last 18 years. I'm at Churchill Downs Racecourse. In Kentucky, Louisville, Kentucky for the Kentucky Derby, and that's called off this year, obviously. And this is where I am at this moment every day, which is odd that I've managed to keep my marriage alive because it's my wife's birthday today as well. So, you animal. Okay, here we go. So that's a whole other story, Tommy. Thank you. Here we go.

Josh: You ready? So this was the— so this email was sent the 24th of July 2018. Um, to Seth Godin. Hi Seth, a couple of months ago you were nice enough to write a sentence describing Peter Shepherd, which I used to intro him when he was a guest on our podcast. So basically, when we knew we had Pete on, we said, Seth— like a very short message— Seth, we've got Pete Shepherd on, um, do you have anything nice? Like, is there something nice that you would say about him that we can sort of quote before the Australians nice enough to do that, which is cool. It was something along the lines of, if I was, uh, in the middle of the ocean, uh, I would, I would want Pete there with the boat or something. Anyway, uh, so this is, uh, what I said. Uh, I've now done 135 episodes of the Daily Talk Show with my mate Tommy. We started the show to ship regularly and provide company for ourselves and our friends who work for themselves. We've managed to create a small listenership of diverse people full-time bloggers, train drivers, accountants, and filmmakers. We'll be in New York City in the first week of October. If you're available and interested, it would be our pleasure to have you on our show, 1 hour or 45 minutes, a quick portable audio setup. We chat about self-starting, about alt-MBA, about ambition and friendship. Please let me know if you're willing to be up on the podcast. I completely understand if you're too busy 'Or if it doesn't make sense from your end, thanks for everything you do.' So that was the first one. What do we think?

Brad: That is beautiful. Oh my goodness. Oh, that's a layup. That's right. That's just— oh, it's just like wrapping, putting a bow on it, which is what it's all about. Just, I mean, there's a lesson in that email. Just wonderful.

Josh: So, um, so that was on— so I sent that on the 24th of July. Yep. Bree and I would have been travelling in Italy at the time. Bree says Positano. Yeah. So, that was when it all— that's when we found out. Yeah. And so, this was— so, we weren't planning, like we hadn't actually locked in that we're going to New York. That wasn't sold in. TJ still had to tell Amy or ask Amy, hey, this is something we want to do. So, it was very early days. We had no intention. But if we got Seth, we were planning on doing it. So, he writes back on the 31st after I sent the first one on the 24th. He says, thanks, Josh. I appreciate the note and sorry for the delay. Are you hoping for audio only? That's probably easier remote. Can you point me to the podcast past episodes? And I said on the 31st of July, let's see how long. So, I took 3 hours to write back to him. I said, thanks so much for the response, Seth. Yes, audio only. If you would be more comfortable doing it remote, I completely understand and will make that work. From a conversation dynamic point of view, we do prefer in person, as being in the same room has a different energy. We can make either happen at our end. If it was in person, I can assure you that would be quick and respectful of your time. No interest in hustling, or as we say in Australia, taking the piss. Here's a link to the episode we did with Peter Shepherd and our chat with Jordan Evans. She also has done Alt MBA. I'm currently travelling for the next couple of months, so my co-host Tommy and I are doing the show remote. We'll be meeting up in New York City and Los Angeles in October to do the podcast from there. Side note, Tommy, my co-host, and I absolutely loved your conversation with James Altucher. Your words around small audiences and the intimacy of spoken voice really resonated with us, and it completely aligned with our vision of the daily talk show. Thanks so much for getting back to me, Seth. Josh. Um, and so then he wrote back, enjoyed the episode with Peter, and thanks for not posting my email address because I think I, I, we joked about having his email address. I can do it with you guys the second or third I can add a lot of energy remotely, but if you want to come up, that's okay. Good. But I need to minimise the in and out time because it's crazy, a crazy month for me. So if you want to come, shake hands, record, and then hit the road, that's cool. But I don't want to be rude. Um, and then so yeah. And so what's your take on that?

Brad: Yeah, no, I think, I mean, he obviously, the in-person thing, it's more It's like that whole thing when you do a meeting and then you leave the meeting, go to the bathroom, and then you get the elevator with the same person you had the meeting with. It's like you've already done your goodbyes. Yeah. And then you've got to make small talk and that meeting might have gone bad if it's you pitching an idea or something and you failing. But in an interview like this, he just wants you out. I mean, which is fair enough.

Josh: Yeah, definitely.

Brad: You know, like there's no mateship afterwards. It's all going to be left on the table or in the microphone, which is wonderful. And, and it proved that. Um, no, that's, that's really good. I just— a great— I'm glad I asked. Yeah, on that, I've got one topic on Seth Godin I need to ask you guys, and it does relate to the fact that your show is the daily talk show. But, um, something he said— I know you brought it up in one of your interviews, I think you might have brought it up with Andy Lee— and it was to do with the fact that you just— and it's One of Seth Godin's— I've heard him talk about you do the podcast because you do a podcast to arrange your own thoughts. So in some ways you're doing a podcast, obviously you want an audience and all that. Yeah, but the mission of the podcast is to organise your own thoughts, to be your own creative in whatever endeavour you're doing outside of what a podcast is.

Josh: Seb, has your light gone out? His actual light has gone out. That's— it looks like pitch black, but it's actually just his light.

Brad: Did that make sense?

Josh: Yeah, yeah, yeah. So I know definitely TJ, you can talk to that.

Tommy: Well, I think, um, how do you become more articulate? And maybe by speaking. And for me, it's, it's, it's probably not the best approach. I think I've become— I think I've become smarter or what's, what's before being articulate? You need to have it in your mind, or you need to have the thoughts in your head. I think I've been able to definitely arrange it in my mind by trying to vocalise it first and make that mistake and fumble. I think that is— that's worked really, really well for me. Um, I think that that's a part of you. I mean, and then it's the cathartic nature of talking about what is on your mind. And I think it's, you know, it's the, the release that you get from it. And there's all those factors of connection and, and, um, and hitting those things that align with, you know, your, your passion, or, you know, like storytelling or entertaining, all these things, uh, being hit in that spoken word or this kind of a format, I think.

Josh: What do you think, JJ? Synthesization. Like, it's, um, it's similar to writing. So I think that, like, we write, write to, um, construct our thoughts and ideas. And I think that that's like, for me, it's more about conversation and listening. I think like having a, um, uh, you know, a team and then having, um guests. I think that that teaches me about listening. Yeah, I think it's a huge part of it, like the self-development bit.

Brad: Yeah. And he has that point, doesn't he? He's— Godin says that everyone should have a podcast, just basically to— because you guys have got— gave different answers there, which was wonderful. So it's different than I presume. Let's just go under the podcast banner. Um, but Godin says everyone should have one because it arranges your thoughts. Arrange your thoughts, that's the beginning of everything. And it just fascinated me. And I know you guys have said that. I think I even said when I met you, the fact that it was daily, your show was daily, and I was like, wow, this is going to be a lot of work for you guys. But, and you've smashed through it being— I know it's a lot of work, but you make it look very easy now. But is it that whole idea that you'll enter a conversation and you'll have already thought about things you're going to answer. Not necessarily researching, but how it will be constructed when you sit down for that 1-hour chat with your guests the following day.

Josh: Yeah, I think it's also like, uh, yeah, repetition is a big one too. So like, the more you sort of say things and communicate, it's very— like, I think it's also hard to sort of quantify because you just sort of end up, um, You make these small changes. And so, yeah, I don't know, like, I think that part of it, uh, I think it's whatever you put into it. So, um, you probably could say that the practise of having a tennis racket and a ball and hitting it against a wall would provide a bunch of benefits from eye-hand-eye coordination focus, all of these types of things. And I guess that that's, I think, repetition in any form, whether it's writing, right, speaking. I think that the thing with the speaking is speaking is more about the listening. It's about like thinking about, oh, what's— what is— what am I saying now and how is it relevant to the people who are listening? What do they care about? How do we empathise with them? What's the other perspective? I think that that's way more powerful than the speaking bit.

Brad: Right, no, no, good, good answer. On him again, one more is, um, his friendship with Bryan Koppelmann. Have you listened to their podcast?

Josh: Yeah, yeah, I love them.

Brad: Oh yeah, it's really interesting because they're, they're so different. Like, yeah, Koppelmann, he's an artist, right? So he takes knocks and gets sad if someone crosses him at a dinner party over the job he does, or, you know, he's a writer, a screen, a TV writer. And someone looks down at that. And he brings all this stuff up to Seth, and Seth helps him with, with these things. It's, it's, they're an interesting friendship. Like, I wouldn't have thought they would cross over, but I quite enjoy their chats. And that's very thematic. The Billions premieres Sunday night, the 5th season, um, which is Koppelman's show that he, that he writes, um, you know, this Sunday. So I'll be watching that.

Josh: Have you been—

Josh: have you, have you spoken about, uh, screenwriting? Have you done any writing yourself?

Brad: Yeah, yeah, over there. Yeah, that's what I set out to do 20 years ago. I was trying to write the next great Aussie sitcom and I wrote it. I wrote the Bible and I wrote the first 3 scripts and I wrote those as an accountant in London, came back to Australia to try and figure it out, but I knew nothing. I didn't know who to, you know, who to go to or anything. And I was living in Sydney. I moved to Sydney for that reason because I thought they'd be, you know, they make TV up there more than Melbourne. I didn't, I mean, I just assumed that, um, probably because I was a Hey Dad fan, you know. Um, anyway, um, and then I had the, uh, had this script and I might have sent it to one person and they gave me some criticism and then I went, ah, this is not for me, put it under the bed. And yeah, and then, you know, a month, a month later I came up, I couldn't get an accounting job and that's when I came up with the idea 'Oh, why don't I try radio? I've got a wedding in New York in August 2000. Why don't I go over there and see if a radio station want my Sydney Olympics reports from Bondi?' And, um, that's sort of when the radio little, you know, the turn, the little turn I took has ended up me up, you know, being here 20 years, which is good. But I love the screenwriting element of it. I did the Robert McKee classes, you know, I've done two of those. And there I went to Macquarie University, did one in I think June 2000, which was, you know, fantastic. And then I did another, you know, did him again in New York a couple of years later. Um, so yeah, I mean, that's— I would have loved to have gone down that road. But can you still do it? Yeah, yeah, I still, you know, I, I think of ideas and try to, you know, try to write things.

Josh: Yeah, you see, you're a note taker. Do you take a lot of notes? Yeah, I'm a big note Yeah, can you show us one of your notepads? Can you, can you show us that?

Brad: Yeah, yeah, yeah, let's, uh, let's have a look here.

Tommy: Yeah, um, have a look. This is good.

Josh: Let's take your headphones out. I don't want to— then we'll give this a go.

Brad: Before I leave, ponder this. This is a New York City, New York Post subway, um, scrubway.

Josh: There you go, scrubway. Okay, great. It almost doesn't—

Tommy: that just seem like a magazine, like the— yeah, the newspaper. Seems like it's out of a— it's very tough to get you out of Spider-Man, out of a Marvel movie, you know. It was— it's the only place that didn't it? It does, it does. I mean, we're seeing like comic covers, but there is that sort of crazy nature. It's like it's all fake. It's like it's fake.

Josh: There is something intoxicating about the film set.

Tommy: Yeah. Oh, I fucking love it.

Brad: Uh, I, uh, we What did I write here? I watched a bit of the, you know, ah, so just simple notes. This is stuff that came and I started using a pencil, which is weird because my kids are homeschooling. So they've got loads of pencils around and I find it quite easier to write in. Like I have so much content, like thousands of hours of interviews that I've never even published. And you know, one thing came up the other day. I think I was watching Almost Famous and I love Billy Crudup in that. And I interviewed Billy Crudup for The Morning Show last year and I didn't really— I think I put the interview up on YouTube and the interview was all about— I knew the interview wasn't going to run on radio or anywhere. So it was all about pretty much Almost Famous, which I love the movie, and him. I know he plays poker with a friend of mine, so it was all about poker and it was great. So I wrote here, Morning Show cast, and the rest of the cast other than Aniston and Reese Witherspoon, who were so held back, were awesome. So I was like, why don't I republish all those interviews? Um, and then I watched the Beastie Boys documentary, which I loved, which someone should watch on Apple Plus. And what's it called? Tarantino?

Josh: What's it called? What's the doco called?

Brad: I, I, no, I, uh, I think it's just Beastie Boys. Beastie Boys. Yeah, Beastie Boys. It's, uh, directed by Spike Jonze., and it's essentially them on stage, I think at the Apollo Theater in New York in Harlem, and they just come out and it's like a, um, it's like what, like a, it'd be like if you guys doing a cheese and wine night with a PowerPoint presentation just running through your best of bits. And I'm like, wow, this is so simple. And the crowd was packed. They weren't even performing, but they were playing video clips of their, um, so, and I have an interview of, um, one of the Beastie Boys from, uh, a red carpet for The Hateful Eight, Quentin Tarantino. And it was great because he went into this whole bit about when the Beastie Boys are touring and he went and saw, uh, they saw Reservoir Dogs for the first time. And I'm like, to me that's like a clash of one great genre of artists clashing with a Tarantino just as he's coming out. And I— so that excited me. So that's, uh, you know, scrappy notes there with food items on them. But yeah, look, yeah, look, I love your mind, Brad.

Josh: Do you get that compliment a lot, that people love your mind? Ah, I don't know.

Brad: I think maybe it's just because we're all a bit nuts, you know? Like, I don't know. Yeah, but look, no, and I gravitate towards you guys because you guys are— you guys have a crack. And, and I, you know, and I had a crack. And but my biggest thing is, you get older, you, you're having How I've gone is I've taken the foot pedal at certain times and I've got to keep— and I'm probably getting that from you guys who are now pulling a bit of energy, you guys. And thanks for saying you like my mind, to have a crack again, you know, and to not give up. And that's the— I think that's the biggest challenge.

Josh: Like, it sounds like maybe that just became your new normal. Like, if you're filling out notepads every, you know, every week or every month or whatever, like, that is that is executing on that? Do you think you've just gotten so used, you know, used to and familiar with that, that it's become normal?

Brad: Well, I, I, to be hard on myself, I think from the normal of writing the notes, I think you've got to have actionable items, right? I've got to create— like, I've just told you this storey about the, you know, interviewing one of the Beastie Boys on the, on the red carpet of a Tarantino movie that I did like 5 years ago, that should be— I should finish this call with you guys after I do this, find that piece and just pump, pump it, you know, and, and because it was cool. And, and regardless of anyone seeing it, I enjoyed that story, so I should get that out. And, and I think I can take all these notepads, but at times I'm not actioning, and that's where I've got to, you know, action more, you know, to give it, you know, to probably highlight a weakness on my part.

Josh: I mean, if you're going to those sort of screenwriting courses and things like that, are there— I mean, it feels like the US has a course or a coach or a consultant for everything. Have you ever looked at sort of a consultant to help you with that?

Brad: Yeah, I have various forms of figuring that out, but that would be the right, the right way to go. Like, look, I've been working on writing my book for a long time and I've probably done a second draught of the book and it's sort of an origin story, the first 2 years of my life in New York City, sort of how I got the job, how I had to change in the job and then how I kept the job. And it's sort of those 3 elements into this storey that essentially a drunken, you know, late 20s fantasy, you know, um, that went well, that worked in the end, and that I didn't get fired. So, um, yeah, there's something like that. I'd love to figure out how to get that, craft that into an idea, and figure out how to turn that into something. So yeah, I have a bit of work to do, Brad.

Tommy: But I feel like you— I mean, you've got a lot of contacts. Who— um, when do you ask for help? When do you ask the powerful people around you for a hand?

Brad: I don't, and I don't, and I don't, and I put that down to— is it just kicking the can down the road? Maybe. But, and it might be that whole perfection thing, wanting to have something perfect to do, to ask, but that's obviously not how you're meant to do it. You're meant to probably ask when you're 30% down the road. I don't know. I mean, I'm answering your question by throwing it back to you.

Josh: Oh, guess what? There's only 2 hours to go. Sorry, Brad, that was just, uh, yeah, no, no, it was great.

Brad: I love that, it pumped me up. But yeah, no, I don't know the ask spell. That's something I've got to work on, Tommy. Yeah, but you're right, I have to, I have to, I have to, but I think I'm gonna have something in a form anyway.

Tommy: Yeah, yeah, it makes sense. You pick your ask when And it's not, you know, I get it's who you ask. It's not like you can just— but I think you've got— you're great at friendships from what I tell. If you ask me to help you with something, I'd fucking help you with a heartbeat.

Brad: Thanks, Tommy. Thank you.

Josh: Oh, you're a good man.

Brad: Yeah, no, thanks. It's good. There's something in that though, the whole helping people, which is good. It's a good discussion point. Maybe that could be one of your interviews down and find someone who's a great You know, I'd love to listen to that podcast that you put out.

Josh: Uh, Michael Bungay Stanier, who, uh, wrote the book The Coaching Habit, is one of the best coaches in the world. We've had him on the show a couple of times. Uh, one of his, uh, favourite questions is, uh, what is your biggest, uh, challenge? So Brad, maybe to, uh, to finish up, uh, you could answer, what is your biggest challenge right now?

Brad: Outside of the whole where we're all at and lockdown, but just in what was, you know, my biggest challenge creatively and where I wanted to go and whatever is actually sitting down and focusing. You know, the easy part of my setup is being able to have a microphone and talk to people and create a fun conversation and keep that flowing and hopefully get some comedy and some laughs out of it. Or in a radio environment or something like that, that's good. But how do you create that something solid? And that's my biggest challenge.

Josh: Yeah, I think it makes sense. I think focus work. Yeah. Have you, have you read, um, Deep Work by Cal Newport?

Brad: I haven't, but I know I'm very— yeah, yeah, that's one of them.

Josh: He did Digital Minimalism as well. Yeah, there's a— I mean, there's always a risk with those books that you sort of go like, you try and, um, you know, get off social media and do a You go too far, right? But it feels like there is something— it's with all the archives and everything that you've got, that's the challenge like that I even face is like looking at like you almost have this huge weight on your shoulder which is your past work that you feel like you need to tap into. Yeah, that's great.

Brad: Yeah, you're right. Yeah, you, I think you asked me about Ricky Gervais, how many interviews? 19. I should have been able to go back to you and go, here's the 19, go and cheque out my SoundCloud, my YouTube, and you go bang bang. But you know, and they're not all there, you know, that's, that's on me, you know.

Josh: Um, but also we're all flying, that's the whole thing, which is like, it's, you just, you wouldn't have— did you know at the, the first, uh, interview that you would do 19 and that Ricky Gervais would be who he is? And like It's all just circumstances, right? It is. Yeah, it's crazy.

Brad: But anyway, I'm pumped. This is good. I hope this has been a good 4 AM game. The paper boys are getting up now. Oh yeah, ready to deliver the newspapers. The milkman's out, the bread's being baked, and you guys are still firing.

Josh: So yeah, thanks so much.

Brad: It's been a privilege to be a part of it and watch it. So thank you so much, Brad.

Josh: Just quickly, what was that newspaper? What was the— what was that newspaper?

Brad: It was the New York Post, today's headline. They're cleaning— the first time ever the subway will shut down every night to clean up scenes like this. So it's going to shut from 1 AM to 5 AM, and they're going to make sure all the homeless people get off the subways and they disinfect the trains. That sounds like a good thing. Yeah, first step in turning New York back on. I think the 15th of May is the official date when they're starting to lift things. New York State. Oh wow.

Josh: But anyway, yeah, awesome, awesome, mate. All right, thanks so much. Have a good one. Bye.

Tommy: See ya.